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DOCTR IN E OF M ET REs,
A BRIDG ED
TRANSLATED INTO ENGLISH.
BY THE REv. JOHN SEAGER, B.A.
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*...* HERODOTUS, JESCHYLUs, &c. will be published in suc-
CGSSIOIle -
BOOK I.
chapter rº, 3 *
I. Of Rhythm or Numbers . • Q & e .
II. Of Arsis, Thesis, and Anacrusis . tº Q ve *
III. Of Orders * >
IV. Of Measure . * @ e wº • * * ,
V. Of the Permutation of Numbers wo e * > •º
WI. Of Verses and Systems * o g tº º - >
VII. Of the Conjunction of Musical with Metrical Numbers
VIII. Of Caesura . . . . . . ve
1X. Of the Doubtful Syllable te
X
. Of Prosody
CONTENTS.
BOOK II.
OF SIMPLE METRFS,
I. Of the Kinds of Simple Metres • • •
II. Of Bare Arsis, and the Base & º Q ~e
III. Of Numbers of Equal Times . g g s wº
- Page
:
*. 10
1 1
I 2
14
15
23
23
24,
vi CONTENTS,
Chapter
IV. Of Trochaic Numbers o º º º *
V. Of Trochaic Verses
VI. Of Trochaic Monometers, Dimeters and Trimeters
VII. Of Trochaic Tetrameters Catalectic . o o
VIII. Of the Lame Trochaic Tetrameter º
IX. Of Acatalectic Trochaic Tetrameters . o ©
X. Of the Trochaic Pentameter e º e
XI. Of Ithyphallic Verse © e
XII. Of Iambic Numbers . e
XIII. Of Iambic Monometers and Dimeters . ©
XIV. Of Iambic Timeters Acatalectic º o •
XV. Of the Lame Iambic Trimeter . . . e 9.
xvi. of the Iambic Tetrameter catalectic
XVII. of Iambic Tetrameters Acatalectic . © Q
XVIII. Of the Continuation of Trochaic Numbers among
& the Romans . º e e ſo o 2
XIX. Of Cretic Verses º e º O o º
XX. Of Antispastic Numbers
XXI. Of Dochmiac Verses . o
XXII. Of Bacchiac Verses . e e º o º
XXIII. Of Dactylic Numbers
XXIV. Of Dactylic Verses
XXV. Of the Heroic Verse
XXVI. Of the Metowpos Hexameter Q º sº º
XXVII. Of the Elegiac Pentameter º º © º
Of Eolic Verses Q w
xxviii.
42
44
49
53
63
66
70
75
76
78
CONTENTS.
vii
Chapter
XXIX.
XXX.
XXXI.
XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
I. Of the Kinds of Mixed and Compound Metres .
Of Logaoedic Dactylics
Of Anapaestic Verses :
Of Anapaestic Dimeters
Of Anapaestic Tetrameters
Of Cyclian Anapaests ºf º &
Of Logaoedic Anapaestics .
Of Choriambic Verses © tº *
Of Verses Ionic a majori . e tº
Of Ionic Verses a minori . tº ër
Of Anacreontic Verses g *
Of the Galliambic Verse
Of Paeonic Verses d é
Of Fourth Paeons g gº Q tºr
Of Parapaeonics, and other Long Numbers
BOOK III.
OF MIXED AND COMPOUND METRIES.
II. Of Glyconic Verses º tº ſº &
III. Of the Priapeian Verse
IV. Of the Eupolidean Metre * > e º
V. Of the Cratinean Metre . © y
VI. Of the Choriambic Metre called Polyschematist [or
Anomalous]
VII. Of the Verse called Epionicus Polyschematistus
Page
79
80
81
86
88
89
90
95
97
99
102
103
105
105
107
I OS
119
120
121
121
122
viii
CONTENTS,
Chapter
VIII.
IX.
, X.
XI.
XII,
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
Of Asynartete Verses º * ſº
Of the Saturnian Verse
Of Verses composed by Antipathy . &.
Of Concrete Numbers . th. tº tº,
Of the Composition of Numbers
Of the Semantus Trochee . tº.
Of Strophes . Q ſº † &
Of the Kinds of Strophes & tº. ū
Of Strophes of the First and Second Kinds
Of Strophes of the Third and Fourth Kinds
Of the Division of Strophes into their Members
Of the Use of Antistrophes summarily
Of the Correspondence of Metres in the Diverbia
Of the Parabasis . © Q. tº. Q.
Of the Choral Songs
Of Systems of Antistrophics .
Of the Interruption of Antistrophics
Of Solute or Free Songs
APPEND IX *. tº º iº. © *.
THE ELEMENTS OF
THE DOCTRINE OF METRES.
BOOK I.
CHAPTER I.
OF RHYTHM OR NUMBERS.
§ 1. THE title of this book is The Elements of the Doctrine or
Science of Metres. Metre is a series of syllables which has rhythm
or numbers.
§ 2. Numbers are a fitly disposed succession of times. To this,
in space, symmetry answers, which is a fitly disposed continuity of
spaces. So that to numbers times and their succession are proper ;
to symmetry spaces and their continuity. To both order is common ;
which is an arrangement made according to some law.
§ 3. That law must necessarily be objective ; i. e. founded in the
very nature of succession and continuity; because a subjective law,
i.e. one depending on the perception of observers, could not, since it
would be inconsistent with itself, be even accounted a law. But that
there is some objective law both of numbers or rhythm, and of sym-
metry, appears plainly from the circumstance that a disposition of
times and spaces, which has numbers or symmetry, is understood
equally, and without any disagreement, by all.
§ 4. The same law must also be necessarily formal, i. e. apparent
in the times and spaces only ; not material, or founded in the things
themselves which succeed one another, or which are comprehended
in continuity of place, as in sounds or bodies; because in rhythm and
symmetry what is regarded is not the things themselves which
succeed one another or are conjoined, but, whatever they may be,
by what law they succeed one another or are conjoined.
§ 5. Lastly, that law must necessarily be innate in us; i. e.
defined and certain a priori, as philosophers speak; because it is
Herm. g A
2 RHYTHM OR NUMBERS. [BOOK I.
known, not by being learnt, but of itself. For were it empirical, i. e.
made by any one, it would be known to those only who had learned
it, and might both be altered and abrogated.
§ 6. The objective cause of succession is efficiency. For every
succession in which what is anterior cannot be posterior also, and
what is posterior cannot be anterior also, depends on efficiency,
which is the connexion of causes and effects. The objective cause
of continuity is coherence. For whatever is so continuous in itself
that its parts are not placed one by another, (which cannot be done
without some void space left,) but that all fill one whole space ; that
is effected by coherence, which is unity continued through all parts.
So far therefore, rhythm, or numbers, is a series of causes and effects;
symmetry a series of coherent parts. But whenever, throughout this
Treatise, we speak of parts and coherence, we mean such only as are
contained in space.
§ 7. Since in numbers and symmetry, it is not the matter, (i. e.
the things which succeed one another or are conjoined,) but the form,
(i. e. the times and the spaces,) which is regarded ; and the times
themselves do not arise one from another, nor are the spaces them-
selves parts one of another, their distributions must necessarily be
such that they must of themselves exhibit an image of things con-
nected by efficiency or coherence. So that now numbers are evi-
dently an image of efficiency represented by times; and symmetry an
image of coherence represented by spaces.
§ 8. But no image of efficiency or coherence can appear ex-
pressed in the times and spaces themselves, except in times and spaces
disposed in that proportion which subsists either between causes and
effects, or between parts conjoined by coherence. Now that propor-
tion depends on equality. For neither can cause be greater or less
than effect, nor effect than cause. For since all change, by which
effect is perceived, arises from a conflict of opposed forces, and equal
forces opposed to one another restrain one another, and allow no
change to take place; it necessarily follows that of unequal forces,
opposed to each other, the one must prove as much inferior as the
other proves superior: on which law the whole science of mecha-
nics rests. If effects, as it often happens, appear to be either greater
or less than their causes, the reason is, that either, on account of
diversity, no just comparison can be made, or the increments and
impediments of forces lie out of sight. And the wonder thence
arising proves at the same time both our ignorance, and the necessity
by which we look for effects equal to causes. Numbers then are
efficiency represented by equality of times. In the same manner the
coherence of bodies rests on equality. For since coherence is com-
munion of parts, and that is common which in all parts is the same,
and equal to itself; it follows necessarily, that coherence expressed
by the figure only of bodies, i.e. by the disposition of spaces, must
have that community in an equal distribution or proportion of
spaces. Symmetry therefore is coherence expressed by equality of
spaces.
§ 9. The universal nature of numbers and symmetry being thus
cHAP. II.] ARSIS, THESIS, AND ANACRUSIS. 3
defined, when we speak of particular numbers and symmetrical
figures, numbers are an image of a series of effects, expressed by
equality of times; and symmetry an image of a series of coherent
parts, eapressed by equality of spaces. -
CHAPTER II.
OF ARSIS, THESIS, AND ANACRUSIS.
§ 10. It has been shown that the primary law of numbers, or
rhythm, and symmetry is laid in the equality of times and spaces.
But although without this equality neither numbers nor symmetry
can be imagined, yet the numbers or symmetry which subsists in this
equality alone of times or spaces, is a part of an infinite series, and
has neither beginning nor end ; as the rhythm or numbers made by
the strokes on the bell in a clock, by which the hours are numbered;
or the symmetry of a row of trees equal in height, form, and intervals.
In which numbers or symmetry it is plain that nothing is so first
or last, as to prevent the addition or abstraction of any thing without
detriment to the numbers or symmetry.
§ 11. But if there are any numbers, or any symmetry, which
are not infinite, (and that such are found experience teaches us,) there
must necessarily be something absolute therein. Now in a series of
causes that cause is absolute, which is not effected by another cause,
but is itself the efficient cause of others; and in a comprisal of parts
that part is absolute, which is not therefore a part, because there are
other parts also of the same thing, but that, on account of which
those others are, i. e. that, of which itself those others are parts.
§ 12. But since there is no cause which is not effected by
another cause, and no thing having parts, which is not also itself a
part of another thing; it appears that the notion of an absolute
cause and part is relative, i. e. that such a cause and part is under-
stood, as is not absolute per se, but with respect only to some given
series of causes or comprisal of parts, because (and on this its very
supposition rests) it is not found in that series itself of causes, or in
that comprisal itself of parts, but is to be assumed extraneously. As
if an arrow is shot against a rock and repelled by it, that rock, with
respect to the motion of the arrow, is the absolute cause of the
change of motion, because that law by which the arrow moves when
discharged from the bow cannot contain a cause why the arrow
should move by a different law. And in a row of trees equal to one
another and disposed in equal proportion, if one tree surpass the rest
in magnitude, that tree, as far as that row of trees is concerned, is an
absolute part, because in that equal disposition of trees there can be
nothing which requires one of them to be different.
§ 13, But if any absolute cause is found in numbers, it must of
4. ARSIS, THESIS, AND ANACRUsis. [Book 1.
necessity be one which appears as a cause only, and not as an effect
also. Now a cause, which is a cause only, is nothing else than a force
effecting somewhat. An absolute cause therefore in numbers must
be contained in the expression of some force which may begin some
series of times. And that by which such force is expressed cannot
but consist in a stronger notation or marking of some one time : and
this we call the ictus. The ictus then is a greater force in marking
some one time, and indicating the absolute cause of a series of times.
Again, if any absolute part be found in symmetry, it must necessarily
be one which appears to be that of which the rest are parts, and not
to be itself also some one of the parts. Now that, of which the rest
are parts, is unity, to which all the rest are referred. An absolute
part therefore in symmetry consists in the expression of some unity to
which all distributions of spaces being referred make some one
whole. Now that by which such unity is expressed cannot but be in
that point which is common alike to the whole compass of spaces:
and that point is the middle point, which is called the centre. The
centre then is a single point in a disposition of spaces, containing the
unity of the whole disposition.
§ 14. An absolute cause is the beginning of rhythm or numbers;
an absolute part the middle of symmetrical figure. But the end of
numbers, and the bounds of figure, cannot be defined by notions
taken from the nature itself of numbers and of symmetry, because
they are wholly matters of experience. There are however two kinds
both of numbers and of symmetrical figures, the one simple, as in
A y
w Af º º
numbers the following, ~ *, * v-, * v- ~ ; in symmetrical figures a
circle, a pyramid, a square : the other compounded of an itera-
tion of the same numbers or figure; as in numbers the following,
----|----|----|---~ ; in figures the interchanges of pyramids, co-
lumns, trees, disposed according to certain proportions. In all these
an empirical or arbitrary rule is perceived, one part being taken as a
model or prescript. Whence, if the last part be dissimilar, some-
what is thought in one case to be deficient, in another case to be
redundant.
§ 15. After the example of Bentley, we call that time in which
the ictus is, the arsis, and those times, which are without the ictus,
the thesis. This use of the terms seems to be authorised by Priscian,
p. 1289. and by Martianus Capella, p. 191. ed. Meibom. who deduce
them from the elevation and depression of the voice. Other writers
on metres, together with ancient musicians, deducing the terms (the
use of which, connected with the science of music, is very obscure)
from the fall and rise of the foot or hand, call that thesis which we
call arsis, and that arsis, which we call thesis.
§ 16. The ictus, which is a mark or indication of an absolute
- º e ºf
cause, may take place even in a series already commenced, as, vvv.
When this happens, that time in which is the ictus, is accounted,
because of its coherence with the preceding time, to be produced
CHAP. III.] ORDERS. g Á
from that time, and so far forth is without ictus, and is a thetical
time; but the same time, by the accession of an absolute force, of
which the ictus is the indication, becomes an arsis as well, and the
cause and beginning of the following times : in the same manner as
when a body in motion is driven by a new force, that force does not
originate the motion, but increases the motion already originated.
Now the time or times which precede the arsis are evidently parts of
a series infinite from its beginning. Those times we call anacrusis ;
because they are, as it were, a kind of introduction or prelude to the
numbers which the ictus afterwards begins. After the same manner
among figures some may be marked which are not bounded on either
side by any lines, and are therefore infinite. Further, the anacrusis
has the nature of a thesis, i.e. a time produced not from an absolute
cause, but from other preceding times. For it is to be assumed that
other times have preceded, since, not being produced from an abso-
lute cause, it must necessarily have been produced from other causes
preceding it in infinitum. But when we say that times are produced
(nasci) from times, we so speak for the sake of brevity, transferring
an expression from causes and effects to times, which are the images
of them.
CHAPTER III.
OF ORDER.S.
§ 17. Numbers are either unlimited, consisting wholly in that
case of thetical times, which kind of numbers, because it wants
variety, is not used in arts which employ numbers: or limited ;
being those which have arsis. This latter kind of numbers we call an
order.
§ 18. Orders are either simple, which consist either of arsis
alone, as º, or of both arsis and thesis, a S •, •- ; or periodic,
which are composed of several orders comprised in one rhythm or
number, i. e. produced from one common cause. For as in a suc-
cession of single times, so also in a succession of whole orders the
series of causes and effects can be represented without transgression
of the law of equality, so that, as in simple orders single times are
equal to one another, in periodic orders the orders themselves
A *
may be equal to one another, as “w ºv, ºvº •v.
§ 19. In the same manner, as the arsis is distinguished from the
thesis by a greater force indicating the absolute cause, so also the
first arsis of periodic orders, as containing the absolute cause of
every following arsis, is stronger than they. For each following arsis
is absolute with respect to that order or those orders which proceed
6 ORDERS. [Book I.
from it; but not absolute with respect to the preceding arsis, whereof
it is itself an effect.
§ 20, Hence it comes to pass that the arsis may effect some
change in the order of which it is itself the commencement, and that
order, as far as it depends on its own arsis, is exempt from the law of
equality which has been mentioned. Now that force may refrain or
repress itself, and then we call the orders diminished; as ºvºº,
*
4-vºv; of which kind are those termed catalectic and logaoedic. In
these the arsis, which changes the condition of the orders, although
it is not stronger than the first arsis, nor can be stronger, as being
produced from it, nevertheless could not even refrain itself without
some peculiar effort of resistance. Hence whoever observes atten-
tively will easily perceive that the arsis of periodic orders which
changes the condition of those orders is, although not stronger, yet
endowed with a peculiar force, as the last arsis in these numbers
A
- w w - w w -, ~~~~~~~, and the third in this ----------.
§ 21. The force of the arsis in periodic orders may increase
also: but when this happens, that arsis which is stronger than the
preceding, and generates from itself a greater order, is nothing but a
new absolute cause and not produced from a preceding arsis, falling
upon the secondary arsis of the foregoing order; in this manner,
Af &
WJ \º V
*
by the conjunction of which orders the following rhythm is produced,
49 & * º * tº
~~~~~ ; which evidently cannot be uttered without giving a more
forcible expression to the second arsis, as being not produced by that
which precedes: e. g. * * *
rea Olympie caelicola. ---~~~~~~.
On the contrary by inversion of the orders the force of each arsis is
diminished, as being produced by one arsis :
pinifer Olympus et Ossa. “vº-vº-v. *
These periodic orders, in which a new arsis takes place, are called
concrete numbers.
§ 22. In those periodic orders, which have equal or diminished
orders, we mark with the ictus the first arsis only ; but in concrete
orders the new arsis also. It must be observed however, that the
following disposition of numbers,
4. A f
~ V.V - V_ſ \ W - \ W \-W \ly
may be taken in two ways. For it is either a periodic order, of con-
crete numbers,
&
– \ly -
Af
47
~ \-A Wey V.V.
CHAP. iv.] MEASURE. 7
in which the two first orders proceed beyond their thesis, or it is
composed of simple orders not cohering, h
*~, ºvo. 4 ove.
§ 23. The times of orders which are in thesis must all be ne-
cessarily equal, because they represent a series of causes and effects
unbroken by any foreign accession.
§ 24. And so also are the times of the anacrusis; for that differs
from the thesis, only in having no arsis before it.
§ 25. A time in arsis cannot be shorter than the times of the
anacrusis, because the arsis, following the anacrusis, is a part of that
series, of which the anacrusis too is a part. The following rhythm
& 4
therefore would be faulty, -v : but these are correct, •% -4.
§ 26. No more can the arsis be shorter than the thetical times.
For, being the cause of these times, it cannot be shorter than its
effects. Wherefore this rhythm 4- is faulty, but these regular 4-, 4-.
§ 27. But there is no incompatibility in the arsis being greater
than the anacrusis. For the arsis, in respect of its being produced
by an absolute cause, is exempt from the law of equality, provided
that, in respect of its being an effect of preceding times, it be not
less than they. These numbers therefore are just, --, ~~~
§ 28. Nor is there any incompatibility in the arsis being
greater than the thetical times. For it may be so constituted as to
produce the thesis not by its intire self, but by some part only of
itself: and that part must indispensably be equal to the thetical
times, in this manner, & 4 A
- v, - J. J., - V v \ly
&J Clo 9-
So a superstructure cannot be supported by a foundation too small
for it, but by one greater than necessary it may.
CHAPTER IV.
OF MEASURE.
§ 29. We call measure the relative proportion of syllables,
without rhythm or numbers. Metricians use only two measures;
the single or short, called by the Greeks xpóvos and ampletov, by the
Latins tempus and mora ; and the double or long, which is com-
pounded of two short. The ancient musicians used a quadruple and
an octuple measure too. See Aristid. Quintil. p. 36. Modern music
has many measures.
§ 30. We call a foot a certain composition of times, without
regard to the rhythm or numbers in it.
$3 - MEASURE. [book 1.
*
§ 31. The most common feet are the following:
Four dissyllabic;
~v Pyrrhic,
-- Spondee,
•- Iambus,
-- Trochee, sometimes called Choree.
Eight trisyllabical ;
vvu Tribrach or Choree,
*
--- Molossus,
• -- Anapaest,
-- ~ Dactyl,
--~ Amphibrachys,
--- Cretić or Amphimacer,
•-- Bacchius, by some called Palimbacchius or Hypo-
bacchius, -
--~ Palimbacchius, by some called Bacchius.
Sixteen quadrisyllabic;
~~~~ Proceleusmatic,
---- Dispondee,
---- Diiambus,
-v-v Ditrochee,
•--~ Antispastus,
-v v - Choriambus,
• v-- Ionic a minori,
--~~ Ionic a majori,
-v- w First Paeon,
~-v- Second Paeon,
vv-v Third Paeon,
• * ~ - Fourth Paeon,
v--- First Epitrite,
---- Second Epitrite,
---- Third Epitrite,
---v Fourth Epitrite.
Concerning these see Gaisford on Hephæstion.
§ 32. The conjunction of two feet is termed by metrists a di-
podia or syzygy. Aristides p. 36. says that a syzygy is made up
of two simple feet, i. e. disyllabic or trisyllabic, but those unequal.
This is called a dipodia by Atilius Fortunatianus p. 2688. who says
that a syzygy is formed of two simple but equal feet. Most usually
the combination of two disyllabic feet is called a dipodia, that of two
trisyllabic, or of a disyllabic and trisyllabic, a syzygy. The con-
junction of two feet is often called a base also : see Diomed. p. 501.
Mar. Vict. p. 2489: and a metre too : whence dimeter, trimeter,
tetrameter, pentameter, and hexameter verses, which consist re-
spectively of four, six, eight, ten, twelve, feet, except in dactylic
numbers, in which each foot is reckoned a metre.
§ 33. A doubtful measure, called in Greek &öuáqopos, is one
which may be indifferently either long or short. There is also
another measure called in Latin irrationalis, in Greek áAoyos, ſqis-
chap. v.] PERMUTATION OF NUMBERS. 9
proportionate,1 which is shorter than a long, and longer than a short.
On this, Aristides p. 45. and the Scholiast of Hephæstion, p. 78.
have subtilised with a waste of many words. It is used in some
dactylic numbers, and also in the iambics and trochaics of Co-
medians.
CHAPTER V.
OF THE PERMUTATION OF NUMBERS.
§ 34. Numbers are in their own nature unchangeable: for
they cannot contain within themselves a cause for being other than
what they are. If then any numbers are interchanged, it is done at
the will of those who use them, influenced however by some good
reason: for the numbers commuted ought to be both equal, i. e.
of the same measure ; and similar, i.e. such as may appear to effect
the same thing with a moderate variation.
§ 35. A permutation of numbers is made in the following ways:
First, by reception of irrational [disproportionate] times. This seems
to be done in some trochaic numbers, admitting a disyllabic instead
of a monosyllabic thesis or anacrusis, such as are the trimeters of the
Greek Comedians, and all the trochaic and iambic verses of the
Latin, at least of the more ancient Latin : in which a dactyl and
anapaest, being put for a trochee and iambus, have two short syllables
nearly equal to one short one, which is the due measure.
§ 36. Secondly, by resolution of the arsis, or contraction of the
thesis ; of which the first commonly takes place in trochaic numbers,
the second in dactylic : & &
- V_y ~ \-W \,-7
4 &
V-2 \, \ y * º
§ 37. Thirdly, by resolution of the arsis conjointly with con-
traction of the thesis: which takes place in those dactylics which
are called anapaests: in which not only these three numbers are
commuted,
4
- \ y \-y
f
f
V-A \, \! \º
but a combination also of the second and third is added ‘v-, which
would be contrary to the law of numbers, were it not that two
different numbers are perceived at the same time; of both which the
half only is expressed by sounds, syllables, motions, and the other
half is noted with tacit observation; in the same manner as in modern
music what is called tact is perceived together with the numbers of
musical sounds although most different : I mean in this manner,
f f A *
Ka T – Kar - Kat - {}a –
• Teore w w 0& Jºe v v kata v v pope'.
Herm. B
10 VERSES AND SYSTEMS. [Book 1.
§ 38. Fourthly, by transposition of a time: which takes place
in those dactylics, which are called choriambi and ionics, a part of
the thesis or anacrusis being cut off, and put before the arsis in place
of the anacrusis or thesis, in this manner,
Af 4 &
- \} \sº - \ y \,-7 – J J -
I
&
V-9 " \-0 • *- J-194
Whence, the doubtful times being marked, the numbers will appear
thus,
4 ov- Choriambi.
we &
* T \-J -
4|4 vo Ionics a majori.
& = Aſ
– v |- v
& & # , f te tº *
wo- |-| – C - |- Ionics a minori.
ov‘IC4Ivºlº
§ 39. Fifthly, by transposition of part of the numbers : which
takes place in Glyconean verses; for the more usual form of which
* .. * | *vo-Ivº
the last order being placed before the preceding one, and changed
into a trochee, this form is substituted,
A / J f
* e º is |- J - Ju-
CHAPTER VI.
OF VERSES AND systeMS.
$ 40. A verse is a number formed of one or more orders. Parts
of verses, if they consist of intire syzygies, are called by gramma-
rians köAa, if not of intire syzygies, kóppata: but with much variance.
On these and other distinctions of little utility, Hephæstion p. 65.
(116.) and Marius Victorinus p. 2497. may be consulted.
§ 41. The numbers of every verse are continuous : the con-
tinuity of the language therefore ought not to be broken by an un-
allowable hiatus, or by admission of a doubtful syllable into an undue
place.
§ 42. Asynartete verses, (which have not been accurately de-
fined by writers on metre,) are those whose parts are conjoined at
the pleasure of the poet, the continuity of the words being sometimes
preserved, sometimes neglected, the hiatus and doubtful syllable
being admitted, as in Horace, Epod. xi. xiii.
Fervidiore mero arcana promorat loco.
Levare duris pectora sollicitudinibus.
CHAP. v11.] MUSICAL AND METRICAL NUMBERS. T 1
§ 43. Verses called polyschematisti (a denomination ill ex-
plained by metricians) are such as we have said in § 37. to be
changeable by transposition of a part of the numbers.
§ 44. Catalewis signifies the detraction of one or more times
from the end of a verse. The manner in which verses end is termed
&tróðeous.
§ 45. Verses are called acatalectic, when their orders are in-
tire : as trimeter iambics, , * 4
v – o – v - V - || J - J –
§ 46. Catalectic verses are those which want one syllable, as
the trimeter
* . . f
v-u- |v-v - |v - v.
In dactylic numbers, if the last foot want one syllable, the verses are
called catalectic on two syllables, as 4------~ ; if two syllables, cu-
talectic on one syllable, as, -------.
§ 47. Brachycatalectic verses are those whereof the last di-
podiae want an intire foot, as,
vºv-Ivºv-Ivº. - -
§ 48. Those are called hypercatalectic, which have one syllable
more than enough, as, , º *
v-u- J - J - v-u- ~
which, by the addition of what is wanted to make up the intire foot,
become brachycatalectic, as,
f Z Aſ
J - J - v-v- v-v - J –
For so they are more correctly marked out, with three feet compre-
hended in one order, rather than with one only.
§ 49. A system is a collection of verses joined in an uninter-
rupted succession, which is governed by the same rules as those by
which orders are assembled into a verse.
CHAPTER VII.
OF THE CONJUNCTION OF MUSICAL WITH METRICAL
NUMBERS. t
§ 50. Since music admits not only more than two measures,
but a greater variation of numbers than the metrical art, which re-
gards the recitation only of verses, the numbers of verses, must un-
avoidably be changed by singing. And the evidences of the changes
so effected, are, on account of the want of testimonies of writers on
the point, collected from the conformation itself of metres, which
present certain difficulties otherwise inexplicable. Hitherto a three-
fold conjunction of musical with metrical numbers has been dis-
12 CAESURA. [Book I.
covered, by measure greater than metrical, by pause, by para-
cataloge.
§ 51. A measure greater than metrical is exhibited in the
trochees termed semanti, which, consisting of two long syllables,
have the first of eight times, and the last of four, and so perform the
office of an intire member consisting of several feet.
§ 52. A pause is sometimes made in the middle of a musical
rhythm: and this, since it causes the admission both of a hiatus and
of a doubtful syllable, requires that the verse should end in the
same place. As in Pindar, Ol. vi. 5. (7.) where, the numbers being
these, Aſ A &
- - \ly - - - \ y \-J - \ly V-J - \-2
f f f 4 £ f
- J - - - up - - - J - -
4.
- \J V - V v - \ly
a pause is made after the first syllable of the second verse; whence
the verses must be divided thus,
Bwpº te pavreig rapitas Atós év TItag,
ovvoukiatáp Te Tāv khetváv 2vpakoo-
oãv, riva key pºlyol iſſuvov.
§ 53. Paracataloge (see Aristot. Probl. ix. 6. Plut. de Musica
p. 1140. F. and 1141. A. and Hesychius in v. karaXoyń.) is a re-
laxation of rhythm approaching to the loose numbers of common
conversation : this by modern musicians is called recitative.
§ 54. It is perceived in two particulars; in the remission of
celerity in the end of certain numbers, as dochmiac and Glyconean,
whence these receive a spondee in the place of the concluding
iambus: & -
§ 55. And next in the resolution of the whole rhythm ; which
is effected by the adjection of several short syllables to certain num-
bers, as to dochmiac numbers. All these things shall be explained
in their proper places.
CHAPTER VIII.
OF CAESURA.
§ 56. Language of itself has numbers; because without num-
bers neither could syllables be joined in words, nor words be joined
in sentences, and distinguished one from another. Wherefore lan-
guage included in verses is so to be regulated, that its rhythm may
agree with that of the verses, and that the one may not destroy the
other. This is effected by means of the casura, the doubtful syllable,
and prosody. -
§ 57. Caesura, or incisure, called by the Greeks rou), is that
place in a verse in which some order is ended. Properly therefore
a verse has just so many casuras as it has orders, except that the
cHAp. VIII.] CESURA. 13
end of the last order, which is at the same time the end of the whole
verse, cannot, it is evident, be called a caesura.
§ 58. A verse being expressed in words, the caesura signifies
the end of a rhythm in the words, coinciding with the end of a metri-
cal order. And usually it is not the termination of any one metrical
order that is understood by the term, but the termination, by the end
of a sentence or word, of some one order whereof the end deserves
particular notice.
§ 59. Now if even in the middle of a verse the rhythm of the
words ought to end together with the metrical rhythm, it is evident
that the observation of the same rule is still more requisite at the
conclusion of a whole verse. It is fit therefore that a verse should
end in a whole word.
§ 60. A necessary caesura is one which requires a pause so con-
siderable, that it cannot be neglected without sacrifice of the whole
rhythm. When this caesura happens to be neglected, at least care is
taken that there may be some excuse for it in a compound word,
as in Callimach. fragm. 192.
iepā vöv Šē Atoolkovptöew yeweſ.
An unnecessary caesura is one which may be neglected without
subversion of metrical rhythm.
§ 61. The caesura is mutable, when the orders may be marked
out in more ways than one, as in the heroic hexameter, and the
trimeter iambic ; immutable, when there is only one way of marking
out the orders, as in the elegiac pentameter.
§ 62. An adscititious caesura is one which introduces a new
rhythm, but one reconcileable with the proper rhythm of the verse;
as in heroic verse, when the last syllable, which is thesis, is, by a
monosyllable endued with a certain force or emphasis, changed into
arsis:
'yatav Špioi, kai tróvrov. Öpópel 6' oilpavó6ev vöğ.
And in a trimeter iambic :
J-v-10-0 |40 |49–
otöv répoi régè'éart' 09mrois yap yepa.
§ 63. Another kind of adscititious caesura is that, by which a
section or division being made either a little before the close of a
verse, or a little after the beginning of a following verse, the remaining
part of the first verse in the one case is made continuous with the
following verse, and the initial part of the following verse, in the other
case, with the foregoing verse; as in the trimeter iambic of Sophocles,
CEd. R. 29.
ip’ of kevoira, Šápa Kašpeion, ué\as 5’
* "Atôms arevayuois kai yöots TAovrićerat.
and CEq. Col. 1164.
ooi (paariv airów is \óyovs é\9eiv pio) dur'
aireiv, &rex0eiv T' &opaxós riis beip' 5805.
§ 64. The term caesura is by some incorrectly applied to the
termination of a word in the middle of a foot, especially in arsis;
1 4 DOJBTFUL SYLLABLE. [Book I.
as when they say that short syllables are made long by virtue of
a caesura : what is the real case in such instances, will be shown
below.
CHAPTER IX.
OF THE DOUBTFUL SYLLABLE.
§ 65. A doubtful syllable, &ótápopos, is one whose measure may
be either long or short indifferently. It is evident however that since
with respect to numbers no measure is doubtful, this whole doctrine
has reference to the words; of which at one time some long syllable is
reckoned short, at another some short syllable long.
§ 66. This can be done in those places only of the numbers, in
which faultiness of measure may easily escape unobserved. Such
places are two; the anacrusis consisting of one short syllable,
which being preceded by nothing with which it may be compared, in
the absence of a rule or criterion we are not offended at a long
syllable put for a short one : next, the last syllable of orders,
whether it be arsis or thesis; which being followed by nothing that
can determine its length, we are not offended if a long one is put for
a short, or a short for a long, since it is absolutely necessary that
there should be a pause at the end. But in the last syllable of orders
there are many rules to be observed.
§ 67. And first it is plain that the end meant is that by which
the whole tract of the numbers is concluded. Wherefore in periodic
orders it is not the last syllable of any order, of which the periodic
order is composed, but the last syllable of the last order only, which
is doubtful. Hence in trochaic verses, which proceed by dipodias,
the second trochee, and in ithyphallic verse, which consists of a
periodic order comprising three trochees, the third only, admits the
doubtful syllable. -
§ 68. In the next place the numbers in the words themselves
are to be regarded : whence some doubtful syllables have place in
the end of a verse only, others in the middle of a verse also, and
these too either in the end only of a word or in the middle also.
§ 69. And the final syllable of a whole verse, which is at the
same time the final one of a word, is doubtful on all accounts, both
the metrical and the verbal numbers ending in it.
§ 70. In the middle of a verse, and the middle of a word, the
anacrusis or last thesis of trochaic numbers and the last thesis of
members consisting of Doric epitrites are doubtful :
Atogóórows okūtrpowo, ripa)\poipuevov,
puff puu, & Motoat, pvyóševov arpatów.
For in dactylic or other orders having a thesis of several syllables, the
course of the numbers would be altogether impeded by the admission
of a doubtful syllable.
CHAP. X.] * * PROSODY. 15
§ 71. The arsis of dactylic orders, and the spondiac thesis of
the fourth foot in heroic verse, admit the doubtful syllable in the
middle of a verse, but only in the end of a word.
ékiréporat IIptápoto TróXtv, eú 6' oikað’ikéo 6at.
rfi 8' éti aev Topy& 6\oovpſtres écrepāvoro.
And that arsis does so both by virtue of its own force, and on
account of the conclusion of the numbers which are in the word
itself; the thesis, on account of the very strong caesura in that place,
both the metrical numbers, and those of the word, ending together.
In trochaic numbers the arsis does not admit the doubtful syllable,
both because it is weaker, and because these numbers, which admit of
many resolutions, would be embarrassed by it.
§ 72. Homer has seldom allowed even the spondiac thesis to be
doubtful in the middle of words. Of this we shall treat under Heroic
Verse.
§ 73. A doubtful syllable, which by the law of the numbers is to be
reckoned short, cannot be resolved into two short syllables ; because,
when it is long, by the law of the numbers it is not long, but is to be
reckoned short: for it is preposterous that a long syllable, which
does not pass for a long one, should be equal to two short syllables.
CHAPTER X.
OF PROSODY.
§ 74. The numbers of language are adapted to metrical numbers
by means of prosody, by the advantage or convenience of the metre,
accentuation of words, intension of voice, punctuation.
§ 75. The advantage of the metre lies in elongation and cor-
reption of syllables on account of it, in hiatus, in elision, in crasis, in
symizesis. {
§ 76. Among the Greeks elongation on account of the metre is
much more frequent than correption. It is most used in heroic
verse, and chiefly in words abounding with short syllables, which
cannot otherwise be adapted to the metre. For the most part it is
only the first syllable of these words that is made long, and that too
in the metrical arsis, both by the force of the metrical arsis itself, and
because the beginning of a word has an arsis of the numbers which are
in the word itself. Such are the words éirírovos, 6vyarépes, ātrové-
eq6a, &káparos, &6ávaros, which last word has thence acquired
among the Attics a regular and legitimate elongation of the first
syllable. So in compound words too not any syllable, but either the
first of a posterior word, as in ééatrovéeq6at, or the last of an anterior
one, is made long in a metrical arsis, the conclusion of the numbers
which are in the word, and the force of the metrical arsis, assisting the
elongation, as lliad T. 35. Odyss. k. 169.
pivºv &noeuvrčov 'A'yapiéparov troupévi Aadjv.
Bijv Šē kara)\opáčela pépov ćiti vija péAava v.
16 PROSODY. IBOOK 1.
f
Although in these examples perhaps the digamma, or the duplication
of the liquid letter, much in use among epic poets, contributed
somewhat to the facility of elongation. -
§ 77. Correptions are for the most part owing to necessity,
both in proper names which could not otherwise enter the metre,
'A9évaðev, Oovkvötöms, ‘Pov pivos, the second syllables being shortened,
or ‘EXevatvios, the third being so, or to a syllable preceding a proper
name, as,
oi Śē Zákvv6ov čxov,
êorat raira, XKāpavöpe 8torpepès, dis ow keVečets.
(XaXkiöa T' Eiperptav re, troXvarāq,w}\ów 6' 'Iortatav.)
and in other necessary words, as before okétapwov, Odyss. e. 237.
t, 391. or they are made by the extrusion of a letter, as in rātavov,
see Naek. Sched. Crit. p. 19. or even by a sort of negligence, as in
Hesiod, O. et D. 589.
eim Terpain re okuji kai BigAuvos oivos.
or by some peculiarity of dialect, as in the word áoxês in the Doric ;
(see Herman. diss. de Dialect. Pindar. p. 8. Boeckh. ad Pind. Ol.
i. 99.) lastly before two consonants also less favorable to correption,
as before 3\, y\, pav. Sophocles CEq. R. 717.
Tatēēs 8& 3Xáaras.
AEschylus Pers. 593. and Agam. 999.
oùk ért y\@oga pi\ototy.
röv 3’ &vev \{pas àuws ipvgöei.
As to any thing unusual of this kind which may be found in Rhintho,
he knowingly made bad verses, as,
‘ITTóvakros rô pérpov' ow8év plot péAet.
Hephaest. p. 4. (10.) Hort. Adon. 194. b.
§ 78. Among the Greeks a long vowel or diphthong is shortened
before a vowel, and that not only in the end of a word, (of which
we shall speak presently in treating of the hiatus,) but even [when
the following vowel is] in the same word, as in troueiv, rotowros,
yepatós, òeiMatos tarpſos. 'A6%vatos in Pherecrates cited by Eusta-
thius p. 1456, 52. and pi}\a(\vatos in Aristophan. Vesp. 282. are
more uncommon. For this license is not used in every word.
Rhintho's 6eim in Hephaestion p. 4. (10.) comes under this remark.
§ 79. Two kinds of recitation were used by the Latins; the
one guided chiefly by the accents of words, and the ordinary pronun-
ciation, which kind was employed by the ancient actors; the other
formed upon the Greek model, having been introduced first by
Ennius into epic poetry, afterwards in the Augustan age into almost
every sort of poetry. The former theatrical recitation abounds with
correptions, and pays no regard to position, whence ille, atque,
Philippi, juventutis, and a great many other words are pronounced
with vowels shortened before two consonants. Nay they even
shorten long vowels, when the last is elided, as cóncede huc, sécede
huc.
§ 80. The hiatus is made by a word ending in a vowel before
a word beginning with a vowel. This, although it is a law in poetry
to avoid it in general, is yet admitted on certain conditions. The
^,
chAP. x.] PROSODY. 17
ancient Greek epic poets appear to make hiatuses oftener than they
really do, because they used the digamma, which it is not customary
to add in writing. Something similar may be observed in Latin too :
for in Plautus a vowel before the word homo is often not elided,
because that word seems to have had a pretty strong aspiration,
retained to this day by the Italians, who say uomo. - X-
§ 81. And the hiatus is legitimate and necessary in words, of
whatever description and in whatever kind of metre, which serve for
exclamation; as in Sophocles Philoctet. 832. Aj. 194. Acrisius ap.
Stob. Serm. viii.
tôt t6, plot Tatów.
&AA’ &va è? §§pávov,
ſłoż ris, 6 &kower', i. Mārmy úxiā;
Next in those words which do not admit of elision, as ri čaruv ; ri
oùv; repl époi from which however the tragedians seem to abstain.
To this head belongs the hiatus made by genitives ending in ao and
oto, the last syllable of which cannot be elided. See Hermann's
Diss. de AEtate Orphei Argonaut. p. 721. sq.
§ 82. In dactylic numbers among the Greeks the hiatus is
legitimate which is made by the correption of a long vowel or
diphthong before another vowel in thesis, as,
âvöpa plot &vvete, Moûora, troAirporov, Ös puáAa troXXà
TAáyx0m, Étret Tootns iepôv TroMe6pov ćirepoev.
This takes place also in the thesis of a trochee resolved into a tri-
brach; but seldom ; as in Eurip. Iphig. Taur. 197. -
ôvos étri pávº, äxed tº &xeauv'
and, if I mistake not, in the same circumstances, but before a fuller
stop, even in a trimeter in Sophocles Electr. 818.
§§votkos éooplav' &AAa rijöe trpos TüAm.
Moreover in the first arsis resolved of a dochmiac, and that too in
both its syllables: perhaps too in the last arsis of the same
WeI'Se. -
§ 83. In the ancient epic poetry of the Greeks, that hiatus
also is legitimate which takes place in a long syllable in arsis, as,
à uévévi troXépºp, #8' àAAoi p &iri épyg. -
And on the whole that kind of poetry admits the hiatus in many
other ways also. (See Dissert. de AEtat. Orphei Argonaut.) Among
these a notable one is the hiatus in a long syllable in thesis, which is
peculiar to the fourth foot, on account of the more effectual and
complete caesura there :
tróAuv kai #0ea Aadºv.
§ 84. The lyric poets follow, in dactylic numbers, the example
of the epic poets, but modestly. In orders of two syllables they
allow themselves the hiatus no where except in a long arsis, and in a
long thesis by which a member is concluded: as Pindar,
3, Kaoropeta, i, 'IoMá-
ow évappāśat puv iſ avg. -
$ 85. The Roman poets, to whose language the apostrophus is
unknown, approve of the hiatus in scarcely any besides long syllables,
and even those long syllables are open in dactylic numbers only :
Herm. C
18 PROSODY. [Book 1.
necessarily, when a short syllable follows, so that synizesis cannot
take place, as,
Amphion Dircaeus in Actaeo Aracyntho:
Lamentis gemituque et foemineo ululatu :
not necessarily, when the following syllable, being long, allows of
Synizesis, as, . -
Nereidum matri, et Neptuno AEgeo: - -
or where, when a long syllable follows, the open syllable is made
short, as,
Insulae Ionio in magno.
A hiatus in a short syllable is very rare; nor is it excusable, except
where the punctuation occasions a pause, as in Virgil Fn. i, 405.
Ecl. ii, 53.
Et vera incessu patuit dea: ille ubi matrem.
Addam cerea pruna : honos erit huic quoque pomo.
§ 86. In trochaic numbers of the dramatic poets monosyllables
by nature long, having the ictus on a resolved arsis, and made
short, very often make an hiatus: the same syllables are open also in
the second syllable of a dactyl. Often also either a change of per-
son serves to excuse an hiatus; Pseud. i., 5, 38.
Tibi auscultabo. Ps. *tur ad te, Pseit.dole :
or any other pause which may be made in recitation; as Stich. i,
3, 113.
Sed 6ccum Dinacium éjus puerum.—Hóc vide. See § 102.
§ 87. Among hiatuses in Latin are reckoned syllables ending in the
letter m : which syllables however are not to be elided, but slurred by
rapidity of pronunciation ; as we may collect from Quintilian ix, 4,
39. 40. These sometimes, especially monosyllables, are pronounced
fully in the first time of a dactylic thesis, as in Lucretius iii, 1095.
Sed dum abest, quod avemus, id easuperare videtur:
and Horace Serm. ii, 2, 28.
Cocto num adest honor idem. * *
More rarely in longer words and in the end of a dactyl, as in Ennius
X. Annal. -
Insignita fere tum millia militum octo:
and more than once in Lucretius. In the dramatic poets mono-
syllables are usually found fully pronounced in the ictus of a resolved
aſ SWS.
§ 88. Crasis, of which no one has yet treated with sufficient fulness
and accuracy, is used by Attic writers more than any others, but only
in associations of certain words. For a crasis is made by those or
nearly those words only, which coalesce in the sense also, as one
notion or idea. Whence the most frequent crasis is in the article
and noun, as ‘āvīp, 'd vôpes, ‘àperij, ’āperai, Toàpyov, rāpya, Šipol, råpa,
6trixóptow, &'trixóplot in Eurip. Ion 1130. [1111. ed. Beck.] 0oipuartov,
6aipúrva, 0ärépg, 6&repov, and rot)\é6pov in Eurip. Iph. T. 488. Also in
some particles, as Tāv, råpa, from Toi av, Toi &pa. It is more unusual in
a pronoun and verb, as ā"x0 from & 8x9. It is found also in a verb
and pronoun, as éyòa from éyò, oièa, and yewnoopić) to from yewhao-
plat Éyð, which, although it occurs in Iphig, Aul. 1406, is properly a
CHAP. X.] - PROSODY. 19
form peculiar to comedians, who contract the first person of the
future, of the passive termination, with other nouns also, as reptoſpo-
pâtrex86vra in Aristoph. Ran. 512. [in the Ranae v. 509. Br. is
trepidºpoplat &reMöðvr” éirei rot kal Kpéa.] and évvavričoplátkakoúvros in
Plato the Comedian, cited by Athenaeus p. 644. A. See Gaisford ad
Hephaestion, p. 222. [where it appears that the reading by crasis in
the verse of Aristophanes mentioned above was communicated to
Gaisford by Porson.] -
§ 89. Further it is to be understood in general, that the long
vowels a, m, w, easily dissolve in crasis with a short initial one, which
is almost only e, as does the diphthong ov, which appears to be
nothing but a succedaneum for a vowel which wanted a proper
character among the Greeks. But the same contraction is not made
in those also which are properly diphthongs, except in those futures,
as yeymoopidlyá). For which reason vukópevot 'küptogov and TAelorot
"6avov in AEschyl. Pers. 310. 490. appear to be wrongly written : and
also regoûoat "k\atov in Sophocl. CEd. C. 1608. and raxei ºrópevaav,
ib. 1602. and &rei '8ákpvaa, Philoctet. 360. Although ei ºrtrašáuegóa
in Eurip. Suppl. 523. appears to be correct. But Kai makes a crasis
with all vowels and diphthongs; seldomer however with t. And
Porson, on the Phoeniss. 1422. has observed that it is not united by
crasis with &ei or with ei except in compound words.
§ 90. Symizesis, or synecphonesis, which consists in the pronun-
ciation of two vowels together, but not so as to unite them in a
diphthong, is most used by the Attics in genitives ending in eas and
eav, as tróAews, tróAetov. In epic poetry the two vowels pronounced
together are even made short before another vowel following, but
scarcely any where except in the second syllable of a dactyl:
8évêpeg peºplevot.
For in that verse of Hesiod, O. et D. 640.
"Aakpm, xeipta kakfi, 6épet àpyaxém, où8é Tor’éo 6Aff,
perhaps not €n, but now are to be pronounced together: for the syn-
ecphonesis of ii ov, p.m ov, piñ dipatow, [see the Appendix.] paſſ eiðévat,
and also of éirei oi, is usual and established among the Attics. The
Latins always use the synecphonesis, as the Italians do at this day:
except that in the particle que it is probable the e is truly elided by
the following vowel. Among the Latin dramatic writers synecphonesis
is frequent even in the middle of words, as meus, tuus, eius, huius.
§ 91. The correption of two short vowels conjoined by synecpho-
nesis is very uncommon. Hephæstion and other grammarians ad-
duce a verse of Praxilla :
&\\& reow oitrore 6vpuðv évi orrā0egow étreu6ov.
Even Pindar Pyth. i, 56. (109.) appears to have made 6.e0s, as a
monosyllable, short. These two vowels are commonly found pro-
nounced together, where the syllable is made long by position. In
all that relates to the subject we are now discussing, a vigilant atten-
tion is to be paid to elegance and euphony : see Naek. de Choerilo,
p. 147. Sq.
§ 92. A synecphonesis of the letter v with another vowel following
it is rather uncommon, although used in datives, as vékvi. It is found
2O PROSODY. [BOOK 1.
also in 'Epivyww.v, Eurip. Iph. T. 931. 970. 1456. in yew8wy, Pindar,
Pyth. iv, 401. (225.) in ièvoguès, Ammian, epigr. 20. in 8volv, (if
the reading be correct,) Soph. CEd. R. 640. Among the Latins
Davus, navem are often contracted into one syllable. Tenuis is used
as a dissyllable even by epic poets.
§ 93. Of t too and a following vowel the synecphonesis is rare: as
Kapòias, AEschyl. S. ad Th. 294. kapātav, Suppl. 75. §pyta, Eurip.
Bacch. 996. 'OXvpurtov, Herc. Fur. 1295. So in Latin, abietibus,
connubium, consilium ; the letter i sometimes serving nearly as a con-
SOnant. -
§ 94. The synecphonesis in the t of the dative singular of the third
declension is remarkable: as that letter cannot be there elided, it is
pronounced together with a following vowel: as in Homer,
Xaipe Šē rº, Špw,0, 'O8voets.
&arépt droplvſj čva)\tyktov.
But this is not only unfrequent in Homer, but still more unfre-
quent among the Attics. That synecphonesis cannot take place in
datives plural is apparent from their assuming the v ćpeXkvartköv be-
fore a vowel ; and the t in those datives cannot be elided in the Attic
dialect. See Porson Append. ad Toup. Em. in Suid. p. 450. and
the Monthly Review, Septemb. 1789. p. 244. -
§ 95. In words terminated by a short syllable ending in s the
ancient Latins often cast off the s for the sake of the metre,
vita illa dignu' locoque.
The scenic poets, if they ever did this, did it not at least in those
parts of verses which require a careful observation of just measure.
§ 96. With the ancient epic poets the accent had great power both
in lengthening syllables on which it was placed, and in shortening
those which it either followed or preceded. It makes the penultima
long, if the last is long, in thesis, as,
8ópa trap' Aid Aov pleya)\ſiropos "Ittoráðao,
Odyss. K, 56. if the last is short, in arsis: Il. H., 208. T, 145.
Toães 3' effiymoav, Širos ičov aid Mov čºptw.
firrows 8' Atropiéðovra 600s &evyvöpiev čvoyev.
the antepenult, if the following syllable is short, in arsis: as Šies,
ºpewat, àpópevat, Odyss. , 425. Iliad v, 365. Hesiod, O. et D. 22.
§ 97. A vowel is shortened on account of a following accent in
certain oxytoned trisyllables, as étrel?), pepatos, 'Axi)\ews, 'Obvaeos,
and in tetrasyllables declined from these, as uepačres, 'Axi\éos,
'O8vo.éos, which are written plepačres, 'Axi}\ijos, 'O8voijos. -
§ 98. The penultima is shortened on account of a preceding accent
in the subjunctive mood chiefly, as āyeipopev, uto'yeat, Boüxerat,
ătrobeiopiat, which are so written for &yelpwpiev, pitoymat, Goíºnrat,
&roffetwuat. Seldom, when the syllable, which has the accent, is
short, as in &\etat, Iliad A, 192. Hither must be referred also the
correption, mentioned by grammarians, of the third person plural of
the preterperfect, as AeAöyxact; which correption however is now
ejected from the poems of Homer and Hesiod. -
§ 99, The last syllable is made short in é0s, only in Homer, which
CHAP. x.] PROSODY. 21
ought to be written elos: as very frequently in those words gas 5
raú6' dippatve, Od. , 233. r, 367. .* -
#puevot, Éws étrij\6e vépuww.
6aoa at tº £8töws, &póplevos, Éws irowo
In Iliad r, 189, the reading should be,
pupivério airóði réas, étrelyópevós rep "Apnos.
§ 100. The familiar language of the Latins had much of a similar
nature; which is to be learned by use, under the guidance principally
of Bentley, in his tract on the Metres of Terence, and notes on the
same author. It is especially to be borne in mind that although
grammarians affirm that no word in the Latin language has an accent
on the fourth syllable from the end, yet all tetrasyllables which have
three short before the last are so placed in verse that the ictus falls
on the first, as familia, miseria, tétigero, céciderit. Further that
when two long syllables precede the last, the last being elided, then
the accent is drawn back upon the third from the end :
Poeta quiºm primum animum ad scribendum appulit.
Particular attention also is to be paid to enclitics, of which there are
many in Latin too. And it is to be considered whether sometimes
an accent cast by an enclitic upon a short syllable does not cause
that syllable to be lengthened. Plautus Aul. iv, 6, 13.
Indéque observabo, aiºrum ubi abstrudát senew :
for so they pronounced. See Voss de Arte Grammat. ii, 9. p. 63.
§ 101. In the commencement of speech, and when we wish to speak
with significancy, we are accustomed to raise the voice. Hence in
the first arsis of an heroic verse the intension of the voice has some-
times the effect of lengthening a short syllable: as in Iliad 8, 155.
e, 359. x, 379. , 2.
ºptAe kaotyvnre.
r étrelë) vijás re kai ‘EAAño"rovrov trovro.
Hesiod, O. et D. 436.
8pwós éAvpua, yūmy ºrptrov, Bóe 8' évvaeriipay.
Theognis v. 1075.
Épéxov &trofláñéas.
Upon a similar principle an elongation is made in proper names of
weight or importance: AEschylus S. ad Th. 494. 553. Sophocles
ap. Priscian. p. 1328.
‘Intropiéðovros oxijua kai puéyas römos.
TIapóevoraios 'Apkás' 688 totós 3’ &víp.
'AApeoiſłowav, ºv 6 yew.vija as trarăp.
§ 102. Punctuation lastly, since it requires a stop and pause of the
voice, occasions sometimes a short final syllable in certain kinds of
verses, as dochmiac, to be made long. This takes place chiefly after
compellation or address, exclamation, and interrogation: and that
too among the Roman dramatic writers even in trochaic numbers, as
in Plautus, Miles iii, 2, 34.
Numquam édepol widi prômere : verum hác erat.
Nor does interpunction serve less in some places to excuse hiatus.
See § 82. 85. 86. This subject still needs a more diligent inves-
tigation. So much seems certain, that wherever, even independently
22 PROSODY. [Book I. CHAP. x.
of the metre, a pause is accustomed to be made in recitation, there a
hiatus is tolerated. Thus in the Asinaria iv, 1, 59.
Ancillam ferre Véneri—aut Cupidini.
And indeed that scene is altogether full of hiatuses, because the
articles of agreement, which Diabolus had ordered to be drawn up,
are recited slowly and distinctly. The case is the same in enumera-
tions of many similar things: as in Aul. iii, 5, 54. Men. iii, 2, 11.
Merc. iv, 4, 5, v, 2, 11.
Stat füllo, phrygio, attrifew, lanórius.
Prandí, potavi, scórtum accubui, Lábstuli.
Vidére, amplecti, 6sculari, Élloqui.
Egomet mihi comés, calator, équus, agaso, ärmiger.
And in Cretic verses : Most. i., 2, 73.
Arte gymnástica, disco, hastás, pila,
Cúrsu,-armás, equo.
A doubt may be entertained about that in Pseud. i, 1, 17.
Juvábo aut re-aut 6pera, aut consilić bono,
since a very easy correction might be made, juvabo te aut re. More-
over, in repetitions also of similar words hiatus is sometimes even
necessary, as in Mercat. i., 2, 68.
