smith (1982) enclitic rhythms in the vergilian hexameter
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Enclitic Rhythms in the Vergilian HexameterAuthor(s): Peter L. SmithSource: Phoenix, Vol. 36, No. 2 (Summer, 1982), pp. 124-143Published by: Classical Association of CanadaStable URL: http://www.jstor.org/stable/1087672Accessed: 02-11-2015 13:12 UTC
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ENCLITIC RHYTHMS IN THE VERGILIAN
HEXAMETER
PETER
L.
SMITH
A
PERSISTENTLY
TROUBLESOME
QUESTION
IN LATIN
PHONOLOGY has
been
the
accentuation
f enclitic
omposites.'
One
consequence
of this
problem
is
the
uncertainty
t
may
cause in the
pronunciation
f
classical
dactylic
hexameter,
where
the
separable
enclitics
-que,
-ve,
and
-ne)
are to
be
found
n
abundance.
The
present tudy attempts
to
review
and
clarify
the
areas
of
phonetic ontroversy
hrough
metrical
nalysis
f
all
enclitic
rhythms
n
the
poetry
f
Vergil.
Particular ttention
will
be
given
to
the
putative
regression
f accent that
may
occur
when an enclitic s
followed
byelision.
Since
late
antiquity,
here
has
always
beensome theoretical
onfusion
about
the
precise
nature
of the
Latin
accent
shift
aused
by
the
addition
of
these common enclitic
particles.
Most
modern
cholars
readily
agree
that,
n
the classical
period
at
least,
all
final
heavy
syllables
must have
received
a
syntactical
ccent before he
enclitic,
egardless
f
the
solate
accentuation
f
the
base-word:
multtumque,
ultosque,
multaeque,
mperi-
umque,
mperi6que,
tc.2
This
principle
ould
be
inferred
rom he
metrical
evidence
of
Augustan
Latin literature
ven
if
it were not
confirmed
y
Roman grammaticaltheorists.3 he elementsof uncertainty ccur in
three main areas:
(1)
the
accentuation
of
enclitic
composites
n
which
the
base-word
nds
in a
light
syllable multaque,
imindque,
rmentdque,
Saturn'dque,
tc.); (2)
the
potential endency
or
lision
o
cause a
regres-
sion
of
accent within
he
enclitic
omposite;
and
(3)
the
possible
dynamic
effect
f
the verse-ictus
pon
the
accent
of
the
composite.
The first
roblem
of
the
trochaic
and
dactylic
base-words
has arisen
because
of
conflict etween he
testimony
f some
mperial
Roman
gram-
marians,who appear to have advocated the accentuationmultdque/
'The
subject
is
reviewed
with
precision
and
clarity by
W.
Sidney
Allen
in Accent nd
Rhythm Cambridge
1973)
158-161;
see also
Allen's
summary
comments
n Vox Latina
(Cambridge 1965)
87-88.
Important linguistic
issues
are
considered
by
R.
Whitney
Tucker,
Accentuation Before Enclitics in
Latin,
T,APA 96
(1965)
449-461.
These
works
will be
cited
in a
shortened
form.
am
prepared
to
challenge
Tucker's overstated
conclusion,
that
in the
second
century
B.C. at
least,
the
place
of the word-accent
was
unaffected
by
the
addition of
an
enclitic
(460);
but he
does offer
ersuasive
evidence
that substantial
phonetic
development
must have
occurred
in the
centuries between
Plautus
and
Seneca.
2This application of the term syntactical is taken fromW. S. Allen, Accentand
Rhythm
58;
the
terminology
will
remind us
that,
in actual
Latin
usage,
enclitic
com-
posites
were
accented
only
within
phrase
or
sentence
cf.
Allen
25).
3For the most
comprehensive
collection
and
analysis
of
ancient theories
on Latin
accent,
see
Friedrich
Schoell,
De
accentu
inguae
latinae
veterum
rammaticorum
esti-
monia
(Acta
societatis
hilologae
Lipsiensis 6;
Leipzig
1876).
124
PHOENIX,
Vol.
36
(1982)
2.
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ENCLITIC RHYTHMS
limlndque,4
and
the
evidence
of classical
Latin
poetry,
whichseems
to
support
the accentuation
multdque/llzmndque.
This
puzzle
has
attracted
its shareofscholarly ttention.The earlyyearsof the twentieth entury
witnessed
a
flurry
f
activity,
following
trail-blazing
rticle
by
Carl
Wagener.5
A
most
noteworthy
ontributionwas made
by
the
American
F. W.
Shipley,
who
approached
the
question
from the
evidence
of
Republican
Latin
prose
clausulae.6
Shipley's
arguments oint
clearly
nd
logically
o the
conclusion
hat Cicero accentedenclitic
omposites y
the
normal
principles
of the
penultimate
aw
(i.e.,
multu'mque, ult6sque,
multaeque;
but
muiltque,
rather than
multaque).
He made
the
further
importantdiscovery
hat
Cicero
normally
xcluded
dactylic
composites
such as crimlndque r testimonidquenless an accent shiftcould be
avoided
by
one
of
three
phonetic
expedients:
elision
(cr1imnaqu[e]),
synizesis
omnjdque,
estim6njdque),
r
syncope
cet[e]raqu, eric[u]laque).
No
subsequent
researcher as
successfully hallenged
hese conclusions.7
Accordingly, nglish-speaking
lassicists
of
the
last
half-century
ave
been
generallyprepared
to
discount
the
testimony
f
the late Roman
grammarians
n this
spect
of
the
problem.
he
modern
inguistic
reatises
in
English
offer
asically
consistent
uidance,
despite
some areas of
un-
certainty e.g.,
Kent
favours
iminaque,
whereas Allen
admits the
pos-
sibility
of
liminaque)
8
and accentuations uch as
magnaque
have been
advocated
by
influential
iterary
cholars.9
This is not
to
say
that
the
mists
of
confusion ave been
entirely
ispelled.
The
revised
principle
has
40n this
question,
the ancient
grammarians'
testimony
s neither
lear
nor
consistent;
cf. Tucker
451.
5 Betonung
der
mit
que,
ve,
ne
zusammengesetzten
W6rter m
Lateinischen,
Neue
Philologische
Rundschau
1
(1904)
505-511. See
also
H.
J. Edmiston,
The
Question
of
the
Coincidence of
Word-accent
nd
Verse-ictus n
the Latin
Hexameter,
CR
17
(1903)
458-460; Charles B. Newcomer, The Effect of Enclitics on the Accent of Words in
Latin,
TAPA
37
(1906)
xxvii-xxviii.
6Shipleypublished
several
studies on
this
subject
between 1909
and
1913;
his
research
culminated
in
Preferred
nd
avoided combinations of
the enclitic
que
in
Cicero
(con-
sidered
in
relation to
questions
of
accent
and
prose
rhythm),
CP 8
(1913)
23-47.
7Years
later,
Shipley's
work was
admired and
accepted
by
Ernst
Kalinka,
in
his
definitive
urvey
of
metrical
scholarship
for Bursians
7ahresbericht 56
(1937)
87:
Ich
gestehe,
dass
diese
Ausfiihrungen
hipleys
mich
iiberzeugt
haben. It
is
interesting
o
note
that
most
recent
computer
analyses
of
hexameter
rhythm
have
accented all
enclitic
composites
by
the
inflexible
pplication
of
the
penultimate
aw,
ignoring
the
possible
effect f
elision. This
is
the
method
followed
by
Wilhelm Ott in
his
excellent
series,Materialenzu Metrikund Stilistik
Tiibingen
1973-).
The
principle
s
sensibly
defended
by
Nathan
A.
Greenberg
in
Metrical
Shape,
Initial
Stress,
and
Crosstabulation,
Revue
International
Organization
for
Ancient
Languages
Analysis
by Computer]
1978,
No.
3)
10-11.
8Roland
G.
