– – ⏑ – ⏑ – ⏑ – – – ⏑ ⏑
προς τησδ|ε της | γυναικ|ος ‖ οικτ|ειρω | δε νιν (Ibid., 652).
A still larger number have cæsura in both places:—
– – ⏑ – – – ⏑ – – – ⏑ ⏑
φρουρας | ετει|ας ‖ μηκ|ος ‖ ην | κοιμωμ|ενος (Agamemnon, 2).
This usage is essential to rhythm. It is of course possible for every foot in the line to exhibit a cæsura, but one in the midst is necessary to prevent the line from falling into pieces. That coextension of word and foot which is naturally frequent must at one point be emphatically excluded, so that the whole line may be felt as a single rhythmical whole. Such “lines” as
– – ⏑ – ⏑ – ⏑ – – – ⏑ ⏑
ταυτην αναξ λεγει καλην ειναι πολιν,
or
⏑ – ⏑– – – ⏑ – ⏑ – ⏑ ⏑
Οδυσσεως δουλοι μαχουμενοι ταχα,
are utterly impossible.[863] The first falls into six scraps, and the second into two mere lumps, of equal length. If a breach of the rule ever occurs, it is for a special reason. When Sophocles (Œd. Tyr., 738) writes
ὦ Ζεῦ, τί μου δρᾶσαι βεβούλευσαι πέρι;
the dragging rhythm well represents the dawning dread of Œdipus. But the main cæsura may be dispensed with if the third foot ends with an elision, apparently because, if the word could be written in full, the fourth foot would be divided between two words. Thus:—