A. Éloquar, quandóquidem me oras: túus pater. CH. quid méus
pater 2
A. titam—amicam. CH, quid eam 2 A. vidit. Ch. vádit f vac
miseró mihi.
And in the same Play, ii, 4, 10. *
CH. quid id est, quod scis? EU. titus pater volt véndere. : CH.
omnem rém tenes.
EU. titam—amicam. CH. námium multum scís. EU. twis
ingrátiis. -
Naevius appears to have been very negligent in this matter. Cicero
(Orat. 45.) adduces these examples of hiatus from him :
Vos, qui–accolitis I'strum fluvium atque Algidum,
Quam nümquam vobis Gráii—atque barbari.
We have marked the hiatuses by a little line between the words,
according to the custom of the ancients: and we shall often use the
same mark below.
BOOK II.
OF SIMPLE METRES.
CHAPTER I.
OF THE KINDS OF SIMPLE METRES.
§ 103. We call simple metres those which proceed in one kind of
numbers. And since all numbers are contained either in arsis alone,
or have a thesis of times either equal in measure to the arsis, or less,
it appears that there are three kinds of numbers; the first of arsis
alone; the second of equal times, which are pyrrhichiac numbers,
tribrachic, proceleusmatic, spondiac, Molossic; the third of unequal
times, which are trochaic numbers, dactylic, paeonic: which have so
much variety and sweetness, that they are of all numbers the most
III U.S6 e
CHAPTER II.
OF BARE ARSIS, AND THE BASE.
§ 104. Bare arsis is seldom employed : and indeed a metre com-
posed of nothing but arsis would be inelegant and harsh.
§ 105. Yet something of the kind is found in a base.
So we call a
rhythm composed of a double arsis, which is used in the commence-
ment of certain numbers beginning with an arsis,” as some dactylic,
and choriambic, and logaoedic numbers. -
* Hermann thus explains why what he
calls the base is always found before an
arsis, and never before an anacrusis.
Those, says he, who take a standing
leap, with their feet joined, to clear a
ditch or rope, are accustomed first to
jump twice for the purpose of collecting
their force, and then to make the main
leap. The base resembles those two
preparatory jumps. Now let a person,
after so jumping twice, step with one
foot to take a spring, and then endeavour
to make the main leap by the impulse of
the other foot against the ground ; he will
immediately perceive that by the step
so made to take a spring (which step
represents the anacrusis) he has lost all
the force before gained by the double
jump, and thus has frustrated the design
of it. J. S.
24 NUMBERS OF EQUAL TIMES. [Book II.
§ 106. That a base consists of a double arsis is known from this
circumstance, that both syllables have an uncertain measure : for if
only one of the two had an arsis, there ought, according to the law
of numbers, to be a certain relative proportion of measures: but if
both are in arsis, they are both legitimately doubtful, because each
of the two is at once the beginning and the end of the numbers.
Whence all disyllabic feet are admitted indiscriminately:
& J.
V\-y
Aſ a
- *-
& a
ºw -
& &
- V_y
Thus certainly the AEolic lyric poets, as Sappho in Hephaest. p. 24.
(42.) -
"Epos 8' airé pu' à AvoipueM)s $ovei,
y\vkūtrukpov apáxavov ćpterov.
'AT6), aol. 3' épé0ev pièv àtáx6ero.
ºppovrtoºmv, &ti 8’’Avēpopuéðav Torii.
§ 107. But the lyric poetry of the Dorians, which tragedy and
comedy follow, excluded the pyrrhic : which some even of the
AEolians too appear to have done, as Corinna. As these therefore
chose to have the one or the other arsis necessarily long, this long
arsis might consentaneously be resolved into two short; whence,
accordingly as that arsis is the first or the last, these forms are
produced :
w 4. Af w
&v lº
There is place therefore both for an anapaest and a dactyl: but
they seldom use these feet, and not frequently a tribrach. On
account of this variety of measure, in marking numbers we express a
base thus,
* * /
& e to º
CHAPTER III,
OF NUMBERS OF EQUAL TIMES.
§ 108. Numbers occur, though rarely, composed of only short or
only long times; chiefly of short. But such numbers, at least most
of them, appear to have arisen from resolutions or contractions of
numbers having unequal times: so that no certain forms of them can
be constituted, which are not identical with such as are comprehended
in numbers of unequal times. *
CHAP. Iv.] TROCHAIC NUMBERs. 25
§ 109. In these numbers a suitable pronunciation must be attended
to ; from which it is for the most part easily collected whether they
belong to trochees, or iambics, or anapaests, or dochmiacs, in which
kind the resolution of all long syllables is extremely common. An
example of the trochaic kind is in Eurip. Iph. T. 198.
póvos étri pávº, äxed T' &xeauv'
of the iambic in Aeschyl. Prom. 903.
àtróAegos 68e y' 6 TóNepos, Štropa trópºpos'
of the anapaestic in Hephæstion, p. 27. (48.)
rts àpea Gabiſkopia ráð' étréovro 6porów ;
of the dochmiac in Sophocl. CEd. R. 1313.
vépos épióv éirírporov ČiritMápſevov čgarov.
§ 110. Spondiac numbers commonly belong to anapaests : the
Molossic are not used, although mentioned by Marius Victorinus, p.
2545. sq. who gives this example: *
Ite o Parcae primores fausta, nunc Parcas ducentes.
CHAPTER IV.
OF TROCHAIC NUMBERs.
§ 111. Trochaic numbers are these :
4
-v-v Trochaic.
Af
* | * \º sº. Iambic.
Aſ
= \º sm Cretic.
& Af
~ || --~ Antispastic.
Af
tº as ºn Bacchiac.
§ 112. Trochaic and Iambic numbers consist for the most part of
double periodic orders, i.e. of dipodiae. The ancient metricians, who
mark those feet thus,
4 - f
have no way of explaining why a spondee is admitted by trochees in
the even places, i.e. in the second, fourth, sixth, and eighth foot, and
by iambs in the odd places, i.e. in the first, third, fifth, and seventh.
From our doctrine, since we have shown (§ 66 and following) that
both the termination of an order, and a short anacrusis are doubtful,
it is at once understood that both the numbers of each kind, and the
law of the doubtful syllable, are the same:
Herm. - D
26 TROCHAIC VERSES, &c. [Book 11.
§ 113. Musicians and metricians refer Cretic and Bacchiac num-
bers to the paeonic kind: but it is manifest that the Cretic is a cata-
lectic trochaic dipodia; and the Bacchiac was substituted for the
amphibrachic, which was in disrepute on account of its effeminacy.
§ 114. The antispastus is composed of an iambus, and trochee.
When verses are made in this rhythm, the harshness of it is softened
by some catalexis, and association of other rhythms.
CHAPTER V.
OF TROCHAIC VERSES.
§ 115. Most trochaic verses proceed by dipodiae: in the end of
which a doubtful syllable is admitted, (§ 1 12.) and every arsis may be
resolved. Hence the form of a trochaic dipodia is this :
f
§ 116. Some trochaic verses consist of longer orders, of which the
most remarkable is the ithyphallic, which consists of a triple order:
Af
Whence in this, not the second foot, since that is in the middle of an
order, but the third admits a spondee. (§ 67.)
CHAPTER VI.
OF TROCHAIC MONOMETERS, DIMETERS, AND
TRIMETERS.
§117. Trochaic Monometers are usually found in systems; which,
as in most other numbers, so in the trochaic also, it is the custom,
especially of comedians, to form of dimeters. These systems are
continued in one unbroken tenor, concluded by a catalectic verse:
on which account ºthere is no place for hiatus at the end of each
verse, nor is it held necessary to conclude a verse with an intire
word; but the whole system is as one verse. Aristophanes Pac.
339. *
kai 30are, kai yeXär” #-
6m yüp Šćearat rô0 ipliv
£:…..? TAeiv, pévety, Kuveiv, Kaffew8euv,
és travnyüpets 6ewpeiv,
“. . • *
Vºl'.A.--~~&’,
chap. vi.1.] TETRAMETER CATALECTIC TROCHAICS. 27
&artão:6at, Korragáčety,
ov6aptºeuv,
io9 ioi kekpayévat.
The Greeks do not admit a dactyl, except in a proper name.
§ 1 18. As these regular and legitimate systems were accounted
peculiar to comedians, the tragedians are accustomed either to begin
or to end with some other numbers; as Euripides, Orest. 996. ed.
Pors. ô6ev čous ré re Treporów
&\tov peré6ašev ćppia
Tāv ºrpès éatépav kéXev6ov
oùpavoi troogappadoaga
plová"rw?\ov čs &ó.
§ 119. That trimeters are owned neither by tragedy nor comedy is
rightly stated by:Bentley on Cic. Tusc. iii, 12. If any appear to be
found, as those which Gaisford on Hephæstion p. 265. adduces
from Sophocles, CEd. Col. 1081. 1092, they belong to epitrites.
CHAPTER VII.
OF TETRAMETER CATALECTIC TROCHAICS.
§ 120. The tetrameter catalectic is most in use, having a caesura at
the end of the second dipodia. That caesura is often neglected by
comedians, but by tragedians scarcely ever. It is found neglected by
AEschylus in Pers. 164. q
raúrá pot Swir).jpépply’ &ppaarós éaruv čv ppeoiv.
This verse, which seems in truth to stand in need of correction, has
been but ill corrected by Porson in his Pref, to the Hecuba of Eurip.
p. 43. The following of Sophocles is excused by a change of person,
changing the caesura by a pause in recitation :
N. ei Šokei, a reixapev. P. 6 yewvalov eipnic&s étos. Philoct. 1402.
§ 121. Resolutions of long syllables are more frequent in the first
foot of each dipodia, than in the second, because remission in the
force of the rhythm is more agreeable than intension. The later
tragedy, which took its rise about the eighty-ninth Olympiad, was
not only more negligent about rhythm in general, but immoderate
also in resolutions, so that it even admitted disyllabic words into a
tribrach. Eurip. Orest. 736.
Xpóvios’ &AA' àpos Táxtora kakos épopá0m pi\ots.
The more ancient did not indulge themselves in this, except in prepo-
sitions, and certain other words closely connected, as
8va kaköv, 6 Se rotégée.
§ 122. Porson in his Preface to the Hecuba of Euripides, p. 43.
has observed that the tragedians do not terminate a polysyllable in a
long syllable before the last dipodia. The comedians hesitate not to
do this, as Aristoph. Nub. 577.
wheiora yap 0eóv &rávrov dºeNovoats rºv táAtv.
28 TROCHAIC TETRAMETERS. [BOOK II.
In Eurip. Hel. 1644.
oirep # 8tkm kexeiei p' &MN & ptoragó'ékiroööv,
Porson would read &ptoraq', not rightly, I doubt, because, as we
shall show below in the trimeter iambic, the fuller stop, which pre-
cedes, affords an excuse. -
§ 123. The writers of iambics, and the tragedians, admitted
no dactyl except in a proper name : the later tragedy admitted it
even where by a different collocation it might have been avoided, as
Eurip. Or. 1536.
aiyyovów T' épºv, IIvXáömv re rôv ráče Švv8póvrá plot.
Porson contends that the comedians observed the same rule with
equal strictness : but there are some passages which render the
matter doubtful with respect to them.
§ 124. The Latins, who term this verse quadratus and septema-
rius, use very frequent resolutions: and they admit into all places,
except in the last dipodia, a spondee and anapaest, and not unfre-
quently even a dactyl, but in such a manner that these feet, on ac-
count of the uncertain measure of familiar language, do not much
offend the ear.
§ 125. In Plautus these verses are asynartete; and in the caesura,
which however the Romans very often neglect, he has even admitted
an hiatus : as in Amph. i, 1, 116.
Crédo ego hac nocti, Nocturnum—óbdormivisse ébrium.
CHAPTER VIII.
of THE LAME TROCHAic TETRAMETER.
§ 126. The halting tetrameter is peculiar to the writers of iambics.
It is so called because it ends, not in an iambus, as the common
tetrameter does, but in a trochee: i. e. its latter part has these
orders: f | # *
---|--|--
piñ Tportpa Siir" epiè Xpi) Tº a körgy bukáčeoffat.
The caesura is the same as in the common tetrameter.
CHAPTER IX.
OF ACATALECTIC TRO CHAIC TETRAMETERS.
§ 127. Hephæstion gives an example of the acatalectic tetrameter
from Anacreon :
gº p g * / f y
KA56; piev, yépovros evéðelpa Xovgåren) e Kočon,
CHAP. XI.] ITHYPHALLIC VERSE. - 29
in which the caesura is neglected : for this verse also has the caesura
at the end of the fourth foot. The Greek dramatic poets do not use
this metre.
§ 128. Of the Latins both the tragedians appear to have used this
verse, and the comedians used it much. They call it an octonarius.
They allow themselves the same forms of feet as in the septenarius.
Plautus has made this verse also asynartete. Let the following serve
for examples: Aul. iii, 1, 1. -
Optati civés, populares, incolae, accolae, 4dvenae omnes,
Dáte viam, qua fügere liceat ; facite tota plātea pateant:
and Bacchid. iv, 3, 1. *.
Pétulans, protervo, iracundo—ánimo indomito, incógitato,
Sáne modo et modéstia sum, sine bono jure àtgue honore,
I'ncredibilis, imposque animi,_{namabilis illépidus vivo.
A Greek poet would scarcely have allowed himself a tribrach in the
last foot.
CIHAPTER X.
OF THE TRO CHAIC PENTAMETER.
$ 129. A catalectic pentameter, which Hephæstion calls itépperpov,
because it exceeds thirty times, which metricians contend ought not
to be exceeded, is used by Callimachus:
épxera, toxiºs uèv Aiyaíov 8tarpiññas āt' oivnpñs Xtov
àppopews, troXos 3& Aeoſłims àwrov vékrap oiváv6ms àyww.
§ 130. Bentley errs in assigning this metre to Terence also in
Phorm. i, 4, 17. iii, 2. 1. No dramatic poets either of the Greeks
or Romans used it.
CHAPTER XI,
OF ITHYPHALLIC VERSE.
§ 131. Ithyphallic verse, which, because it consists of one periodic
order, ought to have all pure trochees, and admits no other foot,
except a tribrach, (§ 116.) and that scarcely in the last place, be-
cause the rhythm ought to be more remiss at the end, is used
chiefly by lyric poets in place of an epode. Simonides ap. Etym.
M. p. 413, 23. -
ofov ráð’ piv Špireröv trapérraro,
26iov Káktorov. -
Also in some asynartete verses, as in Archilochus,
oùk é6 &pſis 6áA\ets àtraXóv xpóa' Képperat yūp #5m.
30 IAMBIC NUMBERS. [BO9.K. 11.
The Greek tragedians and comedians use this verse sometimes in
their choral songs. The Latin dramatists appear to have abstained
from it.
CHAPTER XII.
OF IAM BIC NUMBERS.
§ 132. We have shown above, § 112. that iambic numbers differ
from trochaic in having an anacrusis. And iambic verses also for
the most part proceed by dipodiae, the anacrusis being every where
doubtful, and each arsis, except the last, being often resolved:
*
whence metricians teach that a spondee is admitted in the odd
places. So the writers of iambies, and the tragedians used these
numbers, admitting an anapaest only in a proper name, and not in
the last foot. Both sometimes purposely made all the feet pure
iambi. There is one kind of iambics however which does not consist
of dipodiae: which shall be spoken of under the head of antispastic
numbers.
§ 133. The comedians admit even an anapaest in all the feet
except the last. So at least metricians tell us. But the conse-
quences which must follow are proved both by the rhythm itself and
by the authority of poets to be false. For if an anapaest is received
in all the places, it must necessarily happen that, when a resolved
arsis precedes, and therefore a tribrach or dactyl precedes the
anapaest, there will be four short syllables in thesis, which is incom-
patible with trochaic numbers.
47
* V Vº \ \º- *sº | *} \, \! \º |
Dawes therefore (Misc. Crit. p. 250.) rightly denies that these feet can
be associated. On the other hand, when a tribrach precedes the
anapaest, and the ictus is placed on the last syllable of the tribrach,
which by the Latin poets at least is done very often, the trochaic
rhythm is preserved; but the doctrine of the metricians, who will not
allow a foot of four times, is overthrown :
47 &
ºw ºw | \, \, \! | * * \tº \ \º | ºw -
Hence it is evident that the metricians err, and that the rule should
stand thus, that a trochee in the iambic metres of comedians is
commutable with the dactylus irrationalis, i.e. a dactyl having the
short syllables shorter than two times, (§ 33. 35.) From which it
chAP. xIII.] IAMBIC MONOMETERS & DIMETERS. 31
follows that when that dactyl is admitted, the arsis cannot be re-
solved. There are therefore among comedians two forms of iambic
numbers, excepting the last foot of acatalectic verses, which is
always a pure iambus : , | - &
CHAPTER XIII.
OF IAMBIC MONOMETERS AND DIMETERS.
§ 134. The use of the iambic monometer is very rare among all
poets. It occurs however in systems of dimeters oftener than else-
where.
§ 135. Dimeters were used by lyric poets, and tragedians, and
comedians. Of whom Anacreon and Alcman appear to have
joined them in systems, as Gaisford observes, on Hephaestion, p.
243.
§ 136. The comedians very frequently employ systems of dimeters,
terminated by a catalectic verse, and connected in one unbroken
tenor of numbers, so that not only may words be divided in the ends
of the verses, but even the hiatus and the doubtful syllable are
. excluded, and the last arsis may be resolved. Aristoph. Eq. 453.
trai' airów &vöpukórara kai
'yāorptize rotow évrépous
kai rois köAots'
xâtros KoMá ràv čvöpa.
And in Acharn. 1040. -
karáxet oi riis xop?is rô pléAt,
Tàs a mirtas orá6eve.
§ 137. The tragedians, when they use systems of this kind, are
accustomed to conclude them with a verse of another species, as
Eurip, in Orest. 988. ed. Pors.
66ev Šápoto's rois époi-
ow fiX6' àpa troXúarovos,
Aóxevpua topºviouat Mauáčos Tékov
Tô Xpwoºdplax\ov &pwós 6trór'
êyévero répas d\oov 6\oov
'Arpéos introſłóra.
§ 138. In Plautus the numbers are found continued through
systems in the same manner, and ending with a catalectic verse, as in
the Greek comedians. Thus in the Cistellaria, ii, 1, 11.
marátumis moribus . .
mecum éaperitur : áta meum
frangit amantem animum, néc nisi quia
misér non eo pessum, itlla abest
mihi perdito pernácies.
The Greek poets do not resolve the last arsis of the catalectic foot.
32 IAMBIC TRIMETERS. [Book 11.
CHAPTER XIV.
of IAMBIC TRIMETERS ACATALECTIc.
§ 139. The most noted of iambic verses is the trimeter acatalectic,
which the Latins call senarius. Grammarians mention four forms of
it : iambic, properly so called, consisting chiefly of pure iambi;
tragic, remarkable for the alternate spondees in it; comic, full of
trisyllabic feet; satiric, between the tragic and comic. See Schol.
Hephaest. p. 87. (170.) But this is not altogether true.
§ 140. The legitimate caesura of the trimeter is that which is called
Trev6mpupepſis: * 4 a -
but that caesura is often neglected, and others are made, or some-
times none : whence it comes to pass that this verse, on account of
its wonderful variety of orders, is adapted to poems of length. Of
all divisions that is least approved which parts the verse into three
intire iambic dipodiae, because it is destitute of all variety. A poem
consisting of verses so divided was purposely constructed by Cas-
torion of Soli: see Athenaeus, x. p. 454. F.
oé Tóv (36Aots vipokrátrous 8voxeipepov.
§ 141. The writers of iambic poems abstained for the most part
from resolutions. They are most fond of the pure iambus, so that
they utterly exclude the spondee from some poems; as Catullus,
Carm. iv. The later writers rarely admit even the anapaest, as in the
poem extant in Athenaeus, vi. p. 253.
§ 142. The tragedians generally employ the legitimate caesura, but
sometimes others. What Porson has said on these in the Supplement
to his Pref. to the Hecuba, is little profitable, and not even suffi-
ciently true. The hephthemimeral caesura is often found, which is
in the middle of the fourth foot. This requires the verse to be di-
vided into the following orders:
keivm yöp (ÖAeočv º tº. T' dyet
èrei trarijp oiros cós, òy 6pmveis àet.
§ 143. The caesura which takes place at the end of the third foot,
is more unfrequent, and in itself not very elegant; but in solemn and
impassionate language we find it very aptly employed. Æschyl. S. ad
Th. 1054. Soph. El.. 1036. 1038. Eurip. Hec. 387.
- &AA’ 8v ráAts orvyet, où tiphoeus rápp;
àriptas pièv ot, tpopumbetas 8é gov.
ðrav yūp eſſ ºppovăs, 766 hyāqet at vöv.
kevreire, pim petëe00 €yö, "rekov Tlápty.
It requires these orders:
º
§ 144. Porson has observed that the second and third feet are
chAP. XIV.] IAMBIC TRIMETERS. 33
seldom comprised in one word. The harshness of such a rhythm is
however extremely well adapted to some subjects, although not to
most ; as in AFschyl, Pers. 465. 509. and Eurip. Suppl. 699.
Fépěns ö’ &vºuwêev Raków Śpāv Bá60s.
Opſiknv repágavres pêxts roMM; trórg.
kai ovputraráčavres péoov rávra arpatów.
§ 145. Porson contends that the third and fourth feet are never
comprehended in one word ; and thinks all examples of the contrary
are to be corrected. In which he errs : for at one time another
casura softens the harshness, as in the Pers. 500.
étrel Šć troA\& 6eok}\vrāv ćirača aro
orparós, Tepā KovaraXXotriya Suá têpov.
At another nothing hinders us from deciding that the verse is with-
out caesura, as in AEschyl. Agam. 1061. Suppl. 252.
# Käpt' ap' &v Tapeakórets xpmogàv čplēv.
kai rāNAa toû p" ēteuxága, Šikatov Šv.
§ 146. For verses intirely destitute of caesura are frequent, the
several feet of which are contained separately in separate words:
Soph. CEd. R. 598. -
rô yüp rvyetv airois à travrº èvraú6 ávt.
§ 147. Sometimes the section or incision, being made not far from
the end of a verse, or but a little after the beginning, has the effect
of conjoining the numbers of two verses more closely, and of thus
giving room both for apostrophus and synaloepha. Sophocles was
the first who practised "this : OEd. Col. 1164.
ooi paav airó, eis A6-yovs é\beiv pokóvt’
aireiv, &TeX0eiv T' àopaxós riis beip' 680i.
And in Electra 714. -
KTüirov spornróv Čippiórowº Kárts 3' &va,
'popeið’’ poij Śē Távres à l'a peputyuévos.
From this close conjunction of two verses, words not often found
in the beginning of verses may commence one, as Šíra. See Her-
mann on Soph. Aj. 965. *
§ 148. As to the measure, Porson on Eurip. Hec. 347. and in the
Supplement to his Preface to that Play, has observed that the tra-
gedians seldom place a word of more than one syllable, and ending in
a long one, imumediately before the fifth arsis; as in Eurip. Ion, 1.
"Arxas & XaARéolai 1 &rots | otpavov.
By which in truth the rhythm is rendered rather harsh. See Her-
mann on Eurip. Hec. 341. But Porson had not perceived the con-
ditions on which the tragedians allow themselves this disposition of
words. Now they are three : The first, when the subject seems to
require a more moliminous and difficult movement in the numbers,
as in the example above cited, which Porson in his Epist, to Dalzel
inconsiderately wished to have corrected. See Museum Crit. Can-
tabr. iii. p. 332. The second appears to be in the case of a proper
name, as in the Pers. of Æschyl. 321.
vouáv, & T' éo.6Aös 'Aptopapºos, 2épôeauv.
The third and last, and the most frequent of all, when there is a
Herºn. R
34 IAMBIC TRIMETERS. [Book If.
previous stop in the third thesis, or, which is rare, in the third arsis:
Eurip. Hec. 51 1. Rhes. 715. -
oteißwuev, Šykováplev' jºyoi plot, yépov.
(3íov 8' étratröv eſpir', &yüprims ris Aérpts.
For this interpunction, since it divides the verse into the orders
pointed out in § 142. and 143. by its nature requires a longer pause
of the voice in the fourth thesis. Porson has, however, observed
rightly, that when äv is in the fifth arsis, preceded by a word having
its last syllable elided, the two words are as one, and therefore that
such examples are not opposed to his canon, as in Eurip. Phoeniss.
1620.
éyò 8é watew o' ovk Šágap' àv x0óva. *
Although indeed some of such examples also may be defended by
the interpunction above mentioned, as Soph. Electr. 413.
ei plot Aéyous Tijv Šibuy, eitop,' av Tóre.
§ 149. The tragedians never allowed themselves an anapaest ex-
cept in the case of a proper name, and even in that case not in the
last foot, which ought to be always a pure iambus. And indeed to
the time of the eighty-ninth Olympiad they admitted an anapaest in
those proper names only, which it would have been otherwise ab-
solutely impossible to adapt to the verse ; after that Olympiad, even
in such as, by a different collocation of the words, might have been
brought into the verse without the necessity of an anapaest: thus
Eurip. Hel. 87.
TeXaputºv' XaAaptis Šē Tarpis # 6péilagá pe.
§ 150. In the first foot, however, any word may make an anapaest.
But that anapaest could not in the more ancient tragedy consist of
several words, nor ought it to be produced by the accession of the
augment in verbs. After the above mentioned Olympiad, the ana-
paest in the first foot might be formed even of several words, and of
an augment ; as in Eurip. Or. 888. ed. Pors. and Herc. Fur. 458.
éti Tūjöe 3’ flyópeve Awpufföms &vač.
ërekov pièv ipſis, troXepiots 6' éðpepápumv.
See Hermann in Praef. ad Eurip. Hec. p. 56. and Elem. D. M. p.
121.
§ 151. The tragedians, as Seidler has observed, might omit the
augment in passages formed upon the model of epic poetry, such as
narrations of messengers, which are termed Öhaeus à yºyeMukat. Hence
some verses have been rid of anapaests, which vitiated them.
§ 152. Further, in the later tragedy the use of the tribrach is much
more frequent, and there is altogether a greater negligence in the
numbers; so that even the tribrach, which is in place of a trochee, is
not, according to the usage of the more ancient poets, comprised in
one word, or at least in a preposition and noun, as 8t' épé, itép époij,
Šta påxns, but is allowed to be formed from several words of whatever
kind : thus Eurip. Or. 27. 47. 99.
où ka?.6v čá, Toijt’ &capés év Ková, a roteiv.
ph Tupi čáxeoffat, piire Tpoo povel v Tuvá.
- 6-bé ye ºppovets eſſ, röte Attroja’ aloxpós 66povs.
§ 153. The satiric trimeter preserves for the most part the gravity
CHAP. XIV.] IAMBIC TRIM ETERS. 35
of tragedy; but as the species of drama in which it is used unites
mirth with gravity, it was allowable to employ the anapaest sometimes
not only in the first foot, and that too an anapaest consisting of
several words, but in the middle of a verse also, and in any word.
The Cyclops of Euripides affords some examples.
§ 1.54. The comic trimeter oftener neglects the caesura in the fifth
half foot, and admits an anapaest in every place except the last.
Aristoph. Vesp. 173.
karáſa, Karáða, karáða, karáſa, kata/3hoopiat.
But a word terminated in the second of the short syllables, and
ending in a dactyl, is esteemed inelegant : as in Plaut. Asin. iv,
1, 26.
Tecum itna posted ae'que pocula pétitet :
which ought to be written pocla. [See Appendix.]
§ 155. And in this verse no care is taken, as in the tragic trimeter,
that a word of several syllables, immediately preceding the fifth arsis,
may end in a short syllable : Aristoph. Acharn. init.
ðaa 6% 8éönypiat rºw épavroi, kapātav.
§ 156. [See the Appendix.] The question which has been agitated
of late, whether, if the fourth foot is an anapaest, a word may end in
the first of the short syllables, relates no less to the rest of the feet :
and since it cannot be doubted, although metricians are very apt to
forget it, that poets consulted their own perceptions and ear, rather
than rules, which after all are drawn from their practice; it seems
reasonable to conclude that they allowed themselves that division of
words whenever the phraseology was of such a character, that the
words could not be pronounced but in close connexion; as in
Nub. 71.
&otep Meyak\éms, Čvorič' éxov' éyò 3' pmv.
And upon the same principle we may probably account for such as
that in Lysistr. 768.
pil oraotáowpev' &ort 6' 6 xpnopós oiroo’i.
But that they did not allow it, when either interpunction, or a change
of person, required a pause to be made on that syllable; as in Av.
1497. Vesp. 1369.
époi karóirty évraj0a; II. ut, röv At', 'yū, pèv ow.
röv Švatrorów KAépavra ; b. Trotav ai,xmrpiða ; -
or when there was nothing which required the words to be closely
conjoined ; as in Ran. 1307. in Lysistr. 838. in Nub. 63.
Tpós iſvarep Turíðeta rā8' éor' #8ew HéAm.
êywye Kāortv Čiuðs à viºp Kavmorias.
trepi rowdgaros évreiðev čAotöopoàpieba.
There seems little doubt that such verses ought to be regarded as
corrupt. [See the Appendix.]
§ 157. From the admission of an anapaest into the comic trimeter,
a tribrach and dactyl cannot everywhere be conjoined to that foot,
as was signified in § 133. There are three modes or forms in which
this may be done. The dipodiae being marked out after the opinion
36 IAMBIC TRIMETERS. [Book II.
of the grammarians, the orders after ours, these feet may be as-
sociated :
& f J
-- \w \,\ \º \} \º || –
The ictuses being placed according to the opinion of the grammarians,
the numbers become perverted, a trochee being changed into a pro-
celeusmatic :
* | * \º | \, \! \, \! | {-}
But if placed according to our opinion, they are opposed to the doc-
trine of the grammarians, an iambus being changed into a proceleus-
matic :
A J
* = | * \º \º Mº i \} =
And yet the Latin poets, who leave no room for doubt how the
ictuses are to be marked, confirm our mode by an immense quantity
of examples. Among the Greeks examples are rare, but leading to
the same result: as in Aristoph. Plut. 1011. and Plato in the Schol,
ad Eurip. Hec. 838. (821. ed. Matth.)
wntráptov av kai pārriov intekopičero.
oùros ris eī; Aéye taxi riotyás ; oik Špeis ;
For no one will mark the ictus on the first, or on the second syllable
of a proceleusmatic. We shall with reason therefore decide, that a
dactyl in the place of a trochee may be rightly followed by a tribrach
having the ictus on the first syllable.
§ 158. The second mode is this :
* & &
• — v- v–
V \d
Here if the ictuses are placed as the grammarians would have them,
the numbers are equally perverted, a trochee being changed into a
proceleusmatic :
* \s) \,
A
\s) * \tº \ \º gº
and if as we would, the scheme of the grammarians suffers, an iambus
being changed into a proceleusmatic :
A f
\º \º Vº Vº tº sºme
But here too the Latin poets of no dubious authority are on our side.
From the Greek poets I have no example of this form so certain as
to exclude correction. Aristoph. Thesm. 285. Damoxenus ap.
Athen. iii. p. 103. A.
rô trówavov, Širos Aagoûga 60aw raiv 6eaïv.
éviore 3’ & pearðs trapakeMeiopiat, tróðey.
cHAP. XIV.] IAMBIC TRIMETERS. - 37
§ 159. The third mode is this: -
4 4 |
A f
This is not repugnant to the laws of the grammarians, but plainly
vitiates the numbers by giving a proceleusmatic for a trochee:
Af Af
‘āº. \º Wº Wº Wº | tº
And the form is found neither among the Greeks, nor among the
Latins, except in a few places, and those corrupt, or to be favored
by synecphonesis. Such are passages in which beneficium, male-
jīcium, are to be pronounced in four syllables. For as they seem
to have pronounced bene and male without the first vowel, so
in common language they said beneficium, maleficium. Ter. Eun. i,
2, 69.
Cupio àliquos parere amicos benefició meo.
§ 160. In one case however the Greek comedians hesitate not
sometimes to admit what seems faulty with regard to the numbers, I
mean a proceleusmatic instead of a trochee: but that case is such
as to take away the perversion of the numbers. For when a verse
has the caesura at the end of the second foot, they resolve the arsis
of that foot, even if the order, which follows, begin with a disyllabic
anacrusis: and rightly, because thus the second arsis does not then
cohere with the following syllables, as with its thesis, but those
syllables are the anacrusis of a new rhythm :
/ Af &
W = \º- \! \º * - --- * * * * sº
Aristoph. Ach. 47. &AA’ &0&varos' 6 yap 'Appíðeos Añamrpos jv.
Pac. 246. ió Méyapa, Méyap', Ös étrirptheat) abrica. -
See Nub. 663. Ach. 928. A v. 108. Eccles. 3. 5. This is done
therefore by the same law and right, as that by which in a sequence
of several verses continued through one unbroken tenor a verse which
ends in a resolved arsis may be followed by a disyllabic anacrusis, as
in the Acharn. 404. -
Eiputrión, Eöputtölov,
irákova ov, etirep réºror’ &v00&ww.v ruví. -
§ 161. The comedians did not divide words between two verses
except jocularly : as Eupolis ap. Heph. p. 14. (27.)
- &AA’ oix. 8vvaróv Čortv' oil yūp &\\& Tpo-
800Xevpa Baoráčovat ris TóAetos péya.
§ 162. The Greeks never admitted a spondee into an even place,
i. e. into the second, fourth, and sixth ; the Latins often into the
second and fourth, but never into the sixth : they take care however
for the most part, that the spondee may not offend the ear; as in En-
nius's verse,
Palám mutire plébeio piáculum est,
and in Plautus's, Mil. ii, 6, 22,
Nisi mihi supplicium virgarum de té datur:
38 LAME IAMBIC TRIMETER. [BOOK II.
which has been corrected by Bentley on Ter. Adelph. iv, 2, 52.
Ennius's verse would be made more elegant by this arrangement of
the words, plebeio est piaculum. See § 79. 100.
§ 163. Although in epic poetry the ancient Latins shorten a vowel
by casting away a finals (§ 95.), yet they do not so in the last foot of
a senarius. Such verses therefore as the following, from Plautus,
Rud. ii, 6, 28. are corrupt : -
Eheu Palaestra, atque Ampelisca, ubi esti' nunc *
See Elem. D. M. 141. and Addend. ad p. 142.
CHAPTER XV.
OF THE LAM E. IAM BIC TRIMETER.
§ 164. The lame or halting trimeter, which is called by the Greeks
okáčov, has the appellation of Hipponactean also, from Hipponax,
a writer of iambics. It has the same character as the lame or halting
trochaic, of which we have treated in chap. viii. i. e. its last dipodia
consists of an antispastus, * *
But in the anterior part of the antispastus of the halting iambic a
spondee is more unfrequent, as greatly detracting from the elegance
of the rhythm : thus in Theocritus,
ô uovoototôs érôáð’ ‘itt & vač Keirat,
ei pièv Tovmpôs, piñ Torépxev tº Túpſ39.
The pure iambus in that place is much more agreeable:
dis of pièv àyei BovráX4 karmpávro.
And so the Latin poets; who are very attentive to elegance in this
metre.
§ 165. The writers of iambics, to whom this verse is peculiar, con-
structed it in the neatest and most exact manner, rarely using re-
solutions, and entirely avoiding the anapaest, except that Babrius has
sometimes taken it into the first place. It is probable that no reso-
lution at all was admitted in the antispastus which concludes the
verse, although Heliodorus (ap. Priscian. p. 1327.) affirms that Hip-
ponax took great liberties in many respects : but with regard to the
verses quoted by him on this point, see Lindemann ad Prisc. Op.
min. Resolution is not frequent even in the fourth foot, as in these
verses of Phoenix of Colophon, ap. Athen. xii. p. 530. E.
oil trapa plāyoto, Tūp tepôv àvéarnaev.
d's 8' àtré0av'' ºvip, Tāori karéAttev jijaw.
§ 166. The tragedians abstained altogether from this metre, nor did
the comedians use it unless perhaps with allusion to the iambic
writers, as Eupolis in the Baptae, ap. Priscian. p. 1328.
CHAP. xvi.] IAMBIC TETRAMETER. 39
.* CHAPTER XVI.
OF THE IAMBIC TETRAMETER CATALECTIC.
§ 167. Among the comedians the catalectic tetrameter is very
much in use, having the caesura at the end of the fourth foot. Hip-
ponax,
et plot yewotto trap6évos Kaká re kai répetva.
But the comedians often neglect that caesura. The tragedians
wholly abstained from the metre.
§ 168. A resolution in the fourth foot is rare: Aristoph. Thesm.
567. -
&AX' ékirokić adv rás Tokáčas’ oitrore på Ată ot, y' & pet.
The fourth arsis however may be resolved even when the following
foot is an anapaest, in the same manner as the second arsis in the
trimeter; on which see § 160. Aristoph. Nub. 1063.
ToMAois' 6 youv TIn News &Aaffe & roijro riv påxatpav.
§ 169. In the judgment of Porson (Suppl. Praef. ad Hec. p. 39.
sq.) an anapaest in the fourth and the seventh places is allowed only
in a proper name : Aristoph. Ran. 943. Thesm. 554.
'AXiXXéa riv' Núðmy, rô Tpóo wirov oix. Setkvås.
éyévero Méxaríttras trouéjv, patópas re, FImveXórny re.
As to the seventh foot that judgment seems to be correct; but as to
the fourth there appears room for doubt. It is certainly credible
that other words, especially if they resembled proper names, might
make an anapaest in that place : Nub. 1427. -
okébat be rows &Aekrpvövas Kai rāAAa rà (3ora Tavri.
So irra Nekrováva Ran. 932. 937. See Elem. D. M. p. 147. sq.
§ 170. The Latins, who call this verse septenarius and comicus
quadratus, (see Diomed. p. 514. Rufin. p. 2706. 2707.) would have
it to be asynartete, which Varro also (ap. Rufin.) seems to intimate.
Wherefore in the arsis of the fourth foot they tolerated both one short
syllable, being the final one of a word, and a hiatus: Plautus Asin.
iii, 3, 61.
Sed si tibi vigintí minde -- argénti proferéntur,
Quo nás vocabis nômine 8–libértos : non patrónos ?
Id pótius: vigintí minde—hic insunt in crumána.
Ter. Hec. v., 3, 32.
Eám cognovit My'rrhina—in digito modo me habén tem.
But in Terence, Bentley, not thinking, as it seems, of asy nartete
verses, has commonly altered verses of this kind, except when
he thought there was a tribrach in the fourth foot; as Hec. ii,
2, 1.
Etsi scio ego, Philámena, meum jits esse, ut te cégam.
§ 171. The Latin comedians use the same licentiousness with re-
gard to measure, as in the other verses, but yet they have for the
40 IAMBIC TETRAMETER. [Book II.
most part kept the septenarii more exact and neat, observing the
caesura more diligently than the Greeks, and never admitting a spon-
dee or anapaest into the fourth place, except when facility of pronun-
ciation might obviate offence to the ear. Neither foot can be to-
lerated in the Asinaria of Plautus, iii, 2, 10.
Id virtute hujus cóllega, meäque comitáte
Factum ést : qui me vir förtiorest ad stafferendas plagas.
But if est be put after collegat, the spondee may be tolerated as
differing little from a trochee in pronunciation. And an anapaest, if
in one intire word, extending beyond the fourth arsis, or in two con-
joined by synaloepha, is without fault: as in the Eunuch of Terence,
iii, 5, 55.
Satin' éxplorata sint. Video esse: péssulum ostio 6bdo.
But not so, if the word ends in the fourth arsis itself. Wherefore
this verse in the Hecyra v, 2, 9. is corrupt,
Opórtet : quod si pérficio, non poe'nitet me fama.
On the contrary, if the arsis be on a monosyllable, the anapaest is
excusable, as in the same scene, v. 18.
Quid mi istac narras 2 &n quia non tute ipse dudum audisti.
§ 172. A proceleusmatic, which the Latins, as we have said in
§ 157. 158. often put for an iambus, is found even in the fourth
place, if its first syllable be not the final one of that word in which is
the third arsis: Ter. Hec. v., 2, 24.
At ha-'c amica erúnt, ubi, quamobrem advéneris, rescíscent.
§ 173. A dactyl too is equally admitted into that place : Ter.
Hec. v., 3, 34.
Philiamenam esse cömpressam ab eo, et filium inde hunc matum.
§ 174. When the casura is neglected, a spondee or anapaest is
thought to have nothing offensive : Ter. Hec. ii, 2, 12.
Aut €a refellendo attt purgando vöbis corrigémus.
Phorm. v., 3, 11.
Ut póssis cum illa: né te adulescens målier defetiget.
§ 175. A spondee is tolerated in the fourth place, when formed by
a short syllable ending in s before a word beginning with a consonant:
Plaut. Truc. i., 2, 52.
Procáciores éstis vos, sed illi perjuriósi.
§ 176. In the seventh foot a spondee is very much used by the
Latins, and equally so a dactyl and tribrach : for they very often
resolve the last arsis in this verse, which the Greeks did not.
§ 177. They admitted an anapaest also into that place, provided
its first syllable was not the last of the word in which was the sixth
arsis. Wherefore this verse of Plautus (Pers. ii., 4, 9.) must be
corrected :
Servam éperam, linguam liberam -herits me jussit habére.
We should read, herits me habere jūssit. But such as those in Ter.
Adelph. iv, 5, 78. and Hec. v., 1, 6. are correct : *
Sed césso ire intro, né mora, meis nitptiis egomét sim.
Nam quí post factam injúriam purgét param mihi präsit.
For so it should be written apparently. See Elem. D. M. p. 157.
CHAP. XVII.] IAMBIC TETRAMETERS. 41
§ 178. A proceleusmatic too is often found in the same circum-
stances: Plautus Asin. ii, 4, 24.
Dormítis intered domi, atque herus in hara, haud aedibus habitat.
CHAPTER XVII.
OF IAMBIc TETRAMETERS ACATALECTIC.
§ 179. The acatalectic tetrameter, called Boiscius from its inventor
Boiscus, is not used by the Greek tragedians and comedians. He-
phaestion gives an example from Alcaeus : .
8ééat pie Kwpáčovra, 8éat, Atocopiat oe, Aiogopiat.
§ 180. But the Roman comedians, and tragedians also, (though
Bentley on Cic. Q. Tusc. i, 44. ii, 15, denies it of the latter,) made
much use of this metre. See Elem. D. M. p. 158, seq. The Latins
call it octonarius. -
§ 181. The verse has two casuras. Plautus commonly divides it
in the fourth arsis, and therefore intended it to be asynartete, which
is indicated by the hiatus and short syllable. As in the Amphitr. iii,
4, 5. Bacch. iv, 9, 9.
Ille mávem salvam nænciat, Lawt %rati adventitm senis.
O Tróia, o patria, o Pérgamum,_0 Préame periistá, senew.
In Terence this kind of verse is not asymartete, because he usually
makes the caesura in the thesis which follows the fourth arsis.
§ 182. When the caesura is in the fourth arsis, the fourth foot
ought to be a pure iambus; as the eighth is always kept pure. But
when this caesura is neglected, there is place for a spondee, or a
dactyl, or an anapaest, or a proceleusmatic : Plaut. Amph. iii, 4, 14.
Ter. Andr. i., 3, 5, 4, 7. Eun. iii, 5, 30.
Nunc A'mphitruonem völt deludi méus pater : fawó probe.
Si illiam relinquo, ejus vitae timeo ; sin opitulor, hiſjus minas.
Sed quidnam Pamphilum évanimatum video 2 wereor quid siet.
Edicit ne vir quísquam ad eam adeat : ét mihi ne abscedam im-
perat.
But it is hardly credible that such an anapaest should have been
admitted as that in Terence, Andr. iii, 5, 7.
Qui sùm pollicitus diºcere 2 qua fidiſcia id facere attdeam &
Doubtless the poet wrote,
Qui sãm pollicitus diºcere?—qua id attdeam fidiſcia &
§ 183. The last foot must be indispensably a pure iambus, unless
where the rhythm is carried uninterruptedly into the next verse ;
which when done gives room both for other feet, and for resolution
of the arsis. Of this we shall speak presently, Ś 188. 189.
Herm. F
42 THE CONTINUATION OF TROCHAIC [book 11.
CHAPTER XVIII.
of THE continuATION OF TRochaic NUMBERs
AMONG THE ROMANS.
§ 184. In the comedies of the Romans the metres are often
changed, so that iambic verses are inserted among trochaic, and
trochaic among iambic, and in general several forms of trochaic
numbers are associated together. In this the Romans appear to have
taken, in part, the Greek systems for their models, but to have used
more liberty in their assemblages, the rhythm being sometimes carried
on continuously through several verses, and sometimes not.
§ 185. The numbers however are not changed arbitrarily ; (a point
in which Bentley has often erred with respect to Terence;) but for
some good reason. . Thus when a transition is made from lively
dialogue to more sedate narration, as in the Curcul. v., 2, 37. or
when a letter is recited, a part unattended with any stir or activity,
trimeters are employed, as in the Bacch. iv, 9, 74. Pseud. iv, 2, 41.
Pers. iv, 3, 32. Sentiments too and proverbs are delivered in tri-
meters, as in the Capt. ii, 1, 6.8. Stich. ii, 1, 28. The numbers
are changed also when the circumstances of discourse are changed,
at one time by the departure of some person, as in the Heautont. v.,
2, 25. Hec. iv, 1, 51. Adelph. ii, ), 43. iv, 5, 73. at another by
the arrival of some one, as in the Heaut. ii., 4, 26. Phorm. ii, 1, 23.
on which occasion also one different verse is inserted, as in the An-
dria ii, 1, 18. And in general the numbers are usually changed when-
ever any thing happens to alter the form or complexion of the dis-
course. See the Andr. iii, 2, 17. 18. Hec. ii, 1, 20. Phorm. i., 3, 25.
26. v., 1, 15. 20. Eun. iv, 6, 15. sq. Moreover, when an enumera-
tion of many, things is made, or any other description is inserted, as
in the Capt. iv, 1, 1. sq. Andr. i, 5, 25. Adelph. iii, 2, 4. seqq.
Often also in the end of a scene, when some resolution is taken, as in
the Andr. i, 5. iv, 1. Heaut. v, 2. or in the commencement of a
Scene, when agitation of mind increases or subsides, as in the Eun.
v, 8. Adelph. iii, 1. Hec. iv, 3. Lastly, the numbers are often
changed in the same passage, when different emotions agitate the
mind in various ways. -
§ 186. But this change of numbers is commonly made in such a
manner, that they appear to be continued. Whence Bentley on the
Andr. ii, 1, 7. Eun. ii, 1, 12. Adelph. ii, 1, 1 1. contends that oc-
tonarian trochaics are always followed by trochaic verses, and sep-
tenarian by iambics. One may say more correctly, that in a continuous
series of verses, a verse ending in thesis ought to be followed by a
trochaic verse, and a verse ending in arsis by an iambic.
§ 187. Among the Latins that continuity is not often made by
ovvá peta, i.e. by exclusion of a doubtful syllable in the end of a
verse, and by admission both of a resolution of the last syllable, and
of adjection of part of a word to the following verse. Which, when
chAP. xv.111..] NUMBERS AMONG THE ROMANS. 43
done without elision, produces hypermetrical verses, such as Bentley
on the Eun. iv, I, 11. affirms to be not found in trochaic numbers,
and on Heaut. iii, 3, 13, and implicitly on Phorm. i, 4, 10. not in
iambic. Rightly with regard to trochaic verses, but not so with
regard to iambic : for since both trochaic and iambic verses have
the same numbers, which are trochaic, and proceeding by double
periodic orders, i.e. by trochaic dipodiae, this disposition of metre is
injured by the adjection of a syllable to a trochaic verse,
/
* \º sm \º -
but not by the same adjection to an iambic,
w
\) = \º * \ſ
because these numbers are to be measured thus,
z
w = \º * \ſ
And the following verse too is alike vitiated by adjection of its first
syllable to the preceding trochaic verse. For of a trochaic dipodia
there remains an amphibrachus :
* Wºw ºn \º • | --> ---- gº ".
But it is not vitiated when the syllable is added to a preceding iambic
verse, because the trochaic orders remain intire :
e-v- || 3 || -v- v-v-
i. e. when the orders are rightly marked out,
y M
v || ---> || -v-v || ---
§ 188. Further, in these hypermetrical iambics the last iambus,
because it is now not the last foot, but an intermediate one, admits a
spondee, and the other variations: Plaut. Amph. v., 1, 15.
Ut jácui, easurgo : ardére censui ae'dis ; ita tum cénfulgebant.
I'bi me inclamat A'lcumena : jam éa res me horrore 6ft.cit.
§ 189. The manner of ending the iambic verse is the same, when,
by an elision at the end of it, it is coupled with the following: it is
then not hypermetrical, but, because the numbers are connected with
the succeeding verse, the last foot has the same measure as each
intermediate foot. Heaut. iii, 3, 13.
Ego dé me facio cónjecturam : némo est meorum amicorum hodie,
Apád quem expromere 6mnia mea occiºlta, Clitipho, attdeam.
§ 190. The Latins give the name of clawsulae to shorter verses in . .
termixed with longer of the same kind, and for the most part cohering
with them in continuity of numbers. The Greeks also used them, as
Aristoph. Nub. 221. Ach. 404. 407. Rufinus p. 2707. observes
that sometimes they are used even in commencement, as by Attius :
An haec jam obliti sùnt Phryges.
§ 191. What Bentley, on the Metres of Terence, has said of these
is not altogether true. For these clausulae either cohere with other
verses in continuity of numbers, or they do not cohere : if they do
not cohere, it is sufficient that they consist of catalectic or acatalectic
44 CRETIC VERSES. [BOOK II.
verses; if they do cohere, they ought to be continued in one tenor
of dipodiae with the verses to which they are united. Therefore in
the clausula which Rufinus adduces from Caecilius,
Di boni quid hoc,
if it was a clausula, boni ought to be a monosyllable, that the verse
may be an acatalectic monometer. But this, perhaps, was no more
a clausula than that appears to have been which the same author
quotes from Terence, Adelph. iv, 4, 1.
Discrucior animi,
on which see Elem. D. M. p. 432. Although this of Terence might
be tolerated, as far as numbers are concerned, if a trochaic verse
followed: because this little verse, being hypercatalectic, is still
iambic, which, if it is hyperimetrical, does not take away the move-
ment by trochaic dipodiae; which is not the case with respect to that
of Caecilius, if it is pronounced in five full syllables. See § 187.
§ 192. Of numbers continued in clausulae these examples may
suffice : Eun. ii, 3, 1.
Occide :
Neque virgo est usquam, néque ego, qui illam e conspectu amist meo.
Ib. ii, 1, 2.
Fáet : at matüre : fiet : sátime hoc mandatitm'st tibi 2 ah.
Rogitáre, quasi difficile sit.
Several clausulae conjoined, Eun. ii, 3, 6.
Néscio quid de amóre loquitur : 6 infortunatüm semem.
Hic véro est, qui si occéperit,
Luditm jocumque décas fuisse illum élterum,
Praeut hiſjus rabies qua' dabit.
Ut illiam Di Dede omnes sénium perdant, qui hâdie me remoratus
est.
§ 193. Of numbers not made continuous there is an example in
the Andr. iii, 2, 37. well adapted to express the indignation of Simo :
Quid ais ? quum intelléaeras
I'd consilium cépere, cur non diati extemplo Pámphilo 2
§ 194. Examples of a clausula ending in a trochee are extremely
rare. Ter. Hec. v., 1, 5.
Aggrédiar Bacchis, sålve.
CHAPTER, XIX.
OF CRETIC VERSES.
§ 195. Musicians and metricians, regarding the measure only of
Cretic numbers, refer them to the poeonic kind. For one long 'syl-
lable joined to three short generates the four paeons; and by the
contraction of two of these short syllables into one long the Cretic,
CHAP. XIX.] CRETIC VERSES. 45
Bacchius, and palimbacchius are produced. Of these feet the second
and third paeons with the palimbacchius are rejected ; the rest, the
first and fourth paeons, the Cretic and the Bacchius, are assumed :
§ 196. If we regard the numbers, those two paeons are of the same
kind; and the Cretic and Bacchius different from these. For the
first and fourth paeons differ in the anacrusis only, in the same man-
ner as trochees and iambs, dactyls and anapaests:
f f A
#
* \º as \º = \º \º sm \, \! * \º Nº º ºs ºf \sº wº
4 &
= \º em ºf \º * \tº \º as \º \º º
And according to the law of numbers, because thetical times
ought to be equal, the paeonic arsis admits of resolution, but the
thesis does not admit of contraction. For by the resolution of the
arsis this foot consists of five equal times, but by contraction in the
thesis, whether it be made in the two first or the two last of its
syllables, the paeonic numbers would be destroyed by the introduc-
tion of a new arsis:
f
* \tº \ \º sº
Vº
& 4
- \} \, \! •- \º \º wº
Af Af Af Af
*-* - \º - \º --
§ 197. From which it follows, that the Cretic numbers belong to
the trochaic, and are nothing else but a catalectic trochaic dipodia,
which consists of arsis, thesis, and arsis again. And since this order
is periodic, it is plain that the thesis cannot be doubtful, but consists
always and necessarily of one short syllable only ; but that each arsis
may be resolved, whence it comes to pass, that both the first and the
fourth paeon, and moreover even five short syllables may be put for
the Cretic :
Af
\! -->
* \tº \ \º
Moreover, that when several Cretic feet are conjoined in one verse,
no one coheres with another in a periodic order, and that the last
syllable of the last foot, as every final syllable, is doubtful, and can-
not be resolved, except in systems: in which since the numbers are
continued in one unbroken tenor, the last foot of the verses, unless
it is at the same time the last of the whole system, is subject to the
same law as each intermediate foot.
§ 198. Resolutions render the Cretic so like paeons, that it cannot
be distinguished from them except in that the paeons (as it has been
shown in § 196,) are wholly averse to the Cretic. And, in truth, the
numbers of the two kinds are most different : for the paeons have
only one arsis joined with a thesis of three short syllables, whereas
Cretics have an arsis on each side of one thesis of one short syllable.
Wherefore a paeon, which is truly a paeon, is very different from that
paeon which is produced by resolution of a Cretic : for the latter
has, like the Cretic itself, two elevations, and a thesis of one time;
the former one elevation or arsis, and a thesis of three times. In the
next place Cretics, as it has been shown in § 197, do not collere
46 CRETIC VERSES. [BOOK II.
among themselves in periodic orders; whereas paeons do always so
cohere, and that too for the most part in dipodiae, after the manner
of trochaic and dactylic numbers : -
A A
- * ~ * - w w w \ \º M = \º \ \º me
Wherefore it must be laid down that all verses, in which a Cretic
foot is found intermixed with paeons, are Cretic verses; but that
such as consist of pure paeons are either paeonic, or may be so. For
the Cretic, since it cannot be put for a paeon, is always an indication
of numbers not paeonic ; whereas a paeon, which can be put for a
Cretic, remains in itself ambiguous whether it be in reality a paeon, or
a resolution of a Cretic.
§ 199. That the Greeks were sensible of the difference of each of
these kinds of numbers, there can be no doubt ; although they seem
to have often confounded them, having been induced to do so both
by the similitude itself of the numbers, and by the doctrine of mu-
sicians, who, because they regarded nothing but the measure alone,
determined that there was no difference. Cretics are used both by
lyric poets and by tragedians and comedians; the first paeons, a very
voluble and lively kind of numbers, by the comedians principally;
the fourth paeons, which have great vehemence, chiefly by the tra-
gedians.