Kent,
The Sounds
of
Latin3
(Baltimore
1945)
68;
W.
S.
Allen,
Vox
Latina
87-88,
Accent nd
Rhythm
59.
9For
example,
L.
P.
Wilkinson,
The
Augustan
Rules for
Dactylic
Verse,
C2
34
(1940) 30,
n. 3.
125
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had
only
partial
acceptance
in
France,
where there
has
always
been
re-
sistance
to
English
and German theories
f
Latin
accent.'0
Elsewhere n
the
European continent,
he
time-honouredonservative octrine s still
at
times
proclaimed,
perhaps
under the
continuing
uthority
f
the
old
German
handbooks.
The
second
problem
s the
possible
effect
f
elision
(synaloephe)
n
Latin word-accent.
n
addition
to
Shipley's
articles,
number f
studies
have
pointed
to
elision as a factorthat
may
control
or
modify
nclitic
accent and
usage.'2
In
a
wider
context,
n
important
chool
of
modern
scholarship,
ypified y
Eduard
Fraenkel,13
evived
the
old
theory
hat
all elided
words
will
undergo regression
f
word-accent
hrough
he
oss
of the finalsyllable.The weightof recentresearchhas effectivelyis-
credited this
once-popular
doctrine,
s can be seen
from
the work
of
Jean
Soubiran and
W.
S.
Allen.14
onetheless,
ven
the most
sceptical
of
modern cholars
ppear prepared
o
concede
that
enclitic
lision
may
cause
a
regression
rom he
syntactical
accent of the
composite
colorimque)
to
the isolate accent
of
the
base-word
col6remqu[e]).
The
third nd interrelated
roblem
nvolves
he
question
of
verse-ictus,
a
topic
that
has
always
bristled
with
ontroversy.15
f
the
Latin
hexameter
'OThe conservativeosition s upheld by Max Niedermann,ricis de phon6tique
historique
u latin3
Paris
1953)
14-15.
Reference
s
made
below
note 35)
to
Jean
Soubiran's xamination f
trochaic
omposites.
ome
French-speaking
cholars eem
more nclined
o
doubtthe
ancient
rammarians
n this
ubject;
ee
J. Hellegouarc'h,
Le
monosyllabe
ans
'hexamrtreatin
Paris
1964)
266
and n.
1;
E.
Lienard,
Reflexions
sur
'accent
atin, Hommages
MarcelRenard
Collection
atomus
01;
Brussels
969)
554
and n.
3.
For
example,
G.
Bernardi
erini,
'accentoatino2
Bologna
1967)
38-43.
Even after
modern
evision,
he
tandard
erman
andbookstill
efer
o he
mperial
rammarians;
e.g.,
Brugmann-Delbriick,
rundrisser
vergleichenden
rammatik
er
ndogermanischen
Sprachen2
Berlin-Leipzig
967
[1930])
1.975-976; Sommer-Pfister,
andbuch
der
lateinischenaut- undFormenlehre4
Heidelberg
977)
1.217-218;
with omereserva-
tions,
Manu
Leumann,
ateinische aut- und
Formenlehre'
Handbuch
er Altertums-
wissenschaft
.2.1;
Munich
977)
240.
G.
Eskuche,
Die
Elisionen n
den
2
letzten ussen
des lateinischen
exameters,
von
Enniusbis
Walahfridus
trabo,
RhM 45
(1890)
236-264, 85-418;
W. M.
Lindsay,
The
SaturnianMetre.
I,
AJP
14
(1893) 313;
W. M.
Lindsay, arly
Latin Verse
(Oxford
922)
34-35;
E.
Norden,
.
Vergilius
aro
AeneisBuchVI4
(Stuttgart
957),
Anhang
XI.9,
456;
R. D.
Williams,
The Effect f
elided
que
on
WordAccent n the
Hexameter,
ACA 47
(1950)
31;
Nils-Ola
Nilsson,
Encliticanach wei
kurzen
ilben
im
Latein,
Eranos52
(1954)
195-216.
ee also
L.
P.
Wilkinson,
olden atin
Artistry
(Cambridge 963) 233,235, 236, and D. S. Raven,Latin Metre London1965) 32.
Iktus
und
Akzent
m
lateinischen
prechvers
Berlin1928)
268-269.
14Jean
oubiran,
'Elision
dans la
po6sie
atine
Paris
1966)
457-480;
W. S.
Allen,
Accent nd
Rhythm
59-161.
6The
cope
of
this
paper
does not
permit
me
to review
he fundamental
ontroversy
over
Latin
accent
nd
ctus,
which as
extended
rom he ime f
Bentley
o the
present
day.
Sufficet to
say
that
find
myself
n
close
agreement
ith he
position
f
W. S.
126 PHOENIX
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ENCLITIC
RHYTHMS
has
an
audible
pulse-beat,
s
many
believe,
an that
aural
expectation
influencehe ccentuation
fenclitic
omposites?
ay
it
possibly
e
the
actualcauseof accentregressionefore nclitic lision? he questionassumes
articular
elevance
n
any
enquiry
n
fourth-foot
armony,
circumstanceverlooked
y
W. F.
Jackson night
n his
pioneer tudy
of
Vergilian
omodyne.16
strong
ase
can be made
for
fourth-foot
coincidence
f
ctus nd
accent
n
such
Vergilian
erses
s
these
which
are
marked o show
homodyne17):
Canticueere
mnes
nt.ntique
ra
tenebant Aen.
2.1
fncute
fm
entis
ubmersasque
brue
uppis
den.
1.69
In anattemptoresolve hese ncertainties,nsofars they ertaino
Augustan
exameter,
have
undertaken
metrical
lassification
f
all
enclitic
hythms
n
the
entire
Vergilian
orpus,
xcluding
he
Appendix
Vergiliana. hough
acknowledge
he
hazards
f
reaching
bjective
on-
clusions n
enclitic
ccent
rom
he
vidence
f
hexameter
oetry,
stop
short f
ccepting
.
Whitney
ucker's
loomy
ronouncement:
Little,
if
anything,
an
be
learned n
this
ubject
from
he
formal
erse
f
the
Golden
Age. 18
t
is
obviously
rue,
s
Tucker
nsists,
hat
we
cannot
ely
onourownphoneticntuitionnthis rea: itishardly dequate ostate
that
poet
uses
such-and-suchn
accentuation
ecause
it
sounds
ight
to
me.
Moreover,
hose
who
try
o
prove
ccentual
heories
rom
he
evidence
f
classical
Latin
hexameter
must
lways
remember
hat
the
Augustan
oets
were
onstrained
y
factors
f
metre,
yntax,
nd
style
Allen,
s
summarizedn VoxLatina
83-94,
nd
developed
urthern
Accent nd
Rhythm,
passim.
ee
also
L.
P.
Wilkinson,
olden
atin
Artistry
above,
n.12)
118-132
nd
221-
236.
I
have
not
yet
had access
to the
1980
University
f
Toronto h.D.
thesis
by
S.
Traverse,
entitled
Ictus
Metricus:
Phonological,Historical and Comparative tudies in
Greek nd
Latin
Metrics.
16Accentual
ymmetry
n
Vergil
Oxford
939).
Knight's
ack
of
precision
n
defining
his
own
rules
for
word-accent
nd the
problem
f
elided enclitics
re
both
noted
by
Nathan
A.
Greenberg
n
Vergil
nd the
Computer:
ourth
oot
exture
n
Aeneid
,
Revue
International
rganization
or
Ancient
anguages
Analysis
y
Computer]
1967,
No.
1)
1-16.
See
also E.
D.
Kollmann,
Remarks n
the
Structure
f
the
Latin
Hexa-
meter,
lotta
6
1968)
301-302.
17I
use
the
convention
f
marking
he
hexameter
ctus
by
a
subscript
ot,
the
main
word-accent
y
an
acute,
and
the
putative
econdary
ccent
by
a
grave;
cf.
