.p Baldwin lists several verses where \f8metrical effects\f6 may be said to have been achieved,\c .f "vv. 1, 38, 58, 79, 82, 115, 128, 136, 176, 178, 272, 274 295; \ Baldwin (1911) 58–9." to which the following may be added: .bl \f7ecce\ aliae\ clades\ et\ laesae\ uulnera\ pacis\f6, (v.\ 13)\p .ck where the elision of \f7ecce\f6 into the destruction it exclaims and the heavy spondees emphasize the deep wounds Peace endures/will endure (\f7pacis\f6 could easily be rendered \f7Pacis\f6 here); .bl .nf \f7tres tulerat Fortuna duces, quos obruit omnes armorum strue diuersa feralis Enyo. Crassum Parthus habet, Libyco iacet aequore Magnus, Iulius ingratam perfudit sanguine Romam, et quasi non posset tot tellus ferre sepulcra, .fi diuisit\ cineres\f6, (vv.\ 61–6)\p .ck where the wealth of spondees emphasizes the metaphorical weight of the three generals, except for the dactyls describing Pompey's grave by the restless sea; Caesar's grimly spondaic .bl .nf \f7iamque omnes unum crimen uocat, omnibus una impendet clades. reddenda est gratia uobis, .fi non\ solus\ uici\f6; (vv.\ 170–2)\p .ck the description .bl \f7sed\ postquam\ turmae\ nimbos\ fregere\ ligatos\f6, (v.\ 187)\p .ck .bp .ti 0 where the slow line and the conflict of ictus and accent heighten the Lucretian image of bonds between atoms of frozen water being slowly broken; and .bl \f7unde\ omnes\ terras\ atque\ omnia\ litora\ posset\f6, (v.\ 280)\p .ck where the double elision, words flowing one into the other, corresponds with Discordia's continuous, panoramic view of the impending destruction. .p But perhaps what best illustrates Eumolpus' ability to turn rhythm to poetic meaning is the divine conference of Dis and Fortuna (vv. 76–121). Dis' speech is fittingly weighed down with many heavy lines. He raises himself up (\f7extulit ora\f6, v. 76) into the land of the living with great effort in three largely spondaic lines and accosts Fortuna (\f7Fortunam uoce lacessit\f6, v. 79) with the grave, almost formal address, \f7rerum humanarum diuinarumque potestas\f6 (v. 80). In his question, .bl \f7ecquid Romano sentis te pondere uictam .br nec\ posse\ ulterius\ perituram\ extollere\ molem?\f6 (vv.\ 82–3)\p .ck he alludes to the conceit of vv. 61–6, mentioned above, where three great Romans proved too weighty for the earth. Here Rome herself is too heavy for Fortuna, by whom she has prospered. The first line of Dis' question is spondaic and heavy, focusing on the overwhelming weight (\f7pondere\f6); the second line focuses on the \f7perituram … molem\f6, the great monument which is on the point of crumbling and slipping away, fittingly marked with two elisions. Dis' description of the Romans' invasion of his own realm groans like the caverns it describes, with many long syllables: .bl .nf \f7perfossa dehiscit molibus insanis tellus, iam montibus haustis antra gemunt, et dum uanos lapis inuenit usus, .fi inferni\ manes\ caelum\ sperare\ fatentur.\f6 (vv.\ 90–3)\p .ck It is also perhaps due to Petronius' desire to weigh down Dis' speech with as many spondees as possible that the preferred form of address in the speech is \f7Fors\f6 (vv. 80 and 94) and not \f7Fortuna\f6: the former word lends itself metrically to lines which are heavy. Finally, in perhaps the most visually dramatic moment in the poem, Dis finishes his speech with an awkward attempt to reach out and embrace his interlocutor, but he fails, and the act results in another gaping hole in the earth, rendered in another spondaic line: \f7rupto tellurem soluit hiatu\f6 (v. 101). .p Dis' speech is marked with metrical heaviness, bookended by two five-spondee lines (vv. 77, 101) and containing another three (vv. 79, 82, 93); eleven of the speech's 21 lines contain more spondees than dactyls, and overall there are about three spondees for every two dactyls. Fortuna's speech, which follows and is only two verses shorter, has by contrast only one line with more spondees than dactyls, and one five-dactyl line; overall, the ratio of spondees to dactyls in Fortuna's speech is the inverse of that in Dis': about two spondees for every three dactyls. This is unlikely to be coincidence; the introduction to the second speech seems to say as much: \f7tunc Fortuna leui defudit pectore uoces\f6 (v. 102). Fortuna's ``light breast'' certainly signifies the fickleness with which she is customarily associated, \f7quae noua semper amas\f6 (v. 81). But \f7leui … pectore\f6 could just as well describe the bouncing, weightless dactyls which she goes on to pour out. Compare this with the introduction to the speech of Dis: \f7tali … uoce lacessit\f6 (v. 78) draws attention to the manner in which the first few words are spoken; it