§ 200. Since the Cretic foot is by itself a catalectic order, Cretic
verses are for the most part terminated by that same foot, and have
no other catalexis. Some however are sometimes, although seldom,
found, terminated also by a single trochee, and these may with good
reason be called catalectic ; or by a trochaic dipodia, which latter
verses may be properly called hypercatalectic, as in AEschyl. Eum.
324. -
k\ü6' 6 Aarois yúp i-
vus pl’ &riptov ráðmow.
§ 201. Resolution is much more frequent in the second arsis of each
foot, than in the first ; which seems attributable to that confusion
with paeonic numbers which has been mentioned above. The re-
solution of each arsis is extremely uncommon.
§ 202. The dimeters are very much used both by tragedians and
comedians, and commonly conjoined in systems, so that the last
syllable of the verses is neither doubtful, nor admits an hiatus, and
may be resolved. In these systems a monometer too is assumed :
AEschyl. Suppl. 425.
ºppévrtoov,
kai yewoi, travölka's
eigeſ}}s Tpóēevos'
raw puyáða pºſſ trpoègs,
Tāv éka0ev čk{30}\ais
Švo0éous éppévav.
As the tragedians, so the comedians also, with whom these systems
are frequent, took care for the most part that the antisystems should
correspond in every foot, and that resolutions should be employed in
the same places. For the most part too they chose, that, as in this
CHAP. XIX.] CRETIC VERSES. 47
example of Æschylus, of every two feet the first rather than the last
should be a paeon ; because numbers which have an abatement of
force in their conclusion are more agreeable than those in which in-
tension follows remission.
§ 203. The tetrameter too is frequent, having the caesura at the
end of the second foot : Simmias ap. Heph.
pâteg ö Tórvia, k\i,64, vvupāv Šſpāv,
Aðpt, kvplokrütow #pav' &\tov plvXàv.
Simmias again, with neglect of the caesura :
ool pièv evittos, eitroxos, éyxéotraXos
öökev aixuāv 'EvváAtos evokorov čxetv.
The same poet has sported in a whole poem with the elevations re-
solved : oé Tore Atós &va tripſara weapé kópe veſºpoxirav.
Others with the prior elevations only of the feet resolved :
6vpleMuköv iów, uákap, ºptAoppóvos eis épiv.
[See Hephæstion p. 75. ed. Gaisford.] Aristophanes in Georg, ap.
Hephæst. has different forms of resolution :
év &yopá 5' ań TAáravov et Stapvreto opew.
§ 204. Alcman used the catalectic hexameter; whence this verse
has the name of Alcmanian :
'Appoètra pièv oilk &ort, pāpyos 5' "Epws, of a rais, traigöet,
âkp' ét’ &vöm kaffaivo", & uń uot 6iyńs rô Kvitalpiakº.
§ 205. Cretics are found too beginning with an iambic anacrusis:
Aristoph. in Pac. 1127.
#8opiat y', #60pa,
kpávows &rm\\aypuévos,
Twpoi re Kai Kpoppiùov.
oi yüp pixmöö ačxas.
On this verse see below also, § 247. 270.
§ 206. Cretics are much used by the Roman tragedians and come-
dians, and with the same license as to prosody as the rest of the
metres. Whence, if ever they put a Molossus for a Cretic, about
which Bentley has spoken, on Cic. Q. Tusc. iii, 19. and Ter. Adelph.
iv, 4, 2. they do it in such a manner as to conceal the faultiness of
the measure under the ambiguity of familiar pronunciation: Plaut.
Capt. ii, 1, 11.
Aüt solutós sinat, qués argento èmerit.
Rud. i., 5, 15. 19.
Quaene ejecta é mari ambae sumus, te 6bsecro.
U’t tuo récipias técto, servésque nos.
§ 207. As they commonly use the tetrameter, they often made the
verse, divided into two equal parts, asynartete. Ennius in Andro-
macha :
Quid petam praesidi, aut €wsequar, quáve nunc
Aút awailio Éasili—aitt fuga fréta sim?
§ 208. Plautus, who often intermingles Cretics with other numbers,
in some cantica” and diverbia,” in which we observe an antistrophic
a Parts which one actor alone chanted or sang,
* Parts consisting of dialogue.
48 CRETIC VERSEs. [BOOK II.
disposition, has not only placed dimeters sometimes, but still oftener
catalectic tetrameters, and that too with the third foot having the last
syllable doubtful, and the fourth admitting a resolution of the arsis.
Thus in the Trinum m. ii, 1, 17.
Dá mihi hoc, mél meum, sí me amas, si attdis :
1'bi tum ille cucílus : hem,--océlle mi, fiat :
E’t istuc, et si ämplius vis dari, dàbitur.
I'bi pendentém ferit: jam ſimplius—órat :
Nón satis id €st mali, mi émpliw'st etiam,
Quád bibit, quéd comest, quéd facit simpti.
Nów datur: dàcitur familia têta.
The same metre is sometimes joined with acatalectic tetrameters.
§ 209. Plautus has joined the trochaic hypercatalectic monometer
also with Cretics; and that sometimes by intermingling either one or
more of such verses with the Cretics, sometimes by compounding
verses of a Cretic dimeter and that trochaic verse. The Greeks had
led the way: as Aristoph. Ran. 1358.
&pa Sê Aikrvvva Tais
"Aprepas KaNé.
So Plaut. in Bacch. iv, 4, 4.
Cállidum semem
Cállidis dolis
Cómpuli et pérpuli, mi 6mnia ut créderet.
Núnc amanti hero
Filio senis,
Quicum ego bibo,
Quicum edo—et amo.
Régias cépias aitreasque 6btuli,
O't domo stºmeret, neſt foris quae'reret.
In the Mostellaria iii, 2, 1.
Mélius anno hôc mihi nán fuit domi,
Néc quando esca illa mejúverit magis.
- Prándium uwór mihi pārbonum dedit.
And a little afterwards :
Quá magis cógito ego citm animo meo,
Sí quis dotátam habet, néminem sopor
Sóllicitat : *re dormátum mihi odio est.
Easequi cérta res ést, ego ut abeam
Pótius hinc àd forum, quám domi cubem.
§ 210. That in Cretics clausulae should be found such as Bentley on
Ter. Andr. iv, I, 12. has represented, consisting of a Cretic and a
hypercatalectic iambic monometer,
Nil opu'st, ib% werentur,
is not credible, since it does not appear certain even that a hyper-
catalectic dimeter is in place of a clausula, such as this verse itself
would be, if the ictus were placed on the fifth syllable from the end,
and the fourth syllable shortened: or such as that in Plaut. Amph. i,
1, 82.
Vícimus víferoces.
CHAP. xx.] ANTISPASTIC NUMBERS. 49
CHAPTER XX.
OF ANTISPASTIC NUMBERs.
§ 211. The precepts of metricians about antispastic numbers are
wholly false. For since, after their manner, they joined four sylla-
bles in one dipodia in those metres which were not absolutely refrac-
tory, as dactylic, anapaestic, paeonic; and were ignorant of the nature
of a base; they referred to antispasti those verses which, either
beginning with a base, or otherwise being wrongly divided, showed
any appearance of those dipodiae. And first choriambics with a base,
which they divided thus:
—— | | |
Next a Glyconean joined with a Pherecratean:
ammºn \º
*—
tº - sº- \º
•= \º -s sº
\d tº * *
* * I smºs ammº
Then a Phalaecean:
º “- = \º º! - \º - || Sº a s \º
•- º
\º tº
Lastly two other kinds, of which the first is this:
* \º
| smºmº gº
and the second this:
* = \º = w——w!--v— * = \º
Hence they have taught that the first foot of the first dipodia admits
all the disyllabic feet, and that in the other dipodiae the antispastus
is preserved pure; that in other kinds a diiambus is found in the
second place instead of an antispastus; that in others the first foot
even of the third dipodia receives all the disyllabic feet: and what-
ever else may be collected from the forms marked out above. But
all these things are not only without reason, because it does not
appear why what is allowed in the first dipodia should not be
allowed in the rest also, and why an antispastus, which begins with
an iambic anacrusis, and ends in a trochaic thesis, has not each, as it
should have, doubtful: but they also give the numbers so broken,
preposterous, and offensive, that the ear alone must immediately
Herm. G
50 ANTISPASTIC NUMBERS. [Book II:
detect their error. Besides, the Latin grammarians have taken a
truer course, perceiving those verses to be formed of choriambic and
other numbers, not of antispastie.
§ 212. The antispastus is composed of an iambus and a trochee.
Whence this appears to be its measure :
\, \! \w \º
And that measure must necessarily remain even when several anti-
spasti are conjoined in one verse. For antispasti cannot be coupled
in periodic orders: if this were done, the doubtful syllable would in
truth have place in the beginning of the first antispastus only:
Aſ & f
J = ** V V = - \) \, = - \w
But these would thus be not antispastic numbers, but choriambic,
which are of the dactylic kind. And indeed several antispasti
seldom follow one another, because these numbers have a very dis-
agreeable and uncouth movement; as if one were to divide this
choriambic verse with a base after the manner of the grammarians:
karðváakes, Kv10épm, à6pös | "Abovis. Tí | Ke 6eipev ;
§ 213. To soften this asperity, the poets increased the antispastus
by one syllable, from which arises a dochmius, associated it with
other numbers, made use of frequent resolutions. They also kept
the anacrusis for the most part short, because a long one in numbers
so weak is less agreeable, unless indeed the arsis following it be
resolved.
§ 214. An antispastic monometer is rare. Æschylus Sept. ad
Theb. 155. 164.
6 trórvi’ “Hpa.
& pi\’ ”AiroNAov.
And in all antispastic verses the prior arsis is oftener resolved than
the posterior, which, being nearer the end, should be stiller.
§ 215. Nor is the dimeter frequent. Æschylus, Agam. 1151. 1161.
vöplov ćivopov, oiá ris Éov0á'
- rt 6' étiqoſła $vo párq, k\ayyá.
§ 216. Euripides appears to have used a trimeter in the Herc. Fur.
919. followed by a verse composed of two dochmii:
Aéye, tiva Tpótrov čovro 6eóðev čtri puéAaôpa ka-
-kä ráče, TAñpovás Te Tatēov ráxas.
§ 217. Among the tragedians chiefly, the antispastus is often
associated with other numbers, mostly iambic and trochaic. Of
these the iambic are not such as have been treated of above, which
proceed by dipodiae; but of another kind, allied to antispasti. This
kind, because it consists of shorter orders, and therefore admits a
doubtful syllable even into those places, from which it is excluded in
dipodiae, whence arises a broken and feeble movement, we call
ischiorrhogic iambics, a term transferred to these from the Hippo-
nactean trimeter, to which it was applied by grammarians. Of
CHAP. XX.] ANTISPASTIC, NUMBERS, 51
these, accordingly as the anacrusis is monosyllabic or disyllabic, the
following forms are most in use:
ºf & w - º f
* \sº \º º
* , * f & f
v, -U, - || J- w V-J 1–| J–
\, \! \º º * \º * \º
These verses are found even without any antispastus added. An
antistrophic song in Sophocles, Electr. 504, may serve as an ex-
ample: -
& IIé\otos & Tpóa'6ev orp.
troAvrovos it reſa, -
dis poxes aiavi,
Táče yá.
effre yap 6 trovrtoffels
MvptíAos ékoupé0m,
Traykovačwv Šippov ăvr.
8vorávots aiktats
apājiàos êkpip6eis,
oir, tro
ëAurev čk roi;6' oikov
troAirovos aikia.
§ 218. To this kind is added another also, composed of a choriam-
bus with a monosyllabic anacrusis, and one iambus: .
~ * * * ... * *
Soph. Trach. 848. and 859. .
§ Tov 6\0& orévet,
# Tov &8wów X\opäv
Téyyev Šakpāov ćixwav.
& rôte 60&v viſuq'av
âyayes &T'aitreuvâs
Távö’ Oixa)\tas aixuā.
Unless these verses are all of one kind, of a bare arsis and dochmius,
which is very probable. See below $ 251.
§ 219. These kinds therefore are often coupled with an antispastus.
Sometimes thus:
Fsch. Choeph. 383. Agam. 416.
épvpuvijaat yévouré plot.
i /3é9akev filpºpa Śta rvXäv.
§ 220. At others, in this form, which is the most frequent :
* Af A z
AEschylus, Sept. ad Theb. 122. 125. 139.141.
'Apyelot be tróAtopia Káðpov.
kuvipovrat póvov XaXtvot.
52 ANTISPASTIC NUMBERS. [Book II.
ixóv66A4 playavā IIogetöäv.
kai Kürpus, &re yévovs woopiárwp.
Care must be taken not to confound this kind, when it begins with
two dactyls, as in the last quoted verse, with logaoedic numbers. So
too in the Pers. 288.
ékrugav eivièas #3’ &vávěpovs.
What the numbers really are, we may discover sometimes by the
whole composition of the strophes, at others by the antistrophic
verse, rejecting logaoedic numbers, as in the Pers.
éðegaw, at ai, orparoi, póapévros.
§ 221. Another kind, and that not uncommon, is this :
Aſ Af ºf 47 Af
V- -vi | V, -U, -
-s v-
Mºd \º ºf \º tº vº
Æschyl. S. ad Th. 362. 374. Suppl. 390.
rív' ék Tövö’ eikáoat A6).os Tápa.
Traykławſrov &Ayéov čwtógoôov.
puévet rot Znvös irratov Káros.
In this kind the iambi are for the most part kept pure. See this
iambic subjoined to a dochmius, below, in § 246.
§ 222. Among the tragedians forms composed of those iambi
without an antispastus are very common: of which the most in use
are these: AEsch. Ag. 256. Eurip. Alc. 270. A.sch. Ag. 234. 419.
Pers. 1023.
* &
1. * = \º sm m | \} as W = =
47 º
2. \} \s) as \º m = | \) is \º sº m'
* *
3. \º m \, = , = | tº \dºm Mesa as
Af Z
4. * = \º as me | &J ºn Wºº am Mº sº
Af Af
5. " - w -- | * \tº me ºf s \ =
réxvat 8é KáAxavros oilk &kpavrot.
akoria 3’ &t' àogouat vöá čpépire.
Yuvatkotrotvov troXéptov Šptoyáv.
ið ič, Šàpia, Šâpa kal Tpópot.
Öpis rô Nottröv rööe Täs pas aroMás.
In these metres, the posterior portion, at least in the two last forms,
appears to be of the ischiorrhogic kind, since, although very rarely,
a spondee too is found in place of the middle iambus: AEschyl.
Pers. 1013.
TerAffype6', oia, 8t' atávos rôxat.
§ 223. With an antispastus are joined also, but more seldom, tro-
chees, as a trochaic dipodia, e. g. in the Pers. 982.
f Af Z
wº-- J -\! --— Nº.
* \s, Wºº Yº
r\áploves àoralpovol xépop'
cHAP. xx I.] DOCHMIAC VERSES. 53
and a tripodia, as in the Choeph. 638.645.
Stavratav čvirevkës ourg.
trpoxaMKewel 8' ałora pao'yavoupyás.
For although this verse may seem to be composed thus,
& &
w = \º - * \º as \º sº º
Yet the pronunciation of the words is more elegant with this metre,
A y Aſ
w; * = C\ * \º as º ºs \º
§ 224. A transition is often made from dactyls to antispastic num-
bers, but commonly to dochmiac; of which below. AEschylus, Sept.
ad Theb. 490. may seem to have passed to the antispastus:
patvopé-vg ºpewt, Tós viv.
But it is more likely that both in this verse, and in the one which
follows, a transition is made from the antispastus to iambi:
patvopévg ppe-vi, rós viv
evs vegérap &t-têot koraivov,
in these forms:
f & *
For the composition of the whole strophe proves that neither of the
verses is dactylic.
CHAPTER XXI.
OF DOCHMIAC VERSES.
§ 225. Dochmiacs are the kind of antispasti most in use: they
consist of a hypercatalectic antispastus,
Aſ ºf a
\º m * V =
See Etym. M. p. 285, 25. which passage has been discussed by
Seidler de Verss. Doch. p. 401. sq. and Boeckh. de Metr. Pindar. p.
45. The Scholiast of Æschylus on S. c. Theb. 129. calls these
numbers fivöuðv čkráompov, because they have eight times. Mu-
sicians mention two kinds of dochmiacs; this, which metricians also
call so, and that which by metricians is called Glyconean : see Aris-
tid. Quintil. p. 39. -
§ 226. Since the third syllable of this metre is doubtful, from which
it is understood to be either anacrusis or thesis, the numbers of the
dochmiac may be stated in a threefold manner:
Af ſ
4 / f
•4 || | *-
54 DOCHMIAC VERSEs. . . [Book II.
Of these the two former would be extremely disagreeable and harsh:
but the last is very elegant, and eminently adapted to mental agita-
tion, for the signification of which this kind of verse is accustomed
to be employed. For it is used by lyric poets but seldom, by come-
dians for the most part in ridicule of the tragedians, but by the
tragedians themselves as peculiar to tragedy. -
§ 227. Dochmiacs are usually joined by tragedians, and after
their example by comedians too, in systems running out in uninter-
rupted numbers, and generally with two dochmii comprehended in
one verse. Hence both a doubtful syllable and hiatus are excluded
from the end of every dochmius in the middle of the system, except
on certain conditions, of which below : but a resolution of the last
syllable is legitimate. The form therefore of the dochmius in the
middle of systems is this:
& * *
\º \sº \} \, | * \º
comprising thirty-two variations: in the end of a system, or where
other numbers are not annexed to the dochmius, this : .
f A z
U--- * v -
\! \} \º
from which sixteen new variations accrue; so that all the variations
together are forty-eight. - -
§ 228. When the last syllable is doubtful, a word may end in a
short vowel, if the preceding syllable is short, as
80puaat kai Xffovi.
When the preceding syllable is long, it is contrived that the last may
at least end in a consonant, because the voice can then dwell on it
more commodiously, as
trapa)\tav påppov,
pévvoov, piñrep.
But such a verse as the following will hardly be approved of by
any one, tróAlv Kai Sápa.
§ 229. There are certain classes of dochmiac verses, accordingly
as the numbers are required to be more sprightly, or more plaintive,
or weaker, or more unsteady. The first has these forms chiefly :
Aſ 4 f
* * * * =
\} \}
4. Aſ Af
J W W = \, =
AEsch. S. ad Th. 81.
aiffepta Kóvis pie reiðet paveio',
tivavčos oraqºs érvpios ūyyeXos.
One or other arsis of two that are contiguous remaining long, the
first is most frequently resolved, the other much more seldom : Eu-
rip. Or, 159, itvov y\vkvrárav pepopuévg Xáplv. A.
For the movement of the numbers is more difficult when their brisk-
ness increases than when it is remitted. For which reason the re-
solution of each arsis is less disagreeable, as in AEschylus, l.c.
fiel troXVs 66e Aeës ºrpóðpopuos in Tóras.
CHAP. XXI.] DochMIAC VERSEs. 55
$ 230. The second class is that which has the penultima for the
most part long : and this class usually admits a much greater abun-
dance of variations: Eurip. Hec. 694. ed. Pors. - -
6 Tékvov, rékvov, raNaivas parpès,
rive piópg. 69'ſſorets ; rive trórpig ketoat;
Tpós rivos ūv60%rwy. - - -
This kind is often used in finishing systems. A verse of this form is
scarcely to be found terminated by a monosyllable : for such mum-
bers would be very rude and inelegant, as,
ið TAápºtov, pej.
§ 231. The third class contains forms having the last arsis re-
solved, which kind is composed for the most part of short syllables
only, but sometimes has even the doubtful ones long; and on th
whole admits almost any variations: Eurip. Or. 149. -
káraye, Káraye, Tpéató',-ärpépas, &rpépuas ió."
Xóyov ćitró80s, ép’ & re-xpéos épióXeré wore.
póvia yūp regiov—öö'eivačerat.
AEschylus S. ad Th. 209.
& pi\ov Oiśirov rékos, &eta’ &koú-
oraga röv ćpparökrvirov Šroſłov, Šroſłov,
- ðre re oºpuyyes ék\ayżav čAirpoxoi.
Some forms are very rarely found, as this,
A f a
U - \w V = \ \sº
Soph. CEd. R. 661. 690.
. 6eów Tpópov "AAtov.
&rač pudvov to 0, 86. - -
§ 232. Of the two dochmii which are usually conjoined in one
verse, it is not necessary that each should finish with a whole word,
but the words are often divided, and generally too so that they may
terminate either in the first syllable of the second dochmius or the
penultimate of the first : AEsch. Prom. 576. S. ad Th. 489.
itro Šć kmpóTXaotos Óroſłei Šávač. -
dis 5’ intrépavya 34&ovow éiri TróAet.
In the antistrophic verses the same division as that in the strophic
is for the most part observed. Even when long syllables are re-
solved, the first dochmius often ends in the first syllable of a word:
Eurip. Androm. 844.
&Töö0s, 6 pixos, &-Tööos, ºv' àvratav.
See Seidler, p. 60, * -
§ 233. In the middle of systems the last syllable of doclimii is
sometimes doubtful, and admits equally a hiatus and a short syllable
for a long. This happens not only in interjections, as é e, ië, ië,
iào) i800, but also in alloquies with the vocative case: Eurip. Herc.
Fur. 875. gov čv60s, tróAts, 6 Atós éryovos. f
And when the same word is repeated, either before the repetition, or
after it, because in both places a pause is usually made in recitation:
Soph. Antig. 1323. 1319.
âyere p' àr, räxos, &yere u' éktroëów.
éyò yáp o', &y& ékavoy, 6 pièNeos.
56 DOCHMIAC VERSES. [Book II.
And again when the person is changed, as in Hippol. 572. where
another of the choral women has the following verse. See Elem.
D. M. p. 249. Sometimes on account of a proper name following:
AEsch. Agam. 1152.
&káperos Gods, pei, raXaivais ſpeciv
"Irvy "Irvy arévovo' àppiðaxiſ Kakois.
The first of these verses begins with a hypercatalectic dochmiac.
§ 234. But we must often also beware, when a doubtful syllable
occurs in the end, or a hiatus, of believing several systems to be only
one : for since they do not use to have a catalexis, the end of a
system can frequently be ascertained by nothing but the sense and in-
terpunction. Thus in AEsch. Choeph. 935. three dochmii make a
system : afterwards another dochmiac system begins. See Elem.
D. M. p. 250.
§ 235. One may often see admitted in both short syllables of the
first arsis resolved an hiatus which is made in a long vowel or diph-
thong shortened : Soph. Aj. 349. Electr. 245. *
puévot epidºw ºptAww.
'yā Te Kai ow8év ćv.
See Seidler, p. 95. sq. Nor does it appear to be at all doubtful that
the last arsis also, as being very like the first, may admit of the
same license ; as if one were to make such verses as these;
Plávo, yap, plávot &r' épé pu)\áoo'ere,
plóvot 3' éorè, uévot epiſºv #648ww.
But the second arsis rejects hiatus, because it is solitary, and
coheres neither with any thesis, nor anacrusis, and has the ictus
stronger. Such a verse as the following would be very inelegant:
pi\ov puévot epióv (3éſławot &r' épot.
§ 236. The case is the same with regard to hiatuses in the ischior-
rhogic iambic. Soph. Trach. 848. sq.
iſ trov čXoa orévet,
# Tov &ötvöv x\opáv.
§ 237. Dochmiacs are found having a disyllabic anacrusis in the
first foot : which are a peculiar kind. For a monosyllabic and a
disyllabic anacrusis cannot be put indifferently, as in the iambics of
comedians. The antistrophic verse therefore also has always such
an anacrusis. Soph. CEd. Col. 118. 150.
rts àp fiv; trow vaiev;
&\aôv Öppärww.
But in Eurip. Bacch. 996. there is a synecphonesis:
trepi ca, Bákyi', Śpyta, parpás re ads.
§ 238. There is another kind, which has a disyllabic anacrusis in
the last foot, to which in like manner the same form must correspond
in the antistrophic verse. Æschylus, Suppl. 354. 366.
töe pie rav irériv puyáða treptºpopov.
où 8& trap' diptyávov på6e yepatóppww.
And the same kind is hypercatalectic in Eurip. Bacch. 1175. 1189.
Kuðaupóv. ré Kubalpóv;
étraveis, ri 8' étrawā;
CHAP. xxi.] DOCHMIAC VERSES. 57
The acatalectic with the last syllable resolved is in Soph. CEd. Col.
1454. 1469. Xpóvos, étrel pièv érepa.
8éöta 8', oi yüp &\tov.
See Elem. D. M. p. 284.
§ 239. And the hypercatalectic is not unfrequent, even in common
dochmiacs:
* f *
vº – * \4— v.
This is sometimes employed to finish a strophe, as in the Sept. ad
Theb. 427.
6Aopuévov ièéo 6at.
And in the same Play v. 309.
Kašployevſ 6tſeo6e,
which form occurs very often, and is not to be confounded with the
logaoedic verse, which consists of the same syllables. This metre has
the anacrusis of the last order always short. #
§ 240. Two verses of this kind are often united in one. Æsch.
Agam. 1112.
& peprov ptAotov, Svatarov' & Aká.
It is found too with an acatalectic dochmiac adjoined, as v. 1145.
ić ia ra)\aivas kakóworpiot rôxat.
and in the midst of dochmii as in the Eumen. 170.
§ 241. There is another verse like this, longer by one syllable,
keeping in like manner the anacrusis of the last order short :
* Af A
v - *== * - \º-
* \tº \A \º
Eurip. Troad. 559. Aóxov 8' &#éſław' "Apns,
köpas àpya IIa)\Aá80s.
o payat 6' àpuptſ?ápuot
‘ppvyāv, Šv Te &eputous
Kapáropos épmpia.
§ 242. The case is the same as to the anacrusis in a verse, which
exceeds this too by one syllable: -
f Z A
J– tºº tº - \d- . J
* \sº
AEsch. Pers. 576. (306 ruv ráAaway at 8&v.
which is preceded by an acatalectic dochmiac in Agam. 412,
KAóvows Aoyyluovs Te Kai vav6áras. ÖTAtopois.
§ 243. Another verse exceeds this also by one syllable, with the
same law of the second anacrusis:
& &
V -— \º - \º e-
AEsch. S. ad Th. 743. peNapºrayés aſpia potviov.
This is preceded by an antispastus in the Choēph. 24.
- ôt' aidyos 3' tiypotov flöckerat kéap.
§ 244. It appears requisite that iambic orders, when somewhat
Herm, - H
58 DOCHMIAC VERSES. [Book II.
long, if they follow a dochmius, should be separated from it, as :
g- |-|--|------
\w \º
AEsch. Eum. 391. Šepkopévoto, kai 8vo.oppárols öpińs.
§ 245. Two other kinds, which are like these, appear to be more
elegantly composed of a hypercatalectic dochmiac and trochees:
Z 47 ºf
V - V,
U—- - — w - wº
Soph. Trach. 828. 838.
tº Atós airótratêt, ka? ráð’ 6060s.
betworárp pièv iſºpas Tpoorerakós.
And : & M A
*
J -*m
\º \sº
AEsch. Choēph. 42. id 'yaia, yata, popuéva pi' iá\\et.
§ 246. An ischiorrhogic iambic subjoined to a dochmius occurs
both in other poets and in Pindar Pyth, vi. in the conclusion of
strophes: 'AtroXXw wig tetetxtorat várg. -
§ 247. Dochmiacs are augmented at their beginning too, and that
first by iambi. And when one iambus precedes a dochmius, care
must be taken not to confound this metre with Cretics having an
anacrusis, which have been spoken of in § 205. Cretics of that kind
are in Eurip. Suppl. 829.
kāra pie Téðov yås éAot,
Štú 5& 6tex\a atráoat.
But those verses are to be accounted dochmiacs with a preceding
iambus, which are inserted in such a manner in the midst of dochmii,
that no doubt can be entertained about the numbers : this is done
mostly by resolving the second arsis, a resolution which is very much
in use in dochmii: as in AEsch. S. ad Th. 488. 528.
ið Tpépax' épěv Šćptov, Toigt öé 8vorvyetv
#xovt’ & pixov čv oréket roi, X601'tov 8épias.
Which verses consist of an iambus and two dochmii. A dochmius
which succeeds an iambus is accustomed to have a short anacrusis,
so that the numbers appear to be these :
f ſ *
C = \, = - \s/ sº
§ 248. A dochmius is often preceded by two iambi, which in the
numbers are disjoined from the dochmius, as is known by the
doubtful anacrusis of the dochmii:
Af w
J = \, = U - - *J -
AEsch. Agam. 1166. ið 2Kapuávěpov tárptov trorów.
§ 249. Often also an iambic dimeter or trimeter is coupled with
dochmii, sometimes so as to cohere with them in the same numbers,
at other times so as not to cohere. Seidler p. 119. and following has
given examples; among which however that from Eurip. Orest. 182.
205. ought not apparently to have a place. -
§ 250. Trochaics ending in arsis are seldom put before dochmii.
CHAP. xxi.] DOCHMIAC VERSES. 59
Eurip, in Or. 140, has this example:
& * . . &
* \º ºne ºf see * = tºº Wº me
oiya, oiya Aerröv tyvos ūpſ3üAms.
§ 251. And even one bare arsis appears to be put before a
dochmius : g f / f
Eurip. Phoen. 330. S. ed. Pors.
# trobetwos (pt)\ots,
# Tobeivös Oñ8ats.
See above $ 218. and below $261. 269.
§ 252. The combination of one trochee with a dochmius is very
strange: which although it may seem to give these numbers, be-
ginning with a choriambus, , &
* \tº \º * | - | --
yet these are so repugnant to the analogy exhibited in antispastic
forms of composition, that it appears preferable to mark out this
kind thus : Af & &
sºmeº Vº tº - sº * -
Vº Vº
AEschylus Sept. ad Th. 241, 247.
* rts ráše vépueous orvyei ;
Tiptov £80s irópav.
§ 253. An amphibrachys also is found set before a dochmias:
f 4
* - \f v- *sº * -
AEsch. Pers. 269. 275. Tà troAA& 3éAéa trappuyij.
âAtövå gégara toxv6apſ.
§ 254. A ditrochee with an anacrusis is often put before a doch-
* *
mius : g gº ºf &
J = \º = C, | J - | tºº | \º an
which kind is by Plotius p. 2643. called Alcmanian. AEsch. Prom.
582. oia rom Márº Sé Seipart Seixatav.
This ditrochee (or iambic member, if that appellation be preferred)
is for the most part ended with a long syllable: as in the Agam. 246.
|3tº XaXtvöv r' &vač84, puévet.
The caesura, which should rightly be in that syllable, is frequently
neglected: AEsch. Ag. 379.
6eoûs (3porów &évoiſoffat péAetv.
§ 255. A ditrochee appears to follow a dochmius in AEsch. Agam.
1 132. Évvavires (3tov Ščvros airyaſis.
§ 256. Besides these, many other combinations of dochmii with
antispasti and other numbers occur, as with an antispastus before in
Soph. Trach. 847. 858.
po)\óvr' 3\effplato, ovvax\ayats.
kexawa Aöyxa Tpopáxov Šopós.
and a dochmius between an antispastus and diambus, in AEsch.
Choēph, 24. Ši' aidjvos 3' ivygotai (360 kera, kéap.
60 DOCHMIAC VERSEs. [Book II.
§ 257. Bacchiac numbers, which are sometimes found associated
with dochmii, appear to be of a nature quite different, and incon-
gruous with dochmii: it is better therefore to rank them with hyper-
catalectic dochmiacs. And two such dochmiacs are often conjoined
in one verse, which in measure is precisely equal to a Bacchiac tetra-
meter, but in numbers most different :
•4 || 4 || ---|--|| 4 || ---
AEsch. Eumen. 791. 821.
oreváčw ; Ti fiéčw; yewtopiat ; Śāootora.
But it has often resolutions too : Eurip. Troad. 320. 336.
âvaq}\éyò Tvpos pūs és avyāv, is aiy\av.
pakaptats &oubais idkxais re vöppav.
§ 258. But there is nothing to prevent a Bacchius being added at
the end either to these hypercatalectic or to the common dochmii.
Thus in Rhes. 706. (if these verses be not truly Bacchiac:)
- Šokeis yap ; t i pºly oi, ; 6paows yow és juás.
riv' àXKív ; Tiv' alveis ; 'O8vooij.
For that Bacchius is not repugnant to the dochmiac numbers, be-
cause the catalexis is dochmiac. For the fact is, that for the most
part such numbers are associated with dochmiac, as appear to be
dochmiac parts: which is done in the same manner in Glyconean
numbers. **
§ 259. Hence we may explain the manner in which the Cretic is
used; which is often joined with dochmiac verses, sometimes pre-
ceding, sometimes following them. Eurip. Herc. F. 894. Aesch. S. ad
Th. 95. 8élov péNos étravXeirat.
Törepa Śīr'éyò Torutéow 6pérm 6alpóvov;
And Cretic numbers indeed, since they are very like the end of a
dochmiac verse, are not of themselves repugnant to dochmiac num-
bers. Whence true Cretic numbers are often associated with doch-
miac, and in like manner the first paeon, which is a resolution of the
Cretic. AEsch. Suppl. 455.
piñrt TAñs ravikéruv eiotöeiv
âtrö 8peréov 3ig 8tras &yopévav.
For the first verse is a Cretic trimeter. A first paeon is manifestly
put before a dochmius in S. ad Th. 16.1. 171.
- Troi 8' étu ré)\os étráyet 6eós;
- érráirv\ov éð0s étruñáčov. -
And a Cretic, resolved into a fourth paeon, in Eurip. Phoeniss. 154.
ed. Pors. 6s étr' épěv TóAtv Š9a répowv.
The same subjoined to a dochmius in AEsch. Prom. 117.
trero repuévtov Čiri tráyov.
A Cretic resolved into five short syllables is between dochmiacs in
Soph. CEd. R. 661. (see § 629.)
6eów ſpégo, "A\tov' étrel &6eos, &ptAos,
G T l Tupuatov
6\otuav, ppóunguvei Táv8' 8x9.
§ 260. But often there can be no doubt that the Cretic joined to
dochmiacs is not truly a Cretic, i. e. a trochaic order concluded in
CHAP. XXI.] DochMIAC VERSEs. 61
the second arsis, but a part of a dochmiac order, consisting of a bare
arsis and an iambus. Whence it comes to pass that the middle
syllable is doubtful, and that a Molossus may be put for a Cretic.
And although for the most part in antistrophics either Cretics or
Molossi are kept to in both places, as in Orest. 144. 157. -
& d &, oùpty yos, 8-tra's rvová.
6\eis, ei (3Aépapa-kwáaeus'
for so are these verses composed rather than of a Bacchius and
dochmius: yet sometimes a Cretic and Molossus answer to each
other. Eurip. Ion, 677. (See Elem. D. M. p. 272, sq.)
ôpá čákpva kai–Trev6ipovs.
that, trórep' épá—öeatroivº.
Sophocles Trach. 656. 664. -
éééXvo'—éirítovov čplēpav.
- ovykpaffeis—éri irpoſpáget 6mpás.
In which passage indeed that Cretic or Molossus is not placed be-
tween dochmii, but between ischiorrhogic iambics.
§ 261. When two Cretics of this kind are conjoined, it may seem
doubtful whether they are to be scanned thus:
g f 4
or consist of an arsis and dochmiac, (of which kind we have spoken
in § 251.) in this manner,
* * &
This must be determined by suitableness to the passages. Thus the
first is to be taken in these, Prometh. 590.
KAüets p0éypta rās—ſłowſkepw—Tap6évov.
and the last in the verses quoted $ 251. -
§ 262. Of the fourth paeon, which the tragedians often join with
dochmiacs, it may seem doubtful whether it be a resolution of a
Cretic, as it plainly is in the Herc. Fur. where v. 742. 757. answer
each other,
Xappoval—Sakpāov—éðooav čk{}oMás.
Tis 66eous—ávoutg—xpaivov, 0.9nrós div.
or be sometimes truly a paeon : by which a Cretic must necessarily be
excluded. And it cannot be denied that passages are found in which
paeons seem much more suitable : as in the Electra of Sophocles
1384. têe6' 6tm—Tpovéperat
to Švačptorov aipa pugijv "Apns.
And in AEsch. Prom. 579.
ri Toré u', 6–Kpóvie Tai, ti Tore raio 3’.
§ 263. A transition is often made from dactylic numbers to doch-
miac, and that too usually in such a manner that the dochmiac begin
with a dactyl. Æsch. S. ad Th. 227. 234.
& Trópe-vov Tupi Saip.
Kpmºvapue-vāv veſpexáv Óp007,
Extremely seldom with a tribrach: Eurip. Ion, 1448.
ovvécupo' àöökmros iè0-
vá ; Tô0ev—é\á6opiev Xapáv.
62 DOCHMIAC VERSES. [Book II.
Or with an iambus, or spondee. Id. in Phoen. 138.
* oùros & rās IIoMuvetkeos, 6 yepov,
airoka-guyváras vippas àpióyapuos kupei ;
§ 264. As in this example just quoted, like which many others are
found, a somewhat long series of dactyls ends in dochmiacs, so
before that dactyl, which the dochmiac succeeds, there is often a
trochee, cohering both with that dactyl and with the preceding
dactyls in one tenor of numbers. Eurip. Troad. 256.
6in re, rékvov, 2a0éovs KAffèas ka? &tó xpods évêv-
töv orepé-wv tepovs aro)\pioës.
§ 265. Two trochees are not so often thus interposed between the
dactyls: as in the Orest. 180.
8totyópeb', oixàpeba. Kriſtov hyá yet'. oix aiya,
oiya pu-Maogopiéva orópatos.
And elsewhere.
§ 266. Often also dactyls ending in an arsis precede the doch-
miacs. Eurip. Hec. 1102.
à Xeiptos évôa rvpès pXoyéas āq in-
atv hagwy ačyás.
§ 267. Lastly, even a spondee sometimes precedes a dochmiac,
sometimes is inserted among dochmii. Hºsch. S. ad Th. 78. Eurip.
Troad. 263. 6peiuat—poſłepå pleyáA' àxm.
raúrav—rg TráAos éðevčev ;
Ion 1499. Karaöe6eiga gav-ſpvyāv–áté6a)\ov, rékvov.
§ 268. Moreover even two, three, or four short syllables sometimes
precede a dochmiac, and sometimes are placed in the midst of doch-
miacs: the numbers of which syllables are often doubtful. To
account for these syllables, and for the consociation of the dactyl,
which has been just now mentioned, and also of the trochee, and of
some other numbers with dochmiacs, recourse must probably be had
to what musicians term paracataloge. From what has been said by
Aristotle Probl. ix, 6. Plutarch de Musica p. 1140 F. and 1141 A.
and by Hesychius in KaraXoy), we collect that this was nearly that
kind of singing or chanting which we now call recitative: which, as
it has a more lax contexture of numbers, is very aptly expressed, at
one time by the uncertain tripping of those short syllables, at another
by the slow relaxation of dochmiac numbers into a spondiac conclu-
sion, at another also by the unsteady movement of a dactyl or
trochee before dochmiacs. And the example of the dactyls is espe-
cially adapted to show the transition from firm and sure numbers to
the weak and loose ones of the paracataloge: as in the Phoen. 165.
âvepiókeos eiðe ºpópov veſpéAas troov
éčavû-gaupt 8t' aidépos.
§ 269. And when the short syllables preceding the dochmiac are
two, they seem to be a resolution of a bare arsis, and the metre
appears to be that spoken of in § 251. Eurip. Bacch. 1161.
ka)\0s àyöv, Šv al-
part oráčovaav—xépa—repuga)\eiv rékvov.
See Elem. D. M. p. 281. sq.
§ 270. It is doubtful whether three short syllables are a resolution
CHAP. XXII.] BACCHIAC VERSES. 63
of an iambus or of a trochee, since both feet use to be joined with
dochmii. As in the Phoen. 1301. ed. Pors.
ëAeos, -éAeos épioMe parépos Set\atas.
ôtövpia—rékea, Tórepos ūpa Tórepov aipáčet.
In the Hecuba v. 1093. they seem to be for a trochee,
'it', ire, uð\ere, troës 6etjv,
since presently afterwards there is evidently a trochee, v. 1097.
ôeivä, öelva tetróvãapev.
They are put instead of an iambus in the Iphig. Aul. 1475. 1510.
&yeré pue tav 'IXtov.
'töea 6e ray 'IAtov.
But these verses are more correctly separated from dochmiacs: see
§ 247.
§ 271. Even with respect to four short syllables, it is doubtful
whether they are put for an amphibrachys, which sometimes pre-
cedes a dochmius, or for a dactyl. It might be concluded from
AEschyl. Pers. 269. 275. that they were in place of an amphibrachys,
rā troMAtt—6é\ea trappuyń,
dAtôova–0&para troXv{3apſi,
if in that passage a rare and far from vulgar reading did not appear
in the Paris Ms. viz. d’Auðvá. In most places there seems little doubt
that they may with greater elegance be taken for a resolution of a
dactyl: as in the Agam. 1417. 1436.
X60 worpepès—éðavöv troróv.
trepippova 6–é\akes, &ctrep oiv.
§ 272. Lastly, that five short syllables are a resolution of a Cretic,
has been already observed, § 259.
§ 273. Of the Latin poets Plautus only, and he but seldom, ap-
pears to have used dochmiac verses. Thus in the Menaechm, v, 6, 9.
Verbéra, cómpedes,
Molae', mágna lássitádó, famés.
§ 274. But in Plautus dimeter catalectic Bacchiac verses also are
found; which, being of the same measure as dochmiacs, may, with-
out caution, be confounded with the latter : of which species they do
not seem to be. These will be treated of below, § 282.
CHAPTER XXII.
OF BACCHIAC VERSES.
§ 275. The ancient metricians referred Bacchiac numbers to the
paeonic kind, as having arisen from the contraction of the second or
fourth paeon. We, on account of the iambic anacrusis, have joined
them with trochaic numbers, although in reality they are spondiac
with an iambic anacrusis. For the numbers of the amphibrachys,
if repeated, were with reason displeasing to the ancients on account of
their too great weakness. Wherefore, to give them strength, they
64 BACCHIAC VERSES. [Book II.
changed the trochee into a spondee. The palimbacchiac numbers
are not much better; and from them they equally abstained, although
Dionysius of Halicarnassus, De Comp. Verb. p. 226, ed. Schaef.
praises them as grave and masculine, quoting this example:
ooi, poiſe, Moûoat re, avpſ3ópev. *
§ 276. The Greeks, as Hephæstion testifies, neither used Bacchiac
verses often, nor extended those numbers to any length. He adduces
this example:
ô raúpos 8 &oukev kvpičew riv' &pxávº
q,0ágavros 8 &t' épyots trpommºhaerai viv.
And in truth Hephæstion is right. Indeed it is very doubtful whether,
especially in the tragedians, those verses which are taken for Bacchiac
trimeters or tetrameters are not rather hypercatalectic dochmiacs.
AEsch. Prom. 115. -
ris àxià), ris 68pa trpooétra pi' àpey-yńs.
§ 277. The Roman tragedians and comedians made great use of
Bacchiac verses, joining too for the most part many of them together.
The legitimate measure of a Bacchius in the middle of verses is this :
Z
* - > -ss
V V v \º
in the end of verses, this:
a
But the freer prosody of the Latins tolerates both a long anacrusis
and a disyllabic one. And a disyllabic one was usually admitted by
Plautus in the first and third foot of tetrameters, i. e. in the beginning
of each member, which is commonly composed of two feet; some-
times in the second and fourth foot also. In the Aulul. ii, 1, 4, 5.
I Quamquám haud falsa sim nos odiósas habéri.
Nam milltum loquáces merito 6mnes habémur.
Men. v., 6, 6.
Merito hôc nobis fit, qui quidem hác venerimus.
Amph. ii, 1, 15.
Tun' mé, verbero, aſ des herúm ludificări.
Poen. i, 2, 31. -
Sorór, cogitá, -amabo, itém nos perhibéri.
§ 278. Tetrameters having a caesura at the end of the second foot
are a kind very much in use. That caesura however is often neg-
lected. Plautus, who delighted very much in this metre, sometimes
inserted a dimeter in the midst of tetrameters. Sometimes he even
coupled two verses by means of an elision, as in Amph. ii, 2.
Satán parva rés est volūptatum in vita atque
In a 'tate agúnda, prae quám quod moléstum est.
§ 279. These tetrameters sometimes appear to have clausulae of an
iambic dimeter catalectic, as in Ter. Andr. iii, 2, 4.
Quod jüssi ei dari bibere et quántum imperávi, date: mér ego
huc revertor.
See Elem. D. M. p. 299.
§ 280. In Plautus, here Bacchiac verses, there Cretic are often
CHAP, XXIII.] DACTYLIC NUMBERS. 65
found in the same scene: as in Rud. i. 5. See Elem. D. M. p. 207.
In such places care must be taken not to confound them, because
the accession or detraction of one syllable sometimes makes the same
verse appear both Cretic and Bacchiac. Thus, for example, a doubt
may be entertained about the end of Pseudol. See the following Š.
§ 281. Bacchiacs sometimes appear to be continued in systems, so
that a doubtful syllable has no place in the end of the verses, and
words may be divided between two verses. Varro trepi 'Eſſaywyſis
ap. Nonium, p. 336. -
Quemnám te esse dicam, ferá qui manſ, cor-
ports fervidós fontium éperis lacús san-
guinis, teque vita levás ferreo €nse £
The end of the Pseudolus may seem to be similarly composed: see
Elem. D. M. p. 303, sq. unless indeed in that passage Cretics are
latent. See § 280.
§ 282. Catalectic Bacchiacs having the last foot an iambus are re-
markable in Plautus. And first, dimeters, which, although equal in
measure to dochmii, (see § 274.) yet seem to be rather Bacchiacs,
both on account of their being found associated with the latter, and
on account of the example of the tetrameters. Thus in the Persa v,
2, 28. 30. Perge, itt caeperás.
Hoc, léno, tibá.
Delilde, ut lubét,
Herits dum hinc abést.
Widésne, ut tufts
Dictis pared 2
§ 283. The catalectic tetrameter occurs joined with the acatalectic
in some of the cantica of Plautus : as in Menaechm. v., 6.
Spectámen boné servo id €st, qui rem herilem
Procitrat, vidét, collocat, cogitát,
Ut 4bsente heró suo rem herá diligénter
Tutétur, quam si ipse assit, aitt rectiás.
Tergüm, quam gulám ; crura, quám ventrem, opórtet
Potiára esse, quoi cor modéste sitàm 'st.
CHAPTER XXIII.
OF DACTYLIC NUMBERS.
§ 284. Dactylic numbers, as the trochaic, have five kinds. They
are these :
z
- \w V - \w \º Dactylic.
A •
\º \º - \º \ed – Anapaestic.
f e &
- \º \w - Choriambic.
* f º ©
- – \w \º Ionic a majore.
Af º º
\sº ºw) – sº- Ionic a minore,
Herm. |
66 DACTY LIC VERSES. [Book II.
§ 285. The ancient writers on rhythm call trochaic rhythm bitxà-
otov, dactylic idov, because in the former a double time is set together
or compared with a single one, in the latter a double with a double,
that is an equal with an equal. But not all dactylic numbers have
this comparison; for in some, as in the heroic verse, and cyclian
anapaests, the long syllable which is in arsis, is accounted i\oyos, i.e.
irrationalis, [disproportionate, as being somewhat shorter than a
double time. And on that account the arsis in these kinds is not
resolved into two short syllables, whereas in the other kinds it is on
the contrary often resolved.
CHAPTER XXIV.
OF DACTYLIC VERSES.
§ 286. Dactylic verses consist of periodic orders. And of these
some proceed by a dipodia, others are varied with longer orders.
But in dactylic verses it is not a dipodia, but each single foot that is
called a metre, the most ancient appellation having been retained.
Whence just so many metres are reckoned as there are feet: so that
a dactylic tetrameter is in measure equal to an anapaestic dimeter.
- $287. Although by the laws of numbers the measure of the dactyl
is this, , —
^* \º
yet in most dactylic verses a dactyl and spondee alone are used: in a
few and seldom a proceleusmatic or anapaest: which feet seem to be
admissible in those dactylics only, whose arsis has not the irrational
[disproportionate] measure : see § 285. Wherefore the resolution of
the arsis is excluded from the heroic verse, and elegiac pentameter,
and from other kinds, chiefly the logaoedic. And on the whole this
resolution, if any where found, is mostly of a doubtful nature, except
in a proper name, as in Pindar, Isthm. iv, 75. (iii, 63.)
ëpvei TeXeouáða.
§ 288. The catalexis of dactylics is two-fold; on one syllable, and
on two syllables: as, ,
* \, \, = \) w = = \, \, = \, \! - C
Acatalectic verses, except in systems, wherein the numbers are con-
tinued, are ended with a dactyl, not a spondee, lest they should
appear to be catalectic on two syllables.
§ 289. Of the vast multitude of dactylic verses the most in use are
these: The dimeter catalectic on two syllables, which is called
Adonius or Adonic. AEsch. Agam. 166.
roio 6’ 6pópovov.
In which verse a dactyl is not used to be changed into a spondee.
Sappho is said to have written whole poems in this metre, as Teren-
tianus Maurus informs us, p. 2431.
º
CHAP. xxiv.] DACTYLic VERSEs. 67
§ 290. The acatalectic dimeter is found for the most part in systems
conjoined with tetrameters.
§ 291. The trimeter catalectic on one syllable was often used by
poets. Archilochus:
év Šē Barovováöns.
AEsch. Suppl. 851. &\puffevra trópov
Šeoroalp £ov iſ pet.
§ 292. Of the trimeter catalectic on two syllables there are ex-
amples in Soph. Trach. 112.
to\\& yöp &ar' àkápavros
# Nórov i Bopéa rus
- eipé, kūpara Tóvrp.
When this verse has a spondee in the first foot, care must be taken
not to confound it with the Pherecratean verse, as in Æsch. Ag. 108.
- &AK; at pºpwros atów.
A spondee will scarcely be found in the second foot.
§ 293. If the trimeter acatalectic is any where found in systems, it
seems attributable rather to a faulty distribution of the verses, as in
the Phoen. 806. 807. 824. 825. ed. Pors. where two verses of this
kind are to be conjoined in one hexameter. ... •
§ 294. The tetrameter catalectic on one syllable is found in Alcman:
raúra pièv dis &v č Šipos ūtras. *
and in AEsch. Suppl. 552. 561.
troXA& 3porów Ślapſeugopéva,
IIappüAov re 8topvvuéva.
§ 295. The tetrameter catalectic on two syllables is used by Ar-
chilochus in epodes: e
patvöpievov kaköv oikað’ &yeo6ac.
Anacreon wrote whole poems in this verse :
&övple\ès Xapieaoa xext&oi.
§ 296. The dramatic poets used the tetrameter acatalectic both
separately, so that on account of the doubtful last syllable a Cretic
also might be put in the end, as Soph. Phil. 826.
itv’ 6&vas āśańs, itve 8' &Ayéov, -
and in systems of many together, the numbers being carried on un-
interruptedly, so that the last foot could be no other than a dactyl or
spondee. So the lyric poets, as Alcman, who composed whole
strophes in this metre:
Māo’, &ye, KaNAuðtra, 00)arep Auðs,
ëpx' éparóv čtrétov, Širt 6' ºpepov
invg kai Xaptevra riðet xopóv.
The tragedians and comedians in their antistrophics very carefully
assimilate all the feet, so that a dactyl may answer to a dactyl, and a
spondee to a spondee. Their catalexis of the systems is sometimes
dactylic on two syllables; at other times they subjoin a verse of
another kind to dactylic numbers; at others, the dactylic numbers
being broken off, but with the exclusion however of a doubtful syl-
68 DACTY LIC VERSES. [Book II.
lable, they annex a different metre. This last Aristophanes has
done, Nub. 288.
&AA’ &togeta&pieval vépos ūuſ?ptov
à0avāras ièéas, étrºpieda
rmAeaków? §upart yalay.
The former, Sophocl. Antig. 338. t
ãº,0irov, &kapárav čtorpüerat,
iXXopévov ćpórpov eros eis eros,
in teip yével toxetww.
These tetrameters have no caesura. Of the Latins also both the
tragedians used them, as Attius ap. Non. in v. ‘Expergite :’
Hei, vigiles, properáte, expergite,
Péctora tarda sopóre, easurgite,
and the comedians, as Terence Andr. iv, 1, 1.
Höccine credibile aitt memorabile.
By the Greek tragedians even acatalectic dimeters and hexameters
are inserted in systems of tetrameters. See § 293. and 300. -
§ 297. A pentameter catalectic on one syllable is used by Sophocles
in Aj. 224. 248.
Töv ueyá\ov Aavaøy into RM1<opévav.
# 000w eipeglas ºvyöv č3ópevov. *
§ 298. The pentameter catalectic on two syllables is by Hephæstion
called Simmieus, because it was used by Simmias :
xaipe, àvač, ćrape &afféas Pákap #3as.
AEschylus in Ag. 123. 143. 167. has a spondee in the fourth foot:
ałNºvov ałNuvoy eité, Tó 5’ eſſ vukárw.
§ 299. Of the hearameter catalectic on two syllables there are two
kinds. The one is the heroic, which will be spoken of in the next
chapter: the other is used by tragedians, and differs from the
heroic in proceeding by dipodiae : it consequently has not that caesura
which is usual in the heroic ; or, if it has it, has it by chance.
Eurip. Suppl. 271.
ſłó0s, táAaw', iepāv Šatéöøv ćitro TTepoepovetas,
Bă0s, Kai ävriadov yovárov, Štú Xeipa (3a)\ovoa,
Tékvov reflveſtov kouigat Sépas, 6 plexéa 'yū),
oils into retxeat Kačpletovow &tóMega koúpovs.
§ 300. The acatalectic headmeter is used by the tragedians in
systems of tetrameters, and sometimes separately also. Soph. El. 134.
1 50. âAA (5 travrotas pixórmros àpieſłópeva, xáptw.
ið TavrXàpov Nué9a, ač 3’ &ywye vépio 6eów.
See Eurip. Suppl. 277. 278.
s 301. The lyric poets of the middle age, Alcman, Stesichorus,
Ibycus, delighted exceedingly in dactylic numbers, so that they con-
tinually used not only many of the shorter forms, but also longer than
such as are employed by other poets. And a heptameter catalectic
on one syllable, which Servius p. 1821. calls a hypercatalectic heava-
meter, and Alcmanian, occurs in a fragment of Stesichorus, ap.
Athen. p. 499. B.
triev čttoxópevos, Tófia of rapé0mke (D6Aos kepágas.
§ 302. A heptameter catalectic on two syllables, which Servius calls
CHAP. XXIV.] DACTYLIC VERSES. 69
Stesichorean, is not unfrequently found in the fragments of those
lyric poets, as in one of Stesichorus ap. Strab. iii. p. 148. B. (221.)
Taprimaroi trorapoi, trapa triyas ātreipovas āpyvpopičovs.
See Alcman. fr. 37.40. 78. This heptameter, whether catalectic on
one syllable or on two, appears to consist of one order only, and
therefore to be without caesura. For if you compose it of several
orders of two or three feet, the numbers will always turn out incon-
dite and unapt. It is subjoined, as it seems, both to other dactylics,
and to those which proceed by dipodiae. The fragment of Ibycus
ap, Athen. xiii. p. 564. F. may serve for an example: it is to be
written thus,
Eüpúaxe, y\avkéwy Xapirov 64\os,
KaNAtköpitov pleMéðmua, oë pèv Körpts,
&r' àyavoğAépapos IIet0& floëéotow év čv6eat 6pélav.
