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Enchiridion of Metrics
by
Erling B. Holtsmark

 

§5.1  Dactylic Hexameter

 

 

At last -- after all that labor -- we come to our first real look at scansion.

We'll begin with an examination of the dactylic hexameter, the relatively straightforward meter primarily of Greek epic poetry (e.g, Homer's Iliad and Odyssey).  It consists of a patterned alternation of short () and long (--) syllables.  Below are the relevant sigla:

-- ◡   dactyl
-- -- spondee
-- ◡ trochee
x anceps
| metron boundary

The 'ideal' pattern of the dactylic hexameter looks as follows :

 -- ◡◡ | -- ◡◡ | -- ◡◡ | -- ◡◡ | -- ◡◡ | -- x

There are five intital metra of dactyls (-- ◡◡) plus one final metron (-- x) that in any given line must be either a trochee (-- ◡) or a spondee (-- --).  The anceps (x) in any generalized metrical pattern simply means that in any given actual line of poetry in that meter the anceps (x) position will be either short () or long (--) -- if you will, the anceps (x) never enjoys ontological status.

In the case of the first five metra (-- ◡◡), each of these may also have its two shorts ( ◡◡ ) replaced by, or contracted to, a long ( -- ) and end up as a spondee (-- --) rather than a dactyl (-- ◡◡).  The opposite is never the case:  the initial long ( -- ) of the dactyl never 'resolves' into two shorts ( ◡◡ ).  Thus, here are some possible shapes of the dactylic hexameter:

-- ◡◡ | -- ◡◡ | -- -- | -- ◡◡ | -- ◡◡ | -- --
 
-- ◡◡ | -- ◡◡ | -- -- | -- -- | -- ◡◡ | -- --
 
-- ◡◡ | -- ◡◡ | -- ◡◡ | -- ◡◡ | -- -- | -- ◡
 
-- ◡◡ | -- -- | -- ◡◡ | -- -- | -- ◡◡ | -- --
 
-- -- | -- -- | -- ◡◡ | -- ◡◡ | -- ◡◡ | -- ◡
 
-- ◡◡ | -- ◡◡ | -- -- | -- ◡◡ | -- ◡◡ | -- ◡
 
-- -- | -- -- | -- -- | -- -- | -- ◡◡ | -- ◡
 
Etc.

Although the final metron of the hexameter always is either a spondee or a trochee, it should be 'thought of' as a spondee, the extra 'beat' being given over to a pause.  That is to say, one generally does not speak of a trochee as being part of a dactylic hexameter, all evidence to the contrary!  When the final syllable of the hexameter in fact is short it is therefore thought of as lengthened and so marked, and this particular 'license' is known as brevis in longo (an abbreviation for syllaba brevis in elemento longo).

It is now our task to fit each line of Homeric poetry in one of the acceptable shapes of the dactylic hexameter.  We are hugely aided here by knowing ahead of time what the meter is (later we will do exercises with choral odes where you have to determine what the meter is!).  So, let's take three lines at random and analyze them as follows:

1. Syllabify the line.
2. Identify the short (S) and long (L) syllables.
3. Mark each syllable as long (--) or short ().
4. Indicate the metron boundaries (|).

 

A. Iliad 1.323

χειρὸς ἑλόντ' ἀγέμεν Βρισηΐδα καλλιπάρῃον·

 
χει-ρὸ-ςἑ-λόν-τ'ἀ-γέ-μεν-Βρι-ση-ΐ-δα-καλ-λι-πά-ρῃ-ον··
 
  L   S  S   L     S  S   L     L    LS  S   L    S  S   L  L
χει-ρὸ-ςἑ-λόν-τ'ἀ-γέ-μεν-Βρι-ση-ΐ-δα-καλ-λι-πά-ρῃ-ον·
 
  --    ◡  ◡   --    ◡  ◡   --     --   -- ◡ ◡   --    ◡  ◡  --  --
χει-ρὸ-ςἑ-λόν-τ'ἀ-γέ-μεν-Βρι-ση-ΐ-δα-καλ-λι-πά-ρῃ-ον·
 
  --    ◡  ◡|  --    ◡  ◡|  --    -- | -- ◡ ◡ | --   ◡  ◡ | --  --
χει-ρὸ-ςἑ-λόν-τ'ἀ-γέ-μεν-Βρι-ση-ΐ-δα-καλ-λι-πά-ρῃ-ον·

 

B. Iliad 1.378

ἀλλ' οὐκ ᾿Ατρεΐδῃ ᾿Αγαμέμνονι ἥνδανε θυμῷ,

 

ἀλ-λ'οὐ-κ᾿Ατ-ρε-ΐ-δῃ᾿-Α-γα-μέμ-νο-νι-ἥν-δα-νε-θυ-μῷ, 

 
L      L     L    S S L   S  S   L    S   S L   S   S   L   L

ἀλ-λ'οὐ-κ᾿Ατ-ρε-ΐ-δῃ᾿-Α-γα-μέμ-νο-νι-ἥν-δα-νε-θυ-μῷ, 

 
--      --    --   ◡ ◡  --  ◡  ◡   --    ◡  ◡ --    ◡  ◡   -- --

ἀλ-λ'οὐ-κ᾿Ατ-ρε-ΐ-δῃ᾿-Α-γα-μέμ-νο-νι-ἥν-δα-νε-θυ-μῷ, 

 
--      -- |  --   ◡ ◡| --  ◡  ◡ | --   ◡  ◡| --   ◡  ◡ | --  --
ἀλ-λ'οὐ-κ᾿Ατ-ρε-ΐ-δῃ᾿-Α-γα-μέμ-νο-νι-ἥν-δα-νε-θυ-μῷ, 

 

C. Iliad 1.522

ἀλλὰ σὺ μὲν νῦν αὖτις ἀπόστιχε μή τι νοήσῃ

 
ἀλ-λὰ-σὺ-μὲν-νῦ-ναὖ-τι-ςἀ-πόσ-τι-χε-μή-τι-νο-ή-σῃ
 
L     S   S  L    L    L    S S   L    S  S  L  S  S  L  L
ἀλ-λὰ-σὺ-μὲν-νῦ-ναὖ-τι-ςἀ-πόσ-τι-χε-μή-τι-νο-ή-σῃ
 
--    ◡   ◡   --    --    --  ◡  ◡   --   ◡  ◡  -- ◡  ◡  --  --
ἀλ-λὰ-σὺ-μὲν-νῦ-ναὖ-τι-ςἀ-πόσ-τι-χε-μή-τι-νο-ή-σῃ
 
--    ◡  ◡|  --    -- | --  ◡  ◡ | --   ◡  ◡ | -- ◡  ◡| --  --
ἀλ-λὰ-σὺ-μὲν-νῦ-ναὖ-τι-ςἀ-πόσ-τι-χε-μή-τι-νο-ή-σῃ

 

 

Now it is your turn to try out this exercise on the following three lines from Iliad 1:

 

2     οὐλομένην, ἣ μυρί' ᾿Αχαιοῖς ἄλγε' ἔθηκε,
 
11   οὕνεκα τὸν Χρύσην ἠτίμασεν ἀρητῆρα
 
26   μή σε γέρον κοίλῃσιν ἐγὼ παρὰ νηυσὶ κιχείω 

 


After you've scanned the three lines, check your answer here.

 

Back to previous § (4.2) End of § 5.1 Forward to next § (5.2)

 

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