AP Latin Scansion Dactylic Hexameter Fundamentals
The Building Blocks: Syllable Quantity and Feet
To understand how to scan Latin poetry, one must first internalize the concept of syllable quantity, which differs fundamentally from the stress-based meter of English verse. In Latin, a syllable is either long (heavy) or short (light). A syllable is long by nature if it contains a long vowel—often marked with a macron in textbooks, though absent on the AP exam—or a diphthong such as ae, au, oe, ei, eu, or ui. A syllable is long by position if its vowel is followed by two or more consonants, including 'x' and 'z' which are double consonants, or when a word ends in a consonant and the next word begins with one. Note that 'h' is treated as a breathing mark, not a consonant, and the combination of a mute consonant (p, b, t, d, c, g) followed by a liquid (l, r) can result in a syllable being "common" (anceps), meaning it can be treated as either long or short depending on the poet's needs.
A foot is the basic unit of rhythm. In dactylic hexameter, the two primary feet are the dactyl (one long syllable followed by two short syllables: — ◡ ◡) and the spondee (two long syllables: — —). Because two short syllables take the same amount of time to pronounce as one long syllable, these feet are interchangeable in the first four positions of the line. The term mora is used to describe these units of time; a long syllable equals two morae, while a short syllable equals one, meaning every foot in hexameter must total four morae.
The Structure of a Hexameter Line
A line of dactylic hexameter consists of six feet. The dactylic hexameter rules dictate a specific architecture that becomes predictable with practice. The first four feet can be any combination of dactyls or spondees. The fifth foot is almost always a dactyl (— ◡ ◡), providing the characteristic "falling" rhythm that signals the end of the line. The sixth foot is always two syllables: the first is long, and the second is technically anceps, meaning it can be long or short, though it is conventionally marked as a spondee (— —) or a trochee (— ◡).
On the AP exam, the metrical scheme is often used to test your knowledge of noun-adjective agreement. For example, if an ending like -a could be either a nominative singular (short) or an ablative singular (long), the scansion of the line provides the definitive answer. If the syllable falls in a position that must be long to complete a spondee, the word is ablative. This intersection of meter and morphology is a frequent target for multiple-choice questions, where students must identify the correct scansion for a specific segment of a line from the Aeneid syllabus.
Step-by-Step Guide to Scanning a Line of Vergil
Step 1: Mark Vowel Length and Diphthongs
The first step in Vergil meter scansion is to identify the "easy" longs. Begin by marking all diphthongs (ae, au, oe) as long. Next, look for vowels followed by two consonants. Be wary of the "qu" combination; the 'u' here is a semi-vowel and does not count as a vowel for syllable purposes. Similarly, the letter 'i' can act as a consonant (a semi-vowel) when it appears at the beginning of a word before another vowel (e.g., iam) or between two vowels within a word (e.g., eius). In these cases, it does not form a syllable.
After marking these, look for naturally long vowels that are part of specific grammatical endings. The -o of first-person singular verbs, the -is of dative and ablative plurals, and the -u of fourth declension genitive singulars or nominative/accusative plurals are consistently long. In the AP Latin poetic meter, recognizing these patterns allows you to anchor the line before you even begin to divide it into feet. This initial pass reduces the cognitive load of the line, leaving only the ambiguous short vowels to be determined by the remaining metrical requirements.
Step 2: Account for Elision and Hiatus
Before dividing feet, you must identify elision, a process where a final vowel (or a vowel plus 'm') is suppressed when the following word begins with a vowel or 'h'. For instance, in the phrase multum ille, the -um of multum elides into the i- of ille, resulting in a single syllable for scansion purposes. Failing to account for elision is the most common cause of "leftover" syllables at the end of a line.
