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 THE VERSE OF GREEK COMEDY
 
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 THE VERSE 
 
 OF 
 
 GREEK COMEDY 
 
 DOCTOR OF PHILOSOPHY, HARVARD ; HONORARY DOCTOR OF LETTERS, CAMBRIDGE 
 
 HONORARY DOCTOR OF LAWS, WESLEYAN AND OHIO WESLEYAN 
 
 PROFESSOR OF GREEK EMERITUS IN HARVARD UNIVERSITY 
 
 I"' <N A^IMAIO MA.N6&NCIN TTepi p 
 
 MACMILLAN AND CO., LIMITED 
 
 ST. MARTIN'S STREET, LONDON 
 
 1912
 
 COPYRIGHT
 
 TO 
 
 THOMAS DWIGHT GOODELL 
 
 PROFESSOR IX YALE UNIVERSITY 
 
 IN GRATEFUL ACKNOWLEDGMENT OF HIS CONTRIBUTIONS 
 TO METRICAL SCIENCE
 
 INTRODUCTION 
 
 GREEK poetry in the fifth century before Christ was a highly 
 developed and complex art. Greek poets had begun to sing in 
 a remote past. Their successors in the age of Aristophanes had 
 inherited from many singers in many lands the coast of Asia, 
 the islands of the Aegean and the Continent a great treasure 
 of rhythmical phrases that had gradually been developed and 
 perfected during centuries of practice among a song-loving people, 
 and that still admitted countless harmonious variations, just as the 
 English heroic line, passing from Shakespeare to Milton and from 
 Milton on to Tennyson, became under his magic touch a new 
 instrument of melody modulated to every theme. The poets of the 
 later age, guided by that intuitive apprehension and appreciation 
 of beauty of form which characterized their race in all ranges of 
 creative art, combined these phrases into harmonious periods and 
 symmetrical strophes with extraordinary skill, but they were 
 only vaguely conscious of historical relations. What is the 
 rhythm of these phrases and their metrical constitution ? What 
 are the laws by which they are combined in period and strophe ? 
 Whence did particular phrases come ? We despair of a complete 
 answer to some of these questions. Many problems confront us 
 that in consequence of the loss of the music to which these Greek 
 odes were sung do not, we must frankly confess, now admit of 
 sure solution ; but such knowledge as we may be able to get, by 
 patient investigation, of the origin, nature, relation and develop- 
 ment of the materials with which the poets wrought will con- 
 tribute to a juster understanding of their art and a truer apprecia- 
 tion of their skill. And in a fashion we are better able to 
 ascertain some of these facts than the poets themselves would 
 have been, had they been interested in formulating the rules of
 
 viii THE VERSE OF GREEK COMEDY 
 
 their craft. Thus also historical investigation and comparative 
 study have enabled modern scholars to determine the laws of the 
 use of the Greek language as a means of expression with a full- 
 ness and precision that would not have been possible in the time 
 of Demosthenes, who would doubtless have inspected these 
 modern treatises on Greek Syntax with austere surprise. Ancient 
 rhythmic, of course, is a ruggeder field, with hidden pitfalls, 
 where we must proceed with extreme caution. 
 
 I have endeavoured, within the range to which this book is 
 restricted, to treat this difficult and complex subject in a direct 
 and simple manner, and I have derived the principles on which 
 its scientific study must proceed in the main from the writings 
 of ancient teachers, chiefly Aristoxenus, Aristides, Heliodorus, 
 and Hephaestion. It is only a hundred years since Bockh first 
 saw the profound importance of Aristoxenus, a younger con- 
 temporary of Aristotle, in the investigation of rhythm. From 
 Aristoxenus to Aristides, a rhythmician of inferior authority, is a 
 long way, but the journey is worth making. The statements of 
 Hephaestion in his manual on metric must be weighed with care ; 
 his treatises on poetic composition have particular and unique 
 value. The doctrine of his master, Heliodorus, embodied in his 
 analyses of the structure of certain of the plays of Aristophanes, 
 is of great moment to the student of comedy, but has not hitherto 
 been systematically utilized. This fact will perhaps be regarded 
 as sufficient justification for the reconstitution of the text of 
 these remains, which are unfortunately meagre, and their 
 publication in the last chapter of this book. Where ancient 
 authority is silent, and this happens only too often, I have 
 turned to the poets themselves and there sought the laws which 
 they unconsciously but unerringly obeyed, and I have submitted 
 the validity of all conclusions to the practical test of their 
 applicability to the poets themselves. Their application to the 
 comic poets is recorded in the second and fourteenth chapters 
 inclusive of this book. 
 
 There is one exception to these statements. The fifteenth 
 chapter treats of the origin of the forms of Greek poetry, and the 
 conclusions there submitted for consideration have undoubtedly 
 determined the point of view from which my investigation and 
 treatment of the manifold rhythms of Greek poetry have pro- 
 ceeded ; but here our ancient authorities give little direct testimony,
 
 INTRODUCTION ix 
 
 and the poets naturally are silent. Still these views are not 
 mere speculations, they are supported by parallel manifestations 
 in languages closely akin to Greek. The significance of Westphal's 
 comparison, over fifty years ago, of Avestan and Vedic with 
 Greek dimeters and trimeters has been amply confirmed by 
 subsequent investigations made by Professor Arnold and other 
 scholars. The fundamental concept is a primitive phrase, longer 
 or shorter, from which the various forms of poetic rhythm were 
 gradually evolved and differentiated by regulated arrangement 
 of long and short syllables. The dimeter and trimeter thus 
 developed are precisely the greater or compound foot of Aristo- 
 xenus, and for that matter also of Aristophanes, the true source 
 from which the metre and simple foot were gradually derived. 1 
 The final test of the probability of the views advanced in this 
 chapter must be the extent to which they are judged to explain 
 consistently and satisfactorily the numerous and, when viewed 
 independently of one another, perplexing metrical phenomena of 
 Greek verse. Logaoedic rhythm, for example, is a befogging 
 subject. I for one confess that I did not clearly apprehend its 
 historical significance, its unquestionable relation to the four 
 common rhythms with which we are familiar in ancient and 
 modern poetry, and the limitations of its use, until I saw how 
 these rhythms had all gradually been evolved from the primitive 
 dimeter and trimeter. 2 
 
 Non-melic verse in Greek comprises the spoken trimeter 
 and recitative and melodramatic tetrameters, hypermeters and 
 trimeters, and constitutes the greater part of each comedy of 
 Aristophanes. Eecitative and melodramatic rhythms are an 
 element foreign to the modern drama, and the Greek mode of 
 rendering them would doubtless seem singular to us, but it was 
 a great advantage to the comic poets to have them at their 
 command as a vehicle of dialogue, and they used them with 
 excellent discrimination. I hope that the importance of non- 
 melic verse will be thought to justify the attention I have given 
 to it. I have used the statistical method in its treatment from 
 the conviction that an accurate and precise knowledge of the 
 laws of our poet's usage can best be acquired in this manner, 
 and that such knowledge is the only means that we moderns can 
 safely employ in attempting to differentiate his style from that 
 
 1 See 664. 2 See 375 ff., 603 ff.
 
 x THE VERSE OF GREEK COMEDY 
 
 of other poets. His spoken trimeter is not the trimeter of the 
 tragic poets nor that of Menander. The ignorance or disregard 
 of the usages of individual Greek poets exhibited by many of 
 their emenders and by many modern composers of Greek verse 
 in a particular manner is incredible. The application of the 
 results obtained by bald statistics may prove to be a salutary 
 corrective, as I may have shown in a recent monograph, in 
 which proposed emendations and restorations of the text of the 
 four newly-discovered plays of Menander are submitted to the 
 test of his actual practice. It would, perhaps, be indecorous to 
 summon the emenders of Aristophanes hither to trial at the bar 
 of his usage, but the process is legal and may be recommended 
 for the entertainment of an idle hour. 
 
 Notwithstanding the considerable attention here given to 
 non-melic verse, its investigation is by no means complete. I 
 have discussed caesura and diaeresis with particular care, but 
 lack of space has precluded the study at any length of our poet's 
 different manners in each sort of non-melic verse. The trimeters 
 in one play, for example, differ in interesting particulars from 
 those in another, and Aristophanes modulates his spoken verse 
 skilfully to varying themes, although the range of emotion and 
 sentiment is not so great in comedy as in tragedy. 
 
 The determination of the structure of the Greek melic 
 strophe is a problem that has been repeatedly essayed, but no 
 system of strophic analysis has yet been proposed that has been 
 generally accepted. Two scholars have lived to reject, with a 
 certain degree of scorn, the systems that they had themselves 
 fathered ; others declare that the problem is insoluble. Professor 
 Schroder has recently given a brief account of the views that 
 have been successively put forward only to be combated or 
 abandoned. 1 He has an alluring theory of his own, which he 
 defends and illustrates in an article that comes to hand as I 
 write. 2 
 
 This is treacherous ground, on which it behooves one to walk 
 warily. Sufficient attention has not always been paid by 
 investigators to the fact that the problem is ultimately a question 
 of melodic correspondence. If the music to which the odes of 
 
 1 See his Vvrarbeiten, 136 ff. of Pindar and of the odes of the Greek 
 
 2 See Classical Philology, vii. (1912), dramatic poets. 
 158 ff. See also his editions of the text
 
 INTRODUCTION il 
 
 the Greek poets were sung had been preserved with the text, 
 the question would not come up ; since it is lost, the metrical 
 form of the text is the sole means to an answer. The metrical 
 correspondence of antistrophe with strophe is generally close in 
 Greek odes, 1 and it is agreed that the melody to which a strophe 
 was sung was repeated in the singing of its antistrophe. What 
 similar correspondences are there between subordinate periods 
 within a strophe ? With few exceptions, the last metre of the 
 final colon of a subordinate period is catalectic or ends in a 
 variable syllable or hiatus. 2 The effect of each phenomenon is 
 the same, a pause in singing that marks the close of a period. 
 I observed, in studying the metrical commentary, that the 
 natural inference that the Greek dramatic poets probably 
 arranged the subordinate elements that compose a strophe in the 
 same ways in which they combined whole strophes in the parode 
 and other great divisions of their plays, 3 was confirmed in a 
 startling but conclusive manner by the testimony of Heliodorus. 4 
 His practice, furthermore, establishes another important fact, 
 that a long strophe is apt to be divided into intermediate melodic 
 groups similarly arranged. 5 On the legitimate assumption that 
 two subordinate periods that have the same metrical form were, 
 like strophe and antistrophe, sung to the same melody, analysis 
 is now a simple process. 6 The groups are generally triads, 
 tetrads, or pentads successively derived, the larger from the smaller. 
 Hephaestion testifies to the same groupings of strophes in the 
 main divisions of the drama, and the plays themselves confirm 
 the correctness of his statements. I have applied the principles 
 outlined above to the comedies of Aristophanes in the eighteenth 
 chapter of this book with results that seem to me to constitute 
 evidence of their truth. 
 
 The two rhythms treated in the eleventh and twelfth chapters 
 have been the subject of vigorous discussion during the past 
 fifteen years. I shall probably be thought to have said quite 
 enough about the former. 7 Aeolic Verse is on a different footing 
 
 1 If it is not, the change in form is confirmed by his high authority, 
 deliberate. See 51. After the manu- 2 See Bockh's findari Opera, I. ii. 
 
 script of this book had been sent to 308 if. 
 the printers, I received from Professor 3 See chapter xvii. 
 von Wilamowitz a copy of his recent * See 722 ff. 
 monograph on the V"espae, in which 5 See 728. 
 I am gratified to find that the con- 6 See the illustrations in 729 ff. 
 elusions which I have stated in 51 are 7 See 475 ff., 630 ff., 812 ff.
 
 xii THE VERSE OF GREEK COMEDY 
 
 and requires less formal treatment, although it is of profound 
 importance. A very considerable part of Greek melic poetry is 
 composed in it. The question of its constitution is a serious 
 issue and demands reconsideration, for the theory of its rhythm 
 that is now generally accepted in England and America is, I 
 believe, without ancient warrant, is due to misconceptions, and is 
 demonstrably wrong. I must beg for indulgence if I write at 
 length in venturing to offer a chapter in continuation of Mr. 
 Caxton's great work on The History of Human Error. 
 
 Our ancient authorities all regard the four completely 
 developed feet of Aeolic verse as simple and as tetrasyllabic, 
 and they give to each of the four syllables of each foot its normal 
 poetic value of long or short unreduced. Their statements are 
 explicit. Hephaestion devotes two chapters of his Manual to an 
 exposition of the uses of the choriamb and antispast, and in 
 subsequent chapters discusses certain related cola and periods. 1 
 His predecessor Heliodorus exemplifies ancient opinion on the 
 constitution of this form of verse in his analysis of such odes as 
 are found in the first parabasis and first stasimon of the Knights. 
 Aristides analyzes each of the four completely developed feet of 
 Aeolic verse into thesis and arsis, designating the feet by the 
 earlier names that were in use in the time of Aristoxenus, and 
 in a following chapter he gives an account of choriambic and 
 antispastic periods. 2 Aristoxenus, whose authority is not to be 
 questioned, states that simple feet may consist of two, three, or 
 four syllables but not of more than four, classifies tetrasyllabic 
 feet as isomeric or diplasic, and in a fragment of his Principles 
 of Rhythm, recently discovered in Oxyrhynchus, names and dis- 
 cusses three of the four tetrasyllabic feet of Aeolic verse and 
 quotes passages from the poets in illustration of their use. I 
 defer for the present detailed consideration of this evidence. 
 
 This united testimony would seem to give Aeolic rhythm a 
 respectable standing, but most modern metricians who have 
 written on Greek and Latin verse during the last century have 
 banished this rhythm, in its ancient constitution, from their 
 books. Procedure so drastic as this rouses curiosity ; possibly it 
 justifies a stronger emotion. In my twelfth chapter I have out- 
 lined the structure of Aeolic verse and analyzed the Aeolic odes 
 
 1 See Heph. 29 ff., 43 ff. 
 2 See Aristides, 39 f. M., 26. 20 ff. J., 54 f. M., 34. 33 ff. J.
 
 INTRODUCTION xiii 
 
 of Aristophanes in conformity with ancient doctrine, and in the 
 last part of the fifteenth chapter l I have stated what I believe 
 to be a credible theory of its origin from the primitive dimeter 
 and trimeter. It now remains to recall the history of the astonish- 
 ing break with ancient tradition which began about a hundred 
 years ago and to re-examine the grounds of belief. 
 
 Gottfried Hermann is the founder of the modern science of 
 ancient verse. He wrote three books on this subject between 
 1796 and 1816, and has powerfully influenced opinion. 
 Elmsley, writing in 1811, calls the first of his books incompar- 
 able, and deprecates the severity of the criticisms of Hermann 
 that enliven Person's celebrated preface to his edition of the 
 Hecuba; but those were stirring days when the classics were 
 still generally thought to be of vital concern, when a metrical 
 'law' might provoke the applause of Europe, and when two 
 literary antagonists, to use a phrase of Elmsley's, were doomed 
 to become personal enemies, if they were of the temperament of 
 these two scholars. Hermann was only twenty-four years of 
 age when he wrote his first book on metric, but even in his youth 
 he was intolerant of criticism. 
 
 He was a metrician, and his notions of rhythm, in his early 
 period, were crude. He seems not to have known Aristoxenus 
 at this time, although Morelli had published his edition of 
 the Principles of Rhythm in 1785. He did not hesitate, 
 however, to express opinions on such matters as the relative time- 
 values of successive feet and the difference between Greek and 
 modern music. He held, in brief, that a long syllable was never 
 more nor less than long, and that a short syllable was always short, 
 and that these were the only syllabic values with which Greek 
 poets operated. Any line, therefore, that combined dactyls, 
 trochees and spondees was an agglomeration of isomeric and 
 diplasic feet promiscuously mingled. Greek music was rude and 
 passionate. These views provoked lively remonstrance, and 
 Hermann's ' Tactlosigkeit ' in the scientific sense of that term 
 became a by- word among those learned in these matters. 
 
 Voss, the celebrated translator of Homer, and Apel, the 
 former in 1802 and the latter in 1806, took issue squarely with 
 Hermann and insisted that successive feet in the same colon, in 
 Greek poetry and music as in modern, were all of equal length, 
 
 1 See 651 ff.
 
 xiv THE VERSE OF GREEK COMEDY 
 
 since they were rhythmical. Voss rendered such a logaoedic 
 line as has just been mentioned in common time throughout, 
 Apel in triple time. It was the latter who came upon the 
 ' cyclic ' dactyl, which has had great vogue. He aimed to 
 formulate a system of universal rhythm, and ominously announces 
 in the preface of his big book that he intends to pay no attention 
 to grammarians and ' philologians ' in his attempt to re-establish 
 the true rhythm of verse, he will derive his conclusions directly 
 from the poets, with whom in fact his acquaintance was in- 
 adequate. Hermann stigmatized his views as an ' ephemeral 
 fancy.' Bb'ckh, writing in 1808, at first welcomed them, but 
 soon afterwards, while maintaining firmly the theory of the 
 temporal equality of feet, rejected Apel's cyclic dactyl and in 
 general his a priori conclusions as to the distribution of times 
 within the foot. 
 
 In his great edition of Pindar Bockh turned from the metri- 
 cians to the rhythmicians and was the first modern to utilize 
 Aristoxenus in the study of Greek rhythm, but his sturdy main- 
 tenance of the doctrine of the exact equality of feet brought him 
 more than once into conflict with his chief authority, as in his 
 conclusions in regard to the irrational metre and the logaoedic 
 dactyl. 1 Rossbach published the first edition of his Greek 
 Rhythmic in 1854, the first modern book that treated the sub- 
 ject separately and as a whole and aimed to set forth the ancient 
 system of rhythm completely, a task of great difficulty because 
 the early ancient sources of information are scant. Rossbach 
 gratefully acknowledges his indebtedness to Bockh. His opinion 
 of Apel is contemptuous ; a fact to be noted, since a distinguished 
 scholar, in a lively and entertaining criticism of the ' new metric ' 
 but why the new metric ? has recently announced him- 
 self as ' the defender of the principles of Apel as developed by 
 Rossbach, Schmidt and Christ.' It would be hard to find in any 
 field of philological controversy a more scathing arraignment of 
 another man's views than Rossbach makes of Apel's. Point after 
 point is made with deadly precision in proof of Apel's ignorance 
 and folly. Referring to Apel's cyclic dactyl, Rossbach says that 
 he has by the grace of God hit the mark just once this, too, is 
 the only time that, contrary to his principles, he has paid atten- 
 tion to ancient tradition, but this single gain disappears in a 
 
 1 See 16 and 390.
 
 
 INTKODUCTION xv 
 
 welter of hariolations and hypotheses. Apel is, in fine, " die blinde 
 Henne, die ein gutes Korn gefunden hat." Even the gentle 
 Bockh, after a statement of reasons, says : " inde profectus uni- 
 versam Apelii doctrinam, ut desperatam prorsus, coepi relinquere." 
 
 Hermann had no quarrel with the choriamb in itself, on the 
 contrary he artificially extended its use. Nor did he absolutely 
 reject the antispast, although he disliked it because it was rough 
 and harsh, as he thought, and he dispossessed it of its rightful 
 place among the eight prototypes by the very process by which 
 he enlarged the use of the choriamb. He had fallen into diffi- 
 culties with the undeveloped syllables which begin the Glyconic, 
 whose origin and significance are now, after investigations that 
 have extended over a century, clearly apprehended. 1 He gave 
 these syllables the name ' basis ' and discussed them at length in 
 his first book. 2 He held that they were a sort of ' praeludium 
 et tentamentum ' of the feet that followed, but were themselves 
 unrhythmical, that they consisted of two theses, and that they 
 were to be treated as a separate element. The effect of the 
 application of this theory is wholesale production of choriambs. 
 The greater Asclepiadean, for example, is made to furnish three 
 choriambs by this process. 3 Hermann treated these Aeolic verses 
 inconsequentially. The acatalectic lesser Asclepiadean, like the 
 greater Asclepiadean, is choriambic, but the Phalaecean is log- 
 aoedic, as also the Glyconic. 4 He does not state why he thus 
 discriminates. This classification was made in his first book, 5 and 
 it should be noted that he thus advanced the theory of logaoedic 
 scansion of certain Aeolic cola before any of his successors in the 
 same field had written on this subject. 
 
 Hermann's theory of the nature and use of these undeveloped 
 syllables was at first thought to be new learning and they still 
 pass current as ' Hermann's basis,' but this doctrine crops out 
 among the Latin ' derivationists,' who on demand will furnish 
 almost anything that is desired. They, however, made the 
 Phalaecean choriambic. 6 Bockh accepted Hermann's 'basis,' but 
 allowed it only one thesis and completely severed it from what 
 follows, regarding it, although it consists of only two or at the 
 
 1 See 506 ii., 652 f. - w | - w|- *; o * |- w| -w|- See 
 
 2 De Metris (1796), 21 ff. 518 ii. and 511. 
 
 s^^i-^^-i-^^-l-^^-l^- 5 De Metris, 216. 
 
 See 532. 6 ^o| ^^ \ w ^> See Caesius 
 
 4 c? v=i|_ ws ,_|_ Vi/w _! w _; C M|_ WW | Bassus, 258 ff. K. 
 
 b
 
 xvi THE VERSE OF GREEK COMEDY 
 
 most three syllables, as a monopodic colon. The ' basis ' was a 
 
 trochee, but might be irrational ( ), and the trochee and 
 
 irrational ' colon ' might be resolved ( ^ w w and w w - ). These 
 were its only forms in Pindar, who did not admit the pyrrhic 
 ( ^ w ) or the dactyl. When the iamb occurred (as it does in Pindar) 
 it was not to be considered as a ' basis ' but as an iambic colon 
 prefixed to a following trochaic or dactylic colon with an effect 
 comparable with syncopation in modern music. 1 Rossbach and 
 Westphal protested vigorously against the separation of the 
 syllables grouped in the ' basis ' from the following feet, alleging 
 that these syllables constituted a triseme foot in descending 
 rhythm, characterized by great freedom of form, and as closely 
 connected as possible with what followed. 2 
 
 We need not follow these troublesome syllables farther. It 
 is obvious that the original segregation and prolonged discussion 
 of this unruly combination would strongly individualize it and give 
 it that sort of general recognition which comes from possession of 
 the field. But its recognition as a separate element, whether as 
 prelude or colon or foot, goes much deeper than that. It beheads 
 all antispastic cola, and no victim survives that fatal process. 
 The antispast disappears, and the remainder of the colon must 
 now be analyzed as either choriambic or logaoedic. No other 
 method is possible. To what extent is existing prejudice against 
 the antispast, which is general, due to the unfortunate accident 
 of Hermann's misconception of the origin and nature of the un- 
 formed syllables that begin many Aeolic cola ? These syllables 
 disturbed the Latin metricians also, but their trouble was that 
 they contaminated the antispast. The pure antispast was 
 unobjectionable. 3 Is it pertinent (or impertinent ?) to surmise 
 that, if modern metricians had had from the beginning of the 
 discussion as clear a conception of the polyschematist dimeter 4 as 
 we now have, thanks to the intuition of Professor von Wila- 
 mowitz, 5 and had seen that the unformed initial syllables of the 
 Glyconic were only a minor manifestation of the same pheno- 
 menon, 6 they might never have raised their turbulent outcry 
 against the antispast ? They would, to be sure, have needed also 
 to rid themselves of the obsession of an ictus, that Old Man of 
 the Sea, 7 
 
 1 See Find. Op. i. ii. 65, 80 ; cf. 149. 4 See 506 f. 
 
 2 See Spec. Metrik, 3 554 ff. 5 See his Chorianibische Dimeter. 
 
 3 See Marius Victorinus, 88. 3 ff. K. 6 See 653. 7 See p. xxiii f.
 
 INTRODUCTION xvii 
 
 When Hermann had established his ' basis,' but had left the 
 question open, whether the following feet were to be regarded 
 as choriambic or logaoedic, 1 Voss and Apel, both predisposed 
 as their books show to the rhythms of modern poetry and music, 
 promptly decided for logaoedic scansion, and Bockh adopted the 
 same view. Rossbach states the fact from precisely this point 
 of view and in precisely this way. 2 There was now general 
 agreement that the choriamb must go ; disagreement arose when 
 it came to dismembering it another deadly process into the 
 two diplasic feet required by logaoedic scansion. 3 Apel's 
 extended exposition of his theory of rhythm 4 had undoubtedly 
 influenced opinion. It was his ignorance or neglect of principles 
 of Greek rhythm transmitted in ancient sources of information 
 still extant that involved him in fantastic conclusions. The 
 mere conception that the complex but authentic tetrasyllable 
 rhythms of Greek poetry can be stated in terms of the simple 
 dissyllabic and trisyllabic rhythms of modern poetry is alluring, 
 but if it is consistently applied, the consequences are appalling. 
 Rossbach and Westphal were unable to face them and left the 
 two ionic tetrasyllable feet untouched. Other scholars, such 
 as the late Professor von Christ in Germany and Professor 
 Shorey in America, sustained by the courage of their convictions, 
 consistently sacrifice the ionics along with the antispast and 
 choriamb and give them logaoedic scansion. 5 Von Christ even 
 feels doubt about the pentaseme feet of Greek hemiolic rhythm, 6 
 but halts abashed before the repeated testimony of Aristoxenus 
 and the paeonic odes of Aristophanes. Historic evidence of 
 logaoedic scansion of Aeolic verse is wholly lacking. Rossbach 
 and Westphal confess that it is entirely without the support of 
 ancient authority, Greek or Latin, early or late. 7 It is neverthe- 
 less, they allege, the true theory, the theory of the poets of the 
 classical period, but it was lost and was replaced by an ionic- 
 choriambic theory devised by two unknown grammarians of the 
 Alexandrian period, whose doctrine was adopted by Latin writers 
 on metric. 8 This is a startling statement. I shall shortly 
 
 1 See p. xv. 5 See Von Christ, Metrik 2 71 f., where 
 
 2 Spec. Metrik, 3 521. s^w is rendered as I. I s . B^ 
 
 3 On the first of these two feet, the g e e his Metrik, 2 64. '* ' 
 
 ' cyclic ' dactyl, see 390. * Spec. Metrik, 3 521. See my 
 
 1 His two volumes occupy over twelve Logaoedic ' Metre in Greek Comedy, 
 
 hundred pages. He announced a third 31 ff. 
 
 volume, but died before it was written. 8 gpg C Metrik, 3 518 ff
 
 xviii THE VERSE OF GREEK COMEDY 
 
 advance evidence that has convinced me at least that the 
 logaoedic theory of Aeolic verse cannot have prevailed in the 
 fourth century before Christ, when Aristoxenus, a man of 
 profound intelligence, with the wealth of the poetry and music 
 of the preceding century at his command, undertook to formulate 
 the principles of rhythm which the great poets had unconsciously 
 obeyed. 
 
 The ' logaoedic theory ' of Aeolic verse has had extraordinary 
 vogue. J. H. H. Schmidt adopted it. 1 I had the honour of 
 making the outlines of Schmidt's general system known to 
 English and American scholars who had not become acquainted 
 with it in the original by the publication in 1878 of a trans- 
 lation of his summary statement of it. Me quoque pectoris 
 Temptavit in dulci iuventa fervor et in logaoedicos vae, Misit 
 furentem. The present book, therefore, is a palinode, if so fine 
 a word may be applied to a performance so pedestrian. The 
 logaoedic theory has been adopted in many editions of the poets 
 and has been repeatedly presented in books and monographs, 
 notably by Professor von Christ, an ardent and eloquent 
 advocate. 2 Two American scholars have recently come forward 
 in its support, Professor Goodell in a cautious and judicial 
 reconsideration of the ancient evidence, strictly confined to 
 Aeolic forms, 3 and Professor Shorey with a vivacious monograph 
 in which the author's views are expressed with ardour and the 
 main argument is enlivened by practical suggestions, discussion 
 of pedagogical methods, and piquant criticisms. 4 
 
 It must not be supposed that the new theory has gone un- 
 challenged. Professor Henri Weil condemned it and repeatedly 
 controverted what he affirmed was false doctrine. 5 Professor 
 
 1 In his Kunstformen der griechischen disappear. ... If the Greek accents 
 Poesie, a voluminous work of consider- are ignored, there is no consciousness 
 able originality. of any difference between Greek and 
 
 2 In his Metrik ; see also his ' Grund- English metre. Both are rhythmically 
 fragendermelischenMetrikderGriechen ' stressed, and both, if we regard the 
 in the Transactions of the Bavarian practice of the better English poets, are 
 Academy, xxn. ii. (1902), 213 ff. quantitative though English is less 
 
 3 See his Greek Metric, 212 ff. exquisitely so. ... It is possible with 
 
 4 In his Choriambic Dimeter. He the schemes of Rossbach, Schmidt, and 
 outlines his general position at the others, to teach students to read with ap- 
 beginning of his monograph in the preciation the choruses of tragedy and the 
 following and similar tenets : In pro- odes of Pindar. The aesthetic effect ob- 
 portion as we study any foreign tained, the pleasure received, is precisely 
 system of verse alleged fundamental analogous to that enjoyed by appreciative 
 differences between its rhythm and that readers of Shelley and Swinburne. 
 
 to which we are accustomed tend to 5 First in the Neue Jahrbiicher fur
 
 INTRODUCTION xix 
 
 Suseinihl declared against it. 1 The publication of Professor von 
 Wilamowitz's Isyllos and Herakles powerfully stimulated renewed 
 attention to Aeolic verse, and interest in the subject became 
 general on the Continent when Dr. Kenyon published the British 
 Museum papyrus of Bacchylides. Professor Blass in his edition 
 of the text of Bacchylides (1898) abandoned the logaoedic theory 
 in the treatment of the Aeolic odes among the newly discovered 
 poems, and monographs began to appear. Professor Schroder's 
 Pindar was published in 1900, and was followed by his metrical 
 editions of the Greek dramatists. Professor Masqueray followed 
 his master, Weil, and Professor Hugo Gleditsch went over to 
 the enemy. 2 
 
 The reaction against the logaoedic theory of Aeolic verse is 
 very strong on the Continent ; its waves have hardly as yet reached 
 the shores of England and America. It has gradually gathered 
 volume. Scholars have subjected the fundamental principle, first 
 affirmed by Apel, on which this theory rests to severe but judicial 
 scrutiny and found it untenable ; they have observed with 
 surprise the disposition of extreme advocates of this theory to 
 minimize plain differences between Greek and modern languages 
 and to establish equivalences that do not exist ; they have re- 
 examined the ancient evidence and found it, though meagre, con- 
 vincing ; they have successfully submitted the ancient theory to 
 the practical test of its application to the poets. 
 
 The new doctrine denies the existence of tetrasyllabic simple 
 feet in Greek poetry. In justification of this, Apel affirmed a 
 theory of universal rhythm which, developed a priori, would 
 satisfy all the demands of ancient and modern verse. Submitted 
 to this test Ionic and Aeolic Greek rhythms were doomed to dis- 
 appear, for they are not found in modern poetry. But Apel 
 neglected certain elementary but fundamental principles. The 
 sense of rhythm is universal ; poets have been singing since the 
 world began, and a mere child is charmed by the rhythm of 
 motion. Ehythm has various media of expression. Language is 
 only one of them and it is the stubbornest of all. Even in Greek 
 
 Philologie for 1862, 346 ff., and 1865, Logaedes (181 ff.) and La Vraie Mesure 
 
 650 ff. Later in the Revue Critique, des faux logaides (203 ff.). 
 
 vi. (1872) 49 ff., and in the Bulletin de 1 Jahrbucher fiir classische Philologie, 
 
 Correspondance Hellenique, xix. (1895) 1873, 294 ff. 
 
 399, 411. His views are summarized in 2 See the Bibliography, pp. 459-464 
 
 his fitudes de Ehythmique in two papers of this book. 
 
 with expressive titles : Les Pr&endus
 
 xx THE VERSE OF GREEK COMEDY 
 
 not only the order but also the length of syllables had to be 
 regulated to make it an instrument of rhythmical expression. 
 English is a still more difficult medium, and our great poets charm 
 us by their delicate but sure control of the means by which they 
 give it rhythmical effect in their spoken verse, their skilful sub- 
 stitution of natural stress for the quantity that is inherent in 
 Greek, and their facile use of hold and pause in marshalling the 
 almost colourless and very uncertain syllables of English speech so 
 that they march in time. But while the sense of rhythm is a 
 universal possession, the forms of its expression in language are 
 various, and the degree of variation is conditioned by the nature 
 of the medium. There is nothing improbable in the supposition 
 that a strictly quantitative language like Greek developed forms 
 of rhythm of which a modern language like English is incapable ; 
 it is on the contrary probable, since as Aristoxenus says rhythm 
 is an ordering of times. It is, of course, a mere rhetorical 
 pleasantry to deny the existence of a fact because it does not 
 come within the range of one's own experience, but if this were 
 said seriously, in the attempt to dispossess tetrasyllabic feet of 
 their rightful place as indivisible measures of rhythm in Greek, 
 it would be an ineffective argument. Modern poetry cannot 
 manage these longer rhythmical elements with ease, but one of 
 the facts that deterred Professor von Christ from dismembering 
 the paeon was Brambach's discovery of modern melodies in five- 
 eight time, 1 and Westphal quotes an aria from Mozart's Don Juan 
 that is in ionic rhythm. 2 That is, modern music with its greater 
 resources can compass rhythms that are not found in modern 
 poetry. 
 
 We may go farther. The English poets have developed three 
 simple rhythms, and perhaps a fourth. 3 These are the only 
 rhythms natural to this particular medium, but our poets have 
 essayed others successfully. The charm of Swinburne's ' Chori- 
 ambics ' is undeniable : 
 
 Large red lilies of love, sceptral and tall, lovely for eyes to see ; 
 Thornless blossom of love, full of the sun, fruits that were reared for thee. 
 
 1 See Rhein. Museum,, xxxv. (1880), and combinations of anapaestic, iambic, 
 242 ff. or trochaic metre are as natural and pli- 
 
 2 See Rhythmik* 195 ff. able as all dactylic and spondaic forms 
 
 3 Swinburne in a note prefixed to his of verse are unnatural and abhorrent. " 
 spirited rendering of the parabasis of The battle over the hexameter that 
 Aristophanes's Birds speaks of English began in the sixteenth century still 
 as "a language to which all variations rages.
 
 INTRODUCTION xxi 
 
 This is Horace's 
 
 Tu ne quaesieris, scire nefas, quern mihi, quern tibi 
 
 the greater Asclepiadean. 1 Swinburne, a good Grecian, would 
 have nothing to do, it should be noted, with the ' logaoedic 
 theory ' of this verse. He has followed Hermann, perhaps 
 Horace, in separating the first two syllables of each verse from 
 the choriambs that then flow on to its iambic close. His technical 
 skill was unrivalled, and is here seen in his delicate attention to 
 natural length of syllables and in his use of stress, both reinforced 
 by caesura, to secure just the effects he wished. Professor 
 Gilbert Murray, another good poet and Grecian, has kindly sent 
 me verses composed in the same rhythm, but in what he I am 
 happy to know believes was Sappho's manner. 2 
 
 An old eagle, a blind eagle, who waits hungry and cold and still ; 
 He seeks nothing, he fears nothing : he stands lone on a lonely hill. 
 
 Here we see the same skilful use of. natural length, stress, and 
 caesura to produce the desired effect. These are tours de force, it 
 may be said. That is precisely their value in this discussion. 
 Greek tetrasyllabic rhythms have not been used by modern 
 poets because modern languages are constitutionally inadequate 
 to sustain these longer rhythms easily, not, as has been alleged, 
 because these rhythms are impossible in any language. 
 
 Apel's system of universal rhythm not only put authentic 
 Greek rhythms into a strait-waistcoat, but it has also gradually 
 altered the cut of that garment. The effect of its adoption was 
 as inevitable as it is deplorable real differences between the 
 ancient and the modern language are minimized, alleged equiva- 
 lences are multiplied. One's sense of the significance of features 
 that are sharply characteristic now of one, now of the other 
 language, is blurred and deadened. Thus the distinction between 
 melic and spoken verse is broken down, and Greek dramatic 
 choruses that were rendered by a dozen or fifteen performers in 
 song, and were often accompanied by a dance, are treated precisely 
 as modern verse that is read or recited by a single person. 
 Stress, which is the vital feature of modern poetry and is there 
 combined with the word-accent, is imposed upon Greek poetry 
 
 1 See 532.
 
 xxii THE VERSE OF GREEK COMEDY 
 
 and alleged to be an indispensable element of Greek rhythm, 
 whereas there is no evidence for an ictus in Greek poetry, and 
 many scholars consequently believe that ictus in Greek is a 
 modern invention. Quantity, inherent in the language and fixed 
 in almost all syllables, is the solid foundation on which Greek 
 rhythms with their varied orderings of ' times ' are based, 
 whereas in modern poetry one school of metrists practically 
 denies that it exists, another affirms that it has a function com- 
 parable with that in the ancient languages, and meanwhile the 
 practice of the poets the true arbitrators shows that whatever 
 role it plays is entirely secondary to that of accent. Finally, the 
 pause and the hold are indispensable in rhythmizing the un- 
 certain syllables of modern speech, but in Greek the quantity 
 inherent in syllables requires no support, and the use of pause 
 and hold while strictly defined is purely artistic. 
 
 Iambic is the only rhythm that was used in spoken verse 
 in Greek. Iambic, anapaestic, trochaic and dactylic are the 
 rhythms that were used in recitative rendering, but recitative 
 does not signify in the least what we mean when we speak of 
 an actor's reciting his lines. 1 These are the four rhythms that 
 modern poetry has developed. Both Greek and English, therefore, 
 employ only simple dissyllabic and trisyllabic rhythms in non- 
 melic verse. The Greeks, however, developed other rhythms, 
 paeonic, ionic, dochmiac, prosodiac-enoplic, Aeolic. With rare 
 exceptions, these rhythms were exclusively melic. The choruses 
 of tragedy were sung. Only a highly imaginative mind can grasp 
 the idea of reading dochmiac verse. The word ' lyrical ' has 
 now a connotation far removed from its original Greek sense, 
 and Bacchylides and Swinburne are not, in fact, poets of the 
 same genre. If now the rhythms just named were not used 
 in spoken verse in Greek, how credible and convincing is the 
 allegation that the metrical structure of Aeolic verse must have 
 been a form a bastard form, at best of the simple trochaic 
 and dactylic rhythms that the Greek poets did employ in non- 
 melic rendering, because we moderns cannot read Aeolic verse 
 in any other manner ? Regret that we cannot teach our pupils 
 to render the odes of Pindar as Greeks rendered them is an 
 amiable sentiment, the resolution to read them even at the cost 
 of reading them in the wrong fashion is prompted no doubt by 
 
 1 See 59.
 
 INTRODUCTION xxiii 
 
 a generous impulse, but neither has the least significance in the 
 scientific determination of facts. 
 
 The more ardent advocates of the logaoedic theory of Aeolic 
 verse assume stress in Greek poetry and make much of it. To 
 English-speaking men stress seems a natural and necessary 
 manifestation, since, whatever its precise nature may be, and 
 about that modern prosodists are at loggerheads, and however 
 perplexing for various reasons its determination may be in 
 particular lines, it remains true that the great body of English 
 verse is composed in simple feet of which one part is distinguished 
 from the other part or parts by what we call ' stress,' and that 
 this coincides with the word-accent. But in Greek there is no 
 evidence for any such phenomenon, no historic proof that the 
 Greek poets distinguished the thesis from the arsis by variation 
 of stress. 1 The ancient authors have been searched in vain. 
 Two passages have recently been brought into the discussion, but 
 both refuse to give the testimony for which they were summoned. 
 Longinus in his prolegomena to Hephaestion's manual 2 says that 
 a passage in one of the orations of Demosthenes, rov yap ev 
 ' A/juf)ia-(rr) TroXe/iop, 8i ov ei? 'EX,aremz> r)\6e OtXt7T7TO9, 3 may 
 be rendered as heroic verse, as it can, but that this was not 
 observed because the orator declaimed it in the prose manner. 
 The inference from this cannot be that Greek verse was distin- 
 guished from prose by a foot-stress, and therefore generally 
 that verse was stressed, because Longinus himself tells us what 
 he means, and it is not that. So important is it in interpretation 
 to pay attention to the context. He has just been saying that 
 it is the ear which determines whether or not a given com- 
 bination of words constitutes a verse, but that the voice must 
 previously shape and regulate the syllables. In order to get 
 rhythmical effect the sounds must first be given proper length, 
 otherwise the combination is so much prose and the verse escapes 
 detection. 4 This doctrine that syllables in their natural state 
 vary in length, not all longs being of the same length nor all 
 shorts, is older than Aristoxenus, and Dionysius in his treatise 
 on literary composition gives it due attention. 5 
 
 1 See 28. Hephaestion with some change of 
 
 2 See Consbruch's Hephaestion, 82. phraseology. See Consbruch, 178. 
 
 3 De corona, 143. 5 See the second paragraph on next 
 
 4 The argument of Longinus is found page, 
 also in Choeroboscus's commentary on
 
 xxiv THE VEESE OF GREEK COMEDY 
 
 The second passage is in Aristides. 1 He believed that simple 
 feet in antithetic rhythm might be combined even in the same 
 colon, a doctrine now exploded, for instance that a dactylic 
 metre might be joined with an anapaestic metre, as in avSpes 
 oTrXircu Siaragdfjievoi, to furnish him an illustration from 
 Aristophanes (Vesp. 360) that has just the metrical constitution 
 he assumes. But in a preceding chapter (xxiv.) he has stated 
 that the ' dactyl ' 2 and spondee are proper feet in anapaestic 
 rhythm, and he therefore recognizes that his assumed dimeter 
 may be purely anapaestic. He regards either solution as 
 legitimate, but he is in doubt which the poet intended, and 
 until he can determine that fact he does not know how to beat 
 the time of this dimeter. This particular combination of long 
 and short syllables, he says, is ambiguous, Sva-Sid/cpirov Troiei 
 rr)v ftda-iv, and it is clear that the ambiguity remains for him, 
 whether we assume or deny stress. There is nothing in this 
 passage from the De musica to show that Aristides would have 
 stressed the theses of his assumed colon when he had determined 
 its rhythm. There is plenty of evidence that the Greeks beat 
 time with hand or foot, none that they accompanied this with 
 intensive utterance on the down beat, and M. Kawczynski's 
 genial protest is just : " Or il me parait inadmissible de faire 
 executer aux anciens par la bouche ce qu'ils faisaient avec le 
 pied." 3 
 
 Quantity in Greek is the relative time occupied in uttering 
 a syllable. Greek vowels are by nature long or short, diphthongs 
 are long ; a syllable that contains a long vowel or diphthong is 
 long, one that contains a short vowel is short, but syllabic length 
 is increased by conjunction of vowels and consonants. Time is 
 the conception underlying these elementary principles, quantity 
 is innate in the Greek language. Greek rhythmicians early 
 noted the fact just intimated that all long syllables were not 
 of precisely the same length, nor all short syllables equally short, 
 that the length of a naturally long or naturally short vowel was 
 increased by the addition of consonants. 4 The speculations of 
 some rhythmicians on this subject were fantastic. Aristoxenus 
 apprehended the element of truth in them, a certain slight varia- 
 tion in the length of syllables, and therefore made the primary 
 
 1 57 M., 36. 36 ff. J. 3 See his L'Origine, 56. 
 
 2 See 11. * See Dionysius De comp. verb. chap. xv.
 
 INTRODUCTION xxv 
 
 time, not the syllable, the unit of measure in rhythm. 1 The 
 time of the syllables of speech required regulation in order that 
 they might become proper measures of rhythm. This regulation 
 was effected just as soon as men began to sing. It was the poets 
 that unconsciously established the simple laws of poetic rhythm 
 that prevail in Greek : in Greek poetry all short syllables are 
 normally of the same length, all long syllables are normally of 
 the same length, and the time-ratio of the former to the latter 
 is one to two. These simple rules are beautifully illustrated by 
 pure anapaestic and pure dactylic verse in comedy, which admit 
 no exceptions. 
 
 But verse and melody limited to syllables and tones of only 
 two durations, long and short, would have been monotonous, and 
 variations of these two times arose in the most natural manner 
 in the development of certain rhythms from the primitive cola. 
 These variations include irrational arses, displaying a long 
 syllable shorter than the normal long and short syllables shorter 
 than the normal short ; 2 protracted theses, displaying a long 
 syllable longer than the normal long, in trisemes and tetrasemes ; 3 
 and in iambic and trochaic verse a short longer than the normal 
 short. 4 Variety was further secured by resolution, 5 by the 
 pause in melic verse that occurs at the close of most subordinate 
 periods, by this pause and an additional rhetorical pause at the 
 close of most spoken, melodramatic, and recitative lines, and by 
 caesura and diaeresis in non-melic verse, which were in no sense 
 comparable with the hold that is so frequently necessary in 
 English verse in order to secure rhythmical length, but were true 
 pauses that interrupted the flow of the rhythm. 6 So little do 
 the " new metrists," as Professor Shorey insists on calling them, 
 merit the charge of simply juggling with longs and shorts. 
 Defenders rather are they of the true faith, who piously rejoice 
 to have themselves escaped from the welter of irrational arses 
 and triseme theses in which they see their apostate brethren 
 struggling. 
 
 Professor Goodell declares that the theory of English metric 
 is as yet little better than chaos. 7 This cannot be due to lack 
 
 1 See 1, 2. 8 See 11. 
 
 2 See under Irrationality in the General 6 See under Pause, Caesura, and 
 Index. Diaeresis in the Index. 
 
 3 See under Protraction in the Index. 7 Greek Metric, 20. 
 
 4 See 228.
 
 xxvi THE VERSE OF GREEK COMEDY 
 
 of attention to the subject. A vast number of books and mono- 
 graphs on English prosody has been written, and every possible 
 view has been advocated and denied. Since the time of Spenser 
 theorists in plenty have been ready to instruct the poets in their 
 art. Theories on English quantity range all the way from 
 the dogmatic doctrine of the classicists, who in the sixteenth 
 century attempted to saddle Latin rules of quantity upon English 
 syllables, to those who incline to the view that all English 
 syllables take practically the same time for utterance. The 
 conceit that English verse may be written in the classical manner 
 is attractive, and the malady recrudesces from time to time. It 
 broke out violently soon after the middle of the last century 
 when Matthew Arnold delivered his lectures ' On Translating 
 Homer' at Oxford and Professor Munro declared in Cambridge 
 that modern speech had lost all sense of syllabic quantity. 
 Specimen English hexameters done in the Virgilian manner, 
 quantitative hexameters that sadly disregarded the accent of the 
 English words, even rules of English quantity were all forth- 
 coming. Tennyson satirized these hybrid hexameters in kind. 
 Spenser had humorously said three hundred years earlier that 
 the middle syllable of the word ' carpenter ' (which the classicists 
 had made long ' by position ') " seemeth like a lame gosling that 
 draweth one leg after her." But our great poets are endowed 
 with too sensitive and delicate powers of perception not to feel 
 that English syllables are not all of the same length. Tennyson 
 once said that he believed he knew the quantity of every word 
 in the English language except perhaps ' scissors.' It is 
 important to discover, if you can, just what he meant by that. 
 He seems to be laughing behind his mask in his hendecasyllabics, 
 and he himself said of his " Boadicea," of which the metre is " an 
 echo of the metre in the ' Atys ' of Catullus," l that " he wished that 
 it were musically annotated so that it might be read with proper 
 quantity and force." This can only mean that he regarded the 
 ' quantity ' of English syllables as in itself so unobvious that a 
 musical score was required to indicate it in any except the 
 four simple rhythms of English poetry. 2 
 
 1 The common form of this catalectic 2 Elsewhere in the Life his son re- 
 ionic tetrameter in the Attis is ww w cords: "He gloried in his new English 
 
 v ww ww ^^^, "Fear not, metre, but he ' feared that no one could 
 
 isle of blowing woodland, isle of silvery read it except himself, and wanted some 
 
 parapets ! " one to annotate it musically so that
 
 INTRODUCTION xxvii 
 
 It is hard to make one's way in the ruck of opinions 
 confidently expressed by contending prosodists about stress, 
 quantity, hold, pause and the like in English poetry, but so 
 much may safely be said about quantity, that it is not the 
 fundamental, inevitable element in English poetry that it 
 unquestionably is in Greek, it is not a structural necessity. 
 To neglect or consciously disregard the difference between 
 quantity in Greek and in English breeds lamentable confusion. 
 This difference may be summarily stated as follows. In Greek 
 poetry the quantity of syllables is fixed and is independent of 
 stress, they are long or short, and variety is secured by modifying 
 them by processes that are regular in operation and perfectly 
 determinable. In English poetry the role of syllables in pro- 
 ducing rhythm is secondary ; when they differ in length, the 
 degree of difference constantly varies and no rules can be 
 formulated, the most of them are ' common ' ; they are fitted 
 into the rhythmical scheme, which in the poetry of all languages 
 demands that feet in the same series shall be of equal length, 
 by a variety of devices. Chief among these are pause, hold, and 
 stress. Time and stress are intimately related. The skilful 
 use of pause and hold, the indispensable means by which the 
 temporally imperfect elements of English speech are grouped in 
 rhythmical units is the highest art, but this particular function 
 of hold and pause is unknown in Greek. 
 
 Neglect of real differences and assumption of false re- 
 semblances between Greek and modern languages confuse the 
 investigation of a subject that is in itself difficult, and obscure 
 the individual charm of each language, but they do not 
 ultimately invalidate the fact of tetrasyllabic feet in Greek 
 poetry. These are established by the testimony of Aristoxenus. 
 An important part of this testimony has been recently acquired. 
 
 In discussing the principles of rhythm Aristoxenus states 
 that a simple foot may consist of two, or of three, or of four parts 
 or foot-times, that is syllables in poetry, and adds that he will 
 presently state why these parts are never more than the four 
 which the foot has in virtue of its own special character* The 
 fulfilment of this promise is unfortunately no longer extant. 
 
 people could understand the rhythm.' " can read her except myself? " 
 Again : "'Boadicea,' no, I cannot pub- J See 290 M., 18 W. 
 
 lish her yet, perhaps never, for who
 
 xxviii THE VERSE OF GREEK COMEDY 
 
 In a subsequent passage, in which he is considering feet with 
 reference to the number of primary times that they contain and 
 the distribution of these times into arsis and thesis, he says : 
 "Hexaseme feet constitute the fourth class. Feet of this 
 magnitude admit two divisions into arsis and thesis, the ' iambic ' 
 and the ' dactylic.' For of the three ratios that six primary 
 times admit, namely the isomeric (i.e. 3 : 3), the diplasic (i.e. 
 2:4 = 1:2), and the pentaplasic (i.e. 1:5), the first belongs to 
 the dactylic class of rhythms, the second to the iambic, but the 
 last is not rhythmical." l This classification covers the two 
 ionics in diplasic rhythm, and the choriamb, antispast, diiamb 
 and ditrochee in isomeric rhythm. Aristoxenus does not name 
 them here, but the earlier names of the four-part isomeric feet, 
 with which we are now particularly concerned, are given, and 
 these feet are briefly characterized by Aristides in a passage of 
 which it is agreed Aristoxenus is the original source : " The 
 KprjTi/cos (i.e. - ^ - w ), which consists of a trochee as thesis and 
 a trochee as arsis ; the Sa/crvXo? /car' tapftov (i.e. w ^ ), 
 which is composed of an iamb as thesis and an iamb as arsis ; 
 the Sa/cTfXo? Kara f3aK%eiov rov airo rpo^aiov (i.e. w ^ ), 
 which has a trochee as thesis and an iamb as arsis ; the Sa/eruXos 
 
 Kara /3a/c^eioi/ rov airo id/juftov (i.e, ^ w), which has the 
 
 same constitution as the foot just named but with iamb and 
 trochee in converse order." 2 Aristides designates the parts of 
 these feet by names (iamb, trochee) with which all his readers 
 would be familiar; but he here treats the feet all as simple 
 feet, TToSe? do-vvOerot, 3 as does Aristoxenus in the evidence still 
 to be considered, which we owe to the energetic and learned 
 discoverers of the treasures found in Oxyrhynchus. 
 
 This important document is a fragment of the same work 
 that I have twice cited above, Aristoxenus's Principles of Ehythm, 
 and treats of protraction in the ditrochee, diiamb, and choriamb, 
 and of other special cases of rhythmization. Elsewhere in this 
 book I have gratefully availed myself of the Oxyrhynchus frag- 
 ment in discussing iambic catalexis. 4 In this fragment as in the 
 passage in Aristides the ditrochee is called /cprjrirco?, the diiamb 
 SdicrvXos Kara 'lapftov, the choriamb briefly /Sa/e^eto?, and each 
 is regarded and treated as a simple isomeric foot. The diiamb is 
 
 1 See 302 M., 34 W. 3 See Caesar, Orundzuge, 223. 
 
 2 See 49 f. M., 26. 20 ff. J. 4 See 780.
 
 INTRODUCTION xxix 
 
 incidentally described in the last part of the fragment as a foot that 
 consists of four foot-times, or syllables, of which the first is short. 
 Each of these feet may be used continuously and each may be 
 protracted. Aristoxenus quotes freely from the poets in 
 illustration of both facts. The bare metrical form of the pro- 
 tracted measure in all three alike is - w -. In re-establishing, 
 in the apparently defective feet, the length demanded by the 
 rhythm, this becomes - ^ i in the ditrochaic series and i ^ - 
 in the iambic. One might feel doubt which form the choriamb 
 would assume. Aristoxenus tells us and states the reason. 
 The rhythmical value of the protracted form of the choriamb 
 is L_ ^ - , because triseme protraction is more suitable to the 
 trochaic movement with which the choriamb begins than to the 
 iamb with which it closes. 
 
 Aristoxenus characterizes and describes the choriamb in this 
 fragment with unmistakable precision. It is congener of the 
 diiamb and the ditrochee ; it is a single, simple foot ; it is 
 hexaseme ; it is tetrasyllable, consisting of two long and two 
 short syllables, and each syllable has its natural poetic length of 
 long or short ; it is isomeric, and each half consists of the same 
 metrical elements, but these are arranged in reversed rhythmical 
 order. Yet the ' logaoedists ' declare that the choriamb is a 
 ' catalectic dactylic dipody/ and this dipody is the corner-stone 
 of their theory. 
 
 HARVARD UNIVERSITY, 
 April 1912.
 
 The references are to sections. 
 
 For w (J s ), - (J), u. (J.),Lj (^), uj (JJ), see 3. 
 
 For A (1), K (C), A (r-), A", A 7T, see 33, 35, 572 n. 
 
 For ~, the equivalent of w w , see 23 n. 
 
 For , in place of a lacking short or long syllable, see 31. 
 
 For ~, in iambic and trochaic rhythm, see 228. 
 
 For the <rriypy ( ), placed over w and - in the thesis, see 8 u. 
 
 For ~ , indicating correspondence, see 5 1 n. 
 
 Brunck's lining is followed in referring to the plays of Aristophanes, 
 Kock's numbering in referring to the fragments of comedy. 
 
 Hypermetrical periods (47) are analyzed into cola in both strophe and 
 antistrophe. See 89, 93, 94, etc. 
 
 Indentation of cola signifies the continuation of a subordinate period 
 or hypermeter. See 82, 83, 84, etc. 
 
 In the text of antistrophes arranged in subordinate periods, a heavy- 
 face letter signifies the beginning of a colon within the period. See 82, 
 83, 85, etc. 
 
 The close of a colon within a word, in strophe or antistrophe, is 
 indicated by a hyphen (~) placed after the metrical analysis of the colon, 
 above the level of the line. See 84, 85, 86, etc. 
 
 The numerals that follow the metrical analysis of a strophe signify the 
 number of metres that each preceding subordinate period or hypermeter 
 contains. See 80, 82, 83, etc. "When a minus sign is added, the final 
 colon is brachycatalectic or hypercatalectic. See 301, 303, 344, etc. When 
 d is added, the preceding period is dochmiac. See 465, 467, 468, etc. 
 
 The small capital letters attached to these numerals, above the level of 
 the line ( CVH ), signify respectively catalexis, variable syllable, hiatus. See 
 80, 82, 83, 88, etc. 
 
 The lower-case letters abcde, in the analysis of the structure of odes, 
 indicate subordinate periods or hypermeters ; the small capitals ABODE, 
 intermediate periods ; the capitals ABCDE, systematic periods. See 41, 
 46, 48. 
 
 XXX
 
 CHAPTEK I 
 FUNDAMENTAL PRINCIPLES 
 
 1. Poetry is distinguished from prose by its measured move- 
 ment, or rhythm, and was inseparably associated by the Greeks 
 
 with the kindred rhythmical arts of song and dance. 1 
 ^ Q Greek comic poets were poets in a threefold 
 sense, 'makers' not only of verse but also of melodies 2 
 and dances. Aristophanes composed the music to which his odes 
 were set, and, when these were rendered with a dance, devised the 
 rhythmical bodily movements by which they were accompanied. 
 Melic poetry, among the Greeks, preceded in order of development 
 verse that was simply recited or spoken (59). 
 
 2. Greek poetry differs from modern poetry in an essential 
 particular : the language in which it is written is strictly quantita- 
 
 tive. Greek accent, as the name, TrpoayBia, implies, 
 OusuititativJ s ^S n ifi es pitch, variation in tone. In Greek songs 
 
 the distinctions of tone indicated by the written 
 accents, an Alexandrian invention, were lost in the ampler tones 
 of the melody. Length of regulated syllables, not accent nor 
 stress (28), was the basis of rhythm in Greek poetry, as length 
 of tones was its basis in melody, and length of time of bodily 
 movements its basis in the dance. Aristoxenus defines rhythm 
 
 as ypovwv rd&s (Walz, Rhet. Graec. v. 454) and 
 
 Primary Time. 11 /vr , , f *. , , . , ,. 
 
 calls the fundamental unit of measurement of 
 
 rhythm, whether in poetry, melody or dance, the ' primary time,' 
 
 7T/3WTO9 rS)V %p6vCt)V (280 M., 10 W.). 
 
 1 fffri d T&. pv9fjLi6/j.eva rpla- X^is, 2 Agathon is 'composing' in the 
 
 jiAos, KivijffLs ff<i>fMLTiK-fi, Aristox. 278 prologue of the Tfiesmophoriazusae (39- 
 
 M., 9 W. pvO/jd feral iv fwvffiKr) Kivyffis 175), " /ieXySetf ykp jrapa.ffKevdfeTai" 
 
 ffw/ua-ros, neXySia, X<?|t5, Aristid. 31 f. M., (99). Cf. 49 S. 
 21. 15 f. J. 
 
 1 B
 
 2 THE VERSE OF GREEK COMEDY 3 
 
 3. The syllables of speech are not in themselves proper 
 measures of rhythm, since their values are not constant. 1 These 
 
 values are regulated in poetry, and we may for 
 S3 Speech. f conven i ence > i n dealing with the forms of poetry, 
 regard a short syllable in rhythmical measurement 
 as the xpovos TT/XUTO?, primary time, equivalent to an eighth-note 
 ( J") in modern music. The long syllable has then the value of 
 two primary times, or of a quarter-note ( J). Aristoxenus names 
 this rhythmical doubled-time %p6vos 810-17^09, and in agreement 
 with this we may, with convenience, speak of a ' diseme syllable.' 
 But as in rhythm there is also a ^01/09 rpurijfjMs, a %p6vo<? 
 rerpda-ij/jio^ and a %povo<> 7rei>Ta<r?7/io9 (Aristox. 280 M., 10 W.), 
 so a long syllable may be protracted to the value of three, four 
 or five times, and may be designated as a triseme, tetraseme or 
 pentaseme syllable. The metrical signs of the length of syllables 
 are ^ short, - long, u. triseme, u tetraseme, LU pentaseme. 2 
 
 On rules of quantity in comedy see 790 ff. 
 
 4. The word ' time/ %p6vo<f, is here applied solely to the 
 measurement of rhythm, and is not to be confused with the word 
 
 ' time ' signifying the tempo (dycoyrf, Aristid. 42 M., 
 
 27. 29 ff. J.) in which a strophe as a whole was 
 
 rendered. The tempo of Greek songs varied, as in modern music, 
 
 but it was probably consistently maintained throughout a single 
 
 strophe in most of the simple songs of comedy. 
 
 THE FOOT 
 
 5. Syllables are combined into feet. Aristoxenus defines the 
 foot, Troy?, as that by which we apprehend the rhythm and make 
 this perceptible to others. 3 In poetry, the foot is a sort of 
 rhythmical common measure of the verse. 4 A simple foot, 
 
 8 crvXXa^ xpbvov rtvds /n^rpov 3 <li (ri^ai^/tefla rbv pv6/j.bv Kal yv&pi- 
 
 iK i]pefj.ei Kara rbv xphvov, fjieytOri pov iroiov/Jiev -rjj ai<r6^fft irofa 4<rri.v els rj 
 
 nv yd.p xphvuv otix dei ret aimi, KO.T^X V - wXefous tv&s, Aristox. 288 M., 16 W. 
 
 <7iv al o-uXXa/Sai, Aristox. frg. ap. Psel. 1 With this definition, of which the exact 
 
 (p. 76 W.). meaning is disputed, cf. Aristid. 34 M., 
 
 2 Bellermann, Anon, de Mus. 1, 83 22. 26 f. J. : TTOI^S p.tv oZv <rri 
 
 (p. 18). See also, for triseme syllables, rov Travrfa pv9fj.ov di' 08 rbv 6\ov 
 
 Aristoxenus in the first volume of the Xa^dvofiev, 
 Oxyrhynchus Papyri and the inscription 4 Goodell, Metric, 132. 
 of Seikelos, both quoted in 780, 781.
 
 8 FUNDAMENTAL PRINCIPLES 3 
 
 a<rvv6ero<s, is one that cannot be divided into smaller feet. It 
 normally consists (Aristox. 288 M., 17 W.) of at 
 least two parts (%p6vot iroSiieol), or syllables in 
 
 poetry, as the iamb, v, ; it may consist of three, as the anapaest, 
 
 ^ v ; or of four, as the ionic, ^ ^ , but only by resolution 
 
 (11) and rarely of more than four. 
 
 6. Promiscuous combinations of syllables do not constitute 
 feet. The possible combinations of a short and a long syllable 
 
 (two units) number four in two places, eight in 
 
 T>!?V " e i three places, sixteen in four places, and ancient 
 Rhythmical. r * ' 
 
 metricians name all these 'feet' (Heph. ch. iii.), 
 but some of them were avoided by the poets as arrhythmical, as 
 
 ^ and v-r , named by the metricians * first epitrite ' 
 
 and ' fourth epitrite.' Such arrhythmical conjunctions of syllables 
 occur of course in prose, but not in poetry of developed forms. 
 Feet, then, consist only of such combinations of short and long 
 syllables as were felt to be rhythmical (Aristox. 274, 276 M., 
 8 W.), and their number is limited. 
 
 7. The parts of a foot are divided between the upward beat, 
 TO avw, and the downward beat, TO KOTO* (Aristox. 286 M., 
 
 17 W.). The general practice, following Aris- 
 tides (31 M., 21. 10 f. J.), now designates the 
 part or parts of the foot that were sung to the 
 
 upward beat as the arsis, apcris, the remainder of the foot as the 
 
 thesis, 0eo-t9. 
 
 FEET IN IONIAN VERSE 
 
 8. The simple feet that occur in Ionian Verse (603 ff.) 
 
 are classified, with reference to the number of 
 P r i marv times that each contains (Aristox. 302 M., 
 31 ff. W.), as feet of three, of four, of five, and 
 of six times. 
 
 i. 7roSe9 Tpiffrifioi : iamb, ^ | ,* and trochee, | ^ . 
 ii. TroSe? TCTpda-irjfjLoi, : anapaest, ^ w| and | , and dactyl, 
 | w v and | . 
 
 iii. 7ToSe9 Trevrda-^fwi : first paeon, o | w ^ , cretic, o | , 
 and bacchius, o -| . 
 
 1 The hair-line here marks the division is indicated by the ortyiu/i ( ), as in the 
 between arsis and thesis. The thesis inscription of Seikelos (781).
 
 4 THE VERSE OF GREEK COMEDY 9 
 
 iv. TroSe? eao-?7/iot : minor ionic, w w | - - , and major ionic, 
 "^ I o w . 
 
 The thesis of a simple foot never contains fewer primary 
 times than the arsis, and generally it has more. The principle 
 prevails that short syllables stand in the arsis, long in the thesis. 
 
 9. Feet, classified with reference to the ratio of primary 
 
 times in the arsis to those in the thesis, called their 
 Classed of Feet ^-7 0? irobiicos, fall into three classes, pvO/jmca yevr) 
 ' (Aristox. 300 M., 30 W.) : 
 
 i. 76^05 itrov, in which the ratio is equal, isomeric class, 
 including anapaest, ^ ^/ - and - - , and dactyl, - ^ w and - - . 
 
 ii. yevo? Si,7r\d<riov, in which the ratio is 1 : 2, diplasic class, 
 including iamb, ^ - , trochee, - ^ , minor ionic, ^ ^ - - , and 
 major ionic, - - ^ w. 
 
 iii. 7i/o? r)pi6\iov, in which the ratio is 2:3, hemiolic class, 
 including the feet of five times, first paeon, o ^ ^, cretic, 
 - o -, and bacchius, o - -. 
 
 10. The arsis of the anapaest and dactyl is w ^ or - (607). 
 
 The dissyllabic form of each foot, , is some- 
 Spondaic Feet. * , T , 
 
 times called spondee. In the one case, the foot 
 
 is the ' spondaic anapaest,' , in the other, the ' spondaic 
 dactyl/ - - . 
 
 11. A long thesis is sometimes resolved into two shorts, as 
 in the iamb, w o o , and trochee, o o w . This trisyllabic form 
 
 is called tribrach. The thesis of the anapaest may 
 Resolution. V1 . , . , . . f , 
 
 likewise be resolved, giving ^ w o o , called pro- 
 
 celeusmatic, by resolution of w ^ - , and - o o , ' dactylic 
 anapaest,' by resolution of - - (' spondaic anapaest ' with resolved 
 thesis). The thesis of the trisyllabic, but not of the spondaic, 
 dactyl may likewise be resolved. This gives o o ^ ^, by 
 resolution of w ^ , but it is rare. 
 
 On the probable relation of the cretic to the first paeon, see 620. 
 The bacchius rarely occurs in comedy. See 447 f. 
 