L. P.
Wilkinson,
olden
atin
Artistry
above,
n.
12).
Avery
Woodward,
ne of
the
earliest
students f fourth-footexture, escribed he cadence ntentiquera tenebants a
threefoldlow
referring
xplicitly
o
ctus-accent
armony);
ee
The
Fourth
oot
n
Vergil,
P.
15
(1936)
129.
Though
writing
n
full
awareness
nd
approval
of
Miss
Woodward's
aper,
Knight
ould
ctually
uote
ubmersasque
brue
uppis
s
an
nstance
of
deliberate
eterodyne
fourth-foot
lash),
Accentual
ymmetry
n
Vergil
previous
note)
24.
' Tucker
56.
127
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PHOENIX
that had
greater
nfluence
n
word-placement
han
any
considerations
f
stress
accent.'1
Still,
there
s much
that
we can learn about
accent from
the hexameters
f
Vergil
nd
Ovid,
if
we
focusour attention
irst
n
those
verse-positions
wherethere s a
preponderant
endency
for
ctus-accent
harmony.
Then,
by
inference,
we
may
be
justified
in
making
some
cautious
hypotheses
bout accentual
rhythms
n
other
sections
of
the
hexameter
ine.
My
methodology,
herefore,
nvolved
correlating
nd
tabulating
the
enclitic
omposites
s
distinctmetrical
atterns, y
verse-positions.20
y
classificationwas limited
to
occurrences n
the
Eclogues,
Georgics,
nd
Aeneid
of
the
three
tandard
ight
enclitics
que,
ve,
nd
-ne,
which
have
commonphoneticproperties. excludedmonosyllabic nd pyrrhic ase-
words
(chiefly
forms ike
meque
or
meaque
and
the
conjunctions tque,
namque
nd
neque),
ince
t
was obvious
that
they
ould
not
enter
nto
the
question
of
accent
regression.21
y
only
otherexclusions
were
fixed
om-
pounds
such as
denique
and
undique.
n
the tables
that
summarize ach
group
of
patterns,
the
figure
n
parentheses
s
the
total number of
Vergilian
ccurrences.22
I
present
my
conclusions
in the
form of
hypotheses,
rather
than
established
proofs.
hese
conjectures
may
be
summarized
s
follows:
1. In Vergilianhexameter, ncliticcompositesare typicallydeployed
so
as
to
exploit
the natural
coincidence
of
verse-ictus nd
word-accent
that
must occur
when the
enclitic s
not
elided.
Despite
some
opinion
to
the
contrary,
he
principle
s
probably
not violated
by
composites
with
a trochaic
base-word
such
as
armaque).
2.
For
the
frequent atterns
f
Vergilian
nclitic lision n
thesi
within
the
2nd, 3rd,
and 4th
feet
and
the rare
cases withinthe 5th
foot),
the
principle
f
harmony
s maintained
by
the
combined
phonetic
effect
f
thehexameterctusand thenaturalsyntacticalword-accent. here is no
clear evidence
to
sustain
a
theory
f
accent
regression
n
these
ituations.
'9See,
for
example,
E.
G.
O'Neill,
Jr.,
Word-Accents
and Final
Syllables
in
Latin
Verse,
TAPA 71
(1940)
335-359.
Though
I
disagree
with
several of O'Neill's
argu-
ments,
I
do
accept
his
principle
that
we must
not
put
the
accentual
cart
before the
metrical horse
(358).
20Such tasks
of classification re
now
substantially
ess
onerous
since
the
publication
of
Wilhelm Ott's
metrically
coded
Reverse-Index,
Rickliufiger
Wortindex u
Vergil
(Tiibingen 1974),
to which
I
acknowledge
my
indebtedness.
Like
Ott,
I
use
the text of
R.
A.
B.
Mynors,
P.
Vergili
Maronis
Opera (Oxford
1969).
21The
monosyllabic
type
must
produce
harmony
f the enclitic is unelided or if it is
elided
in
thesi,
nd
it
will
produce
clash if
the
enclitic s
elided
in
arsi.
The
pyrrhic ype,
of
which
there are
merely
nine
examples
in
all of
Vergil,
can
be
accommodated
only by
enclitic
elision
n
arsi,
which
causes
accentual
conflict
n
the
preceding
foot.
22In
his Index
Verborum
Vergilianus
New
Haven
1930),
M. N.
Wetmore ists 4350
light
enclitics
-que 4168,
-ve
102,
-ne
80),
including
their
occurrences n
the
poems
of
the
Appendix.
The
total of
my
tabulated enclitics
for the
three
major
poems,
after the
exclusions as
noted,
is
3809.
128
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ENCLITIC
RHYTHMS
3.
In
Vergil's
nfrequent
se of elision
n arsi after
he 5th
footof
the
hexameter,
coincidence
f ictus and accent
is still
apparent.
The
Ver-
gilianevidencedoes not allowus to say whether r notthisphenomenon
should
be
described
s accent
regression.
4.
When
a
Vergilian
enclitic
s elided
in
arsi at the end of
the
1st
or
4th
feet
of the
hexameter,
r
hypermetrically
fter
he
6th
foot,
the
in-
fluence
of
the metrical
pulse-beat
establishes
a
harmony
of ictus
and
accent
n the
1st,4th,
and
6th
feet
espectively.
or
spondaic
feet
t
least,
this
onjecture
equires
he
hypothesis
f
a
regression
romhe
syntactical
to
the isolate
word-accent.
Though
he
was not
the
first atin
poet
to
experiment
with the fourth-footnclitic
rhythm,
ergil
developed
t
into
a distinctivetylistic attern,foundno fewer han 74 times nhismature
work
and
imitated
by
Ovid and later
poets).
5.
The
self-conscious rtifice
f
the
-que/-que
coordination
with
the
first
que
prolonged
n
arsi),
to
be
found17
times
n
Vergil
nd
12
times
in
Ovid,
has
a
rhythmical
inship
to
parallel
patterns
of
accent
regres-
sion.
Though
this
s
a
literary
evice
that
bends the
normalrulesof
Latin
prosody
nd
phonology,
t
too
was
designed
to be
read
witha
harmony
f
ictus and accent.
In
the
following
xamination
of
Vergilian
enclitic
rhythms,
have
arranged
heevidence
by
the metrical
hape
and
position
of
the various
base-words.
he
five
ections
f
my
analysis
re
not
designed
o
correspond
numerically
with
the
hypotheses
presented bove,
though
my
rationale
for
hese
hypotheses
will
become
apparent.
Table
I
presents
a
substantial
majority
(69.9%)
of
all
3809
Vergilian
enclitic
rhythms
abulated-2663
composites
with
a
spondaic,anapestic,or iambicbase, ofwhich689
(25.9%
of
2663)
showelision n thesi.
If we
accept
the
orthodox
heory
f
enclitic
accent,
t is
evident
that
all
the
unelided
patterns
group
A)
will
receive
a
syntactical
accent
on
the
penult
of
the
composite,
hat
this
penult
must
nevitably
oincide
with
a
metrical
rsis,
nd
that
the
composite
must
therefore
roduce
harmony
of
ctus
and accent
within
he
constraints f
dactylic
hexameter.
Vergil's
sensitivity
o
this
natural
harmony
may
be
inferred rom
he
arge
number
of
enclitic
composites
that
are
placed
so
as
to
end
at
the
fifth
rochee:
when we add theunelidedfifth-footigures rom able I to thoseshown
below in
Table
II,
we
find hat
Vergil
has a
total
of
1251
such
patterns
(32.8%
of
all
rhythms abulated).
Expressing
he
statistical
data
another
way,
we
can
state
that
roughly
ne
Vergilian
verse
in
ten,
on
average,
has
an
unelided
enclitic t
the
fifth
rochee.23
ow
there
were
urely
ther
considerations
f
metre
nd
syntax
that
nfluenced
his
feature f
Vergil's
2aThe
1251
cases
represent
.69%
of
the
12,913
verses n
Mynors's
OCT.