Occasionally, Vergil employs hiatus, where elision is expected but does not occur, usually to create a dramatic pause or emphasize a specific word. However, these are rare in the Aeneid and are typically noted in scholarly commentaries. For the AP exam, assume elision occurs unless the meter absolutely forbids it. Another rare phenomenon is ecthlipsis, the specific elision of a vowel plus 'm'. When you see a word ending in -am, -em, -im, -om, or -um followed by a vowel, draw a strike-through or a curved link to remind yourself that those letters do not constitute a metrical syllable.
Step 3: Identify the Fifth and Sixth Feet
Because the end of a hexameter line is highly regular, you should always identify the final two feet first. The sixth foot consists of two syllables (— X), and the fifth foot is almost always a dactyl (— ◡ ◡). By marking these five syllables at the end of the line, you effectively reduce the problem. Instead of scanning a whole line, you are now only responsible for the first four feet.
In rare instances, Vergil uses a spondaic line, where the fifth foot is a spondee instead of a dactyl. This usually occurs to convey a sense of weight, slow movement, or solemnity. If the final syllables of the line do not fit the — ◡ ◡ | — — pattern, check for a spondaic fifth foot. This is a high-level observation that can be used in the analytical essay to demonstrate an understanding of how Vergil’s technical choices mirror his thematic concerns. For example, a spondaic fifth foot might be used when describing the massive walls of Troy or the slow, heavy labor of the Cyclopes.
Step 4: Work Backwards to Fill the Remaining Feet
Once the end of the line is secure, work from the end of the fourth foot backward toward the beginning. This "back-to-front" method is often more reliable than working forward because the start of the line frequently contains more metrical variety. Ensure that each of the first four feet is either a dactyl or a spondee. If you find yourself with an extra syllable or one too few, re-examine your elisions or look for a "liquid" consonant that might be changing a syllable's quantity.
Always remember the rule of positional length: a vowel is long if followed by two consonants, even across word boundaries. If a word ends in a consonant and the next begins with one, the final syllable of the first word is long. This is a foundational element of practicing Latin scansion. If you encounter a "stop" (p, b, t, d, c, g) followed by a "liquid" (l, r), such as in the word patrem, the first syllable can be either short or long. In the Aeneid, Vergil often keeps these syllables short to maintain a dactylic pace, but the flexibility exists to fit the word into the hexameter.
Common Metrical Variations and Patterns in the Aeneid
The Role of the Caesura (Pause)
A caesura is a break between words that occurs within a metrical foot. Most lines of dactylic hexameter have a principal caesura in the third foot, known as the penthemimeral caesura (occurring after the fifth half-foot). This break provides a natural place for the reader to take a breath and often marks a shift in the thought or a transition between a subject and its action.
To find the caesura, count the half-feet (morae are not used here; simply count the long and short positions). A break after the third long syllable of the line is a masculine caesura. If the break occurs between the two short syllables of a dactyl in the third foot, it is a feminine caesura. Identifying the caesura is not just a technical requirement; it often highlights the ictus (the metrical beat) falling on a significant word, creating a tension between the natural word accent and the poetic rhythm. This tension is a hallmark of Augustan poetry and is frequently discussed in advanced Latin seminars.
Spondaic Lines and Their Dramatic Effect
While the vast majority of Vergil's lines follow the standard dactylic fifth foot, the occasional spondaic line (a line with a spondee in the fifth foot) is a deliberate stylistic choice. These lines are statistically rare, appearing only about 30 times in the entire Aeneid. When they do appear, they are intended to arrest the reader's attention.
The dramatic effect of a spondaic line often correlates with the physical or emotional weight of the scene. For instance, when Vergil describes the mourning for a fallen hero or the ancient, immovable nature of a religious ritual, the rhythm slows down. In the AP exam, if you are asked to analyze the "sound" or "rhythm" of a passage, look for these spondaic clusters. They are often accompanied by heavy consonants (m, n, l, r) to further emphasize a somber or laborious mood, contrasting sharply with the rapid-fire dactyls used for scenes of flight or chaotic battle.