 12. Simple feet of three or four primary times are combined, 
 
 by doubling, into a higher rhythmical unit called 
 Double-Feet. * ^' , J 
 
 dipody, 6i7Tooia, or syzygy, a-v^vyta, by the 
 
 metricians : 
 
 iambic dipody, w - 1 o - trochaic dipody, - o | - ^ 
 
 anapaestic dipody, ~ - 1 ^ - dactylic dipody, - 
 
 cc cc
 
 16 FUNDAMENTAL PRINCIPLES 5 
 
 The first two dipodies consist each of six, the second two each 
 of eight primary times, and all four are isomeric, with thesis 
 and arsis equal. 
 
 13. Each of these dipodies will hereafter in this book be 
 called a metre, in accordance with the ancient practice by which 
 an iambic, trochaic or anapaestic tetrapody was 
 called a dimeter. This grouping prevailed in melic 
 dactylic as well as in melic iambic, trochaic and anapaestic verse. 
 The fundamental colon (22) in each of these four rhythms con- 
 sisted of a dimeter, four simple feet combined in pairs. The 
 term metre may be applied in the same sense to all simple feet 
 of five or six times. Thus -o^w|-o^wisa paeonic dimeter, 
 ww--|ww-- an ionic dimeter. 
 
 14. For the dactylic ' metre ' compare the phraseology of 
 Heliodorus in Schol. Eq, 328 f. : /c<3A,a /3 , 8a/crvA.iKa Si/zeT/oa. See 
 also Aristid. 52 M., 33. 29 f. J. : fiaivovo-i Se rives avro KOI Kara 
 (rviryia.v woiowres Terpafierpa KaTaA.7^KT6/ca, and Schol. Heph. 112. 
 15 f. and 132. 14 f. But the heroic, non-melic verse in which the 
 Homeric poems are written was called a ' hexameter,' and this name, 
 which appears first in Herodotus (ev k^a^rp^ rovy i. 47 ; ev firea-i 
 tgapfTpouri vii. 220), implies monopodic division of this verse. 
 See 333. 
 
 15. The normal forms of iambic and trochaic metres are 
 w - o - and - o - w, and in both the ratio of arsis to thesis 
 is 3:3. But in each, the ratio of the parts that constitute the 
 arsis to those that constitute the thesis may be irrational, and 
 
 this arsis may appear as . Thus : o - 
 
 and **-- This variability in the form of 
 these metres is commonly expressed by writing 
 them v - vy - and - ^ - ^y . The time of the long syllable 
 that may thus be substituted for the short is irrational, 0X0705 
 (Aristox. 292 M., 20 W.), that is, it is not an exact multiple 
 of the primary time, as is the normal long, but while greater 
 than the %povo<; TT^WTO? is less than the %povo<; oYa-?7/io<?. 
 The general rhythmical effect of this metrical variation is 
 retardation. 
 
 16. Modern metricians differ in opinion as to the rhythmical 
 value and effect of this irrational syllable. Voss (Zeitmessung, 184 ff.) 
 gives it the value of a normal long syllable and measures the irrational 
 metre in dactylic or isomeric time, the trochaic metre, ^ , for
 
 6 THE VERSE OF GREEK COMEDY 17 
 
 example, as J. J*J J. 1 Apel (Metrik z , i. 372 ff.) holds that the irrational 
 syllable has the time of a short syllable, but is rendered with special 
 force, 'sforzando.' Bockh (Find. Op. I. ii. 107), believing that the 
 irrational half of the metre retains its original value of three primary 
 times, makes the ratio of the normal long to the irrational long -^ 
 to -f-, instead of ty- to -f (2:1), thereby shortening the time of the 
 normal long and lengthening that of the short syllable represented 
 by the irrational long. Westphal (Rhythmik 3 , 131 ff. ; Aristoxenus von 
 Tarent, i. 25 f.) gives the irrational half of the metre the value of 
 three and one half primary times, and makes the ratio between normal 
 long and irrational long 2 : 1 1, with actual lengthening of the primary 
 time represented by the irrational syllable. Goodell (Metric, 112) 
 regards the ratio as indeterminate, but somewhere between 2 : 1 and 
 2 : 2. These differences of opinion result from the uncertainty of 
 the meaning of the expressions pea-ov and fj,erav as used by Aristo- 
 xenus in the passage cited above (292 M., 20 W.). 
 
 17. An irrational iambic metre, by resolution of the normally 
 long syllable in its arsis, becomes - ^ ^ | w - for 1^-5 an 
 
 Resolution in i rra ^ ona l trochaic metre becomes by similar resolu- 
 
 Irrational tion - ^ | vy ^ - for - w | . The forms - ^ ^ 
 
 Metres. ^ dactyl,' i.e. resolved irrational iamb) and w w - 
 (' anapaest/ i.e. resolved irrational trochee) are legitimate. The 
 long syllable in each is irrational, and it is never resolved. 
 
 18. The irrational metres v ^ and ^ ^ , regarded 
 from the point of view of the probable origin of iambic and 
 trochaic verse (606, 608), are simply metres in which two of 
 the three forms of the primitive variable arsis of Ionian verse 
 are interchangeably retained in fixed places. 
 
 FEET IN AEOLIC VERSE 
 
 19. The feet that occur in Aeolic Verse (651 ff.) are the 
 choriamb w | ^ , the antispast ^ | w , the diiamb w | ^ , 
 and the ditrochee - ^ | - ^ , all simple feet of six primary times, 
 7ro8e9 eao-?7yu,oi. These are likewise all isomeric, the ratio between 
 the parts being 3 : 3, and belong to the yevos ta-ov. Each may 
 with convenience be called a metre. 
 
 On the probable origin of these feet see 600 ff., 651 ff. On the un- 
 developed metre that begins the polyschematist dimeter, and on the 
 semi-developed metre that begins the Glyconic, see 506. 
 
 1 This view was ardently maintained ionics, were in even time ! See his 
 by Karl Lehrs as part of his general Kleine Schriften, 449, 462. 
 doctrine that all Greek feet, including
 
 23 FUNDAMENTAL PRINCIPLES 7 
 
 20. The diiamb and the ditrochee are identical in form with 
 the iambic metre and the trochaic metre of Ionian verse. These 
 Aeolic metres, which were originally of a fixed number of times 
 and syllables, ^ - ^ - and - ^ - ^ , under the influence of the 
 iambic metre and trochaic metre gradually admitted 
 Ml st ^f f no * on ^ resolution and irrationality but even pro- 
 traction (31). It is probable that the diiamb and 
 the ditrochee were not differentiated from the iambic and the 
 trochaic metre by poets of the fifth century. See 659. 
 
 COMPOUND FEET OR COLA 
 
 21. The feet thus far considered contain from three to eight 
 primary times. The most of them are simple (5), but four are 
 
 dipodies (12). All these, in turn, were combined 
 
 C Feet lld in Iar 8 er rhythmical units that were also feet, in 
 
 the exactest sense, with balanced arsis and thesis, 
 
 and they were named feet by Greek rhythmicians, TroSe? 
 
 <rvv0erot (Aristox. 296 M., 22. 4 W. ; 298 M., .26 W.). 
 
 To these longer compound feet the name /cwXa, cola, ' membra,' 
 
 was specially applied by Greek metricians (cf. Heph. 58. 18, 
 
 63. 2), since they are constituent parts of a higher rhythmical 
 
 unit, the period. The prevailing cola in Greek comedy are 
 
 the dimeter and the trimeter. 
 
 22. A colon is a rhythmical unit capable of continuous 
 control by the voice, and therefore of limited extent, the parts 
 
 of which are unified by modulation. Its length 
 The Colon. . .,... 
 
 varies according to the nature of its division into 
 
 arsis and thesis, and the normal ratios that determine this 
 division are those that govern simple feet, namely, the isomeric 
 ratio, the diplasic, the hemiolic. According to the doctrine of 
 Aristoxenus, 1 isomeric compound feet may extend to a length 
 of sixteen primary times, diplasic to eighteen, and hemiolic to 
 twenty- five. 
 
 23. The simplest cola, within these limitations, are those 
 composed of feet that may be continuously rhythmized (Aristox. 
 300 M., 30 W.). The following occur in comedy : 
 
 1 Frg. ap. Psel. 12 (p. 85 W.). See also frg. Paris., p. 93. 15 ff. W., and Aristid. 
 35 M., 23. 7 ff. J.
 
 THE VERSE OF GREEK COMEDY 
 
 24 
 
 paeonic 5 
 iambic 6 
 
 trochaic 6 
 minor ionic 6 
 anapaestic 8 
 dactylic 8 
 
 Isomeric Cola : Dimeters. 
 
 5 thesis : arsis - w ~| - 
 
 6 arsis : thesis w ^ | 
 6 thesis : arsis _ w _ w | 
 6 arsis : thesis ^ ^ - 
 
 8 arsis : thesis ~ ~ 
 
 8 thesis : arsis - ~ - 
 
 Diplasic Cola: Trimeters. 
 
 paeonic 10: 5 thesis : arsis - ^ ~ - v> 
 
 iambic 6:12 arsis : thesis w w j s 
 
 trochaic 12: 6 thesis : arsis w ^ - 
 
 minor ionic 6:12 arsis : thesis ^ ^ k 
 
 Mixed Cola. 
 
 On the anapaestic metre and the dactylic metre developed as cola, 
 see 276 and 337. 
 
 24. A hemiolic paeonic colon of twenty-five primary times, 
 - v ~-w~-w~|-wv~-v^~, might occur under the limita- 
 tions of length set by the rhythmicians, but it is rejected by 
 Heliodorus. See 435. 
 
 25. Cola of more complicated structure also occur in comedy. 
 
 These are composed of different feet and, like 
 those consisting continuously of the same foot, are 
 dimeters and trimeters. 
 
 For logaoedic cola, in which iambs are combined with anapaests 
 and trochees with dactyls, see 375 ff. For Aeolic cola, in which the 
 choriamb, antispast, diiamb and ditrochee are variously combined, 
 see 506 ff. For cola in prosodiac and enoplic rhythm see 475 ff., and 
 for the dochmius, 458 ff. 
 
 26. Tripodies and pentapodies, consisting of simple feet of 
 three or four primary times, might occur within the limits of 
 length allowed in compound feet (22), but they are extremely 
 rare in comedy : 
 
 Tripodies (diplasic}. Pentapodies (hemiolic}. 
 
 iambic ^ - ^ - ^ - w _ w _^_^_ w _ 68, 393 
 
 trochaic - ^ - ^ - ^ _^_ w _ w _^_ w 203, 395 
 
 anapaestic ~ - ~ ^_^_____^_ 277, 394 
 
 dactylic - ~ - ~ - ~ - ~ - ~ - ~ ~ 338, 396 
 
 1 The sign uu has exactly the value to indicate that w w and are convertible 
 of <-> w, which are given this form simply in certain simple feet.
 
 28 FUNDAMENTAL PRINCIPLES 9 
 
 It seems probable, from the point of view of the origin of Ionian 
 Verse, that these cola, evolved in the process of phrase-building, are 
 to be regarded, when they occur, as protracted (31) catalectic dimeters 
 and trimeters, or as brachycatalectic (35) dimeters and trimeters. 
 They will be separately considered, as they hereafter occur, under 
 each form of verse. 
 
 27. The thesis of a simple foot in Ionian verse is never 
 shorter than the arsis, generally it is longer (8). It seems 
 
 probable that it was rarely reduced, 1 whereas the 
 
 tnt b Thesis. f ars ^ s was variously affected : it might be shortened 
 
 (388, 389), or omitted (31 f.), or made irrational 
 
 (15). The thesis of a foot, therefore, is its more constant and 
 
 prominent part; it is the thesis that gives stability to the 
 
 foot in the processes, sometimes complex, of rhythmization in 
 
 Greek. 2 
 
 28. The thesis, then, of a simple foot, that part which 
 marks and fixes its rhythm, is metrically as well as functionally 
 distinguished in Ionian verse from the arsis. The permanence 
 of the thesis and the instability of the arsis are fundamental 
 distinctions. This clearly appears in the gradual evolution, 
 through logaoedic forms, of iambic and anapaestic cola from the 
 primitive dimeter (603 ff.). Was the thesis otherwise dis- 
 tinguished from the arsis ? In the Germanic languages it is 
 marked by heavier stress, and it is generally assumed that the 
 
 theses pf simple feet in Greek were similarly marked 
 Greek Poetry ^7 intensive utterance. But this assumption of an 
 
 ictus in Greek poetry is unsupported by ancient 
 evidence. Aristoxenus and Aristides recognize the division of 
 the foot into arsis and thesis, accompanied respectively by up- 
 beat and down-beat of hand or foot, but neither of them, nor 
 any other ancient authority, even intimates that the thesis was 
 stressed. Yet Aristoxenus (296 ff. M., 22-29 W.), followed 
 
 1 The only instances recognized in dactyl recorded in 390. These views 
 
 this book are iambic and trochaic metres are considered in 391. 
 
 of the form w- w and wu- v (75, a "The series of Otaei? was in the 
 
 228), but it is to be observed that the whole rhythmic design a sort of central 
 
 thesis of the simple foot that is shortened thread, a firmer pattern beside and 
 
 in each of these metres is a part of the along which are grouped the more varied 
 
 arsis of the metre. Some scholars hold 4/xrs. It is the latter chiefly that 
 
 that the thesis of a simple foot may provide the needful relief from monotony, 
 
 be shortened on occasion. See Bockh's from an arithmetical precision that would 
 
 theory of the irrational metre stated in be machine-like and repellent," Goodell, 
 
 16, and various views on the ' cyclic ' Metric, 174.
 
 10 THE VEESE OF GREEK COMEDY 29 
 
 by Aristides (34 M., 22. 28 ff. J. 1 ), specifies and defines with 
 great particularity seven ways in which feet differ, and 
 ancient definitions of rhythm and foot are numerous. The 
 inference seems inevitable, whatever our prepossessions may be, 
 that in Greek verse the thesis was not distinguished from the 
 arsis by variation of stress. 2 
 
 29. Cola in which the arsis precedes the thesis, and the 
 voice of the singer advances from the less to the more important 
 
 Ascending and P art ^ tne ^^ as * u i am ^ic and anapaestic verse, 
 Descending were the first to take form in the development of 
 Rhythm. i on j an rhythms (604 ff.). These cola, to adopt 
 a convenient modern form of statement, are in ascending or 
 rising rhythm ; those in which this relation is reversed, as in 
 trochaic and dactylic verse, in descending or falling rhythm 
 (608 ff.). In Greek, it must be noted, these terms do not carry 
 the connotation of stress and pitch. The distinction of ascending 
 and descending rhythm is important and is an essential part of 
 Greek rhythmical theory. Aristoxenus makes it (298, 300 M., 
 22, 29 W.) in noting the antithetic relation of feet composed 
 of the same primary times, but with arsis and thesis reversed, 
 as iamb and trochee. Aristides (34 M., 23. 4 ff. J.), noting the 
 same relation, speaks of thesis and arsis as the ' greater ' and 
 the ' less ' foot-time : orav 8vo TroSwv Xa^avo/jbevrnv 6 fjuev e^y 
 TOV pei^ova ^povov Kadrjjovfj^evov, eiro^evov Se rov eXdrrova, 6 Be 
 evavrL&s. The same distinction is marked .in the names of the 
 two ionics, 6 anro pel^ovos ifovtrcos, 6 air eXa<rcroi/o9 IWVLKOS. 
 Modern poetry maintains it, but modern music, a highly developed 
 art, had to abandon it, and rigidly begins each bar with a stressed 
 thesis. This was inevitable, to prevent intolerable complications, 
 but it is unfortunate that Hermann should have followed the 
 practice of modern music in treating Greek and Latin verse. 
 His theory of ' anacrusis,' applied to periods in ascending rhythm, 
 obscures real differences. 
 
 30. It seems probable that the conception of thesis and arsis 
 
 1 See Caesar, Grundziige der Rhythmik, L'Origine, 53 ff. ; Bennett and 
 105 ff. Hendrickson in the American Journal 
 
 2 The assumption of a stress-ictus in of Philology, xix. 361 ff., xx. 198 ff., 
 Greek poetry is very general, but it has 412 ff. ; Schultz, Beitrage, 314 ff. ; 
 not gone unchallenged. Protest against Goodell, Metric, 155 ff. See also 
 it was made long ago by Capperonnier Westphal, Rhythmik 3 , 102 ff. The 
 and Madvig, and it has recently been discussion has been spirited, but it has 
 vigorously discussed. See Kawczynski, not lacked humour.
 
 32 FUNDAMENTAL PRINCIPLES 11 
 
 as ftelfov p$>oi>o9 and \d<rcra)v xpovos did not originally exist 
 in Aeolic verse, which could combine feet as diverse 
 'as the diiamb and ditrochee in the same colon, as 
 often in the Glyconic : - ^ - ^ w - ^ - , and in which the 
 thesis and arsis of the other two feet exactly but antithetically 
 balance one another within each foot : - ^ \ ^ - and ^ | - v/ . 
 Here the distinction of ascending and descending rhythm, it would 
 seem, must originally have been excluded by the perfect balance 
 that characterized the verse, but with the general elimination of 
 original differences between Ionian and Aeolic rhythm, due to 
 the partial lonianizing of Aeolic cola (20), it seems probable 
 that the rhythm of Aeolic verse ultimately came to be regarded 
 as ascending. This is indicated by the great preponderance of 
 diiambs over ditrochees in the fifth century, well illustrated in the 
 odes, for example, of Aristophanes. 1 
 
 31. Some cola are metrically defective. In melic poetry a 
 colon may lack one or more syllables necessary to satisfy the rhythm. 
 Thus we meet such iambic and trochaic cola as ^ - ^ - 
 
 w and w w w, the dot indicating the lack- 
 ing syllable that is demanded by the rhythm. Aristides (40 f. M., 
 27. 4 ff. J.) calls a time unrepresented in the words of the 
 song, but necessary to complete the rhythm, void. 
 
 XPOVOS KV<SS. T ? , , ' /( >\ 
 
 It is, he says, a %povos /cevos ( inane tempus ) : 
 Kvb<> fjv ovv ecm %povos dvev (f>0oyyov 717)09 dvaTrXr/pcoo'iv 
 rov pvQfiov, \eififjM Se ev pv0/j,<0 %povos Kevbs e\a^terT09, irpoa'- 
 Oeo-is Be %p6vo<; fiaicpos eXa^to-rov Si7T\a<ri,a)v. The \ei/j,/j,a 
 had the value of one primary time, the Trpoadeais of two. This 
 unrepresented rhythmical time was made effective in two ways. 
 The first is seen in the process called TOW/I, ' protraction,' the 
 second in catalexis and acephalization. The time, in protraction, 
 
 was taken up by the long svllable adjacent to it in 
 Protraction. i * mu- i n ui 
 
 the same simple foot. This long syllable was 
 
 thereby lengthened to a triseme or tetraseme syllable (3). By 
 this process the ^01/09 tcevos became a factor in the melody. 
 
 32. Protraction occurs chiefly in iambic (72 ff.) and trochaic 
 Chiefly in co * a (^7 ff.), occasionally in logaoedic cola (380, 
 
 Iambic and 384). In all these the ^01/09 ieev6<; is the arsis 
 Trochaic Cola. of the s i mp ] e f ootj a pr i mar y time. Either simple 
 
 foot of an iambic or trochaic metre may be protracted, but 
 
 1 See the Editor's ' Logaoedic ' Metre, 34 ff.
 
 12 THE VERSE OF GREEK COMEDY 33 
 
 protraction is much more frequent in the arsis of the metre 
 than in its thesis (12), the common forms being . - w - and 
 - ^ - . On the metres w ~- w - and - ^ ~- w see 75, 
 227 f., 620. Protraction does not occur in melic anapaestic 
 and dactylic verse in comedy, nor in paeonic, dochmiac, or 
 prosodiac and enoplic. In minor ionic verse, the %povo<; KGVOS 
 is the last half of the thesis, a diseme time (3). On protrac- 
 tion in Aeolic verse, chiefly in diiambic and ditrochaic cola, see 
 516 ff. 
 
 33. If the xpovos /cevos that occurs in the last simple foot 
 of the final colon of a period is not taken up by the long 
 
 syllable adjacent to it in that foot (31) but is 
 Catalexia. J ,\. . ,. , , , , . 
 
 suppressed, the colon is called catalectic, Karak^K- 
 
 rtKov, ' incomplete.' Thus ^ - w - ^ - ^ is a catalectic 
 iambic dimeter, vy ^ w ^ a catalectic trochaic dimeter. 
 The corresponding complete dimeters, ^ - ^ - ^ - w - and 
 v^ w ^ ^, are called acatalectic. Hephaestion (13. 
 6 ff.) defines catalectic cola as o<ra fiefAeio/j,evov e%et rbv 
 reXevralov TroSa, Aristides (50 M., 32. 27 J.) as ocra 
 a<f>aipei rov re\evraLov 7roSo9 cre/jLVorrjTos eveicev rrj 
 Kara\rj^ea><j. The form of the simple foot assumed in catalexis 
 is that which is normal at the close of an acatalectic colon : 
 
 iamb ^ - , trochee - ^ , anapaest , dactyl , minor ionic 
 
 ^ w , enoplius ^ ^ , paeon - ^ -, choriamb - w ^ -. 
 
 A final pause that normally is equal to the xpovos /cevos of the 
 rhythm in which the colon is composed follows the catalectic 
 
 metre and completes the rhythm of the period before 
 Fmal Pause. . . * J . . r y , 
 
 the singing of the next period begins. Its purpose 
 
 was to ease the strain upon the voices of the singers. Four 
 pauses are recorded and each has its own sign. A pause of one 
 time is indicated by A , one of two times by TT , of three by "A, 
 of four by X* (Bellermann, Anon, da raws. 102). The first of 
 these is the initial letter of the word Xet/i/*a, the second, third 
 and fourth are the same character with the signs respectively 
 of the long, triseme and tetraseme syllable incumbent (3). Since 
 the final long syllable of a period or verse may be long or 
 short at pleasure (43), the length of the pause may vary in 
 two equal cola in the same rhythm, conformably to the actual 
 length of the final syllable :
 
 35 FUNDAMENTAL PRINCIPLES 13 
 
 iambic ^ v^ ^ ^ 
 
 w _^_ w _ w _ ^ - ^ ( A or T\ ) 66, 67 
 
 anapaestic ~ ~ - ^ ( 7T or X" ) 272 
 
 minor ionic ^ w ww ^^^(Tor^") 418 
 
 trochaic - ^ - ^ - w ^ 
 
 - v, - ^ -^-^ -^^(AOIA) 201, 202 
 
 dactylic - ~ - ~ ^(TTor*) 335 
 
 paeonic - ^ ~ - ^ (A or ~A ) 437 
 
 enoplic - ^ ^ - ^^^(^orX) 477 
 
 polyschematist oooo -w^(Aor"A") 508 
 
 Glyconic oo-w v/-^(Aor~~) 511 
 
 34. The length of the normal pause is easily determined in most 
 rhythms. In iambic and trochaic rhythm and in the Glyconic, it 
 is that of a primary time ; in anapaestic, dactylic, enoplic and minor 
 ionic rhythm, that of a diseme. The evidence for determining the 
 facts is not abundant in case of the choriamb ( ^ ^ ) and paeonic 
 (- v/ -). Hephaestion (29. 7 ff.) states that the proper catalectic 
 form of the choriamb is ^ ^ or ^ . In the fragment of the 
 rhythmical treatise found in Oxyrhynchus and edited by Grenfell and 
 Hunt (Oxyr. Papyri, i. 16, col. iii.) Aristoxenus vouches for the form 
 
 w (l_ j ) in protracted ' choriambic ' verse, that is, the XP VO< > 
 Kcvos in this verse has the value of a primary time. The legitimate 
 conclusion from these facts is that the choriamb in catalexis becomes 
 
 ^/ . The catalectic form of the paeon, which rarely occurs, 
 is determined analogously. The two examples of catalectic paeonic 
 
 periods quoted by Hephaestion (42. 15 ff.) end in (for ^ ). 
 
 The only instance of a catalectic paeonic colon in Aristophanes (Av. 
 247), the chief exemplar of this sort of verse, ends in v/ . We may 
 fairly conclude that the x^oj/os KCVOS in paeonic verse had the value 
 of a primary time and that the paeon in catalexis became . 
 The final syllable, then, is long in catalectic cola in all rhythms. The 
 following pause is lengthened one primary time, if a short syllable is 
 substituted for this normal long syllable. 
 
 On the current theory of iambic and anapaestic catalexis, see 779 ff. 
 
 35. The final colon of a period may lack not simply the 
 KCVOS of its final simple foot but the whole of that foot. 
 
 It is then said to be brachycatalectic. 1 The pause 
 Brachycatalexis. ,., I_A *v i. * j- 
 
 which completes the rhythm is of corresponding 
 
 length. Thus in apparent tripodies and pentapodies : 
 
 1 Heph. 13. 18 ff. ; Arist 50 M., 32. The Ithyphallic is a protracted, not a 
 29 J. Hephaestion's application of the brachycatalectic dimeter. See 203. 
 principle (19. 5 ff.) needs correction.
 
 14 THE VERSE OF GREEK COMEDY 36 
 
 anapaestic ~ - ~ - ~ ^ ("A or A A" ) 277 
 
 logaoedic ~ - ~ - ^ - ^ ^ 
 
 w _ w _ ^ _ w ( x or X) 379 
 
 dactylic -~-~ -* (X or A*) 338 
 
 On iambic and trochaic cola that in form apparently are tripodies 
 and pentapodies, see 68, 203. On a form of the choriamb in Aeolic 
 verse that probably is brachycatalectic, see 509. 
 
 36. The length of brachycatalectic cola may in turn be 
 reduced, a successively shortened dimeter finally becoming a 
 
 penthemimer. Greek metricians regarded such a 
 form from the point of view of the following form 
 and spoke of its final syllable as a syllable in excess, but Aristides 
 clearly recognizes the true relation of such a ' hypercatalectic ' 
 colon to the brachycatalectic form that precedes. 1 The term hyper- 
 catalectic is established by usage and should be retained, but it 
 should not be allowed to obscure the real process that it designates. 
 
 37. The relation of the various successively diminished 
 (' incomplete ') forms of the dimeter may be illustrated by a 
 trochaic series : 
 
 acatalectic dimeter w ^ ^ w complete 
 
 catalectic dimeter - ^ - ^ - ^ ^ deficient normally A 
 
 brachycatalectic dimeter ^ ^ ^ /r 
 
 hypercatalectic monometer - v ^ * V 
 
 acatalectic monometer ^ ^ "A" X 
 
 Acatalectic dimeters are the prevailing cola in all Greek 
 rhythms, and, with a few exceptions, all these dimeters admit 
 catalexis. Brachycatalectic dimeters are relatively rare. It is 
 possible that in given instances they were rhythmized by the 
 poet, in setting his song to music, not as dimeters but as tripodies. 
 As to hypercatalectic cola, which are extremely rare, the important 
 fact to note is that they sustain catalectic relation to the ante- 
 cedent brachycatalectic forms. They may have been rhythmized 
 sometimes as tripodies, at other times, with a longer final pause, 
 as dimeters. We are unfortunately left uninformed on this point. 
 No satisfactory proof can be adduced that they were in some 
 manner compressed in rhythmization so that their rhythmical 
 value was that of the succeeding form. See 488. 
 
 1 Aristid. 50 M., 32. 29 ff. J. See also Heph. 14. 4 ff.
 
 41 FUNDAMENTAL PRINCIPLES 15 
 
 The reduced dimeters and trimeters will be separately considered 
 under each rhythm in the following chapters. 
 
 38. Syllables may be suppressed not only at the close but 
 also at the beginning of a rhythmical period, with the same 
 
 purpose of easing the strain upon the voices of the 
 Acephalization. \ . n f ._*** TU 
 
 singers. This process is called acephalization. The 
 
 times necessary to complete the rhythm are %p6voi icevol (31). 
 Acephalization is rare in the simple lyrics of Aristophanes, but 
 it often occurs in songs of more elaborate structure in other poets. 1 
 
 PERIODS 
 
 39. Two, three or four cola may be combined to form a sub- 
 ordinate period. The bond of union is the rhythm, which is so 
 
 regulated that the combination of cola is felt to be 
 a whole, with beginning and close or beginning, 
 middle and close, as the name, TrepioSos, implies. 
 This harmonious union of phrases is easily rendered by the singer 
 and easily apprehended as a whole by the hearer. 2 A single 
 colon may, with special effect, constitute a subordinate period, 
 but this is not common. It is assumed in this book that the 
 greatest length of the subordinate period is eight metres. 
 
 40. Combinations occur of more than four closely connected 
 melic cola, all in the same rhythm. To these the convenient 
 
 name hypermeter has been given. The melic 
 Hypermeter. 
 
 hypermeter is, in fact, an extended subordinate 
 
 period, a series of cola continuously combined that is so long as 
 to entail some loss of the sense of harmonious union that 
 characterizes the subordinate period. Some melic hypermeters 
 are of great length. Cf. Ach. 266-78 (90), Av. 209-22 (285). 
 Melic hypermeters occur in Aristophanes in nearly all the varied 
 rhythms of comedy, iambic, trochaic, anapaestic, dactylic, ionic, 
 paeonic and Aeolic. 
 
 41. Subordinate periods and melic hypermeters are designated 
 in this book by the lower-case letters abcde. 
 
 On subordinate periods and melic hypermeters certified by Helio- 
 dorus, see 698. 
 
 1 See the Editor's Origin and Form of of Aristotle in his Rhetoric (in. ir. 3-7) 
 Aeolic Verse, 300 if. See also 608. on the rhetorical period. 
 
 2 Compare the instructive statements
 
 16 THE VERSE OF GREEK COMEDY 42 
 
 42. The limitation of the length of the subordinate period to 
 eight metres arranged in three or four cola is adopted in this book as 
 a working hypothesis. Trustworthy ancient evidence on the limit of 
 length of the subordinate period is lacking. The fact, indeed, may 
 never have been consciously determined, the subordinate period 
 gradually merging into the hypermeter. For example, the decameter 
 of five cola that constitutes Ran. 384-8 (89) may have been felt to 
 possess the essential unity of a period. 
 
 43. The final colon of a subordinate period or melic hyper- 
 meter is generally indicated by one of the forms of catalexis (33, 
 
 35, 36), but it may be signified in other ways. The 
 ^ aw hlds i n Greek poetry that a short syllable may 
 be substituted for a final long syllable in the last 
 colon of a subordinate period or melic hypermeter. 1 The result 
 of this substitution is a pause of the value of a primary time that 
 is necessary to complete the rhythm. This pause serves as one 
 of the marks of the close of the subordinate period or melic 
 hypermeter, especially in paeonic verse, which avoids catalexis, 
 and it is sometimes accompanied in the odes of Aristophanes by 
 change of rhythm or speaker, or of both, in the following period. 
 Hiatus also, caused by the concurrence of a vowel sound at the 
 end of a word with a vowel sound at the beginning of the 
 following word, may mark the close of a subordinate period or 
 melic hypermeter, and the phenomenon is precisely 
 of the nature of that just described. A long vowel 
 or diphthong, at the end of a period or hypermeter, where the 
 rhythm demands a long syllable, is shortened before a vowel or 
 diphthong at the beginning of the following period, with a conse- 
 quent pause of the value of a primary time. Hiatus is frequent 
 in paeonic verse, and it may be accompanied in comedy by 
 change of rhythm or speaker, or of both. The close of a 
 subordinate period may be indicated also simply by change of 
 rhythm (735). 
 
 44. Some subordinate periods and melic hypermeters lack the 
 indications mentioned (775), a period following in the same 
 rhythm without an intervening pause. But no period or hyper- 
 meter ends within a word. Their constituent cola, on the other 
 
 1 Heph. (14, 15 ff.) defines the <rv\\a.ffi that a long syllable was ever substituted 
 
 d8td<opos ('syllaba anceps') broadly, and in Greek for a normal short in this posi- 
 
 his bald statement of facts has some- tion. The long syllable that may close 
 
 times been misinterpreted. It should an acatalectic trochaic colon is the 
 
 be observed that no proof can be adduced irrational syllable.
 
 51 FUNDAMENTAL PRINCIPLES 17 
 
 hand, frequently end in this manner, indicated by hyphena- 
 tion in writing. The close connexion of the cola 
 
 Synaphea. - . . 
 
 that constitute a subordinate penod or hypermeter 
 is called awdfaia, synaphea. 
 
 45. Two or more subordinate periods, or one or more sub- 
 ordinate periods and a hypermeter, may be combined to constitute 
 
 an intermediate period. This sometimes, but 
 rarely, consists of a single hypermeter. Its close is 
 generally marked in Aristophanes by a rhetorical 
 
 pause, which is indicated in the text by punctuation (734). 
 
 Heliodorus is authority for the intermediate period. See 728. 
 
 Its recognition is important in analysis. 
 
 46. Intermediate periods are indicated in this book by the 
 small capital letters ABODE. 
 
 47. Subordinate periods and hypermeters may be united to 
 form a systematic period. This is generally simple in comedy 
 
 and consists of a limited number of elements. 
 
 Systematic jj. mav ev en consist of a single subordinate 
 Fenod. J 
 
 period or hypermeter (773). If the structure of 
 
 the systematic period is complex, the period is broken up into 
 intermediate periods. A systematic period that contains a hyper- 
 meter may with convenience be called a hypermetrical period. 
 
 48. Systematic periods are indicated in this book by the 
 capital letters ABCDEF. 
 
 On systematic periods certified by Heliodorus see 695. 
 
 49. Heliodorus designates all the periods that have been mentioned, 
 including hypermeters, simply as TrcpioSoi, leaving it to his reader to 
 differentiate them. 
 
 50. An intermediate or systematic period may be stichic, and 
 
 consist solely of melic tetrameters or trimeters. 
 Stichic Period. . . , * , 
 
 In Aristophanes, not more than two different sorts 
 
 of verse may be combined in the same stichic period. See 778. 
 
 On the structure of systematic and intermediate periods, an 
 important but difficult subject, see 720 ff. 
 
 51. The music to which a systematic period was sung might 
 be repeated with a new stanza of the same metrical form, with 
 
 only such variations as resulted from allowed 
 correspondences of variant syllables. The first 
 stanza was then called the strophe and the second 
 the antistrophe, and the two taken together a monostrophic dyad. 
 
 C
 
 18 THE VEKSE OF GREEK COMEDY 52 
 
 Three such stanzas constituted a monostrophic triad, four a tetrad, 
 six a hexad, eight an octad. This subject is fully treated in 701. 
 
 The correspondence of strophe and antistrophe is generally close. 
 Sometimes, however, the poet deliberately changes the rhythm and 
 melody of a subordinate period in the antistrophe. Cf. Av. 333-5 
 -349-51 l (473), a dochmiac pentameter in correspondence with a 
 paeonic decameter; Pax 950-3 ~ 1033-6 (583), a diiambic octameter 
 in correspondence with a diiambo-Gly conic octameter. Sometimes two 
 subordinate periods, although in the same rhythm, are not of the same 
 length. We must infer in these cases, not a lacuna, but a lack of 
 correspondence that was deliberate, with change in the structure of 
 the systematic or intermediate period of which the subordinate period 
 is a part, and slight change of melody. Thus Ach. 937-9 ~ 948-51 
 (86), iambic heptameter - iambic octameter; Ran. 897-994 (214), 
 trochaic trimeter - dimeter ; Ran. 536-8-592 f. (217), trochaic 
 hexameter - pentameter. 
 
 52. Two systematic periods of variant metrical constitution 
 
 may be united to form a pericope, jrepi/coir'n. AB. 
 Pericope. ' . , r , * , , ' ,. 
 
 A pericope may be repeated and the two double- 
 stanzas stand in antistrophic relation, AB = AB. See 705. 
 
 53. A systematic period may stand alone without equivalent. 
 
 Some of these non -antistrophic periods were melic, 
 Non-a^strophic o t ners were rendered melodramatically or in re- 
 citative (59). See 706 ff. 
 
 54. Three systematic periods may be combined, of which 
 
 two are metrically equal. The order of arrange- 
 Triadic Groups. L _f 
 
 ment may be AAB, epodic, ABB, proodic, or ABA, 
 
 mesodic. See 715 ff. 
 
 NON-MELIC VERSES AND HYPERMETERS 
 
 55. Certain tetrameters, trimeters and hypermeters occur in 
 the melic periods described in the preceding sections (39 ff.) that 
 were found to be suitable in movement for continuous non- 
 melic rendering. These gradually (59) came to be employed 
 not only in song, but also as recitative, melodramatic and spoken 
 verse. Thus the ' heroic line ' in dactylic rhythm came into use, 
 iambic, trochaic and anapaestic tetrameters, the iambic trimeter, 
 and especially in the drama iambic, trochaic and anapaestic 
 hypermeters. 
 
 1 The sign ~ indicates correspondence, as = indicates equivalence.
 
 58 FUNDAMENTAL PRINCIPLES 19 
 
 56. The dactylic ' hexameter,' the tetrameters and the trimeter 
 occupied each the space of a line in writing and were named 
 *> verses. Hephaestion (62. 16 f.), defining 
 
 the length of the o-Ti'^09, says that it contains not 
 less than three nor more than four syzygies or dipodies. The 
 longest ' line ' in comedy is the anapaestic tetrameter, the 
 shortest is the iambic trimeter. The iambic trimeter does not 
 exceed the limit of length allowed the colon in diplasic rhythm 
 (22) ; the other verses mentioned are all dicolic, but each was 
 felt to be a well-defined whole, and the spoken iambic trimeter 
 was regarded as a 'verse,' no less than iambic, trochaic and 
 anapaestic tetrameters and the dactylic 'hexameter.' To 
 facilitate rendering, a slight pause marked by the end of a word 
 might be introduced within the verse. If this pause is coincident 
 with the close of a colon, as regularly in tetrameters, the 
 
 dividing of the verse at this point is named 
 Diaeresis and di aeres i g) Staipea-^ ; if it falls within a colon, as 
 
 generally in the iambic trimeter and in the dactylic 
 ' hexameter,' the division is called caesura, TO/M;. 
 
 57. The non-melic hypermeter l is a combination of closely 
 connected monorrhythmic dimeters and trimeters in iambic and 
 
 trochaic rhythm, of dimeters and monometers in 
 Hypermeter anapaestic rhythm. Its cola are rhythmically 
 connected, and it is in fact a single line, overlong 
 for comfortable rendering. The trochaic hypermeters of the 
 parabasis were, therefore, called ' chokers ' (668). Each dimeter, 
 trimeter and monometer had its own modulation as a colon ; but 
 these cola were connected by synaphea (44), and there can have 
 been no appreciable pause between them. They were united, 
 therefore, exactly after the manner of the cola composing the 
 subordinate period or melic hypermeter. In this particular the 
 recitative or melodramatic hypermeter was in marked contrast 
 with the o-r/^09, which was rendered not only with a final pause 
 but also with one or more interior pauses. 
 
 58. Heliodorus designates Pax 974 ff. (974-92, 993-1015) as 
 ' two periods,' applying the same name he uses for the melic hyper- 
 meter (698) to each of these recitative trochaic hypermeters. Cf. 
 
 1 The word is used by Hepbaestion exceeds the limit of length he allows the 
 (18, 19), who applies the epithet virtp- art\os (56). 
 perpov to the trochaic pentameter, which
 
 20 THE VERSE OF GREEK COMEDY 59 
 
 Schol. Pax 974. He uses the name irepioSos also in application to a 
 non-melic anapaestic hypermeter, whatever its length, that continues 
 without catalexis to its close. See Schol. Eq. 824-35, Pax 82-101, 
 154-72, 1320-8. 
 
 On non-melic hypenneters in Aristophanes see 710 ff. 
 
 MODES OF RENDERING 
 
 59. There were probably four modes of rendering Greek 
 
 comic verse : the melic, the recitative, the melodramatic, and the 
 
 spoken. In the earliest times Greek poetry was 
 
 Melic - *i. c ! a 4. vu 
 
 sung to the accompaniment ot lyre or nute, either 
 by a single voice or by a chorus. Thus also in comedy, some 
 songs are monodies, duos or trios, others are choruses. From 
 song other modes of rendering verse originated. The singing 
 voice was modified, but this modulated recita- 
 tion of the verse was still accompanied by a 
 musical instrument. We are accustomed to designate this 
 mode as recitative. In further development towards simple 
 
 speech Archilochus, on the authority of Plutarch 
 Melodramatic. r . . . * , . 
 
 (de Mus. 1141), invented melodramatic rendering, 
 
 Trapa/caTaXoyij, in which it was the speaking voice that was 
 sustained by the tones of the instrument. Finally 
 comes plain speech, o|rt\^ Xeft9, declamation of 
 
 verse without accompaniment. 
 
 60. Melodramatic rendering is denied by some scholars, who 
 identify TrapaKaraXoy^ with recitative and regard it as the sole 
 variation in passing from song to simple declamation. See Christ's 
 Parakataloge, 166 if. Zielinski in his Gliederung, 313 f., differentiates 
 TrapaKaraXoyri as recitative with accompaniment from KaraAoy^, 
 melodramatic rendering. He recognizes also, 305 f., recitative with- 
 out accompaniment, secco-recitative. 
 
 For a discussion of the modes in which the different parts of a 
 comedy were rendered, see 803 ff. 
 
 STRUCTURE OF COMEDY 
 
 61. A comedy of Aristophanes, like a tragedy of the same 
 period, begins with a prologue and ends with an exode. A 
 parode, in which the chorus enters, immediately follows the 
 prologue. Here strict resemblance between comedy and
 
 61 FUNDAMENTAL PRINCIPLES 21 
 
 tragedy ends. About the middle of a comedy occurs a division 
 called the parabasis in which, as the name implies, 
 the poet comes on and addresses the audience. He 
 does not appear in person, but is represented by the leaders of 
 the two half-choruses. A parabasis, when complete, consists of 
 seven parts. The poet may come on a second time in an 
 additional parabasis found in the second half of the play. A 
 singular and interesting division, called the debate, 
 is found in most of the comedies of Aristophanes ; 
 some of them, indeed, have two. Two actors appear in this and 
 discuss, as in a court of law, the main theme of the play. The 
 chorus presides and renders the verdict. The debate occurs 
 regularly in the first half of the play and when complete consists 
 of nine parts. Another division which, like the parabasis and 
 the debate, is wholly peculiar to comedy is the syzygy, 
 thus named because it consists regularly of four 
 balanced parts, a song and a spoken part united with a 
 second song and a second spoken part. A syzygy may occur 
 in either half of the play. The action of the play is at a stand- 
 still during the debate and the parabasis, and a division, called 
 scene, was gradually developed, the purpose of 
 which was chiefly to adjust these larger divisions 
 to the action. It is normally a spoken part and generally 
 occurs, as would be expected, in the first half of the play. The 
 action of the second half of the play is carried forward mainly 
 in a division consisting of episode and stasimon, which in their 
 form and function resemble the corresponding parts of tragedy. 
 
 This subject is treated at length in 665 fif., and an outline of the 
 structure of each of the eleven plays will be found in the " Table of 
 Structure and Khythms," at the end of this book.
 
 CHAPTER II 
 IAMBIC VERSE 
 
 62. The fundamental colon of iambic verse is a dimeter 
 composed of two metres that consist each of two simple feet 
 (12,13): 
 
 rtves iro6' oi'Se KCU -rroQev ; \j w \j \j Av. 408 
 
 An iambic dimeter normally consists of twelve primary times and 
 eight syllables. All iambic verse is in ascending rhythm. 
 
 63. The arsis of each metre may be irrational : 
 
 KOI Aafj,d\(av UTraAAayeis -- \^ w w Ach. 270 
 cis fKK\ricria.v w w -- w EC. 490 
 dyi/<3v 6pyi<av -- w -- w Ban. 384 
 
 Irrational metres are extremely common in all forms of iambic 
 verse in comedy (186 f.). 
 
 64. The thesis of each iamb may be resolved : 
 
 o irfpnrovrjpos 'Aprefuav v ~w ^ w Ach. 850 
 
 b <f)i\-r)Sias w ^ >^ \- w Pi. 311 
 
 i re Trpo(3aTi<av -- w v^^ ^ PI. 293 
 
 fjLe\7rov(ra KOI rrjv Too<f>6pov -- w -- wx~ T/i. 970 
 
 crrvyepos eyw. /xoyepos cytu ^<~w ^v^ v ^lc^. 1208 
 
 65. If the normally long syllable in the arsis of an irrational 
 metre is resolved, the arsis becomes a ' dactyl ' (17) : 
 
 
 ev <TKOT< Aa/8oi v~ w w w .Ae/i. 1168 f. 
 
 66. The dimeter, by suppression of the arsis of its final iamb, 
 becomes catalectic (33) : 
 
 22
 
 69 IAMBIC VEESE 2.3 
 
 Si* (XTTCWV o8v/3Ta ^> \^ \j-\j Ach. 1226 
 
 -- ^ ^ -- .4c7i. 1017 
 
 i ~ w ~ v -- Pax 947 
 
 The final metre, if catalectic, is never irrational, nor is either of 
 its long syllables ever resolved, but its last syllable may be short 
 (33). 
 
 67. The second colon of iambic verse is the trimeter. It 
 normally consists of eighteen times and twelve syllables, and its 
 metres admit the varieties of form found in the dimeter, but the 
 thesis of its final iamb is never resolved : 
 
 irtOov TTidov AoyoKTt, fj,r)B' a<f>p(t)v yevy 
 
 v _ w _ w _ w _ ^ _ w _ Vesp. 729 
 TI 8' ao-vris fv TW <f>\l/d\(p K/oe/x^a-erai 
 
 -- w - -- ^, - w-w- Ach. 279 
 fj.aX6a.Kios & \pv(ri<a 
 
 w-w- w-w- -- w- Ach. 1200 
 
 Tjp 8o/XOlS, ^X^P^ P^-O-ftfJ 
 
 w^^v^ -- w -- w Nub. 1161 
 a raSe ye Kpvepa. iradea- raAas eyw 
 
 w~ v ~ vv^w^ w-w- ^cA,. 1191 
 
 a>s TOUS Kpira<s p.t tepeTf irov CTTIV 
 
 r. 1224 
 
 as rt 
 
 -- ^ -- ^ w -- J2an. 409 
 yap Ka.T6cr\i<r<ji) (J*v ri yeAwrt 
 
 v ^_ v ^_ ^ wv ^ w _^ Ran. 403 
 iro\vrip.r)T, /ieAos copras 
 
 w w ^^ w ^^ w Ran. 398 
 
 The trimeter is much rarer in melic verse than the dimeter. 
 
 68. The iambic tripody (w-w-w ) and pentapody 
 (v/ w v/-w-w-) do not occur in comedy (26). Certain 
 apparent tripodies found in simplified logaoedic verse, are pro- 
 tracted (74) catalectic dimeters, the single pentapody that occurs 
 is a protracted catalectic trimeter (393). 
 
 69. The equivalents of the iamb in the first half of the iambic 
 metre are ^ ~, -- and -~ (11, 15, 17); in the second half 
 the equivalent is ^ ~. These forms, in their respective places, 
 and also full and protracted (72 ff.) metres, are interchangeable 
 with one another in strophe and antistrophe and in two 
 corresponding subordinate periods.
 
 24 THE VERSE OF GREEK COMEDY 70 
 
 70. The logaoedic metres of ascending rhythm, -- ^ - and 
 w ~ (376), occasionally occur in melic iambic verse, generally 
 as the first metre of the colon. Of. Ach. 1040 = 1011 (83); 
 Th. 988 b (589) ; Vesp. 886 = 869 (470). This anapaest is simply 
 a manifestation of the variability of the arsis of the simple 
 foot that characterized the primitive Ionian dimeter (603), and 
 the periods in which it occurs should not be ' emended.' This 
 manifestation is normal in logaoedic verse (375 ff.). On the 
 logaoedic anapaest (389) in spoken and melodramatic iambic 
 verse see 113 ff., 177. 
 
 71. A choriamb, - w w , apparently occurs in a few instances 
 in place of an iambic metre. Of. Thesm. 1016, 1020 (374) ; Ran. 
 213 (373), and Pax 663, a spoken trimeter. This is not the 
 true choriamb that is the fundamental foot in Aeolic verse (651) ; 
 the form is here due to interior anaclasis, - w for w -. 
 
 72. By suppression of the first syllable in the arsis of an 
 iambic metre, the metre assumes ' cretic ' form : 
 
 ^w . ^ w ^ Av. 851 f. 
 
 This is the most frequent form of protraction (31 f.) in iambic 
 verse. The thesis of the second iamb in this protracted metre 
 may be resolved : 
 
 (5 Zev TL irore ^prjo-of^eBa roicrSe roicrw KvwSaAots ; 
 
 -- w~ > <^ ^ . _ ^ _ -- w _ Lys. 476 
 
 73. The first syllable in the thesis of an iambic metre may 
 be suppressed and the metre then assumes ' bacchiac ' form, but 
 this is less common : 
 
 Se rots crois Adyots \s . w ._ w _ Av. 628 
 
 This protracted metre may even be irrational : 
 
 o> <eu <f>ev Trj<s wpas TOV KoAAovs -- -- -- Av. 1723 
 
 74. Both syllables are sometimes suppressed and then the 
 metre assumes ' spondaic ' form : 
 
 rjyov 8e y S>8' avros -- ^ . . Th. 987 
 
 Similarly a catalectic colon may have ' spondaic ' close : 
 KaAet TIS dvQpwiruv w w -- Av. 1314
 
 78 IAMBIC VERSE 25 
 
 75. The long syllable in the arsis of an iambic metre is 
 sometimes shortened, so that the metre appears not as ^ w - 
 but as www. On the analogy of a not infrequent correspond- 
 ing manifestation in trochaic verse (- w~- w for - w - w, see 
 223 ff.), this iambic metre is probably to be regarded as w ~- w , 
 the second syllable in the arsis of the metre being slightly pro- 
 tracted, but not to the value of the normal long syllable it 
 represents. Of. the recitative verse : 
 
 <Mro<r/3ravTS TOVS Av^vovs &iri[Jitv 
 
 w w -- w w v w w -- Vesp. 255 
 
 Of. in melic verse : 
 
 pinriav aTrapaTiAros, e erwv aAovros 
 
 w - w - w Lys. 279 f. 
 
 TTTpO(f>6p rt Trefiov Atos KCU Ae^os ya/t^Aiov 
 
 w sx w >*v w v/ w \^ w ^lv. 1757 f. 
 
 76. The subordinate period that occurs oftenest in melic 
 iambic verse is the catalectic tetrameter, formed by the union of 
 an acatalectic and a catalectic dimeter. This is the only period 
 used in stichic (50) systematic and intermediate periods. The 
 catalectic trimeter, when employed as a subordinate period, is 
 confined to imitations of primitive forms of the strophe. Of. 
 Ban. 398 ff. (82). The catalectic dimeter also may be used as 
 a subordinate period, and pentameters, hexameters, heptameters 
 and octameters, compounded of dimetrical and trimetrical cola, 
 occasionally occur. The chief constituent of the melic iambic 
 hypermeter is the dimeter; trimeters are rare. On the combina- 
 tion of subordinate periods, hypermeters and intermediate periods 
 to form systematic periods, see 720 ff. 
 
 77. The acatalectic iambic trimeter became the set verse of 
 the dialogue of comedy (95 ff.). Spoken and melic trimeters are 
 distinguished by marked differences of form (126 ff.). The 
 non-melic tetrameter also has large use in comedy, and was 
 effectively employed by Aristophanes as both recitative and 
 melodramatic verse (167 ff.). These tetrameters may be followed 
 by hypermeters (190 ff.). On caesura and diaeresis in iambic 
 verse see 130 ff, 166, 179 ff. 
 
 78. Iambic has special affinity for anapaestic and dochmiac 
 rhythm, and iambic cola may be combined with anapaestic and
 
 26 THE VERSE OF GREEK COMEDY 79 
 
 dochmiac cola, and occasionally with cola in other rhythms, in 
 the same systematic period. 
 
 79. Iambic rhythm, in origin, stands in close relation with 
 the primitive cola of Ionian verse (605 f., 613). In comedy it 
 has varied use in song, ranging from the primitive processionals 
 of the parode of the Ranae to the festive duos of the Acharnians, 
 in which it approaches in use the trimeter of dialogue. Aristotle 
 says (Poet. iv. 14) that nature herself discovered the trimeter as 
 the verse appropriate to dialogue : Xefeo><? Be yevo^ev^ avrr) 17 
 <v<rt9 TO olicelov perpov evpe' fui\icrra yap \KTIKOV TWV perpcav 
 TO lapftelov ecrnv crrj^lov Be rovrov TT\ terra yap lap/Seta 
 \eyopev ev rrj Bta\tcTw Trj Trpo? aXX^Xof?, and elsewhere also 
 (fihet. iii. 8. 4) he remarks how iambic rhythm pervades the 
 speech of everyday life : o 8' ta/tySo? avrrj etrriv 17 Xef t? 77 r&v 
 7ro\\wv Bib fid\i<TTa irdvrwv rwv perpwv taji/Seia <f)0eyyovrai 
 \eyovres. 
 
 MELIC IAMBIC VERSE 
 
 80. Ran. 416-39 (Parode). 
 
 Strophe I. 
 
 /z. a ovecr rra Koiv ^_ w _ ^-^2 
 
 417 ovco'aiev 'AeSiov -- v *^ w c? 2 C 
 
 OS 7TTT7J? V OVK 
 
 Strophe II. 
 
 'H/t. ft' vvvl 8f Siy/xaycoyct 
 420 ev TOIS avw ve/cpotcrt 
 
 ra -irptora. -n)s e/cei 
 
 Strophe III. 
 
 a' TOV K.\.tLcr6evovs 8' aicovco 
 423 ev rats Ta<^ai(rt TT/DWKTOV 
 
 Tt'AAeiv eavrov xai <nrapa.TTeiv ra? yva^ovs. 
 
 426 KUK-Aae Ka.KeKpa.yei 
 Se^Stvov oVris <TTIV
 
 82 IAMBIC VERSE 27 
 
 Strophe V. 
 
 'H/i. a KOI KaAAiav ye <f><wi 
 429 TOVTOV T&V 'ITTTTO/^IVOV 
 
 Kwrdov Aeovnjv vavfj.a\etv evrjp.fj.evov. 
 
 Strophe VI. 
 
 At. e^oir* av ovv <f>pd(rai vwv 
 432 IIAovTwv' OTTOV 'vda.8' OIKCI ; 
 gevia yap ea-pev a/ar/ws 
 
 Strophe VIL 
 
 yev fj.axpav 
 435 fj,r)8' aS^is e-jraveprj fie, 
 
 dAA' 10-^' TT' avTr/v rrjv Ovpav d<f>iy[j.evo<s. 
 
 Strophe VIII. 
 
 At. at/oot av avdis S> irat. 
 Ha- TOVTI Tt ^v TO TTpayfLa 
 439 dAA' 1} Atbs Ko/3iv#os ev TOIS 
 418 ^pdrepay Dindorf : <f>pdropas 427 arac^Xtfimoj Person : di 
 
 The eight strophes constitute a monostrophic octad (701). F (704) 
 = aab, 223, epodic triad : two catalectic dimeters with an acatalectic 
 trimeter as epode. See 737. 
 
 81. The preceding verses (414, 415) read: 
 
 At. eyw 8' dei TTOJS <iAa/<oAov- w w ^ ^ 
 
 66<s ei[j.i Kal p.er avrrjs w ^ 
 
 415 iraifitav \opeveiv /3ovXofj.ai. Ha. /caywye 
 
 _ o 
 
 These are apparently a tetrameter and a trimeter, but Dobree's 
 suggestion that /ACT' aw^s is a gloss is probably right. The verses 
 then become the ordinary trimeters of the dialogue, and are exactly 
 adapted to the sentiment expressed. The inclusion of the gloss in the 
 text may have been furthered by the form of ode in the following 
 lyric (416 ff.). 
 
 82. Ran. 398-402 = 403-8 = 409-13 (Parode). 
 Strophe I. 
 
 'Up. a' "laK\e TroAvrt/nr/TC, /zeAos eo/or^s 
 
 ^ \s c*c ^ w ^? w "" * 3 
 399 ijSuTTOV cvpdav, Sevpo <rvva.KO\ov0ei 
 
 \s \^ zxs \s ^ 3
 
 28 THE VERSE OF GREEK COMEDY 83 
 
 TT/OOS rr)V Oeov KCU Setov u>s -- <~- w 
 avcu irovov 7roAAr)v 6Sov Tre/Dcuvets. 
 
 v^ rCV 
 
 \^ - W - W"~ W - J) 
 
 "laK^e <iAoxo/3wa o-v/jwr/ooTrepre fj.e. 
 
 5 w - w ~ v^-v^- w-v^w3 V 
 
 Strophe II. 
 
 (TV ya/3 Ka.Tcr\i(r<a p.fv 
 404 
 
 Ka TO pa/cos, Kavpes W<TT 
 408 "laK^e <f>L\o\opevra a-vfj.TrpoTrefj.ire fj.e. 
 
 Strophe III. 
 
 'H/i. a' Kai yap Trapaf3Xe\^as TI fj.ipa.Ki(rKr)S 
 410 vuv 8^ /carciSov /cat /xaA' evirpocruTrov 
 
 (TVfJLTraio-Tpias ^ITCOVIOV TrapappayevTOS rirOiov irpOKVif/av. 
 413 "laK^e (friXoxopevra. crvfj.Trp6Trefj.Tre p,e. 
 
 404 TOV re Bentley : 
 
 The three strophes constitute a monostrophic triad (701). E (704) 
 = aabc, 3353, epodic tetrad : two catalectic trimeters and a 
 catalectic pentameter, with the same ephymnium, an acatalectic 
 trimeter, as epode in each of the three strophes. See 742. 
 
 83. Ach. 1008-17 = 1037-46 (Syzygy III.). 
 
 LYRICAL DUO 
 
 Strophe. 
 
 Ko/3. a' ^Aw ere rfjs ev/3ov\ia<s -- w -- w 
 
 1009 /xaAAov Se T)S evw^tas -- w ^ 
 
 avdptaire r^s Trapovo-ys. ^ ** ^ -- 6 C 
 
 Ai. TI 8rjr reiSav ras Kt^Aa? 70 X^ w -- w ** 
 
 OTTTto/xevas iSryre; 5 -- w ^ ^7 4*^ 
 
 Ko/9. a' o'/jtai o-e Kat TOVT' e5 Acyeiv. -- w w 
 
 A I. TO 7TV/9 VTTOO-KaAcve. w vy w w 4^ 
 
 Ko/9. a' ^Kono-as w? /iayeipiKWS i^_ w _ x^ ^ 
 
 T Kttt SetTTV^TlKWS -- v -- w 
 
 Ko/5. ^8' dv^p dvrfvpijKev TI TCUS o-TrovSaio-tv i]8v, KOVK IOIKCV ouSevt p-era- 
 
 Saxreiv.
 
 85 IAMBIC VEESE 29 
 
 At. Ka.Ta\i (rv TTJS xP^ <s T0 
 
 Kop. (3' TJKOvcras opOiaarp.a.T(av ; At. 
 
 Kop. /?' ttTTOKTCVetS Al/i(j) '/>t Kttl TOVS yCtTOVttS KVUTTJ T Kttl 
 
 Toiavra AaovctoV. 
 1017 ayry Bentley : atiry or (R) aura 1037 avijp Elmsley : dvyp 
 
 Monostrophic dyad. A = abba, 6446, palinodic tetrad : a 
 hexameter as proode, two tetrameters, and a second hexameter as 
 epode that repeats the melody of the first period. See 746. 
 
 See the metrical scholium on 1008 and the note. Heliodorus 
 reduces the number of cola by thrice combining two dimeters in a tetra- 
 meter, which he regards as a ' colon,' His combinations destroy the 
 symmetry of the period, which clearly is palinodic. 
 
 84. Pax 512-19 (Syzygy II.). 
 
 Kop. a' aye vvv aye Tras. 43, 276, 281 ~ *~ 1 
 
 'Ep. /cat /Jirjv opov VTIV r/Sij. __^_ v -- 2 
 
 Ko/o. /3' p.rj vvv avw/xv aXA* cvrev- -- w ^ ^ ~ 
 
 515 Tetvw/xev avSpiKurrepov. -- ^r ^ v^ \^ 4 V 
 
 ^E/o. ^Sr/ VTI TOVT' Keivo. 5 -- ^ ^ ^ 2 CV 
 
 Ko/o. a' <S efa wv, 5 eta Tras, -- w -- v 
 
 S eta efa e?a vvv, -- w w w 
 
 <3 eta eta eta ?ras. \^ w \^ 6 
 
 518 Richter : & eta- eta- e?a- eta- e?a- R <& eta a eta eta eta eta V 
 519 Richter: t& e?a- eta- eta- eta- eta iraV R w eta. eta eta eta eta. Tras* V 
 
 Non-antistrophic. A = abcbd, 12426, epodic pentad : a tetrad 
 composed of an anapaestic monometer, and two iambic dimeters that 
 enclose an acatalectic iambic tetrameter, with an iambic hexameter 
 as epode. See 762. 
 
 See the metrical scholium on Pax 512 with the note. 
 
 85. Eccl. 478-82 and 483-92 = 493-503 (Epiparode). 
 
 Proode. 
 
 Kop. a' e>j3a x<V". 43 276 > 281 --- ~ 1H 
 
 479 ap rrt TWV dvSptav TIS vj- -- w -- w 
 
 p.iv CXTTIS cTraKoAov^ei ; -- ^ *~ w -- 4 C 
 Kop. /?' <TTpe<f>ov o-Ko 
 
 TroAAot yap ot Travovpyoi, 5 w vy 5 C 
 
 482 fl^ 7TOV TIS K TOVTTIO-^CV WV __ w _ w 
 
 TO tr^/Aa Ko.Ta(f>v\a.f]. w~ w 4
 
 30 THE VERSE OF GREEK COMEDY 85 
 
 Strophe. 
 
 l lAp.. of dAA' 0)S /idAuTTa TO IV IToSoiV -- w w v^ 
 
 cT^KTVTraiv /?a8ie* o w ^ w o 4 CV 
 
 484 ^J&M/ S 5 av aicrxwi?v <epoi -- w -- w 
 
 485 Trcurawrt Trapa rots di/Spdcriv -- ^ o~ M__ W _ 
 TO irpay/J-a TOVT' JAeyx^ev. 5 w w w v? 6 CV 
 
 486 Trpos TauTa o-WTtAAou treau- -- w ^ 
 
 T^V KCU TrfpLCrKOTTOVfJ-eVfJ \s w w 
 
 TaKeto-e Kai rd/c Sepias i=:_^_ ^_^_6 
 
 488 <<vAaT$' O7ra)s> /i^ vn<j>opa w w -- \^ 
 
 yev^(TTai TO Trpay/xa. 10 c? w w ^ 4 CV 
 
 KO/D. a' dAA' eyKovwju,ev TOV TOTTOU -- w -- w 
 
 yap lyyws e(r/j.ev yjSr) o w ^ -- 4 
 
 490 odevirep cis KK\.rjcriav w w -- w 
 
 wp/j.<afj.fO' ^VLK yfJi^v. ^_ w _ w _ ^7 4 
 
 491 TT)V 8' oiKiav e^eo-^ opav 16 w -- \^ 
 
 o6evTTfp }} o-T^aT^ybs ^7 ^ ^ w 4^ 
 
 492 OT^' 17 TO Trpayyu,' fvpoixr o vvv -- <_ -- w 
 
 TOIS TToAtVats. & w w -- 4 
 
 Trwywvas f-r)pTTf)iJ.fva<;, jx^ KCU TIS f^oirio-Qev y \>l^v rtus 
 496 dAA' eta Sev/o' ?ri o-/cia? cA^owa TT/OOS TO Tei^tov irapa/3\CTrov<ra 
 
 499 TrdAtv ^raa-Kfva^e cravTrjv afiOts rJTrep 
 Kop. j8' Kat /x,^ /3pd8vv ' a>s TryvSe Kat 8^ TT/I' (TTparrfjov r/fJitav 
 ^(apovcrav e^ e/c/cA^o-tas 6p^{J-fv. dAA' eTretyov 
 airacra KCU juticret o-aKov irpbs TOIV yvdOoiv e^ovara. 
 yap ^'KOVO-IV ""dAai TO (r\fj(JLa TOVT e\ov(rai. 
 
 487 rd/ceto-e Faber : /cd/ceio-e 488 tfttXarO' &iru* Blaydes 495 ii>iriaOfv 
 
 von Velsen : fl^e 
 
 The three strophes constitute a proodic triad, ABB (717). A = 
 abcb, 1454, proodic tetrad : an anapaestic monometer as proode to 
 two iambic tetrameters that enclose a pentameter. See 750. B = 
 AB (483-8, 489-92). A probably = abb'a (776), 4664, palinodic 
 tetrad : a tetrameter as proode, two hexameters, and a second 
 tetrameter as epode that repeats the melody of the first period. See 
 746. B : a stichic period composed of four tetrameters. See. 778.
 
 87 IAMBIC VERSE 31 
 
 86. Ach. 929-39 = 940-51 (Episode II.). 
 
 LYRICAL TRIO 
 Strophe. 
 
 Ko/3. a' ev8rj<rov <5 /SfXrurre T<J> -- 
 
 930 *v<j> KaAcus rr)v e/wroArjv ^ 
 ai/ JMI) <f>fp<av Kardy. 
 
 At. e/ioi fieXi/jo-fi: raur', 7ret c/ w ^ w 
 
 TOt Kdt \>0<f>ei AttXoV Tt Ktt6 5 w O w 
 
 934 Trvpoppayes KaAXws 0eoi(rtv t 
 
 Kop. a' Tt xptf (rTa t 7roT> a*>T<p ; w w w -- 2 
 
 At. Trdyxprjcrrov ayyos rrcu, -- w w -- 2 C 
 
 KpaTTJp KOKtUV, TplTTTrjp SlKWV, w w -- w 
 
 938 <f>aivfiv vjrcvdvvowi Av^vov^ ? Ka 
 
 51 10 ^- 
 
 939 ra IT pay par' 
 
 Ko/3. /?' TTWS 8' av ireTTOiOoir) rts dyyeib) TOIOVTO) 
 
 TocrovS' aet \f/o<f>ovvTt / 
 At. I(r\vp6v TTIV &ydO') &CTT' OVK av Karayfirj TTOT' 
 
 TToSaJv KctTW /capa 
 Ko/o. ^8' i^Sr; KaAw 
 Bo. /AeAAto ye TOI 
 Kop. ft' aAA' (5 ^evwv jSeArto-re arvvQepifc Kal TOVTOV Aa^Swv ir^oo-/?aAA' OTTOI 
 
 ySouAet <j>ep(av IT/JOS Travra (TVKO<f>dvTr)v. 
 943 ^<rrn' Princeps : &TT' 950 STTOI Fritzsche : Sirou 
 
 Monostrophic dyad. A = aabbc, 77227 (8), proodic pentad : a 
 heptameter as proode that anticipates the melody of the first period 
 of the following periodic tetrad, composed of a heptameter, two 
 dimeters, and a heptameter in the strophe, but in the antistrophe an 
 octameter. See 754. On the lack of correspondence in strophe and 
 antistrophe see 51. 
 