See § 305. *
§ 303. To these Servius adds the octameter catalectic on one
syllable, which he calls the hypercatalectic heptameter of Ibycus,
consisting of seven dactyls and a syllable. I have no example of it
at hand.
§ 304. Marius Victorinus p. 2519. writes that an octameter cata-
lectic on two syllables also was used. But this is probably a mere
imagination of metricians arising from the union of two tetrameters,
the one acatalectic, and the other catalectic on two syllables, which
some poets appear to have used alternately, as Alcman in that poem,
from which are taken the fragments 23 and 25.
§ 305. Nay it may even be made a doubt whether the lyric poets
ever included a greater number of feet in one rhythm or verse. Thus
Ibycus (ap. Athen. xiii. 601. B.) has made a strophe, in which it
might appear perhaps that a dimeter and heptameter are to be united
in an enneameter. That strophe is to be written thus:
ipt pièv at Te Kvöðvia,
p.mxiēes àpèépeva, Đoàv
ěk trorapuãv, iva trap6évov
kitos ūkāparos, at T'oivav6íðes
avčópeval artepolotv ig' épyeo tv
oivapéois 6a)\é00uouv, Šuoi 8' épos
oběeptav karákouros (j-
pav, &0 itó areporås pXéywv
Opnikios Bopéas, Čiča-
owy Tapū Kürpiðos
ãºaXéats plaviatow, pvpu,0s à6apſ3einot, sparatās
Tatóóðev puxáooet
iipuerépas ºppévas.
The last versicle appears to be the beginning of a following strophe.
Some metricians appear to have sought an excuse for those longer
verses by joining two feet in one syzygy, and so calling those tetra-
meters, which according to the usual method ought to have been
called octameters. See Aristid. Quintil, p. 52.
70 HEROIC VERSE. [Book 11.
CHAPTER XXV.
OF THE HEROIC VERSE.
s 306. The heroic hexameter, which is of all metres the most
ancient and the most celebrated, differs from the hexameter cata-
lectic on two syllables, which has been treated of in § 299. in this,
that it does not proceed by dipodiae, but is divided for the most part
into two similar but unequal members, and in all cases into various
members. On account of that variety of members, this verse, as we
have observed of the iambic trimeter also, may not only be repeated
for ever without disagreeableness, but also, assisted by the manifold
variations of the measure, may be adapted to the expression of the
most different things.
§ 307. Four caesuras are mentioned by metricians, revömpupiepās,
karð ſpirov rpoxalov, &pſimpupiepās, terpatroëta Govkokukň :
z f
* \º º = \) \º = | * \s, as \ \e - \º \º ºne ºf
A f
* \º \º a s \ \º = \º \º - \{ \} = \{ \º e \º
& Af
* \tº \º = \º ºf s \w V as | ºf \º = \} \, = \º
A f
* \tº \, = \ \º - \º \º - \w \º * \º \, = \º
But of these it may be laid down, that the most in use, and the most
commodious are the two first, which are called Trev6mpupepºs, and
kara Tpirov rpoxalov; that the third, the épômpupiepās, which is more
vehement, is not so frequent; and lastly, that the bucolic is almost
always employed by the Greek bucolic writers, but at the same time
accompanied by one of the two first; and that, where it appears
suitable, it is often admitted by other poets also. And that upon
the whole the excellence of a long poem appears in a well managed
variety of caesuras, and that several are often made in one verse. . Of
these such as are in arsis are more masculine : and we see that, -
except where the softness and effeminacy of the subject rejected
them, they were universally preferred till the time of Nonnus. To
Nonnus, and the succeeding poets, those softer caesurae which are
made in a trochee, by leaving the last syllable of a dactyl in the
following member, were more agreeable, joined with frequent use of
dactyls, by which a great volubility of numbers is produced. Of this
I have spoken more at large in Diss. de AEtate Orphei Argonauti-
COru Im.
§ 308. Since a caesura may be made thrice in every foot, if the
feet be dactyls, the number of all the caesuras is sixteen. Of these
the most remarkable are the following. The first, in the first arsis:
Homer, Iliad a, 51. Odyss. p., 439. -
aúrûp éveur' airoia, BéAos éxerevkès épiels
(3áAA”—aiei 8é rvpal veküwy katovro 6apetat.
CHAP. XXV.] HEROIC VERSE. 71
éeX3opévº 66 plot \6ev
&\!” ºuds 8 &ti 86ptov &v?p &yopj6ey àvéarn.
§ 309. The third, at the end of the first foot : Iliad w, 500. Virg.
Georg, iv. 195. -
rôy or Tpany kreivas āpavvöpievov repl rárpms
"Ekropa’—row viv e?vex irávo vijas 'Axatáv.
Ut cymbae instabiles fluctu jactante saburram
Tollunt:—his sese per inania nubila librant.
§ 310. The fourth, in the second arsis : Theocrit. xxv. 260. Virg.
Georg. ii. 296.
Tº puév inék xetpāv čºvyev ravöp}\otos épiveds
kapı"rrópevos,—rm\oij Śē puff Túðmaev inſp' oppºff.
Tum fortes late ramos et brachia tendens
Huc illuc, media ipsa ingentem sustinet umbram.
§ 311. The sixth, which is uncommon, at the end of the second
tliesis. Virgil, (who bestows very great study and attention on this
matter,) Georg. iii. 99.
Ut quondam in stipulis magnus sine viribus ignis
Incassum furit:-ergo animos aevumque notabis.
§ 3.12. The seventh, in the third arsis, which is called rev6mpupiepās,
the most frequent of all. This is grave, and divides the verse most
elegantly :
Fortunam Priami—cantabo et mobile bellum.
§ 313. The eighth, in the middle of the third thesis; which is
called karū rptrov ſpoxalov.
Orphei Calliopea—Lino formosus Apollo.
This caesura, being smooth and placid, is most frequent on soft and
tender subjects, as in Moschus's Epitaph. Bionis. It is used also to
increase volubility : Hom. Od. A, 598.
airls' étretra Téðovöe KvXtvöero Aſias āvatāńs.
§ 314. The ninth, at the end of the third foot, extremely unusual,
since it divides the verse into two equal parts, admitted by Virgil
Georg. i., 358. -
Montibus audiri fragor :—aut resonantia longe.
§ 315. The tenth, in the fourth arsis, which is called épômutuepſis:
Virg. Georg. i., 201.
Non aliter quam qui adverso—via flumine lembum
* Remigiis subigit.
§ 316. The eleventh, in the middle of the fourth thesis, which is
called by grammarians karū réraprov rpoxalov, is most unfrequent in
good poets, as it wonderfully enfeebles the numbers. Iliad t, 394.
il, 760. JIm}\ews 6:iv plot 8weira Yvyaika—yapuéogeral airós.
àyx, pláA', dis &re ris re yuvatkös éð3óvoto. -
It becomes more tolerable, if at least words are concluded at the
same time in the neighbouring elevations, as Iliad. 2, 2.
to\\& 8' &p' évôa kai év6–4000e påxn—rebtoto.
The Latins were more negligent in this, especially Ovid and Calpur-
nius. See more on this caesura in Diss. de AEtate Orph. Arg.
§ 317. The twelfth, at the end of the fourth dactyl, a grand and
72 HEROIC VERSE. * [BOOK II.
grave caesura, is not only used by the Greek bucolic, writers, from
whom it takes its name, but often by the epic poets also with great
force and effect. Hom. Il. 8, 424.
trówrp pew rà irpára Kopåggeral'—airãp éiretra
xépop finyvöpevov ueyá\a 6pépet, Làppi 8é T' &spas. *
This caesura is often made by epic poets with the fourth foot a
spondee; and the most ancient of them sometimes admitted even a
trochee into that place. Iliad A, 36. Enn. Ann. i.
rff 3’ &n't uév Topyö (3)\oovpd trus égreſpávoro.
Omnis cura viris, uter esset endoperator.
See above S 71. 83.
§ 318. The thirteenth, in the fifth arsis, is uncommon. Ennius
has used it :
Nam me visus homo pulcer per amaena salicta
Et ripas raptare, locosque novos:—ita sola
Post illa, germana soror, errare videbar,
Tardaque vestigare et quaerere te,_-neque posse
Corde capessere: semita nulla pedem stabilibat. -
§ 319. The fifteenth, at the end of the fifth foot, is disapproved of
by the Greek grammarians. See Schol. Harl. ad Hom. Od. 6, 77.
Bentley, on Lucan i, 231. has observed that the Latins, when they
use this caesura, commonly put two monosyllables in the last foot :
as Virgil Ecl. vii, 35.
Nunc te marmoreum pro tempore fecimus:—at tu.
The reason is that the last foot, consisting thus of a double arsis, is
dwelt on longer in pronunciation ; and thus in some mannér com-
pensates the too great inequality of the members. What Bentley
adds, that a disyllabic word is not put in the last foot, unless either
that word itself, or at least the sense of it, be repeated, is acute, but
not true. Virg. Æn. x, 195.
Ingentem remis Centaurum promovet :—ille.
§ 320. The sixteenth, in the sixth arsis, takes place when a mono-
syllable not enclitic ends the verse. By this caesura the last foot, by
a change of numbers, is made to consist of two elevations. Gravely
Od. 6, 69. Dionys. Perieg. 759. Virgil Hen. i, 105. Georg. i, 247.
'yalav Špioi, kal tróvrov. Öpópez 6' oilpavó0ev—viſã.
éoxartás' trépt 8é opt 8vo fivepos ékrérarat—x0óv.
Dát latus, insequitur cumulé pracruptus aquae—móns.
I'llic, ut perhibent, aut intempesta silet—náa.
And on an insignificant subject, Virg. Georg. i, 181.
Túm variae illudunt pestes : sape ériguus—mits.
Horace : Párturiunt montes, mascètur ridiculus—mits.
§ 321. That verse is inelegant, which, in whatever manner, has its
parts too equal: as these of Ennius:
Paeni pervortentes—ómnia circumcursant.
Spársis hastis longis campus splendet et horret.
Disperge hostes, distrahe, didue, divide, differ.
Lucret. ii, 77.
Aügescunt alia gentes, alia' minuumtur.
CHAP. xxv.] |HEROIC VERSE. 73
Or such as that which I. H. Vossius ad Virg. Georg. iii, 519. has
given on this subject: - s -
Sole cadente juvencus aratra reliquit in arvo.
§ 322. It has been observed that the Latins are not fond of ending
a verse with a word which in measure resembles an Ionic à minore.
The cause of this does not lie in that word itself, but in the one
preceding it; for since the Latin language has no oxytoned words,
the sound of an iambic, spondiac, or anapaestic word, with the last
syllable acute, in that place, when the numbers ought to become
more remiss instead of more intense, is displeasing: as in the verse
of Lucretius just now quoted. Wherefore care is usually taken
either that the last words be Greek, or that the last word but one be
long, which, because it has two ictuses, has that on the last syllable
weaker : A'mphion Dircaeus in A'ctaeo—Aracyntho
Lámentis gemitugue et fémineo—ululatu.
Ambrosiae succos et odóriferam panaceam.
For the same reason, because the force of the numbers ought to be
diminished in the end of the verse, long words in that part are not so
elegant; as in Lucret. iii, 71.
Conduplicant avidi, cadem caedi accumulantes.
§ 323. The measure has been discussed in Diss. de AEtate Orph.
Arg. and by Spitzner in his book on the Heroic Verse of the Greeks.
The grammarians mention various species of irregular verses, ākepá-
Aovs, Aayapoès, uétoipovs, boxixootpovs or piaspookeNets, trpokeſpá\ovs,
arookou)\tovs. See Athenaeus xiv. p. 620. c. and the scholiasts of He-
phaestion. These are all nothing but fictions devised through ignorance
of prosody.
§ 324. The same may be said of what may appear to be an ana-
paest or proceleusmatic instead of a spondee or a dactyl ; which by
contraction is to be changed into a spondee or dactyl:
Bopéms kai Zépupos, tá, re Gofficm0ev &mrov.
véa piév plot karéake IIoaetëáwv évootX60w.
TAéovés key pivnaripes év iperépotov 86potolv.
ëk Śē oréaros évetke piéyav rpóxov čvöov čovros.
Iliad t, 5. p, 195. Od. 1, 283. o., 246. p, 178. 183. Ennius however
has admitted both a proceleusmatic and an anapaest in the first foot
in these verses, p. 135. 159. ed. Hessel. -
Capitibus nutantis pinus rectosque cupressos.
Melanurum, turdum, merulamgue, umbramgue marinam.
§ 325. Homer has allowed himself a trochee for a spondee in some
few passages, and that in the first and fourth feet. Od. k, 493. p,
267. Hymn. Apoll. 373.
pávrtos &Aaov.
TIöfftov kaxéovatv ćróvvplov.
Iliad 3, 731. o, 554.
- róv ač0' jºyeioffnv'Aok\mºrtoi, Śwo maiče.
ëvrpéteral pixov irop, &veltoiſ Krapévoto.
Although indeed, as some pronounced 'Aok\mittov, the measure in thi
latter instance might be justified by the accent. See Elem. D. M.
Herm. IK
74 HEROIC VERSE. [Book II:
p. 56. Other examples, which may be referred hither, may be seen
in § 71. 83. and 317. -
§ 326. The fifth foot is generally a dactyl. . In Latin poetry when
it is made a spondee, this is done usually with some expression of
gravity. Virg. Ecl. iv, 49. Propert. ii, 14, 49.
Cara deum soboles, magnum Jovis incrementum.
Sunt apud infernos tot millia formosarum.
No one of the Latin poets was so much delighted with this termina-
tion as Catullus. And for the most part they take care that a word
of four syllables may end the verse. Why a word of three syllables
was less approved may appear from $ 322. The following verses,
therefore, of Catullus Ixvi, 57. and Virgil Én. vii, 634.
Ipsa suum Zephyritis eo famulum legarat.
Aut levis ocreas lento ducunt argento.
are less elegant than these of the same poets, Georg. iii, 276. Hºn.
viii, 679. Epithal. Pel. et Thet. 44. 96.298.
Sawa per et scopulos et depressas convallis.
Cum populo, patribusque, penatibus et magnis dis.
Regia, fulgenti splendent auro atque argento.
Egressus curvis e littoribus Piraei.
Cum thiaso Satyrorum et Nysigenis Silenis.
In which the harshness of the ictus on the last syllable of the preceding
word is avoided—by the length of that word, or by the insertion of
shorter words.
§ 327. The later poets, both Greek and Roman, took care not to
construct verses of spondees only. Whence Albinus ap. Maxim.
Victorin. p. 1959. says,
Wilem spondeo totum concludere versum.
Homer however has many such :
'Arpetóns' rú, 6’ ańr’ék Štippov yovvačécónv.
See Iliad A, 130. J., 221. Od. o., 33. p, 15. X, 175. 192. Ion of
Chios in Brunck. Anal. t. i. p. 162. fr. ii, 5. Ennius :
Olli respondet rew Albai longai :
and he has many other such. Lucret, vi, 1133. Catull. cxvi, 3.
Those verses too are unfrequent, which have a few dactyls in their
commencement, and afterwards end in spondees. Catullus lxviii,
87. Virg. Georg. iii, 276.
Nam tum Helenae raptu primores Argivorum.
Sawa per et scopulos et depressas convallis.
§ 328. Since a pause is made at the end of every verse, the poets
preferred those forms of words which might end a verse with a long
syllable to those which would end it with a short one. On that
account they both added the paragogic v, and chose to put elva,
aiel, in the end of a verse rather than éppev, aiév. See de Emend.
Rat. Gr. Gramm. p. 22. sq. and praefat. ad Orph. p. 9.
§ 329. The Greeks always end a heroic verse with a whole word.
Whence many words are curtailed in ancient poetry, as ĀA, Šâj, kpi,
on which see Strabo viii. p. 364. (560.) But grammarians, in Iliad 0,
206. , 265. w, 331. have given eipiſotra. Zijv', which some write most
improperly with the last letter added to the following verse. For
cHAP. xxvi.] MEIOYPOX HEXAMETER. 75
since elision does not hinder caesura either among the Greeks or
among the Romans, it is plain that a syllable elided must be assigned
to a preceding verse or member. From Eustathius p. 984. init. it
may be inferred that there were some who wrote Ziv, as a mono-
syllable, in Homer. And they did rightly. Virgil, who affected the
praise of recondite and curious learning, followed the others: Georg.
i, 295. Aut dulcis musti Volcano decoquit humorem,
Etfoliis undam tepidi despumat aheni.
See ii, 69. 344. iii, 242. 449. and Macrob. v., 14.
§ 330. Among the useless subtilties of grammarians may be
reckoned the verse which they call kar' évôt)\tov, formed by a repeti-
tion of two dactyls and a spondee, as Iliad a, 357.
3?
Ös páro Sakpukéwy, row 3’ &k\ve trórva piñrmp.
The metre kar’ &vóTAtov, (on which see the schol. of Hephaestion
p. 91. (178.) Eustath. p. 1899, 60. the schol. of Aristoph. Nub.
651. and Hermann's note there; also Plato de Rep. iii. p. 400. B. and
his schol. p. 155. Elem. D. M. p. 352.) appears to have had the
following forms: &
* \{ \} = \º \! ºn ºn
4.
* * \tº \º sm \, \ºf as
w
* \tº \º sm m \, \º \º \º
§ 331. There is another verse called by grammarians Aoyoetës or
wroMurtrös, and approaching to prose : Il. A, 679.
itrovs 8é Éav0äs ékarov kal trevrákovra.
And in truth there is a certain species of heroic verse, in which, with-
out any regard to grandeur or gravity, no care is taken but to prevent
the numbers from being wholly rude and inept. It was employed
by those who wished to include in some sort of metre subjects of a
light character and little above prose, as by Archestratus, whose
poem Athenaeus very often quotes, and by Horace in his Epistles, and
still more in his Satires or Sermones. See Morgenstern. Diss. de Satirae
atque Epistolæ Horatianae Discrimine, p. 28. Sqq.
CHAPTER XXVI.
OF THE MEIOYPOX HEXAMETER.
§ 332. A verse is called by metricians pletowpos, when its last foot
is a pyrrhic or iambus, such as they say this is, Il. p., 208.
Tpóes 3' ééâtynoav, 3rws tºov alóNov 8%tv.
But in that verse we must pronounce &mpty, as some of the ancients
have already warned us.
§ 333. Verses, however, which are really peloupot, have been com-
76. ELEGIAC PENTAMETER. . . [Book Ir.
posed by some, Terentianus Maurus p. 2425. of Livius Andronicus's
Ino: - -
- Praemisso heroo subjungit namque pelovpov,
Hymnum quando chorus festo canit ore Triviae :
El jam purpureo suras include cothurno,
Balteus et revocet volucres in pectore sinus.
Pressaque jam gravida crepitent tibi terga pharetra :
Dirige odoris equos ad certa cubilia canes.
These verses are not Livius Andronicus's. Lucian has used this
metre in his Tragopodagra v. 312, seq. and since he puts a spondee in
the fifth place v. 314. 321. and an iambus v. 323, it is evident that
this metre has not a paeonic but an iambic termination: *
, - — , — , — 4
- w \º- \w \) - \º u- \, \! U— \,--
- * \º
These verses may serve for an example:
otre Atós 6povrais 2a)\plwvéos #ptoe 6ta.
oilk pto as éxápm Poiſº odºrvpos Mapotas.
#rtov, 6 trávömple, pépous āAympia, IIočáypa,
Koiſhov, Aappov, &öppiv, 3paxv6Aagès, &vóðvvov.
This metre is on the whole inelegant, but rather less so when the
caesura is made at the end of the fourth foot.
CHAPTER XXVII.
OF THE ELEGIAC PENTAMETER.
§ 334. Some have thought the elegiac pentameter is composed of
two dactyls, a spondee, and two anapaests. See Quintilian ix, 4, 98.
Terentian. Maur. p. 2421. Schol. Hephaest. p. 94. (168.) The
caesura, which must be inviolably in the third arsis, removes all
doubt that the account of it approved by Hephaestion is the only
true one, namely, that two dactylic rev6muspepſi are conjoined in this
verse. But it is not asynartete, as Hephaestion would have it : at
least if that appellation is to be used in the sense assigned to it in
§ 42. For the third arsis, in which is the caesura, neither admits a
hiatus, except such as in the dactylic poetry of the Greeks is
accounted no hiatus, nor a doubtful syllable; so that it happens very
seldom indeed that a short syllable in that place is made long by
virtue of the caesura and arsis. See Diss. de AEtate Orph. Argon.
Jacobs in Act. Monacens. vol. i. Fasc. ii. and iii. and in praef. ad
Anthol. and addend. to it; and Friedemann. in Diss. de Media
Syllaba Pentametri Graecorum Elegiaci.
§ 335. Nothing but the necessity of a proper name, and that too a
compound one, can excuse neglect of the caesura. Scarcely any
other example is now extant than that of Callimachus fr. 192.
iepā vöv Šē Atookoupiðew yeyeff.
chap. xxvii.] ELEGIAC PENTAMETER. 77
Elision neither with the Greeks nor with the Romans obstructs the
cæsura. Meleager xii, 4. „ *
τὸν τριτὰvovpyov "Epωτ' έτλασev êv Kpaöíq.
Catull. lxviii, 82.
Quam veniens una atque altera rursus hiems.
See v, 90. also : and lxxv, 8. xc, 4.
§ 336. Spondees are admitted in the first part, but not in the
second ; because the numbers at their conclusion ought to rum more
freely and easily, instead of being retarded by the sluggishness of
spondees.
§ 337. A verse of which every foot is a separate word is inelegant.
Theogn. 448. Catull. lxxvi, 8.
oῦτωs, άστep vvv, oùôevòs ä£tos et.
Aut facere, hæc a te dictaque factaque sunt.
§ 338. The first part of the verse is more elegant when a dactyl
precedes a spondee, than when a spondee precedes a dactyl :
Viae Priamus tanti totaque Trqja fuit.
Res est solliciti plena timoris amor. - «
§ 339. In this verse the Romans surpassed the Greeks in elegance,
chiefly by apt disposition of words, especially in the latter part. Of
all verses one terminated by a trisyllableTis the least approved :
Catull. lxviii, 98. ~s
• Nec prope cognatos compositum cineres.
One terminated by a word of four of five syllables is esteemed better,
but not the best. ' Ib. v. 18. 66.
Quæ dulcem curis miscet amaritiem.
Tale fuit nobis Manlius auæilium.
But ifthe word be Greek, it is approved, as in Propertius often. The
best verse is one ending in a word of two syllables, the feet ending in
the middle of words : -
IRes est solliciti plena timoris amor.
Ut reor a facie, Calliopea fuit.
The following is therefore less elegant:
Viae Priamus tanti totaque Trqja fuit. *
§ 340. If the last syllable be by nature short, they take care that it
may be terminated by a consonant, because by that means it is more
easily lengthened. If terminated by a short vowel, it is not elegant.
Catull. lxvii, 2. •
Salve, teque bona Juppiter auctet ope.
See v. 6. 10. lxviii, 70. lxxx, 2. xci, 1. Tibull. i, 3, 92. 5, 66.
8, 48. 9, 78. or
Scitis et in quo me corruerit genere.
Catull. lxviii, 52. See Ixxxviii, 8. cvi, 2. cx, 6. Tibull. i, 10, 14.
Propert. i, 16, 30.
§ 341. This verse is customarily subjoined to the heroic hexa-
meter: thus making the most ancient kind of strophes; having the
name of elegies. It has been once used in tragedy, by Eurip. An-
drom. 103. sqq. ¢
§ 342. On account of the equality of its members, the elegiac
78 AEOLIC VERSES. [BOOK II.
pentameter cannot well be often repeated alone. Nor has it been so
repeated, except in the epigr. 4 of Philip of Thessalonica in Brunck's
Anal. t. ii. p. 212, and by Virgil in that sportive effusion, sic vos mon
vobis.
CHAPTER XXVIII.
OF HEOLIC VERSES.
§ 343. AEolic verses, according to the metricians, are composed of
pure dactyls, except the catalexis, but the first foot is any disyllabic
one whatever. From which it appears that they are dactylic verses
with a base. The scholiast of Hephaestion p. 90. (177.) admits
spondees too instead of dactyls. These verses are apparently to be
divided into two kinds; the one used by the Doric poets, whom the
Attic dramatic poets followed, and the other by the Æolian lyric
poets. The Doric poesy excludes a pyrrhic from the base, admitting
only an iambus, trochee, or spondee, and after the base allowing a
place to spondees also instead of dactyls. The AEolians put a
pyrrhic also in the base; the rest of the feet they appear to have kept
pure dactyls. See Theocrit. xxix. Bentley, on the Epigr. on Pasi-
phaë written in the Horatian metres, deceived by the ancient metri-
cians, reprehends these poets without reason.
§ 344. Hephaestion mentions the following kinds of Æolic verses:
the trimeter, (which may be termed more properly the dimeter,)
catalectic on two syllables:
6vpwpá, tróðes érropóyviot,
rà èë orápſ3a)\a revregóeta'
Triavy you 8& 8ék' ééetróvadav.
§ 345. The tetrameter (now properly trimeter) acatalectic. Sap-
pho: ëpos 8 airé pl’ & Avouplex is $ovei,
'y)\vkiſtukpov ćuáXarov Šprerov'
'Arôl, ool 8' épé0ev pièv àtrix6ero
ºpovrtočnv, Širi 8’’Avēpopuéðav Torff.
Alcaeus ap. Schol. Plat. p. 51.
oivos, 6 pixe mai, Kai &Aá0ea.
§ 346. The pentameter (more properly tetrameter) catalectic on
two syllables:
rép o', 6 pixe yapſ3pé, KaNós éiká08w;
ôpiraki (3paëwº o'e uáAtor' éikáo.8w.
§ 347. The pentameter (more properly tetrameter) acatalectic.
Sappho : àpápaw pew éyò oréðev, 'Arói, tráAat Tóka.
Alcaeus ap. Aristoph. Vesp. I232. Theocrit. carm. xxix.
§ 348. The headmeter (more properly pentameter) catalectic on
two syllables; which the ancient metricians call étros Aloxucöv :
ké\oplat riva röv Xaptevra Meiwwa kaxéooat,
ei Xpi) ovutroalas €t' àvaow époi yeyevijabat.
chap. xxix.] - LOGAOEDIC DACTYLICS. 79
(
§ 349. AEschylus in Pers. v. 866. sqq. has many verses of this
kind, and some of them very long, but admitting spondees too after
the Doric manner. On which see Elem. D. M. p. 363. sqq.
CHAPTER, XXIX.
OF LOGAOEDIC DACTYLICS.
§ 350. The term logaaedic was applied to such verses, as, on
account of the conjunction of dactylic and trochaic numbers, ap-
peared to hold a middle station between song and common speech.
Since in this kind of metre dactyls and trochees are joined in one
periodic order, it is fit that the dactyls should be kept pure.
§ 351. The verses are for the most part terminated by two tro-
chees; as the Alcaic verse in Hephaestion: ... •
kai rus ér’éoxartaliaty oikeis,
and the Praxillean,
& 8tà Tây Đuptôov kakov čušMétrotoa,
trap6éve rav kepakav, rå Ö' évepbe vippa. *.
§ 352. Many logaoedic forms are met with. Æschylus in Prom.
165. has constructed the numbers of a trochaic hypercatalectic
monometer, and logaoedic, comprising seven dactyls and two spon-
dees. The shortest form is in Pindar Ol. i.
ēśatrarăvri più0ot.
§ 353. The following end in an arsis. Pind. Nem. vi. epod. 4.
ëpwea trpáros &t’’AApeoû.
Soph. El. 1414.
poipa kaflapſepta pôivet, póivet. w - -
§ 354. And the following in three trochees. Soph. OEd. C. 119.
ékrótuos ov6els ö irávrov.
Electr. 1413. 6 TóAts, 6 yewea raſkatva, viv ae.
§ 355. Verses may often appear to be logaoedic, which in reality
have other numbers, chiefly antispastic and choriambic, especially in
the dramatic poets. These discover themselves both by measures in
the antistrophe foreign from logaoedic numbers, and by an associa-
tion with other numbers, which shows that they are to be reckoned
among these rather than among logaoedic. This usually takes place
in the following forms chiefly : !
w w w
*-** ** - \º - \sº J– — V- \w
tº \º
w * d
* \sº
f & w Af *
- \, \,-\, \! -\º- * * *
— - - U -
tº \º
A z * w
80 ANAPAESTIC VERSES. [BOOK II.
§ 356. A base too is set before logaoedic numbers. Of which kind
are the Glyconean and Pherecratean, see Book iii. Another very
noted verse is the Phalaecean hendecasyllable, improperly referred by
metricians to antispasti. It has these numbers:
4. w º
e O. * * * * * * * * *
Pind. Ol. xiv. a! revaiere ka?\in w\ov čğpav.
I do not remember to have met with a pyrrhic in the base. The
other feet are kept pure. In the lv. poem only of Catullus a spondee
is now and then put for a dactyl, with a great loss of elegance.
O'ramás si forte non molestum est.
§ 357. This verse frequently occurs in the tragedians:
&mä0upov ćpwros àv60s.
AEsch. Agam. 752. Which, when it has an iambus or spondee in the
beginning, is sometimes not logaoedic, but of these numbers,
A M g
U → • Nº | tº mº M = \º
Fsch. Ag. 749, 762.
ākaokatov čyaMua TAoûrov
rekvočabat, pumö' àtratêa 6vñakeºv.
§ 358. This in Pindar Isthm. vii. epod. 1. is longer by one
syllable : pivotov ćrdpany és "Apyos trirtov.
CHAPTER XXX.
OF ANAPAESTIC VERSES.
§ 359. There are two kinds of anapaestic verses; one, which pro-
ceeding by dipodia, has the full measure of the arsis, whence it
admits a spondee, dactyl, proceleusmatic, in this form,
The other, of the anapaestics called cyclii, which consists of longer
orders, and has an irrational [disproportionate] arsis; whence both a
resolution of the arsis is excluded, except perhaps in a proper name,
and a dactyl is not admitted for an anapaest. See Dionys. Hal. de
Comp. Verb. p. 226.
§ 360. Of those which proceed by dipodiae, the acatalectic mono-
meter is one that is often met with :
kara yāv oikeiv.
AEsch. Eum. 841. 844. 846. It is frequent in systems of dimeters,
where it is usually called an anapaestic base. Synesius has written
three hymns in this metre, allowing himself even a tribrach and a
trochee in the second foot, because, contrary to the custom of the
ancients, he considered the last syllable as doubtful.
º
* \º
CHAP. XXXI.] ANAPAESTIC DIMETERS. 81
§ 361. Hephæstion informs us that Simmias wrote a whole poem in
the catalectic trimeter:
‘Iarta äyvä, ät' éüšetvov piéo a roixww.
§ 362. Servius in Centimetr. enumerates many forms of anapaestic
verses. See Gaisf, ad Heph. p. 290. Sq.
CHAPTER, XXXI.
OF ANAPAESTIC DIMETERS.
§ 363. The continuation of the same numbers through systems is,
not only in all numbers, but especially in the anapaestic, peculiar to
the dramatic poets. These anapaestic systems are sometimes anti-
strophic, sometimes not, written sometimes in the Doric dialect,
sometimes in the common, and at others in both promiscuously.
Some systems are legitimate, which are concluded with a catalectic
verse called paracmiacus ; others not legitimate, whose conformation
is more lax : and these are for the most part written in the Doric
dialect.
§ 364. In legitimate systems the unbroken connexion of the num-
bers, and the exclusion of a doubtful syllable from the end of the
verses, was first observed by Bentley in his Epist. to Mill. and Diss.
on Phalaris. Porson afterwards treated of the other particulars in
his Pref. to Hec. p. 45. and following. Although a hiatus, and a short
syllable, ending however in a consonant, is sometimes found ad-
mitted in the end of a verse, where either the person is changed, or
the sentence is ended. See Soph. OEd. C. 139. 143. 170. 173. Eurip.
Hec. 82. AEsch. Agam. 803. And a hiatus is equally excused in
exclamation and allocution. Æsch. Ag. 1546.
ið yā, yā, eiðe p' éööw.
Soph. CEd. C. 180.
&ye viv at ple, trai,
iv' &vetoegtas Štigatvovres.
But it is no where allowed to put a Cretic in the end of a verse. .
§ 365. That hiatus which is made by a long vowel or diphthong
shortened before a vowel may be met with pretty often. AEsch. Pers.
39. 542. kai éAetoſłórat vačv špérat.
Troöéovoat ièeiv ćprºvytav.
And in a dactyl having the place of an anapaest, v. 61, and in Eurip.
Hec. 125. olxerat āvěpáv.
tº Qngelöa 6' 620 'A6mvöv.
See Seidl. de Verss. Dochm. p. 96.
§ 366. The paroemiacus lias no casura, but the acatalectic di-
meters have the legitimate one in the second arsis:
TeXapóvie Trai, ris àpplpùrov.
Herm. L
82 ANAPAESTIC DIMETERS. [BOOK II.
The caesura however is often made in the short syllable which follows
this arsis. Æsch. Ag. 52.
Trepüyov ćperpaolouv ćpeogouévn.
Examples have been collected by Gaisford on Hephæstion, p. 279.
Neither of these caesuras is thought to be altogether neglected when
made in the commissure of a compound word, Æsch. Prom. 172.
Aristoph. Thesm. 52.
kai p' oire pueM-y\600 ous retflows. .
AuéA\et yap Ó ka?\At-erms 'Ayaté v.
But such instances are uncommon. By the comedians however the
caesura appears to be sometimes neglected : Aristoph. Pac. 1002.
A v. 523. ŠoćMotoi X\aviaktöiwv pukpóv.
vöv 8' &věpátroë', ſixtótovs, Mavās.
§ 367. It happens very rarely indeed that a word is made reach
beyond a verse by one short syllable. Aristoph. Vesp. 750.
ºv’ 6 kāpwé, pnot ris à l'hºt-
orros ; divuoráo.60.
For in this instance, even if one makes the first verse a monometer,
still the same division of a word must be admitted :
iv 3 kāpvš pm-
at ris à pipuoros ; āvuaráo.60.
For the most part, especially among the tragedians, this division is
avoided by making a monometer, as in the Agam. 1564.
à)\\' 'Iptyévetá vuv &otracta's
6vyármp, Ös X07,
tratép' àvrtágaoa Tpos ojkſtropov.
And where the poetry is antistrophic, the antistrophes everywhere
favor such a division, which, the sense requiring it, is often so to be
made, that there may be many monometers in one system. See on
Aristoph. Nub. 1012.
§ 368. Among the tragedians a proceleusmatic for an anapaest is
not met with in legitimate systems: and very seldom in the come-
dians. Aristoph. Nub. 916.
Śwa oré Öe pourāv.
§ 369. In the legitimate systems of the tragedians a dactyl never
precedes an anapaest in the same dipodia; and seldom in those of the
comedians. Aristoph. Pac. 168.
kai piùpov čtrixels ; dis #v Tu T^eóv.
See Ephippus ap. Athen. vii. p. 322. E. But in the tragedians an
anapaest rightly follows a dipodia ending in a dactyl. Eurip. El. 1319.
6ápoet, IIa)\\áðos joiav #éeus.
especially when the dactyl concludes a verse, as ib. 1322.
of yºyove pi\rare:
ötö yöp &evyvío' juás Tarpºov.
See AEsch. S. ad Th. 833. 873.
§ 370. Dactyls, even following one another, are very frequently
substituted for anapaests. AEschylus, Agam. 1561. has five; Eu-
ripides Hippol. 1361, seven. In reciting such verses it is necessary
to beware lest by giving the ictus to the first syllable of a dactyl
instead of the second, which ought to have it, one convert them into
chAP. xxxi.] ANAPAESTIC DIMETERS. 83
dactylic : Tpógdopá p' aipere, givrova 6' &Akere
Töv kakoëaipova Kai karáparov.
§ 371. The paramiacus, which closes legitimate systems, has the
same feet as the end of a heroic verse; the third foot being seldom
a spondee: AEsch. Pers. 52.
TTwy T' &\atºp X wobávns.
See Agam. 374. Suppl. 8. The first foot however is often a dactyl.
AEsch. Choēph. 377.
tratai Śē pax\ov yeyévnrat.
§ 372. It is fit that a sentence should be finished with a paroe-
miacus, even if another anapaestic system follows afterwards. Nor is
it necessary that there should be a full stop after the paroemiac verse,
for sometimes even a comma is sufficient, as in the Agam. 65.
8takvatopévms T' év tooteWeious
kápakos Ghowy Aavaoičiv,
Tpwat 6' 6ploios.
On which see Elem. D. M. p. 379. Sometimes, but seldom, there is
no stop at all after the paroemiacus; the new system however com-
mences with the mention of something new, and distinct from what
precedes. As in the Suppl. of Æschylus 5. which passage is treated
of in Elem. D. M. p. 379.
§ 373. When these systems are antistrophic, foot does not answer
to foot, but yet the division of the metres is usually alike. See § 367.
The shortest systems appear to consist of one dimeter and a paroe-
miac. Thus in the Agam. 1501. and Eumen. at v. 307.
§ 374. The systems not legitimate differ from the legitimate sys-
tems in degrees; so that they sometimes appear very like the latter,
sometimes very unlike. They differ in measure ; for they not only
admit a proceleusmatic, but have sometimes nearly whole verses con-
structed of proceleusmatics: in other places the verses consist almost
wholly of spondees: in the casura ; which is not only allowed to be
neglected, but is often neglected on purpose : in continuity; for they
are sounetimes either connected with other numbers, or are interrupted
by others; and not even the anapaestic verses themselves are joined
with such strictness as the legitimate ones: in the use of the parae-
miac ; for it may even begin a system, and many of those verses are
often put in uninterrupted succession : lastly in the catalewis ; for
they have no certain manner of conclusion, but are terminated some-
times by one paroemiac, sometimes by more, at other times by none,
and at others even by different numbers.
§ 375. The following may serve for an example of systems not
legitimate, but yet differing little from legitimate. Soph. Antig. 929.
where the first system contains a strophe, antistrophe, and epode.
X. Šrt Tújv abrów &vépwy 6ttai orp.
Túvöe y' éxovatv.
KP, totyap rotºrw v Tolovy &yovow
k\aúpa() iTápés, Bpaëvriiros inep,
X. opiou, 6avárov Towſ' &yyvrátw & 17,
rotºros &pikrat.
84 ANAPAESTIC DIMETERS. [Book 11.
KP. 6apoeiv oběév trapapav6oipat,
i) oi rāše rairn karakvpoiſobat.
ANT. 3 yńs Oñ9ms āorv trarpgov, érp8.
- 6eoi re Tarpo'yeveis,
&yopiat 8), kočk ért HéAAw.
Aewagere, Oñ8ms oi kotpavíðat,
Tºy Baat)\#8a rºw plotſvny Mottröv, &.
oia irpès olwy &vöpóv táoxw,
rºv eige/Siav aegioaga.
See Eurip. Hec. 59–99, ed. Pors. where some different verses are
intermingled. Those anapaests are ended by a verse without a caesura,
and a paroemiac having a dactyl in the second foot :
&T' épás obv, &m' épás rööe ratóðs
trépibare, Saiploves, isereto.
§ 376. We give this example of a freer system. Hec. 156.
of 'yū, plexéa, ri tror' &mdow ;
Totav čxó ; toiov 38wppióv;
Set\ata belxalov yipals,
SovXetas rās oil r}\arás,
5 Tās oil pepräs. & plot plot.
ris àpivet plot ; troia yewed: ;
Tota Sé TóNts ; ppoiſèos Tpégſ}vs,
ppoijöot traičes.
Totav, f rairav, # kelvay
I () oreixo ; Troi 8' #ow ; Troö ris beſ.jp
étrapw')6s ; tā kāk'éveykova at
Topáčes, 6 kák' éveykońoat
thplar', &troXéoat', d'Mégar” ovkért Hot 3ios
āyaarös év páet.
| 5 & TXápov, &ymoat plot, trous,
&ymoat rā ympati,
Trpos Távö’ ab)\áv' & rékvov, (3 trai
8voravotáras parépos, Šćex'
oikov' &ie parépos at 8&v.
Of these verses the twelfth, the thirteenth, and the nineteenth, are
dactylic, the fourteenth iambic.
§ 377. Aristoph. Av. 328. furnishes an example of a system in
which resolutions are frequent :
Tpoèeóópe6', &vóotá tº
étrá0oplev' 6s yap pi\os ºv, buárpopá 0.
ipliv čvépiero trečia rap' ipſiv,
tapéſàn pèv 0eapows &pxaíovs,
trapéſ'm 8' àpkovs 6pytóww.
On the antistrophe of these see Elem. D. M. p. 384.
§ 378. We are told by Hephaestion, that the dimeter having the
elevations resolved was by some called the Aristophanean proceleus-
matic tetrameter; but by the better skilled, anapaestic :
ris Špea (3aôňkopia raë' étréovro Bporów ;
§ 379. Those spondiac verses, among which several successive ca-
chap. xxx1.] ANAPASTIC DIMETERs. 85
talectic verses are often inserted, are, as being grave and suited to
sorrow, employed principally by the tragedians, and for the most
part as antistrophic. Neglect of the caesura is peculiar to these.
Although those catalectic or paroemiac verses have the last syllable
doubtful, yet it is commonly contrived that it may be long, as ap-
pearing more suitable to the general nature of these verses. Ex-
amples of them are in the Pers. 925. Hecub. (see § 376.) Troad.
Iphig. Taur. Ion, and elsewhere: also in Aristoph. Ran. 372. ss.
Av. 1058. ss. Pac. 433. S. 464. ss. In these paroemiac spondiacs
Synesius wrote his fifth hymn.
§ 380. If ever a hypercatalectic monometer occurs joined with
these verses, it appears more probable that it is a dochmiac: as in
the Hecub. 193. 196. ed. Pors.
TIm}\eiða, yévva.
puávvoov, përep. -
§ 381. Bentley in his Epist. to Mill. p. 474. ed. Lips. has shown
that the ancient Roman tragedians constructed legitimate systems
with the same continuity of numbers, as the Greeks. Attius in Phi-
loctet. Hei quís salsis fluctibus mandet
Me ea sūblimi vertice sawi P
Jamjam ébsumor: conficit animum
Wis völneris, ulceris a 'stus.
Plautus also has used this species, but with less elegance, for he not
only admits frequent resolutions, but hesitates not to resolve the last
arsis in the paroemiac verse itself, as in the Stich. i, 1. on which scene
see Elem. D. M. p. 591. and following.
Placet : táceo : at memineris facito.
He appears too to have intermixed verses of this sort with other
metres. See Elem. D. M. as above. In the tragedies ascribed to
Seneca, systems of anapaestic dimeters often occur, but without the
paroemiac ; a circumstance which shows the egregious ignorance of
those poets.
§ 382. Plautus has used spondiac anapaests also in Stich. ii, 1, 37.
Aperéte atque approperáte, fores
Facite itt patednt, removéte moram.
Mimis haec res sine curá geritur :
Wide quám dudum hic adsto èt pullo.
Somnáne operam datis? 6aperiar,
Fores, ān cubiti, an pedes plits valeant.
Nimis véllem has fores herum fügissent,
Ea caissa ut haberent mélum magnum.
Deféssus sum pultándo.
Nunc hoc postremum est vöbis.
G. Ibo átgue hunc compellábo.
Salvös sis. D. Et tu sălve.
G. Jam tă piscator fåctu's 2
D. Quam pridem non edisti f
G. Unde is? quid fers ? quid féstinas &
D. Tua quéd nil reſert, né cures.
86 ANAPEstic TETRAMETERs. [book ii.
G. Quid tam tracundu's 8 D. Si in te
Pudor éssit, non me appélles.
G. Possăm scire ea te vérum ?
D. Potes: hôdie non caenábis.
CHAPTER XXXII.
OF ANAPAESTIC TETRAMETERS.
§ 383. Two tetrameters were in use; the acatalectic, which ap-
pears to have been employed by the Romans only, and the catalectic,
peculiar to comedy, and employed by both Greeks and Romans.
Porson, in his Pref. to the Hec. p. 46. sq. has accurately treated of
the catalectic, which is called Aristophanean, although not invented
by Aristophanes. This verse consists of an acatalectic dimeter and
paroemiac, with the caesura at the end of the fourth foot, and for the
most part an incisure at the end of the second foot also, a proceleus-
matic too being every where avoided.
§ 384. Although care is taken to have the casura at the end of
the fourth foot, yet sometimes, but very rarely, it seems to have been
made in the short syllable immediately following, as in the dimeter:
see § 366. Aristoph. A v. 600. e
Töv ćpyvptov oirot yap local Aéyovo, öé tov táče Távres.
§ 385. The caesura at the end of the second foot is often neglected;
but then, for the most part, the incisure is made in the following
short syllable; so that indeed the caesura is rather changed than
neglected. As in the Plut. 570.
étiſłovXetſovoi te tº TAñ6et.
But there is often a neglect in reality of the caesura at the second
foot, requiring however an arrangement not inelegant of the words,
as it is when the second foot is a dactyl, and a word is terminated in
a long anacrusis of the third foot : as in Eq. 508. Vesp. 684.
jváykačev čtm Aéčovtas. *
oot o' #v tís ye Stöð Tpe is 396Novs.
Where we should read:
jváykačev Aééon't as ét m.
ooi 8' v Tus $g rows ſpeis 686Xovs.
Nor is a verse elegant, whose fourth foot ends in a monosyllable :
although some examples occur: as in Eq. 525.
éeſ}Añ0m Tpeoffärms & v.
On all these matters see Elem. D. M. p. 399. sqq.
§ 386. In these verses a proceleusmatic is not found put for an
anapaest, nor a dactyl followed by an anapaest, unless the dactyl has
the fourth place. This is extremely rare, and yet it can no more be
repreſended than the same junction of a dactyl and anapaest in
dimeters; of which above, § 369. Aristoph. Vesp. 397.
aúrðv čígas, 6 pitapórate, Ti troteis; oil a karaffilmet.
chAP. xxxii.] ANAPAESTIC TETRAMETERS. 87
§ 387. In other cases also a dactyl seldom has the fourth place:
when it has however, emendation is not, as Porson thought, to be
attempted because of the infrequency. Aristoph. Vesp. 350. Nub.
326.
êortv dri) 870, #vru' àv čvö00ev oiás tº eins Stopáča.
ths oi ka0opó' tapú ſàveto obov föm vöv Ós piéAts abrás.
See Elem. D. M. p. 402. sq.
§ 388. The latter part of this verse has in Aristophanes these
measures only : z
- * *
But Cratinus, and before him Epicharmus, and before Epicharmus
too Aristoxenus of Selinus, used a spondiae ending also :
dis &v påA\ov Tois Tmöaxious à rajs jºv Tetbápxm.
Which sort of verses were by some called Laconic, as Hephaestion
tells us, who gives this example:
ūyer', 62ndpras &votAoi Koi pot, Tori Tav"Apeos kivaaw.
§ 389. This metre admits a hiatus in a long vowel or diphthong
made short: -
# trapöd)\et à Aikp ij raûpp.
This hiatus in Nub. 977. Vesp. 673. is not elegant:
j\eliparo 3’ &v roipºpſiAoû oběeis.
oi Śē §§ppaxos dis #00murai.
§ 390. The Roman comedians also used this kind of verses, as
appears from Plautus. See Mil. Glor. iv, 2, 20. sqq. in Elem.
D. M. p. 405. sqq. And Plautus neither abstained from the pro-
celeusmatic, nor from a spondiac ending, nor hesitated to resolve the
last arsis. The following verses from that scene may suffice as an
example:
Frustrór : patere atque adstá: tibi ego hanc do operám : prope-
rando eacritcior.
Pedeténtim: tu hac scis : tróctare ita solitiº's has hujusmodi
mérces.
Age, age, it tibi maxime concinnum 'st : nullum ést hoc stolidius
sárum.
Redeo £d te: quid me völuisti 2 quo pácto hoc dudum accépi,
Istác fero ego ad te consilium : quasi hunc dépereat : teneo istuc.
Collaídato formam ét faciem, et virtùtes commemoréto.
§ 391. The same poet made octonarian verses also, or acatalectic.
tetrameters; as in Aulul. iv. 9.
Perii, interii, occidi : qué curram & Quo món curram 2 tene, téne,
quem f quis 2
Nescío, nil video, ca'cus e0, atque equidém quo–eam aut ubi sim
attt qui sim,
Nequeó cum animo certum investigare: 6bsecro vos ego, mi
aúwilio,
Oro, öbtestor, sités, et hominem demónstretis qui–eam ébs-
tulerit. º -
88, CYCLIAN ANAPESTs. [Book 11.
Quid ais tu ? tibi credére certum est: nam essé bonum, e voltu
cógnosco. - -
Quid est? quid ridetis? névi omnis: scio füres esse hic côm-
pluris,
Qui véstitu et creta 6ccultant sese átgue sedent, quasi sint frugi.
§ 392. Plautus has associated these verses too with septenarian or
catalectic verses, as in Casina ii, 3, 5. Elem. D. M. p. 413, sqq.
CHAPTER XXXIII.
of CYCLIAN ANAPESTs.
§ 393. Those anapaests are called cyclian, (as has been shown in
§ 359.) which have an irrational [disproportionate] arsis. And such
neither admit resolutions, except perhaps in proper names, nor
proceed by dipodiae ; and therefore are without caesura also. Of
these there are many and various sorts.
§ 394. To these are referred by metricians certain dactylic num-
bers, which have an iambic anacrusis, and are on that account not
properly anapaests. As this metre of Archilochus: -
'Epaopovičm XaptAae.
- Añpinſpire xeipas àvaoxów.
If Archilochus appears sometimes to have put an anapaest in the
beginning of a verse of this kind, a contraction is rather to be
made : épéal, troAt pi\taff' éraipov.
- ºptAéeuv, orvyvöv rep Šávra.
Æschylus in Sept. ad Theb. 757. has used this verse, and another
shorter by one syllable:
éyetvaro pièv učpov airó
warpokróvov Oièutóðav. -
§ 395. The following are true cyclian anapaests. AEsch. Pers. 954.
958. 'lávov yūp &trm{pa.
8vočaipovd T' &Krd v.
And v. 957. Agam. 110.
vvy tav TAáka keporápuevos.
- 8ttpovov ºpáros, ‘ENAé80s #3as.
Aristoph. Av. 1316. • --
karéxova, 6’ pores épás ºróAews. -
which metre has been used by Lucian in Tragopodagra 190 sqq.
§ 396. Aristophanes in Pac. 943. has put a cyclian verse before
common anapaests:
étretyere vöv čv Šop
ooſłapa 6eóðey karéxei woMéuov
perárporos aipa vöv yüp Satuww
pavepús eis &yaôa peraſ?uſ?áčet.
CHAP. xxxIV.] LOGAOEDIC ANAPAESTICS. 89
CHAPTER, XXXIV.
OF LOGAOEDIC ANAP/ESTICS.
§ 397. The logaaedic anapaests also have the irrational [dispro-
portionate] alsis. The most noted of these is the Archebulean
verse, in the first foot of which an anapaest, and a spondee, and an
iambus are found, as Hephæstion teaches, giving these examples
from Callimachus :
&yéra, 6eós' oi yüp 8xw Śixa rövö’ &etēew
viſupa, aw pew &orepiaviº &pašav #5m.
pixwrépa tipri yüp & 21ké\a pièv "Evva.
But it is probable that Callimachus wrote pixworépa, and that the first
foot was not any other than an anapaest or a spondee.
§ 398. Aristophanes in Av. 1313. has another sort:
Taxi, 3’ &v troXvávopa rāv tróAlv.
Which Lucian in Tragodopodagra v. 87. sq. has mixed with the
catalectic :
rāv prev Kvirplay 'Appoćirav,
arayóvov ºrporegoiſaav ćit' aidépos,
àveópéparo köopatov Špployāv
&\ious évi kūpao, Nnpets.
He has once admitted a spondee in the middle of a catalectic, but in
a proper name, v. 107.
Moipa KX4000 Tór' é\ovoev.
§ 399. In Aristophanes another sort is frequent, comprised in
systems: as in Pac. v. 909.
7 xpmorós divºp troXi-
raws éariv Štraouv ča-
rts y $ori rotoiros.
§ 400. The same poet (ap. Athen. ix. p. 410. B.) has used another
verse, whose first part consists perhaps of common anapaests:
pépe, tai, taxéws kara xeipós iſ8wp, trapátrepitre rô xetpépakrpov.
§ 401. Many logaoedic verses are found, which, as they have not
an iambic anacrusis, are not properly anapaestic. Eurip. Med. 152.
rt oot Tore rās &trkóorov
Koiras pos, 6 parata,
orreàoet 6avárov reMevrávº
plmöèv Tóöe Atagov.
Soph. OEd. Col. 669.
tkov ta kpártara yās étavXa.
Eurip. Hec. 450.
6oas ākaroos én' oièga Alpivas.
Herm, M
90 CHORIAMBIC VERSES. [BOOK II.
CHAPTER, XXXV.
OF CHORIAM BIC VERSES.
§ 402. The third kind of dactylic numbers is the choriambic ;
which is, for the most part, without resolutions, and admits a Mo-
lossus for a choriambus extremely seldom, and among the dramatic
poets only. As these numbers are very vehement, the lyric poets of
the middle age, and the comedians, substitute for them another sort,
alike in movement, but more placid, and equal in measure: i. e.
the Cretic with an iambic anacrusis, or an iambic dipodia, if that
appellation be preferred. But in this the comedians use a greater
license not only in resolving the first arsis, but also in admitting a
long syllable in the anacrusis, in this form :
I hold a disyllabic anacrusis to be suspicious. In Aristoph. Lys.
345. the true reading seems to be
atts, troXtoux', Éaxov ć8pas.
§ 403. The catalewis is various. The close is made very seldom
indeed by the choriambus itself. The most usual catalexis is the
logaoedic; next, that which is made on two dactyls : that which is
made with a Cretic is more rare; the most rare of all that with a
trochee. Sometimes the verses are hypercatalectic, or ended with a
ditrochee. Af
f
- * V = \, \,
Af f
* \º w = | * \º ºs
A g
Af
A &
= \º \º see = w = wº
§ 404. Of the first kind are these verses:
oùk éros, & yuvaikes.
Šakpwéeagáv r' épi\maev aixuāv.
Seijré vuv, &6pal Xápires, ka?Atkopioi re Motorat.
In which kind of verses Hephaestion says that Aristophanes in a
certain strain resolved every first arsis:
3. p * \ 3/ f g
âvatéropat şi "pös "OAvpatov Trepčyeagu kotºpais.
Callimachus composed a whole poem, Branchus, in the pentameter:
3aiploves eivpwórarot, Poiſłó re kai Zev, Štěšpov yewápxat.
Philicus of Corcyra boasted of having invented the hexameter;
chap. xxxv.] CHORIAMBIC VERSES. 91
falsely, since Simmias had already employed it in his Awe and
Wings.
§ 405. Of the third kind (for the second is found principally in
those verses which have a base) Hephæstion gives these examples:
iorótovot pletpakes.
ovöé Aeóvrov offévos, oi,8é rpoſpat.
* a? Kv6epetas Štrutveir'âpyta \evko)\évov.
§ 406. Let the following serve as examples of the fourth, fifth,
and sixth terminations. Aristoph. Lysistr. 323. Soph. Aj. 226.
AEsch. S. ad Th. 741.
Te Kai Kptriſ), Mav reptºpvoºrw.
Tāv ć puéyas pºiſ00s &ééet.
airočáikro. 6&voot.