has already been noted that the first verse of the speech is spondaic; the poet therefore in effect alerts the reader to the fact that the weight and measure of the speech as a whole will follow in the suit of the first few heavy syllables which are uttered by the god. Eumolpus demonstrates an ability, then, to achieve useful effects by varying the rhythm of his verse. By characterizing the speech of Dis as heavy and slow and that of Fortuna as light and breezy, Eumolpus plays on the contrast between the underworld and the land of the living, the grave authority of the one god and the fickleness of the other. .p In addition to such metrical effects as have just been described, two other poetic techniques which are only incidently related to versification may as well be discussed here, namely: the use of elision, and the artful arrangement of words within a line of verse. In relation to the first technique, it has already been noted that Eumolpus is fond of ending a sentence or a thought at the caesura in either the third or fourth foot. This has the effect of forcing sense units to cross line boundaries. The technique is already at work in the poem's first couple of sentences: .bl \f7orbem iam totum uictor Romanus habebat, .br qua mare, qua terrae, qua sidus currit utrumque; .br nec satiatus erat. grauidis freta pulsa carinis .br iam peragebantur; si quis sinus abditus ultra, .nf si qua foret tellus, quae fuluum mitteret aurum, hostis erat, fatisque in tristia bella paratis .fi quaerebantur\ opes.\f6 (vv.\ 1–7)\p .ck The effect is somewhat jarring, and it throws the punctuation of the passage into question: there could as easily be a full stop after \f7utrumque\f6, for example, and a colon after \f7nec satiatus erat\f6. The stylistic motive behind the technique is to throw emphasis onto the element which is displaced to the beginning of the next line: \f7nec satiatus erat\f6 and \f7hostis erat\f6 are particularly forceful. Another example: .bl .nf \f7uix nauita Porthmeus sufficiet simulacra uirum traducere cumba; .fi classe\ opus\ est.\f6 (vv.\ 117–119)\p .ck The splitting of syntactic units across a line-break is less common: .bl \f7ne desit \f6belua\f7 dente .br ad\ mortes\ \f6pretiosa (vv.\ 15–16)\p \f7destruet \f6istas\f7 .br idem,\ qui\ posuit,\ \f6moles\f7\ deus.\f6 (vv.\ 108–9)\p tu \f7concute plebem,\f6 .br Curio. (vv.\ 288–9)\p .fi .ck The purpose of this type of enjambment is to mirror the disruption in the sense by disrupting the syntax: it will be noted that each of the examples given describes an act of violence. .p Related to this last effect is the conscious placement of words within the same line of verse to reflect by their arrangement the sense of that verse. This is a common technique of the poets, and the relatively free ordering of words in Latin allows for quite striking effects. Eumolpus' usage focuses mainly on the interlacing of sets of nouns and adjectives: .bl \f7praeterea\ gemino\ deprensam\ gurgite\ plebem\f6 (v.\ 51)\p \f7sed\ chaos\ et\ nigro\ squalentia\ pumice\ saxa\f6 (v.\ 74)\p \f7atque\ inter\ torto\ laceratam\ pectore\ uestem\f6 (v.\ 276)\p .ck All three examples exhibit a parallel structure, with adjectives preceding nouns, and the elements in the ablative case coming first. Each of the images evoked by the words is strengthened by their intertwining nature: in the first example the words for the people are caught up in the words for the twin whirpool which envelops them; in the second the mingling of the words for the different rocks emphasizes the sense of \f7tumulata\f6 in the following line; and in the third example the words for Discordia's writhing breast peek out from between those for the tattered garments which cover it. But perhaps Eumolpus' supreme achievement in terms of this technique occurs at v. 58: .bl \f7hoc mersam caeno Romam somnoque iacentem\f6 .ck Here all six words which make up the verse are involved in the pattern. There is constant alternation between the ablative and accusative tenses, three words in each, and, most importantly for the image, the word for Rome occurs in the middle of the line, surrounded by the nouns and adjectives representing that in which she is swamped. .p Effects such as these contribute to the sense that Eumolpus has in fact gone to some effort in crafting his verse. The author of the \f7Bellum Ciuile\f6 has not merely cast his words into verse (\f7uersum pedibus instruxit\f6, 118.1); he has, in spite of Baldwin's opinion to the contrary, demonstrated considerable ``feeling for subtler effects [of versification, and a] perception of the variety of treatment which might be achieved.''\|\c .f "Baldwin (1911) 56."