 See the metrical scholia on 929, 946, 948, and the discussion 
 in 723. 
 
 87. Pax 1305-10 = 1311-15 (Stasimon I.). 
 
 Strophe. 
 
 C H/A. a" v/zwv TO Aowrov cpyov TI- -- w w w " 
 
 8r) 'vravda ruv pevovrtav w w -- 4 C
 
 32 THE VERSE OF GREEK COMEDY 88 
 
 1306 <Aav TavTa irdvra. /cat (nroSeiv __ w _ ^ _ ^ _ 
 
 /cat /M) /cevas TrapeAKetv. w w 4 C 
 
 1307 aAA' av8/3i/cas ju,^8aAAeT 5 w w \7 2 V 
 Kat <TfJ.<a\eT' a.p.(f>oiv TOIV yvdOoiV M ^ ^_ w _ 
 
 5 x x "^ ' \^ ^c 
 
 1310 AeuKwv oSovTwv e/oyov CO~T', w M_ W _ 
 
 ^v /A^ Tt Kai fj.ao-(avTat. w 1 ^ w 4 
 
 1312 aAA' 5 Trpb TOV TreivwvTcs e//.paAAc<r^e TWV Aayaxoi', 
 
 etv TrAava>/ievois p^/ 
 1315 TT/sbs ravra fipvKer' ^ Ta^' vp.iv ^/J 
 
 1307 <?yud\XeTe Portus : tfjLpd\\eTov 1310 &T' Bentley : ^errli' or Am? 
 
 Monostrophic dyad. A = aabaa, 44244, epodic pentad : a tetrad 
 composed of two tetrameters, a dimeter, and a third tetrameter, with 
 a final tetrameter as epode that repeats the melody of the first, second, 
 and fourth periods. See 760. 
 
 See the metrical scholia on 1305 and 1307. 
 
 88. Pint. 290-5 = 296-301 ; 302-8 = 309-15 ; 
 316-21 (Parode). 
 
 Strophe I. 
 Ka. icai firjv eya> 
 
 o TOV KvfcAwTra %~ w ^ w 4 OV 
 
 291 /u//.ov/iei>os KCU TOIV TroSoiv -- w v 
 
 d)8t Tra/aevo-aAevwv -- ^ *** ^/ ^ 4 CV 
 
 292 v/Aas ayetv, aAA' e?a TCKC- 5 -- ^ ^^^wv^~ 
 
 a 6afj.iv' 7rava/3ou)VTS w ^^ ^ c^ w w 4 CV 
 
 293 /^A^x^evoi TC Trpo/Saridtv -- w o~v^ 
 
 atywv TC Kiva/3pwvT(ov yneA?/ 43 -- wv~ -- ^/w4 
 
 295 fTT(rd' d.Tre^taXrjp.fvot' w w ^ ^ 
 
 T/aayoi 8' aKpantlo-Qf. 10 ^ w w ^7 4 CV 
 
 Antistrophe 1. 
 
 e H/*. a' T^/icts <5e y' a3 ^rrja-ofiev Qpfrr 
 ftXrj^difjLevoi, ere TOVTOVI iretvwvTa 
 
 298 irr)pa,v 4'^ovTa Aax a ' /( * T ' ay/oto 8po<repd, 
 fjyovfjLevov TO is 7r/3O/3aTiois, etfjy 8e 
 
 301 /tcyav Aa^SovTes "qp.fj.fvov O-^KICTKOV e
 
 89 IAMBIC VERSE 33 
 
 Strophe II. 
 
 Ka. eya> 8e rrjv K.ipKtjv ye TTJV ^ w -- w 
 
 TO, <a/3/taK 5 avaKUKWo-av, w w v~ v ^ 4 CV 
 
 303 T} TOWS eTaipovs TOU <iAa)- -- v> -- ^ 
 
 vtSov TTOT' ev Kopivfly w ^ 
 
 304 eVewrev u>s ovras Kapirovs 5 ^ w ^ 
 
 fj.efj.ayp.evov a-Ktap ea-OUtv, w w -- w 
 
 avri) 8 J /xaTTV avrots, -- ^ w 6 C 
 
 306 fj.i/j.'^a-Ofj.ai Travras rpoTrous' -- w -- w 
 
 vfj.els oe ypvXifcovTes VTTO <f>iXr]Sia.s -- v^ 1 ^ -- w^/ 
 
 eirecrde fj.rjTpl xoipoi. 10 ^ w 
 
 Antistrophe II. 
 
 'H/x. ^8' OVKOUV (re T^ KtpKTjv ye rr)v ra ^)a/o/iaK 5 a 
 
 310 KCU juayyavevowrav /noAwotxrav re TOVS eraipovs 
 
 311 AaySovres uiro <f>i\r)Sia i s T&V Aapriov p,Lfj.ov/j.evoi 
 
 313 fj.iv6uxrofj,ev 0' wrirep rpdyov TTJV pivo., (TV 8' 'A/McrrvAAos VTTO- 
 
 epeis, 
 
 Epode. 
 
 Ka. aAA' eta vvv TWV (TKwyM/iaTwv -- w -- w 
 
 djraAAayevTes ^ST/ v w v^ -- 4 C 
 
 317 vfieis eir' a\X' etSos rpeirefrO', -- w -- w 
 
 eyw 8' ta>v ^8r/ Xddpa ^ ^ w 
 
 f3ovX^(rofJut.i TOV 8e(nroTOV 5 w -- w 
 
 \a(3wv TIV' aprov Kal Kpea<s w w -- w 8 
 
 321 fiacrtafj.evo<i TO AOITTOV ov- w w w v> 
 
 -- w v^ -- 4 
 
 300 KaraSap06vTa Person : 
 
 The five strophes constitute an epodic pentad, AABBC (716). 
 A : a stichic period composed of five tetrameters, of which the 
 fourth is acatalectic. See 778. B = aabc, 4467, epodic tetrad : two 
 tetrameters and a hexameter, with a heptameter as epode. See 743. 
 C probably = ab'a (776), 484, mesodic triad : two tetrameters, with 
 an octameter as mesode. See 739. 
 
 89. Ran. 384-8 = 389-93 (Parode). 
 
 Strophe. 
 
 'H/i. a A^/jT/D ctyvwv opyioiv -- v w 
 
 385 avao~o~a o-vfj.irapao-Ta.Tei ^7 w o <-
 
 34 THE VERSE OF GREEK COMEDY 90 
 
 /ecu <r(j>e rv oravns 
 
 /cat p.* dcr<aA<3s Travr/fjiepov -- \j ^ w " 
 
 388 7rai<rcu TC /cat x o / ^" ai ' 5 -- v/ v -- 10 
 
 Antistrophe. 
 
 'H/M. /?' Ko.1 TroAAd fj.ev yeAotd /i' et- 
 390 TTf.iv, TroAAd 8c cr7rot>8cua, /cat 
 T^S crrjs copras duos 
 TrcucravTa /cat crKw^avra vi- 
 ratvtovcr^at. 
 
 Monostrophic dyad. D (704) is an indivisible hypermeter com- 
 posed of a single decameter. See 773. 
 
 90. Ach. 263-279 (Scene I.). 
 
 Monody of Dicaeopolis (593). 
 
 At. <t>aA,rJs eraipe 
 
 265 TC //.ot^c TraiSepacrrd, w w ^ w 6 
 Srjfjiov eXOwv dayievos, 5 ^ ^> 
 
 TC KCU 
 
 270 /cat A.a.fJid'xwv aTraAAayets. ^ w w 
 
 yd/3 ccr$' ^lov a) w w 
 
 XcTTTOvaav ev- IQ ^ ^ w 
 
 povd' wptKrjV vXrj(f)6pov w ^ w 
 
 273 T^V ^TpVfJ.o8wpOV 0/3ClTTaV K w w 
 
 TOV 4>cAAca)S //.ccrijv Xa/Sovr' ^ 
 
 apavra /caTa/3aAovTa /caTa- w w ^w 
 
 ytyapTt'cr' (5 ^aA^s ^PctA^s. 15 w w 
 277 cdv /MC^' rjp,(av ^v/XTrtrys, v-- w w 
 
 CK KpanrdXrjS eta6ev el- w w v^ 
 
 pTjvrjs po^crct TpvfiXiov, w ww 30 T 
 
 279 17 8' do-TTis cv TW <j>e\f/dX(i> Kpefj-rja-erat. 
 
 Non-antistrophic. A = abc, 6 30 3, pericopic triad : hexameter, 
 hypermeter of thirty metres, trimeter. See 771. 
 
 See the metrical scholia on 263, 274. Heliodorus combined 
 263-79 and 280-3 into a pericope, AB, but the latter is the beginning 
 of the second parode. See 234. In his edition 271-3 (-n-oXXy . . . 
 <eAAeo>s) were arranged as three trimeters, 277-8 (cdv . . . rpvfiXiov) 
 as two, and 276 (^aArJs 4>aA^s) as a monometer.
 
 92 IAMBIC VERSE 35 
 
 91. Eq. 756-60 = 836-40 (Debate II.). 
 
 Strophe. 
 
 'H/z. a' vvv 8i) ere irdvTa. Set KctAwv -- w w ^/ 
 
 \j \j 4 CV 
 
 757 Kai XrjfjLa Oovpiov (popeiv -- w ^ \j 
 
 KOI AoyOVS d<pVKTOV<i 72 . w v^ 4 C 
 
 758 OTOUTI Toi/8' virepftaXct 5v w w w 
 
 TrotKtXos yap av?7/> v/ \j -- 4 C 
 
 759 KO.K T&V dfj.rj\o.v(av Tro/aou? __ w _ ^7_ w _ 
 
 eu/i?/;(avos iropifciv. -- w w 4 CV 
 
 760 Trp&s ravd' OTTWS ^ei TroAvs -- w w 
 
 Kai Aa/*7T/3os es rbv avS/oa. 10 -- w v^ w 4 CV 
 
 'H/z. ^8' 5 Trewriv dv^/owTrois Ravels p,eyrTOv w<^>e 
 
 837 ^Aw (re T'Jys euyAwTTtas* et yap 58' eT 
 
 /xeywrTos 'EAA^vwv e(Ti Kat ^tovos /ca^e^ets 
 
 rdv rg TroAei TWV ^v/x/zaxwv T' &pei<s e%<av rpiatvav, 
 
 840 >/ TToAAa ^prffjiar' epyao-ei crctwv TC Kai Taparrov. 
 
 758 apr/p Dawes : dv^/j 759 efynfo a " 01 iroplfriv Bentley : ef>fj.r)x<ivov3 iroplfav 
 
 Monostrophic dyad. A = abbaa, 44444, epodic pentad : a 
 palinodic tetrad composed of a tetrameter, two protracted tetrameters, 
 and a second tetrameter, with a third tetrameter as epode that repeats 
 the melody of the first and fourth periods. See 757. 
 
 See the metrical scholium on 756. 
 
 92. Nub. 1206-13 (Episode II.). 
 
 Monody of Strepsiades (593). 
 
 2r. " & p.a.Kap Srpe^i'aScs 38, 72 ^ \j >~ 
 1207 auros T' f<pvs u>s oxx^os w . w 
 
 VOtOV TOV VIOV Tp<idS " ~~ ~ '-' * \j 
 
 "^ p.' Oi <^>l'Ao6 ^C 
 
 1210 {V/Aovvrcs TJVIK' ai/ (TV vi- 
 
 K^S Aeywv ras SJ'KOS. \j . w 
 
 dAA' eicrdywv <re f3ovX.op.ai. ^ ^ ^ 
 
 Trpwroi/ ecTTiao-ai. . _ w _ w 17 
 
 1206 S) /id/cap Ed. : fidxap cD 
 
 Non-antistrophic. A is an indivisible hypermeter of seventeen 
 metres. See 773.
 
 36 THE VEKSE OF GEEEK COMEDY 93 
 
 93. Av. 851-8 = 895-902 (Syzygy I.). 
 
 Strophe. 
 
 /t. a 
 
 852 
 
 TrpoaroSia yaeyaAa cre/xva irpcxri- ^ ~~ w ~ w ^ w ~ 
 
 evai 0eoriv, a/>ta 8e Trpocre- w v^ ^ ~~ w v~ 
 Tt ^a/oiros eve/ca irpofidriov TI Oveiv. 
 
 5wv^w-= w w - 
 
 857 ITU) ?T(o iTw Se IIv- w ^ w w 
 
 ^ias ^8oa ^eai, (rwjt- 69, 73 w w w O 
 
 ST<O Se Xatpis aJSav. O w w 6 CV 
 
 'H/x. )8' eir' a$6i<s av rapa (rot 
 896 Set /AC 8evTjOov fj.fX.os 
 
 \epvtfti ^eoacySes 6'(riov CTTI- 
 fioav, /caAeiv 8 /xaKapa? eva 
 Tiva /idvov, ciirep iKavbv e^er' o\j/ov. 
 901 TO, yap irapovra Ovfj-ar' ov- 
 8ev aAAo TrA^v yeveiov T' 
 Kat 
 
 856 irpopdriov Bentley : irp6ftarov 857 frw frw frw : all MSS. except U 
 
 0e< Bentley : T< ^ey 
 
 Monostrophic dyad. A = ab, 11 6, pericopic dyad : hendecameter, 
 hexameter. See 770. 
 
 The metrical form of the lyric is ' tragic,' marked by preponder- 
 ance of the rational metre. The scholiast on 851 says So^o/cAeov? 
 K IlrjAccos, and again on 857 /cat TOVTO IK IlTjAecos. Cf. Ach. 1190 ff. 
 (599) and Aves 406 ff. (290). 
 
 94. Lys. 256-65 = 271-80 (Parode). 
 
 Strophe. 
 
 Xo. Ftp. ^ TToAA' acATTT 3 f(TTlv (V 69 -- w ~ ^ 
 
 257 T(f" paKpy f3i<p <f>ev, w w -- 4 C 
 
 fTTCl TtS aV 7TOT 5 AvTWr' <5 w w^^w w 
 
 260 ywaf/cas as e^S(xrKO/xcv 
 
 Kar' otKov e/j.(j)av<i KO.KOV w ^ ^ w 
 
 Kara /nev ayiov t'x 61 ^ ^8/3CTas, ov^c^>^- vy ^ 
 
 Kara 8* aKpoTroAtv e/xav Xaf3eiv c/^-w^/ v^ ^ 
 
 /toxAois Se Kai K\y6poi- 69, 94 f. w - w - v ^ v _ " 
 
 265 <rtv ra 7r/307rvAaia TTO.KTOVV ; 10 c^w w -- 12 CY
 
 95 IAMBIC VERSE 37 
 
 Antistrophe. 
 Xo. Fc/3. ov yap fia TYJV 
 272 {WVTOS 
 
 eirei ouSe KAeo/wvTjs, os av 
 
 rrjv Karecrxe TT/JWTOS, 
 275 cwnJA^ev a^aAaKTOs, dAA' 
 o/xws Aa/cwvtKOv irv'twv 
 
 pVTrlav aTrapa.Ti.X- 
 280 TOS, e eraJv aAovros. 
 
 264 /uoxXotj Brunck : fj.ox\oi<riv 277 <?x ero 9&T\a is the reading of F. The 
 article is necessary, and the reading in R, VX CT ' #7r\a (vx er '> n t VX e ^') implies it. 
 The first metre in 277 thus becomes w ^ ^ w, by resolution of the theses of 
 the simple feet in the logaoedic metre ---- ; but Aristophanes avoids the latter 
 (376 ii.), and w w w w, although it occurs once elsewhere (563), is dubious. Bothe 
 proposes 6&ir\' $x ero - i Q the next colon (278), which has the same metrical 
 form, Meineke proposes ffpiKpbv w&vv 
 
 Monostrophic dyad. A (704) = aab, 4412, epodic triad : two 
 tetrameters with a dodecameter as epode. See 737. 
 
 The lyric is ' tragic,' that is, it has tragic form with comic intention. 
 Only six of its metres are irrational as against twenty-two that are 
 rational, whereas irrational metres outnumber rational on the average 
 in the melic iambic verse of Aristophanes (186). The form admirably 
 expresses the sentiment, indignant but unavailing complaint of 
 querulous old men in the strophe, and exultant but buffoon reminis- 
 cence of past glory in the antistrophe. Here, as in Av. 851 ff., metre 
 is made the means of special comic effect. 
 
 NON -MELIC IAMBIC VERSE 
 THE SPOKEN TRIMETER IN ARISTOPHANES 1 
 
 95. Pure trimeters, which consist solely of iambs, are com- 
 paratively rare. Of 8835 non-melic trimeters in the eleven 
 extant plays of Aristophanes only 128 are pure, 1 in 69. 2 
 Eleven occur in the Acharnians: 34, 150, 454, 472, 474, 500, 
 513, 514, 588, 799, 1189. The Nubes has relatively the most, 
 
 1 The numerical statements and tables main, the order and method of his 
 
 in this section are the product of an in- presentation of the facts, in order to 
 
 dependent investigation and frequently facilitate comparison. For melic tri- 
 
 are not in agreement with those in meters see 126 ff. 
 
 Rumpel's Trimeter des Aristophanes, but 2 In Aeschylus 1 in 14 ; in Sophocles 
 
 since the results of his investigation 1 in 17 ; in Euripides 1 in 22'5. See 
 
 have often been quoted by editors, I Rumpel's Trimeter, 601. 
 have thought it best to follow, in the
 
 38 THE VEESE OF GREEK COMEDY 96 
 
 18 in 758, 1 in 42; the Eguites the fewest, 6 in 688, 1 in 
 114-7. 
 
 96. Irrational and trisyllabic feet, in place of the normal 
 iamb, are very common, and verses are not rare in which no 
 foot has iambic form except the last. Cf. Av. 119, 192, 439, 
 672, 818, 819, etc. There are 187 of these non-iambic trimeters, 
 1 in 47'2.* The Acharnians has relatively the most, 22 in 811 
 trimeters, 1 in 36'9, the Nubes the fewest, 11 in 758, 1 in 68'9. 
 
 97. Irrational metres preponderate. Of the 8835 trimeters 
 in Aristophanes, 2299 (1583 with at least one trisyllabic foot 
 somewhere in the verse and 716 that consist solely of dissyllabic 
 feet) have one long arsis, 1 in 3'84 ; 3857 (2 586 + 1271) have 
 two, 1 in 2-29; 2199 (1328 + 871) have three, 1 in 4'02. 
 The number of irrational metres is 16,610, over 62 per cent of 
 the total number of metres. The number of trimeters in which 
 one or more metres are irrational is 8355. The 16,610 
 irrational feet are distributed as follows : 
 
 i- 2 % i- % v. % 
 
 'Spondaic 'feet . . 4804 54-4 5174 58'6 5162 58-4 
 'Dactylic 'feet . . 459 5-2 849 9-6 162 1-8 
 
 Total irrational feet . 5263 59'6 6023 68-2 5324 60'2 
 
 98. Eesolved feet, tribrach and ' dactyl,' occur on the average 
 in nearly every other trimeter, 1 in 2'14. 3 
 
 99. The distribution of the various forms of the foot that 
 are found in the trimeters of Aristophanes is as follows : 
 
 Iambs . . 2205 4 6667 2243 6865 3090 8833 
 
 Tribrachs . . 208 960 308 1107 71 
 
 'Spondees'. . 4804 ... 5174 ... 5162 
 
 'Dactyls' . . 459 ... 849 ... 162 
 
 Anapaests . . 1158 1208 261 863 350 2 5 
 
 8834 4 8835 8835 8835 8835 8835 
 100. By resolution of the theses of iambs in the trimeter, 
 
 1 Such trimeters do not occur in 3 In Aeschylus 1 in 13 ; in Sophocles 
 Aeschylus or Sophocles, and only rarely 1 in 16 ; in Euripides 1 in 4'65. See 
 in the later plays of Euripides. See Rumpel's Trimeter, 603. 
 
 Rumpel's Trimeter, 602. 4 The first metre in Pax 663 is a 
 
 2 Feet are indicated by the lower choriambic iambic dipody (71). 
 case numerals : i., ii., iii., iv., v., vi. 6 See 113, note.
 
 101 
 
 IAMBIC VERSE 
 
 the tribrach may occur in any of the first five feet, 
 following table exhibits the usage of Aristophanes : 
 
 39 
 
 The 
 
 Play. 
 
 Nub. 
 EC. 
 PI. 
 Th. 
 Ran. 
 Lys. 
 Pax 
 Eq. 
 Ach. 
 Vesp. 
 Av. 
 
 Trim. 
 758 
 895 
 1004 
 757 
 839 
 711 
 695 
 688 
 811 
 752 
 925 
 
 207 
 250 
 285 
 216 
 244 
 212 
 208 
 211 
 249 
 241 
 331 
 
 i. 
 
 14+ 7 
 11+9 
 7+ 6 
 12+ 8 
 9+ 3 
 8+ 5 
 10 + 11 
 10+ 4 
 11+ 6 
 8 + 15 
 17 + 17 
 
 ii. 
 36 + 
 
 39 + 
 41 + 
 23 + 
 23 + 
 41 + 
 23 + 
 27 + 
 57 + 
 31 + 
 43 + 
 
 51 
 
 54 
 67 
 46 
 49 
 39 
 46 
 46 
 53 
 53 
 72 
 
 iii 
 
 + 
 3 + 
 
 1 + 
 1 + 
 2 + 
 4 + 
 5 + 
 2 + 
 2 + 
 6 + 
 6 + 
 
 11 
 23 
 44 
 23 
 26 
 21 
 27 
 21 
 29 
 24 
 27 
 
 iv. 
 
 22 + 
 27 + 
 30 + 
 21 + 
 39 + 
 23 + 
 23 + 
 26 + 
 24 + 
 25 + 
 44 + 
 
 63 
 79 
 81 
 76 
 92 
 67 
 57 
 62 
 60 
 71 
 95 
 
 V. 
 
 1+ 2 
 2+ 3 
 1+ 7 
 2+ 4 
 0+ 1 
 3+ 1 
 1+ 5 
 + 13 
 5+ 2 
 4+ 4 
 1+ 9 
 
 TotaL 
 73+ 134 
 82+ 168 
 80+ 205 
 59+ 157 
 73+ 171 
 79+ 133 
 62+ 146 
 65+ 146 
 99+ 150 
 74+ 167 
 111+ 220 
 
 117 + 91 384 + 576 32 + 276 304 + 803 20 + 51 857 + 1797 
 
 8835 2654 208 
 
 960 
 
 308 
 
 1107 
 
 71 
 
 2654 
 
 In explanation of the table observe that the Nubes contains 207 
 tribrachs, the smallest number relatively to the number of trimeters 
 in the play, 758. Of these, 21 occur in the first foot (14 contained 
 in a single word, 7 in two or three words or parts of words), 87 in 
 the second, 11 in the third, 85 in the fourth, and 3 in the fifth. 
 The total number of tribrachs is 2654, on the average 1 in 3 '33 
 trimeters. Of these 857 are contained in a single word, 1797 in two 
 or three words or parts of words. The greatest number is found in 
 the fourth foot, the smallest in the fifth. 
 
 101. Tribrachs contained in one word (102) number 857, 
 32*3 per cent of the total number of tribrachs. In 229 of 
 these the word is a trisyllable. These occur, 50 in the first 
 foot, 69 in the second, 8 in the third, 97 in the fourth, and 
 5 in the fifth. Cf. Ach. 135, 168, Eq. 134, Ach. 164, 1097. 
 Six hundred and twenty-eight of the tribrachs contained in a 
 single word are formed of words of four or more syllables, which 
 therefore overlap neighbouring feet. Always of course in the 
 first foot and generally in the second and third, the extra 
 syllable or syllables carry over into the following foot. Cf. 
 Ach. 181, Eq. 2, Vesp. 1218. In the fourth and fifth feet 
 the initial syllable or syllables of the word usually overlap 
 the preceding foot. Cf. Nub. 98, EC. 410. The word containing 
 the tribrach rarely overlaps both the preceding and the following 
 foot, and only in the second, third, or fourth foot. Cf. Ach. 
 618, 1072, EC. 824. Aristophanes uses the tribrach contained 
 in one word sparingly in iii. This is due to his desire to
 
 40 THE VERSE OF GKEEK COMEDY 102 
 
 maintain penthemimeral caesura (130). He allows it in iii. in 
 case of a tribrach that overlaps forward oftener than elsewhere 
 in iii, because this commonly produces hephthemimeral caesura. 
 Of. Vesp. 1218, 1306, 1383, 1385, 1512. The trisyllabic 
 tribrach in iii tends to produce medial caesura (137), which, 
 as the poets of the Old Comedy felt, was rhythmically objection- 
 able. Of. Ach. 733, Ec[, 134, 670. Aristophanes eschews the 
 tribrach contained in one word in v., in order to avoid four 
 short syllables at the end of the verse followed by a variable 
 syllable. Of. Ach. 175 (proper name), 473, 748 (proper name), 
 812, 1097. 
 
 102. These facts are summarized in the following table : 
 
 i. ii. iii. iv. v. Total. 
 
 Trisyllables . . . 50 69 8 97 5 229 
 
 Overlap forward . . . 67 190 19 79 5 360 
 
 Overlap back 104 3 110 10 227 
 
 Overlap both ways 21 2 18 41 
 
 Total in one word . 117 384 32 304 20 857 
 
 103. Tribrachs composed of two or three words or parts of 
 words number 1797. The following table shows the distribution 
 of tribrachs thus composed : 
 
 i. ii. iii. iv. v. Total. 
 
 In three words w | w | w . . 15 81 55 98 4 253 
 In two, divided ~ | w . . 56 462 219 676 46 1459 
 In two, divided ^ I v . . 20 33 2291 85 
 
 Total divided tribrachs . 91 576 276 803 51 1797 
 
 104. The parts of a divided tribrach may be connected with 
 one another within the tribrach by elision (cf. Ach. 202, 830, 
 835), and either the first or last part may be an enclitic (cf. 
 Ach. 502, 959, E%. 677, 730). When the tribrach consists of 
 two words, or parts of words, the division generally occurs, as 
 in tragedy, after the first syllable of the foot ( ^ | ^ ^ ), but 
 sometimes after the second (^ ^ \ ^ ). Tribrachs divided ^ | ^ ^ 
 or w | w | w begin, without restriction, with a monosyllable or 
 with the final syllable of a word of two or more syllables, 
 whether elided or unelided. Punctuation frequently follows 
 this arsis. Cf. Ach. 2, 85, 187, 366, 609, 750, 775.
 
 107 IAMBIC VERSE 41 
 
 105. Eighty-five tribrachs are divided ^ ^ | ^ , l in trimeters 
 of which the text is generally accepted, and these may be 
 classified as follows : 
 
 i. The first word is a compound dissyllable of which the 
 second part is enclitic (13 instances). Cf. o rt \eyet,? Av. 1382, 
 on & Av. 181, airep e/cei Vesp. 767, ore trep Av. 7l, oxa pev 
 Ach. 754. 
 
 ii. The first word is a dissyllable and the second a monosyl- 
 labic enclitic, which loses its accent and its identity as an 
 independent word (13). Cf. e>e 76 Av. 1670, en, ye EC. 373, 
 TroXv ye Nub. 1335, e>e re Eq. 1159, ^payy ri, Th. 938, oera 
 fjue Eq. 1336, <J>epe <re Lys. 890. 
 
 iii. The second word is yap (4). Cf. atro yap Nub. 792, e/te 
 yap EC. 714, foa yap Av. 1167. 
 
 iv. The first word is elided (7). Cf. Trpocrer 
 Han. 490, airur airo Eq. 728, Trarep eXavveis Nub. 29, 
 avetpypeva Av. 1523. 
 
 v. A preposition and its case constitute the tribrach (25). 
 Cf. Bta xpovov PI. 1055, eirl veoTijros Vesp. 1199, Kara ere Ran. 
 500, irapa rov Th. 489, irepl yvvaiicos Av. 1639, virep efiov 
 Nub. 839, VTTO <f>i\opvidia<; Av. 1300. 
 
 vi. The tribrach occurs in a fixed phrase (13). Cf. atcovere 
 \o> Ach. 1000, avriica /iaX' Eq. 746, ra^u irdvv Th. 916, riva 
 rpoTrov Av. 180. 
 
 vii. Miscellaneous cases (10). Cf. iroOev ; OTTO Ach. 1023, 
 a^>9 OTTO Eq. 1159, Aia rov Nub. 817, raBifca \eywv Nub. 
 884, Ata 7ra%v Lys. 24, acnri^a \a/3eiv Lys. 52, e/^o? dvrjp 
 Lys. 102. 
 
 106. In most of these eighty-five cases the two words that 
 form the tribrach are closely connected. Editors eliminate some 
 of them by emendation. Cf. Ach. 1023, Eq. 728, Nub. 817, 
 884, Av. 181, 1575, 1639, Lys. 24, 102, EC. 989, PL 838, 
 Twenty of the 85 instances occur in the first foot, 33 in the 
 second, 29 in the fourth, but only two in the third (Ach. 71, 
 Av. 1588) and one in the fifth (Ach. 830). It is noteworthy 
 that 53 occur in the first metre. 
 
 107. By resolution of the theses of irrational feet in a 
 trimeter a ' dactyl ' (resolved irrational iamb) may occur in the 
 
 1 Besides Rumpel's Trimeter, 607, see Bachmann's Zur Kritik der Komodien, 
 248 ff.
 
 42 THE VERSE OF GREEK COMEDY 108 
 
 first, third and fifth feet. The following table exhibits the usage 
 of Aristophanes : 
 
 Play. Trim. ww i. iii. v. Total. 
 
 Thes. 757 91 8+ 21 0+ 57 0+ 5 8+83 
 
 Ach. 811 107 6+25 3+62 0+11 9+ 98 
 
 Pax 695 100 5+ 26 4 + 51 0+ 14 9+ 91 
 
 EC. 895 133 11+ 30 7+85 0+ 18+ 115 
 
 Lys. 711 112 5+34 2+62 0+ 9 7+ 105 
 
 Vesp. 752 129 3+ 27 14+ 73 3+ 9 20+ 109 
 
 Av. 925 170 19+ 46 10+ 69 1+ 25 30+ 140 
 
 Ran. 839 158 8+ 44 11+ 78 1+16 20+ 138 
 
 PL 1004 190 11+ 44 18+ 89 2+ 26 31+ 159 
 
 Nub. 758 145 13+41 9+70 0+12 22+ 123 
 
 Eq. 688 135 2+30 4+71 3+25 9+ 126 
 
 91+368 82 + 767 10+152 183 + 1287 
 8835 1470 459 849 162 1470 
 
 108. The total number of dactyls is 1470, on the average 
 1 in 6'01 trimeters. Of these 183 are contained in a single 
 word, 1287 in two or three words or parts of words. The use 
 of the dactyl in the fifth foot and of the dactyl contained in one 
 word in the third foot is peculiar to comedy. 1 
 
 109. Dactyls contained in one word (110) number 183. 
 Thirty- three of the 91 found in the first foot consist of a 
 trisyllabic word (cf. Eq. 1212, Nub. 685, 1486), but only eight 
 of the 82 in the third foot, since the poet avoided medial caesura 
 (cf. Eq. 475, Vesp. 765). The most of the remainder of the 82 
 in the third foot are composed of words that begin with the 
 third foot and overlap the first syllable of the fourth foot, so that 
 the trimeter has hephthemimeral caesura. Cf. Nub. 38, 497, 
 738. Seven overlap both the second and fourth feet. Cf. Ran. 
 60, 473, 489. Only one of the 82 overlaps the second alone, 
 EC. 460. There is also only one similar instance (in a proper 
 name) in the fifth foot, Vesp. 1250. Dactyls that overlap 
 forward are generally contained in a tetrasyllable word of which 
 the accent is on the first syllable of the thesis. Cf. Ach. 14, 46, 
 51, 402, 512. 
 
 110. These facts are summarized in the following table : 
 
 1 The sole instance of a dactyl in in the third foot once in Aeschylus, 
 
 the fifth foot in tragedy is found in twice in Sophocles, and eight times 
 
 Ear. Iph. Aul. 1623, and is doubtful. in Euripides. See Rumpel's Trimeter, 
 
 Dactyls contained in one word occur 608.
 
 112 IAMBIC VERSE 43 
 
 i. iii. v. Total. 
 
 Trisyllables 33 8 3 44 
 
 Overlap forward . . . . 58 66 4 128 
 
 Overlap back . . . ..... 1 1 2 
 
 Overlap both ways . . . .... 7 2 9 
 
 Total in one word . . . 91 82 10 183 
 
 111. Dactyls composed of two or three words or parts of 
 words (112) number 1287. These are much more common than 
 those composed of a single word, especially in the fifth and third 
 feet. The parts of a divided dactyl may be connected with one 
 another within the dactyl by elision (cf. Ach. 90, 422, 615, 757), 
 and either the first or last part may be an enclitic (cf. Ack. 914, 
 1118, Nub. 116, 223). Dactyls divided -J v w or -H~ 
 begin, without restriction, with a monosyllable or with the final 
 syllable of a word of two or more syllables. Arsis and thesis 
 are frequently separated by strong punctuation. Aristophanes 
 evidently inclines to these dactyls in the third foot since they 
 preserve penthemimeral caesura. Cf. Ach. 89, 1007, Nub. 207, 
 223, 732, 1139, 1174, 1263. The dactyl in the fifth foot is 
 generally so composed that the trimeter ends in a tetrasyllabic 
 word ( ^ ^ ^ ^ ), which is often, with comic effect, a proper name. 
 Cf. Av. 27, Ach. 254, % 154. There are 93 instances of this. 
 Aristophanes deviates from tragic usage in allowing a dactyl 
 composed of two words to be divided after the first short syllable 
 (- ^\^). There are 53 authentic instances, 48 in the first foot 
 and 5 in the third. Cf. for the first foot Nub. 72, 1219, EC. 
 351, 436. The five instances in the third foot, in fact but two, 
 all occur in late comedies, Han. 1436, where the dactyl in ijvrtv 
 ex^rov is really composed of three words, EC. 532, PL 171 = 
 174 = 176. The vulgate text of Av. 182 is now generally 
 emended. This dactyl ( - v/ 1 w ) is always followed by an iamb, 
 never by a tribrach or anapaest. 
 
 112. The following table shows the distribution of dactyls 
 composed -of two or three words or parts of words : 
 
 i. iii. v. Total. 
 
 In three words - 1 w | w ... 56 156 18 230 
 
 In two, divided - 1 v^ v . . .264 606 134 1004 
 
 In two, divided - w [w . . .48 5 53 
 
 Total divided dactyls . . 368 767 152 1287
 
 44 
 
 THE VERSE OF GREEK COMEDY 
 
 113 
 
 113. The anapaest occurs in comedy without restriction in 
 the first five places of the spoken trimeter, 1 but, as we have seen 
 (70), it is virtually excluded from melic iambic verse. In the 
 spoken trimeter, which approached as closely as possible to the 
 speech of the man in the street, it is simply a reversion to the 
 earlier, less settled form of poetic expression that was marked by 
 extreme variability of the arsis of the simple foot. See 389, 603. 
 
 114. The following table exhibits the usage of Aristophanes : 
 
 Play. 
 Th. 
 Lys. 
 Ran. 
 EC. 
 Vesp. 
 Ach. 
 Pax 
 Av. 
 PI. 
 Nub. 
 Eq. 
 
 Trim. 
 757 
 
 711 
 839 
 895 
 752 
 811 
 695 
 925 
 1004 
 758 
 688 
 
 \j^j 
 286 
 276 
 349 
 384 
 324 
 352 
 302 
 407 
 446 
 360 
 354 
 
 i. 
 46 + 
 35 + 
 49 + 
 42 + 
 44 + 
 56 + 
 24 + 
 62 + 
 62 + 
 34 + 
 41 + 
 
 49 
 52 
 73 
 58 
 6-1 
 44 
 56 
 70 
 71 
 61 
 65 
 
 ii. 
 
 71 + 
 71 + 
 75 + 
 109 + 
 86 + 
 78 + 
 66 + 
 94 + 
 91 + 
 98 + 
 89 + 
 
 13 
 19 
 42 
 31 
 21 
 20 
 19 
 38 
 34 
 28 
 15 
 
 iii. 
 8+ 4 
 12+ 2 
 11 + 10 
 10 + 10 
 18+ 3 
 28+ 8 
 20+ 6 
 13 + 10 
 22+ 9 
 16+ 7 
 22 + 12 
 
 iv. 
 56 + 
 39 + 
 51 + 
 83 + 
 59 + 
 68 + 
 59 + 
 60 + 
 82 + 
 71 + 
 69 + 
 
 25 
 18 
 18 
 18 
 9 
 15 
 11 
 13 
 14 
 16 
 9 
 
 V. 
 
 12+ 2 
 
 22+ 6 
 15+ 5 
 19+ 4 
 17+ 3 
 28+7 
 31 + 10 
 30 + 17 
 44 + 17 
 17 + 12 
 27+ 5 
 
 Total. 
 193+ 93 
 179+ 97 
 201+ 148 
 263+ 121 
 224+ 100 
 258+ 94 
 200+ 102 
 259+ 148 
 301+ 145 
 236+ 124 
 248+ 106 
 
 495 + 663 
 
 928 + 280 
 
 180 + 81 
 
 697 + 166 
 
 262 + 88 
 
 2562 + 1278 
 
 8835 3840 1158 
 
 1208 
 
 261 
 
 863 
 
 350 
 
 3840 
 
 115. The anapaest is a conspicuous feature of the comic 
 non-melic trimeter, which might with fitness be called the 
 'anapaestic trimeter,' and anapaests (3840) are nearly as common 
 as tribrachs and dactyls taken together (4124). One anapaest 
 occurs on the average in 2*30 trimeters. So natural is the use 
 of this form of foot that in 352 instances, 90 in the first foot, 
 96 in the second, 20 in the third, 121 in the fourth, and 25 in 
 the fifth, anapaestic scansion is secured by position, the original 
 form being a tribrach, as Trpofyaa-iv in Eq. 466, Trpo^aa-iv fjiev 
 'Ap7etoi5 <t'Xov9 rffiiv TTOISI. Of. JZq. 53, Nub. 62, Vesp. 196, 
 Pax 19, Av. 5, EC. 766, 1110. 
 
 116. Anapaests contained in one word (117) number 2562. 
 In 919 of these, about one-third, the word is a trisyllable. This 
 form of the anapaest preponderates in the first foot, 279 in 495, 
 and is very common in the fourth, 270 in 698. Of. Ach. 26, 
 31, 113, 134, Ran. 85, 91, 137, 156. Of the remaining 1643 
 anapaests contained in one word, 1027 begin a word which over- 
 laps the following foot (cf. Ach. 160, Av. 439, Lys. 146, PL 
 846), 465 end a word which overlaps the preceding foot (cf. Th. 
 
 1 It occurs also as a vagary twice in 
 the sixth foot, Ran. 1203 and 1231. 
 
 Here the anapaest points the metrical 
 jest. Cf. 1197ff.
 
 120 IAMBIC VERSE 45 
 
 65, 162, 214, 237), 151 are contained in words which overlap 
 both the following and the preceding foot (cf. Av. 125, 201, 
 1249, 1301). Aristophanes uses the anapaest contained in one 
 word sparingly in iii., as he does the tribrach (101) and the 
 dactyl (109). This is due to the same desire to maintain 
 penthemimeral caesura. He allows it in iii. in case of an 
 anapaest overlapping forward oftener than in other cases, because 
 this commonly produces hephthemimeral caesura. Cf. Ach. 518, 
 536, 624, 765. The trisyllabic tribrach in iii. tends to produce 
 medial caesura, which was rhythmically objectionable. Cf. Ach. 
 499, 526, 535, 922. 
 
 117. These facts are summarized in the following table : 
 
 i. ii. iii. iv. v. Total. 
 
 Trisyllables . . .279 276 46 270 48 919 
 
 Overlap forward . . 216 419 91 156 145 1027 . 
 
 Overlap back 164 27 230 44 465 
 
 Overlap both ways 69 16 42 24 151 
 
 Total in one word . 495 928 180 698 261 2562 
 
 118. Anapaests composed of two or three words or parts of 
 words (119) number 1278. The ratio of these anapaests to 
 those contained in one word is about 1:2. This ratio is reversed 
 in tribrachs (102, 103) and notably in dactyls (110, 112). The 
 parts of a divided anapaest may be connected with one another 
 within the anapaest by elision. Cf. Ach. 4, 88, 165, 922, JEq. 
 626. In 799 of these divided anapaests, of which 447 are in 
 the first foot, the division falls after the second short syllable 
 (wv/|-); in the remainder it is v/|w- (297) or w|s/|- (182). 1 
 
 119. The facts are summarized in the following table : 
 
 i. ii. iii. iv. Y. Total. 
 
 In three words w | ~ | - . . 114 31 7 23 7 182 
 
 In two, divided ^ | - . . 447 162 50 84 56 799 
 
 In two, divided I v - . .102 87 24 59 25 297 
 
 Total divided anapaests . 663 280 81 166 88 1278 
 
 120. Anapaests divided ^ ^ | - may be classified as follows : 
 i. The dissyllabic prepositions diro, Bid, eiri, Kara, perd, 
 irapd, irepi, viro, may begin an anapaest in any of the first 
 five feet. Cf. Ach. 8, 39, 72, 141, 164, 195, 262, 866. 
 
 1 See in particular Hermann's Epitome, viii. ff. ; Bernhardi, De incwionibus, 245 ff.
 
 46 THE VERSE OF GREEK COMEDY 121 
 
 ii. The word Ato, in oaths may begin an anapaest in the 
 second and fourth feet, rarely in the third and fifth. Cf. Nub. 
 1239, Ran. 41, 164, 285, 288, 738, 863, 1433. 
 
 iii. Any other word that consists of two short syllables may 
 begin an anapaest in any of the first five feet, if a pause in sense 
 precedes. Such words are ore, on, iva (Ach. 516, 535, Eq. 14); 
 </>epe, \afte, e^e, aye, Wt (Ach. 584, 831, Av. 809, 935, Ran. 
 519); and dissyllabic forms of rt? (Sq. 728, Pax 104). Less 
 common are o<ra, odev, oirep, vroOev, orav ; apa, drdp, en, vrdXiv, 
 irdvv, TTO\V, ra^v, rare. Some exceptions to the restriction of 
 a pause in sense occur. Cf. Av. 54, 134, Th. 922, Ran. 158, 
 and (dissyllabic enclitics) Vesp. 9 47, Ran. 170 (rtz/69 etc). In the 
 first foot, arsis may be separated from thesis by punctuation. 
 Cf. Vesp. 816, Pax 926, 930, Av. 22. In other feet this licence 
 is exceptional. Cf. Nub. 664 (<bepe ; TTW?), Lys. 731, Th. 219, 
 Ran. 483. 
 
 iv. The dissyllabic arsis of the anapaest may consist of the last 
 two syllables of an unelided word of three or more syllables, but 
 examples of this anapaest are relatively rare. 1 It appears 
 chiefly in the second and fourth feet. Cf. in the second foot 
 Av. 1022, 1228, 1363, Lys. 124, 746, EC. 1027, PL 476; in 
 the fourth Ach. 107, 1078, Th. 637, Ran. 754. The caesura 
 of the verse (130 ff.) is generally so disposed that the parts of 
 the anapaest are not separated, but in two cases in the fourth 
 foot {Pax 233, Av. 1226) the arsis and thesis are separated 
 by a pause. This anapaest rarely occurs in the third and fifth 
 feet. Cf. Nub. 73, Pax 1195 (in both the vulgate has been 
 corrected), PI. 942. 
 
 121. Anapaests divided w | ^ - or ^ | w | - may be classified 
 as follows : 
 
 i. The monosyllabic forms of the article o, rov, TO, rd and 
 short monosyllabic prepositions may begin the anapaest. Cf. Ach. 
 481, 498, Eq. 84, 120, 646, Nub. 1188. 
 
 ii. The interrogatives TI'<?, rt, the forms 09, ov, o, a, of the 
 relative, also yue and ere when accented, <rv, and fid in the 
 formula pa A/', may begin the anapaest, if a pause in sense 
 precedes. Cf. Eq. 1046, Nub. 22, Vesp. 142, 158, Av. 90, 
 
 1 This polysyllabic word always has had previously banned many of the 
 
 dactylic close ( \^w), and Hermann examples, and subsequent editors have 
 
 condemned the anapaest thus formed ' emended ' them freely. 
 (Epitome, 154). Bentley and Elmsley
 
 121 IAMBIC VERSE 47 
 
 982, 1021, 1685, Ban. 47, 171, EC. 440, 550. Some exceptions 
 to the restriction of a pause in sense occur. Cf. Vesp. 815, Pax 
 930, Av. 20, 847, Lys. 131, Ran. 749. The formula fia Af is a 
 notable exception (cf. Ach. 88, 461, 966, Nub. 694), and it may 
 be separated by a strong pause from the final syllable of the 
 anapaest (cf. Pax 930, EC. 551). The two short syllables of the 
 arsis, whether the form be ^ | w - or ^ | ^ | - , may not be separated 
 by punctuation. The sole exception is found in the first foot of 
 Ach. 750. The second word in the anapaest, whether mono- 
 syllabic or dissyllabic, may not be an enclitic. The only 
 exceptions have the form ^ | ^ | - and they are rare. The com- 
 bination rL TTOT (rl -7T00') occurs six times, as in Eq. 97, Nub. 
 187 ; 6 TI occurs twice, EC. 998, PL 349 ; and finally 8e TV, in 
 dialect, in Eq. 1225. 
 
 iii. The first syllable of the arsis of the anapaest may be the final 
 syllable of an unelided word of two or more syllables. 1 Examples 
 of this anapaest in iii. and v. are rare (cf. Eq. 26, 121, Nub. 
 1192, Ao. 90, 93, Lys. 927), but its occurrence in ii. and iv. 
 cannot be said to be infrequent, if we take into account how 
 small relatively the total number of anapaests divided after the 
 first short syllable is in these positions, 118 in ii. and 82 in 
 iv., including those now under discussion. When this anapaest 
 occurs in the second foot, the trimeter generally has penthe- 
 mimeral caesura as the primary pause within the verse (Ach. 6, 
 Nub. 684, Pax 48, Av. 79, 843, Lys. 44, Th. 946, 1184, Ran. 
 847, 1393), sometimes hepthemimeral (Av. 114, 144, 1024, 
 Th. 1198), twice (Nub. 1221, Vesp. 25) octahemimeral (137), 
 and the parts of the anapaest are not separated. Only two 
 exceptions occur (Ach. 178, Ran. 1462), on which see 138, 
 note. When, on the other hand, this anapaest occurs in the 
 fourth foot, its dissyllabic arsis is generally divided by hephthe- 
 mimeral caesura (Ach. 912, Eq. 208, Nub. 62, 214, Vesp. 1369, 
 Pax 187, 415, Av. 40, 1495, Ran. 1220, 1307, EC. 146, 167, 
 428). Less often the trimeter has penthemimeral caesura (Av. 
 
 1 The anapaests in this subdivision brought under discussion are here cited, 
 
 and the following subdivision have been Some of them are objectionable on other 
 
 vigorously discussed and many of them accounts than the suspected anapaest, 
 
 have been ' emended ' out of existence. the true reading of some others is now 
 
 See Bernhardi, De incisionibus, 246 ff. furnished by the manuscripts, but whole- 
 
 and 262 ff. ; Elmsley on Ach. 178 sale correction, merely because the 
 
 (Auctarium) ; Enger, Lysistrata, xviii. ff. rhythm is supposed to be objectionable, 
 
 Most of the verses that have been is not to be countenanced.
 
 48 THE VERSE OF GREEK COMEDY 122 
 
 441, 1614, Lys. "768, Han. 652, 658), once (Lys. 838) tri- 
 emimeral (138), and once (Nub. 70) octahemimeral (137). 
 
 iv. In the same category with the preceding belong anapaests 
 of which the first syllable is a monosyllabic enclitic or Be, dv or 
 yap, 1 since these monosyllables adhere closely to the preceding 
 word. Of. in the second foot Nub. 876, Av. 847, Ran. 107, 
 1281, each with penthemimeral caesura. In PL 1173 the pause 
 is hephthemimeral, in PL 664 medial (137), in Th. 469 tetre- 
 miineral (137). When this anapaest occurs in the fourth foot 
 the caesura is generally penthemimeral (Av. 78, Th. 173, 
 Han. 77, EC. 998), once hephthemimeral, with division of the 
 arsis (Lys. 760). This anapaest does not occur in the third 
 foot and rarely in the fifth. Of. Av. 23, EC. 219. 
 
 122. It should be observed, finally, that the last remaining 
 syllable or last remaining two syllables of elided polysyllabic 
 words may freely begin an anapaest in the second or fourth 
 foot, even with interior punctuation ; less freely in the third and 
 fifth. Of. in the second foot, Eq. 11, Nub. 849, Av. 442, 1026, 
 1222, 1638, Lys. 45, Ran. 1407, PL 1191 ; in the fourth, Ach. 
 Q13,Nub. 66, 70, Vesp. 969,2%. 472, 926, Ran. 118, EC. 1011; 
 in the third, Nub. 3, 630, 749, PL 1085 ; in the fifth, Pax 31, 
 Av. 956. 
 
 123. Eelatively few tribrachs, dactyls and anapaests are 
 composed in comedy wholly or in part of proper names. There 
 occur 196 such tribrachs, 100 dactyls and 340 anapaests. Of 
 these 8 tribrachs, 4 dactyls and 54 anapaests are each a tri- 
 syllabic word. 
 
 124. Combinations of two or three trisyllabic feet in a single 
 trimeter frequently occur. Twelve hundred and sixty-nine of 
 2654 tribrachs, 723 of 1470 dactyls, 2025 of 3840 anapaests, 
 are found each in a trimeter that contains at least one other 
 trisyllabic foot. The combinations of trisyllabic feet in Aristo- 
 phanes are set forth in the following table, 2 in which the columns 
 designate in order : I. the feet that are combined ; n. the total 
 number of times the combination occurs ; in. the most frequent 
 arrangement in the combination, the feet of the trimeter in which 
 it occurs being named in the order of I., and in parenthesis the 
 
 1 fdv does not occur in this use in the completed and corrected. See his Tri- 
 trimeters of Aristophanes. meter ; 617 ff. 
 
 2 Rumpel's statement of facts has been
 
 125 
 
 IAMBIC VERSE 
 
 49 
 
 number of times it occurs ; iv. an example ; v. the arrangement 
 next in order of frequency ; vi. an example. 
 
 II. 
 
 in. 
 
 IV. 
 
 v. 
 
 VI. 
 
 142 
 
 2, 
 
 4 
 
 (86) 
 
 Vesp. 
 
 61 
 
 1, 
 
 4 (19) 
 
 Eq. 
 
 1161 
 
 59 
 
 1, 
 
 3 
 
 (41) 
 
 Lys. 
 
 235 
 
 3, 
 
 5 (11) 
 
 Vesp. 
 
 163 
 
 405 
 
 2 
 
 4 
 
 (108) 
 
 Ach. 
 
 54 
 
 1, 
 
 2 (80) 
 
 EC. 
 
 277 
 
 549 
 
 l', 
 
 4 
 
 (118) 
 
 Th. 
 
 483 
 
 2, 
 
 4(110) 
 
 Ran. 
 
 1466 
 
 245 
 
 2, 
 
 3 
 
 (90) 
 
 Ach. 
 
 625 
 
 1, 
 
 3 (61) 
 
 Pax 
 
 896 
 
 225 
 
 3, 
 
 o 
 
 
 Vesp. 
 
 12 
 
 1, 
 
 4 (57) 
 
 Pax 
 
 661 
 
 54 
 
 1, 
 
 2, 
 
 4(24) 
 
 Ach. 
 
 833 
 
 2, 
 
 4,5(7) 
 
 Ach. 
 
 1087 
 
 26 
 
 1, 
 
 2, 
 
 4(16) 
 
 Eq. 
 
 627 
 
 1, 
 
 2,3(3) 
 
 Ach. 
 
 750 1 
 
 46 
 
 1, 
 
 2, 
 
 4(14) 
 
 Av. 
 
 55 
 
 1, 
 
 4,2(7) 
 
 EC. 
 
 121 
 
 7 
 
 5, 
 
 1, 
 
 3 (3) 
 
 Av. 
 
 1568 
 
 4, 
 
 1,5 1) 
 
 Pax 
 
 362 2 
 
 32 
 
 1, 
 
 2,3(21) 
 
 Eq. 
 
 84 
 
 1, 
 
 5,3(3) 
 
 Ach. 
 
 250 
 
 16 
 
 3, 
 
 2 f 
 
 4 (5) 
 
 Th. 
 
 91 
 
 1, 
 
 2,4(4) 
 
 Eq. 
 
 125 
 
 10 
 
 3, 
 
 5', 
 
 2 (3) 
 
 Eq. 
 
 1007 
 
 1, 
 
 3,2(2) 
 
 Nub. 
 
 256 
 
 40 
 
 1, 
 
 2, 
 
 3(10) 
 
 Vesp. 
 
 944 
 
 2, 
 
 4,3(5) 
 
 Ach. 
 
 158 3 
 
 Three tribrachs occur in Ach. 1022, 1054, Nub. 638, 642, 
 Vesp. 185, Th. 1191 ; three dactyls in Nub. 213 ; four anapaests 
 in Lys. 864, PI. 815; five in Vesp. 979. Combinations in the 
 same verse of four trisyllabic feet of which at least two have 
 different metrical form occur in Ach. 244, Eq. 1227, Nub. 173, 
 1244, Pax 431, 1221, Av. 840, Lys. 47, Ran. 8, 101. 
 
 125. When two trisyllabic feet are combined in the same 
 trimeter, they are generally separated by an intervening foot or 
 feet, and in this position all nine possible combinations occur : 
 tribrach followed by tribrach, by dactyl, by anapaest ; dactyl 
 followed by dactyl, by tribrach, by anapaest; anapaest followed 
 by anapaest, by tribrach, by dactyl. When, however, the two feet 
 are juxtaposed, limitations occur. Dactyl with dactyl is then an 
 impossible arrangement, and two others, tribrach with anapaest, 
 ^ v ^ w ^ - , and dactyl with anapaest, w <* U *> , were 
 avoided, since the combination of a resolved thesis with a dissyl- 
 labic arsis, in this order, was rhythmically unsatisfactory. It 
 was for this reason that the Greek poets avoided the proceleus- 
 matic dactyl, v ^ ^ ^ (334). In the trimeter, the rhythm became 
 still less satisfactory if an irrational arsis preceded the objection- 
 able combination, and therefore - ^ ^ w w - occurs less often 
 than w w ^ ^ w -, but both are rare. These are the famous 
 
 1 Also 2, 3, 4 (3) .Ran. 838. 
 
 2 Also 1, 3, 5 (1) Lys. 997 ; 2, 3, 5 (1) 
 
 Ran. 176 ; 3, 1, 5 (1) Eq. 1373. 
 3 Also 1, 4, 3 (5) Vesp. 1005. 
 
 E
 
 50 THE VERSE OF GREEK COMEDY 126 
 
 forbidden combinations which have been the subject of great dis- 
 cussion, since Dawes first pronounced against them. 1 See the 
 editors on the following passages, which have all been brought 
 into the discussion at one time or another. Many emendations 
 by Bentley and his successors have subsequently been confirmed 
 by authority of the manuscripts. For w w w w w , see Ach. 
 47, 68, 190, 867, 928; Eq. 32, 134; Nub. 663, 845; Vesp. 
 1169, 1356; Pax 246; Av. 108, 444, 1011, 1283, 1506, 
 1693; Lys. 923, 1002, 1148; Them,. 100, 285, 730, 1203; 
 EC. 162, 315 ; Pint. 179, 1011. For - w w w w -, see Ach. 18, 
 144,615, 733; Vesp. 961; Pax 900; Lys. 20; Ran. 473, 
 551; Pint. 145, 178, 204. 
 
 SPOKEN AND MELIC TEIMETERS COMPAKED 
 
 126. There are 76 melic iambic trimetrical cola in the extant 
 plays of Aristophanes, 2 according to the analyses of his odes made in 
 this book. The count excludes protracted, acephalous and catalectic 
 cola. Sixteen have one long arsis, 1 in 4'8 ; 32 have two, 1 in 
 2 '4; 11 have three, 1 in 6 '9. The total number of irrational 
 metres is 113, 49'6 per cent. The total number of trimetrical 
 cola in which one or more metres are irrational is 59. There are 
 27 resolved feet, on the average one in 2'8 cola, but all but four 
 of these are tribrachs which are distributed as follows : 
 
 Cola, www i. ii. iii. iv. v. Total. 
 
 76 23 2 + + 10 1 + 3 1 + 6 + 4 + 19 
 
 Four tribrachs consist of trisyllabic words ; two have the 
 division w_w|w, four w|w|w. The dactyl occurs three times 
 (Vesp. 886, Han. 266, EC. 914); the anapaest but once (Vesp. 
 886). Five cola contain each two trisyllabic feet, one has four 
 (Ach. 1191). 
 
 127. It is obvious that the virtual exclusion of the anapaest 
 
 1 Dawes, Miscellanea, 253 ff. ; Her- 1345, 1347, 1349, 1391, 1393, 1395 ; Vesp. 
 maun, Elementa, 126 ff. ; Reisig, Con- 729, 731, 743, 745, 868 f. (2), 885 f. 
 itctanea, 11 ff. ; Dobree, Addenda to (2); Av. 228 f. (2), 417, 430; Lys. 288, 
 Person's Notae in Aristophanem, 111 ff. ; 298, 1299, 1306; Th. 369, 679, 718, 
 Rossbach, Spec. Metrik? 227 ff., who 958, 975, 983, 985; Ran. 266, 268, 402, 
 seeks to establish the proceleusmatic as 408, 413, 418, 421, 424, 427, 430, 433, 
 a legitimate foot in the comic trimeter. 436, 439 ; EC. 480, 914, 920 ; Pint. 
 
 2 Ach. 279, 364 f. (2), 391 f. (2), 307, 314. See Zielinski's differentiation 
 492 f. (2), 1158, 1170, 1191-3 (2), of "lyric," "tragic" and "comic" 
 1199 f. (2), 1203, 1211, 1213 f. (2), trimeters in his Gliederung, 292 f. 
 1216, 1218, 1220, 1222, 1224; Nub. His method is not followed in this 
 709 f. (2), 1156 f. (2), 1161, 1303, 1311, book.
 
 130 IAMBIC VEESE 51 
 
 from the melic trimeter is the most important mark of difference 
 between nielic and spoken trimeters (113). The next significant 
 difference is the sparing use of the dactyl (108). The tribrach, 
 on the other hand, holds its place, one tribrach in 3 '3 cola (100). 
 Irrational metres also abound, as in the spoken trimeter (97). 
 
 128. But it happens that the percentage of irrational metres 
 in these 76 cola is somewhat lower than in melic iambic cola in 
 general in comedy. A second, broader means of comparison is 
 secured by grouping all the melic iambic cola found in the eleven 
 plays, excluding those that are protracted or acepbalous. These 
 cola, including of course the 76 trimetrical cola that served as 
 the basis of the first comparison, number 611, and they contain 
 1100 complete metres, roughly equivalent to 3 6 7 trimetrical cola. 
 The anapaest occurs only six times, once in the equivalent of 6 1 
 trimeters; the dactyl 23 times, once in 16. But the tribrach is 
 found 122 times, on the average once in 3 trimeters, and there 
 are 618 irrational metres in the 1100, or 56 percent. The per- 
 centage in spoken trimeters is 6 2 (97). 
 
 129. It is apparent that the irrational metre abounds in 
 comic iambic verse, both sung and spoken. The poet, however, 
 skilfully varies its use in melic verse. In the processional in 
 Ran. 384 ff. (89) the retarding effect of the irrational metres 
 (77 per cent) is marked. The metrical tone of this ode is strik- 
 ingly similar to that of the anapaestic lyric that precedes it. 
 Even in the Song at the Bridge (Ran. 416 ff.,80) irrational metres 
 greatly preponderate (70 per cent). The tone of the monody of 
 Dicaeopolis (Ach. 263 ff., 90) is lighter and the use of irrational 
 metres is diminished (53 per cent). When we pass this limit we 
 come within the range of parody and paratragedy. Of. Av. 8 5 1 ff. 
 (93), 405 ff. (290), Ach. 1190 ff. (599, and see 598). It is 
 instructive to compare the iambic lyrics of Aeschylus, composed 
 almost wholly of rational and protracted metres, with those of 
 Aristophanes, who uses protraction sparingly but, since he is a 
 comic poet, irrational metres in abundance. 
 
 CAESURA IN THE TRIMETER 
 
 130. The spoken trimeter is a colon and can be rendered 
 continuously without difficulty (22), but it is in constant use in 
 the drama, and a single mode of rendering it would have made 
 the dialogue of comedy, in particular, intolerably monotonous. A
 
 52 THE VERSE OF GREEK COMEDY 131 
 
 pause, therefore, was developed within the colon, such as is found 
 in the English heroic line and is natural to all spoken verse, 
 which produced variety by introducing a double instead of a 
 single cadence. This pause followed a complete word, which 
 might however be elided, and its place in the verse was deter- 
 mined with due attention to the thought. This fact, which is 
 sometimes overlooked, is emphasized by the anonymous writer in 
 Studemund's Anecdota Varia (215. 24 f.), in his discussion of the 
 pauses of the dactylic ' hexameter ' : ro^rj Se rwv GTiywv e<rrlv o 
 
 T07TO9 SeiKVVS V jJ,i(T(> TOV 7TOV<> SldvOldV, (TTt, f y/J,r)V e7TiT7/8etft>5 
 
 \a^dvova-av. Compare his repeated use of the phrase TO VOIJ/JM 
 in the passage quoted in 360. Aristides (53 M., 34. 21 ff. J.) 
 records two alternative pauses of the trimeter, the penthemimeral, 
 which follows the arsis of the third simple foot, ^ - ^ - 
 w _ v _ v ^_ w _ j and the hephthemimeral, which generally 
 follows the arsis of the fourth foot, ^ - w - ^ - w | - v w _ , 
 but sometimes divides it, ^ w ^ ^ | w ^ ^ . 
 
 131. These are the chief but not the only caesuras of the 
 trimeter, notwithstanding the reported opinion of Hephaestion 
 (229. 15 ff.). The ancient actor, like the modern, studied and 
 tested his poet's lines and determined the appropriate place for 
 the pause with due regard for thought and rhythm. He doubt- 
 less often rendered the trimeter without pause, when the logical 
 connexion of its parts was close or involved, especially if the 
 sentiment justified rapid delivery. On the other hand, two pauses 
 sometimes occur, one generally stronger than the other, producing 
 a triple cadence. It was possible to secure great variety of 
 effect in rendering the trimeter. 1 
 
 132. Caesura and diaeresis (56) are peculiar to spoken, melo- 
 dramatic and recitative verse. It is obvious that a pause had no 
 place within a melic subordinate period, which in comedy was 
 generally sung by twelve voices, often in accompaniment to a 
 dance. Virtual equality in length of rhythmical elements was 
 necessarily observed in the melic period, but a pause that facilitated 
 rendering might be introduced into a verse that was spoken or 
 recited by a single voice, without seriously disturbing its rhythm, 
 precisely as in English blank verse. A final pause, furthermore, 
 of the same nature as that which accompanied caesura and 
 diaeresis, followed the non-melic verse. A pause which had the 
 
 1 For tragedy, see Goodell's Bisected Trimeters, 148 ff.
 
 133 IAMBIC VERSE 53 
 
 value of at least a primary time certainly followed tetrameters, 
 which are all catalectic, but a pause must have occurred also 
 after the iambic trimeter and dactylic ' hexameter.' One evidence 
 of this is the constant but wholly irregular occurrence of 
 the variable syllable and of apparent hiatus at the close of 
 the trimeter and hexameter, implying separation of the verses 
 generally. A second proof is the fact itself that these non-melic 
 verses allow caesura. Most trimeters, for example, admit a pause 
 somewhere within the verse to facilitate rendering. The thought 
 expressed in many of these verses, that end in a syllable that is 
 not affected by hiatus and is long by nature, is brought to such a 
 conclusion at the end of the verse as naturally to require a follow- 
 ing pause, indicated in the modern printed text by punctuation. 
 It is not credible that the pause natural to such a close should 
 have been ignored, while the pause within the verse was observed. 
 The identity of the spoken trimeter, indeed, as a rhythmical unit 
 would have been lost in a succession of trimeters thus rendered. 
 But a single trimeter may on occasion be followed by a pause 
 that is very brief, or it may even directly overlap the following 
 trimeter, just as some verses lack caesura. Compare verses that 
 end with fa (Ach. 170, 189, 375, 502), foro? (Aeh. 26, Mq. 211, 
 Nub. 887, 1107, 1181), eVet' (Nub. 781, 1470, Vesp. 79, 1164, 
 1393), tva (Eq. 8, Nub. 196, Vesp. 845), or some similar word. 
 
 133. This fact of a final pause bears upon the question of the 
 extent to which logical relations should determine the position of 
 the caesura within a given trimeter or even effect its rejection. 
 Sense and pause, whether inner or final, generally coincide, but a 
 pause may occur that breaks the continuity of the thought. 
 Tetrameters furnish evidence of this. Every trochaic tetrameter, 
 for example, is followed by a pause due to catalexis, but such a 
 tetrameter is sometimes closely connected in meaning with the 
 tetrameter that follows. Cf. Ach. 239, 311, 313, 329, 706, 
 714. The pause also that follows the melodramatic iambic tetra- 
 meter, which is intimately related to the trimeter in form (173) 
 and mode of rendering, often separates words that are logically 
 closely connected. Cf. Eq. 354, 432, 435, 844, 850, 852, 860, 
 861, 862, 868, 869, etc. The same separation is seen in tri- 
 meters, Cf. Ach. 7, 13, 19, 21, 23, 28, 37, etc. The signifi- 
 cance of these examples is not to be ignored. The practical 
 conclusion which they justify is that, while due regard is to be
 
 54 THE VERSE OF GREEK COMEDY 134 
 
 paid to the thought in determining caesuras in the trimeter, any 
 separation of words logically connected that the poet permits at 
 the end of the verse is to be allowed within it, if required by 
 caesura. 
 
