(66) See Seppo Heikkinen, "Quae non habet intellectum: The Disappearance of Spondaic Fifth Feet from Dactylic
Hexameter Verse," in Interfaces between Language and Culture in Medieval England: A Festschrift for Matti Kilpid, ed.
Here the objection might be that there is no separating sound from sense when it comes to the operations of language, as is suggested by Frost's coining of the phrase "the sound of sense" to refer, for example, to the speech contour of rising inflection that ends a question, or as in the case of the dactylic
sloping of the Latinate word "copulate," as opposed to the monosyllabic slap of any of its Germanic synonyms.
This passage--its appeal to sound (luminous plume) and rhythm (not just dactylic
but also trochaic and iambic), as well as its (almost) violation of the rules of syntax in the repetition of "up up up, on and on, down down and across" and "sky made vaster" marks this passage with the ludic play described by Barthes.
pulses from "filament, filament, filament" augment throughout the poem.
This apparent kinship is reinforced by the fact that Horace wrote both of these groups of poems in the same meter, the dactylic
It was difficult, because there were very few dactylic
poems availableas models.
Here again we encounter Cummings's hallmark dactylic
tetrameter, made explicit in the first line, and visually in the layout of the poem on the page.
Corresponding to the accentual and syllabic conditions of the language, Russian verse permits free use of masculine, feminine, and trisyllabic (dactylic
) rhyme, even though the imitation of foreign models (at first Polish, then German and French) for a long time limited these uses.
One must question therefore whether a Roman critic of the late Republic, or even a lay reader, would have been willing to list poems written in dactylic
hexameter and elegiac couplets under the same generic class.
At Delphi, the [TEXT NOT REPRODUCIBLE IN ASCII] interprets the fragmentary message uttered by the divine seer into dactylic
hexameter as an ambiguous response, (59) which in turn has to be further interpreted by whoever asked the oracle for help.
Suddenly my magical world of words and feeling had turned into "iambic pentameters," "dactylic
tetrameters," "rhyme schemes" and "lineation." I decided then that poetry was not for me after all.
This translation adheres to dactylic
hexameter, bringing forward the rhythm of the ancient poetry; and Johnston has chosen clear and simple language to further the experience of the original's powerful simplicity.