129
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8/21
PHOENIX
TABLE
I
ENCLITIC
RHYTHMS IN
VERGIL:
BASE-WORD IS
A
SPONDEE,
ANAPEST,
OR IAMB
(2663)
A. Without lision 1974):
.
caelumque
(1262)
-2--(18)
-3--(295)-4--(102) -5--(847)
-I-
2.
sociosque
(544)
--2-
-(13)
-33-
-(152)
-4-
-
(61)
--5-
-(312)
-66--
(6)
3.
uirumque
(168) -2--(29)
-3--
(7)
55--
30)
-6-
-(102)
B.
WithElision nthesi
689):
1.
caelumqu(e) (423)
-2-t
(1)
-3- t
(145)
-4-t(269)
-5-t
(8)
-I-t
2. sociosqu(e) (238) - 3-t (91) -4-t (144) -5-t (3)
'l-t
3.
uirumqu(e)
(28)
-2-t
(8)
-3-t
(9)
-4-t
(11)
-l-t
style;
but therecan
be little
doubt
that he
foundthe
strong yntactical
accent
of
the
enclitic
omposite
ne
pleasing
way
in
whichto reinforce
he
characteristic
hythm
f the hexameter
adence,
where
ifth-foot
armony
has been shown to
approximate
99%.24
We shouldnotice,too, thesignificantumberofVergilianhexameters
(102)
that end with
an enclitic
composite
of
three
yllables;
here
again
there s an
opportunity
o
create
an
emphatic
coincidence
of
ictus and
accent
at a
verse-position
where
Vergilian
harmony
pproaches
100%.
The
rhythmical
ffects
even
more
trongly
marked
n
the
60 of
these
102
verses where
the
finalword s
paired
with a
preceding
nclitic
n
a
poly-
syndetic
oordination
uch
as
caelumque iemque
Aen. 1.88)
or
hominum-
que deumque Aen.
1.229)-a
stylistic
ractice
that has
often
been noted
bycommentatorss an epicmannerismmitative fHomer and Ennius.25
The
six
examples
of
four-syllable
nclitic
verse-endings
n
group
A.2
24Statistics n
fifth-foot
armony
will
vary
in
accordance
with
the
researcher's
tand
on
accentual
ontroversies.
he
combined
igure
or
Vergil's
th
nd
6th
feet
s
given
s
99.5%
by
E. H.
Sturtevant,
The
Pronunciation
f
Greek
nd
Latin2
Philadelphia 1940)
184.
Ott
(above,
n.
7)
shows
9.47%
for ifth-foot
armony
n
Aeneid
,
and
99.11%
for
Aeneid
6.
25See
Norden
n Aen.
6.336,
R.
G.
Austin
n Aen.
4.83. All
of
these
0
pairs
xtend
from
he
hephthemimeral
aesura
o the
nd
ofthe
verse;
3
begin
with
spondaic
ase-
word and
17 with
an
anapestic;
57
are
-que/-que,
are -ne/-ne
Aen.
1.308,
12.321),
and
1is -ve/-veAen.9.211).Thesepatternsfpolysyndetonere nalyzed yH. Christen-
sen,
Que
-que
bei
den romischen
exametrikern
bis
etwa 500 n.
Chr.),
Archiv
ur
lateinische
Lexikographie
und
Grammatik
15
(1908)
165-211.
Christensen
169)
shows
67
Vergilian
que/-que
airs
n this
position,
ut his
count
ncludes he
hypermetric
patterns
hat
consider nderTable
IV
below.
He
also shows hat
Ovid
far
xceeded
Vergil
n his
use of
this
mannerism,
ith 46
casesof
que/-que
fter
he
hephthemimeral
caesura.
130
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ENCLITIC RHYTHMS
(Aen. 5.300, 6.11, 9.344,
9.574,
9.767, 10.505)
are anomalous
patterns
used
for
pecial
effect.
hey
do
maintain
a
rhythmical
armony
n
the
sixthfoot,but theyviolate
the
regular
nner-metrical
rinciples
f
the
hexameter adence
by
requiring
n awkwardelision n
order
to
establish
a
preceding
ifth-foot
armony
mentem
nimumque,
Aen.
6.11);
without
this
elision,
they
can be
expected
to
cause an
extraordinary
ifth-footh
clash
(.
.
.
at
socii
multo
emitu
acrimisque,
Aen.
10.505).26
This
awkward
lision
ust
mentioned
xplains
the ow
number f
fifth-
foot
xamples
n Table
I.B.
In
contrast o
1189
fifth-foot
ccurrences
f
unelided
composites
of the
types
caelumque, ociosque,
r
uirumque,
we
findhere
only
11
instances
of
these
types
with fifth-foot
lision.
Vergil's
generaldistastefor lision nthe fifth-foothesis fhisdactylichexameter
was
not
a
phenomenon
f
word-accent,
ut a
principle
of
inner
metric
(see
O'Neill,
n. 19
above).
Enclitic
elision at
this
point
in the
line
will
produce
an exotic
pattern
such as
pactosque
hymenaeos
Aen.
4.99)
or
pictique
Agathyrsi
den.
4.146).
The same metrical
principle
imits the
use of the
onger
lided
composites
istedbelow
n
Table
II
(B.
3
and
note),
each
found
once
only:
inconcessosque
ymenaeos,
Aen.
1.651;
Lacedae-
moniosque
hymenaeos,
en.
3.328;
and
Lycaoniumque
Erichaeten,
Aen.
10.749.
Of
the
14
examples
of this
enclitic
lision n
total,
8 involve some
form f thewordhymenaeiAen. 1.651,3.328, 4.99, 6.623, 7.344, 7.358,
11.217,
11.355),
4 a Greek
proper
name
(Aen.
4.146,
6.445, 9.344,
10.749),
and
2
a
Greek
noun
(elephanto,
eo.
3.26;
orichalco,
Aen.
12.87).
There
is
still
accentual
harmony,
t
should be
noted;27
ut the metrical
pattern
s
a
clear
departure
from he
accepted
Augustan
norm,
nd it
is
thusused
only
in
formulaic
Greek
expressions.28
The
main
lesson to be
learnedfrom
he
finaltwo
feet s
that
Vergil's
ear
was
well
attuned
to the
natural
syntactical
ccent of
enclitic
ompo-
sites.Beyondquestion, herefore,emusthave senseda similarlymarked
rhythm
lsewhere n the
verse.
Indeed,
in
23
verseshe
oined
coordinate
pairs
of
unelidedenclitics n
the 4th
and 5th
feet,
ust
as he
employed
he
caelumque
diemque
ype
n
the
final
cadence.
If
Vergil
nd his
Roman
readerswere
accustomed
to
a
strong
hythmi-
cal
harmony
or
he
unelided
patterns
n
group
A,
would
they
have been
That
the
unusual
adencementem
nimumque
s
anecho
of
Ennius
nd
Lucretius
s
shown
y
Norden
n den.
6.11
cf.
Anhang X.2, 439).
The
anomalous
hythm
f
4en.
10.505
s
noted
by
R. D.
Williams,
he
Aeneid
f
Virgil,
ooks -12
London
1973)
354.
In thefifth-centuryergilianapyrus rom xyrhynchos,ublishednPapiriGreci
e
Lafini
1
(1912)
47
and
plate
12,
a
superscript
acron
here n
accent
mark?)
uggests
fifth-foot
armony
n den.
4.99:
pact6s[que
ymenaeos;
n
acute
accent
ppears
n
the
unelided
omposite
n
den.
4.68:
totdque
[agaltur.
ee
Clifford
.
Moore,
Latin
Exercises rom
Greek
choolroom,
P
19
1924)
322-325.
2 See
Norden,
Aeneis
VI,
Anhang IX.1,
438;
cf.
Wilkinson,
Golden
Latin
Artistry
(above,
n.