 134. Caesura consequently may divide not only sentences, 
 phrases and parts of speech that are connected by coordinate 
 conjunctions, as well as principal and subordinate sentences 
 connected by subordinate conjunctions and relatives, but also 
 verb and object, verb and subject, verb and dependent infinitive, 
 verb and adverb or adverbial phrase, noun and adjective or 
 dependent genitive, noun and appositive, noun or pronoun and 
 participle, subject and predicate, and the like. Caesura is thus 
 seen to be an independent and significant phenomenon of non- 
 melic verse. Nevertheless, its place in the verse is not to be 
 determined by a merely mechanical observance of word-endings. 
 A word ends with the arsis of the third simple foot in 71 of the 
 first 100 verses of the Acharnians (excluding 43, 61, 100), with 
 the arsis of the fourth simple foot in 46 of these 100 verses, in 
 both places in 25 of the 71 and 46. Only eight verses, there- 
 fore, occur in which neither the third nor the fourth arsis is the 
 close of a word (31, 37, 51, 71, 74, 78, 83, 96), but it does not 
 follow that 92 of these trimeters are best rendered with either a 
 penthemimeral or a hephthemimeral pause. 
 
 135. It is to be noted, as a general rule, first, that a pause 
 must not be made before an enclitic, or a recessive word, such as 
 fiev, Se, yap, dv, closely connected with what precedes and not 
 admissible at the beginning of a trimeter ; secondly, that it must 
 not be placed after a progressive word closely connected with 
 what follows, such as the article, a preposition when it precedes 
 its case, icai (and), ov (proclitic), pr) (progressive), and in general 
 any word that on account of its progressive force is avoided at 
 the close of the verse ; thirdly, that it must not be placed between 
 the two short syllables of the resolved thesis of the tribrach or 
 'dactyl' in the trimeter. Of the first 100 verses of the 
 Acharnians, therefore, 12, 32, 55, 102 cannot be given the 
 penthemimeral pause, nor 39, 80, 97 the hephthemimeral. 
 
 136. The penthemimeral is the prevailing pause in the 
 trimeter ; only second to it in importance is the hephthemimeral ; 
 but there are nine verses in the first 100 trimeters in the 
 Acharnians that admit neither of these pauses, verse 12 in which
 
 138 IAMBIC VERSE 55 
 
 the third arsis is followed by an enclitic, and the fourth ends 
 within a word, and the eight cited above (134). These are not 
 singular; 59 such verses occur in the first 400 trimeters in the 
 Acharnians, about one-half of the total number of trimeters in 
 the play. The second metre of a verse of this class is either 
 divided at the middle or is wholly without division. 
 
 137. Trimeters that do not admit either the penthemimeral 
 or the hephthemimeral pause may have medial caesura, the pause 
 occurring at the middle of the verse, w - ^ - y { w ^ ^ -. 
 Of. Ach. 139, 170, 172, 409, 434/499. Or the caesura may 
 be tetremimeral, w-w-|^-w- ^ - ^ - , the pause following 
 the first metre, so that the verse is divided into monometer and 
 dimeter, as in 47, 51, 71. Cf. also 163, 382. Or the caesura 
 may be octahemimeral, ^ - ^ - ^-^-[^-w-,so that the 
 division is into dimeter and monometer. Cf. 465, 905, 1021. 
 The octahemimeral pause may occur also in a verse in which 
 penthemimeral caesura, if observed, is secondary. Cf. 54, 105, 
 188, 254, 430, 451, 452, 473. The tetremimeral pause like- 
 wise may occur in a verse in which the hephthemimeral pause, if 
 observed, is secondary. Cf. 48, 176, 437. 
 
 138. The penthemimeral and hephthemimeral pauses so 
 divide the trimeter that the second rhythmical phrase always 
 begins strongly with a thesis. Much less frequent are the 
 medial, tetremimeral, and octahemimeral pauses, after which the 
 following phrase, dimeter, hemistich, monometer, begins with an 
 arsis. Two other pauses sometimes occur that are in the same 
 class with penthemimeral and hephthemimeral pauses, since the 
 caesura follows an arsis, the triemimeral following the second 
 arsis, ^ - w|- ^ - ^ - ^ - ^ -, as in Ach. 24, 137, 145, 
 179, 257, 405, 461, 484, 485, 1 and the cretic, which is less 
 frequent, following the fifth arsis, ^ - w - w _ w - w | - ^ - , as 
 in Ach. 753, 771, 782, 815, 910, 1065. We even find verses 
 with a pause well defined by the sense after the first thesis, 
 
 w _| w _ w w - v, -, as in 4, 19, 110, 445, 450, 467, 
 
 or less often after the fifth, ^ - w - ^ - ^ - ^ - 1 w - , as 
 in 134, 262, 406. Even the first arsis, or part of it if it is 
 dissyllabic (750 !), may be separated from the remainder of the 
 
 1 In Ach. 178 the triemimeral pause Elmsley reads for', but see the cases of 
 divides the dissyllabic second arsis, r[ 8' similar division in the fourth foot cited 
 (OTIV ; y<!> fj^v Sevp6 cot ffirovSas <pepuv. in 121, iii.
 
 56 THE VERSE OF GREEK COMEDY 139 
 
 verse, as in 44, 106, 108. So ov in the thesis at the end of 
 the trimeter, as in 46, 421. The pauses after or within the first 
 arsis and before a final thesis are secondary, and if appreciably 
 observed must have been very brief. 
 
 139. Two pauses in one trimeter give it a triple cadence, but 
 verses of this kind are comparatively rare in Aristophanes. Cf. 
 Aeh. 2, 402, 408, 410, 417, 470, 471, 473. Each of these has 
 either penthemimeral or hephthemimeral caesura combined with 
 one of the other pauses mentioned above. Other combinations 
 are possible, but verses are very rare that have both penthe- 
 mimeral and hephthemimeral caesura. Perhaps Ach. 53 should 
 be thus rendered with a pause before and after the vocative. In 
 verses that might admit both, if mechanically divided, one pause 
 is generally strongly demanded by the sense to the exclusion of 
 the other, as the penthemimeral pause excludes the hephthe- 
 mimeral in 13, 57, 86, 89, 93, the hephthemimeral the penthe- 
 mimeral in 27, 34, 50, 75. The hephthemimeral caesura 
 excludes the penthemimeral likewise in 16, 36, 82, if the logical 
 connexion of words is regarded. Hephthemimeral caesura is 
 excluded from 2, because the sense demands cretic ending, and 
 probably also from 5, because all that here follows the penthe- 
 mimeral caesura is a single paratragedic combination of the 
 nature of a quotation. If the rendering of 11, 24, 98 is 
 determined by logical relations, 11 and 24 have triemimeral 
 caesura and cretic ending, 98 triemimeral caesura and iambic 
 ending, but the last pause in each is secondary and may have 
 been ignored. 
 
 140. It is now impossible to determine how freely the actor 
 may have used a triple cadence. That most spoken trimeters 
 had each at least one caesura is not to be doubted. The 
 penthemimeral and hephthemimeral pauses were so important 
 that, as we have seen (133), they might break the continuity of 
 the thought. It is possible that the logical relation of words 
 was, in general, a consideration so subordinate to the maintenance 
 of the flow of the rhythm that a secondary pause required by the 
 thought may often have been ignored. Two opposite tendencies 
 would then be active, one to establish a main pause, the other to 
 disregard a subordinate pause, but both operating to effect 
 harmonious rendering. The result would be to abridge the use 
 of the secondary pause. Trimeters with three interior pauses are
 
 143 IAMBIC VERSE 57 
 
 very rare. When merely enumeratory, the rhythmical effect 
 is not displeasing. Perhaps Ach. 30, 31 should be thus rendered. 
 Cf. 551, 554, 1090, 1092, and Plut. 190, 191, 192. When a 
 verse is divided between two speakers into four parts the effect 
 is so odd as to be in itself eminently comical, which is the 
 poet's intention. Cf. Eq. 999, 1161, Nub. 219, Vesp. 48, Pax 
 198, 268, Ran. 40, 56, 306, 312. The only instance of this in 
 tragedy is Soph. Phil. 753. Ehythm can hardly be affirmed of a 
 verse such as Ach. 46, the only trimeter of its kind in Aristophanes. 
 
 141. Pauses are observed without regard to elision. Cf. for 
 the penthemimeral pause, Ach. 155, 247, 403, 408, 460, 609 ; 
 for the hephthemimeral, 50, 165, 752, 761, 891, 1091. The 
 last involves aspiration, as in Nub. 1270, Pax 275. The dis- 
 regard of elision is a curious phenomenon, from the point of view 
 both of rhythm and of thought. 1 
 
 142. The trimeter of comic dialogue with its varied cadences, 
 which are comparable in spoken verse with melody in verse that 
 was sung, cannot have been a monotonous line. It made serious 
 but stimulating demand on the skill of the ancient actor. 
 
 143. It is certain that no two ancient actors would have rendered 
 any considerable number of trimeters in just the same manner, much 
 less are any two moderns likely to agree. Nevertheless it is worth 
 while to attempt to apply the principles deduced in the foregoing 
 discussion to a concrete case, and the first 100 verses of the 
 Acharnians will serve the purpose. The figures in italic type 
 indicate half-feet. The odd numbers signify arses ; the even, theses. 
 It will be remembered that the thesis of the tribrach and dactyl and 
 the arsis of the anapaest in the trimeter are each dissyllabic. 
 
 Thus 5 signifies that a verse has penthemimeral pause ; 4- ' <^> th** 
 it has tetremimeral and octahemimeral. ? signifies an alternative. 
 
 5:~ 1, 3, 5, 6, 7, 8, 9? 10, 13, 14, 15, 17, 18, 29, 33, 38? 39, 
 41, 42, 45, 49, 52, 57, 58, 59, 62, 63, 65, 66, 70? 72, 73, 77, 80? 
 84, 85, 86, 87, 88, 89, 93, 97, 98 ? 101, 103. 
 
 7: 16, 21, 22, 23, 25, 26, 27, 28, 32, 34, 35, 36, 44, 50, 
 53, 55, 56? 60? 67, 68, 69, 75, 79? 82, 90, 92, 94, 95, 99, 102. 
 
 None: 9? 12? 37? 39? 60, 63? 70, 76, 79, 80, 83, 91, 103? 
 
 6: 37, 78, 96. 4: 20, 31? 47, 48, 51, 56, 71, 76? 8: 
 9, 12, 40, 54, 74, 81. 3: 11, 24, 98 ? 2: 4 ? 19. 
 
 5:9: 2,30. 5 : 7: 53 ? 2:5: 4, 38, 64. 3:9: 11? 24? 
 3:10: 98. 4:8: 31? 
 
 2:5:9: 30? 2:4:8: 31. 
 
 1 See Goodell's Bisected Trimeters, 150 f., and Jcbb's Sophocles, The Electro, 201, 
 226 (note on v. 1502).
 
 58 THE VERSE OF GREEK COMEDY 144 
 
 THE TRIMETER IN MENANDER 1 
 
 144. Pure trimeters are comparatively rare. Only 18 of 
 the 728 trimeters now taken into account are pure, 1 in 40, 
 but the number is relatively larger than in Aristophanes, 1 in 
 69 (95). 
 
 145. Irrational and trisyllabic feet are common, and verses 
 occur in which no foot has iambic form but the last. There 
 are five such non-iambic trimeters in Menander, 1 in 146. The 
 ratio in Aristophanes is 1 in 4 7 '2 (96). 
 
 146. Irrational metres preponderate. Of the 728 trimeters 
 of Menander, 199 (131 + 68) have one long arsis, 1 in 3 - 66 ; 
 327 (211 + 116) have two, 1 in 2'23 ; 149 (89 + 60) have 
 three, 1 in 4*89. The number of irrational metres is 1300, 
 
 59 per cent. The percentage in Aristophanes is 62 (97). The 
 number of trimeters in which one or more metres are irrational 
 is 675. 
 
 147. The 1300 irrational feet are distributed as follows (cf. 
 97): 
 
 i. % iii- % v. % 
 
 ' Spondaic ' feet . . 358 49-2 400 54-9 376 51-6 + 
 ' Dactylic' feet . . '67 9-2 64 8-8 35 4-8 + 
 
 Total irrational feet 425 58-4 464 63-7 411 56'45 
 
 148. Eesolved feet, tribrach and 'dactyl,' occur on the 
 average oftener than in every other trimeter, 1 in 1'88. The 
 ratio in Aristophanes is 1 in 2*14 (98). 
 
 149. The distribution of the various forms of the foot that 
 are found in the 728 trimeters is as follows (cf. 99) : 
 
 Iambs 
 
 . 175 
 
 586 
 
 216 
 
 606 
 
 279 
 
 728 
 
 Tribrachs 
 
 35 
 
 77 
 
 28 
 
 71 
 
 11 
 
 
 
 ' Spondees ' 
 
 . 358 
 
 ... 
 
 400 
 
 
 376 
 
 
 
 ' Dactyls ' 
 
 . 67 
 
 
 64 
 
 
 35 
 
 
 
 Anapaests ,. 
 
 . 93 
 
 65 
 
 20 
 
 51 
 
 27 
 
 
 
 
 728 
 
 728 
 
 728 
 
 728 
 
 728 
 
 728 
 
 1 The statements and tables in this For a more extended treatment of the 
 
 section, which necessarily are summary, subject of this section, see the Editor's 
 
 are based on 728 trimeters of assured Iambic Trimeter in Menander, and on 
 
 metrical form that are found in the the usage of the poets of the Middle 
 
 four plays of the Cairo MS. published and New Comedy in general Perschinka, 
 
 first by Lefebvre in 1907 and recently De mediae et novae comoediae trimetro 
 
 by Capps. See also Kbrte's Menandrea. iambico.
 
 153 IAMBIC VERSE 59 
 
 150. By resolution of the theses of iambs, the tribrach may 
 occur in any of the first five feet. The following table exhibits 
 the usage of Menander (cf. 100) : 
 
 Trim. www i. ii. iii. iv. v. Total. 
 
 728 222 18 + 17 27 + 50 8 + 20 12 + 59 + 11 = 65 + 157 
 35 77 28 71 11 = 222 
 
 151. The tribrachs in Menander, 1 in 3 '2 8 trimeters, slightly 
 outnumber proportionally those in Aristophanes, 1 in 3*33 (100). 
 The difference in distribution is marked in i., iv. and v. In 
 Menander the tribrachs in i. and v. outnumber those in 
 Aristophanes (the divisor 1 is 12) in the ratio of 2 to 1, but in 
 iv. the number in Menander is relatively smaller, about 7 to 
 9. The tendency in Menander to increase in the number 
 of trisyllabic feet in i. relatively to those in Aristophanes holds 
 for the dactyl and anapaest as well as for the tribrach. The 
 proportion of tribrachs contained in a single word is slightly 
 greater in Aristophanes, 32'3 per cent (101), than in Menander, 
 29*3 per cent. 
 
 152. The following tables exhibit Menander's use of tribrachs 
 in detail (cf. 102 and 103) : 
 
 i. ii. iii. iv. v. Total. 
 
 Trisyllables . . . . 11 3 2 16 
 
 Overlap forward . . 7 14 8 3 32 
 
 Overlap back 9 4 13 
 
 Overlap both ways . . .... 1 3 4 
 
 Total in one word . . 18 27 8 12 65 
 
 i. ii. iii. iv. v. Total. 
 
 In three words w | w | w . . 4 510 2 21 
 
 In two, divided w | w w . . 12 43 15 49 9 128 
 In two, divided w w | w . .53000 8 
 
 Total divided tribrachs . 17 50 20 59 11 157 
 
 153. By resolution of the theses of irrational feet in a 
 trimeter a 'dactyl' may occur in any of the odd feet. The 
 following table exhibits the usage of Menander (cf. 107) : 
 
 Trim. ^^> i. iii. v. Total. 
 
 728 166 23 + 44 7 + 57 2 + 33 = 32 + 134 
 67 64 35 = 166 
 
 1 Determined by the ratio of tribrachs in Aristophanes to those in Menander.
 
 60 THE VERSE OF GREEK COMEDY 154 
 
 154. The dactyls in Menander, 1 in 4*39 trimeters, in the 
 aggregate heavily outnumber those in Aristophanes, 1 in 6*01 tri- 
 meters (108). They outnumber those in Aristophanes (the divisor 
 is 8 '8) relatively also in L, 67 to 52, and in v., 35 to 18, but 
 not in iii., 64 to 96. Dactyls contained each in a single word 
 are relatively much more numerous in Menander than in 
 Aristophanes, 32 to 20. 
 
 155. The following tables exhibit Menander's use of dactyls 
 in detail (cf. 110 and 112) : 
 
 i. iii. v. Total. 
 
 Trisyllables . . . . . . 11 2 13 
 
 Overlap forward 12 6 18 
 
 Overlap back . . 00 
 
 Overlap both ways . . . . .... 1 1 
 
 Total in one word . . . . 23 7 2 32 
 
 i. iii. v. Total. 
 
 In three words |w|w . . . . 5 14 5 24 
 
 In two, divided - j w w . . . . 28 42 28 98 
 
 In two, divided - wjw . . . .11 1 12 
 
 Total divided dactyls . . . 44 57 33 134 
 
 156. Menander's concentration of dactyls contained each in 
 one word in i., 23 in 32, or 72 per cent, is noteworthy. 
 Aristophanes has 91 in 183, or 50 per cent. 
 
 157. The anapaest is freely used in the first five places of 
 the trimeter, and anapaests outnumber both tribrachs and 
 dactyls. In 32 instances in Menander anapaestic scansion is 
 secured by position, the original form being a tribrach. 
 
 158. The following table exhibits the usage of Menander 
 (cf. 114) : 
 
 Trim, ww i. ii. iii. iv. v. Total. 
 
 728 256 65 + 28 47 + 18 13 + 7 40+11 24 + 3 189 + 67 
 93 65 20 51 27 256 
 
 159. The anapaests in Menander, 1 in 2 '8 4 trimeters, are not 
 so numerous proportionally as those in Aristophanes, 1 in 2 - 30 
 (115), but in i. they outnumber those in Aristophanes (the divisor 
 is 15) in the ratio of 93 to 77; in ii. this relation is reversed, 
 6 5 to 8 1 ; in the remaining feet the order is the same in both 
 poets, iv., v., iii.
 
 164 IAMBIC VERSE 61 
 
 160. The following tables exhibit Menander's use of 
 anapaests in detail (117 and 119) : 
 
 i. ii. iii. iv. v. Total. 
 
 Trisyllables . . . . 36 14 5 18 9 82 
 
 Overlap forward . . .29 23 31214 81 
 
 Overlap back 9 2 7 1 19 
 
 Overlap both ways 1330 7 
 
 Total in one word . . 65 47 13 40 24 189 
 
 i. ii. iii. iv. v. Total. 
 
 In three words w | w | - . . 1 2 1 4 
 
 In two, divided w wj- . .17 7 2 2 2 30 
 
 In two, divided ~ | w - . . 10 11 5 7 33 
 
 Total divided anapaests . 28 18 7 11 3 67 
 
 161. In Aristophanes the prevailing form of the divided 
 anapaest is that composed of two words with division between 
 arsis and thesis ( ^ ^ | - ). This is not the normal form of this 
 anapaest in the trimeters of Menander, in which anapaests 
 thus divided ( ^ w | - ) do not equal in number those in which 
 the division falls between the two short syllables of the arsis 
 
 (~|~-). 
 
 162. In none of the 30 anapaests divided ^ w|- does 
 Menander begin an anapaest with a dissyllabic enclitic or with 
 the last two syllables of an unelided word of three or more 
 syllables (120, iii., iv.). A few instances occur in Menander 
 of anapaests divided w | v/ - or w [ w | - that begin with the final 
 syllable of an unelided word of two or more syllables, a mono- 
 syllabic enclitic or yap (121, iii., iv.). The editors are 
 disposed to emend these. 
 
 163. Combinations of two or three trisyllabic feet in a single 
 trimeter occur (124). One hundred and seventeen of 222 
 tribrachs, 88 of 166 dactyls, 129 of 256 anapaests, are found 
 in trimeters that contain at least one other trisyllabic foot. 
 
 164. The combinations of trisyllabic feet in Menander are 
 given in the following table. The figure after the colon indicates 
 the number of times the combination occurs in Menander with 
 the number of occurrences in the 8835 trimeters of Aristophanes 
 added in parenthesis ; then a statement of the first four preferred 
 combinations is given in a descending scale, with the number of 
 times each combination occurs in Menander added in parenthesis.
 
 62 
 
 THE VERSE OF GREEK COMEDY 
 
 COMBINATIONS OF TRISYLLABIC FEET 
 
 165 
 
 -v, v -ww 
 
 
 6 (59) 
 
 18 (405) 
 34 (549) 
 
 1, 
 1, 
 
 8 
 
 4 
 2 
 
 w 
 (3) 
 (5) 
 (7) 
 
 1, 
 2, 
 4, 
 
 5(3) 
 4(5) 
 1 (6) 
 
 2, 
 
 1 
 
 5(3) 
 4 (5) 
 
 1, 2 (2) 
 2, 4 (4) 
 
 
 M 
 
 
 23 (245) 
 26 (225) 
 
 1, 
 
 1 
 
 8 
 
 (6) 
 (4) 
 
 2, 
 1 
 
 3(3) 
 4 (4) 
 
 2, 
 
 g 
 
 5(3) 
 1 (8) 
 
 4, 1 (3) 
 3 2 (3) 
 
 1 
 
 
 
 1 (541 
 
 
 2 
 
 4 (1) 
 
 
 
 
 
 
 
 
 
 4 (26) 
 
 j* 
 
 2 
 
 4 (2) 
 
 .1 
 
 3 4 (1} 
 
 2 
 
 3 4 (1) 
 
 
 
 
 
 4 (46) 
 
 1 
 
 
 4 (2) 
 
 i 
 
 2 3 (I 1 ) 
 
 i 
 
 5 2 (1) 
 
 
 
 
 - ~ v, 
 
 1 (7) 
 7 (32) 
 2 (16) 
 
 1, 
 1, 
 5 
 
 8, 
 2, 
 
 1 
 
 5(1) 
 
 3(1) 
 2 (1) 
 
 1, 
 5 
 
 2, 5 (1) 
 2 4 (1) 
 
 If 
 
 4, 5 (1) 
 
 1, 5, 3 ( 
 
 l) 
 
 
 
 4 (10) 
 
 i 
 
 3 
 
 4 (1) 
 
 1 
 
 5 2 (1) 
 
 . 
 
 5 4 (1) 
 
 352 
 
 . 
 
 
 
 4 (40) 
 
 1 
 
 
 
 3 (1) 
 
 i 
 
 4 5 (1) 
 
 o 
 
 5 3 (1) 
 
 521 
 
 (11 
 
 
 
 1 ("H 
 
 
 3 
 
 5 (1) 
 
 
 
 
 
 
 1 J J 
 
 
 
 ^ w ^ : l (5) 
 
 1. 
 
 2, 
 
 3. 4C 
 
 L) 
 
 
 
 
 
 
 165. The famous forbidden combinations, w ^ ^ w w - and 
 - ^ w w w , are found in the Cairo MS. of Menander, but the 
 trimeters in which they occur arouse suspicion because objection- 
 able on other accounts, and have been emended (cf. 125). 
 
 166. The penthemimeral and hephthemimeral pauses occur 
 much less often in the trimeters of Menander than in those 
 of Aristophanes (130 ff.), because Menander inclines strongly 
 to other forms of caesura. He makes great use of the medial 
 pause, in particular, which takes its place in the plays of the 
 younger poet as a regular form of division on an equality with 
 the hephthemimeral. Menander employs the tetremimeral and 
 octahemimeral pauses also more frequently, and is very free in 
 his use of the triple cadence. His verse is characterized by great 
 variety of movement. 
 
 THE TETRAMETER 
 
 167. The catalectic iambic tetrameter is used by Aristophanes 
 both as a melic period (76) and also continuously by line in 
 recitative and melodramatic composition (77). Its component 
 cola, when it is used by line, are generally separated by diaeresis 
 (179). 
 
 168. The recitative (59) iambic tetrameter is used by line 
 
 1 Abo 5, 2 (3). 2 Also 2, 3, 5 (1) ; 2, 4, 5 (1) ; 3, 4, 1 (1).
 
 173 IAMBIC VERSE 63 
 
 in the parode, 1 in exhortations that precede debates, 2 in other 
 hortatory parts of the play, 3 and once in a verdict that closes a 
 debate. 4 The verses were recited by the leaders of the half- 
 choruses, occasionally by an actor, 5 but probably never by the 
 whole chorus. The recitative tetrameter is characterized, in 
 metrical structure, by sparing use of tribrach and dactyl and by 
 complete disuse of the anapaest, and it is well adapted to the 
 vigorous movement of a chorus that marches into the orchestra 
 at steady pace but not with undue haste, as in Vesp. 23047. 
 Compare the counter-use of the recitative trochaic tetrameter 
 (245). 
 
 169. Irrational metres abound in recitative tetrameters. 
 Only two tetrameters in 155 have no long arsis and both are 
 purely iambic; 32 have one long arsis, 1 in 4'84 ; 70 have two, 
 1 in 2'21 ; 51 have three, 1 in 3'04. Seventy per cent of the 
 complete metres are irrational. See the table in 186. 
 
 170. The tribrach occurs 7 times, once in 22 tetrameters : 
 
 Tetram. www i. ii. iii. iv. v. vi. Total. 
 
 155 7 + 1+3 + + 1 + 1 0+1 1+6 
 
 See Vesp. 237, 246, Lys. 281, 373, 374, 539, PL 274. No 
 tribrach consists of a trisyllabic word, or of three words, and the 
 division ^ ^ | ^ does not occur. 
 
 171. Four dactyls are found, 1 in 39 : 
 
 Tetram. ^w i. iii. v. Total. 
 
 155 4 0+1 + 3 + 1 + 3 
 
 See Lys. 285, 357, Th. 381, PL 278. 
 
 172. The anapaest occurs but once, in an emended reading 
 that is fairly certain (Ec. 288). 6 No verse has more than one 
 trisyllabic foot^- idi \J~tJf ^JW^^*^) 
 
 173. The melodramatic (l>9) tetrameter Differs notably from 
 the recitative both in use and in form. It is found only in 
 debates, 7 in which feeling runs high and the language is violent, 
 
 1 Vesp. 230-47, Lys. 254-5, 266-70- 4 Eq. 457-60. 
 
 281-5, 306-18, 350-81, EC. 285-8, PL 5 Notably in PL 253-89. Cf. also 
 
 253-89. Pax 508-11 and Man. 905 f. 
 
 2 Eq. 333-4-407-8, 841-2, Nub. 6 'louX/ov in Eq. 407 is probably a 
 1034-5, 1351-2 - 1397-8, Th. 531-2, Ran. trisyllable, by symzesis. 
 
 905-6. "> Eq. 335-66-409-40, 843-910, Nub. 
 
 3 Pax 508-11, Lys. 467-70-471-5, 1036-84, 1353-85-1399-1445, T&. 533- 
 539-40, Th. 381-2, 571-3. 70, Ran. 907-70.
 
 64 THE VERSE OF GREEK COMEDY 174 
 
 often approaching Billingsgate. A resolved foot occurs, on the 
 average, oftener than in every other line, and the anapaest is 
 admitted very freely. The metrical form of this tetrameter 
 differs in no material respect from the trimeter of dialogue. See 
 the table in 186. 
 
 174. In 362 melodramatic tetrameters eight are purely 
 iambic, 1 in 45 ; four others have no long arsis, but some 
 resolved feet. Two 'non-iambic ' lines occur (Eq. 893, Th. 567). 
 Irrational metres abound. Seventy-five tetrameters have one 
 long arsis, 1 in 4*83 ; 171 have two, 1 in 2'12; 104 have three, 
 1 in 3*48. Sixty-seven per cent of the complete metres are 
 irrational. 
 
 175. The tribrach occurs 107 times, once in 3*4 tetrameters: 
 
 Tetram. v-^w i. ii. iii. iv. v. vi. Total. 
 
 362 107 1 + 1 12 + 23 + 5 5 + 13 2 + 5 5 + 35 25 + 82 
 
 Eight of the 2 5 tribrachs that consist of one word overlap the 
 preceding foot. Seven consist of trisyllabic words. Three of the 
 82 that consist of two or three words or parts of words have the 
 division ^ w|s/, all in the sixth foot (Eq. 893, Nub. 1056, 1440). 
 In the 18 tetrameters that have a tribrach in the fourth foot, 
 diaeresis (179) is neglected in 13. 1 
 
 176. The dactyl occurs 48 times, 1 in 7*5 tetrameters : 
 
 Tetram. w^- i. iii. v. Total. 
 
 362 48 3 + 10 3 + 18 3+11 9 + 39 
 
 None of the words constituting the 9 dactyls contained each in 
 a single word are trisyllabic. In two instances (Nub. 1052, 1372) 
 the dactyl contained in one word overlaps both the preceding 
 and the following foot. The division w|w occurs in two of 
 the 39 dactyls formed of two or three words or parts of words, 
 once in the first foot (Eq. 422) and once in the fifth (Ran. 952). 
 
 177. There are 65 anapaests (cf. 113), 1 in 5'6 tetrameters, 
 in the first six feet : 2 
 
 Tetram. ^^ i. ii. iii. iv. 3 v. vi. Total. 
 
 362 65 12 + 9 4 + 4 7 + 6 + 2 6 + 8 5 + 2 40 + 25 
 
 1 Eq. 435, 853, 893, Nub. 1083, 1361, 2 One also, in a proper name, in the 
 
 Th. 565, 566, Ran. 921, to which must seventh foot, Th. 547. 
 
 be added (180) Eq. 873, 880, Nub. 1039, 3 Rossbach's statement (Spec. Metrik* 
 
 1067, Th. 542. Rossbach's statement 237), that the anapaest is confined to 
 
 (Spec. Metrik, 3 237 f. ), that the tribrach the first three feet of the first colon and 
 
 is avoided in the fourth foot, needs the first two of the second, needs 
 
 correction. correction.
 
 180 IAMBIC VERSE 65 
 
 Fourteen of the forty anapaests contained in one word consist of 
 trisyllabic words; 11 overlap the preceding foot, one (Eq. 902) 
 overlaps both the preceding and the following foot. Eight of 
 the 25 that consist of two or three words or parts of words have 
 the division w|- (Th. 548, Ran. 919) or w| v |- (JEq. 359, 
 Nub. 1066, Th. 555, 558, Ran. 918, 937). In the 8 tetrameters 
 that have an anapaest in the fourth foot, diaeresis is neglected in 
 two (Nub. 1359, Ran. 937), but maintained in six (Nub. 1050, 
 1427, Th. 550, 560, Ran. 912, 932). 
 
 178. One hundred and fourteen tetrameters contain each one 
 trisyllabic foot ; 43 have two ; 7 have three ; none has four. 
 
 179. The tetrameter is a compound verse consisting of two 
 cola and was rendered with at least one pause within the verse. 
 The chief pause is generally coincident with the close of the first 
 colon (56). There may be a change of speaker at this point, as 
 in Eq. 340, 870, Nub. 1052, 1379, 1444, Th. 552, 559, 567, 
 Ran. 922, 926, 927, 930, 944, 952, although this change occurs 
 at the beginning of the verse in most tetrameters that Aristophanes 
 uses in dialogue. The pause at diaeresis is oftener coincident 
 with a pause natural to the thought, without change of speaker, 
 a fact indicated in the printed text by punctuation. Of. Eq. 350, 
 354, 359, 366, 412, 415, 423, 433, 434, 440, etc. But the 
 pause at diaeresis, just as the penthemimeral and hephthemimeral 
 pauses in the trimeter, may break the continuity of the thought 
 expressed in the tetrameter, and the same separation of words 
 logically connected is here allowed that is admitted in the 
 trimeter. See 134. 
 
 180. While the pause that results from diaeresis is more 
 frequent than all other pauses combined, variety of effect in 
 rendering was felt to be desirable in the tetrameter, as in the 
 trimeter. This was secured by means of caesura. In 84 of the 
 362 melodramatic iambic tetrameters in Aristophanes, or in one 
 in 4'3, the first colon ends within a word, and diaeresis is im- 
 possible. To these must be added a considerable number of verses 
 in which the first dimeter ends with a progressive word, as in 
 Eq. 363, 365, 873, 880, Nub. 1039, 1046, 1067, 1372, 1406, 
 1410, etc., or the second begins with a recessive word, as in Eq. 
 883, 904, Nub. 1385, 1408, 1412, etc. See 135. In tetra- 
 meters which do not admit diaeresis, the main pause may 
 fall after the arsis of the fifth simple foot, ^ - ^ - ^ - ^ - 
 
 F
 
 66 THE VERSE OF GREEK COMEDY 181 
 
 w |_ v _ w _ -, as in J^. 337, 865, Nub. 1060, 1068, 1409, 
 Ban. 916, 917, and (recessives) Nub. 1385, 1408, or less often 
 
 after the arsis of the fourth, ^ - ^ - w - ^ | - ^ - w - ^ , 
 
 as in JVwZ>. 1080, Ban. 933, and (progressives) Nub. 1039, 
 1046, 1067, 1406. Other caesuras occur. Two are common, 
 one after the arsis of the sixth simple foot of the tetrameter, 
 
 ^ - ^ - ^ - w - w - v |- ^ , as in Eq. 351, 353, 860, 
 
 861, 871, 895, and the penthemimeral, ^-^- w|- ^ - 
 
 w-w- w , as in .%. 336, 854, 883. A pause may fall 
 
 also after the arsis of the second simple foot, ^ ^>\ ^ ^ 
 
 w-w- w ,asin Eq. 439, Nub. 1047, but it is extremely 
 
 rare after the arsis of the first (Eq. 888) or seventh (Eq. 876). 
 Pauses occur also, but less frequently, after theses, after the 
 
 second, ^ - ^ -\^ - ^ - w - w - w ,asin Eq. 344, 853 ; 
 
 after the third, ^ - ^ - w - 1 w - ^ - ^ - v , as in Eq. 
 
 427, 436, 904; after the fifth, ^-^- ^-^- v -|~- 
 ~ - -, as in Eq. 346, 850, 885, 890, 893 ; less often after the 
 first or the sixth. 
 
 181. Different pauses are variously combined, with agreeable 
 effect, but their number is limited with rare exceptions to two, 
 producing three cadences. One of the two pauses is generally 
 at diaeresis. These combinations are illustrated in the next 
 paragraph. 
 
 182. The following analysis of 100 melodramatic tetrameters (Eq. 
 335-66, Nub. 1036-69, Ran. 907-40) will serve to illustrate the 
 foregoing statements. For the significance of the italic figures, 
 see 143. 
 
 8 : A single pause, at diaeresis, occurs in the 52 tetrameters not 
 cited below. 
 
 9 :Eq. 337, 339, 343, 349; Nub. 1044, 1051, 1060, 1068; Ran. 
 916, 917. 7:Eq. 363, 365; Nub. 1039, 1046, 1049, 1057, 1067 ; 
 Ran. 933, 936. 11 :Eq. 353 ; Nub. 1043, 1058 ; Ran. 907, 923. 
 5 :Eq. 335, 336 ; Ran. 919, 921. 
 
 4.: Nub. 1041, 1048. 6:Eq. 352; Nub. 1056. 10 : Eq. 
 346 ; Nub. 1042, 1055, 1059. 
 
 3 : 9 :Nub. 1064. 7 : 12 -.Ran. 937. 8: 11 :Eq. 351 ; Ran. 
 915. 5: 8: Ran. 914, 924. 3 : 8 :Nub. 1047 ; Man. 918. 
 
 4 : 8 :Eq. 344. 6 : 8 :Nub. 1062. : 8 :Nub. 1063. 
 
 5:7: 10 :Eq. 338. 
 
 183. The recitative iambic tetrameter is somewhat more 
 restricted in its use of caesura than the melodramatic tetrameter,
 
 186 IAMBIC VERSE 67 
 
 especially in the second half of the verse. Diaeresis is neglected 
 20 times, once in 7*8 tetrameters. The number of verses in 
 which two pauses occur is relatively smaller. The varieties of 
 combinations of two pauses also are fewer, and no verse occurs 
 that has three pauses. 
 
 184. The melic iambic tetrameter differs from the melo- 
 dramatic in restricting the use of the dactyl and anapaest. There 
 are 86 melic iambic tetrameters in Aristophanes. 1 None of 
 these are non-iambic. One is purely iambic (Pax 1314) and 
 two others have no long arsis (Th. 312, 352). Fourteen have 
 one long arsis, 1 in 6'14; 43 have two, 1 in 2 ; 26 have three, 
 1 in 3 - 3. Sixty-nine per cent of the complete metres are 
 irrational. 
 
 185. There are 1 9 tribrachs, 1 in 4'5 : 
 
 Tetram. www i. ii. iii. iv. v. vi. Total. 
 
 86 19 + + + 2 + 3 + 2 3 + 9 3 + 16 
 
 Of the three tribrachs contained each in one word (Th. 352, 
 EC. 493, PL 292), one (Th. 352) consists of a trisyllable. The 
 division ^ ^\^ does not occur. Four dactyls occur (Vesp. 538, 
 Lys. 1318, PL 290, 296), 1 in 21'5, one in the first foot, three 
 in the fifth. Five anapaests are found in the manuscripts (Ach. 
 849, 1040, Pax 948, Th. 312 f. bis). See 70. Fifteen tetra- 
 meters have each one trisyllabic foot, three have two, two have 
 three. 
 
 186. The following table will further comparison. The 
 figures in the first six lines indicate verses, those in the last 
 line percentages of metres : 
 
 Trimeters. 
 Spoken. Melic. 
 
 Tetrameters. 
 Melod. Melic. Recit. 
 
 One tribrach on the average in 
 
 3-33 
 
 3-30 
 
 3-38 
 
 4-52 
 
 22-14 
 
 ,, dactyl ,, 
 
 
 6-01 
 
 25 (16) 2 
 
 7-54 
 
 21-50 
 
 38-75 
 
 ,, anapaest ,, ,, 
 
 
 2-30 
 
 76(61) 2 
 
 5-56 
 
 17-2 
 
 155 
 
 One verse with one irrational metre in . 
 
 3-84 
 
 4-75 
 
 4-83 
 
 6-14 
 
 4-84 
 
 two ,, 
 
 metres in 
 
 2-29 
 
 2-37 
 
 2-12 
 
 2 
 
 2-21 
 
 ,, ,, three ,, 
 
 
 4-02 
 
 6-90 
 
 3-48 
 
 3-30 
 
 3-04 
 
 Percentage of irrational metres 
 
 62% 
 
 50 (56)% ^ 
 
 67% 
 
 69% 
 
 70% 
 
 1 Ach. 836 f. (2), 842 f. (2), 848 f. (2), 1314 f. (2), Av. 1323, Lys. 1318-21 (2) 
 
 854 f. (2), 1011-14 (2), 1040-43 (2), Th. 312 f., 352 f., Ran. 448 f., 454 f., EC. 
 
 1226-31 (6), Eq. 756, 759-60 (2), 836, 479, 482 f. (2), 489-93 (5), 500-503 (4), 
 
 839-40 (2), Vesp. 529-31 (2), 538-9 (2), PI. 290-2 (3), 295-8 (4), 301-3 (3), 309 f. 
 
 634 f. (2), 642 f. (2), Pax 859, 863 f. (2), (2), 316. EC. 488 and the corresponding 
 
 867, 912, 916 f. (2), 921, 942, 948 f. (2), period are not included. 
 
 1026, 1032 f. (2), 1305 f. (2), 1308-12 (4), 2 See 128.
 
 68 THE VERSE OF GEEEK COMEDY 187 
 
 187. It appears that the irrational metre preponderates in 
 all forms of iambic verse in comedy, that the dactyl and anapaest 
 are much less frequent in melic than in spoken and melodramatic 
 verse, and that the recitative tetrameter is the severest form 
 of this verse in its sparing use of trisyllabic feet. 
 
 188. The iambic tetrameter had great vogue with the poets 
 of the Old Comedy. See Cratinus 26, 43, 195, 196, 231, 300 ; 
 Crates 14; Pherecrates 93, 105; Hermippus 4, 5, 6; Eupolis 
 13, 117, 118, 158, 190, 231, 232, 233, 351, 352, 354, 355; 
 Phrynichus 69 ; Aristophanes 79, 107, 163, 216, 217, 218, 219, 
 220, 252, 363, 364, 569, 657, 658, 659; Plato 23, 69, 98, 
 113, 130; Archippus 24, 25; Strattis 30; Theopompus 55, 
 56 ; Philyllius 3 ; Polyzelus 3. See also Antiphanes 25, 300 ; 
 Anaxandrides 34; Anaxilas 39 ; frg. incert. 294, 766, 767. 
 
 189. The protracted iambic tetrameter, ^ w ^ ^ 
 . _ ^ _ w (72), is used not only in lyrical 1 but also in 
 
 recitative parts of comedy, 2 in which the verses were taken by 
 the leaders of the half -choruses or by an actor. Piecitative 
 protracted tetrameters are found only in the parode. In the 
 25 tetrameters in Vesp. 24872 irrational outnumber rational 
 metres in the ratio of 34 to 16, and no trisyllabic foot occurs. 
 On the metre w v ^ - in verse 255 see 75. 3 The verse gains 
 in lightness of movement by resolution of the thesis, as in Ban. 
 440 f. The anapaest never occurs. Diaeresis of the cola is 
 almost invariable, 4 and in tetrameters thus divided the time of 
 the suppressed arsis may have been represented by an actual 
 pause, \eifjifjLa (31), in recitation. 
 
 THE HYPEEMETER 
 
 190. Acatalectic iambic dimeters and trimeters are combined 
 into hypermeters both in melic (76) and in recitative and melo- 
 dramatic verse (77). See 712. The series commonly ends in a 
 catalectic dimeter, once in a catalectic trimeter, 6 and with one 
 exception 6 it follows recitative or melodramatic tetrameters. The 
 connexion between the tetrameters and the following series of 
 cola is so close that sometimes the speaker does not change (JZq. 
 
 1 Eq. 757 f.=837 f. (91), Pax 939 4 The exceptions are Vesp. 252, 265. 
 (583), Lys. 258 f. = 273 f. and 271 f. (94). B Eq. 939 ff. Cf. Heliodorus in the 
 
 2 Vesp. 248-72, Ran. 394-7 (2), 440- scholium on Eq. 911 : rpififrpov Kara- 
 
 7 (4). \1)KTlK6v, 
 
 3 Cf. San. 394 f., 442 f. 6 Nub. 1089 ff.
 
 194 IAMBIC VERSE 69 
 
 440 ff., Nub. 1088 ff.), and even the grammatical construction 
 is continued (Nub. 1385 ff., 1445 ff.). 
 
 191. At the close of the parode of the Lysistrata (382-6) 
 Aristophanes uses a series of six dimeters that were recited by 
 the leaders of the two half-choruses. This hypermeter ends in 
 a catalectic dimeter and follows thirty-two recitative tetrameters. 
 All the dimeters in the hypermeter except the last are composed 
 exclusively of irrational metres, and they contain no trisyllabic 
 feet. 
 
 192. The melodramatic hypermeter occurs more frequently, 
 but is found only in debates. 1 The closely connected cola are 
 made the vehicle of abusive discussion in a dialogue of actors, 
 in which one of the leaders of the chorus sometimes joins, and 
 the tone is often virulent. 
 
 193. The metrical form of the melodramatic hypermeter is 
 that of the melodramatic tetrameter (173 ff.). Irrational out- 
 number rational metres, and tribrach, 2 dactyl and anapaest (see 
 177) are freely used. If the 213 complete metres that occur 
 in the melodramatic iambic hypermeters found in Aristophanes 
 are expressed in terms of the tetrameter, reckoning three com- 
 plete metres as the equivalent of a tetrameter, the ratios are 
 as follows: tribrach, 1 in 3'38 in the tetrameter and 1 in 7*88 
 in the hypermeter ; dactyl, 1 in 7 '5 4 and 1 in 8 '8 7 ; anapaest, 
 1 in 5 '5 6 and 1 in 5 '91 ; percentage of irrational metres, 67 
 and 63. In all four particulars the hypermeter is slightly less 
 free than the tetrameter. 
 
 194. The dimeters and trimeters of which iambic hyper- 
 meters are composed are closely connected by synaphea (44), 
 and were therefore in danger of confusion in transmission. A 
 hypermeter in which the number of metres is even may have 
 been written by the poet solely in dimeters, without the variation 
 in cadence which would have resulted from the introduction of 
 trimeters, and it would seem, on the evidence of the two oldest 
 manuscripts of Aristophanes, that Nub. 1386 ff. and Ran. 971 ff. 
 were composed in this manner. On the other hand, K introduces 
 four trimeters in Eq. 441 ff., which consists of 32 metres. At 
 least one trimeter is inevitable in hypermeters in which the 
 
 1 Eq. 367-81 ~ 441-56, 911-40, Nub. 2 Even in the fourth foot : Eq. 931, 
 
 1089-1104, 1386-90 ~ 1446-51, Ran. 97- Nub. 1386, 1388, 1389, San. 979. 
 191.
 
 70 THE VERSE OF GREEK COMEDY 195 
 
 number of metres is uneven, as in Eq. 367 ff., 911 ff., Nub. 
 1089 ff., 1446 ff. The final colon in the first (R), second (RV), 
 aud third (RV) of these is a catalectic trimeter, and Heliodorus, 
 in the only note now extant on a recitative iambic hypermeter 
 in Aristophanes, confirms the trimeter in the second. See the 
 metrical scholium on Eq. 911. In the fourth, the trimeter is 
 the antepenultic colon (RV). 
 
 195. The two oldest manuscripts have certain characteristics 
 in common. Both resort to the familiar palaeographical device 
 of writing two dimeters continuously in a single CTTJ/^O?, in order 
 to save space, and both occasionally end a colon within a metre. 
 There is one serious discrepancy in their practice : V often writes 
 a single metre as a colon, and Heliodorus recognizes an iambic 
 ' rnonometer ' once in melic and once in recitative verse. See 
 the metrical scholia on Ach. 274 and Eq. 911. R, on the other 
 hand, has this anomaly in only two verses, Eq. 911 and Lys. 
 382, in which each hypermeter begins with a dimeter composed 
 of two exclamatory dipodies rendered by different speakers. The 
 ' monometer ' affected by V is to be rejected, for the division 
 of a trimeter into metre and dimeter or dimeter and metre is 
 forbidden in iambic verse, in which the trimeter is a normal 
 colon (67), and this division lacks historical support. This mode 
 of writing iambic and trochaic trimeters is probably an imitation 
 of the mode properly employed by the colometrists (831) in 
 writing the anapaestic dimeter and monometer, which are both 
 true cola (276). On the best tradition, the following iambic cola 
 in hypermeters were probably trimeters : Eq. 3 8 f. (/ee^i/oro? 
 . . . % aXaa); 442 (<f>ev%6i, . . . rerrapa^ ; 447, 448 (rbv 
 . . . Sopv<f>6pav} ; 448 b f. (iroitav . . . 'ITTTTIOU) ; 454 f. (<ya- 
 (rrpi^e . . . tfoXot?) ; 939 f. (ySovXo/iei/o? . . . evaTroTrviyeiijs) ; 
 Nub. 1096 (/cat . . . <<W) ; 1100, 1101 a ( K al . . . epel<i); 
 1103 f. (6olp,driov . . . vfjid^ ; 1449 (ovSev <re . . . e/i/SaXeiv). 
 R needs correction only once. The colon that begins Eq. 441 ff. 
 is probably not a trimeter, as in R, but a dimeter. All other 
 cola in iambic hypermeters in Aristophanes are probably dimeters. 
 These hypermeters are all in dialogue except one (and this closes 
 a dialogue, Nub. 1386 ff.), and the speaker sometimes changes 
 within the colon, as in the spoken trimeter. 
 
 196. The close connexion of the cola in non-melic iambic 
 hypermeters is seen not only in the quantity of the final syllable
 
 196 IAMBIC VEKSE 71 
 
 of the acatalectic colon, which is always long, as the rhythm 
 demands, hut also in the manner in which the cola are joined. 
 A colon frequently ends within a word, as in Eq. 375, 378, 445, 
 912, 915, 927, 936, 937; it may close not only with the 
 subordinate conjunctions OTTW? and on (132), as in Eq. 917, 
 Nub. 1386, but also with xai (a.ncT), as in Eq. 453, and with 
 prepositions, as in Eq. 931, 935 ; it may even begin with an 
 enclitic, as in Eq. 922, or with recessive av, as in Eq. 918.
 
 CHAPTER III 
 
 197. The fundamental colon of trochaic verse is a dimeter 
 composed of two metres that consist each of two simple feet 
 (12,13): 
 
 \j ^ \j \s Ban. 540 
 
 A trochaic dimeter normally consists of twelve primary times 
 and eight syllables. All trochaic verse is in descending rhythm. 
 198. The arsis of each metre may be irrational : 
 
 dXAa p evw^etv erot/xos ^ -- w w Fissp. 341 
 
 TIS yap f(rO' 6 ravrd cr* eipywv / \s w w -- Fesp. 334 
 I Aeeiv w -- \s -- Ran. 901 
 
 Irrational metres are extremely common in all forms of trochaic 
 verse in comedy. See 247, 256, 261, 268. 
 
 199. The thesis of each trochee may be resolved : 
 
 CTT' dyadip /JLCV TOIS TroXiVais ~w -- ^ -- Ran. 1487 
 
 dXX' eTraTToSvw/xe^ SvSpes ^, ^ ^ w w Lys. 615 
 
 OVK aKai/aa, ^>/aevas ^ov<ra w v v^w w Th. 462 
 
 rb Tr/aay/^a, 7roA.u rb VCIKOS w \j *~ <^ w 5a. 1099 
 
 Sova/cos, ov vtroXvpiov ^^w^^w v~v^.~w ^2an. 233 
 
 200. If the normally long syllable in the arsis of an irrational 
 metre is resolved, the arsis becomes an ' anapaest ' (17) : 
 
 ci rts dyaObv /BovXcrai TTO- ^ ~ ^ <^ 
 
 6f.lv Tt irap' c/j.ol xprj KaOevBeiv ^ ^~ w EC. 893 
 
 201. The dimeter, by suppression of the arsis of its final 
 trochee, becomes catalectic (33) : 
 
 72
 
 203 TROCHAIC VERSE 73 
 
 aAA' v<ecr0e TOV TOVOV w ^> ^ Vesp. 337 
 
 7re/Di<avws Sovvai SIKTJV ~~ ^ -- w Th. 465 
 
 TroAAa TreptTreTrAevKOTOS w ~ ^ v^ w .Ran. 535 
 
 Siv Aa/?77 /XT^KCT' aTToSy w v~ w Lys. 1057 
 
 The final long syllable of a catalectic metre is never resolved, 
 but it may be short instead of long (33). 
 
 202. The second colon of trochaic verse is the trimeter, but 
 it is not common. It normally consists of eighteen times and 
 twelve syllables, and its metres admit the varieties of form found 
 in the dimeter, but the thesis of its final trochee is never 
 resolved. 
 
 Tovvdvp.ov, $ KoAadytir0a, Kfvrpov 
 
 _ w _ w _ w _ w _ w _ ^ Vesp. 406 
 pri<Tiv e3 Aeetv e/icAAo/ACV TOT', ovSe 
 
 v -- w ^ w w Vesp. 1095 
 
 OKTTTCp OlKttS' CIS CIVT&)J/ yVVlKWS, (1S 
 
 v w v -- w -- Lj/s. 1070 
 T^V TraAaiav' vTrb At^<y yap Travrt TTOU ^prj 
 
 _ w -- _ w -- _ w -- TA. 529 
 KOfuf/oTepov CT' 17 rb irpoTcpov dvaTre^r/vcv 
 
 -w^ v -^>^w ^^-vT^,. 460 
 avaye S'cX e Ta/oayc irdpe^f irepnrfTea-Oe 
 
 ~w~ v ^wv^w -^ w - v^ ^lr. 1720 
 
 ai/ivAav aAoMreKWV 7rawcu/xe$a w ^ w -- w w Lj/s. 1269 
 irapa (ro<f>oiv dvSpoiv d.KOvcra.1 Tiva Aoywv 
 
 . 896 
 
 203. A trochaic colon of the form - ^ - w -- occurs in 
 trochaic, simplified logaoedic and enoplic verse, and occasionally 
 elsewhere in comedy, as the final colon of a period. Cf. Lys. 
 658 b (241), 812, 813 (242); Ean. 1377 (218); Th. 319, 330 b 
 (411) ; EC. 953, 959, 961, 967 (415) ; Nub. 460 (500) ; Pax 777, 
 796, 799, 818 (497) ; Ran. 884 b (347). This is not the trochaic 
 tripody, - ^ - ^ - ^ (26), since the final syllable is long, and 
 the law of the variable syllable in Greek does not permit the 
 substitution of a long for a short (43, note). The colon 
 
 - w - w -- , wherever it occurs, like the corresponding but rare 
 iambic colon, w - ^ - -- (393), is a protracted dimeter, 
 
 - ^ - w - - . Its first metre may be resolved, - ^ ~ ^ , 
 JBq. 616 b (231), ~^~~, Th. 1055 (374), Ran. 1490 (219), 
 EC. 1177 (354); or be protracted, - ^ - ., Th. 326 (411),
 
 74 THE VERSE OF GREEK COMEDY 204 
 
 - .^w, Eq. 616 (231), - - - , Lys. 1264 (412); or have 
 paeonic-trochaic form, - v ~- w, Lys. 783, 788, 789, 790, 791, 
 792 b , 814, 816 (242). Its second metre is constant, except 
 that under the law of the variable syllable a short may be 
 substituted for the final long ; but this variation rarely occurs. 
 Of. Eq. 683 b ,- = 616 b ,- - (231) ; Lys. 807 = 783 (242) ; Ran. 
 1499 = 1490 (219). This colon had great vogue and received 
 the distinctive name 'Wv^aXtuicov, ' Ithyphallic ' (Heph. 19. 5 ff.). 1 
 Like any other dimeter, it may be used independently as a 
 subordinate period. Similar to this in all particulars is the tri- 
 metrical colon - ^ - ^ - ^ - v -.- that occasionally occurs. 
 This is not a pentapody (26), but a protracted trimeter. The 
 first two metres admit great variety of form, but the third is 
 constant. Cf. Th. 955 (589), Lys. 666 f., 690 (241), 1260, 
 1261 (412). The penthemimer (36) is found in parody in Av. 
 945, 953 (585), and once in a hyporcheme, Lys. 1307 (413). 
 
 204. The equivalent of the trochee in the first half of the 
 trochaic metre is ~ ^ , in the second half the equivalents are 
 
 ~ w , , ~ - (11, 15, 17). These forms, in their respective 
 
 places, and also full and protracted (207 ff.) metres, are inter- 
 changeable with one another in strophe and antistrophe and in 
 two corresponding subordinate periods. 
 
 205. A logaoedic metre (377) occurs in Th. 461 (237) in 
 an ode otherwise purely trochaic. Dobree wished to emend this. 
 Logaoedic metres in descending rhythm, - ~ - w , - ~ , 
 
 - v - ~, occur not infrequently in recitative trochaic tetrameters 
 and hypermeters. Here the dactyl (389) usurps the place of 
 the first or last simple foot in a dimeter, which may be part 
 of a tetrameter. Cf. Eq. 301, Av. 396, Ach. 318, Eq. 319, 
 
 Vesp. 496, Av. 373, 1113 (synizesis ?), Eccl. 1156. See 386. 
 Editors have attempted to ' emend ' these passages, but the dactyl 
 is here merely a manifestation of the variability of the arsis of 
 the simple foot that prevailed in the primitive dimeter. Compare 
 the use of the logaoedic anapaest in iambic verse (70). This 
 manifestation is normal in logaoedic verse (375 ff.). 
 
 206. A choriamb, ^ ^> , apparently occurs in a few cases 
 in place of a trochaic metre, as in EC. 898 f. (220), Lys. 1293 
 (408). This is not the true choriamb (651) ; the form is here 
 due to interior anaclasis, w - for - w . Cf. 71. 
 
 1 Hephaestion erroneously regards this colon as a brachycatalectic dimeter.
 
 210 TROCHAIC VERSE 75 
 
 207. By suppression of the second syllable in the arsis of 
 a trochaic metre, the metre assumes ' cretic ' form : 
 
 <rov TO rprjfjia _ v _ . _ ^ _ w EC. 906 
 
 ovSev, aA- w w w . 
 
 Aa>s re SetXbv /cat fieya w -- ^ ^ Av. 1476 f. 
 
 evOev e^tuv eyw w w Z/i/s. 625 
 
 This is the most frequent form of protraction (31 f.) in trochaic 
 verse. The thesis of the first trochee in this protracted metre 
 may be resolved, but this form of the metre is rare : 
 
 ffj.c yap TTe/>av cv\vpoi re Movo-at 
 
 ~ w w w ^ -- Ran. 229 
 ~ ^ w *~ ^ .Ran. 245 
 
 Cf. Fsp. 342, 343 (238), Th. 959 = 962 = 966 (589), EC. 958 
 
 (415). The corresponding form in iambic verse is - ^ ~ (72). 
 208. The second syllable in the thesis of a trochaic metre 
 may be suppressed and the metre then assumes ' antibacchiac ' 
 ( -- w ) form : 
 
 vvv ap atov TTOXTLV w w w Eq. 616 
 
 etpyooyicv' eW eireX- ^ ^ 
 
 dots airavrd /ioi (ra<^<3s w w ^ Eq. 618 
 
 va> tat _ . _ w _ w _ $. 1292 
 
 Such protracted metres are rare. 
 
 209. Both syllables are sometimes suppressed and the metre 
 then assumes ' spondaic ' form : 
 
 ra . . w w Lys. 658 
 
 Cf. the remarkable imitation of an ancient popular song in Lys. 
 781 ff. (242) and the hyporchematic ode in simplified logaoedic 
 rhythm in Lys. 1247 ff. (412). Similarly a catalectic dimeter 
 or trimeter may have ' spondaic ' close : 
 
 avrbv ai5ra X.r)petv ^ v . Ran. 1377 
 Sta rb (rweros tlvai *~ w *~ ^/ . Ran. 1490 
 
 These are Ithyphallics (203). 
 
 For the metre ^ w , see 223 ff. 
 
 210. The subordinate period that occurs oftenest in melic 
 trochaic verse is the catalectic tetrameter, composed of an 
 acatalectic and a catalectic dimeter. This is the subordinate
 
 76 THE VERSE OF GREEK COMEDY 211 
 
 period employed in the long, stichic systematic period found 
 in Vesp. 41529 (243). The hexameter is also a favourite 
 form of subordinate period, and the dimeter is constantly thus 
 employed, but trimeters are rare. Pentameters, heptameters 
 and octameters are not uncommon. The chief constituent of 
 the melic trochaic hypermetrical period is the dimeter ; trimeters 
 are rare. On the combination of subordinate periods, hypermeters 
 and intermediate periods to form systematic periods, see 720 ff. 
 
 211. The catalectic tetrameter is the trochaic verse chiefly 
 used by the comic poets in recitative rendering (244 ff., 259, 
 260 ff.). These tetrameters may be followed by hypermeters 
 (267 ff.). 
 
 212. Trochaic has special affinity for paeonic rhythm, of 
 which it is probably the immediate source (619 ff.), and melic 
 trochaic tetrameters frequently occur in systematic periods that 
 are chiefly paeonic. See 442. It occurs also combined with 
 other rhythms. 
 
 213. Aristides (98 M., 60. 5 ff. J.) characterizes the regular 
 iamb and trochee of diplasic rhythm (9, ii.) as follows : r&v 8' ev 
 SnrXacriovt, yivo/JLevcov <r%e<ri ol fj,ev a r rr\ol rpo^aiot KOI la/M/Sot, 
 rd%o<; re eTTKJxziv overt icai elcn Oeppol Kal op^rjcrriKoL The 
 genetic relation of trochaic with iambic rhythm is close (608 ff), 
 but on their distinct separation (610, 789) they were differentiated 
 in use. Iambic rhythm is lively and singularly adapted to 
 express the give and take of dialogue, whether in melic or 
 spoken verse (79) ; trochaic rhythm, as the name implies, 
 became pre-eminently the rhythm of quick movement, whether 
 of dance or march. Aristotle (Rhet. iii. 8. 4) includes trochaic 
 among the rhythms that are not appropriate to rhythmical prose 
 composition : o Be r potato*; KopBaKt,K<0repo<>' 77X01 Be ra rerpd/j,- 
 perpa, eari <yap rpo%epb<i pvOfibs ra rerpdperpa. The use of 
 the trochaic tetrameter by the dramatic poets is excellently 
 stated by the scholiast on Ach. 204 : evrevdev 77 7rdpoBo<; yiverai 
 rov %opov ov crvfjwrk'rjpovcrtv ol 'A.%apvi<i' irapdyovrai Be crvv- 
 Tovo>9 teal fj-era cr-TrouSr}?, Sicotcovres rov 'A.fjL(f>ideov (nrovSas 
 TTOirjcrdfjievov vrpbs rovs A.a/eeo'aifMoviovs. yeypaTrrai Be rb {lirpov 
 rpo^aiKov, -rrp6cr<f)0pov rrj r$>v Biw/covrcov yepovrcov (TTrovBrj ravra 
 Be Troieiv elaida&iv ol rStv Bpapdrav Troiijral Kal rpayixol Kal 
 KWjJLLKoi, eTretBav 8pojj,aia)<s elcrdryaxri Toy? %opov<?, iva 6 \6jo<f 
 <rvvrpe%r) ro5 Bpdfiart. (Codd. FE.)
 
 214 TKOCHAIC VERSE 77 
 
 MELIC TROCHAIC VERSE 
 214. Ean. 895-904 = 992-1003 (Debate). 
 
 Strophe. 
 
 'H/t. a KOI fj.rjv rjfiets liridvf^ovfJLev 281 --- ;~^ -- 2 
 896 Trapa <ro<f)oiv dvSpoiv dxoixrat TWO. Adytov 
 
 _ w ^ _ _ w -- ~ ^ - 3 C 
 
 fifjicXfiav tTrtre Saiav 6Sov. 51 ^ w ~ w w w w 3^ 
 yAaxro-a /zev ya/3 rpy piwrai, w w w -- 
 899 XfjfJia. 8' OVK a.ToX.fJLOV d[j.<f>oiv, 
 
 ovS' d.Kivr)TOi 
 
 900 irpcxrSoKav o3v ei/cos eerrt w -- w o 
 
 901 rov p,fv acrreiov rt Aeeiv w -- _^_^ 
 icai KaTfppwr)[J.evov, ^/ -- w o 6 CV 
 
 902 rbv S' dvacrTrwvT 1 avroTr/je^ivois 
 
 10 w -- w -- 
 TOIS Xoyouriv ffJiirecrovTa o-WKeSav iroX- 
 
 - W w - w-' V^ 
 
 Aas d 
 
 reiSe /jtev Aewtrcis 
 993 (ru 8c TI ^>e/oe TT/DOS raOra Ae^eis; /xovov 
 
 /Aiy (r 6 Ovfjibs dpTTocras 
 995 IKTOS owrct TWV eAawv, 8tva yap KaT^yopi^/cev dAA' OTTWS 
 
 998 fj-r/ Trpbs opyrjv avrtAe^ets, dAAa (rvcrmAas aKpoicri 
 
 rots tcr 
 
 1001 eira /MaAAov /zaAAov a^eis icat ^vAd^eis, ^viV av TO 7rve{yta 
 
 Aciov Kai Ka^(TT^/cbs 
 
 993 <rt> 5^ T/ Bentley : <n> i; T/ A, <ri> Si, R, <ri> 5^ di) rl V 1000 TOIS iffrtois 
 
 Scbol. : TO?S Iffrtoiffiv RIJ, rotcrtj' Iffrloiffiv VM, roiffiv lariats A 
 
 Monostrophic dyad. A = AB (895-7, 898-904). A = abb, 233, 
 proodic triad : an anapaestic dimeter as proode to two catalectic 
 trochaic trimeters. See 738. In the antistrophe A = abc, 232. 
 See 771. B = aab, 667, epodic triad : two trochaic hexameters with 
 a heptameter as epode. See 737. Anapaestic rhythm and trochaic 
 are not concordant and the effect of the shift of rhythm at 896 is 
 marked (281).
 
 78 THE VERSE OF GREEK COMEDY 215 
 
 215. Aves 1470-81 = 1482-93 (Stasimon II.). 
 
 Strophe. 
 
 'H/i.a' TToAAa Sr) KCU Kcuva /ecu Oav- w -- w -- 
 
 1471 fj,d<7T fTTfirTOfJiecrOa KCU 207 w w ^ . 
 
 Seiva TTpaypaT 6i8o/j.ev. w ^ <-< v? 6^ 
 
 e'crrt yap SevSpov 7re$VKC>s w -- ^ *? 
 
 fKTOTrov TI KapSias a- 
 1475 Trwre/oo) KAewvv/ios, 
 
 p-ev ovSfv, aX- 
 
 TOVTO <TOV> fJ-fV ^/30S del 802 
 
 :cu crv/ccxpavTet, 
 
 1480 TOV 8f ^et/iwvos TraAiv ras v w 
 
 doTTt'Sa? d>vAAoppoei. w >x 8 CV 
 
 ecrrt 8' av X^P a Tpos avT(fJ T<J> (TKOT^ iropp<a rts ev 
 1485 Iv^a rots r)p<a(riv avOpwiroi, a-vvapurrwrL Kal vvi<ri TrXrjv 
 
 1488 T^viKaura 8' ovKfT rjv d(r<^>aXes 
 
 1490 i yap *VTV\OI Tts ^/>^) TWV /3/ooTt3v vv/crwp ' 
 
 TrA^yei? IITT' avrou iravra Ta7riSeia. 
 1478 <roO> ^" Bentley : tfv ye (sic) Vp2HC 
 
 Monostrophic dyad. A = aabc, 6648, epodic tetrad : two hexa- 
 meters and a tetrameter, with an octameter as epode. See 743. 
 On the protraction in the second colon, see the second colon 
 (hyphenated) in the following lyric, in which the same melody is 
 repeated with slight variations. 
 