§ 407. The catalectic dimeter, which consists of one logaoedic
order, and cannot be reckoned among choriambics, except in that it
serves for a catalexis, occurs sometimes among the dramatic poets,
repeated in systems, resolutions, being rarely admitted. Eurip.
Bacch. 105. & XepičAas rpopoi G)ij-
6at, are pavoiſofle kugog.
|3pwere, 8piſere x\ompá
optAaku ka?\\tkáptrºp.
§ 408. Systems of acatalectic dimeters are concluded with this
verse. AEsch. S. ad Th. 924.
8aióppov, où pixoya-
6)s, érüpıws Śakpuyéov
ék ppevös, & KAatopévas
pov puwöffew
rolvöe 8voiv &vákrow.
Since these dimeters, when the first syllable is cut off, resemble
Ionics à minore, they may easily be confounded with the latter,
especially when verses of both kinds are consociated, as in Soph.
OEd. R. 483. Šetva pièv oëv, Šetva rapágoes .*
oopós olwvo0éras, où-
re Sokoúvr', oùr' &topdokov6”
ô Tu Aéčw 8', &topſ).
§ 409. Another form of the dimeter consists of a choriambus and
diiambus, or the contrary. Aristoph. Nub. 563.
inpupuéðovra pièv 6eóv
Zijva rúpavvov čs Xopov
Tpāra piéyav kuk\flakw.
rów Te Pueyao 6evil rotai-
vms rapitav,
'yńs Te Kal &\pivpås 6a Ada-
oms àyptov pox?\evräv.
This kind is unfrequent among the tragedians. See AEsch. Suppl.
105. The comedians often begin with the diiambus, and that too
so that in an antistrophe a diambus answers to a choriambus. So
Vesp. 526. vöv Šē rôv čk 0}aerépov
'yvpava atov Aéyetv Ti Sei
Katrón, 6tws pavijoet'
92 CHORIAMBIC VERSES. [BOOK II.
to which these answer, v. 631. -*.
outówo0 oijra, ka9após
očevös kotoapaev, ov-
8è £vverås Aéyovros.
They resolve the first arsis too of the diambus. Lysistr. 324.
itró re vöplwv ćipyaxéww
itró Te yepôvrov d\é6pov.
and with a long anacrusis: v. 339.
- Šeuvórat' &tetxoVyras &táv.
Nay, even in the catalectic verse they admit an iambic dipodia, an-
swering too to a chorianibus; 326, 340. -
io repāTovs Bombó.
'yvvaikas āv6pakewetv.
§ 410. The later form only of tragedy appears to have used re-
solutions: as in Bacch. See § 406. and in Iphig. Aul. 1036.
ris àp' ipêvatos 8ta Atotoi At&vos
perá re ºptAoxopov Kuběpas.
The same age of tragedy made a diiambus answer to a choriambus
also. Soph. Philoct. 1100. 1121.
toū Ngovos Saipovos et-
Aov Tó Kákuov čA6eiv.
kai yap Épioi Towto puéAet,
paſſ pixórmr' àtóon.
And v. 1138. and 1161.
pupi’ &t' aloxoov &varéA-
Xov6' 50' ép' -
piv Kák' épìa ar'. . . .
pumkért plmöevös kpariſ-
vov, Šoa répi-
tree ſufföwpos aid.
§ 411. Of the trimeter we just now gave an example from the
Iphig. in Aul. The tragedians used the catalectic tetrameter also, as
Eurip. Herc. Fur. 639.
& veóras Hot pi\ov &x60s, Tó Sé yńpas alet.
In this sort Anacreon has put a diambus in the second place:
ék rotapoi, 'travépxoplav távra (pépovoa Aapatpá.
And if that were kept constantly pure, this verse might seem to be
constructed of two logadedics. Such are the sixteen verses of Eupolis
ap. Athen. vi. p. 236. corrected in Gaisford's Hephæstion, p. 296.
But those in Aristoph. Lysistr. 319. 320. 327. 341. are really cho-
riambics; but perhaps these are to be divided into dimeters. And
that of the same poet in Hephaest.
oièa pèv àpxaſióv Tu Spöv, koixi AéAm6' éptavröv.
§ 412. The acatalectic tetrameter is used by Anacreon, a chori-
ambus and diambus being put promiscuously, except that in the end
there is always a diiambus, ap. Athen. xii. p. 533.
ºrpiv učv čxov kepòéptov, KaNüppar’ apnkwpéva,
kai ÉvXivows &arpayáAovs éi dai, kai bºxov neph
TAewpñat . . . . 600s
CHAP. xxxv.] CHORIA MBIC VERSES. - 93
veðirèvrov etMuppa Kakīs &otiëos, &proté)tow
kå6exotópvotov Špºéov & Tovmä0s 'Aprépawv,
kiGönkov eiptakov (3tov,
troXXè uév čv čovoi tuffeis aiyāva, tox\& 8' év rpoxó,
troXA& 8é várp orvrivil géorvyt 6apux6eis, kóplmu
Töyová t'ékrerºpuévos'
vöv 3’ & Tubaivet garuvéov, xpúaea popéov ka0éppara,
"rais & Kūkms, kai arvačiaknv č\epavrivnv popei
Yvvatāv airtos . . .
$ 413. The use of the choriambic metre is unfrequent among the
Roman comedians. Some choriambics however are found in Plautus,
and even in Terence, Adelph. iv, 4, 4.
Mémbra metu débilia
Sünt, animus timóre
Obstipuit: péctore nil
Sistere consili quit.
If these are to be combined in tetrameters, they must necessarily be
asymartete. *
§ 414. Choriambic verses are met with beginning with an anacru-
sis: AEsch. S. ad Th. 330. - --- -
it’ &vöpós 'Axatoč 6eó0ev
trepôopévav ćitipaws.
Of which kind some metres of the Æolic lyrics appear to be, which
by grammarians are accounted Ionics à majori, as this of Sappho,
ap. Hephaest. p. 37. (64.) -
eipºopporépa Mvaotötka rās &raxás Tupuyváis
ãoaporépas obôáp' éir', to "pavva, oréflew rvXoloa.
So I now think the fragment is to be corrected, Sappho, ib.
8éövke pièv & ae)\áva
kai IIAmiáčes, piégat Sé
vökres, Trápa 6' 0xe6' dipa'
éyò 6é pova kafletºw. *
These are wrongly given in Hephæstion, two verses being joined in
one. Soph. Antig. 606.
Tāv oë6' iſt vos aipei Tô6' 6 travroyipws.
§ 415. A verse composed of an amphibrachys and choriambus is
common. Æsch. Ag. 757.
tropitā Atós £eviov.
Horace has put a trochaic dipodia before choriambi, and has chosen
to make the last syllable of it always long, whereas it is probable that
among the Greeks it was doubtful; he has made the caesura in the
first syllable of a choriambus:
Te deos oro, Sybarin cur properas amando.
Atilius Fortunatianus p. 2683. has blamed this metre without reason.
See Bentl. ad Hor. p. 710.
§ 416. The most in use are choriambics with a base, which the
ignorance of ancient metricians ranked among antispastic verses.
But if they were antispastic, they could never begin with a trochce
or pyrrhic, and they would have the last syllable of each antispastus
doubtful, The Latin grammarians perceived the error. See § 211.
94. CHORIAMBIC VERSES. [Book II.
§ 417. The AEolic lyrics alone admitted even a pyrrhic in the base.
The comedians and the later tragedians ventured to put in the base
even trisyllabic feet, the tribrach, anapaest, dactyl.
§ 418. The shortest of these verses has one choriambus. AEsch.
Suppl. 42. vöv čv trotovápots.
Next to that is the hypercatalectic, which is called Pherecrateam.
Id. S. ad Th. 301. sq.
rol pew yūp Trori triſpyovs.
Then the Glyconic, which has a logaoedic order,
Cui flavam religas comam. w
Of this we shall speak in B. iii. Another kind has a trochee or
spondee subjoined to a choriambus. AEsch. Eum. 1038. unless this
too is to be ranked among Glyconic verses :
eig apeire Sé, xaſpirat.
§ 419. The most in use is the hypercatalectic dimeter. Soph. Aj.
628. où8' oikrpäs ydov Špytó0s &möows.
Sophocles has used the brachycatalectic trimeter in Antig. 951.
&AA’ & poptèta ris Sºvagus Setvá.
420. Choriambic systems too are found beginning with a base.
AEsch. Suppl. 61.
80% oet ris àkoútov Šta rās
Tmpeias
piñrtöos oikrpäs &\óxov.
Where the Molossus in a proper name is to be remarked, to which in
the antistrophe a choriambus answers. As in Soph. El. 123. 139.
where too the last syllable of the choriambus is resolved :
Tákets 68' àköperov oipwyáv.
div-
oráoets owre yoots, oùre Avrais.
In the same play Molossi are made to answer to each other; v. 472.
4.88. ei pº 'yū, trapáppov påvtus épvv kai yuápas.
iftet Kai troXútrovs kai troAixelp & Selvois.
Which is done ib. v. 129. 145. in verses also without a base :
\ 6 yewé0\a yew.vatov.
viittos, os Tāv oikrpäs.
§ 421. Many forms of this metre were used by lyric poets of the
most ancient and of the middle age : as,
karðvágret, Kv6épm’, diſpos "Aöw1.ls' ti ke 0eipev ;
karrúTreo6e, kópat, Kai katepetkea de Xtróvas.
And, viºuſpats toū Atós éé alytóxw paai Tervynévals.
Kpoviča £agiNjos yévos, Alav, röv ćptorov tré8’’Axi\\éa.
And, Töv orvyrov Mexaniirirov póvov at Tarpopóvov ćp,00t.
And Anacreon :
àp6eis 8' mir’ &trô Aevkášos -
térpms, és Toxtov Küpa KoMupſ& peóſov Šport.
And Sophocles, Philoct. 681.
&\\ov 8 of riv' &yoy' oića K\tov, où'ěotöow potpg.
Aud Alcaeus ap. Athen. xiv. p. 627. A.
papplaipei Šēpēyas 56pos
ºxaxkó: Tāoa & "Apei kekôopmrat aréym.
CHAP. XXXVI.] VERSES IONIC A MAJORI. 95
§ 422. Horace has used many choriambics with a base, always
putting a spondee in the base, except i, 15, 24. 36.
Teucer et Sthenelus potens.
Ignis Iliacas domos:
and making a caesura at the end of each choriambus except the last:
Maecenas, atavis edite regibus. -
Nullam, Vare, sacra vite prius severis arborem.
Once only, and that in a compound word, he has neglected the
caesura i, 18, 16.
Arcanique fides prodiga perlucidior vitro.
See Bentl. on iv, 8, 17. Alcaeus was careless of such matters :
plmöév ćNAo ‘pureňays trpárepov 8évêpeov ćputréAw’
whom Catullus has followed, Carm. xxx.
CHAPTER, XXXVI.
OF VERSES IONIC A MAJORI.
§ 423. On the Ionic à majori metre, as on the antispastic, the
writings of the metricians are full of error and confusion. Being
deceived by the similitude of other verses, they have delivered both
other false doctrines, and also this, that the first syllable of all the
verses, and in some tetrameters even the first syllable of the third
dipodia, is doubtful. The foot called Ionic à majori consists of two
orders, of which the first is a bare arsis, the last a dactyl. And
because these numbers are very harsh and offensive, they determined
on changing them for smoother but not less broken, two trochees
not cohering in one periodic order:
* - | * \tº \f
Moreover it was necessary that, if several Ionics à majori were put
in one verse, each should stand separate and independent, not
having the numbers continuous, because otherwise they would be
changed into choriambi:
& Af f f &
From this it came to pass, º in each Ionic the last syllable was
doubtful, which in choriambics ought to have a fixed and certain
measure. These numbers admit resolutions and contractions in
every manner, and in the Ionic form thus :
Af *
tºº - \v U,
Wº º * \ſ
96 VERSES IONIC A MAJORI.
[BOOK II.
in the trochaic thus:
ſ - &
which schemes comprehend twenty-eight forms. But since so great
a multitude of forms would have created too much confusion, we see
that all were not admitted. Although the extent of license to which
poets proceeded cannot in such a paucity of examples be precisely
determined.
§ 424. Among the verses adduced by Hephaestion there are,
besides the Sotadean, only two which appear to be really Ionic d
majori, the dimeter, which is called the Cleomachean;
ris Tºv Šēptmv ipêv
épôpmo'; 'yū, Tivov'
and the trimeter,
Tóas repèv àv60s paxaków pareijaat,
which, if an Ionic, would require rotas to be written instead of tróas.
§ 425. The most noted of Ionic verses à majori is the Sotadic,
constructed for recitation only, not for song, as Aristides Quintilianus
p. 32. expressly teaches. That verse is a brachycatalectic tetrameter,
consisting of three Ionics and a trochee. Two trochees are found in
any place, but for the most part in the third. The examples furnish
these forms of it in Ionic feet:
z A * A * z z
- - w \º - -- \º \º - - \w ºw ~~~~
/ a z * a z
Wº Wºº-- w \º W \} - \w \º \º \w - \w \º
/ A A ſº z A
-* \tº \º tº V - Vº Vº w \w - V V \º ºf
* /
v w w w w v
z f º *
V V V ºf - * =e wº
Aſ f * / A /
© º
And in trochees put for the Ionic, these ;
Af A Aſ A A w Af
- \} - \w *-* \º - \º — \,-\, .) — vº
Af A * /
* \º \} - \} \º \} \} - \º
g * f f f Af
º \º || - - - \º || – “ sºme Vºy
f f f f z z
w f
It is to be observed, that the caesura is at the end of the second foot :
it is however very often neglected. And that place only has a
Molossus too, and very often in the end of the Ionic a doubtful
syllable, which in the first and third places is very uncommon.
§ 426. The most usual form of the verse is this:
airós yap'éðv travroyevils à travra yeyvöv.
CHAP. xxxvi I.] IONIC VERSES A MINORI. 97
It is seldom that all the feet are either Ionics, as
ãv Xpwoopopſis, rovro rixns éarty éirappa,
or trochees, as w
ës wévms 6éAov čxew kai TAoûotos TAéow axeiv.
The following is an example of resolutions:
êv6' oi pºev čT' àkpatot rvpais vérves éketvro
'yńs ét évns, dopava reixea TpoMitróvres
'EAAá80s tepſis, kai pivXów éotims trarpºms,
#3my tº €parðv, kai ka?\öv \tov Tpóowtrov.
Dionysius and Hermogenes, who cite these verses, (the former de
Compos. Verb. c. 4. the latter p. 76. 91. sq. ed. Ald.) discover
that they did not thoroughly understand the nature of this metre.
§ 427. Among the Latins Terentianus Maurus made elegant
Ionics. Plautus also used them, and, as it seems, not only the
Sotadic, but other shorter. He has Sotadics in Aul. ii, 1, 30. sq.
iii, 2. Amph. i, 1, 14, sq. The following are given for an ex-
ample :
Nóctésque diésque àssidué satis supérque est,
Qué fácio aut dicto adést opius, quiétus mé sis.
I'pse döminus dives àperis &t labóris éapers,
Quádcitmgue homini 4ccidit libére, pósse rétwr.
AEquom ésse pulát, mán reputét, labóris quid sit.
He has put too a Molossus in the first place, and, what was not
lawful to the Greeks, has resolved the arsis of the last trochee, as in
Aulul, ii, 1, 30.
Héia hôc face, quod téjubet såror. Si litbeat, fūciam.
It is moreover to be remembered, that in Latin it is known by the
accent of the words, whether the resolutions are of the Ionic foot, or
of trochees. The Greek comedians do not appear to have used this
metre, much less the tragedians, or the graver lyric poets.
CHAPTER, XXXVII.
OF IONIC VERSES A MINORI.
§ 428. With respect to Ionics à minori also grammarians have
fallen into great errors. If they think these verses are in that
metre,
peyá\@ 8' miré p &pws ékobsv, &ore XaAkets,
TeXéket, xetuépin 3’ &Aovoev čv Xapáðpm,
and, 3aeMečáſtav Švap Kvirpoyevig,
and, tito plot 6aveiv yévoir', oi yüp &y &\\m
\tous ék Tövtov yewot?' ow8apit rôvče,
and, trapa 8' mire TIv06/lay0001. karéðvy Špora heiyo),
Herm. N
© &
© e.
:
:
.
3.
:
:
Q
º
:
&
e
©
98 IONIC VERSES A MINORI. [BOOK II.
the verses indeed are like Ionics, but have different numbers, except
that the first of them is Ionic in the beginning,
& f &
* \º - | dº | * \º sm | w = w = w = J
For Ionic & minori numbers are constructed in a manner reverse to
that in which those à majori are constructed, of an anapaest and
bare arsis: / &
\º \º ans | gº f
And, as in the verses d majori, every foot has its own separate
numbers, and is not connected continuously with other feet, because
they would otherwise run into choriambi:
& A & Aſ
* \º ºs | gº | \º \º • | gº
~~4 || 4-v- ||
But, as in Ionics à majori two trochees are employed to vary the
numbers, so in Ionics d minori two iambi, the bare arsis being
changed into one of them, and the following anapaest into the other,
so that the times may remain the same :
f A & f
ºf Vºſ an sº \; \* = sº
f ſ f Aſ
This method is termed &vákAaats, and the verses themselves &vak\6-
pºevot, because the change in the numbers is not made in one Ionic
foot, but in two, the end of the one, and the beginning of the other
being changed. For the metricians determine thus, that the last
time taken away from the one foot is added to the first time of the
following foot:
* * * * Nº º sm as
tº \º = \ſ * \º is ºn
§ 429. The AEolic lyrics appear to have made these verses chiefly
of pure Ionic feet; but the Ionic lyrics to have both used the
anaclasis, and to have resolved the first arsis in it, and sometimes to
have put in a Molossus; the dramatic poets seem to have taken a
sort of middle course, the tragedians rather following the AEolians,
often mingling the anapºest with these numbers, the comedians
rather following the Ionians.
§ 430. Timocreon is said to have composed an intire poem of
the dimeter catalectic :
XukeMös kopulàs àvip
Tori rāv parép' épa.
Even Sappho, Alcaeus, and Alcman wrote whole poems in Ionics.
Alcman : ‘Ekarów pew Auðs viov
ráðe Māoat kpokótem Xot.
and Sappho :
rt pie IIavětovis ºpáva xexušávº
which verse Anacreon made catalectic :
Atovãoov gaúXat Bao'o aptóes.
:
:
;
:
:
:
:
º
:
:
cHAP. xxxv III.] ANACREONTIC VERSES. 99
Phrynicus the tragedian used the catalectic tetrameter:
ró ye pºv čeivia boigas, Adyos dºorep Aéyeral,
ÖAéoat, kåtrorepieiv čáét XaAkó kepakáv.
And Phrynicus the comedian :
& 8' àváyka 'o6 iepeñouv ka9apewelv ºpáoopew.
§ 431. The more ancient lyrics made Ionic systems, and Horace, in
imitation of them (iii, 12.), has comprised ten Ionic feet in one
strophe and one system :
Miserarum est neque amori dare ludum, neque dulci
Mala vino lavere, aut examimari metuentis
Patrude verbera lingua.
Alcaeus, as Hephaestion testifies, had led the way in that,
épé Öet)\av, Šué tragáv Kakorárov webéxotoav.
The systems of the tragedians and the comedians will be spoken of
in the following chapter.
CHAPTER, XXXVIII.
OF ANACREONTIC VERSES.
§ 432. Some, as Terentianus Maurus relates, p. 2447. and among
them M. Varro, supposed Anacreontic verses to be Ionics à majori,
because they are of the same numbers as those with which Sotadic
verses are concluded. The poems which in these times pass under
the name of Anacreon, of which very few appear to be his, the
greatest part being the productions of persons who lived much later,
and some of persons quite ignorant, have given occasion for much
doubt. And a great part of those poems, consisting of pure
iambi, is perhaps to be classed with these rather than with Ionics.
They have these numbers:
f A
U - \w = \v - J.
6é\to \éyeuv'Arpetëas.
But of those which are really Ionic there appear to be two kinds;
one with an iambic or monosyllabic anacrusis:
f g A
v =
Af * f
v =
the other with an anapaestic anacrusis:
A f 4
\s/ \º --
J = | U = -
* | \º \º -- = <==
Af
\, \!--
§ 433, But since this form
:
‘.
:
:
100 ANACREONTIC VERSES. [Book 11.
may be deduced both from Ionic numbers and choriambic indiffe-
rently, - ,
* , - w w = u-u
which metre is sometimes met with in that medley of Anacreontic
poems, we must beware of supposing that these choriambic numbers
can be interchanged with the Ionic. Nay, since a great part of the
Anacreontic poems is monostrophic, (see Elem. D. M. p. 479. sq.)
sometimes constructed of one kind of verse, sometimes of others, it
is not to be doubted that those choriambic numbers are the indi-
cations of strophes, and to be wholly separated from the Ionics.
§ 434. In that kind of Anacreontic verse, which begins with an
iambic anacrusis, both the iambi have in the anaclasis the anacrusis
doubtful both by the law of numbers, and in the examples: xxxviii,
5. XXV, 9.
Ö vépômé 8' oilöév čarty.
ovv rá be trively juás.
I have not however observed both long together. The first arsis is
sometimes resolved : xxvii, 1. -
toū Atos & Tais, 6 Bákyos.
§ 435. The other kind, which begins with a disyllabic anacrusis,
and is used by tragedians also and comedians, proceeds by pure
iambi in some poems ascribed to Anacreon. The anacrusis is seldom
contracted into one long syllable : vi, 16.
Köplov puéreta, Xaipww.
§ 436. Nor is a resolution of the first arsis frequent, as xliii, 8.
où 8& pi\tos et yewpyöv.
Or of the second, as xxxvii, 6.
töe, trós yépavos 66etet.
§ 437. Of the middle iambi the first has sometimes a long ana-
crusis, as xxxix., 5.
à tropitrovtat pépupivat"
and oftener in the tragedians and comedians. The second more
unfrequently, as in Soph. El.. 1058. Eurip. Cycl. 497.
ºppovipwrárovs oiwwows,
étri Šepavious te łav66w.
I have not met with both made long together. -
§ 438. The latest Greeks, who now employed political verses, con-
structed strophes of Anacreontic verses, in which to some Anacreontic
dimeters, for the most part six, called oikos, were subjoined some
ſewer trimeters, mostly two, which they termed Kovkov)\tov. The
Anacreontic had these forms chiefly :
A / /
*/ \º º \, = \º sº \º
/ / / .
*W \, = • V w = *
the trimeters this: a / / / /
* \º - - w \, = - \, \, = -
# * * / /
* \v \, = \d W = * V V = =
:
:
:
:
;
CHAP. xxxvi II.] ANACREONTIC VERSES. 10 I
&
A poem of this kind written in political verses is extant among those
ascribed to Anacreon, lxii, of which this is the second strophe;
2rparökkets, pi\os Kv6ñoms,
Xrpatók\ets, avīp Mvpi\Ams,
töe tºw pi\mu yuvaika. -
kouáet, ré0mAe, Aáparet'
fióēov &v0éov &váooet'
fióðov čv kópaus MvpíAAa.
#é\tos rā oréðev Šápivta patrol"
Kvirápurtos repúkot aei évi Khºrg. - -
Synesius wrote his sixth hymn in that trimeter, using these forms:
f | f & f f
tº Wºº- *sº | ww.— *-i-º-º: | tº ºf a -- *-*
f Aſ f
\d- Wºº-se * - * – ==
§ 439. The tragedians often made systems of Ionic à minori verses,
employing the anaclasis in the end only either of the whole strophe,
or of a part. And in the anaclasis they sometimes keep the iambi
pure, and sometimes make a long anacrusis in the first. Of all ex-
amples the most satisfactory and striking is in AEsch. Suppl. 1025.
from which it may be sufficient to give the first strophe;
'ite pav, &orvávakras
pákapas 6eous yaváevres,
troMotixovs re kai oi Xeip'
'Epacrivov Y
Tepuwatovrat traXatów.
itroëéao 6e 8', 6traðol,
puéAos' aivos Sé TóAuv riv-
Še IIexagyöv éxérw, plmö'
ërt NetAov
Tpoxoãs oé8waev wavots.
§ 440. But besides these, they use that kind too in which anaclasis
prevails, forms of other verses being sometimes intermixed, as this
Anacreontic, f & f A
- \º sº. Wº as * Wº º sº \s) wºn \sſ as sº
où8' ai p' édoes ué0üovt’ otrað’ àtrex0eiv.
See Schol. Æsch. ad Prom. 128. Sophocl. El.. 1058.
ri toos &vo0ew ºpovipwrárovs otwwows
éoopópevot rpopäs kn-
êopévows &p' tºw re 3\aoréj-
ow, &p'6v T' &vaow eipw-
ot, Táð’ oilk &n' to as rexoduev ;
Eurip. Bacch, 530. *
w aw öé p’, 6 uákapa Aipka,
oreºpavnſpápovs &trø0;
0.40 ous éxovaav čv Got.
rt pi' àvatvm ; tā pie pet yets ;
ërt, vai Tau Borováčn *
Atovãoov Xápºw oivas,
ëri ool Toi Booptov plexioet.
102 GALLIAMBIC VERSE. [Book II.
And in the Cyclops v, 493.
pakáptos, 6s evičičev
Øorpūow ptAato, Tmyais,
étrl kópov čkirera offels,
ºptAov čvöp' inrayka)\tºwv,
étri Šeplvious re £av60y
X\tbavās 8xov ćralpas
pivpóxptoros Attrapöv (36-
orpuxov at 8%. 88, 6 ſpaw ris oiket plot.
§ 441. The third kind used by the dramatic poets is remarkable
for the admixture of the anapaest, not only in concluding the num-
bers, but in the middle of them. Examples may be seen in Aeschyl.
Pers. 66–80. So Eurip. Bacch. 64.
'Agias ātrö yatas iepôv Tutº-
Aov ćpeiibaa'a 60áčw
Bpopulp tróvov #8öv, kāparāv T'ei-
w káparov, Bákytov Čičopéva 6eóv. -
where 0eov is one syllable. This kind of metre has been very finely
used by Klopstock:
Wenn der schimmer von dem monde nun herab.
§ 442. Resolutions and contractions seem peculiar to the later
tragedy. Eurip. Bacch. 78.
Tá re parpès peyáAas āp-
'yua Kv3éAms 6epurečov,
âva 6ipaov re Tuvaagøy,
Kloog Te o repava,0eis. |
The same poet in the song which is in the same Play at verse 370
has not everywhere assimilated the feet, but in the antistrophe has
opposed the anaclasis itself to a verse not &vak\opévg.
§ 443. The comedians use the very same license. In Aristophanes,
in two places principally, Ionics à minori, partly Anacreontic, partly
longer or shorter, other metres also being intermingled, are found, in
Ran. from v. 323. and in Vesp. from v. 273. on which places see
Elem. D. M. p. 501. sq.
CHAPTER XXXIX.
OF THE GALLIAMBIC VERSE.
§ 444. The Galliambic verse is composed of two Anacreontics, of
which the last is catalectic; in this form:
-*
f
f 4 A
tº
f f * f
* V- | C — | V - e- \J W —- | C — \º —
* \º */ \º tº
CHAP. XL.] PAEONIC VERSES, f 103
Tax\al, pinrpès 6peins pixó0wpool Spopuáðes,
aïs &vrea trarayeira, kai XáXkea kpóraxa.
Diogenes Laërt. viii. in fin.
- év Méppe, A6)os éar Tpopuabeiv rºv tátnv
Eööočáv trore poipav trapa roi ka? Atképw
raúpov, koi,8év čAečev' Goi yüp ºróðey A6-yos ;
püots owk #8wke uéoxg Aá\ov "Attös arápa.
trapā Ś' airów Aéxptos oras &txuñoaro aroMºv,
Tpopavós roîro Stöäckwv, àtroëtan (3tor)w
ôaow ouro. 8to kai oi rayéws i\0e plápos,
Šekákus révr' éiri rptoo ais éanôávri rāetáðas.
The caesura, which is at the end of the first portion, is here observed
everywhere with care. So by Catullus too Carm. lxiii. who generally
used the anaclasis, and in the latter portion joined with the anaclasis
a resolution of the second arsis: -
Super ălta véctus Atys celeri raté mariá,
Phrygium iºt memits citáto cupidé pede tetigit,
Adiitſue opáca silvis redimáta löca deae'.
In the first portion he has once only put a pure Ionic, v. 54.
Et eórum 6mnia adirem furibända látibulá.
Varro in his Satires seems to have followed the Greeks rather.
CHAPTER XL.
OF PEONic VERSEs.
§ 445. The last kind of simple numbers is that of Paeonics, which
ancient metricians, reckoning the times only, have classed among
Cretics and Bacchiacs. Paeonic numbers consist of orders having an
arsis of two times, and a thesis of two short syllables; from which it
appears that the arsis may be resolved, but that no contraction in
the thesis can be admitted without destruction of the paeonic num-
bers. Several paeons are joined continuously in one order, as tro-
chees and dactyls are. And in the same manner too the kinds of
paeonic numbers also are five:
f
= \º \! \cd as \º \º \d first paeons.
f
v \{ \} | * \tº \º \º = fourth paeons.
& &
= \º V \sº ºn strophi.
f tº tº
tº W \} | * = dasii.
4 f g
= \º \º \º symplecti.
But both the use of paeonic numbers in general is rather uncommon,
I 04, º PAEONIC VERSES. [BOOK II.
and the strophi, dasii, and symplecti, when they happen to be met
with, have no certain and constant forms. Moreover, as in dactylic
numbers there are some which have an iambic anacrusis, so also
some paeonics are constructed with an iambic, others with an ana-
paestic anacrusis. . The catalexis is made on three syllables, on two,
and on one. And in this kind of verses too every foot is by gram-
marians called a metre. - - -
§ 446. The first paeons are the kind most in use, but less so among
tragedians than comedians, in whose writings the tetrameter catalectic
on three syllables is chiefly found, which consists of two orders, and
has the caesura at the end of the second foot, although it is sometimes
neglected. The last foot is a dactyl, but on account of the doubtful
syllable, often a Cretic.
& tróAt pi\m Kékporos atropwés 'Artuki),
Xaipe, Attrapöv ŠáTešov, où0ap &yaôňs x60Vós.
See Aristoph. Vesp. 1275. seq.
§ 447. What Hephæstion says, that Aristophanes in Georg, has
used a fourth paeon also instead of a first,
- ěv &yopá 6' aſſ TX&ravov et Staqvretoopiev.
and in the second Thesmophoriazusae has often inserted a Cretic foot
in the middle of verses, is a proof that those verses were not paeonic
but Cretic. Although, as it has been remarked above, § 199. even
the ancient Greeks themselves appear not to have completely dis
tinguished between Cretic and paeonic numbers. -
§ 448. Theopompus in IIawaiv has used a pentameter catalectic on
three syllables:
Trávr' àyaôd 6% yé yovev &věpáouv Špijs &nd ovyovoias.
That verse too appears to have had the caesura at the end of the
second foot.
§ 449. As this metre does not, by the law of the numbers, admit
of contractions, (see above,) so resolutions of the arsis, although
allowed by the numbers, appear to have been seldom used. [See an
example in the Appendix.]
§ 450. Paeonics catalectic on two syllables, and having an iambic
anacrusis, are rarely met with. Aristophanes has some examples in
Lysistr. in the choral song at v. 781.
airós ért trais & v.
'pet'yov yápov & piker' és épmutav,
káv rois àpeow ºffset,
Kár' éAayo0mpa,
TAečáplevos ūpkus,
kai kūva riv' eixev,
Koikért karīM6e tróAty oikað’ 570 pigovs.
CHAP. XLII.] PARAPAEONICS, &c. {} 105
CHAPTER XLI.
OF FOURTH PAEONS.
§ 451. The fourth paeons, a vehement and rapid kind of numbers,
were used chiefly by tragedians. And although these verses seem some-
times to be rather Cretic, the first arsis being resolved, (see § 262.)
yet in some places, where the paeons have been kept pure, the
subject too of the lay may induce one to think that paeonic numbers
were used : as in Eumen. 329. 342.
étri 8é tº rebvpévg
Tööe pléAos, trapakora,
* trapapopa ppevoča)\ffs.
where the last verse is concluded in a sort of logaoedic manner,
&
* * * = \º ºf s =
So in Choēph. too, v. 804.
rô be ka?\ös krápevov, & Héya valov,
orópitov, eú 80s &véönv Šápov &věpás.
Klopstock has used like numbers:
&
\, \! \| = \! \s, s \ =
4. 4 *
\; \; \* * * | \ \º =s as | tº sºn me
Von dem gebirg in das thal herab,
Da zu dem angriff bey dem waldstrom das kriegslied
Zu der vertilgenden schlacht und dem siege den befehl rief.
§ 452. Rufinus p. 2711. mentions the acatalectic tetrameter:
trapū oropoi, plá6e k\{wy Śoa ris àv Karapuá0ot'
which appears to have been feigned by some metrician. Aristotle,
Rhet. iii, 8. quotes a verse of some poet in this metre :
pierå Öè yāv #8ará 7' dreavôv jºbáviae vić.
CHAPTER XLII.
OF PARAPAEONICS, AND OTHER LONG NUMBERS.
§ 453. If metricians make no mention of numbers longer than
paeons, it is no wonder, since they are accustomed to comprehend
all numbers in those more common kinds of which we have treated,
and to scan by dipodiae in all cases. But although such fixed and
Herm, O
106 PARAPHEONICS, &c. [Book II. CHAP. xlii.
constant forms of parapaeonics and other longer orders, as shall
extort assent from all who doubt, cannot be produced, yet there
appears to be no sufficient reason for determining that numbers of
that kind were not used; and it is but reasonable to believe they
were used, when adapted to the subject; as in Pind. Pyth. ii.
peya.NotóAtes & Xupékogaw, Ba6viroNépov
répevos "Apeos, &vöpúv.
It is difficult to understand why those verses should be measured
thus, 47 &
rather than in the following manner, which renders the numbers
much more brisk and vehement,
4 £
\, \! \} \, \, \, = \, = \º ºn by by \º \, =
Af
\! by \º as tº be m =
And a little afterwards:
eiàpparos Iépov čv ć sparéov
Tm2Mavyéauv &véðngev 'Oprvytav are pávols,
Toraputas €80s ‘Aprépubos, dis oilk &rep.
If one should measure these in this manner,
Aſ 47 &
tº \º
* w
tº \º
* 47 * º
- \º “sº- \sº º –- sm- \ſ-s = - \w -
he could not indeed be unanswerably refuted, but yet the measures
might be much more aptly marked out thus,
f z
* = \{ \} \, \, = \º * \tº \º =
for whoever contends that the Greeks stopped in paeonics, may as
well contend that they ought to have stopped in dactylics, in which
the Romans stopped. And why should not the Greeks, in a lan-
guage of so great volubility, have done what Klopstock has attempt-
ed even in the German; for he has used not only paeons often, but
even these parapaeonic numbers,
*
* = \ \d tº \º m \, \! ºn tº sº V a
Dich singe der dythyrambe, der keine Kriege sang.
107
BOOK III.
OF MIXED AND COMPOUND METRES.
CHAPTER I.
OF THE KINDS OF MIXED AND COMPOUND METRES.
§ 454. Hephæstion, having explained the simple metres, afterwards
treats of metres kar’ &vruráðeway pukrū, and asymartete verses, and po-
lyschematisti, or anomalous, and the relative proportions of strophes.
Of these we wholly pass by the metres kar’ &vritá6etav Atkrä; for
in the first place the metres, which are called so because they have
been thought to contain contrary feet, as trochees and iambs, have
not in fact the feet contrary, and in the next place, if they had, that
would not be sufficient to constitute a peculiar kind of numbers.
Thus the Sapphic hendecasyllable, which metricians, who are fond of
employing dipodias, divide thus,
= u = V2 | * * * = | \} = wº
touri)\66pov’ā0ávar’’Appośira,
has not iambs, because it consists of a trochaic dipodia and logaoedic
order, & | &
But this verse,
ión Mox āyvä getAtxàueiðe 2at poi,
which they divide thus,
& 4 &
vºv- * = \º \º * \tº use \º
does indeed contain opposite feet, iambs and trochees; for it is to be
thus scanned, Af &
\º as \º sº wº = \º \, = \, = V2
but in its mode of composition it differs nothing from any other me-
tre constructed of different members having the same feet. From
which it appears that these pitãets kar’ &vratrá6etav are a useless in-
vention, when one measures verses by their orders, and not by the
arbitrary device of dipodias. And the appellations of asymarteti too
and polyschematisti require other definitions than those given by
metricians.
108 GLYCONIC VERSES. [Book III.
§ 455. We divide those metres, which are not simple, into mixed
and compound verses. The mixed are those which consist of different
numbers blended and mingled together; the compound, those in
which several numbers are joined in such a manner that one follows
another separately.
§ 456. Miature is twofold. 1. Several numbers or rhythms change
their turns, so that one is put for another; of which although each is
of itself simple, yet the numbers formed of both, because they are
neither the one nor the other, but a sort of changeable numbers, com-
prehending both, cannot be ranked either with the simple or the
compound. These are the polyschematisti or anomalous. 2. The
other mode of mixture is, when different numbers cohere in one order,
which numbers, if the stronger precede the weaker, we call di-
minished ; if the weaker precede the stronger, concrete. See § 20. 21.
§ 457. Composition also is twofold ; for it is effected either by
coherence, called by the Greeks ovvápeta, which allows of nothing in
the commissure of two parts which may break the continuity of lan-
guage; or without any bond of connearion, in which case the verses
are asymartete, wherein language may be either continued or inter-
rupted.
§ 458. It is manifest that many of the metres which have been
spoken of in the second book must be ranked among the mixed and
compound. For in treating of simple metres, which consist of one
kind of numbers, the mention of some of those forms also wherein
mixture or composition is found, was quite unavoidable. Thus cho-
riambic and Ionic numbers, since they are commutable with others,
are in truth polyschematisti; and logaoedics are diminished numbers.
Moreover we noted some asynartete also. It remains to speak of the
concrete, of those polyschematisti, of which it is uncertain from what
kind of simple metres they were derived, and of those compound
metres, whether formed by coherence, or without bond of connexion,
which are either compounded of different numbers, or, if compounded
of the same, still cannot, on account of the diversity of the orders,
be considered as simple, and running out in one tenor of numbers.
CHAPTER II.
OF GLYCONIC VERSES.
§ 459. Of the verses termed polyschematisti, there remains in
reality, if we wave Ionics and choriambics, which have been spoken
of in b. ii., only one kind, namely Glyconics; for whatever poly-
schematisti are met with besides these, are composed of these. Me-
tricians refer Glyconics to antispastics; of this the error is manifest,
because they commence with a trochee too. Whence it is plain that
CHAP. II.] GLYCONIC VERSES. 109
they are begun with a base. Moreover the contraction of short
syllables in a Pherecratean in Catullus lxi, 25. if he wrote thus,
nutriunt humore,
would have even made the verse shorter by a syllable than the laws
of antispastic metres allow. For the first, and that the most simple
and elegant, form of Glyconics is this : 4
* gº
e O & * \tº \º sm º ºs
which kind of verses forms systems for the most part, which are
customarily concluded by the catalectic verse called Pherecratean:
4 4 Af
Q & ... -v--a
Eurip. Androm. 502.
āş' yd ×épas aiparm-
pås Spóxotai kek}\eptéva
Trépatropicut karū yatas.
§ 460. They who have made this metre polyschematistic, first of
all changed the logaoedic order into a choriambus and iambus, by
which the last syllable but one was made doubtful:
/ & * £
Eurip. Hippol. 741. | |
rtis fiXekrpoſpaeis aiyyás.
This doubtful syllable is, if I mistake not, peculiar to the dramatic
poets. And since this form, although very different from the
dochmiac metre, consists of the same syllables, except the base, as
dochmiac verses, when the first anacrusis in them is long, and the
first arsis resolved; # iſ *
u– | – || 3–
writers on rhythm have constituted two kinds of dochmiacs, of which
the one has been by metricians called dochmiac, the other Glyconic.
See Aristid. Quintil. p. 39.
§ 461. The logaoedic order having been divided into a choriambus
and iambus, it was thought fit to vary the numbers by transposition,
so that the iambus being placed before the choriambus was changed
into a trochee, because an arsis ought to follow the base:
kai revrijkov6' oilbićias.
§ 462. And again another transposition also was made, seldom
however, and, as it seems, only in certain compound forms, the
choriambus taking the first place, and the base and trochee being
changed into an iambic dipodia:
£ f
* \tº \º ºn Nj = \, =
which is the form of a choriambic dimeter.
§ 463. The Pherecratean verse, in which the choriambus is not
followed by an iambus that may be transposed, admits only two
forms: 4 / .. 4
gº º º ſº | * \tº \sº sº ºf
110 GLY CONIC VERSES. [Book III.
and f | *
of which the last is uncommon, and used for the most part only in
some compound verses. g -
§ 464. Let us speak first of the permutation of forms. And the
primitive form of Glyconics, which ends in an iambus, receives
among dramatic poets, at least in the later tragedy, even a spondee in
the end, so that in antistrophics a spondee may answer to an
iambus: 4 & | Af | w
Soph. Philoct. 1128. 1151. **
ū róšov pi\ov, 6 pixww.
rāv trpó00ev BeNéwy &Akáv.
For the most part, however, an iambus answers to an iambus, and a
spondee to a spondee. See Elem. D. M. p. 529.
§ 465. Next, to this form, which has just now been spoken of,
W.
“. . . . -vu- 5 -
even that, which has a choriambus in the end, answers, and not only
among the scenic poets, but even in the lighter lyric poetry; as in
that of Corinna : , , , ,
- ' ' ' ' || -v -vv-
Soph. Philoct. 1124. 1147.
tróvrov 0ivös éphplevos.
éövm 6mpāv, oils öö' éxet.
Eurip. Iph. T. 1097. 1114.
troboča' "Aprepay Aoxtav.
6eås āpptroXov kotpav.
§ 466. This form
& *
* \º \º as | J = \º “
among the dramatic poets in Glyconics themselves, if I have observed
rightly, always answers to itself only, and is found changed neither
with this, a / / *
• e e | * Wºw Wºw ºn | J -
nor with this,
a Af & *
' ' ' || -- || -vu-
But in the Priapeian verse, as it seems, those three forms are all
interchanged: perhaps even by Corinna. The other form of the
choriambic dimeter,
* a
J = \, = | as w \º as
I have never seen among forms of Glyconics.
§ 467. In the Pherecratean verse, if a conjecture may be ventured
from a few examples, to the more usual form,
.. 4. !----
the other also sometimes answers,
º
• V V = \sſ ºn J
CHAP. II.] GLYCONIC VERSES. I 11
Sophocles Antig. 607. 618.
oùr' oiv čkáparot 6ečv.
elööri 8' ow8èv épire.
For I should now prefer this reading of the former verse to that
which I conjectured in Elem. D. M. p. 533. sq. And the verse of
Euripides, Med. 184. ed. Pors, which l discussed in the same work,
p. 532. I now believe to be correct, &
airewoov, Tpty ru kakóoat roos éow'
it consists of a Pherecratean and Cretic ; but the strophic ought, I
think, to be corrected thus,
Zeus rööe avv8tkhaev pum Atav’
unless something else be latent. For the Scholiast had obv Štrp.
There is the same permutation, if the reading be right, in a Phere-
cratean with an anacrusis in Soph. CEd. C. 512. 523.
ôpºws 8' épapaw Trv0éobat. *
roërov 8 at 6aiperov ow8év.
See Elem. D. M. l. c.
§ 468. I shall now set forth the several parts of Glyconic and
Pherecratean verses. A pyrrhic is excluded from, the base among
the dramatic poets, and in the graver lyric poetry. Nor indeed have
I ever met with that foot. The rest of the disyllabic feet are used
promiscuously by the dramatic writers, so that any one may answer
to any one. The tribrach is most used by the later tragedy. Eurip.
Phoen. 21 O. Túpiov otöpa Attoão' égav.
The tragedians of the same age sometimes allowed themselves an
anapaest also: Soph. Philoct. 1098.
ri tor' at plot rô kar' juap.
Where in the antistrophe v. 1110, there is an iambus. Euripides
Iph. T. 1120. peraſ?áA\et 8voča plovia. *
Aristophanes ridicules this foot, as inelegant: Ran. 1322.
treptſa\\', & rékvov, &Aévas.
Spås róv ºróða rowrov; A. Špij.
§ 469. When there is a dactyl in the base, each form, both this,
* \ſ, W = \º ºf me º sm
and this, - w w - C - w w -
almost always answers to itself exactly ; so that it may be doubted
whether these be not rather dactylic numbers. But in the later
tragedy the antistrophics show that a dactyl is put in the base.
Eurip. Phoen. 216. 228.
'Iövtov Karā tróvrov čAá-rg.
to a 3’ &yáAplao, Xpwoeoriſ-trous.
Iph. T. 1129. 1144.
kéAašov ćirraróvov Ağpas.
trap6évos evöokipov yáplww.
Iph. Aul. 547. 562.
plaivopévov olarpov, 86, &#.
péya (pépovolveis &peráv.
So in comedy too sometimes. See Aristoph. Thesm. 1136. sqq.
and Elem. D. M. p. 541.
I 12 GLYCONIC VERSES. [Book III.
§ 470. The choriambus, which follows the basis in this form,
f 4 º
tº e o e | * \tº \, = w? •
is changed neither into an iambic dipodia, as in other choriambic
verses, because the anacrusis cannot follow the base; nor into a
Molossus, as it appears, on account of the too great ambiguity which
would arise from it; since any one might scan such verses in the
following manner,
w & & *
• ' ' ' || -- || -a-
rather than, as he ought, thus,
& * f
§ 471. But resolutions of this choriambus, especially in the later
tragedy, are not unfrequent. And of the first syllable, as in Soph.
OEd. C. 186. 205.
rérpopev Špi}\ov &n-oarvyetv.
ris ºv, troXútovos &ym, riv' &v.
And in a Pherecratean: Hel. 1502. 1519.
étuteróplevos iakyei.
666, a troXuà 6a)\éa gas.
Of the last syllable, as in Hel. 1505. 1522.
Båre TIAetáðas into piégas.
8vok\etav &nd ovyyávov.
Aristoph. Thesm. 1136.
IIa)\\áða rºw pi}\óxopov čplot.
Nor do I doubt that sometimes even both were resolved, as in the
other form, of which $475.
§ 472. In the second form,
* &
tº e º 0. -wº *=\sº uſ amºa.
the order, which follows the base, may have both a resolution of the
arsis, and the last syllable doubtful. Whence instead of a trochee
sometimes a spondee is put, sometimes a tribrach, and these very
often ; sometimes, but more seldom, an anapaest also, as in Orest. v.
812. 824. oikrpórara 60tvápara kat-
Tvv8apis iákxmore ráAal-va.
Iph. Aul. 1041. 1063.
IIweptèes év Šauri 6eóv.
Taibes OegoaXal, péya păs.
§ 473. When that foot is a dactyl, it may be doubtful perhaps
whether the verses are not rather dactylic than Glyconic ; as in
Iph. Taur. 1092. 1109.
eivääverov čvveroiat (30áv.
oùxopévov čvi vavaiv #3av.
It is probable however, that in the later tragedy the foot was some-
times made a dactyl even in Glyconics; which Aristophanes cen-
sures, Ran. 1023. A
“replga)\\', 3 rékvov, dAévas.”
épás rôv tróða rotirov ; A, Špij.
CHAP. II.] GLY CONIC VERSES. 113
AI, ri Šat; roãrov ćpās; A. &pſ.
AI. rotavri uévrot ov trotáv
toMuğs rápa piéAn ºpéyetv,
&va rö 8wöekapıſıxavov
Kvpfivms pleMoTotòv.
474. The choriambus, which in this form has the last place,
does not appear to have been changed into a Molossus. For
Soph. Antig. 103. 120.
épáv0ms tér, 6 xovačas'
ëBa, Tpév troë' &perépany.
proves nothing ; not only on account of the ambiguous measure
of the word xptoeos, (on which see Elem. D. M. p. 44.) but also
because by expunging & the other form of the Glyconic may be
easily restored.
§ 475. But both the long syllables of this choriambic may be
resolved. Eurip. Bacch. 410. 427.
ékeia' & 'ye ple, Bpópute, Bpópue.
copav 8 &texe trpatriča ºppéva re.
§ 476. For although Glyconics sometimes follow one another
without continuity of numbers, whence both hiatus and the doubtful
syllable have place in their end, (see Seidler ad Eurip. Electr. 153.
and 207.) yet, for the most part they are so connected in systems,
with exclusion of hiatus and the doubtful syllable, as to admit not
only of the division of words between two verses, but also of the
resolution of the last syllable of a verse. See Seidler de Verss.
Dochm. p. 260, and on Eurip. Iph. Taur. 1076. A resolution, how-
ever, after a preceding long syllable is rare: Eurip. Ion 205.
Távrg rot (3Aépapov Štó-
ko' a Répat KA6vov čv Teixeot
Naïvotal Tuyávrov.
§ 477. As dochmiac verses have other numbers, resembling them,
or parts of them, both intermingled and coupled with them, so with
Glyconics also a vast multitude of verses is found joined, which are
either like them, or consist of Glyconics themselves, with some part
taken away or added. These verses have usually this in common,
that they contain a choriambus joined with a different foot.
§ 478. The forms which are about the most in use are these.
First, the shortest,
~~- | a- and ' '. |-vv-
which whether they are mutually interchanged or not I shall leave
undecided, as they use to answer each other exactly. See however
§ 493. Soph. OEd. Col. 128. 160.
as Tpépopev \éyetv.
Éeipart ovvrpéxet.
Eurip. Hec. 637. 646.
&\tos ałyáčev.
traičas āvāp 3owras.
It appears that this kind of verses might seem to be dochmiac also.
Herm. P
114 GLY CONIC VERSES. [BOOK III.
But it cannot be if it could be commuted with the other form, which
is in those of Euripides, Suppl. 960. 968.
8voaiwy 8. § 3ios.
oùr’év rois p0-pièvous.
In that form a resolution of the first syllable of the choriambus occurs
in Bacch, 863. to which 883 answers:
eis aiffépa Spooepóv.
roës r" &yvapooijvav.
§ 479. Next with an anacrusis put instead of a base.
U-v \, = | V —- and v−v —- w—
For analogy requires that these forms should answer to each other,
although no dependable examples are at hand. And in the cata-
lectic : , -
Soph. CEd. R. 467.
&pa vav čeMAáöwy
it trov q6evapārepov
puy; tróða vapāv.
And in the antistrophe
poură yap in' &yptav
#Aav čvá r" &vrpa ka?
trérpas, dis Taipos. *
And in Aj. 1187.
Sopwoodvrov puðx0a v
ärav čaráyov &vá ye
rāv eipóēm Toolav. A
I have added ye, because the numbers appear to be continuous. For
so the antistrophe; *
éðetéev Štrkov "EAAa-
ow kowow "Apnv' ič,
tróvow ºrpóyovov ºrówww.
The arsis of the amphibrachys, with which the other form begins,
is resolved in Hel. 527.
* àNN' ért kar’ oièp’ &\tov. *
§ 480. Like this is another kind, having an anapaestic anacrusis:
M # #
Eurip. Hec. 905.
où pièv, 6 tarpis ‘IMás.
Iph. Aul. 206. röv to avepióv re troëoiv.
And the catalectic, Hecub. 909.
êopi Ö), Śop répoav.
The last syllable of the choriambus in the first of the forms is re-
solved in Hel. 1365. to which 1381 answers:
Kürpus yéAaa & re 6eá.
Kai Tavvvytöes fleås.
CHAP. II.] GLYCONIC VERSEs. 115
The last syllable of the verse is resolved v. 1330. 1348.
Héra, koi paw &eXXotróðes.
troMéwy 3’ &tréNeuwe Bios.
§ 481. To the catalectic a Cretic or Molossus is sometimes added.
Soph. Aj. 1191. 1198.
Śāoravov čvetëos ‘EAAávov.
keivos yap Širepoev &v6pôtrovs.
§ 482. There are other forms longer than the Glyconic. Of these
the first is that of the hypercatalectic Glyconic :
* * f a f Aſ f /
tº º O O. | * \tº \w - * = C, and e s • e = wº | - V \, = W
Soph. OEd. Col. 133. 165.
iévres' rú 68 viv táv' #ketv.
k\bets, 6 troXàpox6 &Aära ;
This form often creates doubt when a Glyconic follows having an
anacrusis for a base, as in Helena 1317.
dpeta Toré špopáč, kóXg
parijp 6eóv éoù0m. w
In such passages, unless a hiatus or other sufficient cause requires
this arrangement of the verses, they are rather to be so divided that
both may be legitimate Glyconics:
6peia torê špopuáðt ká-
\p uatip fledºv čov6m.
The other form of the hypercatalectic appears to answer to the first
in Heraclid. 770, 777. -
&AA’, 6 Tórvia, göv yöp oibas.
&AA’ &tret oot troXú6vros aiei.
§ 483. A like verse, but having a resolved dactyl for a base, is
in Bacch. 874, 894. f / *
aktapokópou T’év Špyeo tv ÚAas.
vöpupov, &ei púae, rö repvkós.
§ 4S4. Another kind, often joined with Glyconics, is this,
Z
= \{ \º = \, = \, = Q,
Soph. (Edip. Col. 119.
ékrótrios ov6ets à têvrww.
But when the fifth syllable from the beginning is long, the verse is to
be considered rather as composed of an antispastus and ditrochee, as
in Iphig. Aul. 761. * *
v — - v - Wºd — v.
*. Af
travrčovvoi Tweto wo' &váykat.
§ 4S5. Another kind is this :
/ / f f
ºr a e tº - C - \w w = w - C
Eurip. Electr. 736. 741.
KaxAtarov pſ3pov Atóðev a repeiaat.
kretvets, k\etvöv ovyyevérep & Sexpºv.
116. GLY CONIC VERSES. [Book III.
§ 486. The longest of the verses allied to Glyconics is the Phalae-
cean hendecasyllable : A ſº | &
e e º e * \tº \º m \º * \4 = \º
This has been spoken of in § 356.
§ 487. The same mode of augmenting the verses in the end is found
in those shorter forms also, which have been mentioned above. Such
is this metre : z | Af
Eurip. Hippol. 145. 155.
at 8° àppi rāv troXúðmpov.
à vav Gáras tus ét}\evoev. ,
§ 488. By another mode Glyconics are augmented in the beginning.
Whence this form was invented :
e's ---- | sº and sº | ‘s | !---
Soph. Antig. 814. 831.
êyk\mpov, oire vvuſpićtos.
Téy yet 6' iT' & ppval trayk)\atrols.
for that seems to be the right reading. See Elem. D. M. p. 564.
Eurip. Hel. 1497. 1514.
ôuffpov Attrowo at Xelpéptov.
Aaptpāv &orpwy it’ &é\\atow.
§ 489. Another kind has a trochee inserted between the base and
the other parts of the Glyconic :
M f
. .". | & | * |
and a f . A
' ' ' | -v | -a -vu-
Eurip. Bacch. 865. 885.
épuraičovca Neipiakos jöovais.
avāovras obv pauvopévg 86%g.
Hippol. 147. 157.
wº- &viepos à0ürov TeXávov rpüx).
Mpéva róvö’ eigetváratoy vaētats.
Cyclop. 41.55.
Tà è uot yewvaiov pew taréptov.
atrapyövrás plot rows plagrows XaXagov.
§ 490. Another kind, like that mentioned $ 481, consists of a
Pherecrateam and a Molossus or Cretic:
e © e º 'º | --v-v | - | C =
Eurip. Med. 159. 183.