12)
225-226.
131
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PHOENIX
likely
o
give
a
different
ccentuation
o the
corresponding
lided
compo-
sites in
group
B? Enclitic
elision in
thesi,
t
is crucial to
note,
occurs
invariably
under metrical
conditions
where
the ictus must
counter
any
tendency
or ccent
regression.
In
a brief
ummary
article
published
in
1950
(above,
n.
12),
R. D.
Williams made a
tentative
proposal
for
accent
regression
whenever
encliticelision
occurs
in
the
third thesis-he
called it
elision
over the
caesura -in such
a
line
as imminet
duersasque
aspectatdesuper
rces,
Aen.
1.420
(an
example
fromTable
I
is scuta
uirum
galeasque
et
fortia
corpora
uoluit,
Aen.
1.101).
Williams
argued
that we
should
accentuate
adue'rsasque
or
galeasque),
because the
rhythm duersasque or
galeasque)
would givecoincidence faccent and ictus n boththe third nd fourth
feet,
which he
caesura
normally revents.
It is
doubtful hat
the
question
can be
proven
one
way
or the
other.
However,
some flaws n
Williams's
proposal
can be
revealed
by
an
exami-
nation
of
all
third-footlisions
n
Aeneid,
Book
1.
In
Aeneid
1,
there
are 35
elisions at the
3rd
thesis,
24
on the
second
long
beat of
a
spondaic
3rd foot
nd
11
on
the
first hortbeat
of
a
dactyl.
Of
the
35,
21
are
enclitic
omposites
14
elided
on the
second
ong,
7 on
the
first
hort).
Of
these
21
elided
composites,
could
produce
the
consecutive
harmonies n the 3rd and 4th feetthatWilliams wishedto avoid. These
harmonies
ccur
under two
circumstances:
a)
the
enclitic s followed
y
a
monosyllable-molemque
t
montis,
Aen.
1.61
(a
natural
coordination;
cf.
Aen.
1.101,
119,458,
550,
556);
or
(b)
it is
followed
y
a molossus-
in
addition
to
Williams's
example
(Aen.
1.420),
we find
argo.que
mectat
in
line 465.
In
the
remaining
3
cases
of
enclitic
lision at the 3rd thesis
(62%
of
the
total in
Aeneid
1),
an
anapestic
or
spondaic
word follows o
the
hephthemimeral
aesura,
producing
fourth-foot
onflict:
saeuttque
animis (149), onerantqueu'ro 363); see also Aen. 1.11, 57, 98, 165,476,
495,
506,512,
514,
733,
and
744. Are we
likely
o
read the
following
lided
composites
with
accent
regression?
impulerit.
antqene
nimis
caelestibus rae?
Aen.
1.11
sceptra
e'nens
mollitque
nimos et
temperat
ras
Aen.
1.57
fertur
quis
curruque
ae'ret
esuptnus
nani
Aen.
1.476
Jrcturum
luuiasque
Hyadas
geminosque
riones
Aen. 1.744
In
the
arger
group
of 13
elisions,
herefore,
illiams's
rgument
oes
not
apply; and evenwithin hegroupof8, thethird-footctusmakesaccent
regression
ifficultnd
artificial:
hoc
metuens
m1lemque
t
mo.ntisnsuper
ltos
Aen.
1.61
Williams's
hypothesis
s
further
eakened
by
the
evidence
of
verses
that
begin
with
paired
words n
enclisis,
wherethe
rhythmic
armonies
f
the
132
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ENCLITIC RHYTHMS
first
word
create
an
expectation
of
harmony
n the
second:
laetitiaque
metuque;
uidi
coniungere
extras
Aen.
1.514
urtute'sque irosque ut tanti nce'ndia lli Aen. 1.566
Though
t s
not a
typical
Vergilian hythm,
he
ast
verse
must, believe,
show total
coincidence
f
ictus
and
accent.
My
conviction
that
all the
patterns
n
Table
I
maintain
the usual
syntactical
accent is
strengthened y
the evidence of
the
fourth-foot
composites,
where
elision
s
actually
the norm
424/587
occurrences
=
72.2%).
Here
we
see
a
characteristic
hythm
n
which
accent
regression,
in
defiance
f
ictus,
seems
highly nlikely.29
or
syntactical
nd
stylistic
reasons,Vergil s partialto enclitic lisionat thispoint n thehexameter;
Aeneid 6
alone shows 36 cases.
From
Aeneid
6,
I
quote
three
representa-
tive verses
of
this
type,
which can be
given
a
natural
readingonly
f one
maintains
the normal
yntactical
ccent:
Sic
fatur
acrimans,
lassique
mmittit
abenas Aen.
6.1
eripui
his
umeris
medioque
x
hoste
ecepi
Aen. 6.111
uoce
uocans Hecaten
caeloque
Ereboque
otentem
Aen. 6.247
II
Vergil
makes
regular
use
of
enclitic
rhythms
n
which the
base
is
a word
of
longer
shape-a
molossus, choriamb,
or
dispondee
(the
last
found
only
after
the
penthemimeral
aesura).
Table
II
displays
a
total
of
697
such
rhythms,
f
which173
(24.8%)
show elision n
thesi.
It
will
be
apparent
that
the constraints
f
the hexameter
must
produce
at
least
one
ictus-accent
harmony
n the case of
all the unelided
patterns
(group
A).
For
the
reasons
given
above,
I
doubt that this
syntactical
accent will ever
shift
under
the
influence f
elision
in
thesi
group
B).
A difficultnd important question, which can be only tentatively
addressed
on
Vergilian
evidence
alone,
is
the
possible
existence
of a
secondary
word-accent
pon
the
enclitic
omposites
f Table
II.30
There
are
clues that
suggest
ts
presence;
but a
decision
on the
matter must
involve some
arbitraryudgement.
29The Ennian
cadence
Latiumque
augescere
uultis
(Warmington
472
=
Vahlen
466)
was
apparently
quoted
by
Varro
(De
Lingua
Latina,
Goetz
and
Schoell
Frag.
86,
218.8-
10)
to illustrate
the
syntactical
accent
Latizumque,
ven
though
the
word
s
elided
in
the
4th
thesis.
This
citation
s seen
as a
clinching rgument gainst
all accent
regressionby
BertilAxelson, Der Mechanismus des ovidischenPentameterschlusses, Ovidiana,ed.
N.
I.
Herescu
(Paris
1958)
130,
n.
2;
but
Axelson
appears
to overlook
the fact that
Ennius'
verse shows
a
coincidence
of ictus
and
syntactical
accent.
aoThough
the
theory
of
a
Latin
secondary
word-accent was
challenged
by
William
Beare,
Latin Verse
and
European
Song
(London
1957)
175,
the
majority
of
recent
scholars
uphold
the
existenceof
a
secondary
stress: see
Wilkinson,
Golden
Latin
Artistry
(above,
n.
12)
121
ff.;
Lienard
(above,
n.
10)
559;
Allen,
Accent nd
Rhythm
90-191.
133
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7/24/2019 Smith (1982) Enclitic Rhythms in the Vergilian Hexameter
12/21
PHOENIX
TABLE II.
ENCLITIC
RHYTHMS
N
VERGIL: BASE-WORD
S
A
MOLOSSUS,CHORIAMB,
OR
DISPONDEE
(697)*
A.
Without lision
524):
1.
aeternumque (343)
1
--
2-
-
(273)
2--3-
-
(46)
4-- 5-
-
(24)
I--I--
2.
auxilioque
(164)
1---
2-
-
(122)
2-
- 3
-
-
(20)
4-
-
5-
-
(13)
5
-
-
6
-
(9)
I-
__1_
3.
tempestatumque
17)
-
4--
5
-
-
(17)
-I--I
-
B.