 216. Aves 1553-64 = 1694-1705 (Syzygy III.). 
 
 Strophe. 
 
 'H/i. a irpos 8e rots 2/aa7ro(T6v At- w ^ w -- ~ 
 
 fj.vrj TIS rr' aAovros o$ _ w _ w _ w _.~ 
 
 1555 \pvyay (ay (.1 Sw/cpaT^s' w w 6 cy 
 
 fvOa Kal HeiaravSpos 'rjXOe ^/ -- w o " 
 
 Seo/xevos ^VXTJV iSetv ^ 5=^w -- _ w __~ 
 
 ^WVT' e/ceivov Tr/iovAiTre, w -- w w 6 CV 
 
 <r<frdyi ^(ov Ka/iTjAov a- ccvy o w . ~ 
 
 1560 /nvov TW, ^s Aai/iovs TC/XWV 
 
 tacnrep ovSwo-eus aT 
 
 K^T' olv^A^'
 
 217 TROCHAIC VERSE 79 
 
 TTpOS TO AcUT/Xtt TTJS 
 
 VUKTCplS. 
 
 8 CV 
 
 rri 8' cv 3?avaMri Trpos Ty K.Xt\f/v8pa Travovpyov eyyAwTToya- 
 
 (TTop<t)v yvos, 
 1697 ot Oepiovo-iv TC Kai crireipovcri Kai Tpuyaxri Tats yAwrrawri 
 
 1700 J3dpf3apoi 8' cicrlv yevos, fopyiai TC Kai QiXiiriroi. 
 
 KaVb TO>V eyyAwTToyao-Topwv e/ceivwv TWV ^lAtTnrwv iravTa)(ov TT}S 
 
 'ATTIK^S 17 yAarrTa x w /'5 T/iveTai. 
 1561 ovdvffffebs Bentley : '05i;<r(rei)j 
 
 Monostrophic dyad. A = aabc, 6648, epodic tetrad : two 
 hexameters and a tetrameter, with an octameter as epode. See 743. 
 The eighth colon is catalectic in the strophe but ends full (proper 
 name) in the antistrophe (44). Compare the corresponding colon in 
 the preceding lyric. 
 
 217. Ban. 534-48 = 590-604 (Syzygy). 
 
 LYRICAL DUO 
 
 Strophe. 
 
 Kop. a ravra fifv Trpbs avSpos ecrrt w w ^ o 
 
 vovv e)(ovTOS Kai <f>peva<s Kai. _ w __ ^ ^ 
 
 535 iroAAa TreptrreTrAevKOTOs, w && w w ^ 6 CV 
 
 536 fieraKvXivSeiv avrbv act 801 >^w vy 
 
 /xaAAov ^ yfypafjL/j.evr]v 51 w ^ w 6 CV 
 
 538 CIKOV' rrdvat, Xaf36v6' ev _ w _ _^_^ 
 
 539 Trpos TO /iaA^a/ccoTepov ^ -- w ^ 6 CV 
 
 540 8eiov Trpos avSpds COTI 10 w w vy o 
 
 Kai <f>VO~l 07/pa/XVOVS. w vy 4 CV 
 
 At. ou ya/> ov yAotov i^v, ei w w ^ 
 
 v SouAos wvev v w 
 
 MiArjcrt'ois - w - ^ - ^ ^ 6 CV 
 
 543 avaTCTpa^/icvos KWWV op- 15^~v ^7 v/ 
 
 \rjo-Tpi8' fir yrrj(TV a/ii'S', e- w v/c^-v^ 
 
 VtU O 7TOOS TOVTOV /jAcTTCOV vy -~ -^ " \y 6 
 
 545 Tovpf(3iv0ov 5 8paTTO/i^v, o5- _^_ii v 
 
 TO? 5* ar' wv avTos Travovpyos \y vy w 
 
 ClSe, K^T CK TTJS yvdOoV 20 - vy - ^ - vy ^ 6 CV 
 
 irpoo-Qiovs ; - ^ sy ^ 4 CV
 
 80 THE VEESE OF GEEEK COMEDY 218 
 
 Antistrophe. 
 
 Kop. (3' vvv crbv fpyov rr', firfiSr) TTJV o-ToXrjv ?Ary^>as yvTrep c?x es * 
 
 dp\rj<s TraAtv, 
 
 592 dvavfdfciv /cat /3Aretv avOts TO SeivoV, TOU $ov fj.ffj.vifjfj.fvov 
 594 $7re/D eiKa^ets creavrov. et Se irapaXypuv aAwcret icdK/JaAeis Tt 
 
 596 av$is atptcrdai a-' dvdyKrj 'trrat TraAiv ra 
 3av. ov /caKoJ? 5v8/)S Trapaivetr', dAAa Kavrbs Tvyxava> ravr' a/DTi 
 
 (rwvoou/xevos. 
 599 on /xev oSv, ^v xprjVTov fj TI, TOVT' a^>at/3r^ai TraAiv TreipacreTCU 
 
 yu, s c? 018' on. 
 601 dAA' o/io>s eyw irapf<a 'p,avTov dvSpelov TO Xij[j.a not j3\f7rovT > 
 
 opiyavov. 
 604 Setv 5' eot/cv, ws d/couw r>Js dvpas KCU ST) ^o<^>ov. 
 
 542 ffTp<i>/j.acni> Brunck : ffrpdhnaffi 595 Acd/fjSaXets Hermann : KdKjSdXflj V, 
 
 RAU, ai /SeiXXeis M 596 Vrcu Dawes : Vrt V, om. RAUM 
 
 Monostrophic dyad. A = AA (534-40, 541-8). A = aaab, 
 6664, periodic tetrad : a hexameter as proode that anticipates the 
 melody of the two hexameters that follow, and a tetrameter as epode. 
 See 747. But in the antistrophe 592 f. is a pentameter and A there 
 = abac, 6564. See 748. See also 51. 
 
 218. Han. 1370-7 (Episode II.). 
 
 Xo. fTTiTTOvoi y ol 8eioi. *~ w -- w 2 
 
 1371 ToSe yap erepov av Tepas ~ ^ <~ w w w 2 CV 
 
 veox/u,dv, aTOTTias TrAcwv, ~~ ^ ~~ ^ w 2 C 
 
 o TIS av fTTfvoirja-fv aAAos ; ^ ^ *~ ^ ^ -- 
 
 /to. TOV eya) fjifv ov8' av e? TIS 5 ^ ^ ^, _ w _ w 
 
 1375 lAcye fioi TU>V ITTITVXOVTWV ~ ^ -- ^, w -- 
 
 <AA' ^6fj.rjv av ^/w -- \^ ^ 
 
 avTa \rjpflv. 203 w v^ 10 
 
 1376 TTi06fj.r]v Bentley : <hm06/7p 
 
 Non-antistrophic. A = aaab, 22210, periodic tetrad : a dimeter 
 as proode that anticipates the melody of the two dimeters that follow, 
 and a decameter as epode. See 747. 
 
 219. The same melody, expanded by a colon, occurs as the 
 second stasimon. 
 
 Han. 1482-90 = 1491-99 (Stasimon II.). 
 Strop/he. 
 
 'H/x. a /laKCtptds y' dvrjp e^wv v^w ^ ^ 2 C 
 
 irdpa 8f TToAAowrtv fj.a6e.lv. ^^w ^ w 2
 
 22J TROCHAIC VERSE 81 
 
 1485 o8e yap eft <f>povelv 
 
 TraAiv aTrcicrtv ot/caS' avBts, 204 5 ~ w v v O 
 
 67T* dyaOif fjitv TO is TroAtTais, ~w -- _ w _ ^ 
 
 CTT dya6<j) 8e TOIS eavTOv =^w w \^ -- 
 
 vyyevri re Kai <t'Aois 204 ^ ^ cc ^ \y ~ 
 
 1490 Sta TO O-VVCTOS tvat. 203 ~wcow - . v i2 o 
 
 Antistrophe. 
 
 1492 TrapaKaOr/fievov AaAeiv, 
 d.7ro/3aX6vTa /zovo-iKr)v 
 Ta TC fj.eyi(TTa Tra.pa.Xi/jr6vTa 
 1495 TT}S Tpay(p8iKfj<s Te^vrys. 
 
 Tf> 8' 67ri cre/ivoicrtv Aoyowri 
 Kai (TKapi(f)r)(rfJ.oi(ri 
 StaTpi/3r]v dpybv 
 
 1496 <re/j.voi(ru> Brunck : 
 
 Monostrophic dyad. A = aaab, 22212, periodic tetrad a 
 dimeter as proode that anticipates the melody of the two dimeters that 
 follow, and a dodecameter as epode. See 747. 
 
 220. Eccl 893-99 (Episode II.). 
 
 c? TI<S dyadov /JovAcrat ira- 
 894 6f.lv TI, Trap' e/xoi x/3i) 
 
 ov yap ev vcais TO <ro<j}bv ev- 
 (TTtv aAA' ei/ Tats TreTretpats 
 897 ovSe Tts o-Tepyciv dv edeXot 5 
 /MaAAoi' ^ 'ya) TOV <^>iAov 
 
 206 
 
 ttAA' ( (TCOV 5.V TTCTOITO. 
 
 Non-antistrophic proode of a proodic combination of eleven strophes 
 (717). A is an indivisible period of fifteen metres. See 773. See 
 also 777. On the acatalectic close of this systematic period, cf. EC. 
 938 ff. (567), Ran. 323 ff. (427), 372 ff. (301), 398 ff. (82), 416 ff. (80). 
 This form of close is normal in periods that end in paeonic rhythm 
 (430 ff.). 
 
 221. Thesm. 659-666 (Syzygy). 
 
 Ko/). /3' fia 8rj irpwTurra p.tv \pj] w -- w -- 
 
 Kov<f>ov e^op/wv TroSa ^ -- w w 4 v 
 
 660 /cat 8iao-/co7rv (TtoMrg ^ w v -- 
 
 , p-ovov 8e \prf w ^ w 4 C 
 
 G
 
 82 THE VERSE OF GREEK COMEDY 222 
 
 661 fir) fipaSvveiv, d>s 6 /cai/jos 5 w w v 
 
 rri )U,T) /wAAeiv eTt, w w w 4 CV 
 
 662 dAAa TT)V TT/SWT^V T/oe^etv x/ 3 *? 1 ' ~~ w w 
 
 d>s rd^urT vjSr) /cv/cAw. _^__ _ w _ 40 
 
 'H/i. a' eta vw i'x vcve Ka * A"*" w ^ w ^ " 
 
 Tfve raxv TTCIVT', i TIS ev TOTTOIS eS/aatos 
 
 aAAos av AeA?70ev wv. w w w 7 C 
 
 'H/A. ^8' Travraxy St pfyov o/i/ia, 796 ^ w w 
 
 666 /cat Ta T^8e Kai TO. Sevpo \^ w w w 
 
 660b Travrox^, p.6vov dt xp^l Kiister : fj.6vot> 8 xp"h iravraxy 662 
 
 Bentley : XP^I 665 5^ ptyov Hermann : 6idppn//oi> 
 
 Non-antistrophic. A = AB (659-62, 663-6). A: a stichic inter- 
 mediate period, composed of four tetrameters. See 778. B = ab, 7 6, 
 pericopic dyad : heptameter, hexameter. See 770. 
 
 222. Thesm. 520-30 (Debate). 
 
 Xo. TOVTt /iVTOl daVfJLOCTTOV, 281 w2 V 
 
 521 oTr66ev 
 
 w w 
 
 T^V Opaa-eiav OVTO). 
 yap etVciv T^V Travoupyov 5 *~ 
 525 Kara r6 <J>avfpov G)8' dvatSws ^^ 
 
 OVK ttV (fOfJLTfjV CV 1^/itV w w w 
 
 ovSe ToXp.f)<rai iror av. w w v/ 14 CV 
 
 dAA' a7rav yevotr' av 17877* \j-\s w 
 
 Tv^v Trapoifjiiav 8' 7raiva> 10 w w w 
 
 TI)V TraAaidv IITTO At^ ya/3 Travrt TTOU x/") 
 
 530 yu,^ SaKy pr/rap dOptiv. ^ w 9 
 
 Non-antistrophic. A = abc, 2149, pericopic triad : paroemiac, 
 hypermeter of fourteen metres, nonameter. See 77L 
 
 PAEONIC-TROCHAIC VERSE 
 
 223. In many odes of Aristophanes metres that appear to 
 be paeons ( - ^ ^ ^ ) or cretics ( - ^ - ) and trochaic dipodies are 
 freely mingled in the same subordinate period and even in the 
 same colon : 
 
 dAA' ctTraAov av /x' fSois icai TroAr vctarepov diraAAayevra Tr/oay/xdrcov 
 
 Pax 351 ff. (232)
 
 225 TROCHAIC VERSE 83 
 
 O7TO<T<H 
 w w w w w www w w w w 
 
 Poo; 589 ff. (233) 
 Cf. Lys. 1046 ff. (239), 1192 ff. (240). 
 
 224. The time of the metres in periods such as the pre- 
 ceding must have been equalized. The same necessity is even 
 more obvious in cases, of which there are many in these odes 
 even in parts that it is agreed are trochaic, where the equivalence 
 of - w - ^ with -www and - w - is established by cor- 
 respondence between strophe and antistrophe : 
 
 oirrcos ?)V vcaviaxos MeAaviwv TIS, os <f>evytav ydp.ov a<j>tKeT* eis c/t 
 
 KO.V TOIS opecriv wxct = 
 
 T//ZCOV ^V TIS (u'8/3VTOS a/?aTOl(TtJ/ Iv (TKwAoiCTl Ttt TTpOaWTTO. 
 
 WWW W WWW W W 
 
 - . \J 
 
 -w^~- -www -.- Lys. 784 f. = 808 f. (242) 
 ot^erat, KVKVOV re TroAiwre/acu 5^ = 
 pr}(riv ev Xeeiv eyu,eAAo//,v TOT', ov8e 
 
 -w-w -www -w-w Vesp. 1064 = 1095 (235). 
 
 Cf. Lys. 789 = 813 (242), Vesp. 342 f. = 373 f. (238), 412 ff. = 
 468 ff. (243). Editors, with grave disregard of tradition, have 
 endeavoured, in order to secure exact metrical agreement, to 
 ' emend ' many of these passages that are otherwise unobjection- 
 able. But these correspondences are not to be set aside in a 
 manner so summary. 
 
 225. The problem in these cases is of the same nature as that 
 in logaoedic and simplified logaoedic verse (388 f., 400). Within 
 the limits of a subordinate period, at least, the time must have 
 been approximately unified, there must have been a single pre- 
 vailing rhythm. In the following analyses it is assumed that 
 this was consistently trochaic, and that the time of the apparent 
 paeons and cretics was in some manner equalized with that of 
 the trochaic metres among which they occur. This is the 
 natural conclusion. The cretic ( - w - ) is a familiar form that 
 both iambic and trochaic metres with a suppressed arsis con- 
 stantly assume in both tragedy and comedy. See 72 and 207. 
 But the paeon is not to be separated from the cretic, i.e. pro- 
 tracted trochaic metre, in these odes. That they are metrically 
 equivalent is proved by their correspondence in strophe and 
 antistrophe. Cf. Vesp. 428 = 486 (243), Pax 352 = 390, 354 =
 
 84 THE VERSE OF GREEK COMEDY 226 
 
 392, 359 = 398 (232). Furthermore, the paeon occurs quite 
 independently among metres that it is agreed are trochaic : 
 
 Kcu KfXever avrov I^KCIV \j w w 
 
 OVTO, KdTTOAOVUCVOVj OTL \s-\j \j \s^ \j 
 
 rovSe Adyov eto"^>epei. w *~> \s w . Vesp. 410 ff. 
 
 226. The ease with which the paeon could be associated with 
 trochaic metres is remarkably exemplified in the Lysistrata 
 (10141035), where Aristophanes has used Kara a-rt,^ov a form 
 of trochaic tetrameter in which the third metre is continuously 
 
 227. It seems probable that the ' paeon ' in all these cases 
 is a 'light' trochaic metre and arose in the dance. The long 
 syllable in the arsis of the trochaic metre was differentiated from 
 the long in the thesis by shortening. Expressed in mechanical 
 symbols, ^ ^ became ^ w w . The cretic of three 
 syllables ( - ^ - ) is a later substitute for *- w w w . See 620, 
 where this interesting subject is considered from the point of 
 view of the probable origin of paeonic verse. 
 
 228. It must not be forgotten, however, that the equalization 
 of the time of combined metres of different metrical constitution 
 in Greek verse was neither mathematical nor slavish. The 
 equality of metres was not absolute even in Greek melic poetry. 
 That conception of Greek rhythm is disproved once for all by 
 the existence of irrational metres (16). The forms - ^ - w , 
 
 w , wvw were felt to be different, but they were 
 
 controlled by a uniform rhythm. The mechanical devices for 
 expressing the metrical relations of the different forms of trochaic 
 metres to one another are, unfortunately, inadequate. To 
 indicate these relations, so far as this can be done, the dot is 
 used in this book to signify not only the loss of a syllable, with 
 measurable protraction of the adjacent long syllable (see 31 f.), 
 but also the shortening of a simple thesis in the arsis of a 
 trochaic and an iambic (75) metre (- ^ w ^ for - ^ - w, and 
 
 w ^ w - for v - w - ). In the rhythmization of an entire sub- 
 ordinate period, - ^ , - ^ - w, - ^ ~- ^ and - ^ - - are 
 
 rhythmical equivalents, although not mathematically equal. The 
 paeonic-trochaic metre, then, embodies the contrary phenomenon 
 to that observed in an irrational metre. One must accustom oneself
 
 230 TEOCHAIC VEKSE 85 
 
 to - ^ w ^ as the rhythmical equivalent of - w - ^, just as 
 _ ^ -- for -w-w has become a familiar substitution. 
 
 229. The effect of the introduction of this lighter form 
 ( - w w ^ ) of the trochaic metre, which is not found in tragedy, 
 is unmistakable. Originally hyporchematic, these light metres 
 quicken the movement perceptibly when they occur, and this is 
 especially marked when they are brought into contrast with the 
 irrational form of the metre with its effect of retardation. Cf. 
 Lys. 664-6 with 667-71 (241), 1192-4 with 1197-9 (240), 
 ft passim. 
 
 230. Lys. 614-25 = 636-47 (Parabasis). 
 
 Strophe. 
 
 Xo. Tep. OVKT epyov eyxa^evSeiv w w w 
 
 corns forr eAev^epos, v \s w o 4 CV 
 
 615 a A A' TraTro8vwfJ.fd' tovS/oes w ~ o w -- " 
 
 TOVT(pl Tip TTpdyfJMTl. w -- w C7 4 CV 
 
 616 ^817 yap oeiv raSl 367 ff., 72 5 -- w - . - ^ - ~ 
 
 617 Tr/oay/iaTCDV yu,ot SOKCI, 
 
 618 KCU fjiaXuTT 6a-(f>paivofjLa.i TTJS 
 
 'ITTTT/OV Ti'/aavvtSo?- 
 
 619 KGU TTOLVV ScSoiKa n 10 
 
 Bevpo crvve Ar^ AV#OTS 
 
 623 ras ^eois ex^pas ywai/cas w ^ ^ 
 
 f^erraipwriv S6Ao> 15 w -- w 4 
 
 624 Ka.ra.Xa.fif.lv TO. xpyfJiaO' I^/AWV TOV re p.ur66v, 
 
 Zvdcv tfov eyto. ^ w ^ 5 c 
 
 Antistrophe. 
 
 Xo. Fvv. OUK a/o etcriovra o-' otxaS' ^ re/cowa -yvoxreToi. 
 
 637 dAAa 6a>iJi((rO' & <f>iXai ypa.es raSl irpGtrov ^afiai. 
 
 638 i^/ieis yap w Travres aarol Aoywv /carap^o/xcv T^ TrdAct 
 
 640 t/coT(os, CTTCI ^AcSwo-av dyAaws 
 
 641 7TT<X /1V TT/ yeyOXT 6V0VS 
 
 643 ir dAerpis ^ SCKCTIS o3o-a 
 
 645 K^T" lx ovo " a T ^ v KpOKwrbi/ O/DKTOS 
 
 646 Ka.Kavr)<f>6povv TTOT oStra irais /caA;) '^ova-' urxaSwv opfiadov. 
 
 615 fivSpes Meineke : d^Spei FBC, Hvffpuvoi R 636 oi)/r dp' Dobree : ov 
 
 yap eiiriii'Ta a' Bentley : et<rt6^raj 645 KQT' %x ovffa Bentley : Ka.ri\owja, 
 
 TBC, Karaxtovffa. R
 
 86 THE VERSE OF GREEK COMEDY 231 
 
 Monostrophic dyad. A = AB (6 1 4-1 8, 6 1 9-25). A = aaba, 4464, 
 epodic tetrad : two trochaic tetrameters and an iambic hexameter 
 with a third trochaic tetrameter as epode that repeats the melody of 
 the first two periods. See 744. B = aabc, 4445, epodic tetrad : two 
 paeonic-trochaic tetrameters and a trochaic tetrameter, with a penta- 
 meter as epode. See 743. 
 
 231. ^.616-23 = 683-90 (Syzygy). 
 
 Strophe. 
 
 c H/i. a vvv ap aiov iraa-iv 204, 208 w w Y v 
 
 fo-Tiv 6\o\vgai. 203 - Y ~ w - . ^ 4 CV 
 
 617 & KaAa Aeywv TroAv S'd- w^.v^ v .v/~ 
 
 peivov en TWV Aoywv v_> v w w 4 C 
 
 618 eipyaa-fjifv, fW cireX- 5 ^ ^ _ w _ . ~ 
 
 0ots airavTO. pot (ra<a>s* w w w 4 C 
 
 ws eyw /xot SOKW _ w _ . _ w _ 2 
 
 621 /cav p.a,Kpav 6Sov SifXOelv w w v/ -- 
 
 WCTT aKovcraf TT/OOS ra8' (5 ^8eA- ^ is: _ W _M 
 
 Ttcrre Oapp^cras Aey', (is a- 10 v -- w o 
 
 623 Travres iSoieo-^a croi. w w w 8 
 
 /i. /8' rravra rot ireTrpayas ota )(/3i) TOV 
 
 684 i^vpc S' 6 iravovpyos erepov iroAu Travov/syiais 
 
 685 fjifi^ocri Ke/cacrynevov Rat SoAowri Troi/aAois 
 
 687 prjfJLao-iv 0' ai/zvAois. 
 
 688 aAA' OTTWS dywviei <j>povTie raTrLKonr cipto-ra <TVfipa.^ovi 8' 
 
 X w v cuj/ovs eTrtorTacrat TraAat. 
 618 tlpyaa-fj^v' MSS. : Bentley proposed tpyaffAfjifv' 687 atyui/Xois Princeps : 
 
 Monostrophic dyad. A = abbcd, 44428, epodic pentad : a 
 ' periodic ' tetrad composed of a protracted trochaic tetrameter, two 
 paeonic-trochaic tetrameters and a dimeter, with a trochaic octameter 
 as epode. See 751. 
 
 See the metrical scholium on Eq. 616 and 683. Heliodorus 
 arranged cola 8-10 as trimeters. It should be noted that he employs 
 the term 'paeonic' to designate both ^ w w and w . There 
 is ancient testimony that he classified paeonic feet, at least in such 
 connexion as this, as fgdo-rjfwt. See Choeroboscus's Commentary 
 (Heph. 247. 11 ff.). 
 
 232. Pax 346-60 = 385-99 (Syzygy I.). 
 
 Strophe. 
 
 a el yap e/cyevofr iSciv rav- w w w -- 
 
 TTfjV fJL 7TOT Tr)
 
 232 TROCHAIC VERSE 87 
 
 347 TroXXa yap ^veo-xop/v 206 ^ 'Z ^ 
 
 348 Trpdy/xara re /cat OTi/3aSas, \s ~- \s w ~- w 
 as eXax 3>opfJii<av 5 w ~ w ^ 6 C 
 
 349 Kov/cer' av p,' evpots Si/cao-np w w 
 
 Spifiw ov5e 8wr/coXov, w O w w 4^ 
 
 350 ovSe TOVS rpoTrovs ye STJTTOU v^ o w 
 
 <TK\r)pbv oxTTrep /cat Trpo TOV, w w 4 C 
 
 351 dXX' aTraX^v av p iSois 10 w^r^ _ w _. 
 
 /cai TroXv vewrepov a- w ~ C <^ ^r c/ 
 
 TraXXayevra Trpay/xarajv. w <_< <- 6 
 
 KOI yap i/cavov XP OVOV/ a " ~ w ~- w w^rO 
 
 355 TroXXu/xe^a /cat /curare- w^-w - - vy 
 rpiuueva TrXavcowevot 15 v^ v </ w 6 
 
 356 eis AVKCIOV KOK Av/cetov v w 
 
 vv Sopt ^vv dcnrtSt. w w \^v74^ 
 
 358 dXX' o TI /xdXto-ra X a P l " w \j w ^ ^ 
 
 ovfifOa Trotowres, aye 802 ^ ~- w w ^/ 
 
 359 c/>pd^e ere yap auro/cparop' 
 
 20 v^-w w^-O 
 ei'Xer dya^ rts i7fitv rvx"*?- 
 
 801 (ant.) w ~' w w w 9 C 
 
 e H/i. yS' //.rySa/Aws w Sfcnrod' ' 
 
 386 et TI 
 
 387 x 4 P t '^ tov o^"^o Trap' e- 
 /toi! ye Kare&jSoKWS, 
 
 388 TOVTO p:^ <auXov vo/iif ev 
 
 T(f58e T<p Trpay/mrt. 
 Tp. OVK aKoveis ofa #a>7rev- 
 
 ovcri <r aiva^ 6ecnroTa; 
 'H/x. /J' /x^ yci 
 
 <r 
 
 391 wo-re rrjvSe /i^ Xa^Setv, 
 dXXa aier <5 <^>iXav- 
 
 e xat /xeyaXo- 
 Sai/xovwv, 
 
 395 ei TI IIet(rdv8pov )8SeXvTT6 
 
 TOUS X6<^)ovs xai ras o</>pus. 
 
 396 KOI <re Oixriauriv ie- 
 
 pauri 7rpo<r6Sots re /xeya-
 
 88 THE VERSE OF GREEK COMEDY 233 
 
 \auri Siot Travros a> 
 399 8e(TTroT dyaX.ovp.ev ^eis act. 
 346 wore T^P ijfjjtpav Dindorf : TTJV ri^pav TTOT^ 357 bv Ms Person : aiiv 
 
 388 v6fu? Bentley : vopifav 390 ff' dprtdfowt? Ed. : drt/3oXoO<r', R reading 
 
 iraX/7/cor6s (sic) 6.vri^o\ov<nv 396 lepaiet irpoffbdois Princeps : lepats irpoabSoiai RV 
 
 Monostrophic dyad. A = ABC (346-9, 350-7, 358-60). A=' 
 aba, 464, mesodic triad : two trochaic tetrameters with a paeonic- 
 trochaic hexameter as mesode. See 739. B = abba, 4664, palinodic 
 tetrad : a trochaic tetrameter as proode, two paeonic- trochaic 
 hexameters, and a second trochaic tetrameter as epode that repeats 
 the melody of the first period. See 746. C is an indivisible paeonic- 
 trochaic nonameter. See 773. See also 733. 
 
 See the metrical scholia on Pax 346 ff. and 385 ff. 
 
 233. The following ode in the second Parode is composed 
 on the general model of the foregoing, but the poet has omitted 
 two cola and has otherwise varied the treatment of his theme. 
 
 Pax 582-600 (Parode II.). 
 
 \r " > f t L'\ ff c nC 
 
 aoytevowriv 77 X6e<s r}/^tv w w w 
 
 <r<p yap e8dp/r]fj.ev 7ro0<j>, w - w 4 
 
 585 Saipovia (BovXofjievoi 800 w ~- w w w w 
 
 eis aypov dvepirvcrai. 5 v./ ~- w w 4 C 
 
 7^cr0a yap fj-eyifrrov ^fitv w w w 
 
 Ke/aSos w iro6ovfj,evr) w ^ w 4 C 
 
 589 Trcwriv oTrdo-oc yewpyi- w ~- w w w 
 
 KOV filOV fTpij3ofJLV' p>O- w w w w w 
 
 vr) yap rjfj.a<s (5<^eAeis. 10 w w 6 
 
 592 iroAAa yap eTrao-^o/jtev w ^- w w 
 
 irpiv if or CTTI (rov y XvKea w ~- w w^-w 
 
 595 rots dypoiKOuriv yap ^arda w w w 
 
 XtSpa Kal a-tarrjpia. 15 w w 4 C 
 
 oi<7T ere rd r ayUTreAta w ^. w w w w 
 
 Kal ra vea ffWtt&ttt w ~. w w^-w 
 
 raAAa ff OTTOCT ecrri <f>vra w^-w w ~- w 
 
 600 Trpoa-yeXdarerai \af36vr ao-fifva. 
 
 aCY 
 ^~ \_/ ^/ \^ ^ \^ ^ . w w y 
 
 583 i^X^cj i)fuv Dindorf : iiiuv ^X^es 599 6v6ff' Bentley : 8<r' R : Sffff' V 
 
 Non-antistrophic. A = ABC (582-6, 587-96, 597-600). A = abc, 
 244, pericopic triad : trochaic dimeter, trochaic tetrameter, paeonic- 
 trochaic tetrameter. See 771. The melody may have been abb, 
 proodic triad. B = abba, 4664, palinodic tetrad : a trochaic tetra-
 
 
 235 TKOCHAIC VEESE 89 
 
 meter as proode, two paeonic-trochaic hexameters and a second trochaic 
 tetrameter as epode that repeats the melody of the first period. See 746. 
 C is an indivisible paeonic-trochaic nonameter. See 773. 
 
 See the metrical scholium on Pax 571 ff. Heliodorus regards 
 571-600 as a pericope, of which the first period is 571-81, but 
 probably this trochaic hypermeter, following tetrameters, was not 
 melic. See 808 f. In the text of Heliodorus the first colon (582) 
 was acatalectic. His analysis does not include the last eight cola. 
 
 234. Aeh. 280-3 (Parode II.). 
 
 'H/i. a' ofrros avros mv, 
 
 /3aAAe /3aAAe ft 
 'H/i. y8' Trate Trcue TOV fjLtapov' 
 
 ov /3aAets ; ov ySaAeis; (717) w \j 8 
 
 Non-antistrophic proode (717). A is an indivisible trochaic octa- 
 meter with paeonic-trochaic movement in the last two cola. See 773. 
 
 See the metrical scholium on Ach. 263 ff. Heliodorus regards 
 263-83 as a pericope, of which the second period is 280-3, but the 
 chorus reappear at 280. 
 
 235. Vesp. 1060-70 = 1091-1101 (Parabasis). 
 
 Strophe. 
 
 'H/i. a & TTttAttl 7TOT OVTS ^//.fl? w w w 
 
 aA//ioi fjifv fv ^opots, w w w 4 
 
 1061 aA/a/ioi 8" ev fj.d\ai<s t ^> ^ 2 C 
 
 1062 Kai K.O.T avro TOVTO /xovov ^ w \^cv w 
 
 " S 1 ' f iC 
 
 avopes waYiua/raTOi * 5 vc/r\^ w 4 
 
 1063 Trpiv ITOT ^v irplv raura, vvv 8' w w 2 
 
 oi^erai, KVKVOV TC TroAtwrepcu S^ 
 
 80Q-W-V7 - ^ w -w-w 
 
 1065 at8' 7rav^ou<riv rpi\es. w w ^ 5^ 
 
 dAAd KO.K TWV Ad^aVWV Set w iii w _i=l 
 
 796 10 - 
 
 u>s eyw TOVfj^v VO/AI^W _ 
 
 1069 yijpas fivai K/OCITTOV ^ TroA- _ 
 
 Awv KtKiVvovs veaviwv Kai 
 
 (T)(fjfJM KVpV7rp(i)KTia.V. 
 
 'H/i. j8' apa Seivbs tf rod' wrre iravra p.r) SeSoiKtvai 
 1092 Kai KaTo~r/0^a/irjv 
 
 TOVS evavTiovs TrAlwv cxeure rats 
 ov yd/) ^v i)/itv
 
 90 THE VERSE OF GEEEK COMEDY 236 
 
 1095 pfjo-iv e5 Xeeiv efj.eXXofj.ev TOT', ov8e avKOf^avTr/o-eiv nva 
 
 1097 </JOVTIS, dAA' OOTIS I/OCT^S etroir apurros. Toiyapovv TroAXas 
 
 TroAeis M.r)8(i>v eAovTes 
 amwTciTOi <f>epeo-6ai TOV <popov 8evp' eo-fj.ev, ov KXeirrov&iv ol 
 
 vewrepoi. 
 1097 6Vris Elmsley : 5<ms ftc 
 
 Monostrophic dyad. A = ABC (1060-2, 1063-5, 1066-70). A = 
 abc, 424, pericopic triad : trochaic tetrameter, paeonic- trochaic 
 dimeter and tetrameter. See 771. The melody may have been aba, 
 mesodic triad. B = ab, 2 5, pericopic dyad : trochaic dimeter, paeonic- 
 trochaic pentameter. See 770. C probably = a'a, 6 6, monostrophic 
 type : two hexameters in correspondence. See 767. The ordinary 
 indications of the close of the first subordinate period in C (1066-8) 
 are lacking, but Aristophanes affects the trochaic hexameter. See 776. 
 
 236. Ran. 1099-1108 = 1109-18 (Debate). 
 
 Strophe. 
 
 'H/i. a' fieya TO Trpayfj.a, -jroXv TO VCIKOS, ^z ^/ ^, >^w o 
 
 dS/abs 6 TToAeyuos ep\eTai. ^~w< <^ w 4 C 
 
 1100 xaAeTrbv o$v epyov 8iaipciv, c^vy ^ _ w _^ 
 
 OTO.V 6 fj.ev Teivy ^Statws c^w w 
 
 1102 6 8' 7ravcurr/De</>eiv SvvrjTai 5 oc ^/ ^ ^ 
 
 1103 aAAa p.r) 'v 
 
 1104 fl(rf3oXcu yap el<ri TroAAat 
 
 1105 o Tt irep ovv e^erov fpifietv, lO^c^ v7 cc v -- 
 
 AeyeTov lirtTOV dvaSeperov c^v/crr^ cs5wc?3 
 
 Ta TC TraAaia KCU TO. Katva, o^ ^ c? \j ^ 
 
 1108 KaTroKivSweveTOV Ae- _ w _^ _ w -- 
 
 TTTOV T6 Kai cro(f)ov Xeyeiv. w w w 10 
 
 Antistrophe. 
 
 ' H/x. /?' et 8e TOVTO Ka.Ta.<t>o/3et(rdov, 
 
 firf Tt<s dfj.adia Trpocry 
 1110 TOI? 6e(Dfj.evoL(rtv, a>s TO, 
 
 AcTTTa /xr) yvtovat Xeyovroiv, 
 
 1112 fj,r)8ev 6pp<a8eiTe rovd' ws 
 ovKeO' ovrat TOLVT' X ei - 
 
 1113 ea-rpa.revp.evoi. yap euri, 
 
 1114 /3i/3Xiov T' t^cov e/caerros 
 fJMvOdvei Ta Sf^ta- 
 
 1115 ai </>vcreis T* aAAws
 
 238 TROCHAIC VERSE 91 
 
 vvv f K 
 /j.r)8fv ovv SeicrrjTov, aAAa 
 1118 TTO.VT' fire^irov $eaTtov y' 
 ' a>s 
 
 Monostrophic dyad. A = abed, 4 8 6 10, pericopic tetrad: tetra- 
 meter, octameter, hexameter, decameter containing a single paeonic- 
 trochaic metre. See 772. See also 777. 
 
 237. Thesm. 459-65 (Scene I). 
 
 Xo. eVepov av Tt Xrjfia TOVTO ^ ^ ^ 
 
 460 KOfiif/OTepov IT' 17 TO TrpoVepov dvaTre^vev. 
 
 w \s 
 
 ota KaTeorco/ivAaTO, 205 ~~ 
 
 OVK axatpa, (ppevas f^ovtra 
 /cat 7roAv7rAo/cov vorjfj.', ov8' 
 dcrvvtT' aAAa 7rt0ava TravTa. < w \. 
 
 465 Set 8f TavTi^s r>js v/?pos T}/AII/ TOV avSpa 
 
 467 7repi<avt3s Sovvat 
 
 Non-antistrophic. A = ab, 7 11, pericopic dyad: heptameter, 
 hendecameter containing a single paeonic-trochaic metre. See 770. 
 
 238. Vesp. 334-45 = 365-78 (Syzygy I.). 
 
 LYRICAL DUO 
 
 Strophe. 
 
 Kop. a Tt's yap eo-0' 6 TavYa <r' ctpytuv ^ ^ _ w _ii 
 Kairo/cAy wv T^ ^vpa y Ae- w w 
 
 335 ^ov, Trpos evvovs yap ^>pdVcts. ^ w 6 CV 
 
 aVe* Kat yap Tvyx^vet 
 
 337 ovToo-t irpoo-Oev Ka^evSwv. 
 
 aAA' v<f>(rOe TOV TOVOV. 
 
 Kop. a' TOV 8' f<f>(lV W fJLO.TO.lC \s w w w 
 
 ravTa Spav o" f3ov\Tai w w vy 4 C 
 
 339 </cat> Ttva Trp6<f>aa-iv ex a)V / 10 \y w w =~ w 2 CV 
 
 ovSe 8pav ovSev xaKov, 
 
 341 aAAa /M* evoixetv CTOI/XOS v 
 
 CO-T' ' eyw 8* ov (3ovXofj.ai. ^^w 
 
 Kop. a' TOVT' cToAjUT^o-' 6 utapos ^ a " 15 w 
 
 vetv 6 A^/toAoyoKAewv 204, 207 w w
 
 92 THE VEESE OF GREEK COMEDY 239 
 
 343 OTI Aeytt? ri Trepl TWV vewv d 
 
 344 ov yap av TTO&' OVTOS avrjp 
 
 TOUT' eroXfji-rjcrev Aeyetv t ^ -- _^_ii 
 
 345 fj.rj ww|HOT?7S TIS TJV. 20 w c/ ^ ^ 13 CV 
 
 Ko/3. ^8' dAAa Kat vvv 
 
 fj.r]^a.vrjv OTTCOS 
 366 (os yap tS peX 
 4>i. StaT/aayetv rolvw 
 
 l(TTt yMOl TO SlKTVOV. 
 
 368 07 8e /ioi Ai/cTWva 
 
 V 7T/OOS 
 
 VOVTOS eis <T(i)Tr]piav. 
 370 dAA' eVaye TT)V yvaOov. 
 . 8iaTT/9a>KTat TOUTO y' dAAa 
 
 /AI) ftoare fJLrj&afj.ws, 
 372 dAAa TrjpioufcrB' OTTCOS /XT) 
 
 Kop. /3' /t^Sev 5 Tav SeSt^t, /A^Sev * 
 
 ws ya) TOUTOV y', eav ypv- 
 
 ^y TI, TTOITJO-O) Sa/ceiv TT/V KapSiav KOI 
 
 TOV TTpl ^V^^S 8/30/AOV S/Ott- 
 
 /xetv, iV ct'Sy ^r) TraTeiv Ta 
 TO6V Ofoiv 
 
 339 Kal Bergk 378 TOW Oeolv Cobet : T&V 6eut> or raw 6ta.lv 
 
 Monostrophic dyad. A = ABC (334-7, 338-41, 342-5). A = abb, 
 644, proodic triad : a hexameter as proode to two tetrameters. See 
 738. B = abaa, 4244, epodic tetrad : two tetrameters that enclose 
 a dimeter, with a third tetrameter as epode that repeats the melody 
 of the first and third periods. See 749. C is an indivisible hyper- 
 meter of thirteen metres. See 773. See also 777. 
 
 239. Lys. 1043-57 = 1058-71 (Stasimon II). 
 
 Strophe. 
 
 Xo/3. Tc/3. ov irapaa'K.e.valjdp.fcrda _ W _M _ ,_, _ w 
 
 TCOV TToAlToJj/ OvSeV (3vS/3S w ^ w 
 
 <{>Xavpov eiTretv ovSe eV, _ w _ ^ _ w ^ 6 CV 
 
 1045 dAAa TroAv TOV/iTraAti/ ^ ^. ^ w w 2 CV 
 
 r' dyada Kat Aeyetv Kat 5 ^ ~- ^ ^ 
 
 Spav, tKava yap TO. KaKa ^^. v v/^-vy
 
 240 TROCHAIC VERSE 93 
 
 Kai TO, TrapaKei/xeva. ^ ~- w w w 6 CV 
 dAA' tTrayyeAAerw v w 2 
 1050 Tras dvrjp Kat yvvTj, ^ w 2 C 
 t Tts dpyvptStov 8ei- 10 w w w 
 
 rat Aa/3etv /*va$ 77 Su' 77 rpets, <!>? TrAea VTIV 
 
 1054 axo/tcv /3aAAdvTta- - w w w 7 CV 
 
 1055 Kav TTOT' 1/377 VT; <f>avy, w w ^ 2 CV 
 
 OOTIS av vvvi SavetcrTjrai Trap rjfj.wv, 
 
 ^_ \fc/ 
 
 aTToSa). 15 -w-^ ^^-5 C 
 
 Xo/3. Fvv. TTtav Se /ieAAo/iev ^ei'ovs Tivas KapwTiovs, avS/sas KaAovs re 
 
 KO.(TTIV <T> TVOS Tt ' Kat 
 
 1061 SeA^aKiov lyv Tt /tot, Kat TOVTO re^v^'j WO-TC /cpe' IS 
 
 Kat KaAa. 
 1064 ^KCT' o3v ets I/MOU 
 
 TT^fJ-fpov' irptj) 8e xprj 
 1066 TOUTO Spav AeAov/xevovs avrovs re Kai ra ^-atSt 3 , efr' ewrw 
 
 1069 dAAa 
 
 1070 ownrep otKaS' cis cauTwv yevviKws, ws T] 
 
 1053 TrX^a Surges : ir6\X' l<rw 1054 &xo/J.ev Surges : K&XO^V 1060 
 
 r' Reisig 1062 dio-re Kp^' 3e<r0' Reisig : w<rre rA Kpta $eff0' RF, ws rA *cp^a 
 
 Monostrophic dyad. A = AB (1043-48, 1049-57). A = abc, 
 626, pericopic triad : trochaic hexameter, paeonic-trochaic dimeter, 
 paeonic- trochaic hexameter. See 771. B = aabcd, 22725, epodic 
 pentad : a tetrad composed of two paeonic - trochaic dimeters, a 
 heptameter and a dimeter, with a pentameter as epode. See 759. 
 
 240. The melody and dance of the preceding ode were 
 doubtless repeated in the third stasimon. 
 
 Lys. 1189-1202 = 1203-15 (Stasimon III.). 
 Strophe. 
 
 Xop. Tcp. {rTpu>/AaVa>v Se TroiKi'Awv Kai w w w 
 
 oo-' e'o-Tt fwi, - ^ - v - w ^ 6 CV 
 
 1191 ou <f>66vo<s cvecrri /ttot ^/ w ^ w 2 
 
 Tracrt Trape^ctv <^>epiv TOIS 5 v^^-^/ v^ b6t ^ 
 Trawriv, OTrorav re Ovyd- 
 rrjp TIVI KavT)<j>opy.
 
 94 THE VERSE OF GREEK COMEDY 241 
 
 1195 Tracriv vfj.lv Aeyw w w 2 C 
 
 TWI/ I/AWV w v 2 C 
 
 vvv evSo^ev, /cat 10 ^/ w 
 
 ev (recnrj.dv6a.L TO xr ou6 
 
 \J V w w 
 
 c 
 
 TOVS puTrous dvao-TTao-at, w v? ^ 7 
 
 1200 \OLTT' <av> eVSov $ (fropfiv. w ^7 ^ 2 
 
 et ,r TL<S 
 
 e/xo{5 jSAeTret. 15 ^ ^o ^ ^ ^ 5 C 
 
 . 1 8e T(J) /il) (TITOS V(J.toV CCTTl, ^OCTKCt 8' OlK6TttS Ktti 
 
 TroAAa TratSta, 
 1205 TTI Trap' /xov AaySeiv 
 
 TTvpiSia AeTTTa /zev, 6 8' a/DTOs aTro XOIVIKOS tSetv /^aAa veavtas. 
 1209 oa-Tts ouv 
 
 1211 eis e/iov (ra/CKovs ex^v *<at icwpuKovs, d>? X-rjifseTai TTV/OOI'S, o 
 
 Mav^s 8* ov/^bs auTots ey 
 1213 7ry>os ye /XCVTOI r^v dvpav 
 
 7rpocrayopev<j) p.r] /3a8t^etv T^V e/x^v, aAA' eu 
 
 1190 (frrf /tot Elmsley: ^(rrtc ^oi R 1200 A? Elmsley 1212 ofytds 
 
 Bentley : a^rolj oi>/idj R 
 
 See the analysis of the preceding lyric. 
 241. Lys. 658-71 = 682-95 (Parabasis). 
 
 Strophe. 
 
 o.Fc/D. TO.VT' ot5v ov\ v(3pi<> TO. 209 w c? 
 7r/oayjU,aT J ecrTi TroAA^ ; 209 w o 4 
 659 KaTTiSakreiv JLWH So/ce? TO v^ -- w ^7 
 
 ftaAAov, aAA' cfyiWTeov TO Trpay/j.' ocr- 
 
 TIS y' fvopxrjs fcrr' av^/o. 5 w -- w ^ 7 
 
 662 cxAAa T^V l^wp'S' e/c8v- w -- w ^7 
 
 toped* cos TOV avSpa 8fl w w w 4 CV 
 
 663 dvS/obs o^etv eu^vs, aAA' OVK w -- w -- 
 
 VT0/3lWO-$at 7T/37Tei. w -- w 4 C 
 
 664 aAA' aycTC AevKOTroSes, 10 w^ w w ^- ^ 
 
 oiirep fTrl AeiiftvSptov w ^- w w ~. w 
 
 f)\6ofav OT' ^/icv eTt, vi)v Set ^ w \^ ^ w 7 
 667 vw dvT/^crat TraAtv Ka
 
 242 TROCHAIC VERSE 95 
 
 670 TTO.V TO (rtafJM Kairoo-eura- 15 ^ w w ^ 
 o~6ai TO y^pas ro8e. w w o 7*^ 
 
 Xo. Fuv. ei VT) TO) 0ea> /^e JtuTrv/s^o-ets, Av(ra> 
 
 TTJV e/tavnj? vv eyu> 8*7, KCU TTOIIJ(T(J) T^/tepov TOVS Srj/xoras 
 
 ftwtrrpf.lv cr' ya> 
 686 dAAa ^vy/ACis a> ywatKc? Oarrov / 
 
 u>S av o^a)/jtv yvvatxwv avTo8a 
 688 vvv Trpos e/x' ITW TIS, Tva p,^ TTOTC ^>ayy (rxopoSa, 
 
 //.eAavas' as et 
 
 692 /cat fwvov KaKtGs e/jcis, VTrepxo\w ya/o, aterov T'IKTOVTO. Kav^ 
 
 (re fj.ai.eva-ofJML. 
 
 664 Xeu/c6iro8es Hermann : 
 
 Monostrophic dyad. A = AB (658-61, 662-71). A = ab, 47, 
 pericopic dyad : protracted tetrameter, heptameter. See 770. B = 
 aabc, 4477, epodic tetrad : two trochaic tetrameters and a paeonic- 
 trochaic heptameter, with a heptameter as epode. See 743. 
 
 242. Zys. 781-804 = 805-28 (Stasimon I). 
 
 Strophe. 
 Xo. Fep. pLvOov )8ouAo/icu A- 209 . . ^ -- 
 
 cu TIV u/xtv, v TTOT 
 
 783 avros rt TTCUS wv. 209 - w ~- w _ . ^ 6^ 
 
 OUTCDS >}v veavi- ^ ** ^ 
 
 CTKOS MeAaviwv TIS, os <f>vy<av ya/tov d- 
 
 <^>IKT' ets fprjftiav KO.V ^ ~- w _ w i^s.i=i 
 
 TOtS OpeO~LV U>Kf w err v^ 9 C 
 
 789 K^T' cXayoQripft - w CT w - - 2 C 
 
 TrAe^a/ievo? ap/cvs 51 wwv^ 2 
 
 Kttl KVVtt TIV* *X V 10 w w w v7 2 
 
 792 KovKfTi Karrj\0f TrdAtv w w ^ w w w 
 
 oiKo.8* v?r5 /iiVovs. w v^ v^ 4 C 
 
 793 OUTCD ras yvvai/cas ^ ^ 
 
 OTJ&V T^TTOV TOV MeAavi- 15 \j -- w ~ w 
 
 796 tovos 01 cr<ij^>povS. ^ w w 8 
 
 Fe/o. /3ovAo/xat (re ypau Kixrai w w w 2 C 
 
 Fvv. K/oo/i/iuof rap 1 OVK eSei. w ^ ^ 2 
 
 Pep. KavaTcivas AaKTwrai. w -- w 2 
 
 Fw. T^V \6)(jJ.r)V -iroXX-qv ^>opis. 20 w w 2 
 
 Fep. Kac Mvpa)vi8^s yap ^v _ w _ w _ v _.
 
 96 THE VERSE OF GREEK COMEDY 243 
 
 802 r/raxvs fvrevdev fieXdp-Trv- ^ -- ^ -- " 
 
 yos re rots 
 804 ws Se KCU ^op/ucov. 
 
 Antistrophe. 
 Xo. Fvv. Kayw /3ovXofjLa.t p,v- 
 
 6ov TIV' vfj.iv 
 807 T$ MeAaviwvt. 
 T^V Tts dt- 
 
 a/3aToicriv ev o-KwAoicri ra wpo- 
 811 (TWTra 7T/)6tpy/ievos, 'E- 
 /otvvwv diroppw. 
 
 OVTOS OVV 6 TtjU(i)V 
 
 815 TToAAa Karapao-a/xevos 
 dvSpdcrt irovrjpois. 
 
 OVTW 5 KIVOS V/AWV 
 TOV<S 
 
 xt, raicrt e yu- 
 820 vat^iv iyi/ <i'Ara,TO?. 
 Fvv. TI}V yva^ov /3ov\.(L 0ev(o; 
 
 Fe/5. /u,^Sa/>H5s' ZSeurd ye. 
 
 Tin/. dAAa Kpovcrw TW 
 
 FC/J. TOV (raKavSpov Ix 
 
 Tw. dAA' o/xws dv OVK iSots 
 
 826 Kaiirep ov<rr)<s ypabs OVT' av- 
 TOV KOJOTrv dAA' drre't- 
 
 828 
 
 799 \aKrlffai Bentley : r6 o-/c?Xoy Xa/crio-at 810 ret irp6<ro)ira Hermann : rd 
 
 Trpbfftairov 824 ffd/tavdpov Suidas : ffa.Ka.v8p' 
 
 Monostrophic dyad. A = AB (781-92, 793-804). A = abc, 6 9 
 (plus 2 2 2) 4, pericopic triad (771) with refrain : hexameter, 
 nonameter (with three dimeters in refrain), tetrameter, all in paeonic- 
 trochaic rhythm. See 774. B = abbbba, 822228, palinodic hexad : 
 octameter, four dimeters, octameter. See 758. The antistrophe lacks 
 one dimeter in the refrain, corresponding to colon 9. See 51. 
 
 243. Vesp. 403-29 = 461-87 (Syzygy II.). 
 Strophe I. 
 
 a 617TC fJLOl Tl fJifXXofJ.eV Kl- v *^ w w 
 
 VCIV KCtV7JV T^V X^ v w ** w 4 CV 
 
 404 T^vTrep T^VIK' av TIS 
 opyifrrj rr)V
 
 243 TROCHAIC VERSE 97 
 
 'H/z. a! vvv e/cetvo vvv e/cetvo 5 w ^ w v^ 
 
 KfVTpOV 
 
 evreVaTat oi)S. 800 ^ ~- ^ w 7^ 
 
 408 aAAa dal^ana. /JaAovTes w w so ^ w 
 
 d)S ra^MTTa TraioYa w w w ^ 4 CV 
 
 409 $etT /cat /JoaVe /cat KAe- 10 w w w ^3 
 
 wvt raur' dyycAAerc, w ^ w- 4 CY 
 
 410 Kai KeAever' aurov i^Ketv v <-> w 
 
 OS 7T J avSpa /AtO-OTToAlV w w w^-w 
 
 412 OVTa KOLTToXoVfJifVOV, OTl 51 w ^ w v <SC. ^, 
 
 rovSe Aoyov eurffxpfi, 15 wvw ^ ^^ V 
 
 414 /AT) SiKafav SiKas. ^ w 10 CT 
 
 Strophe II. 
 
 B8. arya^oi rb trpayfj,' axoTxrar' ^ w w ^ 
 
 aAAa firj KCKpayare. w <^ w ^ 4 CV 
 
 Ko/o. a' vi) At' eis TOV ovpavov y'. B8. <os w ^ ^ 
 
 rovS' cya> ou fjLeO-^a-oiJLai. 20 w w w 4 C 
 
 'H/i. a' ravra ST^T' ov Setva Kai TV- w w w 
 
 pavvi<i eoriv ffj.<f>avrj<; ; 
 
 cf. ^1% 1560 (216) -w-w -w- w 4 c 
 
 418 w TrdAis *cai 0ew- ^/ ^ 
 
 pov 
 
 419 Kef TIS aAAos Trpoe- 25 w ^ 
 
 Ha. 'HpaKAets Kat KevTp' l^ovo-tv w w & 
 
 BS. ofs y' a7rwAO"av 'I'i'AiTnrov w w ^ ^7 
 
 ev SIKTJ TOV Fopytov. 30 v ^ w 4 C 
 
 Kop. a' Kat o-e y' avTOts eoAov/ieV w w w 
 
 aAAa Tras e7rto"Tpec/)e w w w ^ 4 CV 
 
 423 8evpo Ka^etpas TO Kfvrpov _ w _^ _ w _^ 
 
 etr' eV avTov teo-o, w w w w 4 CV 
 
 424 ^vo-raAets evraKTos opy^S 35 w w 
 
 Kat /xevovs e/XTrA^evos, v ^ w 4 CV 
 
 425 J)S av e5 ci^y TO AOITTOV ^/ w 
 
 o~twjvos otov wpywrev. w vy <^ c? 4 
 
 Ha. TOVTO /16VTOI 8VOV ^^ v- w 
 
 v^ At", ei fjia^ovfjifda' 40 w w v^o4 c 
 
 427 u>s eywy' avrtuv optDv Se- w v^ c/ 
 
 SOIKO. Tas eyKfVTpi'Sas. w ^ ^? 4 CV 
 
 H
 
 98 THE VERSE OF GREEK COMEDY 243 
 
 'H/x, a dAA' d(j>i(t rbv dv8p' \^ ^*- V w 
 
 i 8e fjLT^, <f>rjfJi-' eyw _ w _ . _ w _ 4.0 
 
 429 ras eAwvas j.a.Kai- 45 \^ ww w 
 
 Antistrophe I. 
 
 B8. dAAa /ia At" ov paStws OUTW? av avrous Sie<vycs, 
 
 462 ciTrcp erv^oi' TWV /zeAwv TWV ^tAoxAeovs (BefipwKOTes. 
 'H/i. ^' a^oa Svjr' OVK avra 8^Aa rots TTCVIJCTIV, 17 rvpavvts a>s XdOpy y* 
 
 e\dv6av' VTTiov<rd p.f, 
 466 el <rv y* t5 Trovy irovrjpe na.1 KOftrfTVftwia 
 
 TWV VO/ACUV rjp.S.'S direipycis $>v WrjKev rj TroAts, 
 468 ovre TLV' e^wi/ 7r/30<acriv OUTC Aoyov evrpotTreAov, avrbs 
 
 fj.6vo<$ ; 
 
 Antistrophe II. 
 
 B8. e<rO' OTTWS avev f^d\rj<s Kal rrjs /caro^etas /?oi^s 
 
 472 eis Aoyovs eA^oi/xev aAA^Xoicrt /<ai SiaAAayas; 
 'H/A. ^8' crovs Aoyovs 5 ^uo"oS}^u.e Kat yu,ovap^(tas epacrra 
 475 Kai ^wwv Bpao"tS^(. Kai <f>opi>)v KpdcnrtSa 
 
 crTt/AfJidTtav rrjv virrjvrjv aitovpov rp((f><i)v ; 
 B8. v^ At" rj [jLOt Kpelrrov tKCTT7yi/ai TO Trapdwav TOV Trar/obs 
 
 479 /naAAov ^ /caKois TOO-OVTOIS cavyua^eiv o<rrj/j.epai. 
 Kop. ft' ov8e prjv ov8' ev ' ' 
 
 481 TOVTO yap Trape/j-ftaXovfJiev TWV TpixoiviKO>v 
 aAAa vuv /*V ov8fv aAyei?, dAA' 6Vav 
 ravTa ravrd crov KaravrXy nal vv<o/jt6Vas KaXy. 
 B8. a/>' av (5 Trpbs TWV ^ewv vfieis aTraXXa^Oeire fj,ov 
 485 ^ 8e8oKTat /iot 8epea-0ai Kat Sepetv 8t' 
 ovSeiroTe y', OTJ^ f' w ? a' / Tt /AOV AOITTOV 
 
 7Tt 
 
 407 A'T^TCITGU 6^wj Ed. : ^j'r^rar' 6t5 414 ^fJj Princeps : ws xM M^ 416 
 
 ToGS' Poison: rbvV R, T6j<5e 7' V 418 OeoiffexOpla Bentley : 6ete tx P ia R V 
 
 422 o^rotj^" Holden : aDm R, a^r^s V 473 <roi}j Hirschig : <roi 480 pyv 
 
 Hirschig : fdv y' 487 &8' Hermann 
 
 The two strophes constitute a pericope, AB (705). A = AB (403-7, 
 408-14). A = aab, 447, epodie triad: two tetrameters with a 
 heptameter as epode. See 137. B = aab, 4 4 10 (446 in the anti- 
 strophe), epodie triad : two tetrameters, with a decameter as epode 
 in the strophe (two tetrameters with a hexameter in the antistrophe). 
 See 737. Two cola (perhaps 12, 13) are lacking in the antistrophe. 
 See 51. B is a stichic period composed of fifteen tetrameters. See 778.
 
 247 TROCHAIC VERSE 99 
 
 NON-MELIC TROCHAIC VERSE 
 THE TETRAMETER IN ARISTOPHANES 
 
 244. The catalectic trochaic tetrameter is used by Aristo- 
 phanes both as a melic period (210) and also continuously by 
 line in recitative (59). When it is used by line, its two cola are 
 very generally separated by diaeresis (253 ff.). 
 
 245. The recitative tetrameter is used in all the comedies of 
 Aristophanes except the Plutus, but oftener in the earlier than in 
 the later plays. The verse is adapted to rapid movement and is 
 therefore frequently employed when the chorus enters in haste in 
 the parode * (213), sometimes on the run, or when it retires from 
 the immediate scene of action in the second parode. 2 It is used 
 also in the parode, and once in a syzygy, when, after a musical 
 number, the leaders of the chorus and personages of the scene 
 engage in a dialogue in recitative to the accompaniment of a 
 flute. 3 In many of these scenes the speakers are excited, and 
 sympathy with their emotion was doubtless expressed by the 
 chorus in mimetic dance-movements. 4 
 
 246. The chief use of the recitative tetrameter, however, in 
 Aristophanes is found in the epirrhemata and antepirrhemata of 
 the parabasis. 5 The tone is in general scoptic. Aristotle, speak- 
 ing of the early drama, when it was still satyric in content and 
 language, says (Poet. iv. 14) : TO nev jap Trpwrov rer paper pa> 
 e-%p(j!)VTO Bia TO crarvpLKrjv ical opfflcmKfaTepav elvai, rr)v Troirjcrw. 
 The epirrhema and antepirrhema of the parabasis were probably 
 recited by the first and second leaders respectively, and the 
 recitation was accompanied by the chorus with mimetic move- 
 ments. Eecitative trochaic tetrameters occur sparingly also in 
 other parts of comedy than parode and parabasis. 6 
 
 247. Thirty-nine of the 779 recitative tetrameters in the 
 
 1 Ach. 234-6 - 238-40 ; Eq. 242-83 ; 26 (20 = 20) ; Nub. 1115-30 (669) ; Vesp. 
 
 Pax 299-338 ; Av. 268-309, 313, 317-18, 1071-90 = 1102-21 (20 = 20) ; Pax 1140- 
 
 320-6. 55 = 1172-87 (16 = 16); Av. 753-68 = 
 
 8 Pax 553-70 ~ 601-50. 785-800 (16 = 16) ; Av. 1072-87 = 1102- 
 
 3 Ach.SQB-34, Vesp. 430-60-488-525 17(16 = 16); Lys. 626-35 = 648-57(10 = 
 (syzygy), Av. 336-42 - 352-86. 10) and 672-81 = 696-705 (10 = 10) ; Th. 
 
 4 See Haigh's Attic Theatre* 312 ff., 830-45 (669) ; Ran. 686-705 = 718-37 
 and the Editor's Unrecognized Actor, 122 (20 = 20). 
 
 ff. Eq. 314-21-391-6; Pax 383-4- 
 
 8 Ach. 676-91 = 703-18 (16 = 16) ; Eq. 426-7 ; 428-30 ; Lys. 1036-42 ; Th. 687- 
 
 565-80 = 595-610 (16 = 16) ; Eq. 1274-89 8 - 726-7, 702-6 ; EC. 1155-62. 
 = 1300-15 (16 = 16) ; Nub. 575-94 = 607-
 
 100 THE VERSE OF GREEK COMEDY 248 
 
 extant plays of Aristophanes are purely trochaic, 1 in 20, and 9 
 others have all arses short but one or more theses resolved, 1 in 
 87. One hundred and sixty-one tetrameters have one long arsis, 
 1 in 4-84 ; 357 have two, 1 in 2'18 ; 213 have three, 1 in 3'66. 
 Sixty-five per cent of the complete metres are irrational. 
 
 248. The tribrach occurs 161 times, once in 4'84 tetra- 
 meters : 
 
 Tetram. wv i. ii. iii. iv. 1 v. vi. vii. Total. 
 
 779 161 28 + 32 4 + 6 13 + 4 2 + 1 38 + 11 4 + 13 5 + 94 + 67 
 
 Five of the 94 tribrachs contained in one word overlap the pre- 
 ceding foot. These are all in the fifth or sixth foot (Vesp. 505, 
 510, Av. 290, 791, 1072). Sixty-three begin with the word 
 and overlap forward. The word containing the tribrach consists 
 of three syllables in 2 6 instances. The five tribrachs in the 
 seventh foot are contained each in a tetrasyllable word ( ^ w w ^ ) 
 which comprises the seventh and eighth feet. These are Eq. 319, 
 Nub. 575, 581, Av. 276, 281. Two of these are composed of 
 proper names (Nub. 581, Av. 281), and the other three have been 
 emended. Only 6 of the 67 tribrachs composed of two or three 
 words or parts of words consist of three words or parts of words, 
 five in the first foot (Ach. 685, Pax 322, Av. 280, 358, 380) and 
 one in the third (Pax 615). The natural division of the tribrach 
 when it consists of two words is w w | w (for - ^ ) in trochaic 
 verse, but numerous exceptions ( w | ^ ^ ) occur in the tetrameter, 
 7 in the first foot, 1 in the second, 1 in the third, 5 in the fifth. 
 Cf. Ach. 689, Eq. 245, Vesp. 504, Eq. 281, Vesp. 451, 492. 
 
 249. The ' anapaest,' a form in trochaic verse which results 
 from the resolution of an irrational foot (17, 200), occurs 44 
 times, once in 1 8 tetrameters : 
 
 Tetram. ^w ii. iv. vi. Total. 
 
 779 44 11+8 5 + 3 5 + 12 21+23 
 
 Only two anapaests (Vesp. 497, Pax 553) of 21 contained in one 
 word overlap the preceding foot, 12 overlap forward, 7 consist 
 each of a trisyllabic word. No anapaest consists of three words 
 or parts of words, and the division of the 23 that consist of two is 
 always ^ ^|-. 
 
 250. The dactyl occurs six times, once in the first foot 
 (Eq. 319), three times in the fourth (Av. 373, 1113, EC. 1156), 
 
 1 Av. 341, 353 ; 285 (emended).
 
 254 TROCHAIC VERSE 101 
 
 and twice in the fifth (Ach. 318, Vesp. 496). In each case, it is 
 the first or last simple foot of a dimeter. See 205. 
 
 251. The tetrameters, numbering 391, found in the epirrhe- 
 mata and antepirrhemata of the parabases are less free in the use 
 of tribrach, anapaest and dactyl than those, numbering 388, 
 found elsewhere in the plays. The ratios for the two sorts of 
 tetrameters respectively are : tribrach, 1 in 6 and 1 in 4 ; ana- 
 paest, 1 in 20 and 1 in 16 ; dactyl, 1 in 391 and 1 in 78. 
 
 252. One hundred and fifty-three of the 181 tetrameters that 
 contain trisyllabic feet have one trisyllabic foot, 26 have two, 
 and 2 have three. Fifteen tetrameters contain each two tri- 
 brachs in 8 combinations, of which 1, 5 occurs three times (Ach. 
 680, Eq. 262, Av. 340). The collocation ^ w ^ ^ w ^ occurs 
 twice, in 5, 6 (Vesp. 498, Th. 838). One tetrameter contains 
 three tribrachs (Av. 1116). Nine contain one tribrach and one 
 anapaest in 6 combinations, of which 1, 6 (Eq. 600, 1308) and 
 5, 2 (Eq. 280, Av. 303) each occur twice. One contains two 
 tribrachs and an anapaest, involving the combination ^ w ^ 
 vx w - ^ w w (Av. 302). Two contain one tribrach and one 
 
 dactyl (Ach. 318, Eq. 319). 
 