Tákov Švpopuéva adveijuérav.
trévôos yüp Heyá\ws róð’ Öppāraw.
§ 491. Sometimes a Bacchius is put before a Glyconic:
w f f * /
* * * | 6 º' e a | * \, \, = | * *
CHAP. II.] GLY CONIC VERSES. 117
Soph. Aj. 1205. 1217.
épôrov, Špártov 8" &métravaev &-plot.
'yevoluav, tv' \iev ćirear, tróv-row.
See OEd. Col. 123. 155.
§ 492. A Cretic or Molossus is added to the Glyconic at the end,
in the Electra of Eurip. 434. 443.
trépitovo at xopo's puera Nmpmtöww.
© puéx0ows & attorås épepov revyčov.
Ion. 1236. Aeſopot Śē Karapôopal Sea totvg.
§ 493. And to the verse mentioned $ 479.
Herc. Fur. 791. 808.
Movačv 6’ ‘EAtkovičov Šápara.
TIAoûrovos Sápa Attröv véprepov.
§ 494. As choriambic numbers are often mingled with Glyconic,
as being allied to them, (see Soph. Philoct. 175. 186.) so also one cho-
riambus is sometimes added to a Glyconic. An example of one
resolved is in Ion 122. 138.
travapiéptos &pſ' àXtov–Trépwy. 60%.
vöv 6' diſpéXtpov čploi tarépos—ºvopa Aéyo.
§ 495. Hence among Glyconics a verse is often found composed of
a Cretic and Choriambus : Eurip. Hel. 1356.
patpos épyas & véres"
º Bäre, oep wai Xápures.
§ 496. After the example of Glyconic and Phere cratean verses
another kind has been made, which has a Cretic instead of a cho-
riambus : A f & Z. | g &
Aristoph. Eccles. 911. |
ai ai, ri trore retoopas;
oix jºel Moiraipos." *
pávn 8' airoi Aeitop." ii
'yáp uot uńTmp d\\m.
Such verses are here and there met with joined with legitimate Gly-
conics, as in Av. 680. Hippol. 66. lf in the shorter verse there is an
iambus in the base, and the third syllable from the end is short, the
metre may seem to be Bacchiac, as in Suppl. Eurip, 990, 1012.
rt péyyos ; Tiv' aty)\áv ;
ôpå Ö) TeXevráv.
In Ion v. 190. 201. a spondee forming the base in the antistrophic
shows the numbers not to be Bacchiac:
iêoi), távö’ &6pmaov.
kai pav Tóvö’ &6pmaov.
In these there are resolutions: Eurip. Suppl. 1018. Electr. 153.
Trnēš qaqa rvpos éaw.
Tatépa qbºratov kaAei.
I 18 GLYCONIC VERSES. [BOOK III.
§ 497. The first syllable of this metre being taken away, there re-
mains an ischiorrhogic iambic, which too itself is often met with
among Glyconics: f | * | &
Soph. CEd. Col. 121.
Meiggets viv; irpooëépkov,
Tpoop6éyyov tavraxii.
Eurip. Hec. 449. 460.
krnfleia' àqíčopat.
Trépôovs Aaroi pi\g.
§ 498. Since in strophes that have Glyconic metres all the verses
are not invariably legitimate Glyconics, but some longer, some
shorter, it is often extremely difficult to divide and mark out the
verses rightly, for if a part of one verse be taken away and added to
another verse, the metres are not the less good and usual. Thus in
Soph. Antig. 100. whether one divides in the following manner,
&Kris àeXtov, rô KáA-
\torov ćirrattºp pavév
Oñ8q rāv Tporépov på0s,
or in the following,
ākris àeXtov,
Tô KáAAtarov ćirratrºp
pavév Oñ9ç Tüv aporépov
neither method can in itself be reprehended. In such passages
therefore we must carefully consider what the comparison of anti-
strophes, if the poetry be antistrophic, either in hiatuses, or doubtful
syllables, or correspondence of feet, and lastly what the general con-
formation of the phraseology suggests as most probable. See Elem.
D. M. p. 569. sqq.
In the Medea of Euripides, e. g. v. 651. 660. where according to
the common reading scarcely a trace of Glyconic numbers appears,
the verses ought to be divided, as I think, thus,
&pépav rávö’ Éavûoaqa' puff-
X60 v 3' otºk &\\os ūtrepôev, )
yās traſpias a repéo 6at.
puń pi\ovs Tupižv, kaffapaw & voi-
ãarra k\ſióa ppevåv ćpoi
pèv pi\os obtor' éarat.
In Hippol. v. 735, the verses ought perhaps to be thus disposed:
àp6ein v 3’ tri tróvrtov
Kūpa rās 'A8pumvās
âkräs, 'How8avoiſ 6' 58wp,
évôa troppūpeov graxáo-
oovo’ eis oièga Tarpos TáXava,
Kópav bač0ovros oikrø, Śakptov
tas #Aektpoſpaeis airyás.
To which these at v. 745. correspond:
vatſrats oilk #6' 68ov véuet,
oep vöv Téppova Ripov
CHAP. III.] PRIAPEIAN VERSE. 1 19
otpavoiſ, röv "ATAas 8xet,
kpāvai r &pſ?pdova, Xéov-
rat Znvös plexâ6ptov rápakrot.
tv' & 6tóöwpos awáew ºabéa
X6&v et Saipovtav čo 6\ois.
CHAPTER III.
OF THE PRIAPEIAN VERSE.
§ 499. The Priapeian verse consists of a Glyconic and Pherecra-
team joined in one : which metricians wrongly refer to antispastics.
It has three forms :
4. & f f 4. f
tº º * @ | gº * * | tº sm tº gº * † | = \, \, = J
4 4 A *
tº t e = ~, * \º º me
f Af * f
* \! \s) ºn | \º = \º = = \º ºf me | * = Nº
Of which it is probable that one was for the most part used with
exclusion of the rest, as by Anacreon :
#ptormoa pèv irptov Metroi pukpóv àtrokMäs,
oirov 8' éétriov káčov viv 8' diſpós épéeo gav
páAAo Tmkriða ră pân kapāčov Tatē’ diſpſ.
and in Catull. Carm, xvii, xviii, xix. And the second by Euphorion
of Chersonesus :
où (3é6mkos, 6 re?\eral roß véov Atoviſorov'
kāyū) 6' éé evepyegins (ºpytaopévos jºw,
ôöeūwy TIn Novo taköv kveſpaios trapa réApa.
§ 500. The comedians seem to have put all the forms promis-
cuously. Pherecrates, or some other, in Pers. ap. Athen. xv. p.
685. A.
6 aa\éxas pèv éopâv, &vatvéov 6' iákuv6ov,
kai pueMXóruvov \axåv, kai 363d Trpoogeompés'
à pixów prev påpakov, trpooku (jv Šē géAlva,
'ye)\óv 8' it too Alva, kai koopoo.6 v8a)\a 3aivtov,
êyxei' kâtrugóa Tpirov Tlatºv', d's vôpos écriv.
And the author of the Mera)\\eis ib.
it’ &vačevöpášov & Traxas āq Taxá0ovs trarāy rus
ěv \epiſov, Awropópp, kūtrepôv Te 800005m,
kāvāpiakov, ua)\aków T' lov \etaaka, kai roupúMNov.
§ 501. The caesura is everywhere carefully observed. I do not
think a pyrrhic is anywhere used in the base. The tribrach is sup-
ported by the examples which I have quoted. A dactyl is found in
120 ca EUPOLIDEAN METRE. [BOOK III.
the verses which the scholiast of Theocritus in the prolegomena
about the difference of bucolic poems adduces:
8éčas rāv &yaôāv rºyay, 8éal rav i yielay,
āv pépopev trapa rās 6eoû, &v éka)\éaoaro rāva.
In Catull. Carm. xix. the right reading is,
Primitus tenera virens spica mollis arista.
§ 502. This metre appears to have been asynartete. Whence the
hiatus in that example of Theocritus's scholiast, and the doubtful
syllable in Catullus xix, 4.
Nutrivi magis et magis, ut beata quotannis,
and the invention of the grammarians who give the title of a Pria-
peian verse to a heroic hexameter, when it is so constructed that it
can be read in that metre, as,
Kovpirés T' épáxovro, kai Airwāol pievexáppat.
Cui non dictus Hylas puer, et Latonia Delos.
Aut Ararim Parthus bibet, aut Germania Tigrim.
See Gaisford on Hephaestion, p. 308, sq.
CHAPTER IV.
OF THE EUPOLIDEAN METRE.
§ 503. The Eupolidean verse, peculiar to comedians, is not rightly
reckoned by metricians among the polyschematisti. This metre
consists of a Glyconic verse, having a choriambus in the end, and
another like member, in which is a Cretic instead of a choriambus,
(on which in § 496.) the caesura, which is at the end of the first
member, being very often neglected.
Af f f
J \º \º | “.
Af f
- Uſ - tº -e-
\º \w \) \º
A notable example of xlv. verses is in the Nubes of Aristophanes,
v. 518. Seqq.
66eºplevot, Karepò Tpós ipſis éAev0épos.
§ 504. In the base are found a trochee, iambus, spondee, and
sometimes a tribrach. Aristoph. Nub. 539.
épv6pöv čá ákpov, Tax), tois trauðiots ºv' jv yéAws.
Pherecrates ap. Athen. xiii. p. 612. A.
ovvéðptov rois pleupakiots tw' éAá\et 8t' juépas.
The trochee, which follows the base, has sometimes, although sel-
dom, the arsis resolved : Pherecrates ib.
kāra pivpotraxeiv tí gabóvr' àvöp'éxpāv ka0;ipevov.
CHAP. VI.] CHORIAMBIC METRE. 121
CHAPTER V.
OF THE CRATINEAN METRE.
§ 505. The Cratinean metre differs from the Eupolidean in the
first portion only, in which it has a choriambus and an iambic dipodia:
* | | .'. .. | 4. | A
(Hephaestion p. 96.)
Eijie, kigooxair' &vač, xaip', 'paak' 'Expavriëns.
Távra popura, rávra roštunrå føbe ré, Yopſ,
tr}\}v Bevlov vópotat, kai Xouviovos, 3 Xápww.
Eupolis :
êvãpes éraipot, 8eipo 8) rºw yuápumv irpooiokere,
ei čvvarów, kal puff ri Heizov trpárrovoa rvyxávet.
It appears that the caesura is often disregarded. Hephæstion, by the
by, is in an error, when he confounds this metre with the choriambic,
which he himself calls polyschematist.
CHAPTER VI.
OF THE CHORIAMBIC METRE
* CALLED POLYSCHEMATIST, [OR ANOMALOUS..]
§ 506. The choriambic metre, which metricians call polyschematist,
seems not to be such in reality. It consists of these parts:
f &
= \º \A = | ~-v- - w \, = \, = J
For except disregard of the caesura, the comedians appear to have
kept these numbers so pure, that they did not even put a spondee in
the beginning of the iambic dipodia, nay they even abstained from
resolutions. Anacreon :
Xipakov eiðov čv xopff trnkrið’ éxovra ka?\fiv.
Eupolis :
kai &vveywyvöpumv &ei rois àyaôois páypotow.
Athenaeus vi. p. 236. E. has preserved sixteen verses of Eupolis
written in this metre.
Herm. * @
122 ASYNARTETE VERSES. [Book III.
CHAPTER VII.
OF THE VERSE
CALLED EPIONICUS POLY SCHEMATISTUS.
§ 507. The verse, which metricians call epionicus polyschematistus,
neither has any tittle of Ionic numbers, unless wrongly divided into
dipodias, nor is polyschematist. It consists of these orders :
f f 4
The caesura is not everywhere regarded. Eupolis:
& Ka}\torm tróAt traorév, 60 as KAéov ćpopá,
dis evöaiuov Tpórepôv t' joba, viv re påAAov čoet.
Id. éðet Tpárov pew itápxeuv rávrov iomyopiav.
Tús obv oilk &v ris Špitääv xatpot toušče tróAet,
iv čearty Trávv Metrô Kaká, re ri)w ièéav.
Thus it now appears the verses are to be written. See Lindemann
ad Priscian. Op. Minor. p. 252.
CHAPTER VIII.
OF ASYNARTETE VERSES.
§ 508. By metricians those verses are called asymartete, in which
two members are included, which cannot be connected and coupled
together. This definition is false, because it applies to many verses
also which are not reckoned among the asynartete. We therefore
call those verses asynartete, whose parts are connected by a looser
tie, so that the coherence of language may be either continued un-
broken, or interrupted by hiatus and the doubtful syllable. As in
Plautus Amph. i, 1, 35. 39.
Qui múlta Thebanó poplo—acérba objecit fünera,
Regique Thebanó Creonti régnum stabilivºt suum.
The inventor of asynartete verses is supposed to have been Archilo-
chus, who joined two verses in one, a hiatus and doubtful syllable
being admitted in their commissure. Whether he moreover con-
structed the same verses with continuity of language, and with a
word divided between the two portions, is uncertain : I doubt it
however. The metres which are mentioned by Hephæstion as asyn-
artete are these.
§ 509. The metre of Archilochus is this :
A | Af
in which he uniformly observed the caesura.
'Epaopovičm XaptAae, Xpijuá rot yeMotov.
CHAP. VIII.] ASYNARTETE VERSES. 123
The comedians often used this metre, but they did not observe the
caesura very religiously. Eupolis :
68éotrora, kai ráðe vöv čkovo ov, ‘āv Aéya aot.
§ 510. Cratinus used a similar verse:
* - V \, = u - J | 4-----
'Epaopovičn Báðurtre, Töv čwpoxetww.
§ 51 1. This of Archilochus is truly asynartete :
- *** - w w — w w — v J — v.– v.–C
oùk éð’ &pids 06NAets àtraXów Xpóa kápperat yap #8m.
kai 3 goas 6pétov ŠvotatºráAovs, otos ºv čq' #6ms.
Horace too has used this, i, 4, abstaining however from the license
of the doubtful syllable and hiatus. Simonides has neglected the
capsura ; by using a compound word however: epigr. xci.
röv čxopäymoevskük\ov plexitympvu Itiróvukos.
§ 512. Cratinus has made a similar verse, whose first portion is
catalectic on two syllables : --
xaſpere, távres 6eoi, troXúðwrov trovriav 2.Éptºpov.
See Elem. D. M. p. 644.
§ 513. Another asynartete verse of Archilochus, which Horace
also has made asynartete, Epod. xi., is this :
/ *J f f
&\\á p. 6 Avouplexiºs, 6 'raipe, Šágvara, tró60s.
Arguit et latere petitus imo spiritus.
Fervidiore mero arcana promorat loco.
§ 514. Hephaestion has omitted an asynartete constructed by Ar-
chilochus of the same members reversed ; of which Bentley ad Hor.
Epod. xi. Horace has used it, Epod. xiii.
Levare diris pectora sollicitudinibus.
§ 515. By Alcaeus and Anacreon this metre is used :
f Af
* \º * = \º ºf eme | U → V - C
ôpo 6\otros pièv "Apns pºéet prevaixuav’
which I doubt is not asynartete.
§ 516. Another from the Iobacchi ascribed to Archilochus :
y f | J &
Añpmrpos &yvils kal Kópms Tāv travāyvow oë(30 v.
§ 517. Another of the following form in Euripides :
Af f f
U - \w - U - \w - | - V = \* = U.
éjos invix it tróras &#éNapºlev &or;ip.
See Callim. fr. 116.
§ 518. Another sort is represented by Hephaestion to be thus
composed :
he takes an example of three verses, which appear to be corrupt.
194 SATURNIAN VERSE. ſnook iii.
He was perhaps induced by the vitiated reading of those verses to
state this metre wrongly. The verses appear to have had the follow-
ing metre: f f /
* * - V - M-V, - v - \w- ~~
ëort uot kaśā Táis, xovačotow &v6épolotv
éppepſi éxoto a uoppav, KAmis àyatrară,
Tās éyò ow8é Avötav Štraoay, ow8' épavváv.
The caesura in the middle of the verse is neglected.
§ 519. Another of Anacreon :
A f f
* \tº \º sº º ºs \º as | = \) = \des v,
Töv Mupotrotöv iipópmy Xrpárriv, ei kopjoet.
§ 520. Another of Callimachus:
A Aſ
Ajumrpt Tā trv\ain, rii Toitov Šik IIeMao'yūv.
§ 521. Another of Sappho :
A /
Śeipo, öeūre, Moiaat, Xpügeov \itrotoat.
§ 522. Another of the same :
A | A
&\{3te yapſ3pé, ool prev 87) yápos, dis &páev,
ěkretéAeot', exeus Šč trap6évov, Šv àpáev.
Hephæstion cites an example also of disregard of the caesura.
§ 523. Another is in the epigr. of Simonides in Brunck. Anal. t. i.
p. 141. ~-9 |
âvoxáAvéav Klooopópous étri Štóvpápſłots.
§ 524. Aristophanes in Lysistr. v. 1014, sqq. has used the follow-
ing sort, disregarding the caesura: º
Aſ M /
où8év čart 6mptov yuvaikós &paxórepov,
où8é trip, ow8° 58' àvatºs ow8epuia Tópèa\ts.
Others, which have been reckoned asynartete, will be mentioned
below, chiefly in chap. xi.
CHAPTER IX.
OF THE SATURNIAN VERSE.
§ 525. Among the asymarteti is to be reckoned perhaps the Sa-
turnian verse, which appears to be the only one used by the most
CHAP. x.] VERSES COMPOSED BY ANTIPATHY. 125
ancient Roman poets. In it both inscriptions and poems were
written. Livius Andronicus translated the Odyssey in this metre:
and in it Naevius wrote the first Punic war. It has these numbers:
f f f
Dabánt malum Metélli Nae'vio poétae.
But those rude poets both disregarded the caesura often, and used
every kind of resolution, resolving even the doubtful syllable in the
end of the first member : after the manner of ancient language too
they allowed spondees in all the places. Nay the most ancient of
the poets seem to have thought it sufficient if their verses only bore
some sort of resemblance to these numbers. The verses of the
inscription made by Naevius on himself, and preserved by Gellius i,
24. are tolerable enough :
Mortális immortális flére si foret fas,
Flerént divae Caménae Na'vium poètam.
Itáque postguam est Orcino tróditus thesauro,
Obliti sunt Roma, loquiér Latina lingua.
The last of the Romans who used this metre appears to have been
Varro in his satires. 4-
CHAPTER X.
OF VERSES COMPOSED BY ANTIPATHY.
§ 526, What are called by metricians puérpa kar’ &vratráðetav pukra,
(on which see § 454.) are compositions of different numbers. They
mention these : The Sapphic hendecasyllabic epichoriambic, which
is to be measured thus : , f
TouctXó6pov' à0ávar''Appoèira.
which will be spoken of below, § 583. Sqq.
§ 527. The hendecasyllabic Pindaric:
& 4 f
ô Movoayéras ue Kakei Xopeijaat'
&yous 6 k\vrå Öepátovra Aaroi.
§ 528. The Alcaic hendecasyllabic Epionic à majore :
# 4
J - \w = C, | = \, \, = u C
âvaš "AiroNAov, Tai peyá\o Atós.
On this see § 586. sqq.
§ 529. The Alcaic dodecasyllabic Epionic:
Af *
ión Aok' àyva aeºxépetēe Xatrºoi.
126 CONCRETE NUMBERS. [Book III.
§ 53O. The Epionic tetrameter catalectic:
f & f
U - \w - J | - V V → V → V, * \º sº
rotoiros eis Oñ6as Táis apparedo' dyńplevos.
g \ 3/ \ gy 3 2 9 5 * f
pó\ts pièv "Evvm Aetröv éxoto' ét’ &rpákrø Aivov.
§ 531. Epionic à minori:
af Af &
\} = \º = | \} \} = - * \º sº ºn
treptagóv at yūp 'AtróAAov & Aiſketos.
§ 532. Another epionic:
Af A
\} = \º sº. * \º \º sº º sm \º
éxel pew 'Avöpopéða kakav ćpoiſław.
Xatrºpoi, Ti rāv Tox{0}\Gov’Appoètrav.
CHAPTER XI.
OF CONCRETE NUMBERS.
§ 533. Of concrete numbers (see § 21. and 456.) two kinds princi-
pally are to be remarked, the one increased from the dactylic kind to
the paeonic, the other from the trochaic to the spondiac. Since in
these metres different numbers cohere in one periodic order, and the
posterior exceed the anterior, the arsis of the posterior must neces-
sarily be the stronger, because it must be augmented with a new
force for generating an order which is greater than that order which
it would otherwise have produced.
§ 534. That kind which passes from dactylic to paeonic was used
chiefly by the tragedians, who finished the dactylic numbers thus,
Af &
* \tº \º a s \ \º \º =
A striking example, in which this form of the dactylic metre alter-
nates with a paroemiac verse, is in CEdip. Col. 216.
OI. & uot yū), ri Tä00, Tékvov; ió.
A. Aéy', Štreitep Šir' éoxara 3alvets.
OI. &XA' épô' ou yūp éxo Karakpupáv.
X. pakpa piéNAerov' &\\a ràxuvov.
OI. Aatov tore riv', dj. X. &tröyovov;
OI. ró re Aagöaktöäv yévos; X. & Zeij.
OI. &0\tov Oièutróðav ; X. at yap 68' el;
OI. 8é0s to Xere pumöév čo' aw86.
And elsewhere often. See Elem. D. M. p. 647, and 770. and p.
750. 7.
§ 535. And they use the same method in anapaestic numbers.
Eurip. Androm. 1184. 1197.
2-poevrièa trap' àkráv.
6porós eis 6eów &váipat.
CHAP. XI.] CONCRETE NUMBERS. 127
§ 536. The other kind of concrete numbers which deserves men-
tion is seen in second epitrites, which are commonly reckoned
among trochaic metres. These are spoken of in Diss. de Metro-
rum quorumdam Mensura Rhythmica, which is now inserted in the
tractate on the metres of Pindar in Heyne's second edition. That
these epitrites are not trochaic dipodiae is not only plain from this,
that the spondee, by which they are concluded, is the legitimate foot,
but it is required by the whole structure of the poems wherein they
are used, which utterly rejects the levity of trochaic numbers; and
the fact is confirmed by the Doric harmony, which, it is certain from
Pindar, was employed in them.
§ 537. And since these numbers are formed of a trochee and
spondee united in one order, of which the spondee, as being the
greater foot, is to be assisted by a new force of arsis, it appears that
the second arsis of the epitrite is the stronger; and it is therefore
marked also with its own ictus : , ,
on the contrary in a trochaic dipodia the first arsis is the stronger,
because the second foot also is accounted a trochee:
ºf
* \º a wº
And indeed, since the ancient musicians disapproved epitrite num-
bers, it is probable that the measure of the spondee which is in
these epitrites exceeded four times.
§ 538. Hence we may with great probability explain why that
spondee does not admit of resolution, which is often met with in the
trochee which precedes,
f f
- Wºº- -
§ 539. The last syllable of the epitrite is doubtful, i. e. admits a
short for a long, only when it is followed either by other numbers, as
dactylic or Cretic, as in Pindar Ol. vi. 30. xi. 16.
ăvöpi kópov bearörg trópear, Xupakoo'íº.
évôa ovykopóšar” &yyváoogat.
or by another member formed of epitrites. And such members
usually consist of two epitrites, as in Pindar, Isthm. iii.
evk\éov 3’ &pywy &Touwa Xpi) puév iplvija at rôv é00Aów.
§ 540. But often even three epitrites are comprehended in one
member, as in Pind. Ol. iii.
Awpip povav čvapuážat rebºg.
§ 541. Since a doubtful syllable cannot be admitted in the middle
of the members of epitrites, we must consider, if ever we meet with
it, whether either the reading is corrupt, or the members not rightly
disposed. Thus in Isthm. iv. which is commonly reckoned the fifth
poem, the verses are to be thus divided :
pārep "AAtov, troXvóvvpe Oeta, géo &kart
kai pueya affevil vöputaaw.
On this more has been said in Diss. de Mens. Rhythm. and in
Elem. D. M. p. 650. sq.
§ 542. These numbers are formed with an iambic anacrusis also,
128 COMPOSITION OF NUMBERS. [BOOK III.
which for the most part has a long syllable, as more adapted to so
grave a rhythm. Pindar, Ol. iii.
^ Aivnotöápov travöl ovupiša, trpetróvrws.
§ 543. These epitrites are commonly consociated with dactylic
numbers, which have a suitable length of members, and are cata-
lectic either on one syllable or on two. Hephaestion has wrongly
placed some verses of this kind among asymartete. These are, first
the encomiologic verse, which he supposes to be composed of five
dactylic and as many iambic half feet:
Af
t
* \º \º sºme \{ \º es | --~~~
but that verse is rather to be thus measured, as in Pind. Ol. iii,
25. J. f /
- - * V = \, \! - N7 | ----
"Iarpov &nd oktapāv trayāv čvetkev.
§ 544. Next, that which is called iambelegus:
24-4- || “…----
Tpárov pièv eißov\ov Oépuy otpaviav.
keiva v Av6évrwy oats intró Xepaiy, &vač.
§ 545. Then the Platonic verse, composed of these members:
Af Af 4. 4.
= \, \, = \, \, = wº | * \º sº ºne | = \º \, = \º * *
Xaipe traXavoyóvan ävěpáv Óearāv šūAAoye travroad pov.
§ 546. Lastly the Pindaric verse:
sºv-- -------- | ----
ôs kai Tvreis &yvº teNéket rékero £av6dv'A6ávav
oropoi 8& Kai Tô plmöév ćyav ćiros aivnaav reptoads.
§ 547. These epitrites, of which the gravity is almost always
tempered by dactylic numbers, and sometimes augmented by the
semantus trochee, (of which below, § 563. Sq.) were chiefly used by
those lyrics who cultivated the most serious and splendid species of
their poetry, as Pindar and Simonides. They were employed more
rarely by tragedians, as having a more tranquil and sedate severity
than tragedy commonly requires; and still more rarely by comedians.
CHATPTER XII.
OF THE COMPOSITION OF NUMBERS.
§ 548. The whole method of constructing verses is comprised in
election, which discovers the kind of numbers adapted to each subject,
and management, which is employed in a suitable, formation and
conjunction of those kinds. -
§ 549. Of election much has been said both by ancient musicians,
chap. xii.] COMPOSITION OF NUMBERS. 129
as Aristides, Quintilianus p. 97. sqq. and by rhetoricians. The sub-
ject cannot be so well comprehended in rules as understood by per-
ception and feeling, whence an infinite store of observations may be
collected. It is necessary to remember that the same kind of num-
bers, accordingly as it is either differently managed itself, or asso-
ciated with other numbers, frequently assumes a different, and often
a contrary, nature. - -
§ 550. Management is discovered partly in separate numbers, and
partly in the conjunction of several numbers. In, separate numbers it
is discovered in termination, and that both of the whole of the
numbers, and of their members ; in changes of measures ; in licence,
as to regard of casura, change of measure, and ordering and adjust-
ment of prosody. In the conjunction of several numbers management
is employed in the agreement of numbers, in connewion, in propor-
tion, which is either of length or of weight.
§ 551. The termination of the whole of the numbers, since the end
of every rhythm is more distinctly and exactly heard, the last sounds
dwelling for some time on the ear, and representing in some manner
the whole rhythm or numbers, requires especial care. Whence not
only is the measure usually observed with the greatest strictness, but
it is of much consequence also what formation of numbers the termi-
nation has. The most elegant termination is that which is made by a
catalectic order, as being more remiss in the end. But in trochaic
numbers, a kind which is not vehement, an acatalectic order too is
not displeasing. The dactyl is more vehement: whence an acatalectic
termination is more rare in its numbers. The first paeon is much
more vehement still, and on that account it never finishes a verse.
Hypercatalectic orders require great effort and energy, and are
therefore very unfrequent. It happens too sometimes that an acata-
lectic order, from the great vehemence of preceding catalectic orders,
affords a more placid termination than even they, notwithstanding
that they are catalectic ; it is however sweeter and softer if remitted
in a different manner: as in these :
plmöév &A\o pureiſons ºrpárepov Šévôpeov &pitéAw.
Öeire vvv, & 6pai Xápures, ka?\\ikopol Te Moioav.
§ 552. In the separate parts or members of numbers the termination
is comprehended in the proper constitution and variation of caesuras :
which has been spoken of in the particular kinds of verses, chiefly in
the iambic trimeter, and the heroic verse.
§ 553. How different the force of the same numbers is rendered by
the formation of the measure, has been signified on the metres just
mentioned, and also on the anapaestic. In speaking of this it may be
pertinently remarked also, that in the end of a verse the voice rests
more elegantly on a long syllable, especially where the numbers
require a long one, as in the elegiac pentameter.
§ 554. The use of licence is employed in regard or disregard of
caesuras, and in the manner of measure, since some subjects allow a
less strict regard of caesuras, and admit irrational [disproportionate]
feet, others require a rigid conformity to rules; and also in the order-
Herm. IR
130 COMPOSITION OF NUMBERS. [BOOK III,
ing and adjustment of prosody, according to the age, kind, and
subject of the poetry. a
§ 555. The conjunction of several numbers is to be so managed
that agreement may be first regarded. For verses the very best in
themselves, if so conjoined that the numbers do not aptly agree, will
not appear to form one whole. As this Alcaic strophe, one syllable
being added, and one taken away :
Descende caelo, et dic, age, tibia
Regina longum Calliopea melos,
Seu voce nunc mavis acuta,
Seu fidibus lyrave Phaebi.
§ 556. The second part of management lies in the connewion of the
numbers, which differs in degree, manner, and conversion.
§ 557. The degrees of connecting are three: by consecution, when
the end of the verses is the end of the numbers also, which verses we
call unconnected; &avyaprmoig, when the numbers are now con-
tinued, now not continued, which verses are called seminewi (half-
connected) or asymarteti ; and by coherence, called by the Greeks
ovvápeta, which is a perfect connexion in continuity of numbers.
§ 558. The manners of connecting numbers are these : from arsis
to arsis, which is a forcible and masculine conjunction; from thesis
to arsis, which is the most gentle and sweet of all ; from arsis to
anacrusis, which is intermediate, between the two former; from
thesis to anacrusis, which is weak and broken. On these see below,
chap. xviii.
§ 559. Conversion, which seems to have been invented by the
tragedians, is used in systems running out in one kind of numbers, in
the end of which systems, the numbers being broken off, a transition
is made to other and for the most part opposite numbers, and that
either from arsis to arsis, or from thesis to anacrusis. As in Eurip.
Hec. 213.
Töv čplēv Šé Bíov, A66av At pav T'
où puerakAatopiat' &\\& 6aveiv plot
£uvrvXia Kpeiaowu èküpmaev.
And in Aristoph. Nub. 288.
&AA’ &togeta àpevol vépos épéptov
&6avāras ièéas, étrºëépeba
tm/\eakóttg) ºppºſite yaia v.
§ 560. The third part of management is employed on propor-
tion ; which is either of length or weight, and in general of melo-
paeia. -
§ 561. The length of members and verses is of much importance,
that such members and verses may not be joined together as have no
suitable proportion to one another. Which may be observed both in
single kinds of verses, and in the conjunction of many verses, chiefly
in strophes, which consist of epitrites and dactylic members. For
the same reason the clausulae in the iambi and trochees of the come-
dians are neither brachycatalectic nor hypercatalectic. But where
the nature of the subject requires it, even members of the most
cHAP. xiii.] SEMANTUS TROCHEE. 431
different lengths are properly coupled together: as in AEschyl. Prom.
183. trá toré rôvöe tróvolv
Xph ae réppa kéA-
oavr’éalbeiv' &kixmra yap #6ea kai kéap &trapágv6ov
ëxei Kpóvov rais. -
§ 562. Of weight we shall speak separately in the following
chapter. To melopaeia pertains both the paracataloge, of which in
§ 53. 268. and the pause, of which $ 52.
CHAPTER XIII.
OF THE SEMANTUS TROCHEE.
§ 563. The musicians every now and then accelerated or retarded
the measure of times; which proceeding was called áywyfi : whence
the same foot was in one place much shorter, in another much slower.
Moreover they used too more measures than metricians (see § 29.):
among which the feet called orthius and the semantus trochee are
remarkable ; both of which consisted of two parts, the one part of
four, the other of eight times; the shorter part being the first in the
orthius, and the last in the semantus trochee : hence the latter, as
its name indicates, resembles a trochee, the former an iambus.
§ 564. Although metricians, who regard only the measure of syl-
lables, take no account of these feet, yet there are passages in which
the very condition of the verses shows they were used. For since in
some kinds of strophes one or two spondees are found so placed,
that, if they have the usual measure, the mutual relation of the mem-
bers must be either uncommon or even inept ; and since we see
those spondees used in words, which are grave and forcible even to
the ear; it is reasonable to suppose that they are not ordinary spon-
dees of four times, but semanti trochees of twelve, by which are
restored that relation and proportion of members in which nothing is
liable to censure. Hitherto I have met with such only as may with
probability appear to be semanti trochees, not orthii. Pind. Pyth. i.
rås àkovet - pièv 3áous āyMałas - & p Yö,
tre (6 ov-rat 6' àotôoi göpiaow.
AEschylus Eum. 322.
plárep, & pi' &rtkres, 6–p à rep.
Nöä, äAaoiot Kai Šešopkóatv—To t w & v.
132. - STROPHES. [Book III.
**.
CHAPTER XIV.
OF STROPHES.
§ 565. Metricians have given such definitions of verses, systems,
strophes, as must necessarily rather perplex and confound our no-
tions, than render them clear and distinct. We therefore shall use
other definitions. A verse is such whole and intire numbers as may
be pronounced in one breath.
§ 566. Verses are either connected, of which many cohere in one
continuity of numbers ; or unconnected, which are separated from
one another by a pause or silence; or half-connected, of which many
are, at pleasure, contained in numbers either continued or inter-
rupted by a pause : these are called asynarteti also.
§ 567. A system is a coherenee of continuous numbers formed of
connected verses. - ...” *
§ 568. A strophe, numbers composed of verses however con-
sociated.
§ 569. What is common therefore to a system and a strophe is
that they both consist of many verses: what is peculiar is that in a
system the verses are connected, and cohere in one continuity of
numbers; whereas in a strophe it is not necessary that they should
be connected, but they may be connected, or unconnected, or half-
connected, or partly connected, partly unconnected, partly half-
connected. If all are connected in one continuity, the strophe con-
sists of one system, and differs not from a system. Hence it follows
that a strophe may contain several systems, but not a system also
several strophes.
§ 570. The precept of Hephaestion p. 14. (26.) Tāv pérpov els
TeXetav reparoiirat Aéâty, regards unconnected verses, at the end of
which, because a pause is made there, a word also ought to end ;
not connected verses, through which the same numbers are continued;
nor half-connected, because in these although the numbers may be
concluded together with a verse, yet they are not necessarily so con-
cluded. Therefore both every strophe and every system are to be
finished with the whole of the voice: but the verses contained in a
system need not be finished with the whole of the voice; those which
are contained in a strophe ought then only to be finished with the
voice itself, when they are unconnected.
CHAPTER XV.
OF THE KINDS OF STROPHES.
§ 571. The kinds of strophes are four. The ancients, not reckon-
ing epodes, make them two, as Dionys, Hal, de Comp, Verb. c. 19.
CHAP. xv.] KINDS OF STROPHES. 1.3%
A most corrupt passage in a fragm. commonly published with Cen-
sorinus c. 9, p. 140. seems to require the following correction:
Archilochus etiam commata versibus applicando variavit epodis ; per
plurimas species secuit Alcman numeros et imminuit : carmen hinc
Poética melicae: ac Telesilla etiam Argiva minutiones edidit nu-
meros : quae species quum jam displiceret et integra brevior videretur,
magnitudine Pindari adserta est, qui etiam liberis numeris modos
edidit.
§ 572. The first and most ancient kind of strophes consisted of
two verses, the one longer, the other shorter: which were called
epodi, in Greek émgöol in the masculine gender, by which name the
second verse was properly designated. Of these the most ancient
is the elegiac poem, or elegi. Afterwards Archilochus coupled other
verses in this manner, sometimes joining two simple verses, as,
trárep Awkápſła, Totov ćppáow tdöe ;
rts oas traphelpev ºppévas ;
at others making either the prior asynartete, as,
toios yüp pixórnros épws irrö kapčinv čAtx0eis
troX\}v kar’ &X\öv dupérww éxevew.
or the posterior, which Horace has imitated :
Horrida tempestas caelum contravit, et imbres
Nivesque deducunt Jovem: nunc mare, nunc silua ;
sometimes both, which Simonides has done :
ToMAéki Šil pv) is 'Akapavrièos év xopoiotv ‘Qpat
âvox6\véav Klooopópous éti 80Upapſ3ois.
And with the shorter verse placed first, which, in that case is called
Tpopöös in the masculine gender:
Petti, nihil me, sicut antea juvat
Scribere versiculos amore percussum gravi.
§ 573. The consociation of three unconnected verses approaches
nearer to what are commonly called strophes, as in this of Theo-
critus :
'Apxi\oxov kai aráði kai elouče rôv táAat Toumrāv
Töv táv tau}wy, où to pºpuov k\éos
Stj\6e kijiri vökra kai Tpós &ó.
After which manner some poets have sportively made longer strophes
in the shape of a pipe, an altar, an axe, a wing, an egg. See An-
thol. vol. ii. p. 603. ed. Jacobs. 2.
§ 574. The second kind of strophes is that used by the AEolic
poets, Alcaeus, Sappho, and among the Ionic poets by Anacreon.
This is short, and ordinarily composed of four verses alike in num-
bers. See Dionys. Hal. de Comp. Verb. c. 19. p. 262. The poems
of these authors are for the most part monostrophic, i. e. they have
always the same strophe repeated. For the epodi, so called in the
feminine gender, (of which in § 576.) were seldom used by these
poets, as the same Dionysius testifies. But they made many poems
also kara orixov, i.e. by repetition of a single kind of verse not dis-
posed in strophes.
134 STROPHES, &c. [BOOK III.
§ 575. In the third kind of strophes we arrive at a greater variety
of numbers, and a more artificial composition, more verses, than was
before the custom, being joined in one strophe. This kind was
cultivated and polished by Alcman, Stesichorus, Ibycus.
§ 576. Lastly, the fourth kind comprises those strophes, in which,
because they were sung by choruses, the greatest art and variety
both of metres and of musical modulation was employed. Such are
the strophes of Pindar, Simonides, Bacchylides, and of the tragedians.
And as to the lyrics, although they wrote monostrophic songs also,
i.e. such as had always the same strophe repeated, yet for the most
part they employed epodes (epodi in the feminine gender,) making
two strophes in the same metres, and a third in different, and con-
tinuing the same successions in the same metres throughout the whole
song or poem, in this manner; A. A. B. A. A. B. The tragedians
rarely employed epodes, and commonly only one in the end of the
song: and they usually make only two strophes in the same metres;
thus for example, A. A. B. B. T. T. A. A. E.
CHAPTER XVI.
OF STROPHES OF THE FIRST AND SECOND KINDS.
§ 577. The most ancient of the lyric poets made poems both kara
oriyov, i. e. by constant repetition of the same verse, without
strophes, and with many verses conjoined in strophes, but having
either the same or a similar metre.
§ 578. Some of these strophes consist merely of a repetition of
the very same verse; so that, if the metre alone be regarded, the
poems may appear to be composed karū orixov. Of this kind are
some of the Anacreontic poems, in which the equal distribution of
the verses, or the repetition of the same words, affords an indication
of strophes. As in carm. xxxix. the stroplies of which, consisting of
four verses, all begin with this one:
ºf 4 3
ôr' éyò Trio Töv oivov.
This kind has been imitated by the bucolic poets, of whom we shall
speak in § 596.
§ 579. Other strophes consist of the same numbers continued
through a system, so that a whole strophe is a single system, which
the metricians call éé Öpoiwu. Thus Horace, iii, 12. in that
Miserarum est neque amori, #
includes, after the example of Alcaeus, ten Ionic feet in one strophe.
The tragedians have imitated this : but they usually vary the numbers
in the end, to make the conclusion of the strophes more apparent; as
AEschylus in Pers. 81. sqq. in Suppl. 1025. sqq. -
CHAP. xvi.] STROPHES, &c. 135
§ 580. Other strophes consist of several systems, as in Anacreon:
yovvoi plat o' éAapmóóAe,
§av0) trai Atós, òyptov
8éotrow' "Aprept 6mpôv.
ikov viv štri Ambatov
êivnouv'-6peokapātav
&věpáv čyka96pa TóAuv
x(tipovo” oil yap &vmpiépous
troºpaat vets troXijras.
§ 581. Others were constructed of unconnected verses, having the
same numbers, but differing in magnitude or form : as these :
Quem tu, Melpomene, semel
Nascentem placido lumine videris.
§ 582. Others (a mode apparently the most frequent) were com-
posed of four verses, as these :
Scriberis Vario fortis et hostium
Victor Maconii carminis alite,
Quam rem cumque feroa navibus aut equis
Miles te duce gesserit.
Or, Quis multa gracilis te puer in rosa
Perfusus liquidis urguet odoribus
Grato, Pyrrha, sub antro 2
Cui flavam religas comam f
§ 583. Of these we shall mention three, which are the most
remarkable. First the Sapphic strophe, which Sappho composed
of this verse, A P
thrice repeated, and an Adonic afterwards added. And since the
caesura, if any were needed in so short a verse, was to be made at the
fourth syllable, Sappho both made that casura, and disregarded it,
properly, and allowed the syllable itself to be doubtful:
trotºt}\66pov' &6ávar’’Appośira,
trai Atos 8oNów Moke, Atagopiat ae,
puff pi' àoatat, plmö' àviato's 34p va,
Tórvia, Öupwév.
And Catullus has followed her example. And when the words in the
end of one verse cohered closely with those in the beginning of
another, Sappho hesitated not to make an elision at the end of the
first, and also to connect the third and fourth verses by a divided
word, as :
&\\& Käpº pièv y\ógga Śaye, Aetröv 8'
airika Xpó trip introëeópóptakev,
Öttrátegor 6' oièèv Špmu', Tiffjop-
3eiſal ö' àkovat.
Horace too has done both, as ii, 2, 17. 16, 34. iv, 2, 22. and i, 2, 19.
25, 11. ii, 16, 7. iii, 27, 26. iv, 2, 23. Carm. Saec. 47.
§ 584. But Horace, partly to render his numbers more masculine,
partly induced by the convenience of the Latin language, imposed on
himself a severe law, always to begin the longer verses with a second
\
136 STROPHES, &c. [Book III.
epitrite, and to make the casura at the first syllable, sometimes at
the second, of the dactyl: ,
Integer vitae—scelerisque purus:
Mercuri facunde—nepos Atlantis.
And it is observable that in the fourth book he has very frequently
used this latter caesura which is at the sixth syllable, although he
rarely admitted it in the former books.
§ 585. In the tragedies ascribed to Seneca are found strophes
composed of more than three Sapphic verses, as of eight, with an
Adonic subjoined ; but such freaks are to be little commended.
§ 586. The second strophe deserving of particular attention is the
Alcaic. The two first verses of it are in this metre :
Aſ Af
w = w - J | * \tº \º - \, \,
the third in this : / f
the fourth in this : /
- \, \, = w \º - V - C
For the elements of the whole composition are these orders,
/ /
• \º V = \º V * \º m \º
which being joined with one another in various modes have produced
these metres. From which it appears that they are utterly mistaken
who have persuaded themselves that the two first of the verses
terminate in a logaoedic order, by which all the beauty of the num-
bers must necessarily have been destroyed. And the ancient metri-
cians too have unanimously taught that these verses are terminated
by two dactyls.
§ 587. No caesura was needed in these verses either: but if any
was to be made, it was fit that it should be at the end of the orders.
Alcaeus both made the caesura, and neglected to make it:
iſet uév ć Zeus, év 5' 60avºj puéyas
Xetuáv' retráyaoiv 8 w8árwv float.
Horace has strenuously observed the caesura in the first two verses,
taking care too that it may be always at a long syllable. He has
seldom superseded the caesura by a compound word:
Hostile aratrum exercitus insolens.
See i, 16, 21. 37, 5. ii, 17, 21. once in a word not compounded, iv,
14, 17. Spectandus in certamine Martio:
and perhaps i, 37, 14.
Mentemque lymphatam Mareotico,
unless he wrote a Mareotico.
§ 588. He has also constantly kept the fifth syllable of the third
verse long, usually making an incisure after the sixth or the seventh
syllable of the same verse, as,
Deprome quadrimum—Sabina,
Sedes Atlanteusque—finis.
Often however also at the very end of the first order, as
Depraeliantes, nec cupressi;
CHAP. xvi.] STROPHES, &c. 137
seldom, on account of the harshness, ending a word with the fourth
syllable, as Hunc Lesbio-sacrare plectro.
To all which Alcaeus paid no regard: as,
6 Bükkı, páppakov 3’ &ptorov.
péAtxpov' air&p &pſpi kopog.
§ 589. Horace has the anacrusis almost always long in the three
first verses; rarely short, as in this,
Wides, ut alta stet mive candidum.
Alcaeus very often made both the anacrusis and the fifth syllable
short : Tpokópopes yūp ow8év Čačpevot.
§ 590. Since the verses too themselves of these strophes are not
long, and consequently the language requires for the most part
several verses to be closely connected, it is but seldom that the ends
and beginnings of the verses in Horace make a hiatus, as ii, 13, 7.
Sparsisse nocturno cruore
Hospitis,
but the third and fourth verses are sometimes coupled together by
elision preferably, after the example of Alcaeus, as ii, 3, 27. iii, 29,
35. Sors eaitura, et nos in aetermum
Easilium impositura cymbat.
Cum pace delabentis Etruscum
In mare, nunc lapides adesos.
But the last syllable of a strophe cannot properly be elided upon the
first syllable of a following strophe, unless the words cohere most
closely. For ii, 13, 7.
Hospitis: ille venena Colchica,
Et quidquid usquam concipitur méfas,
has been rightly corrected by Bentley.
§ 591. Moreover, as in every kind of verses, so in these, care must
be taken to avoid a collocation of words either too harsh, or too
feeble: too harsh, as when in one of the two first verses there is a
monosyllable at the caesura: iii, 29, 27.
Non est meum, si mugiat Africis;
too feeble, as when in the last verse two words are put, each of
which makes an amphibrachys,
Ora carere crwore nostro.
§ 592. The third strophe is one which is found in Greek writers
only, as in many scholia in Athen. xv. p. 694, and in Aristoph.
Eccles. 938. sqq. The first two verses of it are Phalecean hendeca-
syllables: ! . . . . .
a pyrrhic not being admitted, as it appears, in the base. The third
has this metre : f /
\! \, = \, = - \} \, =
The fourth this: / y
* \tº \º = \º º ºs ºf \º see My me
TIAoûrov pumrép', 'OAvuttav čeiðw
Añpunt pav, ore pavmſpópots &v dºpaus'
gé re, Tai Atos, IIepoepāvm'
xaſperov, eú be ràvö’ &pg|Éirerov TóNºv.
IHerm, S
138 . STROPHES, &c. [BOOK III.
CHAPTER XVII.
OF STROPHES OF THE THIRD AND FOURTH KINDS.
§ 593. The third and fourth kinds of strophes contain those,
which being both longer, and diversified by a greater force and
variety of numbers, were employed by a freer and more aspiring
description of lyric poetry. And the third kind, used in part at
least, as it appears, in monostrophic poems, is peculiar to the lyric
poets of the middle age, Alcman, Stesichorus, Ibycus. The strophes
of these poets consisted now of more verses than those of Sappho,
Alcaeus, Anacreon, Corinna; and their numbers were in great part
dactylic, and very long too; of which examples may be seen in § 301.
sqq. and whole strophes in § 305.
§ 594. Another example of a strophe used by Alcman is this,
composed intirely of dactylic numbers, Fragm. p. 38. from Athen.
X. p. 416. C.
kai Toká rot $600 tpitroëos Kūros,
Ø k' évi \eta . . . . dyeipns.
âXA' éri väv y' àTwpos' rāxa 8é TAéos
ërveos, otov 5 trappáyos 'AAkpāv
jpá00m x\tepöv tré8a rās rootrás.
oùrt yap oi Tô rerwypévov čobet,
&\\a rå kowa yap, dotep 6 6apios
&arewet.
Whether this strophe consisted of seven verses, so that another
strophe began with the word &areíet, or of eight, of which the eighth
was an heroic, is uncertain, since in another fragment of this poem
or metre that last verse may be equally an hexameter, and a tetra-
meter with a part of a following catalectic: that fragment is in p. 44.
from Athen. xi. p. 498. F.
ToMAák, 6’ &v kopvpais doëwv, Ška
6eoigtv Čičn troXúðavos éopra,
xpúaeow &yxos éxotoa, péyav okūpov,
otá re topéves &vêpes éxovov,
Xepoi Aegvreov čv yá)\a 0eloa,
Tupov ćrüpmaas uéyav Čirpvpov &pyüpečv re.
I gave both fragments thus corrected in Diar. Litt. Jenens. 1816.
m. August. n. 155. -
§ 595. Hephæstion p. 74. (134.) says that Alcman wrote poems
even of fourteen strophes, of which the seven last were in a metre
different from that of the seven first.
§ 596. In the same manner the bucolic poets, keeping indeed to
the same metre, but varying the length of the strophes, subjoin to
several strophes composed of a certain number of verses other
strophes of more or of fewer verses; which strophes are distinguished,
sometimes by an intercalary verse, as it is called, as in the first and
CHAP. XVII.] STROPHES, &c. 139
second Idyls of Theocritus, and sometimes by the conclusion of the
words, as in the third. Thus in the second poem eight strophes of
five verses are followed by thirteen strophes of six verses. In the
first poem the number of verses varies more, having probably been
disordered in some of the strophes by the fault of transcribers. In
the third Idyl the song of the goat-herd beginning at v. 6. proceeds
first in four strophes of two verses: then follow ten strophes of
three verses. For v. 24. is no part of his song, but is recited during
a pause in Singing.
§ 597. The fourth kind of strophes is that which was used in the
most perfect lyric poetry, and in tragedy, for expressing the more
serious and vehement emotions of mind. Its numbers have partly a
severe grandeur and magnificence, partly a varied inequality and
rapidity : and such strophes themselves are usually for the same
reasons of considerable length. And both the grandeur and the
variety are perceived not only in the nature of the numbers; for they
are either slow and severe, or quick and brisk; but also in their pro-
portional relations : for they are either equally divided, or short
members are intermingled with long.
§ 598. Since these strophes are usually long, their parts are for the
most part long also, and consist not so much of verses, as of systems
having various numbers.
§ 599. Strophes grave in numbers, equal in the proportion of their
members, commonly consist of epitrites, tempered by dactylic
numbers, and Cretic, some forms too of trochees, iambi, and anti-
spastics being admitted, and moreover the semantus trochee. The
harmony of these strophes was the Doric: whence we call them
Doric strophes. Pindar Pyth. i.
Xpvgéa pép-puyé, 'AtróAAw-
vos kai iotAokápºwv
atvöukov Mot-aēv créarov,
täs ākotet - pièv 6áous, &y\atas - épxa,
Treibov-raw 8' &otöol - gapaauw,
&ymatxàpwv Ötörav Tpo-optwy
ăp{30Åas reiſ-Xms é\ext&opéva,
kai Tôv aixua-rāv kepavvöv - offevviets
&eváov Tvpós, eú-8et 8' diva oká-
trº Atós alerós, òkei-
av Trépwy' &pſporépw-6ev XaAdèats.
§ 600. The more vehement strophes, which have their members
unequal, are remarkable for the multitude of short syllables, and
have their numbers quicker either by nature or by resolutions, and
are, in their whole composition, unequal and rapid. The chief in this
kind were dithyrambics. These strophes we call AEolic, because
their harmony was commonly such. Pind. Ol.
Meya)\otóAtes à Xvpakóa'at, 6abutoNépov
répevos "Apeos, &v-8pów introv re otºapoxappāv
Satpudvat Tpopot"
ippºv ráðe rāv Attapāv &Tö Om-ſłów pépov
pué\os épxopiat àyyeXtav reſpaopias &\eXixóovos,
140 DIVISION OF STROPHES. [Book III.
evápparos Iépov čv 3 sparéov
rmXavyéow avéðmaev 'Oprvytav are pávols,
troraptas €50s 'Aprépubos, ds—ovk &rep
kelvas &yavataly €v
Xepoi Touki)\avious é8áuadoe tróNovs.
§ 601. In the middle rank between these are the strophes which,
on account of their Lydian modulation, we denominate Lydian
strophes. These have neither so much gravity as the Doric, nor so
remarkable a briskness and stir as the Æolic. As Pind. Ol. v.
"YipmMāv ćperāv - Kai oregåvov do-row y\vköv,
röv Otºwpatríg, 'Okeavoiſ 60 yarep,
Kapòig yeMavei,
ākapuavrátroëós r' àtivas 6ékev, -
Yaúpuós re 86.pa.
CHAPTER, XVIII.
OF THE DIVISION OF STROPHES INTO
THEIR MEMBERS.
§ 602. There is often great difficulty in the division of strophes
into their members, not only on account of the ambiguity of some
numbers, but because the parts of those numbers may be marked out
in several different manners. Great care is requisite therefore to
know what is the safest way of proceeding. -
§ 603. And first we must consider whether known and common
metres are not concealed. But since many forms of metres are not
yet brought to light, the number of those metres cannot but be here-
after augmented, so that many will be reckoned among known and
usual metres, which at present are not so known.
§ 604. We must next attend to interpunction, and the ends of
sentences. For it is natural that the ends of verses should for the
most part coincide with the conclusion of sentences or of parts of
sentences. Although this is not so indispensable, but that a verse
may conclude even in the middle of a sentence. Nay sometimes
there is even a sort of excellence in the extension of the language
beyond the termination of the metre.
605. In dramatic poetry the change of a person also frequently
indicates the conclusion of a verse, because it is commonly accom-
panied with a pause.
§ 606. Further, the end of a word too is an indication of the end
of a verse. And systems and strophes must absolutely and neces-
sarily be terminated by an intire word. The same rule is observed
too in those verses which we have called unconnected : except when
their shortness allows the conjunction of two verses by a divided
word, not only without disagreeableness, but even with elegance, as
chap. xv III.] DIVISION OF STROPHES. 141
in the Sapphic strophe. And in the same manner even in longer
verses the division of a word is sometimes allowed, if it is a com-
pound one, and on that account more easily separable into two parts.
Pindar Ol. xiv. -
Tórve' 'AyAata, būmat-
pioxiré T' Eiºpodiva, 6eſv kpariarov. g
§ 607. We must carefully attend also to a short syllable placed in
the end of a verse. . For since the last syllable of verses, even where.
it is by nature short, is accustomed to be much oftener long than
short, (see praefat, ad Orphic. p. 9.) a short syllable is extremely
often an indication that numbers are not yet concluded, but still in
progress. Wherefore if any verse is ended both in a strophe and
antistrophe with a short syllable, we generally see that the numbers
are continued through what follows, and understand that the end of
the verse cannot be made in that place, and that so much the more
certainly as there are more strophes, as in Pindar.
§ 608. This observation is not opposed by those verses, which,
being comprehended in systems, end in a short syllable, as dactylic
dimeters, but is rather confirmed by them. For such verses are
indeed terminated by a short syllable, but for this very reason, that
their numbers cohere in uninterrupted continuity with the numbers of
the following verses.
