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quite natural from this point of view. So do the extended verses which we often find in the Lesbian poets and later, in which the glyconic, or one of the other aeolic prototypes, undergoes 'choriambic expansion', as in Example 5.9, |
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or, with the two initial notes brought into the rhythm, as in Example 5.10. |
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In other poems we find 'dactylic expansion', in which only the segment  (or  ) is repeated:  . One might say that here successive 'bars' of the form  are being overlapped or impacted, as if different voices were chiming in, each taking the last note of the previous voice's bar as the first of its own. But only once voice is involved. |
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The notion of impacted bars may seem artificial. But it makes sense of certain odd sequences that we find elsewhere in aeolic verse, where the rhythm apparently goes awry. In the so-called Sapphic stanza we find two readily analysable lines of the form shown in Example 5.11, |
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and then one of the form illustrated by Example 5.12. |
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