 253. The trochaic tetrameter, in its observance of diaeresis, is 
 closer to the recitative than to the melodramatic iambic tetra- 
 meter (183). Diaeresis is neglected 110 times in 779 trochaic 
 tetrameters, once in 7*1 verses. To these must be added, as in 
 the iambic tetrameter (180), a considerable number of verses 
 which do not admit diaeresis because of a progressive word at 
 the end of the first dimeter, as in Eq. 283, 571, 1281, 1283, 
 Nub. 622, 623, 1128, Vesp. 506, 514, etc., or of a recessive 
 word at the beginning of the second, as in Eq. 268, Vesp. 488, 
 491, Pax 306, 334, 559, etc. Eossbach's assumption (Spec. 
 Metrik, 3 188) that diaeresis is neglected oftener in trochaic tetra- 
 meters found in the epirrhemata and antepirrhemata of para- 
 bases than in those that occur elsewhere in comedy is not 
 supported by facts. There are 391 recitative tetrameters in 
 parabases and 55 neglect diaeresis; there are 388 elsewhere in 
 comedy, and, as it happens, 55 of these neglect diaeresis. 
 
 254. Caesura is allowed after the second arsis, - w - w | 
 
 _ w _ w _^_ w , as in Ach. 322, 324, Eq. 244, 
 
 257, 269, Vesp. 457, 1075, Pax 305, 558; after the third, 
 _ v _ v -wj-w -^-^ - ^ -, as in Eq. 572, 576, 600,
 
 102 THE VEESE OF GREEK COMEDY 255 
 
 1276, 1277, 1281, 1283, Nub. 583, 615; after the fifth, 
 -w-w -w-w - w|- ^ - v -, as in Ach. 239, Eq. 
 1307, 1309, Vesp. 503, 506, 510, Pax 302, 324, 426. It 
 occurs also after theses, not infrequently after the second, 
 -v,-]^ _^- w - v -w _ ^ _, as in Ach. 237, 240, 328, 
 Eq. 258, 283, 1315, Vesp. 435, 442, 498, 524; sometimes 
 after the third, w ^ | w ^ w ^ w , as in -4cA. 
 331, 333, 708, Eq. 266, 395, 603, Nub. 580, 614, 1122, 
 1125. When diaeresis is not possible, a pause may occur after 
 the fourth thesis, - ^ - ^ :*-. | w _ w _ w _ w _ >as i n 
 Ach. 235, Nub. 620, 623, 624, 625, Vesp. 444, 1110; less 
 often after the fifth, - ^ - ^ - ^ - w -| w -w - w , as 
 in ^. 282, 1311, Pax 630, Zys. 631. Pauses are rare else- 
 where in the verse than in the places named, but occasionally 
 one occurs after the sixth thesis, - ^ - w - w - ^ - ^ - 1 ^ 
 - s, -, as in Ach. 714, Eq. 1315, Nub. 584, Pax 317, 384, 
 Verses occur with two pauses, rarely with three. Illustrations 
 follow. 
 
 255. The following analysis of 100 recitative trochaic tetrameters 
 found elsewhere than in parabases (Ach. 303-34, Vesp. 430-60, and 
 Av. 268-304) and 100 that occur in parabases (Ach. 676-91, 703-18, 
 Vesp. 1071-90, 1102-17, Av. 753-68, 785-800) will serve to illustrate 
 the foregoing statements. The odd numbers signify theses, the even 
 arses. It will be remembered that the thesis of the tribrach and of 
 the ' anapaest ' may be dissyllabic. 
 
 8 : A single pause, at diaeresis, is found in the 58 non-parabatic 
 and 68 parabatic (P.) tetrameters which are not cited below. 
 
 4: Av. 273. P. Ach. 681. 6: Ach. 332; Vesp. 443; Av. 
 281, 285. P. Ach. 684; Vesp. 1082, 1087, 1114, 1115; Av. 785. 
 10: Ach. 308; Vesp. 432; Av. 268, 279, 284, 286, 291. P. Ach. 
 682, 715; Vesp. 1073, 1112; Av. 754, 758, 768, 788, 791, 793, 
 794, 798. 
 
 3: Vesp. 445. 5: Ach. 316, 331, 333; Av. 272, 297. P. 
 Ach. 708; Vesp. 1083. 7: Vesp. 434, 438, 444, 456, 459; Av. 
 270, 283, 294, 298. P. Vesp. 1072, 1077, 1084, 1088. 
 
 4 : 8 :Ach. 313, 324 ; Vesp. 457. 4 : 10 :Ach. 322. 6:10: 
 Av. 269. P. Av. 799. 6 : 11 : P. Vesp. 1111. 8:10: Av. 277. 
 3:10: Ach. 328; Av. 282. 8:12: Av. 299. P. Av. 759. 3:8: 
 Vesp. 435, 442. P. Av. 767. 
 
 3:11: Av. 295. 5 : 8 : Av. 274. 1 :8: P. Ach. 685. 8:11: 
 P. Ach. 714. 5:7: Av. 301. 7 : 13 : P. Vesp. 1110. 
 
 3:7:10: Vesp. 458.
 
 259 TROCHAIC VERSE 103 
 
 256. The melic trochaic tetrameter is somewhat severer than 
 the recitative in excluding the dactyl and in some minor 
 particulars. There are 116 melic tetrameters in Aristophanes. 1 
 Eleven of these are purely trochaic, 1 in 10 '5, and four others 
 have all arses short, but one or more feet resolved. Thirty- 
 three have one long arsis, 1 in 3*5 ; 43 have two, 1 in 2 '"7 ; 
 25 have three, 1 in 4*6. Fifty-six per cent of the complete 
 metres are irrational. 
 
 257. The tribrach occurs 23 times, 1 in 5 : 
 
 Tetram. ^ws^ i. ii. iii. IT. v. vi. vii. Total. 
 
 114 23 2 + 30 + 3 3 + 2 0+1 3 + 1 3 + 1 1 + 12 + 11 
 
 A single tribrach (Lys. 1285) contained in one word overlaps the 
 preceding foot. The word is a trisyllable in 3 instances. The 
 single tribrach in the seventh foot (Vesp. 461) is contained in a 
 tetrasyllable ( ^ ^ ^ - ). No melic tribrach consists of three 
 words or parts of words. The division w | ^ ^ does not occur. 
 The anapaest occurs six times, 1 in 21, three times in the second 
 foot (Vesp. 461, 462, Lys. 615), three in the sixth (Vesp. 478, 
 Pax 346, 583). The dactyl is not used. 
 
 258. Of the 1 6 tetrameters that contain trisyllabic feet, 9 
 have one trisyllabic foot, 5 have two, 2 have four or more. Three 
 tetrameters contain two tribrachs (Pax 733, Ran. 1109, EC. 
 1165), one has four (Ran. 1099), one has six (Lys. 1285). 
 The combination of anapaest and tribrach occurs twice (Vesp. 
 461, 462). 
 
 259. The trochaic tetrameter, which preceded the iambic tri- 
 meter as the stock verse of tragedy (Aristot. Rhet. ill. i. 9, Poet. 
 iv. 14), remained in favour with all the comic poets for just the 
 reasons that made it a means less fit than the trimeter to express 
 the exalted sentiments of developed tragedy. In the language 
 of Aristotle it was KopSaKiKcarepov, op^rja-ri/cmrepov. The 
 remonstrance Socrates addresses to Strepsiades in the Nubes 
 (641 f.) was evidently a live question in our poet's own day: 
 
 1 Ach. 204-7 (4), 219-22 (4), 284, 286, 1283, 1291 ; Pax 346, 349 f. (2), 356, 389, 
 
 293, 296, 335, 337, 341, 343, 985, 999 ; 395, 583, 587, 595, 733 ; Lys. 291, 294, 
 
 Eq. 312 f. (2), 326 f. (2), 330,389 f. (2), 301, 304, 614 f. (2), 618, 623, 636 f. (2), 
 
 400 f. (2), 404 ; Vesp. 336 f. (2), 338, 640, 645, 662 f. (2), 686 f. (2), 1285 ; Th. 
 
 340 f. (2), 367 f. (2), 369, 371 f. (2), 659-662 (4), 674, 714 ; Ran. 263, 265, 
 
 403 f. (2), 408 f. (2), 415-417 (3), 420- 540, 548, 596, 604, 1099, 1109 ; EC. 
 
 427 (8), 461 f. (2), 466 f. (2), 471 f. (2), 1164 f. (2). 
 478-485 (8), 1060, 1091, 1093, 1267,
 
 104 THE VERSE OF GREEK COMEDY 260 
 
 o~', a\\' o ri /cd\\i,<rTov fj,erpov r/yel' Trorepa, 
 TO rpifjuerpov rj TO rerpd/jberpov ; The trochaic tetrameter was the 
 metrum Epicharmium (see the fragments in Kaibel's Frag- 
 menta) and was affected by all the comic poets. Fragments 
 are extant that begin with Magnes and extend to Poliochus. 
 Cf. Magnes 6; Ecphantides 1; Cratinus 25, 36, 52, 97, 
 122-5, 164, 197, 198, 298, 301-5; Crates 20, 29, 32, 
 41; Pherecrates 10, 22, 78, 83, 143, 182; Teleclides 41; 
 Hermippus 29, 37, 43, 44, 70, 71, 81 ; Eupolis 76, 268, 357 ; 
 Phrynichus 15, 38 ; Aristophanes 108, 221, 306, 411, 433, 
 496, 550-2, 671-3; Plato 24; Ameipsias 13; Callias 1, 3, 4; 
 Lysippus 9 ; Metagenes 1 3 ; Strattis 5 7 ; Apollophanes 6 ; 
 Antiphanes 40, 45, 49, 52, 71, 97, 117, 142, 171, 174 (in 
 part), 179, 181, 204, 205, 301; Anaxandrides 6; Eubulus 
 49 ; Nicostratus 24 ; Philetaerus 9 ; Ainphis 7, 8 ; Anaxilas 
 22 ; Aristophon 4, 14 ; Cratinus iunior 2 ; Euphanes 1 ; 
 Alexis 79, 98, 115, 117, 156, 164, 165, 212, 301, 302; 
 Axionichus 8 ; Eriphus 4 ; Mnesimachus 2 ; Timocles 16 ; 
 Theophilus4; Philemon 213 ; Diphilus 20 ; Menander 23-6, 
 100, 162, 205, 244, 352, 367, 379, 433, 442, 470, 494, 508, 
 923-5, 927, 929, 930, 1113; Dioxippus 3; Alexander 6; 
 Evangelus 1 ; Poliochus 1 ; Frg. incert. 38, 295-7, 770-2, 774- 
 8, 1324-7. 
 
 THE TETRAMETER IN MENANDER 
 
 260. An especially trustworthy means of determining the 
 form of the trochaic tetrameter in the period of the New Comedy 
 is found in the Cairo MS. of Menander recently published. 
 There are ninety-eight trochaic tetrameters in the Periceiromene 
 and Samia that are, in effect, metrically intact in the manu- 
 script. 1 It appears from these verses, which are of sufficient 
 number to justify broad comparisons, that Menander uses tri- 
 syllabic feet in the trochaic tetrameter much more freely than 
 Aristophanes. 
 
 261. Five of the 98 tetrameters are purely trochaic, 1 in 20, 
 as in Aristophanes (247), while five others have all arses short 
 
 1 Periceiromene (Samia in the Prin- 256-64 (9), 269 f. (2), 325 f. (2), 330, 
 
 ceps) : 348-52 (5), 354, 360, 375-84 (10), 332 f. (2). There are also 51 mutilated 
 
 386-8 (3), 394-9 (6), 401, 412-15 (4), trochaic tetrameters in the Periceiromene 
 
 417 f. (2), 427, 433 f. (2). Samia : 202-8 and 24 in the Samia. 
 (7), 211-32 (22), 236-42 (7), 245-54 (10),
 
 266 TROCHAIC VERSE 105 
 
 with one or more theses resolved, 1 in 20 in Menander, but only 
 1 in 87 in Aristophanes. Twenty-six have one long arsis, 1 in 
 3-8; 41 have two, 1 in 2'4 ; 21 have three, 1 in 4'7. Fifty- 
 eight per cent of the complete metres are irrational. In Aristo- 
 phanes the per cent is sixty-five (247). 
 
 262. The tribrach occurs 44 times, once in 2 '2 3 tetrameters, 
 but in Aristophanes once in 4*84 (248) : 
 
 Tetram. wwv^ i. ii. iii. iv. v. vi. vii. Total. 
 
 98 44 7 + 9 2 + 2 + 1+0 13 + 6 1 + 1 1 + 1 27 + 17 
 
 Compare the table in 248. Both Aristophanes and Menander 
 use the tribrach sparingly in the second and fourth feet. Aristo- 
 phanes avoids it in vii., but Menander has it twice in vii. in whole 
 verses (S. 257, 262) and three times in broken lines (P. 407, 
 422, 426). Of the 27 tribrachs contained in one word in 
 Menander 6 are trisyllables, 1 overlaps back but 20 overlap 
 forward. Of the 17 contained in two or three words or parts of 
 words, 2 have the division ^ | ^ | v , 3 ^ | ^ ^/ , and 12 ^ w | w . 
 
 263. The anapaest occurs 17 times, once in 5'8 tetrameters, 
 but in Aristophanes once in 1 8 (249) : 
 
 Tetram. ^w- ii. iv. vi. Total. 
 
 98 17 4 + 2 5 + 3 1 + 2 10 + 7 
 
 Compare the table in 249. For other examples of the anapaest 
 in vi., in broken verses, see P. 419, 425, 428, S. 341. Four 
 of the ten anapaests contained in one word overlap back, 3 
 forward, 3 are trisyllables. Of the 7 contained in two or three 
 words or parts of words, 1 has the division ^ | ^ | - , 2 have 
 s/ 1 v/ , and 4 ^ w | . 
 
 264. The dactyl occurs but once, in the fifth foot of a broken 
 verse (P. 421). 
 
 265. Of the 47 tetrameters that contain trisyllabic 'feet, 34 
 have one trisyllabic foot, 12 have two, 1 has three. 
 
 266. The first dimeter ends in a complete word in each of 
 these 9 8 tetrameters, and this word is a progressive only twice ; 
 but nevertheless many of the 96 remaining tetrameters are not 
 to be rendered with a pause at diaeresis. When Aristophanes 
 employs trochaic tetrameters in dialogue, the change of speaker 
 generally occurs at the beginning of the tetrameter ; Menander is 
 strongly disposed to change the speaker within the verse. The 
 speaker thus changes in Aristophanes on the average only once
 
 106 THE VERSE OF GREEK COMEDY 267 
 
 in 1 1 tetrameters, and in 7 5 per cent of the instances the change 
 occurs at diaeresis ; in Menander this change occurs in nearly 
 every other verse on the average, but it occurs at diaeresis in 
 only 30 per cent of the cases. Finally, Menander changes the 
 speaker twice within a single tetrameter six times as often as 
 Aristophanes. The general result is much greater variety in 
 rendering and more frequent interruption of the flow of the 
 rhythm in Menander than in Aristophanes. On the basis of a 
 comparison of the 98 tetrameters now under consideration with 
 the 100 tetrameters in dialogue that are analyzed above, which 
 include the liveliest recitative trochaic number in Aristophanes 
 (Av. 268 ff.), the peculiarities of Menander's metrical style in 
 this form of verse are seen to be as follows. He introduces a 
 pause at diaeresis less frequently, relatively to his total number 
 of pauses, although 9 6 of his tetrameters admit diaeresis, but only 
 73 of those in Aristophanes. He introduces a greater number of 
 pauses absolutely and admits pauses into a greater number of 
 different places in the verse. Finally, the modes in which he 
 arranges two or more pauses within a single tetrameter are 
 twice as numerous as those in Aristophanes. 
 
 THE HYPERMETER 
 
 267. Acatalectic cola, dimeters and trimeters, are combined 
 into hypermeters in Aristophanes in both melic (210) and re- 
 citative verse. See 713. The hypermeter ends in a catalectic 
 dimeter, only once (Pax 344 f.) in a catalectic trimeter (in both 
 the oldest MSS.), and without exception it follows recitative 
 tetrameters. The connexion between the tetrameters and the 
 following series of cola is so close that sometimes the speaker 
 does not change (Pax 650 ff.) and even the grammatical con- 
 struction is continued (Pax 338 ff., Av. 386 ff.). In a single 
 instance two corresponding hypermeters conclude the epirrhema 
 and antepirrhema of a parabasis (Pax 11568 ~ 118890). In 
 all other cases the hypermeter is part of a parode and concludes 
 a dialogue (JSq. 284-302; Pax 339-45, 571-81, 651-6; Av. 
 38799). Recitative hypermeters are found in none of the later 
 plays of Aristophanes. 
 
 268. The metrical form of these hypermeters is freer than 
 that of the recitative tetrameters in the use of trisyllabic feet. 
 These number: 28 tribrachs, 3 anapaests (Eq. 299,^. 388,
 
 269 TROCHAIC VEESE 107 
 
 394), 2 dactyls (Eq. 301, Av. 396). If the 115 complete 
 metres in the hypermeters are expressed in terms of the tetra- 
 meter, reckoning three complete metres as the equivalent of a 
 tetrameter, the ratios are as follows : tribrach, 1 in 4'84 in the 
 tetrameter and 1 in 1 - 4 in the hypermeter ; anapaest, 1 in 1 8 
 and 1 in 13 ; dactyl (see 205), 1 in 130 and 1 in 19 ; irrational 
 metre, 6 5 per cent and 6 7 per cent. It should be noted, how- 
 ever, that these hypermeters differ structurally among themselves. 
 Only 3 trisyllabic feet occur in 28 cola in the Pax, but 18 in 
 19 cola in the Equites and 12 in 13 in the Aves. The tribrach 
 is a natural form to employ in the expression of excited feeling 
 or of lively sentiment. 
 
 269. The dimeters and trimeters of which trochaic hyper- 
 meters are composed are closely connected by synaphea, and were 
 liable to the same danger of confusion in transmission which the 
 corresponding iambic cola suffered (194). Heliodorus records 19 
 cola in Eq. 284 ff.; 7 in Pax 339 ff., making 344 a 'mono- 
 meter'; 10 in Pax 571 ff., making 579 a ' monometer ' and 
 580 f. a tetrameter; 5 in Pax 651 ff., making 655 f . a tetra- 
 meter ; and 3 each in Pax 1156 ff. and 1188 ff. See the 
 metrical scholia on these hypermeters. Pax 344 f. constitute 
 a trimeter in RV ; Pax 578* is a monometer in RV, the 
 following colon a dimeter. Both manuscripts resort to the device 
 of combining two dimeters into a false tetrameter, but V only 
 twice. The preposition at the end of Pax 577 maybe thought 
 to be an indication, reinforced by the sense, that 577, 578 a origin- 
 ally constituted a trimeter. A colon ends within a word in Eq. 
 301, Pax 339.
 
 CHAPTER IV 
 ANAPAESTIC VEESE 
 
 270. The fundamental colon of anapaestic verse is a dimeter 
 composed of two metres that consist each of two simple feet 
 (12, 13): 
 
 17 fJ.e 
 
 di/eAwv fi aTrcx^vcr^cras ^ ^/ 
 ets d^aAyn^v efj.j3aXe Oep/jurjv 5 ---- ~ -- Fesp. 327 ff. 
 
 An anapaestic dimeter consists of sixteen primary times. 
 All anapaestic verse is in ascending rhythm. 
 
 271. Melic anapaestic verse has a varied constitution, 
 owing to the number of forms the simple foot may assume, not 
 only ^ w and -- (8, 10) but also w w w ^ and w ^ 
 (11). A dimeter may consist solely of anapaests, as in the 
 third colon just quoted, or spondees, or even of ' dactyls ' or 
 proceleusmatics : 
 
 OUKOW eA/cto Ka^apTWfjLai ; ________ Pax 470 
 
 KOLvaTTvOtafjifOa TovcrSe TiVes TTOTC . . ^ w *~ Av. 403 
 
 KareAa^ov, ecft o Tt re //.eyaAoTrrepov afiarov 
 
 v~s~~~ ^^^^ Lys. 481 f. 
 
 Dimeters consisting solely of ' dactyls ' or proceleusmatics are 
 found only in melic verse. 
 
 272. The dimeter by suppression of the arsis of its final 
 anapaest becomes catalectic (33) : 
 
 TOU (re/ivoTaTov 81 'OX.vfj.irov -- ~ ^^ -- Th. 1069 
 
 KOVTTW fj.fvroi ye TreTra.vfj.ai ---- s^ -- Th. 709 
 
 8' ev6aXei<i Kapirovs ---- --- Av. 1062 
 
 108
 
 277 ANAPAESTIC VERSE 109 
 
 273. The catalectic dimet'er is called paroemiac. 1 Its final 
 syllable may be short instead of long (43). It rejects the pro- 
 celeusmatic, allows the ' dactyl ' only in the first simple foot, and 
 admits the spondee as the third simple foot only in melic verse. 
 
 274. The paroemiac is used in the recitative verse of comedy 
 only as the final colon of a tetrameter, pentameter, heptameter, 
 octameter, or hypermeter. In melic verse, it may be used as a 
 component part of an ode in any position. In his Odysseus, 
 Cratinus (frag. 144) employs it continuously : 
 
 <riyv vvv a.ira.<s 
 KCU TravTd Xoyov 
 rjp.iv 8' 'WdKtj Trar/Jis TTIV, 
 8' S-i 
 
 See Heph. 27. 1 ff. and cf. Aristophanes frag. 503, 504, and 
 Ran. 372 ff. (301). 
 
 Such continuous cola were probably rhythmized as full dimeters, 
 with a pause after each colon. On this supposition, the conjunction 
 of vowels at the end of the second colon and beginning of the third 
 (43) in the fragment quoted from Cratinus has no metrical significance. 
 
 275. Every melic anapaestic colon in Aristophanes ends in 
 a complete word. The first metre also of the melic acatalectic 
 dimeter generally ends thus, but the first metre of the melic 
 paroemiac, in fully one-third of the instances of its occurrence, 
 ends within the word. For the corresponding facts in the 
 recitative tetrameter and hypermeter, see 315, 329, 330. 
 
 276. The anapaestic trimeter was not employed as a colon, 
 since a trimeter composed of true anapaests in normal isomeric 
 rhythm (9, i.) would have exceeded the limit of length allowed 
 diplasic compound feet (22), but the monometer was thus used, 
 generally in combination with dimeters. On the probable 
 origin of this use of the monometer as a colon see 613. 
 
 277. Anapaestic tripodies (26) occasionally occur in 
 Aristophanes : 
 
 roSe <roi TO 7ra0os p.(T tpov 303 ~~ -- ~ Lys. 479 
 lepov T/xevos *~ w~w~ w~ ^/ v Lys. 483 
 
 1 Hephaestion (26. 17 ff.) derives the with wpocroSta^j, suggests ol/xoy (=086$), 
 
 word from irapot^a, proverb, maxim; 'march-rhythm'; Christ (Metrik? 254) 
 
 Rossbach (Spec. Metrik, 3 131 f. ), regard- proposes OI/JLTJ, song ('lay'). 
 ing irapotfuaKos as of equivalent meaning
 
 110 THE VERSE OF GREEK COMEDY 278 
 
 These are true brachycatalectic cola (35) and have the mensura- 
 tion of dimeters. They may end in the ' spondaic ' anapaest : 
 
 iTTepvya, re Travry. 473, 303 ~~ ~ 
 7Ti/3aA irepi re KV/cAcixrcu *~*~^,^ -- Av. 345 f. 
 
 eyKpovtov 301 ---- -- Ran. 374. 
 
 The pentapody also occurs, but only twice : 
 
 __^_ ^ _ ^ _ ^ _ Ach. 285 = 336 (452). 
 
 This is probably a brachycatalectic trimeter in logaoedic 
 time (389). The penthemimer (36) is also occasionally found, 
 with the mensuration of a dimeter. Cf. Av. 455, 458 (409); 
 1318, 1319 (406). 
 
 278. Protraction (31) does not occur in the anapaestic verse 
 of comedy. 
 
 279. Melic anapaestic verse prefers hypermetrical structure, 
 and hypermeters occur in the odes of Aristophanes that range 
 in length from nine to twenty-seven metres. The commonest 
 subordinate periods are the catalectic tetrameter and the 
 paroemiac, but the hexameter is not rare. On the combination 
 of subordinate periods, hypermeters and intermediate periods to 
 form systematic periods, see 720 ff. 
 
 280. The catalectic tetrameter is the anapaestic verse 
 chiefly used by the poets of the Old Comedy in recitative rendering 
 (305 ff., 320). These tetrameters are often immediately followed 
 by hypermeters, which may also be used independently (321 ff.). 
 
 281. Anapaestic cola may be combined with cola in other 
 rhythms, but especially with iambic, dochmiac and paeonic cola, 
 in the same systematic period. Compare, for example, the 
 combination of anapaestic and iambic .cola in Lys. 476 ff. (303), 
 Av. 400 ff. (290). Such anapaests probably keep their true 
 isomeric time in most cases. Generally they constitute a 
 considerable part of the systematic period in a series of connected 
 cola, as in the odes just cited and in Av. 328 ff. (473), 1058 ff. 
 (455), Th. 667 ff. (472), Vesp. 317 ff. (577). Introductory 
 anapaestic cola also were probably sung in even time, as in Pax 
 512 (84), EC. 478 (85), Nub. 510 f. (561). When they thus 
 introduce a trochaic ode, the rhythmical contrast is marked, as 
 in Ban. 895 (214), Th. 520 (222). The same effect of contrast
 
 284 ANAPAESTIC VEKSE 111 
 
 would result from singing anapaestic cola in parodies in even 
 time, and here the poet probably sought for just such effect, as in 
 Th. 1051 (374), 1332 ff., 1351 f. (592), as also when he combined 
 various different rhythms in the same period, as in Nub. 1160, 
 1165 f., 1168 (474), Av. 254 ff. (595). On the other hand, 
 cola composed exclusively of anapaests were probably sung in 
 triple time when constituent parts of odes in simplified logaoedic 
 rhythm (394). Other examples of logaoedic anapaests (389) are 
 occasionally found combined with subordinate periods in other 
 rhythms. These will be noted as they occur. 
 
 282. It is sometimes difficult to distinguish melic from 
 recitative anapaestic verse. The positive metrical evidence in 
 comedy that a series of anapaestic cola is melic is the use (i.) 
 of the proceleusmatic ; (ii.) of a dimeter composed solely of 
 ' dactyls ' ; (iii.) of a tripody ; (iv.) of a paroemiac at the 
 beginning of a series or within a short series or of two paroemiacs 
 in succession ; (v.) of a paroemiac with spondaic close ; (vi.) of an 
 acatalectic dimeter at the end of a series ; (vii.) of subordinate or 
 hypermetrical periods in other rhythms in proode or epode, or 
 even within the same systematic period. Less certain indications 
 that the anapaests were sung are the frequent use of spondaic 
 dimeters and the division of a systematic period into many 
 subordinate periods. 1 
 
 283. But some anapaestic hypermeters are melic although 
 they are severe in form and exhibit none of the peculiarities 
 just enumerated. The play itself in this case furnishes evidence 
 as to their nature. Compare, for example, Av. 209 ff. (285), 
 1726 ff. and 1743 ff. (588). 
 
 284. Aristides (97 M., 59. 19 f. J.) notes the pleasing balance 
 of parts in isomeric rhythms (9) : teal oi fiev ev tcra) \6ya> 
 TerayfjLevoi, Si o/toXor^ra ^apiecrrepoi. It is this balance 
 of arsis and thesis that distinguishes anapaest from iamb, 
 in which the ratio of the primary times in arsis and thesis 
 is unequal. The iambic dimeter and the anapaestic dimeter 
 were derived from the same primitive element, but gradually, 
 through the mediation of logaoedic cola, they were completely 
 differentiated, and anapaests with their equal division were found 
 to be the measure adapted to the march (607). Little remains 
 in comedy of this embateric use of the anapaest, so familiar 
 
 1 See Smyth's Anapaests of Aischylos, 142 f.
 
 112 THE VERSE OF GREEK COMEDY 285 
 
 in tragedy (306, 321), but the actual range of the use of 
 anapaestic rhythm in comedy is extensive, and the ana- 
 paestic verse of Aristophanes, including his recitative tetra- 
 meters, admirably illustrates its characterization by Dionysius 
 (De comp. verb. xvii. ; 108 R) : o-efivorrjra &' e^et TTO\\^V, ical 
 v0a Set jj,e<ye0o<; -jreptdeivai rot? Trpd<yfia<rt,v rf iraOo^ eVtTTjSeto? 
 eo-rt 7rapa\afji@dv6cr0cu. Aristides (97 M., 59. 23 ff. J.) notes 
 the special effect secured by variation of form in isomeric 
 rhythm : TWV S' ev t<r<p \dyq> ol pev Sia ^pa^eiwv yivojAevot, 
 fjiovtov rd^iaroi, ical Bepfiorepoi, ol 8e Sia patcp&v povwv j3pa8ei<> 
 ical Karecrra\iJivoi, ol 8' dvafjilj; eTriicoivoi. 
 
 MELIC ANAPAESTIC VERSE 
 285. Ao. 209-22 (Prologue). 
 
 Monody. 
 
 'Err. aye O-WVO/AC /*ot Travo-at fjt,ev VTTVOV, w^ ^/ -- 
 
 210 Avow Se VO/AOVS Ifpwv V/AVCOV, -- ^ ^^ --- 
 
 ovs 8ia Oeiov (TTo/xaros fynjveis ~~ -- *~ --- 
 
 TOV efi.ov Kal crbv iroXvSaKpvv "Irvv ' ^^ --- *~ ^ 
 
 eAeAt^o/Aev^s 8' tepots //,eAriv 5 ^^ ^ w^ ^/ 
 
 yevvos ^ou^s KaBapa x^P^ *~ --- ~ --- 
 
 215 Sia <vAAoKo/iov /xi'AaKos ^X'*' ~^ <*** *~ -- 
 
 jr/sbs Atos f8pa$, iv o XP^^OKO^as 792 ~ -- *~ ^^ 
 
 crots eAeyois v~ ~~ 
 
 10 \~ ^/ 
 
 euv tfTTrjcri, ^opovs -- ^ -- ^v, 
 
 220 Sia 8' d6ava.T<av oro/iaTWV X W P * 795 <~ *~ ~~ --- 
 
 vp.<f)(J)VO<S OfAOV -- ^ 
 
 -- ^- *, -- 27 
 
 213 AeXifo/i^Tjs 5' le/aois Meineke : AeXtf 0^^1/77 Siepots 
 
 Non-antistrophic. A is an indivisible hypermeter of twenty-seven 
 metres. See 773. 
 
 Compare the scholiast on 209 : /xeAiKws Se apx^rai, TO 8e ptrpov 
 f(TTiv dxaTaA^KTov avaTraarriKov Biperpov. The statement that the 
 hypermeter is melic is put beyond question by /AeAySeiv a3 in 226. 
 
 286. Thesm. 776-84 (Scene III.). 
 
 Monody. 
 
 Mv. <5 x f ty f * */* a ' ^3 -- ^/ ^/ 1 H 
 
 43 ----
 
 287 ANAPAESTIC VERSE 113 
 
 aye 8rj TrtvctKcov ^ecrrwv SeAroi ^ ^ ---- 
 
 8fa.(rde (r/iiA^s 6Acovs ---- --- 4 C 
 
 780 KTypvxas e/ioJv p.6yd<av ' ot/iot 5 -- v~ ---- 
 
 TOVTI TO p<3 fj.o\6i)p6v ---- -- w 4^ 
 
 auAa/ca ; ---- --- ^, 
 
 acras Ka0' oSovs ~~ ~ -- ^, 
 ravra ' raxews \p^. ---- s, -- 6 C 
 
 777 \prjv Bentley : x/>r> 
 
 Non - antistrophic. A = abccd, 12446, proodic pentad : a 
 monometer as proode to a ' periodic ' tetrad composed of a dimeter, 
 two tetrameters and a hexameter. See 752. 
 
 Two of the subordinate periods have spondaic close. The song is 
 paratragedic, in imitation of the melic laments of tragedy composed 
 in the same rhythm. 
 
 287. Lys. 954-79 (Episode II.). 
 
 Kt. oi/j.oi rt 7ra#to) ; Tiva /3iv^<ra) -- ^ w --- 
 
 955 T^S KaAA7T>;s TTOCTWV ifevtrOtis ; ---- ---- 
 
 TTWS Tavrrjvl 7raiSoTpo^(ra) ; ---- ^^ -- 
 
 TTOV KvvaAwTr^^ ; w^ -- 
 
 fj-urdtiwov p.oi TTJV Tirdrjv. 5 ---- --- 9 C 
 
 Kop. a' Iv Seivip y & Svcrrrjve KO.KW ---- -- *~ 
 
 960 Ttipct. ^vx^v c^airarrfOels ---- *~ -- 
 
 Kaytay oixTipoi cr aiai. ---- --- 6 C 
 
 iroios yap av r) ve^>pos avTicr^oi, -- *~ ^ --- 
 
 TTOttt l/'VX^, 7T0104 8' OpX^tS, 10 ---- ---- 
 
 Trota 8' <xr^)us, TTOIOS 8' oppos ---- ---- 
 
 965 KaTareivd/ievos ^~ *~ 
 
 KOI fj.rj fiiviov TOUS opOpovs; ---- --- 9 C 
 
 Ki. <S Zcu Setvwv dvTio-Tratr/iwv. ---- ---- 
 
 Kop. a' Tavri JUCVTOI vvvt (r* CTTOIT/O-' 802 15 ---- -- ww 
 
 969 i) irafjL/BStXvpa ical Tra.fjifj.vcra.pa.. -- ^^ -- ^, 
 
 Kop. f3' fia. At' dAAa <f)i\rj Kal TrayyAv/cepa. ^^ ^^ -- ^ 
 
 Kop. a' Troia yAvKepa ; /uapa /xtapa. -- ^- v w 
 
 Kt. </ttapa> S^T' 5 Zeu 5 ZeiJ- w^ --- --- 12 
 
 WO-7Tp TOVS OwfJiOVS 20 ---- ---- 
 
 975 wrp^a9 *cai vyyoyyvAa? ---- ---- 
 
 01^010 <f>epiav, eiira fifOeirfs, -- %, -- 
 
 T) St (frepoiT av TretAiv ets TI)V y^v, * -- *~ --- 
 
 K^T' (ai<f>vr)s 25 ---- 
 
 Trcpt r)v if/(a\^v ircpi[3air). *~ --- *, -- 13 
 
 956 ravrr}vl Reisig : ra.i>ri\v 964 irotos 5' schol. : TOJOJ 5" &v RB, TOIOJ 
 
 PC 972 /wapct Elmsley 975 ^uyyoyyi/Xas Cobet : vyyay-yv\tcra.t 
 
 I
 
 114 THE VERSE OF GREEK COMEDY 288 
 
 Non-antistrophic. A = abacd, 9691213, epodic pentad : a 
 tetrad composed of a nonameter, a hexameter, a second nonameter 
 and a dodecameter, with a hypermeter of thirteen metres as epode. 
 See 761. 
 
 Four of the five subordinate periods and hypermeters have 
 spondaic close, and there are besides six spondaic cola. The lyric is 
 paratragedic. Compare the monody in 286. 
 
 288. Th. 1065-97 (Episode II.). 
 
 Mi/. <5 vvg icpd, 43 ~ ^ 1 H 
 
 1066 u>s JLdKbv iinrevj.a oiw/<:e/\ *~ w 2 C 
 
 a va>Ta 
 
 tepas ^~ v~ 
 
 1069 TOV (refJLvoTdrov 6Y 'OAv/wrov. 5 ~ *~ 5 C 
 
 The beginning of the Echo Scene, a parody of the similar situation 
 in the Andromeda of Euripides. The anapaestic cola (1065-97) are 
 probably all melic, but this quality is marked by the form only at 
 the beginning. The 'dactyl' and anapaest in the fourth colon 
 constitute the only example of this combination in this order in the 
 melic anapaestic verse of comedy. On its occurrence in recitative 
 verse see 307, 330, and in the spoken trimeter, 125. 
 
 289. Nub. 707-22 (Syzygy). 
 
 ST. aTTttTai aTTarai. 38 w w 2 
 
 Kop. a' TI irda-\f. is ; TI Ka/iveis ; 447 f. w w 2 
 
 ST. oTroAAiyiai Se/Aaios ' K TOV crKip/TroBo's 
 
 \J W \J \J 
 
 710 SaKVOvo~i p e^epirovres ol "KopivOtoi, 
 
 / 
 
 Kai Tas TrAevpas SapSaTTTOvaii/ 5 
 
 Kai TT)V \^V)(T]V tKTrivovcriv 
 
 Kai TOVS op\i<s f^eX.KOV(riv 
 
 Ktti TOV TT/MOKTOV 
 
 715 SiopvTTOva-iv, Kai [i aVoAovViv. 
 
 Kop. a' pri vvv /Japews aAyei Aiav. 10 *~ 
 
 ST. Kai TTWS ; OTC fj.ov w^ 
 
 <j>pov8r) ^vx^, <f>povSrj 8' ffj,/3ds- 
 720 Kai Trpb? TOirrois TI TOIOTI KOKOI?
 
 290 ANAPAESTIC VERSE 115 
 
 <f>povpas y.8(av 15 
 
 dAiyov <f>pov8o$ y(yevT)p.ai. ~v w~ 21 
 
 
 Non-antistrophic. A = abed, 22621, pericopic tetrad : acephalous 
 protracted iambic dimeter, bacchiac dimeter, iambic hexameter, 
 anapaestic hypermeter of twenty-one metres. See 772, 777. 
 
 The anapaestic hypermeter contains four spondaic dimeters. 
 
 290. Av. 400-33 (Parode). 
 
 Kop. a' avay ei$ rdiv TraAiv eis TOVTOV, ~* ~ 
 
 401 Kai TOV Ovfjiov Ka.ra.dov KV\f/a.<s %/ 
 
 irapa T?)V opyrjv wrrrep oTrAir^s ' *~ *~ 
 
 404 Kai Trodev e/toAov ri Tiva r eirivoiav. 
 
 802 5 - ~>~~ ~~~ w 10 V 
 
 406 l<t) f7TO\L> O~ TOl KaA(3. \^ \j w w 
 
 'ETT. /caAeis 8e ToiJ KAvetv 
 
 Kop. a' Tives rrod' oiSe Kai 
 
 'IT ^ 7 JL ^ 3 J 3 *!? \ \ / 2 1 
 
 j\7r. *cvo) o"0<p'n5 ao> JLAAaoo?* 
 
 Kop. a' TVX^ Se Troia KO/ZI- 72 10 w w w 
 
 411 ^et 7TOT 3 avT<i> Trpos op- ^ . w 
 
 vi0as eA^civ; 'ETT. ep<i>$ ^ . w 
 
 /Ji'ou 8tatTr;s T Kai ^ w . w 
 
 (TOV ^UVOtKlV T6 O"0l \s \s 
 
 414 Kai vveivat TO irav. 15 . ^ . ^ 
 Kop. a' Tt ^>jysy 
 
 415 Aeyei 8e 8rj Tt'vas Aoyovs; w w w w 
 'ETT. aTTMTTa Kai Trepa KAvetv. w w w w 
 Kop. /?' 6p Tt Kp8os ev^aS' a^tov /MOVT)?, w w w ^ w 
 
 KpaTttv av ^ TOV e\6pbv rj 20 \j \j w ^ 
 
 420 d>iAoriv (i^cAetv evcivy w w v <w 
 
 'Efl-. Aeyei /wyav TIV' oXfiov ov- w ^ w w 
 
 T AeKTOV OVTC ITMTTOV* <iS v w w w 
 
 o~a yap <Ta> TravTa Tavra, Kai \y w w ^ 
 TO T^Se Kai TO KCMTC Kai 25 w \s ^ w 
 425 TO Sevpo, TrpocrftifBq. Aeytov. w ^ w w 43 
 Kop. a' 7TOTpa fj.aivop.evos ', 'ETT. a<aTOV as <^>povt/ios. 
 
 464 v^^w-ws^ w~-vy 
 Kop.ft' evi cro<f>6v n <f>pcvi; 'ETT. TTVKVOTOTOV KtvaSos, 
 
 430 (r6<J>ur(ia Kvp/*a Tpt/i/xa TraiTraAr//^ oAov.
 
 116 THE VERSE OF GEEEK COMEDY 291 
 
 Kop. a' Aeyeiv Aeyeiv KeAeve pot. 30 v w w w 
 KAiStov yol/a <&v tru /xoi Aeyeis w w w w 
 Adywv 
 
 409 &a> Dindorf : lefvw 415 X^-yei Dindorf : Xyowi 418 TttircuB' 4/j.ol 
 
 Kock : irtirotfft /tot 423 -yip rd vdvra ravra Meineke : ravra y&p d$i rdyra, 
 
 HVp2C, 7&p ravra irdvra cett. 
 
 Non-antistrophic. A = abed, 104349, pericopic tetrad: ana- 
 paestic decameter, iambic hypenneter of forty-three metres broken 
 only by the exclamatory question in 41 4 b, dochmiac tetrameter, 
 iambic nonameter. See 772, 777. The metrical constitution of the 
 fourth and fifth cola proves that the anapaestic hypermeter is melic. 
 None of the iambic metres is irrational. This use of rational metres 
 is characteristic of tragic style. Cf. Av. 851 ff. (93), Lys. 256 ff. (94). 
 See 129. Furthermore, dochmiacs in comedy (cola 27, 28) always 
 indicate burlesque of tragic tone. 
 
 291. Th. 1227-31 (Exode). 
 
 Xo. ttAAo, 7T7rai<7T(U /iT/3lO)S VJIJ.IV ' -~ -- wv --- 
 
 &(rO' &pa 877 VTI /?a8teiv ---- ~~ -- 4 C 
 
 oiKo.8' IKCMTT^. TO> Gecr/AO^o/ow B' vw -- -- w 
 
 1230 rjfiiv dyaOrjv -- ~ 
 
 TOUTWV \o.piv avraTToSotTT/v. 5 -- ~~ w -- 5 
 
 1227 Trtiraurrai Biset : irtirvffTat, 1231 &vTo.voSolr^v Bentley : avraSoiTov 
 
 Non-antistrophic. A = ab, 4 5, pericopic dyad : tetrameter, penta- 
 meter. See 770. 
 
 292. The final verses of all the plays except the Equites, 
 which perhaps is defective, were probably rendered with the 
 singing voice. See 810. With the preceding cf. Nul. 1510 
 and PL 12089. All these periods are embateric. 
 
 293. Anapaestic hypermeters and tetrameters are used in 
 the Kojj,/j,drtov that introduces the parabasis (668). This short 
 part was probably melic, and it seems likely that it was sung 
 by the leader of the first half-chorus. The opening cola are 
 addressed to the actors as they retire from the scene, the cola 
 that follow are a prelude to the poet's address to the audience, 
 the ' parabasis ' proper. Compare : 
 
 294. Eq. 498-506 (Parabasis). 
 
 Commotion. 
 
 Ko/3. a aAA" 161 \aip(DV, Kai uyja^eta 
 499 Kara vovv TOV ffibv /cat <re
 
 296 ANAPAESTIC VERSE 117 
 
 Zeus dyopaios ' KCU viKiycras >~ -- ---- 
 
 au$is exeiOev TraAiv a>s i^u,as ~~ -- ^^ --- 
 
 Te<j6avois KaTaTrcwrro?. 5 -- ~ *~ w 10 CT 
 
 8* T)/^IV Tiyxxrexcre T&V vovv 271 ---- %~w -- 
 
 rots dvaTrawrrois, ^ -- 
 
 505 <5 TravToias 17877 Mownjs ---- ---- 
 
 TretpaOfVTes Kaff eavrovs. ---- <~ -- 7 
 
 Non-antistrophic. A = ab, 10 7, pericopic dyad: decameter, 
 heptameter. See 770. 
 
 See the metrical scholium on Eq. 498 ff. and the note. See 
 also 854. 
 
 It is possible that the first five cola, addressed to the hero of the 
 play, were rendered in recitative (810) ; but the last four, addressed 
 to the audience, must have been sung, as the form of the sixth colon 
 shows. 
 
 295. Pax 729-33 (Parabasis). 
 
 Commotion. 
 
 w /\\>/3 / * M / 
 
 Ko/x a aAA icu ^atpwv yfieis oe rews ^^ -- -- ~ 
 
 raSe ra o-Kfvrj irapaSovrfs w^ --- -- w 4^ 
 
 730 TOIS axoAov^ois SCO/ACV axj)iv, ^ -- ---- 
 
 a>S eiwdcKri fiaXurra ---- ^w w 4 CV 
 
 irepl ras (r*oyvas TrAetcrTot 
 
 KVTTTa^ClV KCU KaKOTTOlflV. 
 
 dAAa ^>vAaTTCT TO.VT' avSp 
 ij/icis S* au roicrt ^carats 
 733 ^v IXQ/XCV 68bv Aoywv et- 212 
 
 7TO)/iv oo-a re vovs l^et. 10 w^/ v ^ 4 C 
 
 Non-antistrophic. A is a stichic period composed of five tetra- 
 meters, of which four are anapaestic, one trochaic. See 778. 
 
 See the metrical scholium on Pax 729 ff. 
 
 The leader of the first half-chorus recognizes in succession Trygaeus, 
 who is just leaving the scene, the attendants present, and finally the 
 spectators of the play. 
 
 296. Ack. 626-27 (Parabasis). 
 
 Commation. 
 
 Kop. a' avrjp VIKQ. TOI&I Aoyoicriv ---- <~ -- 
 
 Kai rbv 8f}fJ.ov (JifTaireidei ---- ~ -- 4 C 
 
 627 irepl rwf orroi'Swv. aAA' aTroSvvre? w^ --- -- 
 
 > / > / p v 
 
 TOIS avaTTatorois CTTHaifV. *~ -- w ^ 4~ y 
 
 Non-antistrophic. A is a stichic period composed of two ana- 
 paestic tetrameters. See 778.
 
 118 THE VEESE OF GREEK COMEDY 297 
 
 See the metrical scholium on Ach. 626 ff. 
 
 The form of these verses gives no indication that they were sung, 
 and they may have been simply recited. 
 
 297. Vesp. 1009-15 (Parabasis). 
 
 Commation. 
 
 Ko/o. a' dAA' IT* XCU/JOVTCS OTTOI f$o 
 1010 v/iets 8e recus & fj.vpta.8es 
 
 
 ev Xeyecrdai p.?} Tre&y <f>a.v- w ^ ^ -- 
 
 A.a>s xafj.0,^ evXa/Belcrde' 207 5 w ^ w 
 
 1013 TOUTO yap <rKcu<3i/ Oeartav \j -- w -- 
 
 TTt TTOCT^eiV, KOV'TTpOS ll/iWV w -- w -- 10 
 
 1015 vvv afire Xftoj irpcxre\T rbv vovv, 271 -- >~ ^-^^ -- 
 ciTrep Ka.6a.pov ri (ftiXeire. -- w *~ w 4 CV 
 
 1011 vCv Burges : vw /^< 
 
 Non-antistrophic. A = aba, 4 10 4, mesodic triad : two anapaestic 
 tetrameters with a trochaic decameter as mesode. See 739. 
 
 The form of the last subordinate period precludes its inclusion 
 with the following parabasis, which was rendered in recitative. 
 
 298. For another example of a commation in which anapaests 
 are combined with other rhythms, see Nub. 51017 (561). The 
 only commation that shows no trace of anapaestic metre is found 
 in the Aves (546). 
 
 299. Two other anapaestic odes belong to this class, although 
 not parts of parabases. The first begins a stasimon and takes 
 cognizance, exactly as in the commation, of the actors as they 
 leave the scene at the end of the episode. 
 
 Ach. 1143-49 (Stasimon III.). 
 
 Ko/3. a' tT 8rj \aipovTes 
 
 1145 T(f (JLt 
 
 (rot Se piywv KCU irpo<j>vXdTTeiv, 796 ---- 
 
 5 ^ -- 
 
 WpCUOTClTT/S, -- ^ 
 
 fV( re TO Seiva. *~ ~ ^/ ^ 13 CV 
 
 This period is the proode of a proodic triad, ABB. See 717 and 
 the metrical scholium on Ach. 1143 ff. Non-antistrophic. A is an 
 indivisible hypermeter of thirteen metres. See 773.
 
 302 ANAPAESTIC VERSE 119 
 
 300. Parallel to this in all particulars, except that the actors 
 do not leave the scene, is Vesp. 863-67, a hypermeter of nine 
 metres that serves as proode (A) to the following strophe and 
 antistrophe (717). 
 
 301. The three odes that follow are antistrophic. 
 
 Ban. 372-7 = 378-81 (Parode). 
 Strophe. 
 
 ^/ 064 vvv 7r " s Q-vSpeio)? 282 ---- --- 2 
 
 373 eis TOVS vav0eis /cdATrovs ---- --- 2 C 
 
 Aet/>u6v(i>v y/cpov<i)v 277 ---- -- 2- c 
 
 /cat 7raitov KCU \Xevdfcov 5 -- --- 3 
 
 r/ptCTTT/TCU 8* (apKOVVT<l><i. 282 -- *_ ---- 2 
 
 Antistrophe. 
 
 'H/t. ^8' a A A' eju,/3a x^Ttos ape is 
 
 TYJV 2ti>Tctpav yevvcuws 
 379 TV} (jxavrj //.oATra^wv 
 
 ^ TI)V xatpav <r^eiv $-f\<f ci? ra? upas, 
 381 Kav GwpvKiwv /*^ /SovXrjTai. 
 
 372 vw Bentley : 5^ vvv 378 dpets Scaliger : atpcis R, ai^o-etj V 
 
 Monostrophic dyad. C (704) = aabcd, 222-32, epodic pentad : a 
 tetrad composed of two paroemiacs, a brachycatalectic dimeter and a 
 trimeter, with an acatalectic dimeter as epode. See 759. 
 
 The continuous use of spondaic periods would appropriately 
 express solemn and exalted feeling. Cf. Av. 1058 (455) for a still more 
 striking illustration of their effective perversion to the uses of 
 comedy. 
 
 302. Pax 459-72 = 486-99 (Syzygy IL). 
 
 Strophe. 
 
 'E/o. 5 efa. Heph. 11. 14 -- w 
 
 Kop. a cTa /taAa. Heph. 11. 20 ^ w w 
 
 'Ep. 3 eta. -- v 
 
 Kop. a' eTa fTi /zaAa. See SchoL ^ sc <-> ^ 
 
 fni ^> T T T 
 
 p. to eio, u) eta. 
 
 T/3. dAA' ovx eA/coixr' avSpes op.ot(a<i. 51 
 
 465 ou v\Xr)\{/e(r@' ; oP oy/cvAAr0'' 
 
 oifuagto-O* ol BOIWTOI. 
 l E. eta vvv.
 
 120 THE VERSE OF GREEK COMEDY 303 
 
 Tp. eia a>. 10 v 
 
 Kop. of ayerov vvv eA/ceTe /cat o-<w. v~ ^ ^ -- 2 C 
 
 Tp. OVKOVV eAxeo KaapTa>/iat ---- ---- 
 
 471 /caTre/iTriTTTO) /<ai o-7rov8a<o; ---- ---- 
 
 T^ / *N * > ^ jf Apv 
 
 Jvop. a TTWS ow ov X */ 36 ' Tovpyov ; ---- -- v6 
 
 'Ep. 5 efa. 
 
 Tp. e*a fJtdXa 
 
 c Ep. 5 efa. 
 
 T/J. ?a v^ Ata. 
 
 Kop. f3' fJLlKpOV y KtVOV/iCV 
 
 Tp. OVKOVV Scivov TOUS /xev TeiVciv TOWS S' dvTt<r7rav ; irXt/yas 
 
 'E/o. e?a vvv. 
 Tp. e?a S. 
 
 Kop. /?' Kaxovoi rives etcriv ev ^/ 
 Tp. vp,eis fiev y' ovv 01 KITTWVTCS TTJS ctp^i/^s (TTTO.T avSpetcos. Kop. 
 
 cr' o? 
 
 462 ela Heliodorus (and B) : om. RV 464 &vdpes Dindorf : foSpes 469 
 
 vvv tXtcere Meineke : vv\Kerov R, !-vva.vt\KeTov V 496 KO.KUVOL Ed. : ws KO.KOVOL 
 
 497 7' o3> Bentley : o5v 498 d.v8pelux Bentley : dc5/)t/cwj 
 
 Monostrophic dyad. A probably = AB (459-66, 467-72). See 
 725. Further analysis is impossible, since the metrical value given to 
 the exhortations in cola 1-5 and 9, 10 as the basis of melody is now 
 indeterminable, but the tune to which the subordinate period in 464- 
 6 was sung may have been repeated with 470-2. Cola 6-8 in the 
 antistrophe constitute a pentameter (51). 
 
 See the metrical scholia on Pax 459 ff., with the notes, and on 
 486 ff. 
 
 303. Lys. 476-83 = 541-8 (Debate). 
 
 Strophe. 
 
 Xo. Yep. (5 ZeO T* TTOTC \prj(r6fj.eOa 72 w >~ ^ *~~ 
 
 477 Toio-Se rouriv KvwSaXois; ._ v _ .: w _4 
 
 478 ov yap TT' oVe/cra rd.Se y', 38 w w ** v v~~ 
 
 479 ToSe o-ot TO iraQos per' e/uou 277 5 ~ - ~ - ~ - 2- c 
 
 o TI f3ovX6fj.evai TTOTC rrjv Kpavaav w^ v^. ^^ w *= 
 481 KareXa/3ov, ^>* o TI TC fj-eyaXoircrpov df3arov 
 
 483 <i/cpo7roAtv tepov TC/ICVOS. 277 w^ww ww 6- c
 
 305 ANAPAESTIC VERSE 121 
 
 Antistrophe. 
 
 Xo. IW. eywye yap <av> ovTrore Kajioift' av opxovpevr), 
 542 ovS' e/xou ra yovara /ca/xarT/pos <av> cXoi KOTTO?. 
 
 J/J/\ > J \ ~ >/ 
 
 6t7A(l) O 7Tt TTaV lV<U 
 
 544 /iTa TwvS', apexes cvc^', ais evt 
 
 541 tyuye y&p ia> Enger : ^ya> -yip RF 542 Ed. : ovSt -rb. y6va.ro. Kbiros eXe? 
 
 (j.ov ica/MT7ip6s R 547 ri Hermann 
 
 The fifth colon (479) must end with per ffiov, since there would 
 be conjunction of vowel sounds (e/xou o rt), if it were made a dimeter. 
 The colon is, in fact, brachycatalectic (277), with a following pause, 
 and conjunction of vowels (43) has here no metrical significance. Cf. 
 Av. 345 f. (473). Similarly it has no metrical significance at the end of 
 the second colon (541), since the following colon is acephalous (38). 
 
 Monostrophic dyad. A = aabc, 442- 6-, epodic tetrad : two 
 protracted iambic tetrameters and a brachycatalectic anapaestic 
 dimeter, with a brachycatalectic anapaestic hexameter as epode. 
 See 737. 
 
 304. With the proeeleusmatics in the last period cf. the 
 dimeter quoted by Hephaestion (27. 22 ff.) : 
 
 TIS opea /BadvKOfia. ra.8' e7rrvro fiportav 
 w~wws~v~ s~~^ Aristoph. frag. 698 
 
 Cf. also the first period in Aristoph. frag. 506, quoted in 442. 
 
 NON-MELIC ANAPAESTIC VERSE 
 THE TETRAMETER 
 
 305. Hephaestion (25. 1 ff.) records that the catalectic 
 anapaestic tetrameter was called TO 'A.pi<rTo<j>dvetov, because 
 our poet made distinguished use of it, not, he naively adds, because 
 he discovered it. Aristophanes employs the tetrameter 1235 
 times with recitative rendering in the extant plays, and it is 
 found in each of them. It has great variety of use, but occurs 
 oftenest in debates, 778 times. Here it is used in the distich 
 in which a leader of one of the half-choruses exhorts a debater 
 to begin his argument, 1 in the debate itself, 2 and occasionally in 
 
 1 Eq. 761 f., Nub. 959 f., Vesp. 546 f. 548-620-650-718,^17. 462-522-550-610, 
 -648 f., Av. 460 f.~548 f., Lys. 484 f.~ Lys. 486-531-551-597, Han. 1006-77, 
 549 f., Ran. 1004 f., EC. 581 f., PI. 487 f. EC. 583-688, PL 489-597. 
 
 2 Eq. 763-823, Nub. 961-1008, Vesp.
 
 122 THE VERSE OF GREEK COMEDY 306 
 
 rendering the verdict. 1 In three plays it is employed only in 
 the first half of the debate. The argument for the affirmative 
 is stated in anapaestic tetrameters, that for the negative in 
 iambic tetrameters (671). In three other plays the debate is 
 not complete (673). The anapaestic tetrameter is used also 
 in other hortatory and introductory parts of comedy, 2 notably 
 also in 'parabases' 3 (668), and once at great length in a parode 4 
 (676), and finally once in a syzygy 5 in place of the ordinary 
 trimeter. 
 
 306. The embateria sung by Spartan infantry both on the 
 march and when joining battle were composed in anapaestic 
 rhythm. Hephaestion (25. 21 ff.), quoting a single verse from 
 a Spartan war -song anonymously, states that the embateric 
 tetrameter of which it was composed was called Aarcowticov. 
 This was metrically distinguished from the ordinary anapaestic 
 tetrameter by the spondaic form of its last metre, but it was 
 not eschewed by the earlier poets of the Old Comedy. Cf. Cratin. 
 139 and Crates 17. 4. The recitative tetrameter of comedy 
 was not a march- verse, but its employment in the debate is in 
 felicitous accord with its military use, and the pair of tetrameters 
 with which this strife of tongues begins may be a reminiscence 
 of the exhortation with which the leader once incited his men 
 to battle. 
 
 307. The form of the acatalectic dimeter that constitutes 
 the first half of the tetrameter is freer than that of the paroemiac 
 that ends it, but there are limitations. The proceleusmatic occurs 
 but once, in the first simple foot of Av. 688, where it is perhaps 
 justified by the melic quality of the opening verses of this 
 parabasis. Bentley wished to emend the reading. The 
 succession also of four short syllables resulting from collocation 
 of ' dactyl ' and anapaest (-^w^w-) was avoided, and occurs 
 but once in a tetrameter (Vesp. 397). Person objected to this 
 dactyl, independently of its collocation with a following anapaest, 
 because it is found in the fourth simple foot (308). The foot 
 that prevails in the tetrameter is the spondee. There are 112 
 
 1 Vesp. 725-8 (672), Av. 626-7 (672). Ach. 628-58, Eq. 507-46, Vesp. 
 
 a Nub. 476 f., Vesp. 346 f.~379 f., 1016-50, Pax 734-64, Av. 685-722, 
 
 875-8, 1516 f., Pax 1316-9, Av. 636- Th. 786-813. 
 
 7, 658-60, Lys. 1072 f., 1108-11, Th. * Nub. 263-74-291-7, 314-438. 
 
 655-8, Ran. 382 f., EG. 514-9. Note in 8 Vesp. 348-57-381-402. 
 particular^. 1316-34 and Ban. 354-71.
 
 309 ANAPAESTIC VERSE 123 
 
 instances of purely spondaic dimeters in the first half of the 
 tetrameter, such as ical \vS%a)v KOL tyrjvifav (Eq. 523). Cf. 
 Eq. 517, 778, Nub. 294, Vesp. 380, Av. 576, Ran. 1042, etc. 
 The spondee, indeed, is so effective an element in the anapaestic 
 metre that 5 7 tetrameters occur that contain each six spondees, 
 all that are possible. Cf. ei<s aXX^Xa? efATriTrrova-ai prfyvwrcu 
 xal -rrarayovaiv (Nub. 378). Cf. Eq. 522, Pax 734, Av. 580, 
 EC. 518, 581, PI. 502, etc. The anapaest is the chief measure 
 that lightens the movement of the verse. Cf. Av. 707 o fiev 
 oprvya Sovs 6 8e Tropcfrvpicov' 6 8e %fjv 6 Be Tlep&iKov opviv. 
 This is the only instance of a purely anapaestic verse, but the 
 tetrameter opens with four anapaests in 16 other instances. Cf. 
 Vesp. 398, 652, 659, 1033, 1044, etc. Ninety-one tetrameters 
 contain each five anapaests. Cf. Ach. 628, 630, 638, 647, Eq. 
 516, etc. 
 
 308. The ' dactyl ' (11) is less common than either spondee or 
 anapaest and was virtually avoided in the second and fourth 
 places. It occurs 234 times in the first foot, 20 in the second, 
 220 in the third, and 3 in the fourth. Evidently the dactyl 
 was felt to be inharmonious at the close of the first dimeter, and 
 Person (Praef. in Hecub. 1. ff.) wished to emend the tetrameters 
 in which it occurs (Nub. 326, Vesp. 350, 397); but it should 
 be noted that these dimeters have their parallel in dimeters 
 that end in a dactyl in recitative hypermeters (330). Thirteen 
 of the dactyls in the second foot follow a dactyl in the first 
 that establishes the movement; none of the twenty verses is 
 to be emended on account of the dactyl in the second place : 
 Eq. 805, 1327, Nub. 353, 400, Vesp. 389, 551, 671, 1027, 
 Lys. 500, Th. 790, 794, Ran. 1055, EC. 629, and Eq. 524, Nub. 
 351, 409, Vesp. 673, 708, EC. 659, 676. A monosyllable 
 occurs at the end of the dimeter 70 times and generally is not 
 objectionable ; progressive words are rare. Monosyllables result- 
 ing from elision stand at the end of the dimeter in a few cases 
 (Nub. 319, Vesp. 356, Ran. 1026, EC. 684, PI. 532, 582, 591). 
 
 309. The paroemiac that ends the tetrameter is simple in 
 form and generally has the cadence of the second half of the 
 dactylic 'hexameter* that follows the penthemimeral caesura 
 
 (361) : ~ - ~ ^ . The only variation on this that is 
 
 allowed is dactyl for anapaest or spondee in the first foot. 
 The form of the paroemiac is then invariably - ~ \ ^ .
 
 124 THE VEESE OF GREEK COMEDY 310 
 
 This dactyl occurs 68 times, once, on the average, in 18 
 tetrameters. 
 
 310. The following comparative statistical statement covers 
 the tetrameters in the Equites, 122 in number. 1 
 
 311. The spondees in these 122 verses number 445, on the 
 average 3*6 in one tetrameter : 
 
 Tetram. i. ii. iii. iv. v. vi. Total. 
 
 122 445 28 + 44 63 + 17 28 + 29 76 + 6 38 + 43 41 + 32 274 + 171 
 
 The 274 spondees contained each in one word are distributed 
 
 as follows : 
 
 i. ii. iii. iv. v. vi. Total. 
 
 Dissyllables . . . 16 27 16 35 22 22 138 
 
 Overlap forward . .12 110 016 2 41 
 
 Overlap back 35 2 41 14 92 
 
 Overlap both ways 00003 3 
 
 Total in one word . 28 63 28 76 38 41 274 
 
 Among the 122 tetrameters, 7 contain each six spondees and 
 15 others each five. See 314. 
 
 312. The anapaests number 353, on the average 2 '9 in one 
 tetrameter : 
 
 Tetram. u\j i. ii. iii. iv. y. vi. vii. Total. 
 
 122 353 7 + 19 14 + 25 22 + 20 26 + 14 12 + 23 24 + 25 70 + 52 175 + 178 
 
 The 175 anapaests contained each in one word are distributed 
 as follows : 
 
 i. ii. iii. iv. v. vi. vii. Total. 
 
 Trisyllables . .498728 2 40 
 
 Overlap forward .3011092 62 87 
 
 Overlap back 4 3 19 1 14 6 47 
 
 Overlap both ways .... 1 1 
 
 Total in one word 7 14 22 26 12 24 70 175 
 
 The 178 anapaests contained each in two or more words or 
 parts of words are distributed as follows : 
 
 
 
 
 
 1. 
 
 n. 
 
 in. 
 
 IV. 
 
 V. 
 
 VI. 
 
 Vll. 
 
 Total. 
 
 In 
 
 three 
 
 words, w 
 
 v, 
 
 - 4 
 
 3 
 
 2 
 
 
 
 1 
 
 2 
 
 4 
 
 16 
 
 In 
 
 two, 
 
 divided ^ 
 
 v 
 
 9 
 
 4 
 
 8 
 
 4 
 
 14 
 
 18 
 
 18 
 
 75 
 
 In 
 
 two, 
 
 divided w 
 
 V 
 
 6 
 
 18 
 
 10 
 
 10 
 
 8 
 
 5 
 
 30 
 
 87 
 
 Total divided anapaests 19 25 20 14 23 25 52 178 
 
 1 Eq. 507-46 (Parabasia), 761-823 a trustworthy type of the remainder 
 (Debate), 1316-34 (Exode). These are that occur in Aristophanes.
 
 315 ANAPAESTIC VERSE 125 
 
 Among the 122 tetrameters, one contains six anapaests 
 (Eq. 791) and 14 others contain each five (cf. Eq. 516, 527, 
 539, 546, 781, etc.). 
 
 313. The dactyls number 56, on the average 1 in 2*18 verses : 
 
 Tetram. wv/ i. ii. iii. iv. v. Total. 
 
 122 56 3 + 21 2 + 1 6 + 18 2 + 3 13 + 43 
 
 The 13 dactyls contained each in one word are distributed as 
 
 follows : 
 
 i. ii. iii. iv. v. Total. 
 
 Trisyllables . . . .30301 7 
 Overlap forward . . . .00301 4 
 Overlap back . . . .02000 2 
 
 Total in one word . .3260213 
 
 No dactyl occurs in the sixth or seventh foot (309), and none, 
 either in these 122 verses or in the remaining tetrameters in 
 Aristophanes, overlaps both ways. See 315. The 43 dactyls 
 contained each in two or three words or parts of words are 
 
 distributed as follows : 
 
 i. ii. iii. iv. v. Total. 
 
 In three words, -I w| . . 8 1 110 
 
 In two, divided - 1 w ^ . 6 1 7 14 
 
 In two, divided - ~ | ~ . 7 10 2 19 
 
 Total divided dactyls . . 21 1 18 3 43 
 
 314. It should be noted that the final metre of the tetrameter 
 
 is always ^ ^> in Aristophanes (cf. Heph. 25. 21 ff.), and 
 
 that the sixth simple foot may be a spondee or an anapaest but 
 is never a dactyl. 
 