Vergil, following the Homeric tradition, utilizes certain metrical formulas that fit perfectly into the hexameter. Common phrases like sic fatus (thus having spoken) or pius Aeneas are metrical units that the poet can drop into specific parts of the line. Pius Aeneas, for example, often concludes a line because it fits the — ◡ ◡ | — — pattern of the fifth and sixth feet perfectly.
Recognizing these formulas can speed up your scansion significantly. When you see a familiar epithet or a standard introductory phrase, you can often predict the scansion of that segment without having to analyze every individual vowel. This pattern recognition is a key skill for the timed conditions of the AP exam. Furthermore, Vergil often uses diaeresis, where the end of a foot coincides with the end of a word (most commonly the bucolic diaeresis at the end of the fourth foot). This creates a distinct rhythmic pause that separates the conclusion of the line from the preceding narrative, often used to punctuate a completed action.
How Scansion Reveals Poetic Meaning and Effect
Meter Emphasizing Key Words (ictus vs. accent)
In Latin poetry, there is a constant interplay between the ictus (the rhythmic stress of the meter) and the accent (the natural stress of the word in prose). In the first four feet of a hexameter line, the ictus and accent often clash, creating a rhythmic tension. In the final two feet, they usually coincide, creating a sense of resolution and "coming home" to the rhythm.
When a poet forces the ictus to fall on a specific syllable, it can elevate the importance of that word. For example, if the ictus falls on a word like fata (fates) or mors (death), the meter itself reinforces the thematic weight of those concepts. In your AP essays, discussing how the metrical ictus highlights a specific word can serve as evidence of Vergil's intentionality. This level of analysis demonstrates that you view the Aeneid not just as a story, but as a carefully constructed piece of acoustic art.
Using Rhythm to Mimic Action (e.g., running, dragging)
Vergil is a master of onomatopoetic rhythm, where the speed of the line reflects the action being described. A line dominated by dactyls moves quickly, mimicking rapid motion. A famous example is the description of a horse galloping: quadrupedante putrem sonitu quatit ungula campum. The preponderance of dactyls here creates a galloping sound. Conversely, a line full of spondees moves slowly and heavily.
When scanning, if you notice a sudden shift from dactylic to spondaic feet, look at the verbs. Is someone struggling? Is a heavy object being moved? In Book 2, when the wooden horse is dragged into Troy, the meter is notably labored. Mentioning this rhythmic mimicry in a free-response question can help you earn the "sophistication" point on the AP rubric, as it shows you are connecting the technical structure of the Latin to its literary impact.
Sound Patterning: Alliteration and Assonance in Meter
Scansion also helps identify how sound patterns like alliteration (repetition of initial consonants) and assonance (repetition of vowel sounds) interact with the meter. Often, Vergil will place alliterative words on the ictus of successive feet to create a percussive effect. This is frequently seen in descriptions of storms or battles, where the 'p' and 't' sounds mimic the crashing of waves or the clashing of weapons.
Furthermore, the vowel quantities themselves contribute to the mood. A series of long 'o' and 'u' sounds (assonance) can create a low, mourning tone, while short 'i' and 'e' sounds can feel sharp or agitated. When you scan a line and find a specific foot is a dactyl, look at the vowels within those short positions. If they are the same vowel repeated, Vergil is likely using synchysis or other sound devices to reinforce the imagery. Understanding the meter allows you to see these patterns more clearly, as it dictates the tempo at which these sounds are delivered to the ear.
Practice Techniques for Scansion Proficiency
Drilling with Syllabus Lines from the Aeneid
The most effective way to prepare for the AP exam is to practice scanning lines directly from the required syllabus. Focus on the first 11 lines of Book 1, the fall of Troy in Book 2, and the underworld scenes in Book 6. These passages are high-yield areas for multiple-choice questions.
When drilling, don't just mark the longs and shorts; say the lines aloud. The dactylic hexameter was meant to be heard. By vocalizing the rhythm, you develop an intuitive sense of where the dactyls and spondees should fall. This auditory training helps you spot elisions more naturally. If a line "sounds" wrong when you read it, you likely missed an elision or misidentified a vowel quantity. Use a pencil to mark the feet with vertical lines and the quantities with macrons and breves, and do not move on until the line totals exactly six feet.
