Most commonly, the line is divided into two equal parts by a caesura between the sixth and seventh syllables.

( The caesura after the 6th syllable is here marked || )

It is also usual for there to be a caesura between the sixth and seventh syllables ( as the examples from Pope below illustrate ).

Hexameters also have a primary caesura — a break in sense, much like the function of a comma in prose — at one of several normal positions: After the first syllable in the third foot ( the " masculine " caesura ); after the second syllable in the third foot if the third foot is a dactyl ( the " feminine " caesura ); after the first syllable of the fourth foot ; or after the first syllable of the second foot ( the latter two often occur together in a line, breaking it into three separate units ).

The first possible caesura that one encounters in a line is considered the main caesura.

Balancing these two considerations is what eventually leads to rules regarding the correct placement of the caesura and breaks between words ; in general, word breaks occur in the middle of metrical feet, while accent and ictus coincide only near the end of the line.

The line, which lacks a proper caesura, is translated " Not every critic sees an inharmonious verse.

It is to be contrasted with end-stopping, where each linguistic unit corresponds with a single line, and caesura, in which the linguistic unit ends mid-line.

* A normal tetrameter, word-stresses and foot-stresses match, and there is a caesura between the second and third feet:

There is usually no caesura:

In Latin and Greek poetry, a caesura is a break within a foot caused by the end of a word.

For example, in the verse below, each odd line has a caesura ( shown by a slash /) after the fourth syllable ( daily, her, won ' dring, mother ) while each even line is without a caesura:

The line length is scanned by according number of characters ( according to the convention that one character equals one syllable ), and are predominantly either five or seven characters long, with a caesura before the final three syllables.

No compelling reason is provided for the caesura of persecution, though, unlike in the incident of the satanic verses, where it is the ( temporary ) fruit of Muhammad's accommodation to Meccan polytheism.

There is usually a caesura after the ictus of the third foot.

The end of a cycle is marked by a ॥, called a double ḍaṇḍā, and looks like a caesura.

The lines are decasyllabic ( containing ten syllables ), and each is divided by a strong caesura which generally falls after the fourth syllable.

This line also includes a masculine caesura after θεά, a natural break that separates the line into two logical parts.

The verse also has a stress preceding the caesura, on either the fourth or sixth syllable.

A caesura is also described by its position in a line of poetry.

In dactylic hexameter, a caesura occurs any time the ending of a word does not coincide with the beginning or the end of a metrical foot ; in modern prosody, however, it is only called one when the ending also coincides with an audible pause in the line.

The so-called ballad meter, or the common meter of the hymnodists ( see also hymn ), is usually thought of as a line of iambic tetrameter followed by a line of trimeter, but it can also be considered a line of heptameter with a fixed caesura at the fourth foot.

After the caesura of Desaparecidos, Dalley moved onto other projects, including Statistics-a successful electronic-tinged solo project, Intramural-a new project also influenced by electronic music, Two of Cups-a collaborative effort with Leta Lucy, and City Light-a project with Bay area Producer Nick Andre and Matthew Shaw.

This line also has an inversion of the fourth foot, following the caesura ( marked with "|").

Unlike later writers, Homeric lines more commonly employ the feminine caesura ; an example occurs in Iliad I. 5 “... and every bird ; thus the plan of Zeus came to fulfillment ”:

The caesura was even more important to Old English verse than it was to Latin or Greek poetry.

It consists of more than 3, 700 verses of usually 14 through 16 syllables, each with a caesura between the hemistiches.

Each caesura is indicated in the manuscript by a subtle increase in character spacing and with full stops, but modern print editions render them in a more obvious fashion.

Juvenal, for example, was fond of occasionally creating verses that placed a sense break between the fourth and fifth foot ( instead of in the usual caesura positions ), but this technique —- known as the bucolic diaeresis -— did not catch on with other poets.

Almost all the various carols are in the common dekapentasyllabos ( 15-syllable iamb with a caesura after the 8th syllable ) verse, which means that their wording and tunes are easily interchangeable.

In scansion, poetry written with signs to indicate the length and stress of syllables, the " double pipe " sign ("||") is used to denote the position of a caesura.

The basic form is accentual verse, with four stresses per line, separated by a caesura.

A line of poetry in Old English consists of two half-lines or verses, distichs, with a pause or caesura in the middle of the line.

" Puttenham's book covers a general history of the art of poetry, and a discussion of the various forms of poetry ; the second treats of prosody, dealing in turn with the measures in use in English verse, the caesura, punctuation, rhyme, accent, cadence, proportion in figure, which the author illustrates by geometrical diagrams, and the proposed innovations of English quantitative verse ; the section on ornament deals with style, the distinctions between written and spoken language, the figures of speech ; and the author closes with lengthy observations on good manners.

His verses are mostly octosyllables with, generally, a median caesura.

# bha-vipulā: Syllables 2-7 are ra-bha gaṇas ("– ⏑ – – ⏑ ⏑") or ma-bha gaṇas with a caesura in between ("– – –, – ⏑ ⏑")

# ma-vipulā: Syllables 2-7 are ra-ma gaṇas with a caesura after the 5th ("– ⏑ – –, – –")

For example, the stress in a foot may be inverted, a caesura ( or pause ) may be added ( sometimes in place of a foot or stress ), or the final foot in a line may be given a feminine ending to soften it or be replaced by a spondee to emphasize it and create a hard stop.

In poetry, a masculine caesura follows a stressed syllable while a feminine caesura follows an unstressed syllable.

In general a caesura acts in many ways like a line-end: inversions are common after it, and the extra unstressed syllable of the feminine ending may appear before it.

Shakespeare and John Milton ( in his work before Paradise Lost ) at times employed feminine endings before a caesura.

The metre of this poem is no less remarkable than its diction ; it is a dactylic hexameter in three sections, devoid of caesura, with tailed rhymes and a feminine leonine rhyme between the two first sections ; the verses are technically known as leonini cristati trilices dactylici, and are so difficult to construct in great numbers that the writer claims Divine inspiration ( the impulse and inflow of the Spirit of Wisdom and Understanding ) as the chief agency in the execution of so long an effort of this kind.