 315. The pleasing balance of the parts of the anapaest, with 
 arsis and thesis equal (284), distinguishes also, in unusual degree, 
 the anapaestic tetrameter as a whole. The component dimeters 
 of nine tetrameters in ten are separated by diaeresis, and this 
 is frequently coincident with a pause demanded by the sense. 
 Furthermore, the metres of the first dimeter in 1040 1 tetrameters 
 are separated by caesura. Caesura separates the metres also of 
 the following paroemiac in 479 tetrameters; in 263 of the 
 
 1 In 111 of the remaining 195 tetra- mimeral caesura, therefore, is admitted 
 
 meters the first metre ends within a in 84 per cent of the anapaestic tetra- 
 
 word ; in 84 caesura is precluded by a meters in Aristophanes, 
 progressive or recessive word. Tetre-
 
 126 THE VERSE OF GREEK COMEDY 316 
 
 remainder it separates the arsis and thesis of the preceding 
 simple foot, in 314 it follows the first short syllable of the last 
 metre. 1 Thus the tetrameter is broken by caesura and 
 diaeresis into four parts, ^ ^ ^ ^ |w ^ ^ ^ |^/^ s~| | 
 
 w | vy , the most of which are exactly equal one to the other. 2 
 
 Furthermore, in fully 75 per cent of these tetrameters, the 
 thought is brought, within the compass of the verse, to a complete 
 or partial close that demands a final pause, which fortifies 
 catalexis and leaves a strong sense of completeness. Commonly 
 beginning with a monosyllable or a dissyllable, the tetrameter 
 gathers volume as it advances and generally ends massively in a 
 word of three or more syllables. The cadenced roll of the verse 
 is impressive and its dignity befits the serious tone that often 
 pervades the debate and the poet's address in the parabasis. 
 Compare Dionysius's characterization, quoted in 284. 
 
 316. Its pauses merit detailed consideration. Diaeresis is 
 so constant that Person (Praef. in Hecub. xlvii.) wished to 
 ' emend ' the tetrameters in which it is disregarded, but he 
 overlooked some important considerations. The justification of 
 his proposal, if the Procrustean method in criticism can ever be 
 justified, would be found in the fact that by his proposed changes 
 every anapaestic tetrameter without exception could be rendered 
 with a pause at diaeresis. But in certain tetrameters the first 
 dimeter ends with a progressive word or phrase, as with airo, 
 Ach. 636 ; 8 to?, Ach. 655; 09, Eq. 526; iva pn, Eq. 785; $ 
 Nub. 273; TO>, Nub. 372; 3 ua-rrep, Vesp. 395, .40. 486 ; Kal, 
 Av. 462. The regularity with which these words occur at the 
 beginning of the second dimeter demonstrates that they must 
 not be rendered with a pause after them. Cf. for prepositions, 
 Vesp. 700, Av. 485, Ach. 630, 632, Eq. 514, 524, 802, 808, 
 etc.; for <&?, Nub. 971, Vesp. 348, 1023, Av. 553, PL 593; for 
 89, Eq_. 796, 803, 1317, Nub. 264, 968, Vesp. 588, etc.; for 
 
 1 Progressive and recessive words are also of the other progressive words and 
 taken into account as precluding phrases here enumerated. The remedy, 
 caesura in these three enumerations. however, is not emendation but an 
 
 2 See Porson, Praef. in Hecub. xlvi. : arrangement of pauses different from 
 "Metra sive dipodiae turn maxime the ordinary. This is a necessity con- 
 numerosos versus efficiunt, cum in stantly imposed by progressive and 
 integras voces desinunt." recessive words in the comic trochaic 
 
 3 Porson (Praef. in Hecub. xlviii.) tetrameter (253). The pauses in Ach. 
 wished to emend these two verses on 636 and Nub. 372 are at 4 : 11. The 
 the ground that diaeresis must not reading of the MSS. in Ach. 636 may 
 follow prepositions and the article in be objected to for a different reason 
 anapaestic tetrameters. This is true (308).
 
 317 ANAPAESTIC VERSE 127 
 
 iW w, Nub. 996, Av. 560, 712, Lys. 503, Ran. 1007 ; for ^ 
 JVwJ. 967, 969, Ran. 355, 362, P/. 513, 514, 541; for the 
 article, Ach. 638, 643, 644, 647, Eq. 763, 778, 780, 790, etc. ; 
 for &<nrep, Nub. 978, Vesp. 351, Lys. 574, 583, .&w. 1015; 
 for KOI, Ach. 631, 653, J^. 522, 523, 527, 532, 541, 543, etc. 
 The second dimeter, moreover, in certain tetrameters, begins with 
 a recessive word, av Vesp. 565 (?), fikv PL 540, ecrfjuev Av. 722, 
 ea-riv Vesp. 356, before which a pause cannot be made. Further- 
 more, there are tetrameters in which a strong pause is demanded 
 by the sense both before and after the middle of the verse, as 
 after the second and fifth theses in Eq. 1324, Vesp. 397, 612, 
 617, Pax 758, EC. 591. In these and similar cases, it hardly 
 seems possible that a third pause not required by the sense 
 was introduced at diaeresis. 
 
 317. The doctrine, therefore, that all anapaestic tetrameters 
 were recited with a pause between the dimeters is tenable only 
 on a purely mechanical theory of rendering that ignores the 
 thought. Three of the objectionable verses that Person and 
 others have wished to emend belong together, Av. 600, Vesp. 
 568, Nub. 987. A word ends in these within the arsis of the 
 fifth simple foot, as TWV apyvpicov' OVTOI yap i<ra<ri' \eyov<ri, 
 Be rot rdSe irdvre<j (Av. 600). 1 No objection can be made, in 
 anapaestic or dactylic verse, to a cadence that ends within an 
 arsis. This is the cadence regularly produced by trochaic caesura 
 in recitative dactylic ' hexameters ' (361), and examples of it 
 are numerous in the anapaestic tetrameter. For this caesura 
 in the second simple foot see Nub. 974, Av. 710, EC. 640; in 
 the third, Vesp. 565, Av. 468, EC. 639; in the fourth, Nub. 
 355, Av. 567 ; in the sixth, Vesp. 569, EC. 687 ; in the seventh, 
 Nub. 295, 351, Vesp. 594, Av. 501, 604, Lys. 529, 579, Han. 
 1062, EC. 646, 663, 682, PI. 532. One may reasonably ask 
 why this cadence should be excluded from the fifth simple foot. 
 The three discredited tetrameters must have been rendered in 
 virtually the same manner as Ach. 656, Av. 520, PL 542, in 
 which the pause occurs after the second syllable of the dis- 
 syllabic arsis of the fifth simple foot. Av. 722, furthermore, is 
 quite as objectionable as these three tetrameters, since vfuv 
 
 v must be treated as one word, precluding diaeresis of the 
 
 1 Cf. PL 540, in which Iftarlov fdv must be treated as one word. Cf. also Vesp. 
 565.
 
 128 THE VERSE OF GREEK COMEDY 318 
 
 verse. It must have been rendered in the same way as 
 most of the twenty-eight tetrameters in which a strong pause 
 occurs after the thesis of the fifth simple foot. Cf. Nub. 371, 
 1000, Vesp. 355, 551, 605, 667, 686, etc. A fourth tetrameter 
 that Person condemned has the pause within the arsis of the fourth 
 simple foot instead of the fifth, o<m<> TrapetctvBvvev&ev 'AOyvalois 
 elirelv ra Siiccua (Ach. 645). This must have been rendered 
 in the same manner as Ac. 567, in which the two syllables of 
 the arsis are separated by strong punctuation. Entirely similar 
 are verses in which a strong pause precedes the whole of the 
 arsis of the fourth simple foot. Cf. Eq. 785, 791, Nub. 1008, 
 Lys. 582, etc. It is to be observed that the verses in which 
 the first dimeter ends with a progressive word or phrase (316) 
 belong in the same category with Ach. 645, since they are, in 
 fact, indivisible at the middle of the verse. 
 
 318. The exceptions, however, to the principle of diaeresis 
 are not numerous ; most anapaestic tetrameters were probably 
 rendered with a medial pause, these tetrameters observing diaeresis 
 more strictly than iambic and trochaic tetrameters, especially 
 melodramatic iambic tetrameters (180). This pause may break 
 the continuity of the thought, as in iambic and trochaic tetra- 
 meters. See 179. The long verse centres at this medial pause 
 in the anapaestic tetrameter with great uniformity, but it may 
 have a secondary pause and a triple cadence. The commonest 
 secondary pause follows the first metre, and verses such as Eq. 
 821, Nub. 326, 366, 426, Vesp. 348, 387, 389, etc., are not 
 unusual The pause after the first metre is more pronounced, 
 although doubtless still secondary, in verses such as Eq. 775, 
 786, 792, Nub. 294, 297, 343, 369, 381, etc. The secondary 
 pause in the first colon may follow the thesis of the first simple 
 foot, as in Nub. 403, Lys. 559, EC. 622, Eq. 764, Vesp. 381, 
 PL 512, or the arsis of the second, as in Eq. 823, Nub. 328, 
 Eq. 1326, Nub. 387, Ran. 1053, or the arsis of the third, as 
 in Vesp. 556, Nub. 364, Av. 503, 516, 581. These and 
 occasional similar combinations occur in verses in which caesura 
 of the metres of the first dimeter (315, first note) is impossible or 
 harsh. The secondary pause in the second dimeter, the paroemiac, 
 may occur between the two metres, as in Nub. 325, Av. 463, 
 Lys. 504, Eq. 540, 802, Vesp. 611, or within the arsis of the 
 following simple foot, as in Av. 501, Nub. 351, Vesp. 594, Lys.
 
 320 ANAPAESTIC VERSE 129 
 
 579, Ran. 1062, or after the arsis of the preceding simple foot, 
 as in Nub. 267, 347, 379, Vesp. 382, 396, Pax 736, Ao. 597, 
 702, 714, Lys. 506, 514. The last combination gives the close 
 of the tetrameter the cadence produced by bucolic diaeresis in 
 the dactylic hexameter (360 f.). A secondary pause sometimes 
 occurs after the thesis of the fifth simple foot, as in Nub. 356, 
 380, Vesp. 684, Av. 572, Lys. 590. Two secondary pauses 
 may be combined, often to the exclusion of the medial pause. 
 See the combinations cited at the end of 316. Of. also Eq. 524, 
 Av. 474, Lys. 567, Th. 793, PI. 586, in which a pause after the 
 thesis of the second simple foot is combined with one after the 
 arsis of the sixth. Verses occur in which even three pauses are 
 required by the thought, but these are rare. Of. Av. 721, Lys. 
 499, 503 ; Ao. 597, EC. 621 ; Nub. 324, Av. 658 ; Nub. 367. 
 
 319. The following analysis of 200 anapaestic tetrameters (Eq. 
 507-46, 761-823, 1316-34, Nub. 314-91) will serve to illustrate 
 the foregoing statements. The odd numbers in italic type signify 
 arses after which a pause falls, the even numbers theses. 
 
 8: A single pause, at diaeresis, occurs in the 145 tetrameters 
 not cited below. 
 
 10-. Eq. 776, 1332; Nub. 357, 371. 6: Eq. 785, 791; Nub. 
 337. 7 :Eq. 526. 
 
 4:8: Eq. 513, 536, 775, 786, 792, 821, 1322; Nub. 326, 332, 
 343, 366, 369, 381. 1 : 8 : Eq. 781. 2:8: Eq. 764. 3:8: 
 Eq. 774, 823, 1326; Nub. 328, 387. 5:8: Nub. 364. 7 (~|~): 
 8: Nub. 355. 
 
 8:12: Eq. 540, 802; Nub. 325, 340. 8:13 (~\~):Nub. 
 351. 8:11: Nub. 347, 379, 388. 8 :10: Nub. 356, 380. 
 
 4:10: Eq. 534, 1324. 4:11: Eq. 514, 515, 524, 531, 784, 
 799, 801; Nub. 368, 377. 4:12: Eq. 769. 4:13: Nub. 361. 
 
 4:6:8 :Nub. 324. 3:8:12 :Nub. 367. 
 
 320. Anapaestic tetrameters are found among the extant 
 fragments of the Old Comedy, as follows: Cratinus 5, 45, 535, 
 73, 126, 138-41, 165, 206, 220, 232, 233, 259, 306, 307, 
 309, 310; Crates 17, 24; Pherecrates 11, 12, 23-5, 46, 
 94, 120, 130, 183-6; Teleclides 1, 2, 42-4; Hermippus 
 30, 45, 53, 54; Philonides 5, 15; Eupolis 14, 36, 52, 119, 
 191; Phrynichus 3, 34; Aristophanes 80-2, 139, 166, 222- 
 4, 253-5, 379, 395, 412, 413, 415, 416, 498, 535, 536, 
 678, 679, 680, 682, 683, 912; Plato 37, 109, 124, 153, 
 164, 208; Aristonymus 2, 3; Ameipsias 9, 19; Callias 5, 
 
 K
 
 130 THE VERSE OF GREEK COMEDY 321 
 
 20; Lysippus 4; Metagenes 2, 3, 7, 14, 16; Aristagoras 1; 
 Nicophon 22; Philyllius 13 ; Frg. incert. 42, 44, 45.' 
 
 THE HYPERMETER 
 
 321. Eecitative anapaestic hypermetrical periods (280) in 
 Aristophanes generally follow anapaestic tetrameters, just as the 
 corresponding iambic (190) and trochaic (267) hypermetrical 
 periods follow respectively iambic and trochaic tetrameters, and 
 here also the connexion of the period with the preceding long 
 verses is sometimes very close. Of. Eq_. 546 ff., 823 ff., Vesp. 
 357 ff., 620 ff., Av. 522 ff., Lys. 531 ff. The largest use of 
 anapaestic hypermetrical periods is found in debates, 1 and the 
 series of cola rendered continuously furnishes an appropriate 
 close to the lively discussion that precedes. The anapaestic 
 hypermetrical period constitutes also the third regular part of 
 the parabasis, 2 and from its rapid rendering was here named 
 TTVIJOS or fiaKpov. See 668. It follows tetrameters also in a 
 parode, 3 a syzygy, 4 an exode, 5 and a scene. 6 It appears in- 
 dependently, furthermore, in the prologue, 7 in the exode, 8 and 
 in a long introduction to a debate, 9 as well as at appropriate 
 places elsewhere in the plays. 10 In none of these instances is 
 it distinctly embateric. The nearest approach to this use, so 
 common in tragic parodes, occurs in an exode (Han. 150027). 
 The entrance of the chorus in comedy demanded a livelier 
 measure (245). 
 
 322. The anapaestic hypermeter is composed of dimeters 
 and monometers. The monometer (276) is the inferior element, 
 but it is a true colon. On its probable origin see 613. It had 
 its own modulation and gave the hypermeter variety, and is 
 comparable in this particular with the occasional trimeter found 
 in iambic (190) and trochaic (267) hypermeters. But dimeters 
 and monometers connected by synaphaea (44) were especially 
 likely to be confused in transmission, and the danger of confusion 
 was increased by the conscious attempt of scribes on the one 
 
 1 Eq. 824-35, Nub. 1009-23, Vesp. 4 Vesp. 358-64, without correspondent. 
 
 621-30 ~ 719-24, Av. 523-38 ~ 61 1-25, B Pax 1320-8. 
 
 Lys. 532-8-593-607, Ran. 1078-98, EC. 6 Vesp. 879-84, a prayer. 
 
 689-709, PL 598-618. 7 Pax 82-101, 154-72, Th. 39-62. 
 
 a Ach. 659-64, Eq. 547-50, Vesp. s Vesp. 1482-95, Ran. 1500-27. 
 
 1051-9, Pax 765-74, Av. 723-36, Th. 9 Nub. 889-948. 
 
 814-29. 10 Vesp. 736-42-749-59 (672), Pax 
 
 3 Nub. 439-56. 974-1015, a prayer.
 
 323 ANAPAESTIC VEKSE 131 
 
 hand to save space, on the other to provide it for marginal 
 comment. Not only monometers and dimeters but also apparent 
 trimeters and tetrameters are found in hypermeters in the 
 manuscripts of Aristophanes. There is sometimes a small space 
 between cola in such a false crrt^o?, but generally not. Never- 
 theless the authorities on which any investigation of this 
 interesting question must rest, the oldest manuscripts and the 
 metrical scholia, are found to be in practical agreement, and 
 incidentally to furnish evidence of value in determining the 
 original constitution of these comic anapaestic hypermeters, 
 which are numerous. Metrical scholia are extant on Ach. 659, 
 JEq. 824, Nub. 889, Pax 82, 154, 765, 974, 1320. This 
 commentary is unfortunately meagre, but in only two of the 
 notes is there disagreement with the two oldest manuscripts, 
 K and V. The commentary on Pax 974 makes 989 a the third 
 monometer, in E and Y it is 990. On Nub. 889 see 326. In 
 the seven plays it contains, V is in singular agreement with K ; 
 when it differs, its authority is in general inferior. Impossible 
 divisions, within a metre, occur in both manuscripts, but oftener 
 in V, six instances in 761 metres, than in E, three instances 
 in 923 metres. Both manuscripts, as has already been observed, 
 may combine a monometer and dimeter or even two dimeters 
 into a single o-ri^o?. The apparent trimeter thus occurs in V 
 24 times, in E 11 times; the tetrameter, 6 times in V, 3 times 
 in E. Whether the trimeter in these cases shall be divided 
 into monometer and dimeter or into dimeter and monometer 
 sometimes remains in doubt. Often one manuscript corrects 
 the other. There are, however, only two instances of disagree- 
 ment between E and V that are essential. In JRan. 1089 ff. 
 E makes 1097 the monometer, V 1089 a ; the remaining cola 
 are dimeters in both manuscripts. Internal evidence demonstrates 
 that V is in error in its arrangement of these cola. In PL 
 598 ff. E makes 599 a monometer, V 600 b . 
 
 323. This remarkable agreement of authorities should not 
 be lightly regarded. Modern editors do not agree in practice, 
 in adopting and placing monometers, and the principles by 
 which they are guided are not always obvious. They have 
 apparently introduced mouometers into some hypermeters in 
 order to avoid elision at the end of a dimeter, but the reason- 
 ableness of this procedure is called in question by the number
 
 132 THE VERSE OF GREEK COMEDY 324 
 
 of elided dimeters that constitute the initial cola in tetrameters. 
 Cf. Nub. 319, 321, 323, 368, 426, 969, Vesp. 356, 694, 712, 
 Pax 759, Av. 599, 707, 710, Lys. 519, 550, Th. 813, Ran. 
 1026, EC. 627, 684, PI. 532, 533, 582, 591. To these must 
 be added initial dimeters ending in an elided monosyllabic 
 enclitic as in Nub. 388, Vesp. 556, Av. 5QO,Ran. 1074, EC. 631, 
 PL 574. Both these forms of elision are found at the end of 
 cola in anapaestic hypermeters in R or V or in both, as follows * : 
 Eq. 828 K\7TTove\ Nub. 454 b A^rp', 891 <r, 926 b ff, Vesp. 
 629 8', 1057 TToifjO', Pax 87 <r, 994 b oru/u/XXo/uel', Av. 618 b 
 "A.pfuov, Ran. 1078 eW, -Bb. 697 b ai/cotf*. Editors have 
 eliminated some of these by shift in division of cola, but the 
 majority of them cannot be relieved except by violent changes. 
 It has already been observed (315) that diaeresis fails in relatively 
 few recitative anapaestic tetrameters. Few words likewise are 
 divided at the end of the colon in recitative hypermeters : Vesp. 
 752 a^-^t-o-Toy, Av. 611 ov-xl, 732 ye\co-ra. The first of 
 these is not to be eliminated by any device. Progressive words 
 occur at the end of cola in Vesp. 1488 KOI, Pax 979 at, Av. 
 619 eV. 
 
 324. Nearly one half of the anapaestic hypermeters in 
 Aristophanes consist of an odd number of metres. The manu- 
 scripts generally place the odd monometer just before the final 
 paroemiac of the hypermeter, as in Eq. 549, Vesp. 723, 883, 
 Av. 537, 735, Lys. 534, 537, 606, Ran. 1097, EC. 708. 
 
 325. The principle is demonstrable, if the authority of the two 
 oldest manuscripts is accepted, that no change of speaker can occur 
 within a colon in anapaestic hypermeters in Greek comedy, unless 
 the change irregularly occurs within a single metre, of which 
 there are only four instances in Aristophanes, Nub. 893 b , 906 a , 
 Th. 45 a , 45 b . The proof of this interesting principle, which 
 often necessitates monometers, is found in the manner in which 
 recitative hypermeters composed in dialogue are written in the 
 two oldest manuscripts. There are eleven of these hypermeters, 
 and the principle is applied in all but one of them with surpris- 
 ing consistency. Thus PI. 598618 is composed of 36 metres 
 which might be divided into 18 dimeters, if the principle were 
 not operative. In fact it is written in R in 21 cola, 15 dimeters 
 
 1 The fact is familiar that the elided syllable is placed in the MSS. at the 
 beginning of the following colon.
 
 326 ANAPAESTIC VERSE 133 
 
 and 6 monometers (599, 603, 605, 607, 609, 617). Pax 974- 
 1015 is composed of two hypermeters (974-92, 993-1015). 
 The former is divided in EV into 16 dimeters and 3 monometers 
 (975, 984, 990) ; the latter, which was recited by a single speaker, 
 into 23 dimeters. Thus also Th. 39-62 has 10 monometers (45 a , 
 45 b , 48 a , 48 b , 50 a , 50 b , 51 a , 51 b , 57 a , 57 b ); Pax 82-101 has 
 one monometer (91), recorded as the tenth colon in the metrical 
 scholium; Vesp. 1482-95 has six (1485, 1489 a , 1489 b 1491, 
 1493 a , 1493 b ); Vesp. 749-59 has two 1 (749 C , 753). Only 
 two corrections are required in ten hypermetrical periods com- 
 posed in dialogue. In Vesp. 1482 ff., Kara <ravrbv opa. vvv 
 yap eV apOpow, at the end, is a dimeter in both E and V, whereas 
 under the principle it should be a monometer and the beginning 
 of a following dimeter. The scribe's error is probably due to 
 the general occurrence of parateleutic monometers. In Th. 3 9 ff. 
 the scribe in excess of zeal has written 45 a , ry\avtc6v /SoynySaf, as 
 two cola, although the change of speaker occurs within a metre. 
 The following monometer (45 b ) is written correctly. 
 
 326. Nub. 889 ff., the longest hypermeter in Aristophanes, 
 furnishes unexpected confirmation of the principle under dis- 
 cussion. Heliodorus records that this hypermeter contains 74 
 cola. See the metrical scholium. There is internal evidence 
 that the original source of V and E was thus written. There 
 are 45 single speaking parts in the hypermeter, some short, others 
 long, assigned to three different speakers. This computation 
 reckons the monometer 893 b as a single part (325). This colon 
 and 906 a are the o-v^vyiai ov re\eiai mentioned by Heliodorus. 
 The division of the hypermeter in V into cola establishes 17 
 additional dimeters and monometers within these speakers' parts : 
 890; 892; 901 b , 902 & ; 905; 907; 918; 919; 921; 922; 
 923; 924; 931; 935 a ; 935 b , 936 a ; 938; 947; 948. 2 A 
 hypermeter, however, as extended as this promises to be, would 
 have required an amount of space in writing which no scribe, 
 much less his ' corrector,' could have viewed with equanimity. 
 We find, therefore, the scribes of V and E, or their predecessors, 
 resorting to the familiar palaeographical device of grouping 
 cola in single a-ri^pi. See 322. Thus a tetrametrical group- 
 ing occurs twice in V, three times in E (e.g. 945, 946 as a 
 
 1 749 b , Id) fwl noi, is an anaphonema. 
 2 Fourteen in R, which makes 938, 939 a a trimeter and 947, 948 a tetrameter.
 
 134 
 
 THE VERSE OF GREEK COMEDY 
 
 326 
 
 single o-rt^o9) ; a trimetrical nine times in V, ten in E (e.g. 
 897, 898 a as a crrt^o?); 1 a dimetrical, by which words of two 
 speakers in the dialogue are joined in a single line, ten times in 
 EV (e.g. in 910), just as two speakers' parts may constitute an 
 apparent trimeter (e.g. in 895 b , 896). These dimetrical cases, 
 therefore, of apparent exception to the principle that the speaker 
 must not change within the colon, quite certainly result in this 
 long hypermeter from the desire to economize space. If the 
 monometers and dimeters thus combined, that are not already 
 separated by the principle of change of speaker and by the 
 divisions established in V, are restored as separate cola, ten 
 dimeters (894 b , 895 a ; 897 b , 898 a ; 917; 928; 937; 941 b , 
 942 a ; 942 b , 943 a ; 943 b , 944; 945 ; 946) and two monometers 
 (927; 936 b ) 2 are added to the 45 and 17 cola previously 
 determined. The total furnishes the 74 cola recorded by 
 Heliodorus, 42 dimeters and 32 monometers. 
 
 Nub. 889-948. 
 
 At. 
 
 TOUTI ^carats, Kaiirep Opacrvs <5v. 
 'AS. W OTTOI XPVi t<i > ^oAv yap /xaAAov cr' 
 
 fv TOIS TroAAoicrt Aeycov cwroAw. 
 At. aTroAets arvj TIS <5v/ 
 'AS. Aoyos. At. -tjTTiav y' wv. 
 'AS. dAAa ere 
 
 TOV fJLOV 
 
 At. TI trotfov TTOIWV; 
 'AS. yvw/ias Katvas 
 
 At. ravra yap dv6ei 
 
 Sta Tovrovcrl TOVS avo^rovs. 
 'AS. OVK, aAAa (T0(f)ovs- 
 
 At. ttTToAa) O- 
 
 'AS. eiTre TI TTO 
 
 At. TO, SiKata Aeywv. 
 'AS. aAA' avaT/oe^w y' avr 
 
 ovSe yap etvat TTOLVV <f>t]fu 
 
 At. OVK eivai ^>2? s / 
 'AS. <J>epe yap TTOV VTIV 
 
 Brunck. 
 
 RV 889 
 RV 890 
 RV 891 
 RV 892 
 ( 893 a 
 
 RV 
 
 RV 
 
 10 RV 
 
 RV 
 
 RV 
 
 15 
 
 893 b 
 
 894* 
 
 894 b , 895 a 
 
 895 b 
 
 896 
 
 897 a 
 
 897 b , 898 a 
 
 898 b 
 
 89 9 a 
 
 899 b 
 
 900 a 
 
 RV 
 
 RV 900 b , 90 l a 
 
 RV 901 b , 902 a 
 
 f 902 b 
 20 RV ( 903 a 
 
 1 V, but not R, has trimetrical group- 
 ing four times, tetrametrical once, in 
 PI. 598 ff. 
 
 2 Thirteen dimeters (and two mono- 
 
 meters) in R, since this manuscript 
 makes 938, 939 a a trimeter and 947, 
 948 a tetrameter. The aggregate of cola 
 in R is also 74 (45 + 14 + 15).
 
 326 ANAPAESTIC VEESE 135 
 
 At. Trapo. Tourt 0eots. ( 903 b 
 
 'AS. TTWS 8f)Ta SIKT/S ovo~7S 6 Zevs RV ( 904 
 
 OVK (XTrdAtoAeV TOV TTttTC/)' (IVTOV RV 905 
 
 8^<ras; I RV At. cu/?oi TOVTI /cat Sr) RV 906 
 
 X^pet TO KdKoV* Sore /zot AeKav^v. 25 RV 907 
 
 'AS. TV(f>oytp(av ei /cdva/3/xocrTos. RV 908 
 
 At. KdTaTTvywv fT KaVcucrxwTos RV 909 
 
 'AS. poSa fi fipr)Ka<s. [ 910 a 
 
 At. /cat /3w/ioAo'xos RV ( 910 h 
 
 'AS. Kpivfo-i o-re^avots. 30 [911* 
 
 At. /cat Trar/aaAotas. RV | 91 l b 
 
 'AS. XP vcr 'f TaTTUv fji' ov ytyvawTKets. RV 912 
 
 At. ov Srjra 7T/3O TOV y', aAAa (JLoXv/SStp. RV 913 
 
 3 AS. vvv S yc KoV/tos TOVT' ecrTtv e/tot. RV 914 
 
 At. ^pao-vs et iroAAov. 35 ( 915* 
 
 'AS. o-v 8e y' apx's. R V ( 915 b 
 
 At. Sta o-e S <f>oiTo.v I 916 
 
 ovSeis e$A.et TWV /zetpaKiwV RV | 917 
 
 Kai yvfcxr^cret TTOT' 'A^vatots RV 918 
 
 ofa StSao-/cts TOVS avo^TOVS. 40 RV 919 
 
 'AS. avxfeis ato*x/3<2s. J 920* 
 
 At. o-v Se y' 5 Trparrets. RV ( 920 b 
 
 KatTot irporepov y' eTTTcox^vcs, RV 921 
 
 T^Ae<os eivat Mvo^os (fader Ktav, RV 922 
 
 CK irrjpiSiov 45 RV 923 
 
 yvw/xas T/swywv IlavScAeTetovs. RV 924 
 
 'AS. (S/iot <ro(f)ias ( 925 a 
 
 At. w/tot /xavias RV ^| 926* 
 
 'AS. $? c^o-^s. f 925 b 
 
 At. T^S o~^s, TrdAews ^ 50 RV | 926 b 
 
 ^Tts ere Tp^> [927 
 
 Av/zaivojuevov TOIS /xeipa/ctots. RV ( 928 
 
 'AS. ov^i StSa^ets TOVTOV Kpovos wv. RV 929 
 
 At. etTTCp y' avTov crw^vat %pr) RV 930 
 
 *cai /i^ AaAtav fj.6vov do-Kiycrat. 55 RV 931 
 
 'AS. Sev/o' t^t, TOVTOV S* la /AaivO~^at. RV 932 
 
 At. /cAavo-ct, TT)V X C 'P* ^ v 7rt/3aAAgs. RV 933 
 
 Kop. a' Travvacrde /iax^S Kat AotSoptas. RV 934 
 
 aAA' cTTt'Sct^at RV 935 a 
 crv T6 TOVS 7rpoT/30vs aTT* cSiSao-Kes, 60 RV 935 b , 936* 
 
 o*v T T^V Katv^v J 936 b 
 
 7rai'Svo"iv, OTTWS av axovo-as o-^xpv RV (937
 
 136 THE VERSE OF GREEK COMEDY 327 
 
 dvTiAeyovToiv K/sivas <j>oiTq.. V 938 | 
 
 Ai. Spav ravr 0eAw. V 939 a / R 
 
 'AS. Kaywy' I^Aw. 65 ( 939 b 
 
 Ko/5. a' <^>c/3e Sr) TTOTC/OOS Aee6 irportpos; RV ( 940 
 
 'AS. TOVTO* Saxro)' f 941 a 
 
 K$T' K TOUTWV 5v av Ae>7 RV ( 941 b , 942 a 
 
 pj/ictTioio-iv /caivois auTov J 942 b , 943 a 
 
 Kal Siavotais KaTaTo^eww. 70 RV { 943 b , 944 
 
 TO TeAevTaiov S', rjv avaypu^y, f 945 
 
 ( 
 
 TO 7r/30(rw7rov aTrav Kat TW<^^aA/xw RV ( 946 
 
 KVTOU/AVOS OXTTTC/) U7T* O.vdpr)VWV V 947 | 
 
 {>7r& TWV yvw/twv aTToAetrai. V 948 J R 
 
 327. Monometers seem to have been employed at times by 
 the poet as a means of clearer expression of his thought. In 
 Nub. 1009 ff. e'f9 ael (1011 a ) and Trpvra pev %t9 (1016 b ) 
 introduce each a series of particulars expressed in dimeters, 
 TO KaXov 8' ala-^pov (1021 a ) ends such a series. The first is the 
 beginning of a trimeter in V, of a dimeter in E ; the second is a 
 rnonometer in both V and E ; the third is a monometer in E, the 
 first part of a dimeter in V. Of. Nub. 439 ff. where a similar 
 series ends in E in a monometer, fcevrpwv /Miapbs (450) and a 
 dimeter (451). This arrangement necessitates a parateleutic 
 monometer (455). V is here in confusion. Of. also Th. 823 
 and 828, Vesp. 739, 740. The connexion of thought also is 
 very clearly operative elsewhere in combining two cadences, 
 dimeter and monometer or monometer and dimeter, into a 
 trimetrical unit. This is not surprising; it has its precise 
 parallel in the melic dactylic trimeter (340), the source of the 
 recitative 'hexameter.' Thus Vesp. 624 and 625, a dimeter and 
 a monometer in VE, clearly belong together. It is difficult to 
 explain Vesp. 879 and 880 in any other way than this. Brunck 
 actually printed these lines as two trimeters. This trimetrical 
 combination is conspicuous in dialogue. Cf. a\\d ere VIK&, rov 
 fiov Kpet,rra> fyacncovr elvat (Nub. 894, 895 a ). The speaker 
 here answers in a single ' trimeter/ as elsewhere in a single 
 monometer or dimeter. Cf. Nub. 897, 898 a , Vesp. 1492, 1493 a , 
 Th. 49, 50 a , PL 608 f. Sometimes the 'trimeter' is part of 
 a longer answer, as in Nub. 916 f., Th. 47, 48 a , 56, 57 a , PI. 
 598 f. Some combinations of dimeter and monometer or of two 
 dimeters are of such sort that it seems likely the cadences were
 
 330 ANAPAESTIC VEKSE 137 
 
 shifted. How are Vesp. 752 f., Av. 611, 612 and 732 f. to be 
 rendered otherwise than respectively as w ^ --- ^ | ^ --- 
 w | v^ --- and ---- | ---- w | w --- ww -- and 
 <*s \s ww v/vy ss I \s w<~> ww '. \ji. tor 
 'trimeters' Vesp. 1484 f., 1488, 1489 a , PL 606 f. This prin- 
 ciple serves to explain some divisions in E and V that at first 
 seem odd. These manuscripts divide Nub. 920 b 924, a-v 8e 7' 5 
 etc., a series of cola which begins with a change of speaker, into 
 the last half of a dimeter, a dimeter, a dimeter, a monometer and 
 a dimeter, where the natural division would seem to be into four 
 dimeters. The close connexion of 923 with the following 
 dimeter may explain the division. Of. Nub. 9348, which in 
 EV are dimeter, monometer, dimeter, trimeter, and the beginning 
 of a trimeter, the equivalent of five dimeters. The parts of the 
 complete trimeter (936 b , 937) are closely connected and the 
 point of division of its double cadence may have shifted to 
 
 328. The dimeter and paroemiac in the recitative hypermeter 
 do not essentially differ in metrical form from the acatalectic and 
 catalectic dimeters that compose the tetrameter (307 ff.). 
 
 329. The paroemiac occurs 38 times, 30 times as the final 
 colon of a systematic period that consists of a single hypermeter, 
 and eight times (Pax 992, Lys. 535, 602, Th. 42, Ran. 1088, 
 1505, 1514, 1523) to mark the close of a hypermeter within 
 the systematic period. Of. Schol. Pax 974-1015, which con- 
 sists of two hypermeters (TrepioSoi). The dactyl occurs once 
 (Vesp. 884), as the first simple foot of a paroemiac. Caesura 
 of the metres of the paroemiac is neglected 14 times. Cf. Ach. 
 664, Eq. 550, 835, Vesp. 759, 1059, Pax 172, 774, 1328, Av. 
 736, Lys. 538, Ran. 1098, 1505, 1523, EC. 709. It is 
 precluded by a progressive or recessive word seven times. Cf. 
 Vesp. 630, 742, Pax 992, Av. 538, Lys. 535, 602, Th. 829. 
 See 315. 
 
 330. The proceleusmatic is found but once (Nub. 916), in a 
 monometer of which the reading is doubtful. The collocation of 
 dactyl and anapaest occurs 3 times (Pax 169, Th. 822, Ran. 
 1525). In each case the combination constitutes the first metre 
 of an acatalectic dimeter. The prevailing foot in this dimeter is 
 the spondee, and spondaic dimeters are common. The purely 
 anapaestic dimeter, likewise, occurs occasionally (Vesp. 757, Av.
 
 138 THE VERSE OF GREEK COMEDY 331 
 
 535, Lys. 533). The dactyl occurs 85 times in the first place, 
 6 in the second (Vesp. 1055, 1490, Pax 82, 154, 1010, EC. 
 690), 81 in the third, and 8 in the fourth (Vesp. 624, 1054, 
 Pax 994, 1009, Th. 819, Ran. 1517, 1525, EC. 690). The 
 number of dactyls in the fourth place is unusually large (308). 
 Three of these are followed by a dactyl at the beginning of the 
 following colon, five by a spondee. The dactylic dimeter is 
 found but once (Ec. 690) in a recitative hypermeter, according 
 to the division in E. This dimeter is a singular exception to 
 a rule that holds elsewhere in Aristophanes. See 271. The 
 acatalectic dimeter neglects caesura of its metres 16 times in 380 
 dimeters; in 14 others it is precluded by a progressive or 
 recessive word. Caesura is barred, therefore, on the average, 
 once in 12 '7 dimeters. In the first half of the tetrameter it is 
 forbidden in one in 6 '3. See 315, first note. 
 
 331. Three acatalectic dimeters end within a word (323). 
 This division corresponds to neglect of diaeresis in the tetrameter. 
 No acatalectic dimeter ends in a short (' variable ') vowel, and 
 hiatus occurs only once, and here it is accompanied by change of 
 speaker (Nub. 892). 
 
 332. It happens that hypermeters have been quoted from 
 few poets of the Old Comedy. Cf. Hermippus 46, 47. The 
 poets of the Middle Comedy furnish more considerable remains 
 of this form of verse. Cf. Antiphanes 132, 133, 172; 
 Anaxandrides 41 (71 cola); Eubulus 63; Ephippus 5, 12; 
 Anaxilas 1 8 ; Epicrates 1 1 ; Alexis 162; Mnesimachus 4. 
 The fragments of Anaxandrides and Mnesimachus rival in 
 length Nub. 889 ff., the longest hypermeter in Aristophanes. 
 A single hypermeter of Menander is extant, 312.
 
 CHAPTER V 
 DACTYLIC VEESE 
 
 333. Cultivated men in the West have always been familiar 
 with the poems of Homer, and the heroic line naturally over- 
 shadows all other forms of dactylic verse ; but Greek poets were 
 singing long before Homer's time, and it would be as erroneous 
 to proceed from the ' hexameter ' in determining the forms of 
 melic dactylic verse as from the set verse of the dialogue of the 
 drama in formulating melic iambic metres. In dactylic, as in 
 iambic, trochaic and anapaestic verse, the fundamental colon in 
 melic poetry, as it appears in comedy and elsewhere, is a dimeter 
 composed of two metres that consist each of two simple feet 
 (12,13): 
 
 opfdiv Kopv^as tirl --- ~ ~ ~ Nub. 278 f. 
 
 cas ftaSicl fj.erap.(jivio<s ; -~ w >~ *~ 
 
 T<av8' ervicos; CITT' <5 Trdre ~ ~ ^~ -- Pox 117 f. 
 
 A dactylic dimeter consists of sixteen primary times. All 
 dactylic verse is in descending rhythm. 
 
 334. The dactyl assumes proceleusmatic form, by resolution 
 of the thesis in - ^ ^, in Av. 1752 (588) and Ecd. 1168 ff. 
 (354). It never has ' anapaestic ' form by resolution of the 
 thesis in -- . See 11. 
 
 335. The dimeter by suppression of the arsis of its final 
 dactyl becomes catalectic : 
 
 p^fj.ara Kal irapairpi(T(JLaT y CTTWV *~ v~ +~ Ran. 882 
 
 The catalectic dimeter is rare. 
 
 336. The melic acatalectic dimeter differs from the corre- 
 
 139
 
 140 THE VEKSE OF GEEEK COMEDY 337 
 
 spending anapaestic colon (275) in frequently ending within a 
 word. The two metres that constitute this dimeter are almost 
 invariably joined in this manner. 
 
 337. The dactylic trimeter was not employed as a colon, 
 since a trimeter composed of true dactyls in normal isomeric 
 rhythm (9, i.) would have exceeded the limit of length allowed 
 diplasic compound feet (22), but the monometer was thus used, 
 in combination with dimeters. On the probable origin of this 
 use of the monometer as a colon see 613. 
 
 338. Dactylic tripodies (26) occasionally occur in Aristophanes : 
 
 d/x/3/xxd/>06 0' a.fj.a /3/DOVTcu, 1 ~ ~ -- 
 
 cus o8f vvv ydova. <reii *~ ^ -- Av. 1750 f. 
 
 Cf. Av. 1749, 1752 (588), Nub. 286 = 309, 287 = 310 (344). 
 These seeming tripodies are true brachycatalectic cola (35), 
 and, like the corresponding anapaestic tripodies (277), have the 
 mensuration of dimeters. Pentapodies apparently occur in Ran. 
 816 = 820 = 824 = 828 (346). Each of these lines is probably 
 a dicolic subordinate period consisting of a monometer and a 
 brachycatalectic dimeter. The penthemimer (36) is also 
 occasionally found, with the mensuration of a dimeter. Cf. 
 Nub. 275 = 298 (344), Av. 750 = 782 (410), Ran. 674 = 706 
 (498), 1344 b (592). 
 
 339. Protraction (31) does not occur in the dactylic verse 
 of comedy. For an apparent exception see 365. 
 
 340. Comedy does not eschew the melic dactylic hypermeter, 
 made familiar to the audience in the theatre by tragic poets. 
 Aristophanes, indeed, introduces a hypermeter of nineteen metres 
 into one of his most beautiful lyrics, Nub. 275 ff. (344), but 
 generally the series is short and does not exceed the length 
 allowed a subordinate period. The commonest subordinate period 
 in melic dactylic verse is the acatalectic trimeter composed 
 of dimeter and monometer. The latter invariably assumes the 
 form - w w -- . The close of this period is sometimes duly 
 marked by hiatus or the ' variable ' syllable (43) : 
 
 ?j TTOV Seivbv /tH/fy>e/ATas x^- ov evSotfev eei 
 
 av 6vXaXov TrapiSr) $r/yovTos oSovra. Ran. 814 f. 
 
 
 
 1 On the significance of the conjunction of vowel sounds here see Lys. 479 and 
 comment 303. 
 
 the comment (303).
 
 343 DACTYLIC VERSE 141 
 
 But these indications are frequently lacking, as in the periods 
 corresponding to those quoted (Ran. 818 f. = 822 f. = 826 f.). 
 See 775. The trimeter is the melic period exclusively used in 
 comedy in stichic (50) composition. Cf. Pax 119 ff. (345), 
 Ran. 1528 ff. (348). Its constitution is strongly influenced by 
 the heroic line : the two cola are commonly joined in the middle 
 of a word, in disregard of the original composition of the period, 
 and a word almost always ends with the fifth half-foot (360 ff.). 
 On the combination of subordinate periods, hypermeters and 
 intermediate periods to form systematic periods see 720 ff. 
 
 341. The heroic line, ' hexameter,' with exception of a single 
 verse (365), is the only form of dactylic verse used by Aristophanes 
 in recitative rendering. See 356 ff. 
 
 342. A dactylic lyric may close with a subordinate period 
 or colon in another rhythm, such as the catalectic trochaic 
 dimeter, as in Ran. 814 ff. (346), the ithyphallic, Ran. 875 ff. 
 (347), the Pherecratean, Av, 1754 ff. (588), or, with shift to 
 descending rhythm, the paroemiac, Nub. 275 ff. (344). Con- 
 versely, a dactylic subordinate period is sometimes a part of a 
 systematic period composed in a different rhythm. In parodies and 
 monodies such a period probably kept its true isomeric time, in 
 order to point contrast in rhythms, as in Th. 1050, 1052 f. (374), 
 Ran. 1338 ff. (592), Av. 250 ff. (595), and perhaps in the 
 simulated duo in Th. 126 ff. (429). On the other hand, cola 
 composed exclusively of dactyls were probably sung in triple 
 time when constituent parts of simplified logaoedic odes (392 ff.). 
 Such series of logaoedic dactyls (389) are occasionally found 
 combined with periods in other rhythms. These will be noted 
 as they occur. 
 
 343. The dactyl has the same pleasing balance of thesis and 
 arsis that characterizes the anapaest, and it is this equality of 
 parts that distinguishes it from the trochee (cf. 284). Aristides 
 (97 M., 59. 23 ff. J.) notes the quickening effect of short 
 syllables in isomeric rhythms, and the truth of his observation 
 is admirably illustrated in Nub. 275 ff. (344), in which in strophe 
 and antistrophe the ratio of spondees to dactyls is only one to 
 seven in the complete metres. The lilt of the song is remark- 
 able. In the dactylic lyrics of Aristophanes in general dactyls 
 greatly preponderate, less than one quarter of the simple feet 
 being spondees, whereas in his recitative ' hexameters ' the two
 
 142 THE VERSE OF GREEK COMEDY 344 
 
 sorts of feet are practically equal (357 f.). On Aristophanes's 
 skilful perversion of the hexameter to the uses of comedy 
 see 356. 
 
 MELIC DACTYLIC VEKSE 
 344. Nub. 275-90 = 298-313 (Parode). 
 
 Strophe. 
 
 'H/i. a devaoi Ne^eAcu, 338, 800 (ant.), 802 - ~ - ~ - 2- c 
 
 dpOwfJifv <f>avfpal Spocrepav <f>vcriv v~ ^ w 
 
 evdyrjTOV ---- 
 
 278 Trar/abs OLTT '2Kavou /3a/Dva^eos 794 ~ ^ ^/ ^~ 
 
 V\!/TI\WV 6pe(av Kopv(f>a.s ITTI 5 ^^ oc ^, ^ 
 
 280 Sev8po/cd/xovs, iVa %^ ^/ 
 
 o^KOTTtas d(f)0p(afj.f6a 800 (ant.) ^^ >^, w^ w 
 
 T dpSo/Afvav 6' lepav \06va ** >^ co ^^/ 
 
 KCU 7rora)U.3v ^a^ewv K\a8r)/j,aTa 800 (ant.) cc ^^ *~ v 
 /cat TTOVTOV KcAaSovra /3apv/3pop.ov' 
 
 792, 800 (ant.) 10 - ~ - ~ -^-^, 
 285 oyu-ywa yap aWepos *~ *~ 
 
 aKafiarov afXayeiTat. 338, 795 - - ~ - * 19-^ 
 
 287 /x.a/3/iapeaicriv ev uuycus. 338 ^^ ^ -- 2- c 
 
 dAA' aTTOcretcra/xevai ve<f>o<s 6fj,/3piov w^ ^^ w^ ^ 
 
 d^avaras iSeas (Tri8u>p.e6a 795 16 ~ ^/ s^/ ^ 4 
 
 290 TTjAeo-KOTroj opuaTt yaiav. 
 
 342, 792 (ant.), 800 -- - ~ -- 2 C 
 
 Antistrophe. 
 
 6/j.(3po(f>6poi, 
 
 Xnrapa.v \66va. IlaAAdSos 
 evavSpov yav 
 
 301 KeK/307Tos o^d/xevat TroAvTjparov 
 ou cre^Sas dpp^rwv icpwv, tVa 
 
 ev TfAerais dytats d 
 305 ovpaviois re ^eots 
 
 vaot ^' v\f/ep(f>eis Kal dydA/xara, 
 
 KOU 7rp6(ro8oL naKaptov 
 
 ewre^avoi re #e- 
 
 a)v dixriat daXLai re, 
 310 TravTO&uratcriv ei/ &pais y 
 rjpi T J f7
 
 346 DACTYLIC VERSE 143 
 
 evKeXdSfov re %opwv pf6urp.ara, 
 KOI /j.ov<ra. /3apv(3pofj.o / s avAwv. 
 300 xQt"' a Princeps : fc x^ va 310 TravrodaTraiffiv Princeps : iravroSaircus 
 
 Monostrophic dyad. A = abcde, 2- 19-2-4 2, pericopic pentad : 
 dactylic penthemimer, brachycatalectic hypermeter of nineteen metres, 
 brachycatalectie dimeter, tetrameter, paroemiac. See 772, 777. Both 
 devaoi Nc^eAai (275) and TrapOfvoi 6p.f3po<J>opot (298) are used in 
 address, and the long pause in singing that followed was most 
 appropriate (338). 
 
 345. Pax 114-23 (Prologue). 
 
 DUO 
 
 Ha. (5 Trarep w Trdrtp dp' ITV/AOS ye ~~ w~ w^ ^ 2 V 
 
 115 Biofiacriv rjfj.eTfpois <f>a.Ti$ I^KCI, 43 ~~ ~ ws, w 2 H 
 
 u>S <rv per' opviBtav irpoXarutv p.e *> -- ~ ^ 2 V 
 
 eis KO/oaKas /3aSit /iera/iwvio? ; w^ ~ w^ ^^ 
 
 118 TTt Tl TWv8' 6TV/1WS / t7r' 5 TTttTC/S, 5 v^ w^ --- v^ 
 
 et TI <^iAeis yue. <^/ w 5 V 
 
 T/o. So^cwrai ecrrt Kopai, rb 8' fT-^rvfiov 800 >~ ^~ v~ v^. 
 
 a.\6ofj.ai vp.iv } 800 ~ 3 
 
 120 rjviic' av aiTt^rjr' aprov TTO.TT- ~~ -- ---- 
 
 irav p,e xaAovcrai, 43 10 >~ ^ 3 H 
 
 v8ov 8' dpyvpiov fir)8e ^a/cas --- ~ --- *~ 
 
 y 7rdvv 7ra.fji.irav. ^ v 3 V 
 
 rjv 8' eya) tv irpa^as fXOo) irdXtv, 800 ^~ -- --- >~ 
 
 e^er' ev wp^t ^ -- 3 
 
 123 KoAAvpav fjLeydXfjv Kal KOvSvAov 15 --- ~~ --- ^. 
 
 o^ov CTT' avrrj. >~ -- 3 
 
 116 Ate Ed. : <f/t* 
 
 Non-antistrophic. A = AB (114-18, 119-23). A = aaab, 2 2 2 5, 
 periodic tetrad : a dimeter as proode that anticipates the melody of 
 the two dimeters that follow and a pentameter as epode. See 747. 
 B is a stichic period composed of five acatalectic trimeters. See 778. 
 
 See the metrical scholium on Pax 114 ff. Heliodorus's analysis 
 includes only the first four cola, which he regards as a period, ignoring 
 the close of the fourth colon. If he had analyzed 118-23, he would 
 doubtless have designated them all as eiriKoi Note his phraseology 
 in Schol. Eq. 1067. 
 
 346. Ran. 814-17 = 818-21 = 822-5 = 826-9 
 (Stasimon I.). 
 
 Strophe I. 
 
 7} TTOV Seivbv e/oi/3/o/iTas \6Aov 794 --- ~ ^, v~ ~ 
 43 - - o 3 H
 
 144 THE VERSE OF GEEEK COMEDY 347 
 
 815 I^VI'K' av 6v\a\ov irapi8rj Or)- i~ ^^ ^^ 
 
 yovros dSovra -~ \? 3 V 
 
 816 avTirexvov TOTC 338 5 ~ v~ 
 
 8r/ /lavias v?r5 Setvijs ~ ~ 3- cv 
 
 817 o/A/iara o-T/DO/Jr/crerat. 212, 342 - w - ^ - v ^ 2 CV 
 
 Strophe II. 
 
 e H/t. /:?' t'crrai 8' iTTTroAde^wv re Adywv KopvQaioXa veiKr/ 
 819 (T^ivSaAa/ACov TC Trapa6via cr/AtXcv/iara T' epywv, 
 
 821 prffj.aO' i7nro/3a/iova. 
 
 ///. 
 
 ' H/i. a' <f>pia<s 8' avTOKOfj.ov Acx^cas Aacrtovx l/a X at/Tav > 
 823 Seivbv CTrwrKwtov ^waycov /3pv\(afJievos ^Vci 
 
 pri/AOLTa yofJ,<f>OTrayfj Trtva/crjSbv aT 
 825 yryyevei 
 
 Strophe IV. 
 
 ' H/x. /?' Iv^cv 8^ (TTOp.a.TOvpy'bs e 
 
 827 yAt3(T(r s dveXurcrofJievr) <f>8ovepovs 
 
 829 TrAevyudvcov TroAvv irovov. 
 
 The four strophes constitute a monostrophic tetrad (701). A = 
 aabc, 333-2, epodic tetrad : two dactylic trimeters and a brachy- 
 catalectic trimeter, with a trochaic dimeter as epode. See 742. The 
 shift of rhythm in the last colon is noteworthy. 
 
 347. Ran. 875-84 (Scene II.). 
 
 Xo. (5 Aids evvea irapOfvoi ayval 790, 800 ~w ~ ~ -- 
 
 876 Mowrcu, 
 ai 
 
 877 av8/Dwv yvaj/iOTVTrtDV, orav ets e/otv --- ~ 
 
 6v[j.pifj.voi<i 5 ^^ -- 3 
 
 878 eA&ixri o-T/3c^8Aowr6 TraXaicrfjMcriv 790 ---- 
 
 dvTiAoyovvres, ~ w 3 V 
 
 879 eA^er' 7ro^d/Avai 8vva/*tv <~ ^^ > 
 SeivoTaraiv oTo/taroiv iropio-aa-dat w -^ 
 
 pr)fj.ara Kal irapaTrpicr/j.aT' TTWV. 10 v^/ w~ 
 
 883 vw ya/) aywv (ro^tas o //.eya? ^w- v~ >^/ 
 
 pei 7r/obs e'pyov 178^. 203, 342 ^ ^ 
 
 883 6 Hermann : Sde
 
 349 DACTYLIC VEESE 146 
 
 Nori-antistrophic. A = AB(875-8, 879-84). A probably = ab'b, 
 533, proodic triad : a pentameter as proode to two trimeters. See 
 738, 776. B = abc, 244, pericopic triad : catalectic dactylic dimeter, 
 catalectic dactylic tetrameter, tetrameter compounded of a dactylic 
 dimeter and an ithyphallic. See 771. Compare the final colon of the 
 preceding lyric. 
 
 348. Ran. 1528-33 (Exode). 
 
 Xo. TT/awra ft,ev evoSiav dyaOrjv dirt- -*~ ~~ w^ %~ 
 
 OVTI TroirjTJj 43 ~ ^ 3 H 
 
 1529 cis <aos 6pvvfJ.ev(p Sore 8at/xovcs ~ ~ i~ ~ 
 
 ot Kara ycuas, ~ -- 3 
 
 rrj 8e TroAei /icyaAoov aya$(3v aya- 5 ~ ~ *~ ~ 
 
 0as evrtvoias. w^ -- 3 
 
 av oura>s >^ -- 3 
 
 T' fv oTrAois ^woSwv. KAco- *~ *~ ^ ^^ ~ 
 
 <f>wv 8c fj,ax&rd(i). 10 ~ -- 3 
 
 1533 KaAAos 6 ^SovAo/ievos TOVTCOV irarpi- ~ <*~ --- *~~ 
 
 ots v dpovpais. ~ -- 3 
 
 Non-antistrophic. A is a stichic period composed of six trimeters. 
 See 778. 
 
 349. Ran. 1264-77 (Episode II.). 
 
 The Alexandrian scholiast explains the comic intention 
 with which this curious nonsensical congeries of dactylic verses 
 is introduced. In the first part of the episode Euripides has 
 had his prologues submitted, with disastrous result, to the test 
 of the lecythium, and, when Dionysus now proposes (1248) 
 that attention shall be turned to Aeschylus's melic verse, 
 Euripides replies : icai \jJr\v l^co 7' ol? avrov ajroSeiga) xaicbv \ 
 fj,e\o7roiov ovra ical TTOIOVVTO, ravr* aei. Presently, displeased 
 by the praise that the chorus has just given Aeschylus, he 
 viciously adds : efc !i> jap avrov Trdvra ra p,e\^ ^vvre/jLu 
 (1262). He will submit Aeschylus to the same sort of test that 
 Aeschylus has applied to him, and will show, by means of a 
 simple formula, that the melic verses of Aeschylus uniformly 
 end with the same cadence. This allegation is gross exaggera- 
 tion, but the audience were not deceived by it. The scholium 
 reads: 1262 fc? ev yap avrov Trdvra: et9 TO avro reXo? 
 ireparovfieva Trdvra, eVet Kaicelvos elirev " d7ro\r)KvOt(o <rov rot"? 
 7rpo\6yov$" olov dTroffrffepw. 
 
 L
 
 146 THE VERSE OF GREEK COMEDY 350 
 
 350. The fatal cadence is that part of the heroic line that 
 follows the penthemimeral caesura : ~ - ~ - -- , for ex- 
 ample, in Aeschylus, tcvpios eifAi 9poeiv oBtov fcpdros aiaiov 
 av&pwv (Ran. 1276). This is identical in form and movement 
 with the paroemiac, and had a ring doubly familiar to the 
 audience. Aristophanes ransacked the plays of Aeschylus for 
 periods with this close that had odd beginnings. The greater the 
 variety of form of the first part of the period, the greater would 
 be the monotony of the recurring cadence. It was not without 
 malicious pleasure that he hit upon two lines from Aeschylus's 
 Myrmidons (Ran. 1264 f.) for the beginning of his travesty. 
 The form of the first of these still bothers modern metricians. 
 The line is apparently a combination of an iambic penthemimer 
 with the close of the heroic verse: w w -- ,~-~-~ -- . 
 Of. Ran. 1264, 1284 f. ( = Agam. 108 f.), 1291 f. Cf. also 
 Agam. 115 f. This was followed in the Myrmidons by the 
 famous model Irj KOTTOV ov 7re\d0ets eV dpaydv, where the 
 cadence follows the exclamation ly, which, we may be sure, was 
 derisive in the rendering Euripides gave it. 
 
 351. Ev. 3>6iu>r' 'A\iXX.ev, ^i TTOT* dvSpoSdiKTOv d/covwv 
 
 1265 n) KOTTOV ov ireXdOeL? ITT' dpuydv ; 
 
 fj.fv irpoyovov ^iop.f.v yevos ot Trepl At/xvav. 
 
 ir) K.OTTOV ov TreAa^eis or' dpwydv ; 
 
 A I. SvO (Tol KO7TO) AtCT^uAe TOVT4D. 
 
 'A^atwi/ 'Ar/aews iroXvKoipave p.dv6ave p.ov ira.1. 
 1271 irj KOTTOV ov TreAa^ei? ITT' dpwydv ; 
 
 At. T/31TOS lpO~)(V\f O~ol K07TOS OUTOS. 
 
 Eu. ev</>a/ji?T ' fj.fXLO~o-ov6fj.OL 6fjiov 'Apre/xiSos TreAas oiyeiv. 
 ir) K.OTTOV ov TrfXdOfis ITT' dputydv ', 
 
 KVplOS (lfJ.1 6pOLV SStOV K/9CITOS ttlCTtOV dvS/3WV. 
 
 1277 o) KOTTOV ov irfXddeLs fir' dpwydv ;
 
 354 DACTYLIC VERSE 147 
 
 352. In further proof of his contention, Euripides quotes 
 another batch of verses, which he says are citharodic. These 
 also the comic poet gathered indiscriminately from different plays 
 of Aeschylus ; but all alike, Euripides insists, whether aulodic 
 or citharodic, have the same monotonous cadence. 
 
 Ban. 1284-95 (Scene IV.). 
 
 1284 OTTOJS 'Auction/ i6povov /cparos, 'EAAaSos ^'/fos, 
 1286 2<iyya Svo-apfptav Trpvraviv KVVO. Trefj-irei, 
 1289 (rvv 8opl Kal x /* Trpa-KTOpi dovpios o/ovis, 
 1291 Kvpeiv irapafrytov Ira/zcus KVCTIV depo<omus, 
 
 353. Nobody in the audience, of course, took this jesting 
 seriously. So much cannot be said of all modern commentators. 
 Aeschylus was not specially amenable to this particular criticism. 
 The roll of dactylic rhythm is not heard, at least, in his extant 
 plays, which contain few choral dactylics, 2 no recitative hexa- 
 meters, and no dactylic catenae such as are found in Euripides, 
 Sophocles, and Aristophanes himself. It was the familiarity of 
 the audience with the Agamemnon that gave the criticism 
 particular point. 
 
 354. Ecd. 1163-81 (Exode). 
 
 Aristophanes closes the Ecclesiazusae with a spectacular 
 dance by specialists. He came upon this invention in the 
 Vespae (494). In the later play the performance is elaborated. 
 
 TT / * f 'T / 
 
 rifj,. a fa> fa> wpa o?/, 
 
 1165 7Ti rb SeiTrvov v7rava.Kt.veiv. 
 
 1 Verse 1294, which has no pertinence three of the nine verses here quoted, 
 to the matter in hand as regards either Mutilated anapaestic systems and dis- 
 meaning or rhythm, is probably inter- membered dactylic octapodies must not 
 polated. See the scholiast. be forced into service to furnish examples 
 
 2 They are found almost exclusively of the cadence over which the poet here 
 in the parode of the Agamemnon (104 makes merry. 
 
 159), from which Aristophanes secured
 
 148 THE VERSE OF GREEK COMEDY 355 
 
 KprjTIKliJ'S OVV TO) TToSf 5 w -- ww 4 CV 
 
 KOI (TV KlVfl. 'H/X. /3' TOVTO S/3<3. v_> -- w 2 C 
 
 [Here follows the dance of the second half-chorus.] 
 
 c H/n. a' KCU <<ri>> TacrSe vvv Aayapas 206 w w w ^ 
 
 1168 TOIV (TKeAto-KOtv TOV pvBp.6v. ^ -- ^i ^ 6 CV 
 
 334 10 ~~ 
 
 [Here follows the dance of the girls.] 
 
 AoTraSoTe/ia^ocreAa^oyaAeo- 38 
 
 1170 KpavtoAei^avo8pt/xu7roT/ot//.//,a.TO- 
 
 15 ^< >^/ ^, ^^ 
 
 1174 AetoAayyocripaio/?a^T/oaya- ^w w^ w^ v^w 
 
 voTTTfpvywv (TV 8f TCLVT' aKpoa(rdfJie- w ^^ ^~ ^^ 
 
 vos Ta^v Kat ra^ecus Aa^Se rpvfiXtov ' ~~ *~ w^ ^^ 16 
 
 etra Kovicrai Aa/?wv 206 w w v^ 2 C 
 
 1177 Aoa#ov, tV 7ri8ei7rvr;s ' 203 20 ~ w ^/ ^ - - 2 
 
 /i. j8' dAAa AaiyLtaTTo^<ri TTOV. w -- w 2 C 
 
 aipecrO' avw, tai euai. 
 1180 SeiTn/^cro/xev, evoi evai, 
 
 7Tt 
 
 evcu, cva, euat, evai. 
 
 1163 tD Dindorf 1167 cri) Ed. 1167 b rdxa xP e ' as 
 
 Ed. 1169 -re/iaxocreXaxo- Princeps : -rcyUaxotrtreXaxo- 1172 -/7/cX67ri- 
 
 Kiister : -KivtcXtin- -K0ff<rv(f>o- Priuceps : -KOffcrvKo- 1173 -oirroKe^aXXio- 
 
 Meineke : -ojrre-y/cec^aXXio-. The lining of 1167 ff. in R has been strictly followed 
 above. The colon that obviously is lacking in 1167 f. is here restored by a line 
 that, of course, purports no more than to give the sense of the missing colon. Of. 
 Th. 956. The parts are here ascribed to the half-choruses as in E 
 
 355. After the address to the judges, delivered by the first 
 leader in recitative trochaic tetrameters (11541162), the first 
 half-chorus sings briefly in trochaic rhythm and at the close 
 exhorts the second half-chorus to dance : /c/o^Tt/cw? ovv T&> TroSe 
 | teal a-v Kivet. The second half-chorus accordingly dances 
 (TOVTO Spw), to the accompaniment of an auletic melody in 
 trochaic rhythm (/c^rt/cw?). 1 The music was purely instrumental 
 and the dance hyporchematic. On the conclusion of this move- 
 ment the first half-chorus bids Blepyrus bring forward the dancing 
 girls who are with him. He is an important figure on the 
 
 1 The 'cretic' of Aristoxenus, ^ w. i. 15, col. ii. 7. See also Aristid. 39 M. , 
 See Grenfell and Hunt's Oxyr. Papyri, 26. 20 f. J. and Schol. Heph. 302. 18 ff.
 
 357 DACTYLIC VERSE 149 
 
 scene to the close of the play, but has nothing to say after 
 1150. 1 The dance of the peipaice*; (cf. 1138) is the special 
 feature of the exode, and is accompanied by the singing of the 
 remarkable compound in dactylic metre that shows our poet's 
 rioting invention at its best. The dance probably began one 
 foot before the singing (1169). The dactyls in seven instances 
 are resolved (334). Trochaic metre is resumed in 1176. The 
 metrical form of the first and of the last four cola cannot now 
 be determined with approach to certainty. The first half-chorus 
 probably joined in singing the last four cola as the whole 
 company retired from the orchestra. 
 
 NON-MELIC DACTYLIC VEESE 
 THE HEXAMETER 
 
 356. Aristophanes uses the ' hexameter ' in mock-oracles 2 and 
 in mock-heroics, 3 appropriating the " stateliest and weightiest of 
 verses " (Aristot. Poet. xxiv. 5) to the uses of comedy. But in 
 this he was simply the imitator of Homer, who was not only 
 preeminent as a poet in the serious style, but was also the first 
 to outline the forms of comedy by dramatizing the ridiculous 
 (Aristot. Poet. iv. 9). Aristophanes mingles trimeters with his 
 heroic lines, for example in Av. 95991, just as iambic verses 
 were mingled with hexameters in the Margites (Heph. 60. 2 ff., 
 65. 10 f.), although in Aristotle's judgment these two styles 
 are as different as possible (Aristot. Rhet. in. viii. 4). But 
 Aristophanes out-Homers Homer. He takes the final step, and 
 with keen appreciation of the incongruity of form and content 
 uses the heroic line in ordinary dialogue ! Nothing could illustrate 
 better our poet's delicate perception of the metrical resources of 
 the comic art. Cf. Eq. 1014-97, Pax 1265-1304. For com- 
 binations of trimeters with hexameters in other comic poets see 
 Cratinus 199, Plato 173, Antiphanes 194, 196, Eubulus 107. 
 
