The new start after the caesura will never be dactylic (–◡◡) like the beginning of the line; it may be anapaestic (◡◡–) or iambic (◡–); but not dactylic. The break should occur either after an arsis (–) or after a trochee (–◡) so as to change the character of the latter part of the hexameter from a descending into an ascending meter. The former, the descending meter which begins with a long syllable, is halting and possesses an attitude of holding back, of dignity, of assertion, while the descending meter rushes forward from a short syllable to a long one; it is progressive, it rises. The latter indicates struggle while the former shows strength and the calmness of victory. Every caesura has its own name in Greek and the most common caesura cuts the verse in the third meter between the arsis, the long accented syllable, and the thesis, i. e., the two short syllables or the one long unaccented syllable. Since in prosody two short syllables are equivalent to one long syllable, they are regarded as half a meter, and so this caesura is called penthemimeres πενθημιμερὴς which means the one after the fifth half-meter. It runs thus: –◡◡-◡◡–||◡◡–◡◡–◡◡–◡ There is another caesura after the seventh half-meter. It is called in Greek hephthemimeres (ἑφθημιμερὴς) and runs thus: –◡◡–◡◡–◡◡–||◡◡–◡◡–◡ Caesuras after the third and after the ninth half-meter are rarely used; they occur sometimes in Latin but the latter is regarded as inadmissible in Greek. Almost as common as the penthemimeres is the caesura between the two short syllables in the third meter; and because it cuts off from the meter a trochee (thus –◡||◡) it is called κατὰ τρίτον τροχαῖον, i. e., the caesura “after the third trochee.” It runs thus: –◡◡–◡◡–◡||◡–◡◡–◡◡–◡ Caesuras after the second trochee are rare and after the fourth are strictly forbidden in Greek metrics. Finally we must mention the caesura after the end of the fourth measure, which is not uncommon in bucolic poetry, picturing the peaceful life of the ancient Greek cowboys, so different from the cowboys of the American Wild West, and it has therefore received the name, “bucolic caesura.” It is rare in heroic poems; nevertheless it occurs sometimes and its occasional appearance is effective, for the combination of one dactyl with one trochee (–◡◡–◡) gives a euphonious ring to the verse.