![]() It was the preferred meter of the Roman fabulist Phaedrus in the first century AD. It is the most commonly used meter in their plays, especially in Terence, and it is the only meter which was used purely for dialogue without musical accompaniment. ![]() The iambic trimeter was imitated in Latin by 2nd century BC comic playwrights such as Plautus and Terence, where it is known as the iambic senarius. When resolution occurs, the resulting two shorts are almost always within the same word-unit.įurther information: Metres of Roman comedy In tragedy, resolutions are virtually never consecutive, and two instances in the same line are rare. In both tragedy and comedy, though, the third metron is usually left alone resolution in the final metron of the line is rare. In comedy, which is closer to casual speech, resolution is fairly common. In tragedy, resolving the anceps elements is rare, except to accommodate a proper name, but resolution of the long elements is slightly more common. The Greek iambic trimeter allows resolution, allowing more variety. The second anceps is free from this constraint, because a word-break at that point would be a main caesura. In the example above, it is found after the fifth element, as so (with¦representing the caesura):įinally, Porson's Law is observed, which means here that if the anceps of the third metron is long, there cannot be a word-break after that anceps. Ἥκω Διὸς παῖς τήνδε Θηβαίων χθὀνα hḗkō Diòs paîs tḗnde Thēbaíōn khthona | – – u – | – – u – | – – u – | (Euripides, Bacchae 1) 'I, the son of Zeus, have come to this land of the Thebans' Caesura and bridge Ī caesura (break between words) is usually found after the fifth or seventh element of the line. The trimeter repeats this structure three times, with the resulting shape as follows:Īs always, the last syllable of a verse is counted as long even if naturally short ( brevis in longo). The iambic metron has the following shape (where "x" is an anceps, which may be either long or short, "–" is a long syllable, and "u" is a short one): The iambic trimeter derives its name from its essential shape, which is three metrical units (hence "trimeter") which are each basically iambic in form. In the accentual-syllabic verse of English, German, and other languages, however, the iambic trimeter is a meter consisting of three iambs (disyllabic units with stress on the second syllable) per line, making a line of six syllables. The iambic trimeter was also used in the Epodes of Horace, the fables of Phaedrus (fabulist), proverbs of Publilius Syrus, and tragedies of Seneca the Younger. The form used in Roman comedy is usually known as the iambic senarius. In Latin, the iambic trimeter was adapted for the spoken parts of Roman plays, especially Roman comedy. It is also common in iambus or 'blame poetry', although it is not the only meter for that genre. It is the most common meter used for the spoken parts (as opposed to the sung parts) of Ancient Greek tragedy, comedy, and satyr plays. ![]() Resolution was common, especially in the first two metra of the line, so that any long or anceps syllable except the last could be replaced by two short syllables (see for example Euripides#Chronology), making a total of 13 or more syllables. Each metron consists of the pattern | x – u – |, where "–" represents a long syllable, "u" a short one, and "x" an anceps (either long or short). ![]() In ancient Greek poetry and Latin poetry, an iambic trimeter is a quantitative meter, in which a line consists of three iambic metra. The Iambic trimeter is a meter of poetry consisting of three iambic units (each of two feet) per line.
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