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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2/21

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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3/21

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



4/21

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



5/21

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



6/21

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



7/21

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



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



9/21

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



10/21

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



11/21

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



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



13/21

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



14/21

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



15/21

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



16/21

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



17/21

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



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.

Documents

Smith (1982) Enclitic Rhythms in the Vergilian Hexameter