With
Elision
n
thesi
173):
1.
aeternumqu(e)
121)
1--2-t
(84)
2--3-t
(36)
3--4-t
(1)
I--I-t
2.
auxilioqu(e) (51)
1- --2-t
(33)
2-
--3-t
(16)
3- --4-t
(2)
I-
--t
3.
tempestatumqu(e)
1)
-4--5-t
(1)
-
I -I-t
*Not
included
n
Table
II
are
12
occurrences f
three ess
typical
polysyllabic
rhythms:
Agamemnoniaeque,
-
4-
-
5
-
(4
occurrences
unelided,
Geo.
3.550,
Aen.
6.489,
Aen.
6.838,
den.
10.123;
once
elided
at
den.
3.328);
gubernatorque,
2-
-
3
-
-
(twice
unelided,
eo.
3.345
and
den.
1.426)
and
4--5-
-
(once
unelided
t
den.
3.269);
and soporiferumque,4- --5 - (3 occurrencesunelided, Aen. 4.486, Aen. 7.711,
Aen.
8.725;
once
elided t
den.
10.749).
Limited
upport
or
secondary
ccent
may
be
provided
y
the
nine
verses
n
which
Vergil
ntroduceshe
type uxilioque
t the
end of
the
hexameter
ine
(5
-
--
6
-
-).
These
patterns
re
stylistic nomalies,
of
course,
but
there s no
reason to
believe that
they
were
rhythmically
offensiven
violating
he
stablished
adence. ive of
the
nine
re
quasi-
Greek
hexameters,hich onvey he ing-songffectf a chanted ata-
logue
31
Drymoque
anth6que
ig(aque
Phllodoc.que
Geo. .336
Nisa4e
pioque
Thaltaque
ymodoc.que
den.
5.826
jngimut,
lauc.mque
Med6ntaque
h?rsiloch.
que
Aen.6.483
hjc
mdctqtad5na
Pher.taque
emodocumque
den.
10.413
Chl6reaque
ybarimque
aretaque
h.rsilochumque
en.
12.363
The exotic ndun-Latin uality fthese ines s underscoredytheir
exaggerated
hythmic
armonies,
n
contrast o
the
subtle
nterplay
f
clash
and
harmony
t
which
Vergil
ormally
imed.
However,
he
very
fact
hat
hey
re
exotic
must
reatly
educe
heir
alue
as
clear
phonetic
'We
may
note
that
these five
verses
account for
all
occurrences of
the
rhythmical
pattern
cruentaque
(Table
III.A.4)
in
the
fourth
foot
of the
hexameter.
134
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ENCLITIC RHYTHMS
evidence;
and the other
fourcadences
of this
type
(Aen.
5.589,
6.393,
6.601,
and
8.416)
include
only
one
Latin
word.32
A
somewhatstronger rgument
n
support
of
secondaryword-accent
is
the
fact that
Vergil
can
begin
395 hexameters
on
average,
30.6/1000
verses)
with enclitic
omposites
hat have
a
molossus
273)
or
choriamb
(122)
as the
base-word.
n
view
of
his established
preference
or
first-foot
harmony-probably
in
excess
of
70%33-I
think
t
likely
that
we
are
intendedto
hear a
strong
rhythmical
oincidence
n
these
common
pat-
ternsof
the
type
aeternumque
r
auxilioque.
The
presumed
accent
shift
caused
by
enclisis
an be
illustrated
by
these
contrasting
airs
of
verses:
aeternumatrans
xsanguis
erreat
mbras Aen. 6.401
aeternumque
6cusPalinuri ndomenabebit Aen. 6.381
auxilio
tUtos
dimittam
pibusque
uua'bo
Aen.
1.571
auxilioque
uocaredeos
et
te'ndere
almas
Aen. 5.686
The
rhythmicmportance
f
pattern
A.1 is
apparent
from
ts use
in
the
two
majestic
ines that form he
climax
of
the
Aeneid's
epic
statement:
inferretque
eos
Latio;
genus
unde
Latinurn
Alban.'que
atres atque
altae
mroenia
omae. Aen.
1.6-7
If these
composites
re to receivea
secondary
ccent when
they begin
a
verse,
we must
surely
give
them a
similar
ntonationwhen
they begin
at
the
second
or
fourth
rsis,
or
(in
the
case
of
group
A.3)
at
the
penthe-
mimeral
aesura.
This
assumption
s
strengthened
hen
we
find
patterns
A.1
and
A.3
linked
effectively
n
four
verses
of
dentical
texture:
obscenae'que
anes
importunaeque
olh.cres
Geo.
1.470
n.mborumque
acis
tempestatumque
otentem
Aen.
1.8034
implor4ntque
eos
obtestanturque
atinum
Aen. 7.576
d?siectique uices esolatiquemanipli Aen. 11.870
One
reason
for
he
much
ower
frequency
f
types
A.1
and
A.2 at the
second arsis
may
be
the
fact
that
this
arrangement
lmost
invariably
produces
three
uccessive
harmonies n
the
first
hreefeet:
lilia
uerbenasque
remens
escumque
apauer
Geo.
4.131
restitit,
urydicenque
u'am
ani
luce
sub
psa
Geo.
4.490
32The
one
Latin
word
used
in
this
position
ancipitemque)
occurs
in
Aen.
5.589,
where
the
labyrinth mage
is
thought
to account
for
the
metrical
anomaly;
cf. R. D.
Williams
ad loc. It is
significant
hat Horace
concluded three
sapphic
stanzas
with
one-word
adonic
verses that
seem
to confirm
he
secondary
accent:
Fabriciumque
(C.
1.12.40),
M?rcuriisque
(C.
1.30.8),
and
militialque C. 2.6.8).
33Cf.
n.
24
above.
Ott's
statistics
for
first-foot
armony
n
Aentid
1
and
6
are
68.53%
and
70.97%;
the
inclusion
of
secondary
accents
would raise
these
figures
y
about
6%.
Greenberg
above,
n.
7)
33 shows
first-foot
armonies
of
82.0%,
70.2%,
and
66.2%
for
the
Eclogues,Aeneid
4,
and
Aeneid
12
respectively.
'4Cf.Geo.
1.27,
Aen.
1.53,
1.255,Z3.528.
135
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PHOENIX
TABLE III
ENCLITIC
RHYTHMS IN
VERGIL:
BASE-WORD
IS
A
TROCHEE OR HAS
A
TROCHAIC
ENDING
(250):
A. WithoutElision
(237):
1.
armaque
I-
-(102)
1-
--(69)
5-
--(33)
2.
armentaque
-
|
-
(94)
- 4-
(34)
-
5-
-
(60)
3.
Tiberinaque
I-
-(34)
.-4-
(14)
-5-
--(20)
4.
cruentaque
[I---
(7)
-4---
(5)
-5---
(2)
B.
WithElision
n
thesi
13):
1.
armaqu(e)
I--t
(11)
l--t
(8)
5--t
(3)
2.armentaqu(e)-
-
-t
(2)
-4-
-t
(1)
-5-
-t
(1)
III
Table
III
displays
the
group
of 250
composites
n
which
the
enclitic
s
attached
to
a trochee
r
a word
ending
n
a
trochee.
The
question
of
their
accentuation
has been
a
matter
of
continuing
ontroversy.
n
two
pro-
vocativestudies
published
n the ate
1960's, Jean
Soubiran
rallied
to
the
defence
fthe
imperialgrammarians,
acked
by
careful
cholarship
nd
impressive
ngenuity.35
nly
the
accentuations
rmdque
nd
armentdque,
he
argued,
could
explain
the
relative
nfrequency
f
these
types
in
the
fifth ootof Latin hexameters. remain
unconvinced,
nd
my scepticism
is
apparently
hared
by
Lienard
and
Allen.36 ombined factors
f
syntax
and
style-admirably
analyzed by
Soubiran
himself-seem far more
compelling
hat the
alleged
clash
of
ctus and
accent.