§ 609. The most certain indication of the end of a verse is afforded
by a syllable impeding the continuation of the numbers; because
this shows that the preceding numbers having been concluded, the
succeeding ones are beginning. And the syllable which so impedes
the continuation of the numbers is one that has either a hiatus or a
doubtful measure. But it is plain that such doubtful measures only
and such hiatuses are meant, as are held to be unlawful in every kind :
this has been spoken of already in the first book, and in the discus-
sion of each metre in particular. *
§ 610. But we must beware of adopting an opinion which has long
prevailed, that because the last syllable of every verse is accounted
doubtful, the syllables in the middle of words are doubtful too ;
which cannot possibly be. For no other syllable of a word than the
last can be reckoned doubtful, i.e. short, if the metre require it
short, although it be by nature or position long, and long, the metre
so requiring, although by nature short. And the same is the case
with a syllable, which is indeed final, but in a word which coheres
with a following word in such a manner as almost to make one word
with it. Thus every one sees that the common reading in Aristoph.
Nub. 1349. confounds the proper pronunciation :
&AA’ &6' àrp 6pagüveral' Sij}\6v ye to
Ajju èari Tävěpátov.
For thus rô must be pronounced as a long syllable, and separated by
a pause from the noun Ajjua, with which it is as one word.
§ 611. To comprise the whole in a few words, the rule is, in verses
unconnected, and half-connected, or asymartete, that a doubtful
measure in the end of a word is an indication of the conclusion of the
142 DIVISION OF STROPHES. [BOOK 111.
numbers in an arsis of any kind of numbers, but in no thesis except
one of several syllables or times.
Inachia furere—silvis honorem decutit,
Levare diris pectora—sollicitudinibus. .
kai 3%ggas 6péov 8votraitáAovs—oios jv ćp’ #6ms.
For in the middle of a word the just measure is to be preserved:
röv čxopäynoev kük\ov pleMi-ympvv 'Itritóvukos.
There are examples of a thesis of several times in Doric epitrites, as
in Pindar, Isthm. iii, 7. (11.)
eijk}\étov Š' épywy & Towa.
And in Ionics à minore, as in Aristoph. Vesp. 280.
ráxa 5’ av Štú Tov x0íčuvov čv0pw-
Tov, 6s juás Štebier'.
§ 612. The arsis of dactylic numbers is to be excepted: for since
that, in some verses, lengthens a short syllable by its own proper
power, such an elongation indicates the conclusion in that place not
of a verse but of a member. -
§ 613. With respect to connected verses the case is different: for
since they cohere in unbroken continuity of numbers, the matter for
inquiry is not where the numbers end, (for they end only with the
system itself,) but where the parts of the numbers are to be sepa-
rated. And first we are to pay attention to usage ; which is to be
learnt by diligent observation of the best division of members. As
where epitrites are associated with dactylic numbers, as,
ſ A # / J.
* \º sºme s- = \º - me • º V = \º \sº sº
we perceive that members are commonly so divided, that the syllable
which may be either a thesis ending a member, or an anacrusis be-
ginning a member, is usually rather a thesis,
A / f & Af
* \º sº em as ºf sm = | * \tº \º as \º º ºs
than an anacrusis,
z f * *
* \s) m as sm \º sm | * = \º \º = \dº º ºs
§ 614. In the next place, in connected verses also a doubtful
measure indicates the end of members, but only in the spondiac
thesis of epitrites, and in the antispastic thesis. And in both too
not only in the end of a word, but also in the middle. Pindar, Ol.
vi, 30.
ăvöpi köptov Šeatrörg Táp-eart Xupakootp.
AEschyl. Pers. 282. 288.
éðeoav, at al, - orparoiſ p0apévros.
ëkrugavečva-6as #8' àvávöpovs.
§ 615. Further, a strong proof is drawn from the division of words,
the effect of which is to leave the numbers of a word unaltered; be-
cause if the numbers of the word were taken away or interrupted,
either something else or two words would be the result.
§ 616. And since in every word either arsis and thesis alternate,
or one arsis is joined with another, but an anacrusis has place only
chAP. xvii.I.]
143
DIVISION OF STROPHES.
in the beginning of a word; it is plain that this is a principal rule
generally, that, if possible, an anacrusis be not put in the middle or
end of a word.
Now an anacrusis may be put in the middle of a
word in three ways: either after an arsis:
or after a thesis:
1 * * | *
2 - 4 || --
3 -4° --
4 -º- || --
\
5 * | *
6 4- | v:
7 - || --
8 - || --
'Axal-pévns
'Apt-oreiðms
A\rig.-48ms
BeNAepo-póvrms
'AAkt-pé8wv
'AAkpa-vièas
'Apxt-Hjöns
Eöm-petëns
or after another anacrusis: for the beginning of a word placed in a
thesis of a prior verse,
&
9 - || --
10 - | v4
11 - || --
12 - || --
13 ** | *-
14 v- || --
is in the word itself an anacrusis:
Te-Aaputov
20-kpárms
'A-tróAAwy
Eö-k}\etöns
Bevo-pávns
Tavv-Hååms
And in the end of a word in three ways: after an arsis:
15 ' | v
16 : | -
17 * | ww.
18 ºv | *
19 - || -
20 ºv | vº
21 : v | *
22 + v | -
IIpoi-ros
TIn-News
Múp-rºos
(pāAa-pus
Fero-ºr
MeXé-aypos
or after a thesis:
Ata-Kös
Alvé-as
144, DIVISION OF STROPHES. [book III.
23 - 9 | ww Tºé-yovos
24 -- | - 'AXkai-os
25 - - | - TIn Net-êns
Æ
26 - - || ww 'Aok\m-ttós
27 *~~ | 'Apxi\o-xos
w
28 -v- || - 'Apkeat-Aas
29 ºv- ! -- 'Apxeró-Aepos
or after an anacrusis: -
30 - || - 9é-ris
31 - | v "YA-Aos
32 - || - "A-3as
33 - || - Né-orwp
and so on, if one or the other part, or both the parts are of several
syllables. -
§ 617. It appears that the numbers of these words, when so di-
vided, are spoiled. An anacrusis, however, subjoined to an arsis
is more tolerable, because the two rhythms or numbers may in that
case be conjoined in pronunciation: the conjunction of a thesis and
anacrusis is worse, because it requires a pause in the middle of a
word; and still worse is the conclusion of a word by an anacrusis,
because in that case the last part of the word is void of all numbers:
the worst of all is an anacrusis added to another anacrusis, because
that, besides making a pause in the middle of a word, deprives both
parts of numbers.
§ 618. From these premises it follows, that the best divisions of
words are, first, those by which alternations of arsis and thesis are
made in the same word : . - -
Xpvaea pāppu); 'AtróNAw-
vos kai iotrkokápww.
Next, those which have an arsis subjoined to an arsis:
kai oopoi kal Xepai 6ta-
rai trepiy\woool r' épvv.
Last, those which have an anacrusis before an arsis:
ëk Bečv yüp playaval trä-
oat 6poréats àperais.
§ 619. Of the other modes of dividing words those are the best
which least interrupt or impair the pronunciation.
§ 620. When therefore a preceding verse ends with an arsis, and a
succeeding one begins with an anacrusis, a word may be divided in
two manners:—first, so that the part, which is in the following
CHAP. xv III.] DIVISION OF STROPHES. 145
verse, may comprise an anacrusis and arsis, (and to this case are
referable the examples 1 - 4 in § 616.) a mode of division not in-
tirely incommodious, as if in Pind. Ol. iii. 17. (28.) one were to
divide thus: Śāpov "Y repòopéov retoats 'AtróA- * " .
Aww.os 6epátrovra Aó) p.
§ 621. Next, so that the part of the word which is in the second
verse may be no more than an anacrusis, or a part of an anacrusis:
see examples 15-20. This is a bad division. Thus in Pindar
Pyth. iii, 97. the division formerly was
ërpairey kākeivov &yávopt put-
oflá; Xpwoos év xepoly paveis.
§ 622. But, if the first verse ends in thesis, there are four modes of
division. The first has an arsis in both parts of the word, as in the
examples 5–8. of which the worst are 5 and 7. as formerly in Pind.
Pyth. viii, 129.
itrotrépous āvo-
péats exov kpéagova TAoûrov.
and vi, 31. Méuvova. Nearó-
petov yap irros &pu' étré6a.
Which are to be absolutely rejected. The examples 6 and 8, and
any similar, are more easily pronounced, because they do not so
much confound the proper pronunciation of the word. As Pindar,
Ol. iv, 16. xpovićratov påos eipw-
- offevéwy &perāv.
§ 623. The second mode is that by which the first part of the
word has an arsis, but the second part rests in anacrusis, as in the
examples 21–29. which kind of division is very bad; as formerly
in Pind. Pyth. x, 16.
ré\os àpxá re 8atpuo-
vos &pwvvros, aſſerat.
and worse still that division in Sophocl. Antig. 152.
6eåv Šē vaois Xopois travviſ-
*
- Xous Távras &méA60pev. - 4
But this division is tolerated, when a short anacrusis follows a long
thesis, a mode which is not far from the usual pronunciation of the
word, as in the example 24. So Pindar, Pyth. viii, 20.
Twſpós Kūtā Śkaröykpa- y
vos of pitv &Avčev. -
§ 624. The third mode is, when the first part of the word is with-
out arsis, but not the second, as in the examples 9–14. This di-
vision is bad, as formerly in Pind. Pyth. ii, 84.
éptyvvr’év IIa-
Alov opvpois, éx 6' éyévovro orparós'
and still worse, if the anacrusis be long : as Nem. iv, 82.
NeotróAepos 3’ &-
Teipp Statpuaig.
§ 625. The fourth mode, and the worst of all in every point, is
when both parts of the word are without ictus, and therefore the
Herm. \ T
146 DIVISION OF STROPHES. [Book III.
whole word dissolves into two parts destitute of numbers. As in
Pind. Ol. i., 3. ãre Statpéret vu- -
Krl peyávopos ééoxa r\otºrov.
and v. 161. tratov Špxera, trav-
- ri 8por; epič Šē arepavāqat.
and Pyth. viii, 63. -
és warépov rat- -
oi Añpia' 6aéopat oapés.
Isthm. ult. 23. âróAparov' àAA' é-
* poi Seipia pièv trapotzópevov.
§ 626. We must take care, moreover, that wherever it is necessary
to divide a word, we employ that division which is least displeasing
or most elegant. For which purpose it is of importance to consider
the degree of closeness with which the members are connected. For
if they are so connected that each may properly constitute a verse,
i. e. that every member, although collering with another, contains in
itself alone something intire and perfect, much less liberty is al-
lowed, than when they are connected so closely as to produce some-
thing complete and whole only by conjunction with others, and not
of themselves alone. As that, which we just now quoted from Pind.
Ol. i. ãre Švatpéret vu-kri pleyávopos ééoxa TAoûrov,
is intitled, on account of the two members making one verse, to an
allowance, which would be denied if there were two verses rather,
& 4
\º \º \º mº Mº = * | by tº sº ºf Wº ºn tº \dº sº me
But the members would be wrongly marked thus,
& 4. *
\º tº \} = \) sm | * * * * * * * * * * *
not only because this proportion of the members would be little apt,
but because most of the strophes have a word ended in the seventh
syllable. In like manner in that, Pyth. viii.
ék trarépov travol Añpia' 6aéopiat oaqes,
the relative proportion of the members would not be suitable, if the
members were constituted thus : §
4 4 £ W
may even the interpunction in the rest of the strophes shows the
division mentioned above to be the right one :
4 * w
* * * = - | U - \, = u \, = \º =
Where it is plain that the division of the word is more elegant if
ratoi be written, than if trawgiv. But that in the last Isthm. can by
no means be tolerated :
&róAparov' &AA' é-uoi Seipia pièv trapot}(6pſevov.
Which is made still worse, if an enclitic be put in the beginning of
the second member :
àró\parov' &AAá plot Seipia pièv trapotyápievov.
§ 627. But the more each member appears calculated to constitute
chap. xv III.] DIVISION OF STROPHES. * 147
one verse of itself, i. e. the more evidently it requires to be separated
by a pause, the more necessary is it to employ such divisions only of
words as may be least displeasing: as in HEschyl. Agam. 1477.
Saipov, 6s épurirweis 8ápact kai čupwt-
ourt TavruMöawaiv.
§ 628. Hence we understand why in some verses the members are
often so conjoined, that words are divided even in those ways which
otherwise, i. e. if a longer pause were made, would be reprehensible.
This is done chiefly in verses beginning with an antispastus, and in
such as contain two penthemimeral portions of an iambic verse.
MEschylus, Sept. ad Theb. 121. Pers. 288. Agam. 217. 200. sq.
āpmčov ča-tov &Awaw.
ěkrugav eivi-Šas #8' àvávöpovs.
puaivov trap-0evoo páyota'w.
Trvoai 6 &trö 2rpv-ſuóvos pokoúa'at,
kakóaxoMo, vil-oričes 8wo oppot.
§ 629. Lastly, in dividing the members of verses, there is need of
tact well exercised, and supported by a keen judgment, to perceive
easily, and examine carefully, what is usual, what suitable, what
elegant. I will illustrate the matter by an example. In Soph. GEd.
R. 660. Erfurdt has thus divided the verses : t
où rév távrov fleåv - 6eów Trpópov
"A\tov. čirei ä0eos, - tipt)\os, 8 ru Túparov
6\otpav, ppóvn-ow ei Távö ex0.
And in the antistrophe v. 690.
& "vač, eitrov pièvoix - étaš pièvov,
to 0, 8é trapaſppóvipov, - titopov'éti ºppóvipa
Tepáv0a, p. &v, et-ae wood teopat.
Of these the first member is an ischiorrhogic iambic, the second an
iambic monometer, the rest dochmiacs. But since the first verse
both in the strophe and antistrophe is concluded by a short syllable,
that is a sufficient indication that the numbers ought not to be
concluded in that syllable, but to be carried on further. In the next
place, although in the antistrophic verse the numbers might, on
account of the stop, be there ended, yet in the strophic verses those
words, 6eóv rpápov "A\tov, which make but one notion, would be
improperly separated. From which it appears that all the verses
cohere in one system, and that the ichiorrhogic iambic is followed by
dochmiacs with one Cretic among them. The question now is where
that Cretic is to be stationed: whether in the beginning of the
second verse,
où rév távrov 6eóv—Beow ºrpóplov "A\tov"
éret diffeos, -ãpi\os, 6 rº Túparov"
and in the antistrophe,
& "vač, eitrov pèvoix—titra; pióvov, io9, 5è
Trapaqpóvipov, &ropov čtri ºppévipa"
or in the beginning of the third verse,
étrel &6eos, &ptAos, -ó ri triparov 6\ot-
pav, ppóvn-ow ei rāvö’ exo'
148 USE OF ANTISTROPHES. [Book III.
and in the antistrophe,
Tapaºpóvipov, diropov—éri ºpóvipa repāv-
6ai p' &v, el-ge voo pièoplat'
or lastly in the end of the second verse,
où rév távrov 6eåv—fledv irpópov "AAtovº
êtrei úðeos, Špi}\os,—ö ri trčuarov
- 6Aoipav, ppóvnow et révô'éxo'
and in the antistrophe, *
& "vaš, eitrov pièv oix - tita: piāvov, io9, 88
trapappóvipov, Štropov - étri ºppévipa
trepáv6ai p' àv, et-ae woopičopat.
Now it appears that in the first of these divisions the words ā6eos,
&ptAos, and Tapappóvipov, &topov, which the sense requires to be
joined, are inelegantly drawn asunder into two members; and that in
the second, what is much worse, the Cretic is placed in syllables not
making intire words, and still less giving any sense. On the con-
trary the mode proposed in the third division is plainly so elegant,
that it deserves with reason to be preferred to the others. For it has
no member composed of syllables without meaning; and the words
which the sense requires to be joined, 6eóv Tpópov "A\tov, and ā6eos
āpºos, and Tapaºpóvipov, dropov, are so joined; and the Cretic
appears located in the place most suitable, and in those words which
have a remarkable emphasis; lastly, if these verses are recited ac-
cording to this division of the members, there is nothing but what an
auditor not only understands immediately, but perceives also to be
arranged with such aptness and weight, that every word and sentence
has its due force and efficacy.
• CHAPTER XIX.
OF THE USE OF ANTISTROPHES SUMMARILY.
§ 630. The Greeks in every kind of poetry, especially in the lyric,
and still more in the dramatic, very studiously affected a certain
equal proportion of parts. As this has a most agreeable effect
in alluring and charming the minds of the auditors, so it has been
cultivated with singular art and made susceptible of wonderful
variety. . .
§ 631. Metricians divide poems with respect to repetitions of
numbers, into two kinds, which are called karū artyov, and kara
owarmua or ovarmaariká. Those kara grixov are such as are composed
of verses only ; those karū awarmua such as are composed of systems
or strophes. When these kinds are so conjoined in one poem, that
part is written karū orixov, and part karū awarmua, such poems are
called pukra yewska, as tragedies, and the ancient comedies: and
when they may be taken indifferently to be written either karū ariyov
CHAP. XIX.] USE OF ANTISTROPHES. 149
or karū oëormua, they are called kolvå yewskä, as many of the Ana-
creontic poems, which may appear to be composed either of verses
only or of strophes. See Hephæstion p. 63–71. (111—131.)
§ 632. Those which are written karū artwov are divided by metri-
cians into putkrä, which have different verses in different parts, as the
comedies of Menander had, and dukra, which have the same kind of
verses in every part, as epic poems.
§ 633. Of the avarmpartkū some are called karū axéauv, others
àto)eMvpéva, others perptsä drakra, others & 6potov, others putkrä
avarmuarikā, others kowa ovarmplaruká : a division bad enough.
§ 634. Those karū axéow are such as have responsals, or cor-
respondence of parts, and repetitions. • t
§ 635. 'AtroAeAvpiéva are those composed without any certain rule,
according to the inclination or fancy of the poet. Of these below in
chap. xxv. •
§ 636. Merpukā ārakra consist of verses determinate indeed, but
intermingled at pleasure: the following verses of Simonides are
Quoted as an example: *
"icºpta èis, Nepég 8is, 'OAvpurig &repavá,0mv,
où trMárei vuköv ord paros, &AA& réxyg,
'Aptoróðapios @págvöos 'A\eios träAg. -
And they say that the Margites, ascribed to Homer, was thus written.
This whole species ought to have been ranked under the genus kata
orixov, not avarmplaruká.
§ 637. Nor do those called ěž ögotov belong to this division;
since in them the kind of metre, and not the relative parts of systems,
is regarded. For this name is applied to those which run dut without
interruption, in one kind of foot or numbers, i. e. those usually
called systems, as of anapaests, Ionics, and other numbers. Tà éé
opotaſy are divided into &reptóptora, which proceed in one tenor to
their termination, i. e. which are one system; and those karū rept-
optopovs diviorows, i. e. those consisting of several systems of the same
kind but differing from one another, as in the parodi of tragedies many
anapaestic systems of different lengths occur : thus: A. B. T. A. E.
§ 638. By pukra ovarmuartkū are signified such as are formed of
different systematic kinds conjoined, such, e. g. as are partly karū
oxéauv, and partly &ToMexvpuéva. -
§ 639. Lastly, Kouva ovarmuartkū are those which may seem to be of
one or another kind indifferently, as Hor. Carm. iii, 12. which to an
unskilful person will seem to be š Špotov, to a skilful one karū.
oxéouv. º ſ
§ 640. Of those called karū axéow metricians reckon these sorts :
povoarpopura, in which the same strophe is still repeated in this form :
A. A. A. Later writers are accustomed to call those improperly
povoorpoquka, which were by the ancients called åtroXeXvuevå, of
which below, in ch. XXV. -
§ 641. Next &n pörkö, in this form : A. A. B. which is called rotas
érpätkä’ or in this, A. A. A. B. which is called rerods’ or in this,
A. A. A. A. B. which is called revrás: of which the most in use is
1 50 METRES IN THE DIVERBIA. [Book III.
the Tpids. See, besides Hephaestion, p. 68. (123.) the schol. on Eurip.
Hecub. 629. (624.)
§ 642. Then peopôtra, in this form : A. B. A.
§ 643. Then traXtvipèukā, in this form: A. B. B. A. Which are
called ávribertkū, when single verses, and not strophes, correspond to
each other in that manner, as ā. 6. Y. Y. 3. a'. .
§ 644. Next, reptºpólka, in this form: A. B. B. T.
§ 645. Lastly, kara reptrotºv &vopotopepſi, in this manner: A. B.
A. B.
§ 646. To these they add pukrä karū axéauv, when of those forms
which we have given different ones are conjoined, as epodic and
mesodic, thus, A. B. A. T. or palinodic and mesodic, as A. B. T. A.
T. B. A.
§ 647. And Kouva karū axégiv, which may be equally reckoned
among several of these kinds: such as those called karū repukotrºy
âvopotopepſi, A. B. A. B. For if one join A. B. in one strophe T.
there will be the monostrophics T. T.
§ 648. There are none of these kinds of which there remain not
many examples even now. But the most uncommon are the terpas
and revräs étrºpôtkū. The most in use is the Totas, as in the greatest
part of the poems of Pindar and Simonides. The povoarpopukå were
used chiefly in the poetry of the more ancient lyrics, who were
followed by the Roman poets. Those lyrics wrote many poems also
karū orixov, of which the shortest form is perhaps that which Sappho
constructed of Adonic verses, as Terentianus Maurus testifies, p.
2431. Alcman, as Hephaestion relates, p. 74. (134.) joined two
forms of monostrophic poetry in one poem, to seven strophes of the
.. metre subjoining seven others in a different metre but all
alike.
§ 649. The tragedians put for the most part in their choral songs
two strophes only in the same metre, then two others in a different
metre, and so on. Sometimes they add to these one epode, either at
the end or in the middle of the song. Without an epode, thus, a. a'.
{3. B. y'. y'. 8. §'. With an epode, thus, a. a. 3. 3. Y. Y. 8'. 8'. e'.
or a’. a'. 6'. Y. y'. 8'. 8'. But all these varieties will be more fully
treated of by and by.
CHAPTER XX.
OF THE CORRESPONDENCE OF METRES
IN THE DIVERBIA.
§ 650. So much did the tragedians delight in the equal proportion
and correspondence of parts, that they thought fit to employ them
even in the diverbia, [parts consisting of dialogue, when such
CHAP. XXI.] PARABASIS. 151
equality and counterbalancing of speech were not excluded by some
vehement emotion of mind.
§ 651. And these colloquies are usually so disposed, that each
person recites one verse: as in the Agam. from v. 276, and from v.
547. And for the most part, (as in those passages,) to obviate the
tiresomeness of equality, a speech of some length both introduces
and concludes the dialogue. In other places each person recites two
verses, as in the Eumen. from v. 714. and in the Choēph. from
v. 1051. Sometimes one person has always one verse, and another
person always two, as in the Prometheus, from v. 39. At other times
the number is varied, so that each person now pronounces two verses,
now one, as in the CEdip. R. from v. 543. Sometimes this equality
of responsals is interrupted by something intervening, or the increase
of mental agitation, as in the same Play, v. 334. where presently
afterwards the dialogue returns to its previous order. Often too, when
each person has had one verse, each verse, as the speakers grow
warmer, is divided between both, both speaking now more, now
fewer, words, but equality being so far preserved, that the words of
both are comprised in one intire verse. Thus in the Orest. from v.
764. ed. Pors. and from v. 1614. and in the Phoeniss. from v. 612.
Sometimes one of the speakers pronounces only a short exclamation
instead of a whole verse, as in the Agam. 1316. Elsewhere, by an
exclamation of this kind the turns are changed, one of the persons
completing a verse which had been begun by the other, as in the
Prometh. v. 979. Moreover even a sort of epodic conformation
occurs in the Agamemnon v. 1352.
AT. ºpio, Tét}\myuat captav TAmyńv éow.
X. a'. oiya' ris TAmyńv &ürei kapia's owra opévos;
AT. guo, pláA' ańbus Sevrépav retrâmyuévos.
X. (3". Totoyov eipyāoffat Šokei uot (3aoixéws oiué yuart.
To which verses, of which every two are as strophes, another
trochaic verse is added for an epode by a third choric old man, and
then the other twelve old men recite each two iambic trimeters.
CHAPTER XXI.
O F THE PARABASIS.
§ 652. In the ancient comedy the parabasis, as it is called, is
particularly remarkable, which is a turning of the chorus to the
spectators. On it see Hephæstion p. 71. (131.) Pollux iv, 111;
Schol. Aristoph. in argum. i. Nub. and ad Nub. v. 518. 1 13, ad
Pac. v. 733. Some parts of it are touched upon by the Schol. ad
Nub. v. 510. 575. ad Acharn. 659. Etym. M. p. 363, 46. corrected
by Sylburgius. See also Bulenger De Theatro ii, 13, in Graev. Thes.
Amt. Rom. t. ix.
1 52 PARABASIS. [BOOK III.
§ 653. A parabasis, which is intire, consists of seven parts, which
are koppiártov, rapáſ?acts, pakpov, orpopſ), riffmua, ārriorpoºpos,
ăvretrifišmua, the three first of its parts being unequal, and the other
four answering to one another alternately, in this manner:
a'. Koppidriov.
£3. trapd{3aois.
'y'. pakpóv.
8', arpopff.
e'. &rléâmpia.
8'. &vriarpopos.
e'. &vrewióðmua.
And the first three parts, and the étriñémpia and &vretrióðmua, are
recited by the coryphaeus.
§ 654. The koppudriov is a short song composed of anapaestic verses,
dimeters, or others, not having antistrophes. Sometimes, like the
parabasis which follows, it consists of anapaestic tetrameters, as in
Acharn. v. 627. and in Pac. v. 729.
§ 655. IIapd{3aois (so called in a more limited sense, in which it
does not comprehend all the seven parts, but is itself one of those
parts,) consists for the most part of anapaestic tetrameters, although
sometimes of another metre, as in the Nub. v. 518. sqq. but is
always composed karū arixov, i. e. in the same verse still repeated.
Iambic trimeters however are never employed in it: see Bentl. Diss.
Phalar. p. 111. or ed. Lips. p. 262.
§ 656. Makpóv commonly consists of anapaestic dimeters, and is
such, that it ought to be recited à Trvevori, i. e. in one breath; on
which account it is called rviyos also.
§ 657. Xrpop), which is called gö) also, is a song written in melic
verses, to which, when the étiéðmua has been recited, the évriorpopos,
called also divrpôi), answers in the same metres.
§ 658. The étríðmua consists usually of trochaic tetrameters,
which the coryphaeus recites when the strophe has been sung. To
this, when the antistrophe has been sung, the āvreríðmua answers in
the same number of verses of the same metre.
§ 659. Great diversity is found in the use of the parabasis: for
some comedies have none, as the Ecclesiazusae and Plutus; others
two, as the Nubes, Equites, Pax.
§ 660. Nor is the parabasis always intire. Examples of an intire
parabasis are in Nub. from v. 510. in Equit. from v. 498. in Av.
from v. 676. in Vesp. from v. 1009. in Acharn. from v. 627. The
three first parts, koppértov, trapápagus, piakpov, are wanting in Ran.
v. 674. Eq. 1264. Pac. 1127. The parabasis in the Thesmoph.
from v. 785. has only three parts, trapáſ?agus, uakpów, Štúðmua. That
in Pac. from v. 729. five, Koppértov, trapáſ?agus, pakpów, orpoºpi), āvri-
orpoqos. That in Nub. from v. l l 15, only one, the trapá6aois.
§ 661. Other parts of comedies also, and those sometimes very
long ones, have often a conformation like that of the parabases, the
parts answering to one another. Thus in the Av. from v. 451. first
there is a strophe, then an étipſimpia of LXIV. anapaestic tetrameters,
then a system of anapaestic dimeters, as it were a pakpów, although
CHAP. XXII.] CHORAL SONGS. § 53
too long to be pronounced in one breath : then in the same order,
from v. 539, an antistrophe of the same number of verses, an āvre-
Tiffºmpa, and a system of anapaestic dimeters equal to the former one.
And in the Lysistr. v. 614–635. there are trochaic tetrameters, in
the midst of which a strophe is interposed, and v. 636–657. the
same number of trochaics with an antistrophe. These are followed
by another strophe and other trochaics, which as well as the others
have another strophe in the midst of them, v. 658–681. to which the
same number of like verses, 682–705. answer. s
§ 662. These things do not appear to have been instituted at
random ; it is probable that the stations of the chorus and actors on
the orchestra and stage were assigned with the same equality. For
such equality is much more easily perceived by the eye than by the
ear: so that, unless it had been thought necessary for the sight, all
that care bestowed on it would hardly have been employed for the
sake of the hearing.
CHAPTER XXII.
OF THE CHORAL SONGS.
§ 663. The principal use of antistrophics is in the choral songs.
As these songs differ from one another, so they have some difference
in respect to antistrophics. Let us consider first those songs which
are sung by the chorus alone.
§ 664. In tragedy two kinds of the longer songs of the chorus are
mentioned, the parodus and stasimum. Aristotle, Poét. 12, 7. says
the parodus is the first recitation by the whole chorus; and the stasi-
mum a song of the chorus without anapaests and trochees. But the
metrical scholiast of Euripides ad Phoeniss. 210. ed. Valck. says the
stasimum is a song sung after the parodus by the chorus standing
motionless; and that the parodus is sung by the chorus as they enter
the orchestra.
§ 665. Since Tápoëos signifies both the entrance of the chorus into
the orchestra, and also what they sing or recite while entering the
orchestra, or as soon as they have entered it, the definition of Ari-
stotle appears to be correct, if we understand the word parodus of
what was sung. He therefore calls the parodus a song which is sung
first in a tragedy by the chorus either all together or divided into
parts. For from the parodus also, in this sense at least, are to be
excluded anapaests, trochees, iambi, since they are not sung but re-
cited, and that not by the chorus, but by the coryphaeus or some
other of the singers. Hephæstion, p. 70. (128.) has used the word
in a more comprehensive sense.
§ 666. Nor is the stasimum so called because the chorus stands
without moving, but because it is sung by the chorus not when the
Herm. U -
154 CHORAL SONGS. [Book III.
first advance and form their ranks, but when they have already taken
their stations. -
§ 667. Both kinds have this in common, that they are antistrophic:
moreover the strophe is followed immediately by the antistrophe, and
the strophes differ from one another, thus; aſ, a'. 3. [3'. Y. Y.
§ 668. The proodus seems not to have been used in either kind :
the epode is not necessary.
§ 669. The parodus differs from the stasimum, as it appears, in the
use of the epode. For the stasima have no epode except at the end
of the whole song ; and it may be the same in the parodus, as in
Hippolytus. But the parodi have sometimes an epode in the middle,
as in the Pers. Agam. Orest. Phoeniss. Such too is the parodus in
the Iphig. in Aul. but not written by Euripides. For the second
epode in this parodus appears to consist of antistrophics.
§ 670. It seems beyond a doubt, that the antistrophic and epodic
composition of the songs was connected with certain stations of the
chorus in the orchestra, which stations had some analogy to the
equality of the former. One may conjecture therefore that the epo-
dica were so performed that the chorus in singing the strophes and
antistrophes remained in opposite parts of the orchestra, and that
they sung the epode standing in the middle of the orchestra. This is
not at variance with what Marius Victorinus says, p. 2501.
§ 671. A quadruple division of the chorus may moreover be ima-
gined. For either all was sung by the whole chorus, or all by parts
of the chorus, or parts of the chorus sang the strophes, and the whole
chorus the epode, or the whole chorus the strophes, and part of the
chorus the epode.
§ 672. The most usual division of all appears to have been into
two hemichoria. According to Pollux iv., 107. this manner of di-
viding the chorus was called 8tyopia, the half part of the chorus so
divided juxóptov, and the song, which the chorus so divided sang,
ăvrixopia.
§ 673. But the chorus was often divided into a still greater number
of parts ; nay sometimes even every one of fifteen singers sang se-
parately, as in the parodus in the Sept. ad Theb.
§ 674. It seems likely that what was in every passage the division
and distribution of the chorus may be collected sometimes from the
subject, sometimes from the disposition of the strophes, sometimes
from the numbers.
§ 675. Thus whoever attentively considers the song in the Aga-
memnon at v. 375. will be easily induced to think that the subject
of the epode, which is added at the end, is not suited to the whole
chorus, but to a small part of it. See Elem. D. M. p. 728.
§ 676. And what we have said of the parodus, that an epode some-
times occurs in the middle of it, seems to prove that the chorus
being at first divided into separate parts began by singing, strophes,
antistrophes, and an epode, and afterwards, when collected into one
body, other strophes which may truly be called the parodus of the
whole chorus.
§ 677. Lastly, the numbers also appear to be an evidence of a
&
.
:
:
Q
:
:
:
:
;
CHAP, XXII.] CHORAL SONGS. 155
change in the division of the chorus. Thus in the parodus of the
Persae, Agamemnon, Phoenissae, there is a manifest change of the
numbers and modulation after the epode, which makes it probable
that, when the epode was concluded, the whole chorus began to sing.
See Elem. D. M. p. 729.
§ 678. In the parodi and stasima of the tragedians there is often
difficulty as to the epodes; of which some are composed with so great
a similarity of metres, that they almost offer the appearance of an-
tistrophics: as in the Prometh. v. 425. 900. Pers. 93. Hecub.
943. And in truth there are some which consist, almost beyond
doubt, of antistrophics, as in the Orest. v. 832. on which see Elem.
D. M. p. 541. But care must be taken that this appearance may
not lead into error; and it is rather to be concluded that in epodes
the same metres are often found repeated, but mingled too with other
metres, so that on that account their parts are sometimes very like
one another.
§ 679. Besides the parodus and stasima, other songs also of the
chorus occur, by which sometimes tragedies are concluded. These
resemble the parodus more than the stasima. They consist of an-
tistrophics, and are sung, as it appears, by parts of the chorus. So
at least it is in the Supplices of Æschylus. There is another example
in the Eumenides, wherein not the legitimate chorus of the Play,
but another, has the song.
§ 680. Sometimes both the tragedians and the comedians employ
another kind of song consisting of one strophe, the antistrophe of
which follows not immediately, but after some verses of the actors,
and occasionally after the intervention of a considerable part of the
Play. Such strophes are sometimes longer, as in the Philoct. v.
391. and 507. And Æschylus in the Eumenides, a Play which
contains many examples of this sort of strophes, has even repeated
all the same words, which he has done in stasima also as well as in
commi, as in Sept. ad Theb. Agam. Suppl. Sometimes shorter, com-
posed for the most part of dochmiacs, as in Hºschyl. Sept. ad Theb.
and Suppl.
§ 681. In tragedy the song of the chorus very seldom consists of
a solitary strophe, without any antistrophe; never, as it appears, ex-
cept upon occasion of some great and unusual commotion of mind.
An example is in the Trachin. v. 205. where the scholiast says: rö
pleMöáptov oilk &art oráopov, &AA' iro ris à8oviis 6pxoWvrat. And
this song also seems to be sung by different parts of the chorus, and
so those strophes too which were spoken of § 680, seem not to belong
to the whole chorus.
§ 682. Much more certain does it seem that not the whole chorus
together, but different parts of it sang those songs in which each
antistrophe does not follow its own strophe, but the disposition of
the antistrophics is more artificial, as in the Choēph. v. 781. where
the order of the strophes is this:
a'. 3’. a'. Y. uéogèós. Y. 8. §'. 8'.
156 SYSTEMS OF ANTISTROPHICS. [Book 11.
CHAPTER, XXIII.
OF SYSTEMS OF ANTISTROPHICS.
§ 683. That artificial copulation of strophes, on which the Greek
dramatic poets bestowed such wonderful pains, is peculiar to those
songs, which are sung either by the actors alone, without the chorus,
or by the chorus in conversation with the actors, or else by certain
parts alternately of the chorus alone.
§ 684. For the most part these songs are divided between the
chorus and the actors; and they are then called Köpplot. Aristot.
Poét. c. 12. Köppos 6&, 6pijvos Kouvös Xopoi kai ättö a knvils.
§ 685. All that is either recited or sung by the actors is called
&Tô aknvijs. Of this the parts that are sung are sometimes à troXeXv-
péva, but more frequently antistrophics artificially disposed.
§ 686. It is seldom that the chorus alone, divided into parts, has
the antistrophics involved in an artificial order. There is an example
in § 682. -
§ 687. This complication of antistrophics is very widely extended,
so that not only single strophes, but often even several systems com-
posed of many strophes are mutually connected or conjoined.
§ 688. For these copulations of strophes are never made at random,
and without a determinate order, and equal proportion. But it is
sometimes difficult to discover the equality of proportions, or when
discovered, to explain it in such a manner that it may appear clearly.
And yet that is necessary to be done; for otherwise the proper con-
formation of the antistrophics is not perceived. The best and easiest
way both of discovering and demonstrating this equality seems to be
to point out by certain marks every strophe and antistrophe one after
another in the order in which they follow one another in each song,
every antistrophe having the same mark as its strophe; and then to
connect the marks which are the same by semicircular lines. By this
method a picture is produced which exhibits a clear view of the equal
proportion of parts.
§ 689. So studious indeed of equality were those poets, that they
disposed and equalised the turns of the persons speaking, with as
much care as the strophes and metres, now in the antistrophe in the
same order as in the strophe, now in an order reversed ; and when
the persons are changed in the middle of a verse, in the same foot in
both places, and in the same part of the foot. And this circum-
stance often discovers that the persons are wrongly marked. The
song in the Troades at v. 1287, may serve for an example. It
ought, apparently, to be thus written, two versicles being restored to
their right places :
‘E. Örotororotoroi, orp. a'.
. Kpévie, Tpúrave ſpüyte,
• 'yevéra Tárep, &vášt', &váčva rās a dis
CHAP. xxi.11.] SYSTEMS OF ANTISTROPHICS. 157
Aapóávow you äs ré8' oia
tráaxopiev, 6é80pxas; 4.
X. 8éöopkev' & Sé pleyaxótoxus
&roXts ÖAw\ev, ow8' ér’ &art Tpota.
‘E. ororororororot.
Aé\aptev "I\tos'
IIepyápºwy re ºrvpi karat6e-
rat répeplva, Kai tróAts, Čikpa re reuxéov
playepā HéAaôpa rupi karáðpopua
Šaig Te Aóyxg.
X. Trépuyt Sé kam vös &s ris oil-
pávia regoûora öopi karaq,0ive, yā.
‘E. ió yå rpópple rôv ćpuāv rékvov. orp. 3.
* >}
, E 6.
'E. & rékva, k\ſere, plá6ere paroos abbév.
X. ia)\épup rows 0avóvras ārūets.
'E, yepatá y' eis Téðov rifleida péAea, ka?
Xépeoat yatav krviroijoa Šuqaais.
X. Štáčoxá got ydvv tí0mut yaig,
rows épio's ka)\ojoa vépôev
&0\tovs &koiras.
‘E. &yópe6a, pepópe6'. X. &Ayos, &Ayos Bogs.
‘E. 800Xetov into pºaffpov čk Tárpas y' épás.
ið,
IIptape, TIptape, où pièv 6Aópevos,
&raqos, &ptXos,
âras āpās àioros ei.
X. pléAas yúp &oo'e karekáXv-
be 0ávaros àotov &voaias apayaiovv.
‘E. ič 6eóv puéAaffpa, kai tróAts pi\a. &vr. 3'.
X. § 3.
‘E. rāv póvtov Šxere pXóya, Sopós re Aóyxav.
X. Táx' eis pi\av yāv receio'6' &vövvuot.
E. kóvis 5’ to a kairvº Trépuyt Tpós aibépa
ğiorov oikov čplējv ple 6ioet.
X. Švopa Śē yås & pavés elow &MAg 5’
&\\o ºppoièov, où8 &r' éaruv
& ráXavva Toota.
‘E. Špač6er’, k\,ere ; X. IIepyáplov ye Krütrov.
‘E. Švoorts &taaav, Švoots &tuk\üoet tróAtv.
ið,
Tpopuepā, Tpopuepò puéAea péper'é-
plov ixvos, it'étri
bot)\etov &piépay 6tov.
X. ió TáAat va röAts' épio's
8è ºrpópepe tróða oëv ćir TAáras ‘Axatów.
§ 690. Examples are rare of disregard of the equal distribution of
persons. When disregarded, it is so purposely, and in the repre-
sentation of great emotion and perturbation of mind.
158 SYSTEMS OF ANTISTROPHICS. [BOOK III.
§ 691. But we sometimes see a few words assigned to the wrong
person. But neither is this done at random, and without good
cause. For when a system of strophes required that two contiguous
strophes should be, contrarily to the custom in systems, assigned in
succession to one person, then, in order to distinguish the strophes
more plainly, the poets thought it right to give to some other person
a few words in the end of the first or in the beginning of the second
strophe. There is a remarkable example of this in the Choēph. v.
442. For since the second system of strophes in that passage con-
sists of four strophes in this order, m'. 6'. 6'. m'. and with such a re-
gulation as to the persons, that Electra has the strophes m', m', and in
the strophes 6. 6. Orestes and Electra reply to each other; Electra
would have had two strophes in succession, viz. the antistrophes 6
and m'. But since in that whole song of Electra and Orestes it never
happens that the same person sings two strophes one after the other,
the first words of the second antistrophe are assigned to Orestes, in
order to make it appear evidently, that a new strophe begins at that
place :
O. Aéyeus trarpájov påpov. H. &yö 8 &treorárovv.
§ 692. Sometimes what seems to be a violation of equality, is
found upon more accurate examination to be only another mode of
observing it. So in this song in the Hecuba v. 684.
‘E. & rékvov, & rékvov. Tp.
at al, karápxoplat vépov
Bakxetov, ÉÉ &Aáoropos
àprºpath)s kaków.
(9) 3/ w ºf 30 + 35 y a
... eyvos yap army tra toos, w ovarmve ov ; (l".
"E. dirtar', intora, katva, katvå 8épkopiat. 6'.
érepa 3’ &p' érépov kakä kaköv kvpei. 'y'.
ow8é Tror’ &orévakros &8ákpvros &-
piépa štrioxhaet.
X. &etv’. 5 rāA §euvâ Tá ...
. oeuv, to rawatva, oeuva traoxoptev Kaka. M.
3. *
‘E. 6 rékvov, 6 rékvov taxatvas parpos, Y.
p y º f ºw •
riv Hºpe Grigsels ; rive trórpig ketoat ;
trpos Tivos &v0pôtrov;
O. ovk oió' éir' àkrais viv kvpó 6a)\agatats.
Cl
'E. &kſ}\mrov, tréamua potvtov Šopós; (3.
e. év papuá09 Newpg f f M.
tróvrov viv čáñveyke TeXáytos k\{8ww. S’.
‘E. di plot, at al, épabov čvötvtov duplárov e'.
épôv Šipºv, obôé trapé9a pie pá-
opia pieXavórrepov, råv eiotöov dippi ool,
& rékvov, oiker' &vra Atós év páel.
X. Tis Yép viv čkrav’; olob Öveipóppov ºppáoat; s’.
‘E. Épiós, épès $évos, Oppikos in Tóras, £4.
tv’ 6 yéptov Tarºp 80ero viv kpópas.
X. & plot, ri Aéets ; Xpwoov dis éxot kravöv ; s'.
t 3/ > t $ 9 * Af w
E. &#6mſ' àvovápaora, 6avpiárov Trépa, 8'.
oux àgi', ov8' àvekrá' troń śika čévov; 6 ,
CHAP. XXIII.] SYSTEMS OF ANTISTROPHICS. 159
& Karápar’ &vöpóv, dis 8tepoupéow
xpóa, otöapép repºv paayávº
piéAea rošče traw80s, ow8' jrricas.
Here the persons agree, except that the trimeter of the maid is an-
swered by the trimeter of Hecuba. But this is so, because it was fit
that the maid, when she had communicated her intelligence, should
remain silent; and therefore it was necessary that another person
should take her part. But by that some equality is restored in
another manner. For now every person has three trimeters. The
song consists of a proodus and antistrophics, among which three
mesodi are inserted in this manner:
Tp. a'. 3". Y. pi. Y. a'. 3. M. 8'. e. g'. p. 3'. 8', e.
§ 693. The tragedians moreover, though not the lyrics, affect an
equality of correspondent parts in another way also, by putting often
in the same place of a strophe and antistrophe either the same or a
like word, which is most commonly done with interjections, or similar
repetitions of words in the same places. Thus AEschylus in Pers.
v. 550. having begun three verses with the name 5épêms, begins those
three which answer to them in the antistrophe, with the word väes.
And in the same Play v. 651. these words
'Aičwvews 8' &vatropºrós àveins,
'Aiów webs
are answered in the antistrophe by the following,
6eopjorwp 8' tukAñokero IIépaats,
6eophorwp.
§ 694. As an example of exact correspondence the whole song in
the Choēph. at v. 312. may be taken; in which if the equality seems
to fail in the antistrophe m', it does so on the account mentioned in
§ 691. and I have marked that antistrophe with the name of Orestes
between brackets. That song then, containing four systems of stro-
phes, may be thus marked out :
a'. Orestes.
{3. Chorus.
a'. Electra.
'y'. Chorus: anapaests.
8'. Orestes.
£3. Chorus.
8'. Electra.
peopčás. Chorus: anapaests.
e'. Electra.
s". Chorus.
e'. Orestes.
'y'. Chorus : anapaests.
3'. Electra.
s'. Chorus.
&'. Orestes.
m". Electra.
6'. Orestes.
16Q SYSTEMS OF ANTISTROPHICS. . [Book III.
6'. Electra.
m". (Or.) Electra.
t'. Orestes: Electra: Chorus.
t'. Orestes: Electra: Chorus.
wa'. Chorus.
way. Chorus.
§ 695. Another remarkable example of one great system, con-
taining within itself other systems of strophes, occurs in the Agam.
v. 1457–1585. The form of it is this :
‘. Chorus.
. Chorus : anapaests.
. Chorus.
. Clytaemnestra: anapaests.
. Chorus.
. Clytaemnestra : anapaests.
e'. Chorus.
s'. Chorus : anapaests.
3. Chorus.
m". Clytaemnestra : anapaests.
e'. Chorus.
s'. Chorus: anapaests.
3'. Chorus.
m". Clytaemnestra: anapaests.
6'. Chorus.
|3'. Chorus : anapaests.
3/. Chorus.
t'. Clytaemnestra: anapaests.
6'. Chorus.
t'. Clytaemnestra : anapaests.
#
i.
3'
§ 696. It appears that in these systems the anapaests too answer
each other. But this is not the case everywhere. For in some
songs there is no equal correspondence of anapaests. Sometimes
anapaests even alone, and without any admixture of melic metres,
correspond to each other : as in the end of the Prometheus:
IIP. ‘EP. XO. ‘EP. IIP.
a'. 8", peo. 3’. a'.
In which place the correspondence of metres shows, as it often does,
a chasm or wrong reading.
CHA p. xxiv.] INTERRUPTION OF ANTISTROPHICS. 161
CHAPTER XXIV.
OF THE INTERRUPTION OF ANTISTROPHICS.
§ 697. That studious attention to an equal distribution of parts,
which has been spoken of, should serve as a hint, whenever we meet
with songs, either at first sight not antistrophic, or having some cor-
respondence only here and there, to think first of all of discovering
and arranging the antistrophics, and to do this in such a manner, that
a determinate law and rule of the song may appear, showing clearly
in what part each strophe ought to be placed.
§ 698. This is often not only very difficult on account of the simi-
larity of metres, and the chasms and wrong readings which deform
such songs, but is rendered still more difficult by the fact that all
songs are not antistrophic, or do not consist wholly of antistrophics,
and that lastly, the equality spoken of is not observed in all.
§ 699. And first let us speak of the interruptions of antistrophics.
For sometimes the words of a supervenient speaker, or some other
disturbance of what is passing on the stage, occasions a departure on
purpose from the equal correspondence of parts, not however so as
to destroy it, but only to interrupt it by the intervention of some-
thing adventitious.
§ 700. A signal example of such interruption has been observed by
Tyrwhitt in the Ion of Euripides, at v. 219. There the women of
the chorus, while they sing among themselves an antistrophic song,
address Ion in the second antistrophe, who answers in anapaestic
verses, which have no other anapaests corresponding to them in the
strophe; so that the antistrophe, whose strophe had been sung in
one continuous tenor, is now sung by piece-meal, Ion interrupting it
every now and then by his words: and it is to be observed that the
final syllables both of the strophic and the antistrophic verses are
adapted not to those syllables which ought to follow in every kind,
but to those which do actually immediately follow, and are pronounced
by another. That antistrophe, with the anapaests which every now
and then interrupt it, is the following :
X. oré rot, röv trapū vady at-
Sö, 6éputs yuáNov intep-
(3) wat plot toëi Aevkº, ;
I. oi 0ép s, 3 #év a t.
X. &p' 8vros péoov ČppaNov
'yās poiſov Karéxe ôāpios;
I. a rép u a q t y' évô vröv, & p q i ö & Topy 6 ves.
X. oira, kai párts aw83.
I. e i u ę v ć 6 iſ a are réX a vov ºr p & 66 u to v,
k a t t t it v0é o 0 a t Xp ſize re (Pot 30 v,
Tráp r" e is 0 vp éA a s” & T i ö’ & a p & K to is
p. # A o to t 5 6p w v H i) ºr ép t t e i s p v x 6 v.
Herm. X
162 INTERRUPTION OF ANTISTROPHICS. [Book III.
X. Šyw plaboijaa’ 6eoû 8é vöpov oil trapa-
(3aivoplev' & 8' ékrós, òppa réppet.
I. trāv r a 6e i a 6', 3 r * kai 06 uts, 6 p. p a 0 t.
X. plebeiaav Šeatrórat
6eoû pie yüaxa ráð' eiotöeiv.
I. 6p w a 8 & r i v w w k\ jë e a 6e 66 pi w w ;
X. IIa)\Aáčos évotka rpópipia piéMagpa
röv čplēv rvpévvov.
trapoto as 6' àppi rā8' épwrás.
§ 701. Another remarkable example is in the Hecuba, at v. 156.
ed. Pors. where the antistrophics are interrupted by themselves. As
this example now appears to me to be not rightly arranged in the
Elem. D. M. p. 738. sqq. I shall give it here in a more correct
state. The reading, it is to be observed, is not everywhere suffi-
ciently certain, on account of the alterations of Triclinius.
‘E. of 'yū, pueMéa, ri tror' àtrúaw ; orp. a'.
totav axº, troiov Óðvppiów ;
Set\aia betMatov yilows.
8ov\etas rās oil r}\arás,
Tās oi (pepräs; & plot plot.
ris àplivet plot ; troia yewea,
trota Śē tróAts ; ppoiêos trpéoſºvs,
ppoijöot traiães.
arotav, 3, raûrav, f kelvav
aretxw; trol 3’ how ; troë ris 0eów
étrapwyós ; tā kāk' éveykova'at
Tppáðes, 6 kák'éveykońoat
whaar', &raxéoar', d'Aéaar: oikért Hot 3ios
&yaoros év páet.
6 ràáplwv &ymoat plot troës,
tlymoat rā ympaig
Tpós Táv8' ai)\áv' & Tékvov, & Trai
8voravoráras parépos, éeX6'
oikov, &le parépos añ8&v,
1. rékvov, dis eiðffs, olav, olav orp. y'.
2. čto pápav rept ads buxás.
II. (tº) pārep, plárep, Ti 30&s ; Ti véov orp. 3'.
kapúšao', oikov pi', d'or' àputy,
6ápſ3et røð’ éétrašas ;
3. "E. & plot plot rékvov. y'.
4. II. Tt pie bwa pmpleis ; ppoipºvă plot Kaká.
... 'E. & & gas ºvyās.
1. II. Ščašča, pi) kpúilms 8apóv. àvr. Y.
2. betplaivo, betplaiva, aārep,
Tú tror' àvaorévets ;
4. "E. rékvov, Tékvov plexéas parods.
5. II. ri rôö’ &yºyéA\ets;
‘E. aqāša, o' 'Apyetov kowa orp. 5.
avvretvet rpós ripſov yuápa
TInMetëa, yévva.
5
3.
chAP. xxiv.] INTERRUPTION OF ANTISTROPHICS. 163
II. oipot, pārep, Tós p0éy yet ăvr. 8'.
&péyapra Kakāv; pavvačv plot,
puávvoov, puffirep.
'E. awā, trai, 8vo pipovs pápas' &vr. 3'.
âyyéA\ova’’Apyetwy 86%at
Whº ads rept plot ºbvyás.
II. 6 Setva traffoão', 3 travrXàpov, &vr. a'.
é Švarávov uárep [3torås,
olav, olav ań oot Aé6av,
Aó8av éx6iarav, oipo,
à66ñrav T' &paev Satutov.
oùkéri oot rais &ö” oilkért 6?
'yńpg 8etMaia betNaip
avvöovXeūow.
okūpuyov yáp pi' &ar' oup,0pérray
puðaxov, betMata Šetkatav
eio 6 pet Xelpös àvaptraorèv
oãs &to, Aap dropóv 6' "Auðg
'yás introrepitopiévav okórov, Šv6a vexpåv uéra
táAatva ketoopiat.
oè pièv, d; parep Švarave (3tov,
k\ato travočíprots 60%vots'
Töv čplēv 8é Bíov, Adığav, Aiſplay T'
où puerakAatopiau, äAAä 6ave iv plow
ovvrvyta Kpetogov čküpmaev.
The law of this system is that the metres of Polyxena everywhere
correspond to those of Hecuba. The order of the strophes ought to
have been this : a'. G'. 'y', y'. 8'. 8'. (3’. a'. But since at the conclu-
sion of the strophe a', Polyxena, who was to sing the strophe 3', has
not yet arrived, Hecuba in the mean time begins the strophe y', in
which presently afterwards Polyxena interrupts her, by singing the
strophe (3'; which being ended, Hecuba proceeds to finish the re-
maining part of the strophe 'y', and then all the other parts proceed
in due order.
§ 702. When the comedians interrupt the antistrophics, it is for
the sake of a joke, and in various modes: Aristoph. Ran. at v. 208.
XA. dot ot, dowr 6t. trø.
‘HM. 6pekekekë, Koāś kočič. orp. a'.
‘HM. 3pekekekë, Koāś koč. ăvr. a'.
1. KOP. A pivaia kpnvöv rékva, orp. 3.
2. čtvavkov čuvov Boav
3. p9eyśćpe6', etympvv épáv &otöäv,
XO. koai Kočić.
4. KOP. jv àppi Nwaffiov
5. Atós Atóvvorov čv
6. Atuvatow taxicapſev,
7. Fivix' & Kpattaxókwpuos
8. Tois iepoiot Xürpotow
9. Xopei kar' épôv répuevos Aačv 8x\os.
164 INTERRUPTION OF ANTISTROPHICS. [Book III.
XO. 9pekekekë, Koāś koč.
A. §y& 8é y áAyeiv ćpxopia, orp. Y.
röv čášov, 6 koak koč.
ipiv 8' taws ow8èv péAet.
XO. 9pekekekë, Koāś koúč.
A. &AA’ &#6Xoto 6' airſ; kočič. Aueo.
où8èv yöp Šar' &AA’ j koč.
10. KOP. eikórows y’, 6
11. troAA& irpárruv' épé yap Éo rep-
12. čaw pièv et Mupot re Moûoat,
13. Kai kepoſłóras IIāv 6 ka?\apuá-
14. p5oyºya tatºov, trpooetrurépire-
15. Tat 6' 6 poputkräs 'AtróA\ov.
16. Éveka čávakos, 8v itoxiptov
17. §vvöpov čv \ipwats roépw.
18. XO. 9pekekekë, Koāś koč. tº r
A. §y& 8é p?\vkraivas y' éxw, âvr. y'.
xó, trpwkrös ibiet TáAat,
Kár' aſſus éyköpas àpei,
XO. Boekekekë, Koāś koč.