While manual practice is essential, using specialized workbooks can provide immediate feedback. Look for resources that offer "scansion keys" for the entire Aeneid. There are also digital tools where you can input a line of Latin and see its metrical breakdown. Use these tools to check your work, but never rely on them as a crutch.
An effective exercise is to take a "clean" text (one without any macrons or notes) and try to scan five lines a day. This mimics the exam environment, where you will be faced with a passage of text and asked to identify the meter of a specific line. If you encounter a word you don't know, use the surrounding meter to deduce the quantity of its syllables. This "reverse engineering" is a vital skill for the AP Latin student, as it allows you to maintain momentum even when faced with unfamiliar vocabulary.
Timed Practice for Exam Conditions
On the AP exam, time management is critical. You should be able to scan a line of hexameter in under 60 seconds. To achieve this, set a timer and scan a block of ten lines. At first, you may find that elisions and "hidden" natural longs slow you down. However, with consistent practice, you will start to see the line in "chunks" rather than individual letters.
During these timed sessions, focus on the fixed points of the line: the first syllable (always long), the fifth foot (usually — ◡ ◡), and the sixth foot (— —). If you can identify these three points instantly, you only have to solve the middle of the line. This strategy, known as "bracketing," is the fastest way to tackle scansion questions. If a multiple-choice question asks for the scansion of the first four feet, bracket the end of the line immediately to save time and reduce the margin for error.
Applying Scansion Knowledge on the AP Exam
Tackling Multiple-Choice Scansion Questions
The AP Latin multiple-choice section typically includes several questions that test scansion directly. These might ask you to identify the correct metrical scheme for an entire line (e.g., DSSS) or determine the quantity of a specific syllable. When faced with these, use the process of elimination.
Check for elisions first, as these are the most common distractors in multiple-choice options. If an option ignores an elision, it is automatically incorrect. Next, check the fifth foot; if the line is not spondaic and the option shows a spondee in the fifth foot, eliminate it. Finally, look at the consonants. If a syllable is long by position but the answer choice marks it as short, you can safely discard that option. This systematic approach ensures accuracy even if you are unsure about the natural length of a particular vowel.
Incorporating Metrical Analysis into Essays
In the free-response section, particularly the analytical essay, scansion can be a powerful tool for supporting your thesis. If you are arguing that a passage conveys a sense of chaos, pointing to a high frequency of dactyls provides concrete, technical evidence. If you are discussing the solemnity of a divine speech, noting the prevalence of spondees and the use of the caesura to create a formal tone will impress the AP graders.
When writing, use the correct terminology: refer to dactyls, spondees, elisions, and caesurae. Don't just say the line is "fast"; say the "preponderance of dactylic feet creates a rapid tempo that mirrors Aeneas’s urgency." This level of detail shows that you are engaging with the Latin text at a professional level, moving beyond simple translation into the realm of literary criticism. It demonstrates that you understand the Aeneid as a masterpiece of Latin poetic meter.
Avoiding Common Pitfalls in the Test Environment
One of the most frequent mistakes students make is forgetting that 'h' and 'qu' do not count as consonants for the purpose of making a syllable long by position. Another pitfall is ignoring the inter-word consonant rule: a single consonant at the end of a word followed by a consonant at the beginning of the next word makes the preceding syllable long.
Additionally, be careful with the letter 'i'. In words like hic or sic, it is a vowel, but in iaceo or iungo, it is a consonant. On the AP exam, pressure can cause students to revert to English pronunciation habits, which will invariably lead to scansion errors. Stay disciplined, follow the dactylic hexameter rules mechanically, and always double-check your foot count. Every line of hexameter must have six feet—no more, no less. If your count is off, re-evaluate your elisions and the quantity of the final syllable in each word.