| |
| | Richard Maidstone: Concordia: Introduction |
 | | Maidstone's suggestion, though, is that the common laughter was prompted more specifically by sight of the inadvertently bared thighs of one of the tumbled passengers, all of whom were women, he claims, as if what people found really funny was women's public embarrassment. |
 | | Maidstone's prosody is sufficiently consistent internally to be recognizably good quantitative Latin poetry, painstaking even (Maidstone avoids elision, for example, all but completely: the single instance is "senatorio, urbs" [line 73]); moreover, the standard Maidstone's verse achieves is not idiosyncratic but was sanctioned by the contemporary practice of other Latin poets. |
 | | Maidstone's line-endings in his pentameters are very variable and informal, however, where 12.1% (33 of 272 pentameter lines) end, unclassically, with terms of other than two or three syllables (and the number of trisyllable pentameter endings is high for post-Ovidian verse: here 42 of 272 pentameters [15.4%]). |
| www.lib.rochester.edu /camelot/teams/maidintr.htm (14409 words) |
|