1. &AA', 6 pix'pěov yévos, ăvr. 3'.
2. traigao be. KOP. uā\\ov påv oiv
3. pffeyßpleb', ei Šâtroſ' ei-
10. m\tous év čplēpatoruv
11. Adueoba Šua kuteipov
12. kai pºé0, Xalpovres jóñs
13. Šv toxvkox{p}otal piéAeow,
14. # Atós pewyovres àpſ?pov
15. €vvöpov čv 6v66 xopeiav
16. aid Mav ćp6eyłópeo6a
17. tropºpoxvyotraſp?Aéopaow.
18. XO. 9pekekekë, Koāś koãº.
A. rovri trap' iplôv Aapſ3éval. orp. 3'.
KOP. Šetva räpa Tewodueo6a.
A. Setvárepa 5’ eywy' éAaúvov,
ei ötašćayńoopiat.
XO. 9pekekekë, Koāś koč.
A. olpudºer” oi yáp plot péAet. &vr. 3'.
KOP. &AAá umv kekpačópeo6a y'
6tóorov iſ pápvyé àv påv º
xavčávn 8t’īpépas, sº
XO. 3pekekekë, Koāś kočá.
A. rotºrp yap oil vukňoere. ëtrºpč.
KOP. ow8é pºv pås a trávros.
A. ow8é pºv i-
pleis y' épſ' ovčetrótrore.
kekpáčopia, yap, käv pie Šet, 8t' juépas,
*ws &v ipêv étrukparãoo roi, Koāš.
XO. 9pekekekë, Koāś koč.
chAP. xxiv.] INTERRUPTION OF ANTISTROPHICS. 165
The following ought to be the form of this system:
apop8. a. a. 3. Y. ueopé. Y. 3. 8ſ. 8. §rgö.
But Bacchus begins to complain, and so interrupts the strophe 3' in
the middle by singing the strophe y' and the mesode. Then the
coryphaeus finishes the remaining part of the strophe. But when
they have returned to order, Bacchus again interposes by beginning
the antistrophe 3', which the coryphaeus ought to have done. The
latter, therefore, interrupting Bacchus in the second verse of the
antistrophe, takes his own turn ; but since the character of the dia-
logue rejects the melic numbers of the verses 3–9, he omits this part
of the antistrophe, and immediately passes over from the third verse
to the tenth, the catalexis of the third verse being changed to a tro-
chaic dipodia, which was wanting in the tenth of the strophe.
§ 703. As in comedies there are some passages void of all metre,
and written in mere prose, as the proclamations of criers, (see the
Thesmoph. v. 295.) so for the sake of laughter antistrophics also
sometimes seem to be interrupted and disordered by certain words
either without any metre, or in metres differing from the rest. This
I think is the case in the Ecclesiaz. in the song at v. 900.
1. NE. pur) (p66ret raiovv véauai’ orp. a'.
2. To rpvpepôv yap &pitrépwke
3. rois àtraXoian pumpolis,
4. kāti Tois pàxous étravbei.
a 6', 3 ypa w,
trapa)\éAećat, kävrérptibat
gº y g
Tºp gaváre péAnga. y
TP. Škºréoot o'où to Tpijaa, àvr. a'.
P 9 x w 3. p
ró T' étrik\tvrpov &roſłóAoto,
60w), opévm otočeio bat,
kāti Tijs k\ivals ögºv ei-
pots Te Kai TpooeNKügato,
BovXopévm pixiiaat.
NE. ai ai, ri Tore reto'opiat ; orp. 3'.
oix #ket plottaipos,
p 3. 9 sº f 3. e
puðvm 8' airoij Neitop', i.
A. f y
yáp plot puñrmp &^\m
6éſ m ke. k at to t t & \\ a y' oil-
8 & v T & pi et à 7 a Wr a 6ei Aé yet v.
ſº &AN, 3 piat', iseretouev, ká-
Aet rôv ćp6ayópav, Štra's
oavrijs &v Karóvat', &vriſ80Xà oe.
. TP. #8m Töv &T’’Iwylas &vr. 3'.
T p 6 trov, T & A a 4 va, k v m a tº s,
Šoke is 8 € plot
k a A 435 a k at a rows Ae a 3 to vs.
5. &AA’ oik &v troff' tºpaprágato
6. Tāpā traffyva, Tºv 8' épºv
7. Öpay ovk &moxets, oi,8' à troMillet. &
§ 704. There is another example of this sort of sportive jocularity
º
;
166 SOLUTE OR FREE SONGS. [BOOK III.
in the Vesp. v. 317. where an old man, shut up in his house, and
vexed at not being allowed to go into court with his companions,
partly speaks, and partly sings, in the following manner:
q t \ot, t iſ kop a t
1. prev táNat Šta rās diris orp.
i p ij v i t a-
p 2 * * 9 f o
kotov' &AAa yap our oiás t
elp,' &6euvº Ti trouhow ;
rmpoſſipat 5’ into rāvö” étrel &vr.
|300xoplat ye träAaw pueb' i-
* 3. \ 3 M ^ w
pºv čA66) w świ roos kaët-
akovs, kaków tº trouñoat.
§ 705. Interruptions are most usual in paromoeostrophic songs,
the nature of which consists in a manner in interruption. Of which
below.
i
CHAPTER XXV.
OF SOLUTE 4 OR FREE SONGS.
§ 706. Those songs which are not antistrophic, but constructed with
a free and unrestrained composition of metres, are called by metricians
ătroAeAvuéva: on which see Hephaestion p. 66.69. (116. 126.) Of
these they call some & a Tp opa, which are so short as not to con-
stitute even a whole strophe; others á v op. 0 i ö a rp opa, which being
formed of dissimilar strophes, are separated, now by a change of
person, now by an ephymnium, now by an epode, now by another
epiphonema: and if they consist of two strophes, they call them
&repôorpopa ; if of more, &A\otóarpopa ; and, lastly, others ärpumra,
which may indeed be divided into strophes, but afford no indication
that they were so divided by the poets.
§ 707. As these partitions do not exhaust the subject, we shall
reduce all this variety under certain kinds, thus : 'A troX eX w.p { w a
consist either of certain metres alone, and are then & or pop a, or of
strophes, and are then a rp o q + k &.
§ 708. Of these the āo t pop a comprehend & T q, w w łip at a, ć q tºp-
via, and étrº p 6e yp at ka, all which appear to differ in nothing
but length.
§ 709. 'Etra p w v h p at a or à v a p w v i ſu at a are exclamations,
which are not included in the strophes or verses, as pei, ië, at ai,
and very many others.
§ 710. The épi. p. v . a consist of certain words, as
'Iñie TIatav,
Or, & 840üpapſ3e.
* See the Supplement to Dr. Johnson's Dictionary, printed by Mr. Val
in 1810 io".” y; P y py
CHAP. xxv.] SOLUTE OR FREE SONGS. 167
These when not in the end, but in the middle of a strophe, are called
pi e o i P. v . a. Sappho :
inbow 87) rô Hé\aôpov,
"Yºu fi va ov,
&éðffere, rékroves &vöpes:
"Y p ij va ov,
yapſ3pós épxeral toos "Apni. *.
Where, as Bentley seems rightly to have supposed, (ad Hor. p. 710.)
the metre was this,
inbow Šm rò puéAa6pov &éðffere rékroves àvêpes,
which was interrupted by that mesymmium.
§ 711. The étrº p 6 eyp at t k & are such as have the length of a
whole verse: as these two examples from Bacchylides:
à kaAós Qeókpiros, où poivos &v6pómov pås'
and, at 6' év Xtrövt pºvg trapā tīv pi\mu yuvaika pewyers.
On these epiphonemas see Hephæstion p. 70, seq. (128. Sqq.)
§ 712. Those which we choose to call or pop k &, are either plo-
v ć a t poq a, or troXVarpoſpa.
§ 713. The pov 6 or pop a are such as consist of one strophe only.
If the length of these exceeds that of a strophe, and yet they can-
not be divided into several strophes, they are then called ārūmra;
such as were the vöplot, and apparently the later dithyrambics.
S 714. The to Ai or pop a are such as consist of several strophes;
and if they have dissimilar strophes, they are called á v op. 0 t 6 orpo (pa,
if similar, it a pop o 6 or pop a. And of these the avopotóorpopa, if
they contain only two strophes, are called érepôorpoºpa.
§ 715. The most easy of these are the & vop o 6 a t pop a. These
are for the most part composed of certain systems or verses some-
times alike, sometimes unlike. As in the Orestes v. 971. ed. Pors.
MóAouple raw oilpavoiſ orp. a'.
puégov X60Vás re rerapiévav
aiopſipia at trérpav,
&\{a,eat Xpwaéatori pepopuévav
8tvatow (35Mov ć 'OXipitrov,
ºv' év 6pävowow &vaſłoãow
Tarpi yépovrt TavráAp,
rekev, &reke yevéropas pué0ev Šćpov,
of kareiðov &ras,
Toravöv pièv Śiwypa tróAww arp. (3.
reflottiroſłóplove oróAp
TléAoil, Ötöre TeXáyeot 8te-
Šippevoe MvpriNov påvov
êtköv čs vièpua Tóvrov,
Xevkokūpoorly
Tpós Tepatariats
trovriov oëMov
móaw öppareboas.
ô0ev Šágouot to is époi- orp. Y'.
ow \0' àpā troAüorovos,
3/
tº
OS
I68 SOLUTE OR FREE SONGS. [BOOK III.
Aóxevpia tropivtotal Matáðos takov
rô Xpvodplax\ov &pwós 6trör'
éyévero Tépas 6\oov, d\oov
'Atpé0s it troſłóra.
öðev Špts to re irreptorov orp. 8'.
d^iou pueré6axev ćppa,
rāv troos éatrépav ké\ev6ov
oùpavoi trpooappadoaoa
povărw}\ov és à6.
étratrópov 8é 8pdumpia IIeketé80s orp. e.
els öööv čAAav Zevs ueraſ?áA\et,
Tövőé T' àpeiget 6avárovs 6avárov,
rá tº étévvua Seitva Guérrow,
Aékrpa re Kphao as ‘Aepôt as 80Xi-
as 8oNtotal yápots, ra traviorata 5’
eis épé kal yewérav ćpov #Av0e Šēplwv
troXviróvous āvdiykaus.
§ 716. But there is great difficulty in the trapopotóarpopa, the cha-
racter of which is, that the intire strophes, of which they consist,
are not wholly equalised, but correspond in some of their parts, and
in other of their parts do not correspond. And whereas we ought,
wherever we perceive correspondence, to think first of investigating
the antistrophics, it often happens that either a more intricate dis-
position of the strophes, or the chasms and corrupt readings, of which
the works of ancient poets are full, may lead us into error, and make
us at one time take paromoeostropha for antistrophics, at another an-
tistrophics for paromoeostropha.
§ 717. And this difficulty is not a little increased by the circum-
stance that many songs are partly antistrophic, partly paromoeo-
stroph, so that we must often be at a loss to decide whether such as
have no exact correspondence are to be accounted paromoeostropha
or corrupt.
§ 718. Moreover in this kind interruptions of the strophes are
frequent, which cannot but render any judgment with regard to the
form and disposition of such songs extremely difficult; so that it can
be no wonder if in many passages we can make out nothing which
can be relied on with certainty.
§ 719. Lastly, in some songs some law and order of the strophes is
discovered, while in others nothing of the kind can be detected ; and
indeed on the whole so various is the character of the paromoeostro-
pha, that in every song great sagacity and diligence are requisite to
elicit anything probable.
§ 720. The general nature of paromaeostropha consists in this, that
the strophes do not correspond in all their parts, but in some only,
and commonly either in their beginning or their conclusion : so that
the corresponding parts may appear to be interrupted by those not
corresponding. Whence on the whole interruptions are most frequent
in paromoeostropha.
§ 721. There seems to be little doubt that such corresponding
parts were distinguished from those not so corresponding, by certain
cHAP. XXV.] SOLUTE OR FREE SONGS. 169
forms and changes of harmony and modulation ; so that the trans-
ition from the one kind to the other must have made itself imme-
diately perceptible to the ear. But since we do not now possess the
modulations of the songs, we have nothing left, from which to form
any conjecture, except the similarity or dissimilitude of the metres.
And how ambiguous this must be, where the same metres are often
repeated, is abundantly evident.
§ 722. A signal example, in which the beginnings for the most
part contain the correspondence, is in AEschyl. Sept. ad Theb. at
v. 78. From that song, of which the last part is antistrophic, we
quote these three strophes only from the paromoeostropha:
&koffer', ii oilk &kočer' àormtöwy krūnov ; orp. 3'.
trétr Aw v kai a reſpé to vº
trót', e i puj) vi v & M pi Avrá v' ééop ev;
Kriſtov 8éöopka' Tarayos oix évôs $opós. orp. m.
rt à éée is ; trpo 86 gets,
Ta A at x0 w w "A pm s, T & v re a v y á v ;
6 xpvoorth}\m; 8aipov, Širº, Štruše tróNtv, orp. 3'.
& v ºr ot’ ei, q t \ijra v č60 v.
§ 723. Another notable example, in which the strophes, alike for
the most part in their numbers, correspond in their conclusions,
which are formed by a dochmiac verse, twice by a Cretic foot too, is
furnished by the song in the Phoeniss. 101–199. ed. Pors. See
Elem. D. M. p. 751. sq.
§ 724. In the Hecuba, at v. 1056. is a song, of paromoeostropha,
composed partly of anapaests, partly of dochmii and such feet as are
commonly associated with them. The strophes correspond in their
endings.
& plot plot éyò, a'.
T & Bó ; ºr g a rā; ; T & K ČX a w;
terpaſtroëos 3dow 6mpôs 6pearépov (3.
rtôéuevos éti xeipa kar’ tyvos ; rotav
à rairav, i ketvav, 3) tavö’ Aſ.
éča)\Adão,
* y / g f
...” avčegºvoys Adolpat xpičov
IAuděas, at pie ŠtóAeoav,
ráAatvat Kópav, TáNatvas ºpvyāv'
& Karáparot, Toi kai pie puyá
trôadovot pluxāv;
3/ 3. p e f f
eifle plot duplárov aipuaróev (3Aépapov
& K Čo a t', & K & a a to twº Ao v, "AN te,
‘p é y yos & tra AX & #as.
d d, oriya, otºya' Kputrāv
(3áow atabávopat Távöe yvyatków.
Tº tróð’ étrºićas
* º g * * sº
oapköv doréov T' éputrāngbā),
60tvav & yptov 0mpújv rifléplewos C{ .
&pvöpievos Aéſław, Aſpas à vritow’ ſ?'.
épás, 6 TóAas ;
Herm. Y
170 SOLUTE OR FREE SONGS. [Book 111.
3 ºf
Troi, Tā pépopual, rékv' épmua Nutrów
Bákyats "Atôov Švapoupéoat,
opakrāv kvai re powtav Šair'âvii-
pepôv tº oipelav čkóoMáv ; -
trá at 6; T â (36; tā kāp iſ w,
vais &n-ws trovrious
areiopiaat Auvéºpokov påpos oré\\ov,
étrº r & v 8 e o v 6e is rék v w w śp, Öv p &X a k'
• * 6Xé6p to v ko i r a v ;
The plan of this song will be understood by one who shall have dis-
tinguished the strophes of which it consists. For there are two
dochmiac strophes, and three anapaestic systems, interrupted mu-
tually by one another. The dochmiac strophes 3, 6', dissimilar in
other respects, correspond to each other in the two last verses. In
a like manner the first and last anapaestic systems answer to each
other in a paroemiac verse, and the middle one performs the office of
a mesode, in this manner, a. pl. a'. The beginnings of the strophes
and systems are marked with letters in the margin.
§ 725. Presently afterwards there follows in the Hecuba, at v.
1088. another paromoeostrophic song : which, it is probable, ought
to be written thus:
at ai, i & Opºjk ms a'.
No yxop 6 pov, & vot Aov, e i tTºrov "A-
pe t re kä Toxov y Évos,
i & "A Ya to i, ië, 'A Tp eið a t. ſ?'.
|30&v, 30&v, &üró (30&v,
'it', tre, pučXere Tpos 6eåv,
KAvet ris, ji oièels ápkéoet; ré puéAAere ; A4.
'yuvaikes &\eoráv ple, -
yvvaikes aixuaxórðes.
6etvä, öetva retróváapev.
& plot & p &is A 6'3a s.
Troi rp & Twp, a ; troi trope v 36:
& put T âp evos oip & v wo v i iſ wºre rés
e i s p &A a 6pov, '0 pt w v
# 2eiptos évôa ºrvpds pXoyéas āq in-
ouv čootov airyás ; # Töv ćs 'Aî6a
pleMavoxpāra tropôpióv Čičo TáNas ; -
This song is composed of two strophes a', a!. which correspond in
their beginnings: and the beginning consists of a dochmiac verse
and Cretics. Between these strophes is a mesode. But they are in-
terrupted by two trochaic verses (3, 3’, answering to each other.
§ 726. In the Phoeniss. at v. 1724. ed. Pors. is a song composed of
two strophes answering to each other, but changed by various in-
terruptions into a paromoeostrophum. It should probably be writ-
ten thus :
§
g
1. A. tº eis puyāv ráAatvav Špeye Xépa ºptAav, Cl o
2. Tárep yepaté, tropitipaw
CHAP. XXV.] SOLUTE OR FREE SONGS.
171
3.
i
9.
1 1.
12.
13.
14.
9.
1 O.
11.
! 2.
13.
14.
éxwy Śpi', &are vavotropºrov aipav,
OI. tº ov,
trope top, a rék vow' at p ot
Toba y ás & 0\t a ye voij,
A. yew 6 p. e6 a, ye v 6 p. e6? & 6X toº
ye 5.jra G) m3 at à v pu&\t at a trap 66 vov,
OI. T 66 t y Ép a to v i x vos t t 6 m.p. t ;
(34 ktp a trp 6 a pep’, (5 rék vow.
A. rāše rāše 3áðt uot
Tööe, rå8e tróða ríðel,
&ar' 8veupov ioxiv.
OI. ió iè, 8vorvyearáras puyás
éAaúvov row yépovrá pa’ék Törpas.
ið iè),
bewä, öeiv' éyò TAás.
A. t t TA as, t t TA & s; ot. X 6p # 8 t k a ka ko vs,
ot, 8' & pet (3et at 3p or öv & a v v e o i a s.
OI. 38' eipil, poiſoav Šs étri ka?-
Alvikov otpávtov Š3av
tra p 66 vov k 6p as al-
v typi' à at verov eipó v.
A. 2pty yūs àvapépets àvetö0s;
ätraye rà répos
eūrvyńgar' aw8öv.
T & 6e o' étrépi eve p & Ae a trá6ea,
‘p vºyáða warpiðos à tro ye vöple vov,
6 ºr à rep, 6 a vei v ºr ov.
troffetva Śākpva trapa ptAatot trap6évous, a’.
ătrap6évevr' &Awpuéva,
Attroja' &teipu trarolöos àwórpo yatas.
peii, rô Xphonpuov ppevijv
eis trarpós ye ovppopas
eūk\eå He 6horet.
ráXaw' éyò ovyyávov 6' iſºptopſ&rwv,
ôs ék 56pov vékvs à0atros olxerat,
plé Neos, 8v, el pie k at 6a weiv, tró rep, Xpe to v,
okória yá ka?\{n}0.
y
OI. irpos #Atkas pāvm0t cas. (3’. 1.
A. &\ts 38vpuárov påv. 2.
OI. oo 3’ &ppi 30pulovs Atras, 6. 1.
A. kópov čxovo' épěv kaköv. 2.
OI. i0 &AA& 3pópuos iva re on-
kös à3aros épeat Mawdóww.
A. Kašpetav ºff
ve Botö a grox 130 a. ap Éva ºr ör' é y &
6ta o o v Xep éX as
iepāv Špeauv &vexópevoa
Xáplv &xáptrov
eis 6eous Štěojoa.
172 SOLUTE OR FREE SONGS. [Book III.
s 727. The song in the Troades, at v. 239, is partly antistrophic.
1. ‘E. réðe, rööe púat Topáčes, a'.
6 pd{30s jv plot tráAat.
T. #5m kekkäpwob', ei rāš' ºviptiv pd{30s.
2. ‘E. ai ai, riva y á (3'.
Oeoga)\ias tróAuv, i.
(p6,480s eltras, # Kašpetas x0ovós :
T. kar’ &röp' ékáorm, koix 6ploiſ NeXóyxare.
3. ‘E. riv' àpa ris éAaxe; riva trórpios evrvXàs ºrp.
'IAuábov puévet ;
T. or ö’ &AA’ &kaara rvv6ávov, piñ Tráv0 poiſ.
4. ‘E. roßpöv ris àp' 7.
ëAaxe-Tékos, Švvette, TAápova Kagodivöpav;
T. &alperów viv čAaſev 'Ayapépavov divač.
5. ‘E. § rā Aake- 'y.
baptovíg vippg 800Xov ; & plot plot.
T. oils, &\\& Aékrpov okória vvuſpevrápua.
6. ‘E. :) Tâv (botøov (3'.
trap6évov, & yépas à
Xpvooköpas 880k dºekrpov čváv ;
T. &pa's étóševo avròv év6éov kópms.
7. ‘E. 57 tº te, Ték vow ºf a 66 ov's S’.
k\fföas, kai ättö Xpoos évèvröv grepé-
wviepovs aroMuois.
T. oi yüp péy' airfi (3aot)\tröv Aékrpov tuxeiv;
8. ‘E. Ti 3' 6 veoxudy &T' épé0ev é- Q =
Aá9ere rékos, trow uot ;
T. IIoMvéévmv čAečas, # riv' ioropels;
9. ‘E. raiſrav ráj TéAos éðevčev ; Al-
T. ripſ?p rérakra, trpoo troMeiv 'Axi}\Aéws.
10. "E. & plot & y &, T âq p to 60 to Nov ć Tekóp, a v. 8'.
&rap ris 68’ jv vöpios, 3} ti 6éopuov,
6 ptAos, ‘EXAóvov;
T. evöatpiffviče traiśa añv. čxe, kakós.
I 1. ‘E. ri röö' éAakes; āpā plot àé\tov Aetooet; ºrp.
T. &xel Tórpos viv, &ar' &tm}\Aáx0at tróvov.
12. ‘E. Tº 3’; ; Śē roi, e'.
x^seouſ ropos "Ekropos bápap,
'Avôpopuáxm TäMatva, riv' éxet rixav;
T. kai Tàvö’’Axi\Aéos éAage rais ééaíperov.
13. ‘E. éyò 6é tº e'.
Tpóotoxos & rpuffāpovos xepi
êevopéva Bákrpov yepató Kápg;
T. 'I6ákms 'O8vooews &Aax àvač Šotºmy o' éxeiv.
‘E. § 3.
dipaage spära Kotipºpov,
éAk' dutyegal Sitruxov trapeuáv.
ið plot plot, ‘S’ s
gºvo apg 30Åig Te AéAoyxa part ÖovXeūety,
Tp,
CHAP. xxv.] SOLUTE OR FREE SONGS. 173
to\epſtº èikas trapavópºp 64ket,
§s trävra rākeiðev G e
é6er' àvriirax' aſſus ékeiae buttrüxp y\ógag
q,t\a rā trpórep' dipºla rtóépteros trävrov.
'yoão 6, 6 Tppáðes, ple' étr.
(3é6aka Sūatroraos, oixopiat à TâMauva,
& 8vorvyearárq Trpooétrauga k\ſipp.
The disposition of this song is not sufficiently certain, the Play being
very corrupt from want of manuscripts to correct it. I have altered
a very few things. And if the alterations are right, this is the plan
of the strophes:
a'. 3. Tp. Y. Y. 3' 8", a'. u. 8. to. e. e. trp. s. s. 6t.
And if this be divided into its parts, the whole song consists of two
parts, in the first of which, having thirteen strophes, a trimeter of
Talthybius is subjoined to every strophe; and the second part com-
prises a proodus, strophe, antistrophe, and epode. The first part
again is composed of three parts: first of the antistrophics a'. 6'.
8. a'. secondly, of two other antistrophic systems, y'. 'y', and e. e.
each of which has its proodus. Thirdly, of the paromoeostrophic
system 8'. 8', which has a mesode. For in these two strophes alone
the last verses only answer to one another.
§ 728. The formation of the paromoeostrophic song in the Phoe-
miss. v. 298. seq. is different. That apparently is to be thus written:
X. 5 ovyyáveta rāv 'Ayńvopos rékvov Tp.
épôy rvpévvov, Öv àwearáAmy úro,
'yovvrereis éðpas Tpoo Turvâ o',
divač, röv ołko6ev vöplov aegovoa.
ë6as, #3as 6 xpóvº yāv trarpgav.
ið,
Tórvia, p.6\e ºrpóðpopos, &pitéragov TüAas.
KAvets, 6 rekoúa'a Tóvöe pārep;
Ti puéA\ets intrópopa piéAaôpa
trepāv, 6-yeiv tº dº evator, rékvov;
IO, botvtoo av, 3 večviðes,
Boav čaw öópov k\üov-
oa Tövöe yń-
pa Tpopepāv é\kw troël troë0s Bāgiv.
ið ió rékvov, Tékvov, orp. a'.
Xpóvº Gov &ppa pivpia's év &pépats
Tpooreiðov' &pſpíšax\e pia-
otöv (b)\évatoi parépos,
trapmiówy r" 8peypa, 30-
orpüxtov Texat-
ras kvavóxplora TAdka-
pov aktáčov 8épav
rāv čplēv.
ið lö pºts pavels & wr. a'.
deMirra káðókmra uarpós (ONévals,
rt pó de ; trós &ravra kai
Xépec at Kai \6)ous ékei-
174 SOLUTE OR FREE SONGS. [book Irr.
ce kal rô Seipo toxvéAt-
krov &bovāv
repºxopetovo a rép-
Juv traNatáv Aé8w
Xapprovāv;
ið, rékos, épôv rékos, A.
ëpmuov trarogov čAttres 86pov,
pvyås &tograNeis Špaigov A689.
# to 6e a vös p t \ots, (3'.
# to 6e a vös G) #3 a vs. (3'.
36ev čplēv Te Aevkóxpoa kelpopat
8akpwéego' àveto a rev6%pm kópav,
&rear}\os papéov \evköv, Tékvov,
8vo 6pp was a 6' àp pi rpi xm rā Śe 'y.
o kótt’ & pºet Gopi a 1.
6 8' év 8 duo us trp £o G vs 6 p. p aro a repºs, 8'.
&Tàvas Športrépov rás &tro-
Evyeto as 86pov
tróðov ćpºtöákpvrov &ei karéxov,
d v ſite pé v št pov's
ét' at rôxet p a Te o pay & v,
i trčp répe P v & T' & y Xév a s
orevåøwy &pas Tékvous"
a v & Aa A at a 8' aiév at a yºu är w v Y.
a kár ta kpt ºr rer a t.
a & 8, 6 rék vov, ka? y ápot a 8 k\{ 0 5'.
& vºyé vra ºr a têo row 0 v & 8 ová v
#évo to t w ś v 66 plots & xe v,
£évov re kijöos àp pétre twº
&\aora uarpi rāče Aa-
tºp re Tø Taxatyevº
'yáplay €trakrāv &rav.
éyò 6' oire oot rvpós āvāha păs B.
vöpupov čv yápots, dis Tpéret
parépt pakapig'
àvvuévata 8' 'Iopinwös ékmöeū0m
Novrpopópov XAtöäs' àvā Śē Ongatav
tróXtv čovyá0m ords écoèos vippas.
&Aouro ráð’, etre otöapos, T.
eit' épts, eire trar)0 à oðs airtos,
eire rô Satuávtov Karekápage
8%paauw Otóttróða'
Tpós épé yāp kaków Śpoke ràvö' àxn.
This song begins with a proodus, strophe, and antistrophe. In which,
because the correspondence appeared too open and manifest, I
thought it right to change the order of the words. Then follows a
dochmiac system, A. in which are inserted two verses (3, 3’. answering
to each other. Next, another dochmiac system, y', is added, which
is followed by the paromoeostrophic song 6', to which, after the an-
CHAP. xxv.] SOLUTE OR FREE SONGS. 175
tistrophe y' the antistrophe 8' answers in the beginning and in part
of the middle verses. The whole song is concluded by two sys-
tems, one dochmiac, B. the other dactylic, T. which again is closed
by a dochmiac verse. The scheme of the whole song therefore is
this : Tp. a'. a'. A. Y. 3'. Y. 3'. B. T.
§ 729. There is another song, partly antistrophic, and partly pa-
romoeostrophic, in the Phoeniss. at v. 1493. Sqq. which, by the as-
sistance of MSS. and Scholia lately published, may be thus restored :
A. oil Tpoka)\varropiéva 30rpváčeos orp. a'.
dópa trapmtöos,
où8' into trap6evtas róvito (3)\eqāpots
goivuk’, &pi;0mua ºrpoadºrov,
aiêopiéva pépopuat (3ékxa veküov,
kpáðeplva Šukoúo a köpias &t' épás,
aroxièa kpokóegoav &veia a rpvpás,
&yepióvevpa vekpoto's troMüorovov at ai, itſ pot.
& IIoMüvetkes, éqvs àp'étróvvuos. & Mot Oñ(3at'
o& 8' 8pts oilk &pts, &\\a póvº póvos
Otöttróða 36pov &Aeae, kpavbels
aipart Selvº, ałpart Avypó.
rt va 8 & w po a p 60 v, A. 3'.
# riva povgoróAov grovaxåv šti
8ákpval, Šákpvour, & 66pos, & 66pos,
& va ka Aé a w pi a 1, (3'.
Tptoga pépovoa Táð' alpara of y)ova,
parépa kai rékva, Xàppar’’Epwww.os;
& 86pov Oièvróða trpórav ćAege,
* y ef
rås &yotas Šre
8va #6 verov ć w verós puéX os é y va, Y'.
24 tºy yos & otö0 iſ a ju a povešo a s.
ió plot, Tárep, B. Tp.
rts ‘EAAás, # 34p0apos, i.
röv ºrporápotó’ eiyyeverāv
ërepos érèa tróvov ráowv8'
a? p. a ros diple p to v S’.
* Q 5 ºf g p w
rouáð' àxea pavepá; ráAatv',
dis éXeXtºo ris àp’ &p-
& •N > y
v is ºp vös i éX & T as
&kpoköplois àppi k\áčots
éºopéva plovopéropos épois
ãxeat ovvgöós :
9/ 5 y
a'i A two v at à yp a 0 t w & 6 e
Toi o Še rook Aa t w u ová8 a t-
à v a $1 & #ovo a röv a i-
p > Af
e? Xpóvo v čv Aet 30p, & vot-
a v 8 a.kp to to ºv.
riv' iaxflow ;
riv' étrº rpárov &trö Xairas
sº y * /
otrapayuoioiv ćitapxas (3á\o,
u at pós épá s 518 iſ pot a y á Aa-
Gr
176 * SOLUTE OR FREE SONGS. [BOOK III.
kros tra p & p a a rois,
à trpos & 8 eX 4, 6 y ot)\ 6pm ev’ a i- G -
kio u at a 6 to a dj v :
6roroi, Öroroi,
&\ady àppia pépwy,
Trárep yepaté, éeikov,
Ot&róða, orov aidya piéAeov, 6s éti
3ápagºv &éptov okórov čupiaqi ooia, ſaxov, &A-
kets pakpótvovy ºwäv.
k\{e ts, 6 kar’ at A&v & Naiv w w yep a t- *'.
Öv tróða 6ep vious w
8t, a r a vows i at w y :
OI. ri 8', & *
trap 66 ve 6a krpetºpia a t t w - 6 •
pA of Troöös ##4 y a yes e is
pós pie Xe Xipm a kot to v
ék 0a Aép a v, oi krporá to t-
o v Šakpi, o to t w ;
to N to v at 0&pos y & © a vés eiðw No v, i. *'.
vék v v čvep 6 ev, i.
trot a vöv čve pov;
A. 8vorv)(es à yyeXtas Éiros otoet, A.
Trárep, oi kért a ot rékva A et a get m".
ãos, oi, 8' à Aoxos, trap a 34 kt pots m".
à tróða o 0 y rv p^6trov v 0ep a tre iſ u a a tv u ièv épid - 0.
x0e t, tró rep, d; p, ot.
OI. & uot & p & v it a 0éw v. T âp a yūp a rew 4xe v ráð',
& iſ rei vº t'.
Tp to a ai iſ vy at trós &A tºrov på os, 6 rék vov, a #8a. '.
A. oik Šar' dwetóeoty, oi,8' étrixáppiaatv,
&\\' 38&vatoi Xéyw" ads &Aéarwp,
£ipeow 6piðwv,
ka i ºr vpi, k a oxer At a to 1 p. 4X a ts, étri traič as é Ba 6'.
o obs, irá rep, & plot.
OI. ai ai. A. t t t & 6e kara a rév e is ; ta'.
OI. & réke a. A. 8 º' 38 tº v as é6 a s, ta'.
3. * a Aſ 3 2 f w f
e i r & 1 & 6p wºrtrá y ás & pp. at a \eta o 0 v 'y •
ôpip, a ros ai ya is a ais & rev 6 p. a s.
OI. Töv pièv épôv tekéov pavepov kaków. ër.
& 6é TáAatv' &Moxos, rive plot, Tékvov, &Aero uotpg ;
A. 54 kp v a yoe p & q' a vep a tráo t w t t 0ep éva, B. 19'.
rékeat plaqrów
épepe v, & pepe v i kéras i ké r a v ćpop Éva. 19'.
eipe 3’ &v 'HAékrpato, túXats rékva àvr. a'.
Awtorpópov kara
Aetuaka A6)×ats Kouvöv čvváAtov
doei re Aéovras €vačMovs
papvapiévous, étri rpaipaow aipa rüxav
#8m, ºbvyptiv Moſław povíav,
àv éAax’ "Atôas, ºſtrage 8' "Apns'
CHAP. XXV.] SOLUTE OR FREE SONGS. 177
XaXsókporov 8é Aaſoiga veroāv rápa páayavov, elow
gaprès #3a1bev, &xe ôé rékvav ćited' àppi rékvotov.
arávra ö' év tápart røðe avváyayev
&perépotat 66potatu äxm 6eós,
d; tārep, Öarts Tāše teNevrá.
The last parts of this song, I mean the strophes a', a', are antistro-
phic. Between these strophes are two systems interrupting each
other in turn, A, which is dactylic, B, of free or solute numbers,
thus : a'. A. B. A. B. a'.
But each of these systems is interrupted by certain antistrophics of its
own : A by these,
6. 3. Y. m. n. 6'. '. '. 6. ta'. wa'. Y.
Of which 3, 3, are in place of a proodus; the rest have their legiti-
mate order. B has the following correspondencies:
8'. 8'. e. s. s. 3". e. &'. 43'. 43'.
in which also a certain law and rule will be perceived, if one con-
siders that the strophe e' holds the middle place between the anti-
strophics 8, 8', and s', s', as the antistrophe e' does between the
strophes 3', 2'; and that 6, 13, have in this system the place of an
epode, as 6', 3', have that of a proodus in the system A.
§ 730. To these may be added a notable song which is in Sophocl.
CEd. Col. at v. 117.
X. Špa" orp. a'.
ris àp iv.; "Toi, valet ;
wroi kvpei éktórios ov6els ö Trávrwy,
Ö trávrov &kopéaratos ;
Meijoo' atyrów, Tpooëépkov,
Tpoop.6éyyov Tavraxii.
w)\aváras, t\aváras ris 6 rpéogvs, ow8'
êyxwpos' trpoo’éſła yap oilk
&v Trot' &otiſłés àAoos és
Tāvö' àpalpakerāv Kopåv,
as Tpépopuev \éyetv,
kai Tapapetſ?6peo6' àöépkrws,
&póvos, &\óyws, Tô Tās
eiqiuov orópa ºppovrièos
iévres' rú 8é vöv tív' #ketv
Aóyos oby &ov6', by éyò Aeto owy
trepi Tāv oitra Śāvapat tépevos
'yvövat, tow plot Tore valet.
OI. 68' ékelyos éyò' puyſ, yap &pſi; orp. 3. 1.
Tô part:ópevov. X, ië, iè),
Servos pév Špāv, betwos 8é k\ietv
OI, ui, pſ, iseretºw, Tpooiómr' &vopov.
X. Zeiſ &Aešijrop, ris T06' 6 ſpécſ}vs ;
OI. oi, Tāvu poipas evºatplorio at
trpórms, & Tijaš'
épopo, Xópas' 8m),68” oil yap &v
(38 &AXorpiots àppaauw eſpirov,
Herm. Z
&
178 SOLUTE OR FREE SONGS. [Book III.
sät, opukpois péyas ºppovy. 1 O.
X. & 8 &vt. a'.
&Aqāv duplárwy
dpa kai fiaba puráAptos, Švaatov,
pakpattov r" ēr', Štreikáo at ;
&AA’ oi piùv év y' époi
Tpooëhores ráo.8° àpás.
repās yap, repās' àAA’ two rºjö’év &-
* A
90éysre tº trporeans vatre,
totáevri, káðvěpos of
Kparmp peduxiwu trorów
flewpart ovvrpéxet.
ró, Béve répuop', eſſ puxièat:
perácraff', &tróðaði' troA-
Að kéAev6os épartet.
k\bets, 6 toxêpox6 &Aära ;
Aóyov et ruv' éxets trpós épěv Aéoxav,
d;3árov &troſłas, iva Tãot vôpos,
ºpóvel' Tpó00ev 8 &tepükov'
Ol. 6vyárep, trol ris ºppovrièos éA0m; &vr, 3. 1.
A. & Tárep, &grois to a xom plexerāv, 2.
eikovras & Sei, kočk &kovras. 3.
OI. Todo'64 ye viv plov. A. babw kai 3%. 4.
OI. 3 #eirot, pi) ºr āśikmóð, 5.
ooi Tuarevoas kai pueravaarás. 6.
X. oi rot pºſitoré d'ék Tövö' éðpávov, orp. Y.
6 yepov, &kovrá ris àéet.
OI. ºrpo65; X. &rt (3aive répow.
OI. §rt ; X. Tpoſłiſłače, Koāpa,
trpáow' or yap &fets.
A. ºreo Höy, tre 68 ºuaveč
kóX4, Tárep, 3 o' àyw.
X. TöAua £eivos étri čévms,
6 TAépov, 6 ri kai tróXts
rérpopev čqukov, &Toorvyetv,
kal rô pi\ov oé6eo.6at.
91. dye viº. ot, ge, Tai, (3'. 7.
iv' & veiaegias &tiſłaivovres, 8.
tà piev eitropiev, rà è’ &Kotowpev, 9.
kai puji Xpeig toxepúpiev. 1 O.
. X. atroiſ' punkért row8' àvratrérpov &vt. Y.
§§paros ééo Tööa k\ivms.
Ol. oilrws; X. &\ts, &s àkovets.
OI. &66); X. Aéxptós y ár' &Kpov
Aáov Đpaxos 6&Aágas.
A. trārep, Špov ráð’év douxatg,
i 6 p. o plot,
Báaet Báouv ćppóoat,
yep a to v ć's X &p a q àp a q 0 v
Tp o s \ { w a s p At a v ć p & v,
|
e
7i
CHAP. XXV.]
179
SOLUTE OR FREE SONGS.
8.
9.
1 O.
11.
OH. & plot 8tſopporos &ras.
X. & ràápov, Šre riv xaxás,
aibao ov, ris & pvs Bporów,
7ts à troMötrovos ūym, riv' fiv
aoü Tarptè'ékirv6otpav;
OI. 3 #évot, orp. 8'.
&tróttroXts’ &AA& pur),
X, ri réð’ &revvémets, yépov;
OI. puri, P. \,
pi p' &vépm, ris, pumöé répa aſ
ěčeráops pateway.
X, ri réðe ; OI. Seuvâ pious. X. at- A.
Ša. OI. rékvov, & plot, ri yeyá-
vo ; X, rivos et arépparos,
§eive, póvel trarpó0ev.
OI. & plot &yö), tº irá60, rékvov čplēv ; e'.
A. Aéy', treitep &t’ &oxara ſalves.
> * *
OI. &AA’ epā' od yūp &xo Karakpupáv. e'.
X. pakpa piéAAerov' àAAö täxvvov.
OI. Aatov tore riv'. X. &. OI. &nd yovov, s'.
ró re Aagãaktöāv yévos; X. & Zeiſ.
OI. &0\tov Oiśiróðav; X. g., yap 83' et; s’.
OI. 8éos toxere pumöèv ča' aw86.
X. iè), Ö, 3. OI. §§opuopos. X. &, 6. e'.
OI. 60 yárep, ri tror' abrika kūpoet;
X. Ščo Trópow 6aivere xápas. e'.
I. & 6’ itéoxeo, troi karaóñoets ;
X. občevi Houptèia riots fixeral, B.
6v trpotá0m, rô rivetv.
âtrára ö' àtárats &répass érépa
Trapaſ}a}\\opéva
tróvov, oil Xápuy &vriètöwou éxeuv.
où 8& Tövö' éðpávov
ráAuv Škrotos añ0ts à popuos épás
x0ovös ék0ope, pi fi t t t ép a Xpéos ép @ m'.
év tróAet trpoo & bus.
A. § {évot, &vt.
atóóppoves àAA' étrel
'yepatorárepa révê' épôv
oùk àvér)\ar' épyov Čieków-
row &iovres airbäv,
âNA' épé raw pueMéav, ireretſopey, T.
& #évot, oi kret p a 0°, & 6'
Tarpos itép row 'uov plóvov čvropiat,
ãvropat, oùk &\aois trpoo opwpéva
&ppa orov ćppiaatv, &s ris à p' aiparos
ipuerépov trpoſpaveioa, röv &0\tov
aiêois kūpaat' év iſdiv, dis 0eg,
keipieba TAápºoves' &AA’ ire, vetſoare
T & v & 66 km to v x&p tv. 6'.
180 SOLUTE OR FREE SONGS. [Book III. chAP. xxv.
Tpós o' 6 ri oot plkov čk oé0ev &vropat,
à rékvov, i Aéryos, # Xpéos, # 6eós'
où yöp ièois &v &6pév 6porów, § a ris à v e i 6e 0s & y ot, m'.
é kºp v yeſi v 8 w y a tro.
This song is composed of two parts, the first of which contains the
strophes and antistrophes, a', a', 6', 3', y', y'. These ought to have
been placed thus, a’, (3', a', 3', y', y': but a', a', akone have remained
without change. Of the other two the antistrophes are interrupted,
and the antistrophe 3' by the whole strophe 'y'; the antistrophe y',
because no strophe now remained to interrupt it, by other verses made
at pleasure. These we shall distinguish by the letter p, the mark of
the mesode, and those strophes, which are not interrupted, by double
letters ; those which are interrupted, by single letters:
aa'. 69'. aa'. (3’. yy'. B. y'. A. Y.
The second part contains antistrophics of five strophes with their
antistrophes, and three systems, the first choriambic, the second of
dactyls and anapaests, the third dactylic, in this order:
Š'. A. e. e. 5'. s. 3ſ. 2'. B. 8'. T.
But there is a short interruption in the strophe 8', and the two last
systems correspond in their ends, which we have marked in the
margin at the very verses with the letters m', m': and besides, the last
system is interrupted by two antithetic verses, 6', 6'.
181
A PP E N DIX.
§ 90.—M) &pators. As to this synecphonesis, in the passage of
Alexis, (ap. Athen. p. 55. C.) the metre requires this reading,
pº) &patot uèv
perú Tây kaków irou5' 6 rows 0éppovs payów’
(“Non tempore cum mala re veniat,” i. e. “ numquam veniat,
absit.”)
and that of Timocreon of Rhodes (ap. Plutarch, Themist. c. 21.) in
which the verses are composed of epitrites and dactylic numbers,
ought, apparently, to be written in the following unanner:
&AA’ ei Tüye IIavoravtav, # kai rāye Báv6ttrirov aiveis,
à rāye AevrvXièav, Šy& 8’’Apaoreiðav ćrawéw,
&vöp' iepāv &t' 'A0avāv
éA6eiv čva Agorov' étei ()epuorokMā’il).0ape Aaró),
Jeíſarav, &ötkov, trpoöörav, Šs Tipuokpéovra, §eivov čávr',
apyvplots okv6a)\toroiot retoffets, oi karāyev
eis ºrárpav 'lúAvgov,
Xagöv Šē rpt” doyvptov ráAavr’, ¥3a TAéov eis 6\eópov,
rows pièv karáyov dèikos, rows 8' ékövőkwv,
rows 8e Kaivov, &pyvpéow itórðews,
'Io 6pious 3' étravöökevew yeMotos buxpä kpéa trapéxov’
oi 3' jobsov, kei Xovro paſſ &pav CeptorokMeiſs yewéobat.
(“non tempus, i. e. absentiam Themistoclis fieri, sive, fieri, ut
nullus sit Themistocles.”)
In two verses of Aristophanes there is no synecphonesis as they are
now read : Lysistr. 391.
ëAeyev 6' 6 pm épauge pºv Amuáarparos :
Perhaps we should read,
ëAeyov 8", 6 pſi) dipaat pièv Ampudorparos :
as if one should say in Latin, “iste Nontempestatibus habitans De-
mostratus : for the ancient editions have dipaat, a termination used to
signify place : see Hemsterh. ad Lucian. t. i. p. 106.
The other verse is 1037 of the same Play ;
&\\a pui) dipas ikoto'0', Ös éorè 60tukai púoet.
The scholiast appears to have read pum &patow, so that one may be
easily led to conjecture that Aristophanes wrote
&AA& M) dipatow y' isoto 6', d's éorè 6amsai jüoet.
182 APPENDIX.
The expression has been treated of by Casaubon ad Athen. ii, 14.
and in Lectt. Theocr. c. 16. p. 273. Heyn. in Lect t. Theocr. c. 13.
p. 341. the commentators on Aristophanes, and in particular Ber-
gler, ad Lys. 391, the commentators on Lucian t i. p. 218. Sq.
t. ii. p. 270, t. iii. p. 307. Walcken. ad Adoniaz. p. 370. Reiske
and Coray ad Plut. Themist. c. 21. t
§ 156. What was said on the subject of the question, whether it is
allowable, in a comic trimeter, when the fourth foot is an anapaest, to
make the caesura so that a word may be ended with the first of the
short syllables, is now retracted here. The real state of the case is
this. The reason why such a caesura is disagreeable is that, whereas
the dipodia ought to run off quickly by the anapaest, the end of the
word happening at the first syllable of the anapaest, interrupts and
retards by a pause that more rapid movement of the numbers :
This untowardness may be palliated or removed principally in six
ways.
First, if the first syllable of the anapaest be a monosyllable so co-
hering with what follows that it cannot be taken with what precedes.
Eccles. 104. A charn. 498.
vvvi č, ćpſis, trpárret rà uéytor' év tº tróAet.
ei trioxos &v, Širett’ &v "A0nvaious Aéyetv.
For thus the syllable in question can suffer no retardation, and is a
part of the anacrusis belonging to the following arsis:
f | z z
On the contrary the verse is bad, if the monosyllable coheres with
what precedes, as in that which Brunck has given in Acharn. 748.
éyò Śē kapváà ya AtkawóroXtv, Šira.
Secondly, the incisure made at that syllable is not disagreeable, if
there be a full caesura before the third arsis. For thus new numbers
beginning at the third arsis require a close conjunction of the words
in the fourth foot :
/ f
Thus in Lysistrata v. 768. in Avib. v. 441, in Ran. v. 652. d58.
pum araguáowpiev' &art 6' 6 xomopos of root.
& Maxaipotrotos, piñre 84kvetv rotºrovs épé.
âv6owtros iepôs" beipo TráAuv Baštaréov.
rt rô Tpáyga rovri ; Śeipo TáAtv 6aëtaréov.
It is otherwise when no such caesura precedes, as in Ran, v. 1307.
Tpós #virep Šturáðeta ráð’ éar' #8ew péAm.
Where ancient MSS. have a more correct reading,
Tpès #vrep &ntràbeta rair’â8ew péAm.
APPENDIX. 183
Thirdly, a word may properly end in the first syllable of the anapaest,
if there be a caesura at the fourtly arsis, and the words making the
anapaest be connected in sense. For the sense, requiring those words
to be conjoined, accelerates the movement of the numbers so much
the more because a pause is about to follow at the fourth arsis, to
which the numbers must be carried forward :
f *
J - V V - | J - V -
Thus in the Thesmoph. v. 609.
éxovoa ; Tirón, vi) At’ &ph’ 8voixoplat.
And in Nub. v. 71.
&otep Meyak\eºs, Évoriš' éxov čy& 3’ &pmv.
That the stop in this verse before the third arsis has no part in pro-
ducing the effect is clear; because the verse may be altered in the
following manner without impairing the numbers:
dotep Meyakxéows ºvortö' éxov' éyò 8' épmv.
But if the words making the anapaest be disjoined in sense, the num-
bers are at once sensibly injured :
£varíða, Meyak\éms &airep, &xov' éyò 8' épmv.
Fourthly, the termination of a word in the first syllable of the ana-
paest may be tolerated, if another important caesura in the foregoing
feet enables the third arsis to begin with stronger numbers, and the
words, in which is the anapaest, are connected in sense. Thus the
838th verse of the Lysistrata may be defended :
êywye Kāotiv biplôs divip Kuvnotas.
* f w
w) = \º | - wº | - \w V - J - V -
Take away the caesura in the second foot, and the verse will be
scarcely excusable:
kāativ prévoiros dipos drºp Kumaias.
Fifthly, if there be a full casura after the syllable itself which is the
first of the anapaest. For since by the effect of this caesura the
fourth arsis is no longer part of the preceding order, but itself be-
gins a new order, the cause of the disagreeableness is manifestly
removed. For in such a case the pause is made not in the middle
but in the end of an order; which order is followed by another
having an anacrusis of an irrational [disproportionate] short syllable,
because the preceding order too is concluded by an irrational [dis-
proportionate] short one: as in Vesp. v. 1369.
röv Švatorów KAélavra ; 9. Totav atºmrpiða ;
a A 4 z
See Pac. 187. Ran. 1220. Av. 40. 1495. Nub. 214. Eccl. 167. 428.
But we must beware of either excluding from among these verses
some in which at present there is usually no interpunction, or of
reckoning among them such as have indeed an interpunction, but not
an effective one. Of the first class is that in the Equit. 208. which
is to be thus stopped :
eið aiparotórms éotiv, & T' d\\ás, x& Spákwy.
184 APPENDIX.
Of the second, that in the Lysistr. 200. at least as learned men have
given it : & pi\tarai yuvaikes, 8x\os kepapióv Šoos.
For this stop has nothing to do with the recitation of the verse; and
as that requires the whole verse to be pronounced without any divi-
sion, the numbers are faulty. I am inclined to believe that Aris-
tophanes wrote thus rather :
& pi\rarat Yuvaikes, 5 kepapiſów 6x\os.
In the Eccles. verse 146. has the same fault :
Sibet yap, dis éotkev, dºpava v0%aopiat.
where &otk’ has been rightly restored from the Rav. MS.
Sixthly, the conclusion of a word in the first syllable of the ana-
paest seems to admit of some excuse when there are two short
syllables in that very word before the third arsis. By these syllables
the first arsis of that dipodia is rendered more forcible, so that, the
numbers being strengthened, the words in the following foot coalesce
more easily, as in Pac. v. 415.
kai roi Kūk)\ov tapérpwyov jºb’ puato)\ias.
Any one, who has a practised ear, will perceive the difference, if the
verse be thus altered,
Kai tow kūk\ov y' érpwyov iſ dipparoxias.
Kai Toi, Kūk)\ov yap &rpoyov iſp' dipparwVias.
That verse therefore in the Vesp. 1169. is correct:
&öi Tpoſłas, Tpvpepóv tº 8taga}\akóvigov.
but not verse 1 1. of the same Play:
köpioi yüp aprios rus étréorpateto aro.
In suum, the result of what has been said is this, that in every verse
in which the first syllable of the anapaest is the last of a word, we
should weigh every thing which may tend either to excuse or to con-
demn such a collocation of words. And perhaps there are more
circumstances, than those already mentioned, in which it may be
excused. But it does not follow of course that because a thing may
be excused, therefore it ought to be excused. The verse for instance
from the second Thesmophoriazusae of Aristophanes, ap. Athen. xv.
p. 690. D.
& Zei toxvrium.0', olov čtvevoev ć puapās,
may be defended on the second ground of excuse; yet as some MSS.
have Érveva', we should rather write, drétvevo' à papós.
What I have said of the fourth foot, I wish to be applied to the
other feet also. Thus the reading in the Nub. v. 1192. is right:
tva 6) ti Tàv évmv Tpogé0mkev ; iv., & pièAe.
In such passages the degree of emphasis required in the pronunciation
of the words is often to be considered : for a proper pronunciation
makes numbers defensible, which would otherwise admit of no ex-
cuse. Thus in Equit. v. 7. and in Ran. v. 76.
airaio, ötaffoxals & kakóēatuov, Tós éxets;
eir' oix; 20%0k\éa, Tpórepov čvr' Eipatibov.
Were these verses to be recited in such a manner as to give the
stronger ictus to their first alsis, they would not be tolerable. The
APPENDIX. 185
sense requires that the second arsis should be pronounced with the
greater force, in these numbers;
f Aſ
C = \º | \, \! \, J = \º sº, J = \, =
and then the termination of a word in the middle of the first thesis
may be properly defended by the fifth of the foregoing rules. And in
general this circumstance is not to be disregarded; that numbers
otherwise harsh are softened on account of following resolutions.
Thus although a dactyl is disapproved, when put in the place of a
trochee, and ending with the end of a word, (see § 154.) as in the
Lysistr. v. 20. as some books have it,
dAA’ oilk &keiva w śv ráðe "povoytairepa,
yet it is much less disagreeable, when a tribrach follows, as in that
verse of Alexis ap. Athen. p. 223. E.
dróAage. Tovri 8' éort ri; 6 trap' ipêvéyò.
From v. 688. of the Plutus we may learn that the same foot is ex-
cused on account of a preceding stop,
rô ypgötov 6', d's #00ero Shpov rôv pópov,
for there is a great difference between the verse thus pronounced,
and what it would be without the stop.
But this subject is endless; and it appears that what is elegant
cannot be defined by general rules, but that through the incredible
variety in the measures of syllables, in the proportions of words, in
punctuation, in skill in recitation, the very same words may in
some circumstances be free from faults, and in others altogether
faulty,
§ 449. In the Elementa D. M. p. 511. it is not rightly maintained
that the verses in Aristoph. Avib. 33.3—335. are dochmiac, and that
the antistrophic verses ought to be corrected after the same form.
For as these antistrophics, 349. Sqq. give extremely good Cretic
verses, oire yāp &pos oktepov, oùre vépos aibéptov
oire troXtów TréAayos éaruv, & rv 8éčerat
röö' àtropvyóvre pie, wº
Seidler perceived that the strophic verses were those which needed
correction, and thought that eigekáAege should be substituted for
&káAeorev. For if the elevations are resolved in these numbers, it was
necessary they should be so resolved as that the words should of
themselves afford Cretic numbers. Wherefore the strophic verses
should be written thus;
és 8é 86\ov eigekáAegev, trpooé6a)\év r'épé ye
trapū yévos &vóatov, Širep Šárov 'y' &yéver', Św'é-
plot troXépitov ćrpápm,
THE EN D.
Herm,
2
A
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189
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190
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192
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