A
fifth-foot
hythm
thatoccurs s often
s
115
times
8.9/1000
verses)
can
hardly
be
described
as
a
striking
nomaly,
nd
it
seems
unlikely
hat
Vergil
would have been
so
ready
to
violate his normal
hexameter
adence.
In
any
event,
elision
of
these
patterns
s
very
unusual
(13/250
=
5.2%),
and the
question
of
accentregressions not an issue.
IV
Table
IV
displays
all
cases
of
Vergilian
nclitic
lision n
arsi,
exclusive
of
composites
with
monosyllabic
nd
pyrrhic
ase-words. t is
only
for
hese
eight
rhythmic atterns
that a
theory
of
enclitic
accent
regression
e-
comes
phonetically lausible.
Elision
permitted
he
introduction
nto
hexameter
poetry
of
enclitic
compositeswitha dactylicbase. To be sure,therewere otherphonetic
expedients
vailable:
like
Cicero,
Vergil
could
resort o
synizesis
Lauin-
jaque uenit,
Aen.
1.2)
or
syncope
suppostaquefurto,
en.
6.24;
exposta-
Sur les mots
de
type armaque
dans
l'hexametre
atin,
Pallas
14
(1967)
39-58,
and
Sur
les
mots de
type armentaque
dans
l'hexametre
latin,
Pallas
15
(1968)
57-101.
6LiEnard
above,
n.
10)
554;
Allen,
Accent nd
Rhythm
59.
136
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ENCLITIC RHYTHMS
TABLE
IV
ENCLITIC
RHYTHMS IN
VERGIL:
ALL
OCCURRENCES
OF ELISION
in arsi
(170)
(excludingmonosyllabic
nd
pyrrhic
ase-words)
A.
Dactylic
Feet
65):
1.
corporaqu(e)
(46)
1 -
-
l
a
(41)
(1)*
---I
a
2.
Saturniaqu(e)
(13)
-4-
l
a
(7)
-I- --I
a
3.
Cerealiaqu(e)
(4)
44-
a
(1)
--l- --i
a
4.
exsultantiaqu(e)
(2)
I--I---
a
B.
Spondaic
eet
105):
1.
caelumqu(e)
(24)
1
-
a
(19) (1)?
I--la
2.
aeternumqu(e)
(58)
-4--
a(58)
-I--la
3.
coloremqu(e)
(16)
-4--
a
(1)
I--l
a
4.
perituraequ(e)
(7)
-4--
a
(7)
----l
a
TOTALS:
(170) (60)
(2)*? (74)
5-
-I
a
(4)
)
-5- -- a (6)
--5-
--a
(3)
4--5---I
a
(2)
6--lh
(4)
-6--I
h(15)
(15)
(19)
*2-
--
I
a
(one
occurrence
nly:
Aen.
11.634)
?2--
I
a
(one
occurrence
nly:
Aen.
1.78)
que
ponto,
Aen.
10.694);
but
these
experiments
were
rare
indeed.37
ess
extraordinary
re
the
verses
n
which
Vergil
used elision
at
the
sixth rsis
to
accommodate
a
dactylic composite
in
the
fifth
oot. There are 15
examples
n
all
(A.1
through
),
usually
identified
y
the
representative
pattern
Saturniaque
arua
(Aen.
1.569).38
Because
they
have
been
well
analyzedby Eskuche,Norden,and Soubiran,there s no need to discuss
them
at
length.
For
our
purposes,
the
important oint
to
notice s that
they
eem
beyond
reasonable
doubt
to maintain he
accustomed
harmony
of
ictus and accent in
the
fifth
oot;
viz.,
agminaque
rmat
Aen.
7.648),
Titdniaque
astra
(Aen.
6.725),
Ceredliaque
arma
(Aen.
1.177),
and
xsulta'ntiaque
aurit
Geo.
3.105 and
Aen.
5.137).
Whether
we
regard
he
word-accent
s
a
regression
r as the
normal
yntactical
ronunciation
f
the
composite
will
depend
on
our
attitude
towards
the
iminaque/limina-
que
alternatives
mentioned
bove
(note 8).
If
it
is a
regression,
t is
surely
caused by thecombined ffect felision and verse-ictus.
When
we
turn
to
the
beginning
f the
ine,
we
see that
the
composite
type
corporaqu(e)
cquires
a
frequency
41
instances)
that
may
allow us
aFor
Cicero,
f.
Shipley
above,
n.
6);
see also
Norden
n
Aen.
6.24.
38See
skuche
above,
n.
12)
386;
Norden,
eneis
VI,
Anhang
I.1.9,
456
to
Norden's
list
of
14,
add
Geo.
2.464);
Soubiran
above,
n.
14)
464-466.
137
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to
consider
t
as
unexceptional.
Again,
would
conjecture,
heremust
be
a
harmony
f
ictus
and
accent,
regression
r no
regression.
his
first-foot
rhythmic atternhas attracted ess scholarly ttention hat its counter-
part
n
the
fifth oot.
Stylistically,
t can be seen
to
have
particular
value
in self-contained
golden
lines or
otherwise
ymmetrical
erses,
because
it allows
the
placement
of a
neuter
plural
adjective
or noun in the
first
position
39
impiaque
aeternamimuerunt
ae(cula
noctem
Geo.
1.468
grandiaque
ffossis
mir4bitur
ssa
sepulcris
Geo.
1.497
corporaque
gresti
nu'dant
raedura
palaestra
Geo.
2.531
Because such verses are rarer n the Aeneid than in the Georgics, he
enclitic
attern
s
proportionately
ess
common;
the
statistics
re
Eclogues,
1
(3.46);
Georgics,
9;
and
Aeneid,
21.
In his use of the
pattern,Vergil
was
probably
influenced
y
Catullus,
who
is
notoriously
ond of
such
symmetries
40
five
balanced verses
n
Catullus 64
(235,
264,
316,
345,
351)
begin
with
a
composite
f this
shape.
The
elided first-foot
actyl
s
found
also
in
Propertius
nd Ovid.41
It is
not
characteristic
f
Vergil
o
elide
dactylic
omposites
t
the third
arsis.There soneexampleonly Aen. 11.634),a unique Vergilian hythm
that
probably
shows total
coincidence
f
ctus
and
accent
42
4rmaque
orporaque
t
permixti
aede
uir6rum
semianimes
oluuntur
qui
.
. .
The
phenomenon
f
accent
regression
as been
shown above
to be a
possible
but not
inevitable
explanation
for the
dactylic
composites
n
elision.
When we
consider
Vergil's
use
of
spondaic
and bacchiac
compo-
sites like caelumqu(e) and coloremqu(e) groups B.1 and B.3), this
phonetic
principle
ssumes
paramount
mportance.
As
one
might
expect,
the
topic
of
enclitic
accent
regression
as been
discussed
primarily-almost
xclusively,
n
fact-in
the
context
f
hyper-
metric
verses,
where
the hexameter
adence
virtually
forces
regressive
shift. There is
basic
agreement
on
the
question.
Even
Soubiran,
who
presents
n
eloquent
case
against
regression
s
a
general
consequence
of
The feminine
ingular
djective
or noun s an
obvious
alternative;
for ther
xamples,
see
Geo.
1.9,
1.222,
2.157,
2.396,
3.366,4.24, 4.470;
Aen.
3.280,
7.615.
40See Kenneth
Quinn
on 64.7 in
Catullus,
The Poems'
(London
1973)
301.
41Propertius
begins
9
hexameters
with
elided
dactylic
composites:
1.3.25,
1.6.17,
2.1.77,
2.13.29,
2.15.33, 3.6.17,
3.10.25,
3.11.3,
and 4.1.19.
Ovid
has
6
examples
in
Meta-
morphoses
:
39,
62, 501,
528,
598,
742.
42The
accentuation of
monosyllabic
conjuctions
ike
et
and
aut
is
always
problematic;
see
E.
D.
Kollmann,
'Et' in
arsi after
lidable
syllables
in the
Vergilian
Hexameter,
Studii Clasice
14
(1972)
67-84.
Statius
Theb.
0.275
is
cited as a
parallel
rhythm
o
Aen.
11.634
by
R. D.
Williams
above,
n.
26)
421.
138
PHOENIX
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7/24/2019 Smith (1982) Enclitic Rhythms in the Vergilian Hexameter
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ENCLITIC RHYTHMS
elision,
eems
grudgingly repared
to
admit that the
hypermetric
exa-
meters
may
be
legitimate
xceptions.43 ergil
has
19
such
verses that
end
in
-que,
with
4
spondaic
base-words
nd 15
bacchiac.44 he two
patternsof
hypermetric
hythm
an be illustrated s follows:
B.
1
sternitur
nfelix
lieno
uulnere,
aelumque
aspicit
et
dulcis
moriens eminiscitur
rgos.
Aen.
10.781-782
B.
3
omnia
Mercurio
imilis,
uocemque oloremque
et
crinisflauos
t membra
ecora
uuenta.
Aen.
4.558-559
In
reading
hese
verses,
why
do
we feel
natural
nclination o
change
the
accent
of
the
elided
composites?
he
phonetic
xplanation
s
quite
simple:
we aremerely hifting rom hesyntactical ccentofthecomposite o the
customary
solate
accent
of
the
base-word,
nder
the
dynamic
nfluence
f
the
verse-ictus.
The enclitic
becomes
virtually
a
detached
phoneme,
linked
by
synaphea
to
the
following
erse.
If
the sixth-foot
ccentuation
of
6
- -
{h
is
cailumque
(or
possibly
cae'limque),
hould
not
a
similar
rhythm
e heard
when
such words
occur
in
the first
oot,
with lision
t
the second arsis?
Table IV. B. 1 shows
that
thereare
19
patterns
of
this
type
n
Vergil:45
septemque na sibimturoircumdeditrces Geo.2.535
(cf.
den.
6.783)
igneemque
4rribil.mque
ramfluuiumque
iquentem
Geo.
4.442
paliamque
et
pictum
roceQ
eldmen
c4ntho
Aen. 1.711
h4stamque
t
clipei
non
enarrabile
.extum Aen.
8.625
Although
this
proposal
can
be
nothing
more
than
conjecture,
believe
that
the ictus
and isolate
accent
again
combine
to
produce
a
first-foot
harmony,
arallel
to
that
of
the
corporaqu(e)
type
in
A.1.46
Soubiran above,n. 14) 466-468; ee also AliceH. Carpenter,
Hypermetric
ines
and Interlinear
iatus
in
Latin
Hexameter
erse,
P2
9
(1930)
351-362.
Carpenter
subscribes
o
the
German
ompromise
heory
f
a
hovering
ccent
schwebende
Betonung)
n both
yllables
f
the
hypermetric
ixth
oot
catlilmque);
this
position
ad
been
developed
arlier
by
Albert
Granger
Harkness n
The
Word-Group
ccent n
Latin
Hexameter,
P
3
(1908)
42.
For
other
eferences,
ee
A. S.
Pease on den.
4.558.
44Spondaic
ase-words:
eo.
3.377,
den.
1.448,
8.228, 10.781;
bacchiac:Geo.
2.344,
2.443, 3.242,
den.
1.332,
2.745, 3.684, 4.558, 4.629,
5.422, 5.753,
6.602,
7.470,
9.650,
10.895,
11.609.
Soubiran,
who lists
only
17,
presumably
ollows
different
extual
reading
n Geo.
2.344
and Aen.
3.684,
where
Mynors
dopts
hypermetrical
ariants.
45Theistof19:Geo.1.279,1.406, .535, .451, .341, .442; den. 1.711, .445,5.371,
6.280
ferreique
ith
ynizesis), .650,
6.783, 6.839,7.326, 8.291,
8.625,
9.344, 11.255,
12.336.
Three
of
these
re
words
n
-cumque
Geo.
1.406,
Aen.
3.445,
11.255);
because
they
have
no
solate ccent
i.e.,
there
s
no
base-word
uch as
*quodcum
r
*quaecum),
these
ndefinite
ompounds
may
be
special
cases.
The
unique example
f a
spondaic
composite
lided
t the
third
rsis
s
quodcumque
n
Aen.
1.78.
46A
imilar
onjecture
or20
cases in
Lucretiuswas
made
by
William
A.
Merrill,
Lucubrationes
ucretianae,
PCP
7
(1924)
239.
139
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7/24/2019 Smith (1982) Enclitic Rhythms in the Vergilian Hexameter
18/21
PHOENIX
We are
left
nly
withthe
very nteresting
roup
of
fourth-foot
atterns
in Table
IV.
Is
it not
reasonable
to surmise
that
enclitic
elision
at
the
fifth rsis producesictus-accentharmony n the precedingfoot?As in
the
case
of
the
hypermetric erses,
the
pulse
of the
ictus
coincides
with
the
isolate accent
of
the
base-word,
o
as to
cause the
reader
to
shift
naturally
nd
unconsciously
o
that
familiar
solate
accent.
This
would
be
a
logical
explanation
for
enclitic accent
regression.
Of
all
patterns
of
Vergilian
nclitic
lision,
none
but
the
rhythms
n Table
IV
meet
these
necessary
metrical
onditions.
In
the
corpus
of
extant Latin
poetry,
Lucretius is the
only
one
of
Vergil's
predecessors
to
have
made
significant
se
of
this fourth-foot
rhythm,nd his16examples acksubtlety rvariety.47 ergil,ncontrast,
developed
the
pattern
nto
an
artistic
hythmical evice,
used 74
times
n
total:
though
t
is
absent
from
he
Eclogues,
t is
found
n
every
book
of
the
Georgics
nd
the
Aeneid,
occurring
n
average
once
in
163
lines
(6.1
times/1000
erses)
within
hese two
poems.
Vergil's
enclitic
onjunction
is
-que
n
every
case
except
Aen. 11.457
(piscosove
mne
Padusae),
unless
one also
reads
-ve n
Aen. 2.37
(subiectisque
rereflammis).
The
eight
xamples
of
the
rhythm
n
dactylic
fourth eet
A.
2
and
A.
3)
may
or
may
not
involve accent
regression,
s
we
have
seen
with
other
dactylic
rhythms
bove.
They
are
illustrated
by
these
two
verses:
A.
2
res
Agamemnonias
ictriciaque
'rma
ecutus Aen. 3.5448
A.
3
Curetum
6nitus
repitantiaque
era
secutae
Geo.
4.151
The
66
remaining
xamples
must show
accent
regression,
f
our
hypo-
thesis s
valid;
in
all
these
cases,
a
spondaic
fourth
oot
s
followed
by
enclitic
lision
t the
5th
arsis:
B.
2
an
memorem
6rtus
ucrinoque
ddita
claustra
Geo.
2.16149
disiecjtque ates uertitque.equora .entis Aen. 1.43
conspexere,
ilent
rrectisque
uribus
astant
Aen.
1.152
B.
3
antiqui
Laur.entis
pacaque
lice
te'ctum
Aen.
11.851
B.
4
corticibusque
auis
uitiosaeque
licis
aluo
Geo.
2.45350
.t
sedet
hdc
animo
peritu'raeque
ddere
Tr6iae
Aen.
2.660
47Lucretius
1.431,
501,
677,
681,
686; 2.47,
149,
246;
3.780;
4.347,
555,
951,
1187;
5.448;
6.20,
686.
The earliest
use
of
the
rhythm
s
an
elegant
example
in
Ennius
(Sat.
3-4):
contemplor/
nde
loci
liquidas
pilatasque
aetheris
ras.
There
is
no
example
in
the
poems
of
Cicero or
in
Catullus 64.
48Theother ix versesofthe
type
A.2 are
Aen.3.174,6.490, 8.535,
11.6,
11.729,
11.909.