 357. There are 142 recitative hexameters in the extant 
 plays of Aristophanes. The dactyls number 428, on the 
 average 3'01 in one hexameter: 
 
 1 The close of this play is discussed, Pax 1063-1114, Av. 967-8, 971-3, 975, 
 from another point of view, in the 977-9, 983-5, 987-8, Lys. 770-6. 
 Editor's ' Stage ' in Aristophanes, 168-70. 3 Pax 1270-83, 1286-7, 1292-3, 1300- 
 
 2 Eq. 197-201, 1015-20, 1030-4, 01. 
 1037-40, 1051-60, 1067-9, 1080-95
 
 150 THE VERSE OF GREEK COMEDY 358 
 
 Hexam. ww i. ii. in. iv. v. vi. Total. 
 
 142 428 23 + 55 17 + 42 1 + 83 29 + 36 30 + 112 100 + 328 
 
 The 100 dactyls contained each in one word are distributed 
 
 as follows : 
 
 i. ii. iii. iv. v. Total. 
 
 Trisyllables . . . 15 20 9 11 37 
 
 Overlap forward . . . 8 11 1 1 13 34 
 
 Overlap back 19 5 24 
 
 Overlap both ways 40 1 5 
 
 Total in one word .23 17 1 29 30 100 
 
 The 328 dactyls contained each in two or three words or 
 parts of words are distributed as follows : 
 
 i. ii. iii. iv. v. Total. 
 
 In three words, -Iv/Jw . 7 5 15 4 22 53 
 
 In two, divided - 1 w ^ . 27 32 29 26 59 173 
 
 In two, divided - ^ w . 21 5 39 6 31 102 
 
 Total divided dactyls . 55 42 83 36 112 328 
 
 Nine verses contain each five dactyls, 42 contain each four. 
 
 358. The spondees number 424, on the average 2*99 in one 
 hexameter : 
 
 Hexam. i. ii. iii. iv. v. vi. Total. 
 
 142 424 36 + 28 24 + 59 + 58 35 + 42 137 + 5 232 + 192 
 
 The 232 spondees contained each in one word are distributed as 
 follows : 
 
 i. ii. iii. iv. v. vi. Total. 
 
 Dissyllables . . .21 3080 35 67 
 
 Overlap forward . . 15 17 7 ... 39 
 
 Overlap back 15 102 117 
 
 Overlap both ways 4 5 ... 9 
 
 Total in one word . 36 24 35 137 232 
 
 Twelve verses contain each five spondees, 36 contain each 
 four. 
 
 359. The spondee does not occur in v., nor the dactyl in 
 vi. The close of each of these 142 hexameters, therefore, is 
 
 360. It is significant that only one of the eighty-four dactyls, 
 and none of the fifty-eight spondees, found in iii. is contained in 
 a single word. This indicates that the pause intended to facilitate 
 rendering (56) must occur chiefly within the third foot. Either
 
 361 DACTYLIC VERSE 151 
 
 of two pauses, in fact, may come in this foot, the penthemimeral 
 or trochaic. Another occurs after the thesis of the fourth foot, 
 the hephthemimeral, and another between the fourth and fifth 
 feet, bucolic diaeresis. These pauses are clearly defined by the 
 anonymous writer in Studemuud's Anecdota (215. 25 ff.) : 
 &ia(popds 8e e%ei Tecrvapas rj TO/XT; e^Orjfiifieprj re teal irevd- 
 tjfjLifiepfj xal rpirov Tpo%aiov teal rerdprrjv fiovtcoXttcijv. 
 e<f>0 / r)fJ,i/Ji,pr)<> fj,ev Ka\eirai rofj,r) 77x^5 fierd rpeif TroSa? KOI 
 re\eiov X t T vor)fj,a. TrevByfjUfAepr)*; 8e ecrriv 
 fiera Bvo TroSa? Kal <rv\\a/3r)v reXeiov %ei, TO vorjfia. 
 Se rpo^ai6<; ecrnv r) c^ovcra rov TroSa TOV rpirov t? 
 rpo^alov <rvva7ro\ri<yovTa. rerapr^ Se vTrdp-^et {3ovtco\tKr} rj 
 e%ov(ra TO vorjfJM et? reraprov TroSa irdvrw^ dn 
 ravrr) Se rrj ropy irdvres ol rd f3ovKO\ucd Troiij/JiaTa 
 d>9 7rl TO 7r\eio'TOv xprjcrdfievoi <f>aivovrai" odev Kal rrjv 
 K\rj<riv ?} TO/LIT) ravTrjv eBe^aro, diro rwv 'xpijcrafjievwv rrjv irpoff- 
 ^opiav \af3ovaa. See also Aristid. 51 f. M., 33. 18 ff. J. 
 The penthemimeral caesura is sometimes called masculine, the 
 trochaic feminine. 
 
 361. Penthemimeral caesura, ^ ^ 1~ ~ ~ , 
 
 is possible 90 times, 22 times alone, 27 combined with heph- 
 themimeral caesura, 30 with bucolic diaeresis, 11 with both. 
 These 9 instances include six in which a short progressive mono- 
 syllable follows the thesis and precludes the supposition that the 
 caesura is trochaic. Cf. Eq. 1018, 1058, Pax 1109, 1279, Lys. 
 
 772, 774. Trochaic caesura, -=~-=~ -w|w-~ -~ , 
 
 is possible 50 times, 16 times alone, 8 times combined with 
 hephthemimeral caesura, 18 times with bucolic diaeresis, and 8 
 with both. These 50 instances include 11 in which a mono- 
 syllabic or an elided dissyllabic enclitic or recessive fiev, Se, yap, 
 At" constitutes the first syllable of the dissyllabic arsis and 
 precludes the supposition that the caesura is penthemimeral. Cf. 
 Eq. 199, 200, 1020, 1037, 1051, Pax 1070, 1087, 1096, 1099, 
 1274, 1276. Hephthemimeral caesura, -^-= -~-|~ 
 
 -~ , is possible 54 times, only once alone, in Uq. 1033. 
 
 Its other occurrences have just been noted. Verses are excluded 
 from the count in which the thesis of the fourth foot is the 
 whole or the final syllable of a progressive word (Eq. 1016, 1018, 
 1031, 1032, 1034, 1088, 1094, Pax 1072, 1084, 1102, 1109, 
 1110, 1283, 1300) or is followed by an enclitic (Eq. 1056,
 
 162 THE VEKSE OF GREEK COMEDY 362 
 
 1083, Pax 1076 b ). Bucolic diaeresis, which divides the verse 
 
 into dimeter and monometer, - ~ - ~ - ^ - v~ | - j i s 
 
 possible 68 times, only once alone, in Pax 1111, where the 
 enclitic precludes penthemimeral caesura. Its other occurrences 
 have just been noted. Verses are excluded in which the fifth 
 simple foot is preceded by a progressive word (Eq. 1086, Pax 
 1082, 1086, 1092, 1114, 1277, Av. 973) or begins with an 
 enclitic or*Se (Eq. 1095, Pax 1097, 1101). 
 
 362. Every recitative hexameter has at least one of these 
 four pauses, since the verse is too long to be rendered as a 
 single diplasic colon (22). Certain of the four pauses are 
 exclusive of one another ; the penthemimeral and hephthemimeral 
 cannot both occur in the same verse, nor the trochaic and 
 hephthemimeral, nor the hephthemimeral and bucolic. This is 
 due in each case to the contiguity of the two pauses. When 
 both are possible, by word-endings, one pause excludes the other. 
 No hexameter, therefore, has normally more than two pauses. 
 When penthemimeral or trochaic caesura occurs in the same 
 verse with bucolic diaeresis, the pause at the diaeresis may be 
 the chief pause or secondary, or, as often happens, it may be 
 left unobserved. 
 
 363. According to the following analysis, the penthemimeral 
 (P) is the chief pause 76 times, the trochaic (T) 40, the heph- 
 themimeral (H) 10, and bucolic diaeresis (B) 16. The analysis 
 indicates all the pauses that are possible. When two pauses occur 
 in the same verse, opinions will differ as to their relative weight. 
 
 -e*ies -*-cc -~- - : (P) Eq. 1031, 1034, 1053, 
 1054, 1084, 1088, 1094, 1095, Pax 1072, 1077, 1079, 
 1080, 1084, 1101, 1102, 1109, 1110, 1293, 1300, Av. 984, 
 Lys. 774, 776. (PH) Eq. 1038, 1068, 1086, 1093, Pax 
 1066, 1071, 1081, 1086, 1094, 1100, 1103, 1107, 1114, 
 1270, 1277, Av. 971, 972, 988, Lys. 773. 
 
 -^-^ _|__^|-~-- : (PB) Eq. 197, 1018, 1030, 
 1052, 1060, 1081, 1082, 1083, 1087, 1090, 1091, 1092, 
 Pax 1069, 1073, 1074, 1083, 1098, 1105, 1108, 1275, 1278, 
 1279, Av. 975, 979, 987, Lys. 772. (PHB) Eq. 1017, 1019, 
 1058, Pax 1076, 1095, 1112, 1113, 1271, 1272. The 
 bucolic pause probably should be left unobserved in some of 
 these verses. 
 
 -CD-CO >-\,jw-co -~- - : (T)% 1016, 1020, 1051,
 
 366 DACTYLIC VEKSE 153 
 
 1056, 1059, Pax 1067, 1078, 1087, 1090, 1091, 1097, 
 1273, 1276, 1283, 1301, Lys. 771. (TH) Eq. 1037, 1055, 
 Pax 1075, 1106, 1281, 1287, Ao. 967. 
 
 -oo-oo - ^|w _oo|-~- - : (TB) Eq. 198, 199, 1032, 
 
 1057, 1069, 1080, Pax 1076 b , 1085, 1088, 1274, Ao. 
 968. (THE) Eq. 200, Poa 1064, 1070, 1093, 1099, Ao. 977. 
 The bucolic pause probably should be left unobserved in some 
 of these verses. 
 
 - ,_co -.~-|oj, - ~- - : (H) Eq. 1033. (HP) Eq. 
 1040, 1089, Pax 1065, 1082, 1089, 1092, Ao. 973, 985. 
 (HT) Ao. 983. 
 
 -co -co --- oo|-~ --- : (B) Pax 1111. 
 
 -oo-oo -|~-oo| ---- : (BP) Eq. 201, 1067, 1085, 
 Pax 1063. (BPH) Eq. 1015, Pax 1068. 
 
 -oo-oo - w | v -oo| ---- : (BT) Eq. 1039, Po# 1096, 
 1286, 1292, ^v. 978, Lys. 770, 775. (BHT) Par 1280, 1282. 
 
 364. In a few verses certain other well-defined pauses occur, 
 sometimes accompanied by change of speaker, as a triemimeral 
 in combination with the penthemimeral or trochaic in Eq. 1037, 
 1051, 1088, Pax 1066. Cf. also Pax 1110, 1275, where the 
 pause falls after the first arsis, and the unusual close of Pax 
 1270. 
 
 365. Aristophanes has the elegiac distich, composed of an 
 acatalectic and a protracted catalectic hexameter, but once, in 
 verses quoted from Archilochus (frag. 6 B.) : 
 
 fj.ev SCUCDV TIS ayaAAercu, f/v Trapa 6a.fJ,v<p 
 evro? dfj,tafj.rjTOV KaAAnrov OVK e#eAwv. Pax 1298 f. 
 
 The xpovos jcei/o? (31) of the second verse was probably 
 represented by a pause. Cf. Antiphanes 149 : rovrov eyo> 
 fieravnTTplSa -7-779 "Tyieia? iriveiv faporepta 
 
 366. Hexameters are found among the comic fragments, but 
 they are quoted chiefly from poets of the Old Comedy. Cf. 
 Cratinus 6-8, 67, 87, 128, 129, 142, 143, 153, 154, 171, 
 207-9, 235-7, 260, 313-17, 458, 459; Crates 30; 
 Pherecrates 152, 153, 190; Teleclides 45; Hermippus 63
 
 154 THE VERSE OF GREEK COMEDY 366 
 
 (23 verses), 82; Eupolis 235, 289, 360; Aristophanes 9, 29, 
 84, 257, 693, 694, 914; Plato 3; Metagenes 4, 17, 18; 
 Aristagoras 2 ; Theopompus 3 ; Anaxandrides 5 ; Eubulus 
 28, 108 (cf. 35, 139); Cratinus iunior 8; Alexis 22; 
 Diphilus 126 ; Menander 443 ; Frg. incert. 51, 52.
 
 CHAPTER VI 
 
 IAMBO-TROCHAIC VERSE 
 
 367. Aristophanes occasionally combines iambic and trochaic 
 subordinate periods as constituent elements of an ode. The 
 shift from ascending to descending rhythm (29), or the reverse, 
 produces the desired effect of variety. Thus, in the parode of 
 the Lysistrata, the purely iambic strophe and antistrophe (256 
 65 = 27180) that the half-chorus of elderly men sing as they 
 enter the orchestra (94) are followed by a strophe and an anti- 
 strophe (370) composed, in order, of three iambic and five 
 trochaic subordinate periods, of which the last is an ephymnium. 
 Likewise in the third episode of the Vespae (371) Philocleon's 
 drunken song begins with an intermediate period that consists 
 of eleven trochaic metres, and this is followed, after an interrup- 
 tion of three spoken trimeters, by a second intermediate period 
 that is composed of eight iambic and six trochaic metres. See 
 also Av. 628 ff. (372). These are simple but effective modes 
 of composition. 
 
 368. Euripides was the first to give iambo-trochaic verse 
 a highly developed form. He uses it, in his later tragedies, in 
 monodies to express grief and passion in situations where the 
 older tragedy employs the dochmius. Its form in Euripides 
 was affected by the music to which it was set : the metres are 
 seldom irrational, and the trochaic cola abound in resolutions. 
 
 369. Two lyrics of Aristophanes illustrate the artistic 
 development of this verse, an elaborate parody in the Thesmo- 
 phoriaziisae of a monody in the Andromeda (374) and the Song 
 of the Frogs in the Ranae (373). The latter is composed in 
 the comic poet's own manner, but pays Euripides the tribute 
 of imitation. 
 
 155
 
 156 THE VERSE OF GREEK COMEDY 370 
 
 370. Lys. 2 8 6-9 5 = 2 9 6-3 5 (Parode). 
 
 Strophe. 
 Xo. Tep. dXX' avVo yap /J.OL TTJS ooov ^ ^ 
 
 TO 7T/OOS TToAlV TO O~l/Z.6V, of O'TTOvS'^V ^(0) ' 
 
 v^> \^> O^v^ v^ 3 
 
 XWTTWS TTOT e^a/xTrpewo/Aev w w 
 
 290 TOUT' avev KavdrjXiov. 43 5 w v^w4 H 
 
 291 u>s euov ye TW fvXu) TOV w w w w 
 
 292 a A A' O/AWS /3aSio-Teov, - ^ - ^ - ^ ^ 2 CV 
 
 Kttt TO 7TV/3 (f>VO~r)TfOVj \j \j w 2 CV 
 
 294 /A7y //,' a7roo-/?eo-^ev Aa^y Trpos 10 w w 
 
 295 <iv <iv tov tov TOV xaTrvov. .^ _^_. _^_3C 
 
 Xo. Fe/3. 
 
 298 
 
 KacrTtv ye Arjpviov TO irvp TOUTO Traag 
 301 OTJ ya/> <av> TTO^' <BS' d8a^ ffipvue. Tas 
 
 o~7reuSe Trpoo-dev eis 
 
 ^ TroV avTy /iaAAov ^ vw (S 
 305 <>{! >v tov tov TOV 
 
 301 ou 7ap &/ Brunck : oi)5 7&/> 304 ^ 7r6r' Bothe : e? TOT' 
 
 Monostrophic dyad. B (704) = AB (286-90, 291-5). A = a'b'a, 
 434, mesodic triad : two protracted acatalectic iambic tetrameters 
 with an iambic trimeter as mesode. See 739, 776. B = abbac, 42243, 
 epodic pentad : a palinodic tetrad composed of a trochaic tetrameter, 
 two trochaic dimeters and a second trochaic tetrameter with an 
 ephymnium consisting of a catalectic trochaic trimeter as epode. 
 See 756. This is the only antistrophic iambo- trochaic ode in 
 Aristophanes. 
 
 371. Vesp. 1326-40 (Episode II.). 
 
 4>i. ave^e Trapeze' KAaixreTat Tts TWV O7rr$ev 
 
 1328 eVaKoAov^ovvTcov e/xoi* <^ ^ w 5 C 
 
 ofov ei .r 'ro'eO' vxa 
 
 ofov, ei p.r) 'ppr/o'eO', v/xas 
 
 1330 <5 Trovrjpoi. TavTyl Trj 
 
 1331 8ol (>vKTovs (r/ceuao*a>.
 
 373 IAMBO-TROCHAIC VERSE 157 
 
 2v/i. Three Trimeters 
 
 $i. i/ lev, /caAov/ievoi. 43 ^ ^ w w\^2 H 
 
 1336 apx a "* 7* Vfitav a/oa y' r$' w ^ 
 
 aS orS' aKovwv dv\ofj.ai __^_ _ v ^ w _ 
 
 5iK(3v ; iaiBoL. alftoi. w w 6 
 
 ' iii 
 
 rdSe fJL dpeo-Kef (3dX\e Krjp.ov<i. 10 ~ ^ w 
 
 1340 OVK arretcri ; TTOU VTIV w w v^ 
 
 CKTroSwv. w ^ 6 C 
 
 Non-antistrophic. A = AB (1326-31, 1335-41). A = ab, 56, 
 pericopic dyad : trochaic pentameter and hexameter. See 770. B = 
 abc, 266, pericopic triad : iambic dimeter, iambic hexameter, trochaic 
 hexameter. See 771. 
 
 The pause that completes colon 11 is intentional. Philocleon 
 looks about him in drunken bewilderment. 
 
 372. Av. 628-35 (Debate). 
 
 Xo. 7ravx*?0"as 8e rots <70ts Aoyois 
 
 73 <- 
 
 629 firrjTTfiXrpra Kai Karw/icxra, w 
 
 ffv (TV Trap /jte ^e/xevos 6/xd^)/3O- ww^ v 
 
 va? Xoyovs SIKO.IOS aSoAos w w 
 o<rtos 7 
 
 TroAvy YOOVOV veovs CTI \^ w w w 
 (TKrJTTTpa rdfj-a rptyeiv. w w 6 C 
 
 631 f. Skates fiSoXos 5<rtos Bergk : ditcatovs d56Xoi;s ocrtoi/j 633 ?T;S Brunck : fots 
 
 Non-antistrophic. A probably = a'abc, 3366, epodic tetrad : 
 two protracted iambic trimeters and a trochaic hexameter, with an 
 iambic hexameter as epode. See 743, 776. 
 
 373. Ran. 209-68 (Prologue). 
 
 Ba. /3/0KKK6^ KOtt KOCt, w w w w 2 C 
 
 210 (3peKfKfKtg Koa Koa. w^w ^ v 2 C 
 
 Kprjvwv reKva -- w . ^ 
 
 vftviav (3oav w ^ . w _ 
 
 ', evyrjpvv ffJLav 71 5 -- w w w 
 
 a^ Koa, 73 w ^ v^ 
 
 215 ^v a/i<^)i NVOTJIOV -- w . w 
 
 Aibs Aiwvwov fv w _^_._ w _ 
 
 Aifj.va.icriv la^(rafj.fv, -- w w^ vy v 14 
 
 217 i^vi'x' o KpanraXoK(afj.o^ 475 10 w ^ ww -- 
 
 rots lepouri XUT/JOKTI ww w ^ ^4
 
 158 THE VERSE OF GREEK COMEDY 373 
 
 \tupet KO.T' l/xbv reyuevos Aawv o^Ao?. 
 
 481 <-> w \j \j w 3 
 
 220 /3/3KKCKe Koa Kod. w^ v_, ^/ w 2 
 
 At. eyu> Se y dAyetv ap-^o/j-ai ^ w -- w 
 
 T&V oppov <3 KO<X /coa 15 w w vy w 4 
 
 Ba. j3p6KKfKe Koa Kod. ~ ^ v w 2 
 
 Ai. vp.iv 8' terns ovSei/ /xeAet. -- w -- w 2 
 
 Ba. f3pKKKe KOO. /coa^. >^ v^ w w 2 C 
 
 At. dAA' l^dAoKT^' avTtp Kod. -- ^ -- w 
 
 227 ov8ev yap rr dAA' ^ /coa^. 20 -- w -- w 4 
 
 Ba. CIKOTWS y' w iroAAa TrpdrrtDV. w -- w -- 
 
 /xe yap ecrre/o^av evXvpoi TC Mowrai 
 
 207 ^w/w v w w 
 230 /cat Ke/30/3aVas Ilav 6 KaXa/j,6(f>6oyya irat^bv* 
 
 232 
 
 evvSpov Iv At/ivats T/DC^CO. ~~ w -- w 15 
 
 235 y8/3KKK6^ KOtt^ KOa^. v^-w ^ w 2 C 
 
 At. eyw Se <^>Av/<Tatvas y x w w v_/ -- w 
 
 ^W TTpWKTOS l8tt TTClAai, -- w w \J 
 
 K^T auTtV eyKV^as e/aet 30 -- ^ 
 
 Ba. /3pKKKe KOtt^ KOCl. ^^ w w 
 
 At. aAA' (3 <^>tA(p8ov yevos -- ^ 
 
 irava-acrBe. Ba. /xaAAov /v ovv -- w 
 
 <p6fy^6fj.(rd', et S^ TTOT ev- ^ -- 
 
 242 ^At'ois li/ afjiepauriv 35 w w 
 
 Kal (Aeo>, > 
 245 TroXvKoXvfj,f3oicri /x,ey 
 
 T! AlOS <^VyOVTS O[J./3pOV w ^ w 
 
 evv8pov ev fiv&w ^opfiav 40 ^/ w w w 
 
 atdAav f.(^df.y^6.p.f.(sda \j ^ 
 
 249 Trofj.fftoXvyoTra.ffiXdcrp.a.o'tv ^ >^- \^ w w 18 CV 
 
 At. (3ptK(KeKe KOO,^ /coa. v^/w w w 2 C 
 
 251 Tovrt Trap' v^wv Xa/j./3dv<a. \s w 2 
 
 Ba. foiva rapa Tretcro/xeo-^a. 45 w w w w 
 
 At. 8etvoTepa 8' eycoy' eAavvwv w^/w w 
 
 255 t 8tappayr^cro/iat. w ^ w 6 C 
 
 Ba. /3pKK/C^ KOCl Kod. ^ \s \s w 2 
 
 At. oip,u>er' ov ydp JMOI jneAet. 43 \- w w 2 H 
 
 Ba. dAAa /x^v KKpa6(j.ecrOd y 50 ^ 

 
 374 IAMBO-TROCHAIC VERSE 159 
 
 OTTOCTOV r <>dv dv 
 
 260 xavSdvy Si' fyfj.fpa.'S w ^ ^ 6 C 
 
 At. /3pei<eKCKe Koa KOCI. ~w ^ w ^ 2 
 
 Toirnj) yap ov vt/crjcreTe. __^_ __ v _, v/ 2" 
 
 Ba. ovSf fjtf)v i}/xas (rv ravTO)?. 55 ^ -- w -- 
 
 At. ovSe fJLrjv v/xets y' e/if w -- w w 4 CV 
 
 ovSeiroTf KCK/oa^o/Aat yap w ~ w ^ -- 
 
 KO.V 8ey 81' ^yiiepas, w -- w 4 C 
 
 266 (os av v/iwv eTri/c/aar^cra) TO> KOO^, w ^ v~ w -- ^ 3 
 
 (3pfKfKKt *coa Kod. 60 -^ 
 268 efieXXov a.pa Trawretv iroO' v/xas TOU 
 
 215 Aidvvffov Hermann : Aibvvffov 243 7)\dfjLf<r0a Princeps : rj\d/j.c6a 265 
 77 Cobet : /te 5g RV, A* S*??; A 
 
 Non-antistrophic. It is hazardous to attempt to determine 
 relations of melody in so singular a composition as this, yet certain 
 correspondences seem to be unmistakable. If we assume that the 
 rendering of /3/oe/ceKeK^f Koa *oa was always the same an imitation 
 of frogs' croaking and that this phrase is not to be taken into account 
 in correlating the melody, the lyric naturally falls into five intermediate 
 periods, ABODE (209-20, 221-35, 236-51, 252-62, 263-8), arranged 
 as a pericopic pentad. A = abc, 1443, pericopic triad : iambic hyper- 
 meter of fourteen metres, enoplic tetrameter, prosodiac trimeter. See 
 771. B = abac, 424 15, epodic tetrad : two iambic tetrameters that 
 enclose an iambic dimeter, with a trochaic hypermeter of fifteen 
 metres as epode. See 748. C = abed, 64182, pericopic tetrad : 
 iambic hexameter, iambic tetrameter, trochaic hypermeter of eighteen 
 metres, iambic dimeter. See 772. D = abac, 6262, epodic tetrad : 
 two trochaic hexameters that enclose an iambic dimeter, with an 
 iambic dimeter as epode. See 748. E = aabc, 4433, epodic tetrad : 
 two trochaic tetrameters and an iambic trimeter, with an iambic trimeter, 
 that was probably rendered with the speaking voice, as epode. See 743. 
 
 374. In the following lyric Aristophanes parodies a famous 
 scene in the Andromeda of Euripides. See the scholiast on 
 
 1015 ff. 
 
 Tliesm. 1015-55 (Episode II.). 
 
 Mv. ll <f>i\ai irapOtvoi <i'Aai," 73 w . w _ w _ 
 
 1016 TTWS av Trt\6oifj.i xai 71 ^ ^ . w 
 TOV ^KvdrjV \a.doLp.L ; w ^ w 6 CV 
 
 "xAveis; 5 Tr/aos aiSovs w _ . _ w _ . _ 
 
 ere rav cv avT/aois, KaraWvo-ov, eacrov " (is 
 
 71 5w w ww w w 
 
 1021 TTJV yvvat/ca /x' !A0eiv. w ^ -- 7
 
 160 THE VERSE OF GREEK COMEDY 374 
 
 " OIVOIKTOS os /A' ISryo-e TOV ^ ^ w w 2 
 
 icdAts Se ypaiav a7ro<vya>v ^ <- v/ *~ w 
 
 1025 axwrpav aTrwAd/xr/v o/zws' 10 w \y w v 4 
 
 oSe yap 6 2/cv^rjs (f>v\a *~ ^ w w 2 C 
 
 TraAat <^>O"Tcus oAoov a^>iAov 800 <^^ w w^ w ^ 
 
 SeiTrvov. www v^ ^ w 4 
 
 ; OV 
 
 <' i^XiKwv veaviSwv 15 w w w w 
 
 1031 KTJ/AOV eo-rrjK IXOVCT', w . w 
 
 dAA.' V TTVKVOtS SeCTfJ-Oia-lV [JL- w v 
 
 ev^ KTJTCI ^8o/aa w v^ v 
 
 TrpOKeifJMi. w w 12 
 
 1034 yafMr)\i<f fifv ov i>v 20 w ^ w v^ 2 CV 
 
 w w w 2 CV 
 
 w ^ v^ ^ 2 CV 
 
 /A a) ywatKcs. w v/ ^ 
 
 (is /icAca tiev TTtTTOvda /AAe- -^ w v/ 
 
 os, 5 TaAas eyw raAas, w w w 
 
 1039 " aTrb 8e o-vyydvtov aAA' 25 -w w w 
 
 vav TroAuSaKpvTov 'Ai'Sa ydov 
 
 cuat, atat, 
 
 1043 os /A* direvpr)cre Trpwrov 
 os e/i KpoKoev rdS' eve 
 
 30 w\* V/ v/^ Vy ^>^ vy <w 
 
 ITTI Se TOio"Se rdS' aveTrefii^ev w w v~ w \^ 15 
 1046 icpbv, ev^a ywaiKCS. 511 w^w v ^ w 2 CV 
 
 io> ju,oi juot/aas areyKTe Baifaav. v _._ -- w w -- 3 
 
 1048 t5 Karaparos yw, 477 w w v^ ^ 2 
 
 TIS /*bv OVK e7rd^'Tai Traces a/xeyaprov 
 
 35 ww ^ w w ^<~w w 
 7ri /caKwv Trapovcri^ / vow w w 5 
 
 1050 ci^c /xe Trvp<j)6po<s ai^epos do-Trjp 
 
 342 -~-~-~--2 
 
 rbv fidpfiapov ^oAeo-ciev. 281 -- ~ - - w 2 CV 
 
 ov yap CT' d^avarav ^>Adya Aevo"0"iv 
 
 795 
 1053 TTIV e/xoi <f)i\ov, (is eK/ae/xao-flTjv, 
 
 40-^,- -o- -- 4 
 
 8ai/idvwv aidAav w v-/ 
 
 1055 VKVO~IV 7Tl 7TO/3taV. 203 ws/ w w w . 6
 
 374 IAMBO-TEOCHAIC VERSE 161 
 
 1016 firt\6oifu Brunck : airt\0oifu 1017 \66oifM Brunck : X<f/3ot)iu 1019 
 
 irp&t aldovs ffe T&V Seidler : irpo<rai8ov<rffai ris 1027 tyeffrus Meineke : tfoffTTjK' 
 
 1028 ticptiMffev Meineke : ticptiMffe 1031 Ki)/j.i>v Hermann : \f/rj<t>oi> Kt)p.bv 1039 
 4XX' &vofj.a Scaliger : dXXdi/ &t>o/j.a 1041 QXtyovvav Musgrave : <petiyovffat> 
 
 1042 atai alat Dindorf: al al at al I 4 1044 Kpox6ev r6d' Bergk : 
 
 1047 ArfyKTc Zanetti : 
 
 Non-antistrophic. The metrical form indicates but few repetitions 
 of melody (777). This constant shift of melody and the introduction 
 of periods in other rhythms, especially in the last part of the lyric, are 
 well adapted to express ' Andromeda's ' agitation and anguish. The 
 song falls into six intermediate periods, ABCDEF (1016-21, 1022-8, 
 1029-36, 1037-46, 1047-9, 1050-5), arranged as a pericopic hexad. 
 A = ab, 6 7, pericopic dyad : iambic hexameter and heptameter. See 
 770. B = abcbd, 22424, epodic pentad : an iambic dimeter and two 
 trochaic dimeters that enclose an iambic tetrameter, with a trochaic 
 tetrameter as epode. See 762. c = abb + , 1222 ( + 2), proodic 
 triad with refrain : an iambic dodecameter as proode to two iambic 
 dimeters with refrain. See 738, 774. D = abc, 4152, pericopic triad : 
 iambic tetrameter, trochaic hypermeter of fifteen metres, Pherecratean. 
 See 771. E = abc, 325, pericopic triad : protracted catalectic iambic 
 trimeter, enoplic dimeter, trochaic pentameter. See 771. F = abcd, 
 2246, pericopic tetrad : dactylic dimeter, paroemiac, dactylic tetra- 
 meter, heavily protracted trochaic hexameter. See 772. The lyric 
 is ' tragic ' not only in sentiment but also in form. Few of its metres, 
 either iambic or trochaic, are irrational, and many of its cola are pro- 
 tracted. In the first particular it differs remarkably from the song 
 that precedes it (373). See 129.
 
 CHAPTER VII 
 LOGAOEDIC VERSE 
 
 375. Iambic, anapaestic, trochaic and dactylic dimeters and 
 trimeters are regular in structure. The quantity of the arsis of 
 the simple foot in each of these is strictly defined, and admits no 
 variation except irrationality in iambs and trochees in fixed 
 places. The verse which Greek metricians designated as 
 logaoedic 1 belongs to an earlier stage of the development of 
 primitive forms. Logaoedic dimeters and trimeters, as they 
 occur in Greek poetry, are marked by extreme variability of the 
 arsis of the simple foot. This arsis may be short or long, or 
 two shorts, or it may be omitted. A colon thus constituted 
 seems, if it is in ascending rhythm (29), to combine within 
 itself iambs and anapaests or, if it is in descending rhythm, 
 trochees and dactyls. The apparent ' mixture ' of feet in these 
 clauses is, in fact, simply a trace of the primitive variability of 
 the arsis that prevailed in Ionian rhythm before the development 
 of purely iambic and anapaestic cola and the corresponding 
 trochaic and dactylic forms. See 600-614, and in particular 
 603-610, 613. 
 
 376. The arses of the simple feet that constitute dimeters in 
 ascending rhythm were originally unregulated in Ionian poetry : 
 
 o-o-o-o-. The arsis might be v or - or ^ ^ or 
 omitted. The metre, therefore, might assume nine forms, dis- 
 regarding for the moment the omission of the arsis : 
 
 1 The term ('prose-poetic') is defined rbv rpoxouov. Logaoedic verse is briefly 
 
 as follows in Schol. Heph. 130. 8 ff. : treated both by Hephaestion (28. 9 ff., 
 
 tn 6 fj.tv 5d/cTvXoj doi8o?j fj,a\\ov ^TTITT)- 24. 1 ff. ) and by Aristides (34. 5 ff., 33. 
 
 Sos, o 3 rpoxaios \oyoy pd(f>ois, XoyaoiSucbv 30 ff. ). Neither was in position to 
 
 rt> fj^rpov, doiSiicbv ptv SICL rbv appreciate its historical importance. 
 s, \oytKt>i> 5t Std 
 
 162
 
 379 
 
 LOGAOEDIC VERSE 
 
 163 
 
 i. 
 
 . v , ii. ---- , iii. 
 
 v. \j --- , vi. w ^ w 
 ix. 
 
 , iv. -- 
 , viii. -- 
 
 Some of these are identical with metres that were later specially 
 appropriated by iambic rhythm (i., iv.) and anapaestic rhythm 
 (ii., iii., viii., ix.), and poets of the fifth century doubtless felt them 
 to be iambic and anapaestic, whatever their connexion. One of 
 them, however, is very rare in logaoedic rhythm in comedy, 
 although in form anapaestic (ii.) ; another was avoided as 
 arrhythmical (v.). It was the two that remain, ^> ^> - ^ - (vi.) 
 and w - ^ w - (vii.), that gave logaoedic verse in ascending 
 rhythm its distinctive character, and these may with propriety 
 be spoken of as ' logaoedic metres.' 
 
 377. The primitive Ionian dimeter by acephalization became 
 _ o - o - o - (608), or when given full length -o-o-o-o 
 (610), and these were the sources of dimetrical cola in descending 
 rhythm. The metre in descending rhythm, by a logaoedic 
 development similar to that described above, might also assume 
 nine forms : 
 
 . ^ 
 v. --- w 
 
 ---- , iii. 
 w w v , vii. 
 
 IX. w 
 
 w , viii. 
 
 Two of these were felt to be trochaic (i., iv.), four dactylic 
 (ii., iii., viii., ix.). One of them, however, was rejected in 
 comedy as too heavy a measure (ii.) ; another was avoided as 
 arrhythmical (v.). The remaining forms (vi., vii.) are the 
 distinctively ' logaoedic metres ' of descending rhythm. 
 
 378. The development of these metres in the primitive 
 dimeter and trimeter produced logaoedic cola. These consist, 
 in ascending rhythm, of logaoedic metres combined with logaoedic, 
 iambic or anapaestic metres and of iambic with anapaestic ; in 
 descending rhythm, of logaoedic combined with logaoedic, trochaic 
 or dactylic metres and trochaic with dactylic. The order of 
 arrangement of metres was not prescribed, but certain preferences 
 are manifest. Notwithstanding this limitation, the metrical 
 form of logaoedic cola is extremely varied. Illustrations from 
 Aristophanes follow. Cola marked with the star are found in 
 parodies. 
 
 379. Logaoedic Cola in Ascending Rhythm :
 
 164 THE VERSE OF GREEK COMEDY 379 
 
 TO. 8' apurd' 6'crcus Trpoa-rjKei, Th. 355 
 
 560 >~ w ^ -- 
 irpoa-exovcr' ervxov /j.avrrjs Ran. 1346 b 
 
 592 -- ^~ ^ - - * 
 
 d)? ^Trdprav v/zvtw/xes Lys. 13 05 413 ---- w w 
 Se^ofJ-f^Oa /cat $ewi/ yevos v~ w w v^ 
 
 XiTOfj.o-Oa raio-8' fir' ei^ais T/K 312 f. 
 
 411 5 ~- ^ - w -- 
 Trart/owv Ka/o;v, ot rdVSe ras -4v. 541 
 
 409 w _ w ___ w _ 
 TTO^OS os p-e SiaKvatcras ex j^c. 957 
 
 415 *~ w ^~ -- w 
 eYotyuos 6'S* ecrrtv aTravra 8/)av JV6. 807 f. 
 
 562 v-' ^ v^ w 
 
 <rv S' 5 Atos Snrvpovs ave^ov- w v wv^ 
 
 epoiv 10 <_ >^ w>, 
 ets FAv/c^s JZan. 1361 f. 
 
 592 ^_^_ w 
 cf>epTU) KaXaOov ra^v TIS Trre/owv ^tv. 1325 
 
 406 ~ --- ^ 
 Trapo.TTfp.Tri TO ^eipo/naKTpov Ar. /ragr. 502 Of. 27i. 1158 
 
 7rao-as S' iScas e^rao-ev 27i. 436 b 414 ---- -- ^ - 
 
 ct KCU Trporepov TTOT CTTTJKOW T7i. 1157 
 
 387 15 -- ~- ~-w^ 
 v, aAA' ei/ T^" <rc^ /?ovAoyuai j^c. 963 
 
 415 w --- __ w - 
 
 i)s 5' fj3a o"7roAas arev X IT( ^VOS ^4v. 944 
 
 585, 75 ^^ <- wvw v^ w 
 vo/xaSecrcri yap Iv 2/cv#ats aAarat ST/XXTWV ^4v. 941 
 
 585 ____^_ v _ ._ w _* 
 ^a^ewv lepwv 6/iwvv/ze, 8os e/iiv o T6 irep Av. 927 f. 
 
 585 ^^ v<w w v >^ \^ w^ <> 
 os v<f>a.vTOo6vr]TOv ecr^os ov 7rrarai ^.v. 943 
 
 585 20^-^,- w-w- w -- * 
 aya^6v 7ro/3ras, TOVTO KOti'ov eo-rat ^.v. 459 
 
 409 w _^_ ._^_ ^ -- 
 w Sv/3 5 f^t Seup', (5 Kvvaye irapcreve Lys. 1271 
 
 412 ~ . v/ \j v^ w 
 
 Tri(3r)6i Kat e'A^' errt Tep\f/t.v aoiSas 6/ias J2an. 675 
 
 4 Jo ws^ w -" w -^ w^ ^ ^^ 
 
 SoXepbv fj.ev dfl Kara rravra STJ T/>OTTOV
 
 383 LOGAOEDIC VERSE 165 
 
 irt<f>VKev avOp<airo$' trv 8' ofj.(D<; Aeye pot Av. 451 f. 
 
 409 25 w ^ ~ ~ 
 
 380. The following limitations are worthy of note : i. The 
 iambic metre is practically excluded from the first place in the 
 colon, but is preferred in the second and third, ii. Of the two 
 ' logaoedic metres,' w w - ^ - is preferred to w w v . The 
 latter never ends a colon, iii. If two or more anapaests ( w w - , 
 
 or in the same metre with w w - ) occur in a colon, they are 
 
 grouped together, iv. Eesolution of the thesis is allowed in iambs, 
 but not in anapaests, v. Protraction of iambs is allowed, but 
 not of anapaests. vi. Catalexis in these cola assumes iambic 
 form, ^ - ^ , to the complete exclusion of logaoedic or anapaestic 
 catalexis, ^ ^ - ^ , from ^ ^ - ^ - or w v . 
 
 381. The last two examples in 379 are brachycatalectic 
 trimeters and had the mensuration of trimeters. See 26, 35. 
 
 382. The metres w w - ^ - and w - ^ w - sometimes 
 appear sporadically in melic iambic verse. See 70, 185. They 
 are here simply traces of primitive formation that lasted into 
 the classical period. The logaoedic anapaest (389) remained an 
 important constituent element of the spoken trimeter and melo- 
 dramatic tetrameter and hypermeter. See 113, 177, 193. 
 
 383. Logaoedic Cola in Descending Rhythm : 
 
 ov8e Seworepov XeyovcrrjS Th. 435 414 w ~~ <-> 
 
 7TTCJ/OOIS KpfKOVT<S IttK^OV 'ATToAAw Av. 772 
 
 410 _^______ 
 
 7TOTVICU, ttAo-OS CS VfJLfTfpOV Th. 1149 Cf. 1155, Av. 936 
 
 387, 585 w , v 
 
 0C(7/AO<^)d/3a) TToAuTTOTVia Th. 1156 387 w v~ w 
 
 TTO.VTO. 8' e/^acrrcure <f>pcvl TTVKVWS re Th. 437 
 
 414 5-~ -~ ~w-w 
 
 rj TrdAti' f)[j.eTfpav f\fi Th. 1140 Cf. 1137, fys. 1288, 1290 
 
 387, 408 _____ ^ _ 
 
 IlaAAaSa TJ)V (ftiXo^opov l/xoi Th. 1136 
 
 oo ~* ^^ ~ ^^ ^-' ^ ^~ 
 
 irapOevov avya Kovprjv Th. 1139 Cf. 1154 
 
 387 _______ 
 
 KO.I TToXvutWfJLC dr]pO<f>OV Aa- C Lys. 1251 
 
 412 _-^~-- 
 
 TOVS xP wr uTri8o<s (pvos Th. 320 f. Cf. 1142, H4T 
 
 411, 387 10 ^ - ^
 
 166 THE VERSE OF GEEEK COMEDY 384 
 
 os TOI <T KaXei yvvcu- --- ~ ^ 
 
 KO>V c^ovcro, 8e /xoi jnoAois ?%. 1145 f. Cf. 1141, 1148 
 
 387 - *~ w 
 
 KV/ooxxviois <5 Mva/xova Lys. 1248 412 ~ -- s/ 
 
 TCU 8e Ko/iai (retovrai Li/s. 1312 413 *~ -- 
 ijXBfTov, vvv d<iKo-#ov Th. 1159 
 
 387 15 - ^ - . --- ^ 
 
 KvV/3t Tl [J.' CK/XCUVeiS 7Tl TO.VTQ ', EC. 965 
 
 415 ~w - - -~- - 
 
 MovVa roSe Swpov 8ex Tai ^^ 937 585 w ~ ~ * 
 AiyAov os x ei? i pu- v Th. 316 411 w . ^ >~ 
 os />tTa /xaivaat BaK\ios SfJLfj.aa-1 Saierat iys. 1283 f. 
 
 408 -~-~ -^-^ -w- 
 dvT/se^ets ert rav Tro/Xtv a 8' X Tat pOTras Fesp. 1234 f. Cf. 1232 f. 
 
 20 --- ~ ~ ~ v 
 xAi/xeSov TrpoAiTrwv ^v^ov t^^voevTa T/i. 323 
 
 411 <^^ w ^^ >^^ ~ w v/ 
 AWepa o-e/wmrrov piodpe^fj-ova TTCIVTWV J^Mft. 570 
 
 558 ________-.- 
 
 ov 8^ av8/)ao~iv ov 6ep.iTov e'uropav Th. 1150 f. 
 
 387, 586 <-> v~ w %/ w <-> 
 a ^' V7ra)/3o<j!)ioi /cara ywvtas JSan. 1313 
 
 586 - w -^ _ w _ w _* 
 SepKOfjifvov, /xeyaAovs ovv^as e'^ovTa; jRan. 1337 Cf. Tft. 994 
 
 592, 589 25 --- ~ -w^^ --w* 
 K\fj<rov <5 \pva-o6pove rav Tpoftepav Kpvepdv Av. 950 
 
 585 -w-- ^w-^, -^-* 
 TV 8 rey. <{>ptvl p,dde TltvSdpetov CTTOS Av. 939 f. 
 
 585 *-~ <- v- v^ < -' ^^ vy 
 vvv 8r) 8ei o*e TTVKV^V (frpeva Kal <^iAoVo^)ov eyctpetv J?c. 571 
 
 501 --- ~ -^,-^^w -- 
 
 384. The following limitations are worthy of note : i. The 
 trochaic metre is avoided in the first place in the colon and also 
 in the second place in the trimeter, but is preferred in the last 
 place of both dimeter and trimeter, where it generally is cata- 
 lectic. ii. Of the two ' logaoedic metres,' - ^ - ^ ^ is preferred 
 to - w ^ - w, but it never ends a colon, iii. If two or more 
 dactyls ( - ^ ^ , or -- in the same metre with - w ^ ) occur in 
 a colon, they are grouped together. iv. Eesolution of the 
 thesis is allowed in trochees. v. Protraction of trochees is 
 allowed, but not of dactyls. The paeonic- trochaic metre is 
 admitted, vi. Catalexis in these cola generally assumes trochaic
 
 387 LOGAOEDIC VERSE 167 
 
 form, - w ^ , but logaoedic or dactylic catalexis occurs, - v ^ ^ , 
 from w w w or ^ w -- . 
 
 385. The ' hypercatalectic ' (36) dimeter (colon 24) was prob- 
 ably followed by a pause that made it the equivalent of a trimeter. 
 
 386. The metres w ^ ^ , ^ ^ ^ , vw -- some- 
 times occur in recitative trochaic tetrameters and hypermeters. 
 See 205, 250, 268. These metres are here simply traces of 
 primitive formation that lasted into the classical period. 
 
 387. Eelatively few logaoedic cola are found in Greek comedy. 
 No ode is composed of them exclusively. The following is the 
 nearest approach to this : 
 
 Thes. 1136-59 (Stasimon II). 
 Strophe I. 
 
 c H/*. a' IlaAAaSa rrjv <f>i\6)(opov efJLol >~ *~ ^~ w 2 C 
 Sevpo KaAeiv v6p.o<5 ei's \opov, ~ ^/ w w 2 CV 
 Trap0evov a(vya Kovprjv, ~ 2 
 
 Antistrophe I. 
 
 'H/i. /?'} TToAlV ^fJLCTpaV f\l ~ s^ v^ 2 C 
 
 1141 /cai Kparos <f>a.Vfpbv fj-ovrj 5 w wv ^ 2 
 
 os TC /caAetrai. --- ~ 2 
 
 Strophe II. 
 
 Xo. <f>dvr)@' w rvpavvovs 448 - -- w -- 
 
 crrvyoiKr' fanrep CIKOS. w -- w -- 4 
 
 1145 SyfJ-os TOI (re /caAef ywai- --- >~ v/ " 
 
 KWV IX ^ ' ' ^ /* Ot /AoAotS 10 w ^^ vy 4 C 
 
 --- v^ w 2 CV 
 
 ///. 
 
 t'Aaoi, v ^v \j 2 C 
 
 aAaos es v/ieTC/aov, 800 ^v >^/ ~ ^/ 2 CV 
 1150 o^ 67) d.v8pd(Tiv ov Oe/JLir^v eio-opav 
 
 800 w >^v \s ** \j 
 
 1152 opyia (re/tva ^coiv, iva Xafj.ird(ri 
 
 392 15 -~ -ww -^-^ 
 
 <at'vrrov apftporov o^iv. >~ s~ 4 
 
 1155 /xoAerov eA^eTOV, avro/zefl' 5 w^w v^ ^^ 2 C 
 
 - w ^- v 2 C
 
 168 THE VERSE OF GREEK COMEDY S 388 
 
 1 KOU TTpOTCpOV 7TOT CTT^KOO) -- >~ ~ w w 2 
 
 1158 r/A&TOV, vuv d<f>iKf(r6ov 23 ^ s~ w 2 
 
 ~v/ ~ w -- 2 C 
 
 1139 Kotipyv Hermann : Kbprjv 1152 foot^ Meineke : 6eaiv 
 
 The stasimon constitutes an epodic pentad (1136-9 = 1140-2, 
 1143-7, 1148-54, 1155-9). See 716. A = aab, 2 2 2, epodic triad : 
 two catalectic dimeters, with a protracted catalectic dimeter as epode. 
 See 737. B = abc, 442, pericopic triad : bacchiac tetrameter, cata- 
 lectic logaoedic tetrameter, protracted catalectic logaoedic dimeter. 
 See 771. C = aabc, 2234, epodic tetrad : two dimeters and a trimeter, 
 with a tetrameter as epode. See 743. D = aabcd, 22222, epodic 
 pentad : a tetrad composed of two dimeters in descending rhythm, 
 a dimeter in ascending rhythm, and a protracted dimeter in descending 
 rhythm, with a dimeter in ascending rhythm as epode. See 759. 
 
 With the exception of the seventh, eighth, and fifteenth cola, the 
 rhythm is probably exclusively logaoedic, though certain cola (5, 6, 9, 
 10, 11, 12) admit scansion as Glyconics and Pherecrateans (511). 
 Their close connexion, however, with undoubted logaoedic cola makes 
 it very unlikely that they are in Aeolic rhythm. 
 
 388. Since isomeric and diplasic simple feet (9 i., ii.) were 
 combined in logaoedic verse within the same colon, anapaests 
 with iambs and dactyls with trochees, their time must have been 
 at least approximately unified. It was possible to effect this, 
 assuming that the process was mathematically exact, either by 
 increasing the value of the iambs and trochees from three primary 
 times to four or by decreasing that of the anapaests and dactyls 
 from four times to three. The connexion in which these cola 
 were used by the Greek poets strongly indicates that the metres 
 of which they were composed contained, if exact values must be 
 predicated, six primary times rather than eight, and this opinion 
 is now held by most modem metricians. But the process by 
 which the time of the component anapaests and dactyls was 
 reduced was probably neither exact nor uniformly the same. It 
 was a process of approximation rather than of equalization and 
 cannot have differed essentially from the mode of reducing the 
 time of the irrational half of iambic and trochaic metres (15, 
 16). The theses of the component simple feet in logaoedic 
 clauses remained constant, but the time of the two sbort syllables 
 or of the one long syllable constituting the arsis was reduced. 
 The general rhythmical effect of this upon the colon as a whole 
 was retardation, since the time of the two short syllables, or of
 
 390 LOGAOEDIC VERSE 169 
 
 the equivalent long syllable, was still greater than a single 
 primary time. 
 
 389. Thus we come upon simple feet in Greek poetry that 
 may conveniently be called ' logaoedic anapaests ' and ' logaoedic 
 dactyls,' namely anapaests and dactyls that are not isomeric in 
 rhythm but approximately diplasic, or, to use a modern phrase, 
 that were rendered not in common but in triple time. Entire 
 cola may be composed of such anapaests or dactyls in simplified 
 verse (392 ff.), and such anapaestic and dactylic cola occur 
 elsewhere in heterometric combinations of cola in which the 
 simple feet are probably all approximately in diplasic rhythm. 
 It is now impossible, of course, to determine whether the poet in 
 his music gave the anapaests and dactyls in some of these 
 combinations their normal isomeric rhythm or reduced it to 
 approximately diplasic rhythm. This uncertainty, furthermore, 
 affects the determination of the length of these cola, since a series 
 of six dactyls, for example, if these are in ' logaoedic ' time, is a 
 trimeter, but if the dactyls are isomeric the series constitutes a 
 dimeter and a monometer. See 337. The logaoedic anapaest 
 and dactyl are more commonly designated as ' cyclic,' a misleading 
 name supposed to have behind it the authority of Dionysius. 
 See the next two paragraphs. 
 
 390. Voss (Zeitmessung, 187 ff.) concludes that the diplasic feet 
 in logaoedic verse have the value of four times and that the ratio of 
 the long to the short syllable is 3:1 (J . J*). Such feet, of course, 
 do not admit isomeric measurement, as do the anapaest and dactyl 
 with which they are here closely associated. Apel (Metrik 2 , i. 121 f.) 
 reduces the time of the first two syllables of the dactyl, so that the 
 relation of the parts of this foot is 1| \ 1 (J . .FJ"') instead of 2 1 1. 
 Apel's diplasic valuation (1| + : 1) of the 'cyclic' dactyl is strongly 
 supported by Bellermann (Hymnen, 58 ff.) and has been generally 
 accepted. Bockh (Find. Op. I. ii. 107) assumes reduction of the 
 time of each syllable of the dactyl, with the division 1-f- f ( = 3). 
 Westphal (System der antiken Rhythmik, 181) at first proposed ij + : 1 
 as a substitute for Apel's division, but he confessed that practically 
 there was little difference. This preserved Apel's diplasic ratio of 
 2 : 1 between the first two syllables and the last syllable of the 
 dactyl Finally, following the suggestion of Caesar (Grundzlige der 
 Rhythmik, 151 ff.), Westphal (Allg. MetriJc 3 , 365 ff.), maintaining that 
 according to Aristoxenus every long syllable in melic verse has twice 
 the value of a short, and that the Aoyo? TroSi/cds of the dactyl is 
 unchangeable, assumes for melic verse a SaKi-vAos rpurrjpos with
 
 170 THE VERSE OF GREEK COMEDY 391 
 
 dactylic division : 1 J f f . This valuation, like Bockh's, affects the 
 time-length of each syllable of the dactyl ; its long and shorts were 
 sung more rapidly than the long and short of the trochee. Thus, if 
 we assume a value of twelve units for each simple foot, the time- 
 relation of the syllables in the Alcaic dimeter, w w w w ^ vy , 
 is 6 3 3, 6 3 3, 8 4, 8 4. This view is adopted by Gleditsch (Metrik 3 , 
 176) and Masqueray (Traitt, 327). Rossbach finally concludes (Spec. 
 Metrik 3 , 11) that it is better not to attempt to determine ratios of 
 value with arithmetical precision, but to be content with the view 
 of ancient rhythmicians that anapaest and dactyl approximate iamb 
 and trochee in value. This variety of opinion sufficiently indicates 
 the difficulty of the problem. 
 
 391. It should be observed, however, that the modes of 
 equalization proposed by Apel, Bockh, and Westphal (390) all 
 assume a reduction of the time of the thesis of the dactyl. The 
 authority for this is Dionysius of Halicarnassus (De comp. verb. 
 xvii., 108 f. E.), who, quoting a verse from Homer (Od. ix. 
 39), states that 'the rhythmicians' held that the long syllable of 
 the dactyl was irrational (01X070?), being shorter than the normal 
 long. This is a very different a\oyla from that of Aristoxenus. 
 His irrational syllable is always in the arsis. (See Aristox. 
 292 M., 20 W.) No explanation of the reduction of the time 
 of the anapaest and dactyl in logaoedic cola is admissible that is 
 not consistent with the explanation of the reduction of the time 
 of the irrational half of iambic and trochaic metres. But Apel 
 and Westphal (16) leave the theses of the irrational iambic and 
 trochaic metre intact. Bockh saw the inconsistency of this and 
 parted company with Aristoxenus in both processes. Goodell 
 (Metric, 173 f.) rightly insists upon the rationality one might 
 say the inviolability of the thesis. He rhythmizes logaoedic 
 cola (Metric, 240 ff.) on the assumption that two impulses acted 
 in a certain degree of opposition to each other. One impulse 
 was to rhythmize the syllables of dactyls and spondees in even 
 time and the syllables of trochees in triple time. The other 
 impulse, which was secondary, was to carry the equalizing process 
 through the entire colon by making the feet themselves equal. 
 His doctrine is clearly conceived and stated, and the whole 
 passage (240-244) should be consulted.
 
 394 LOGAOEDIC VERSE 171 
 
 SIMPLIFIED LOGAOEDIC VERSE 
 
 392. Logaoedic verse freely combines iambs and anapaests or 
 trochees and dactyls within the same colon. The effect of this 
 combination, even under the limitations that were gradually 
 imposed (380, 384), is marked irregularity of form. Simplifica- 
 tion of this complex verse was secured by introducing into the 
 ode cola that were wholly iambic or anapaestic or wholly 
 trochaic or dactylic. A form of verse was thus unconsciously 
 developed by the poets of which the movement is distinctly 
 more regular than that produced by a continuous series of 
 logaoedic cola. Inclination towards rhythmical regularity, 
 furthermore, gradually led to the reduction of the purely 
 logaoedic element. The result of this process is seen in 
 Aristophanes, although there is none of his simplified odes 
 that does not contain some purely logaoedic constituent. In 
 the main, however, they consist, in ascending rhythm, of iambic 
 and anapaestic, in descending rhythm, of trochaic and dactylic 
 cola, either combined in subordinate periods or constituting each 
 by itself such a period. This shifting combination of different 
 elements, although rhythmically more regular, preserves the 
 essential, primitive characteristic of purely logaoedic verse, 
 variability of the arses of simple feet. These elements show, 
 as would be expected, considerable freedom of form, and the 
 verse is lively. 
 
 393. The prevailing iambic colon (62 ff.) is the dimeter, but 
 trimeters occur. Certain apparent tripodies with spondaic close 
 (-*), Av. 457 b (409), 1314 (406), Lys. 1309, 1311 (413), 
 are protracted catalectic dimeters. This fact is established by 
 correspondence. Cf. Av. 1314 = 131 7. The colon ^ - ^ - ^ - 
 does not occur. The apparent pentapody also in Lys. 1302 
 (413) is to be regarded as a protracted trimeter. Cf. Av. 547 
 = 459 (409). See 68. Eational and irrational metres are about 
 equal in number. Eesolution of the thesis of the simple foot 
 and protraction are normal. 
 
 394. The prevailing anapaestic colon (270 flf.) is the acata- 
 lectic dimeter, and this generally consists wholly of anapaests. 
 The proceleusmatic (271) never occurs, the dactyl only once, and 
 the spondee infrequently. The retarding effect, therefore, of the 
 spondaic cola in Lys. 1313 f. (413) is marked. Cf. Eccl. 964
 
 172 THE VERSE OF GREEK COMEDY 395 
 
 (415), Thesm. 433 (414). An occasional trimeter occurs, the 
 approximate equivalent in this rhythm, if measured in primary 
 times, of an iambic trimeter (389). A penthemimeral form also, 
 
 ^ ^ - ^ ^ ,is found in such relations as to preclude doubt 
 
 as to its constitution, although its rhythmical length, whether 
 that of a dimeter or of a catalectic tripody, is not certain. Cf. 
 Av. 455, 458 (409), 1318, 1319 (406). These may be true 
 catalectic tripodies, but probably they had the mensuration of 
 dimeters, secured by a pause in the singing of unusual length. 
 Cf. the use of the brachycatalectic dimeter (277). 
 
 395. Trochaic cola (197 ff.) outnumber every other sort of 
 colon in this verse and show unusual variety of form. The 
 prevailing phrase is the dimeter, but the trimeter is not rare. 
 The ithyphallic (203) often closes a long subordinate period. 
 The penthemimer also occasionally occurs (203). Eesolution of 
 the thesis of the simple foot is freely admitted in Lys. 1279 ff. 
 (408), a lively hyporcheme, and is found also in other odes. 
 Rational metres preponderate and protraction is common. 
 Spondaic trochaic metres (209) occur in unusual number in the 
 first Spartan hyporcheme in the exode of the Lysistrata, 1247 ff. 
 (412). The paeonic-trochaic metre (223 ff.) generally has the 
 form - w - , which is sometimes resolved ( ^ w ^ - ). The 
 normal paeonic-trochaic metre (-w~-w) is found only in 
 resolved form (w ^ w~- w), with one exception in a logaoedic 
 dimeter, Th. 316 (411). 
 
 396. The prevailing dactylic colon (333 ff.) is the acatalectic 
 dimeter composed of four dactyls or of three dactyls and a 
 spondee. The spondee, with two exceptions in acatalectic tri- 
 meters, Thesm. 324, 328 f. (411), is found only in the last place 
 in the colon. This trimeter is the approximate equivalent of a 
 trochaic trimeter (389). A penthemimer is found as the final 
 colon in a hexameter, Av. 751 (410), in such relation (note the 
 antistrophe) that it cannot be connected with the following 
 colon. This penthemimer may be a true catalectic tripody, but 
 probably it had the mensuration of a dimeter, like the corre- 
 sponding anapaestic penthemimer (394). Compare the use of 
 the brachycatalectic dactylic dimeter (338). A catalectic penta- 
 pody (hypercatalectic dimeter) occurs also in this same ode (Av. 
 742) between bird-notes. This is probably to be regarded as a 
 shortened trimeter.
 
 401 LOGAOEDIC VEKSE 173 
 
 397. On logaoedic cola see 379, 383. 
 
 398. Hephaestion l ascribes the invention of verse of this descrip- 
 tion to Archilochus, which is only another way of saying that it was 
 primitive, and the form found in Ar. frag. 437, which consists of a 
 dactylic dimeter and an ithyphallic, was called by Eoman metricians 
 ' versus Archilochius ' by distinction : 
 
 !]V yap fv avSp aSiKOv ai> SIWK^S, dvTt/zapTvpovcrt. 
 
 399. The modern name by which this verse is generally designated 
 is ' dactylo-trochaic,' which is too limited in signification and is histori- 
 cally misleading. Hephaestion, in the chapter cited (xv.), discusses and 
 quotes seven different styles of ' episynthetic ' verse. See Hephaestion 
 50. 18; 157. 7 ff. The most of these are prosodiac or enoplie 
 periods (475 ff.). 
 
 400. The fact that many of the odes in this form of verse 
 in Aristophanes are hyporchematic would alone warrant the 
 assumption that the time of the constituent cola was at least 
 approximately unified. It is hardly possible that it shifted, 
 in dancing, within the limits of a period, or indeed at short 
 intervals within the strophe. Since the tone of these hypor- 
 chematic odes is lively and the movement rapid, it is probable 
 that the controlling time was that of the iambic and trochaic 
 series, 2 so that the process of the unification of cola of apparently 
 different rhythms was the same as that which operated within 
 logaoedic cola, which it must be remembered remain one of the 
 constituents of this simplified verse. See 388 f. Confirmation 
 of the supposition that the time was approximately uniform is- 
 found in apparently irregular correspondences between strophe 
 and antistrophe and between two equivalent subordinate periods 
 in some of these odes, an anapaest or dactyl answering to an 
 iamb or trochee. Of. Av. 1313 = 1325 (406). Similarly in 
 Av. 740 = 772 (410) a logaoedic dimeter of the form - ^ - ^ ^ 
 - w w -- finds its correspondent in a trochaic dimeter. Cf. 
 Av. 451 = 452 (409). 
 
 401. The cola that constitute a subordinate period must 
 be in rhythmical agreement. The combination, for example, of 
 anapaestic and trochaic cola or of dactylic and iambic within a 
 single period does not occur. 
 
 1 Heph. 47. 6 ; 49. 25 ff. ; 27. 7 ff. irpoarf&vpe ical r^v et't TOI/J ovx 
 Cf. Plut. J/iw. 28 (1140 F) 'Apx'Xoxos pvtytoi>s tvraffiv. 
 
 a See Rossbach, Spec. Metrik*, 374 f.
 
 174 THE VERSE OF GREEK COMEDY 402 
 
 402. The structure of the strophe is generally complex. 
 Periods in other rhythms are rarely admitted. See Thesm. 
 327 b (411). 
 
 403. Compare the following examples of subordinate periods 
 in ascending and descending rhythm : 
 
 7raT/3Ct>v KaKtjv, 01 rowrSe ras rt/xas Trpoyovwv Trapa.86vT(av 
 ^ w -- ^ -- w~ %~ -- Av. 541 f. 
 
 w- w -- Av. 1316 f. 
 
 , TOV oi5 fiporuv \//f)<f>o<i Sui/arat (f>Xeyvpa Seiirvov <i'A 
 ^_ ^_ w -|^-v^- -- w- w -- Crat. 57, cf. 58 
 TOV 'Ayuv/cAats crtov Kat ^aA/aoi/cov avao-o-av, TvvSapiSas T' 
 Sj rot 877 Trap ISivputrav 
 
 -- ^- -- w- .-w Lys. 1299 ff. 
 yap ev ^,Kv6at<s dAarai ST/XXTWV, os v^avroSovarov 
 
 ^ ^ w ^ -- Av. 941 ff. 
 ayev atrep TWS Kairputs ^ayovras otw TOV oSovTa TroAvs 8* 
 
 w w w w| ^~ ^/ ~ Xys. 1255 f. 
 vaiptTt TrdvTes otroi iroXvfluTov irovTiav 2e/ot<^>ov 
 
 ____ __ -- |_ w _ w _._ Crat. 211 
 
 T^S dyavo<^)/3ovos tjv 7rot^o-e #a KvTr/ots 
 ^--^|-v^-v^ - ^ - Lys. 1289 f. 
 
 0[J.OV TTTCpOtS K/DKOVTS tttK^OV 'A7ToAA(0 
 
 w w ^-^| w ^ ^ -- Av. 771 f. 
 
 S' e/3crTa<re <j>pevl TTVKVWS TE irotKi'Aovs Aoyovs dvr^vpev cu 
 
 - w -- - w - Thesm. 437 ff. 
 
 404. A simplified ode may be composed continuously in 
 -ascending or in descending rhythm. Cf. Av. 451 ff. (409), 
 1313 ff. (406), and Lys. 1279 ff. (408). Or, as in the other 
 odes analyzed below, it may shift the rhythm from time to 
 time, sometimes within narrow limits. 
 
 405. This verse might be used continuously Kara crrL^ov, 
 as the ' versus Archilochius ' in the following : 
 
 ai>TO/j.a.Tr) 8e (frepet Tl&6fM\\OV KOI <T(j>aKov TT/OOS avrip 
 dtrffxipayov KVTLCTOV re' vdirauriv 8' dvOfpiKos fvr)/3q.' 
 KCU (frXo/j-ov atfrdovov uxrrf irapfivcu rracri Tots dypourtv. Crat. 325 
 
 This fragment was probably part of a stichic melic period (778).
 
 407 LOGAOEDIC VERSE 175 
 
 406. Av. 1313-34 (Stasimon L). 
 Strophe (1313-22). 
 
 'H/x. a TOL)(V 8rj TToXvdvopa. rdv8c iroXiv 400, 795 <~ ^~ OC 
 
 1314 KaAei TIS dvOpiaTr<av. 393 w w -- 4 C 
 
 Ilei. TV\T) fiovov irpo<rfir). o w ^ -- 2 
 
 'H/x. a' KaTX ovflrt 8' cpwrcs e/xas TrdAews. x~ ^~ <~ ^/ 
 
 Ilei. 6S.TTOV <f>epLV KcAevw. 5 -- v w 4 CV 
 
 'H/i. a' Tt yap OVK Ivt ravry 394 ^^ ^ 2- c 
 
 KaXbv aj/8/3t (JLCTOiKeiv ; 394 ^~ ^ 2- c 
 1320 Soviet Iloflos 'A/i^Spocria Xa/oires 
 
 TO re TTJS dyai'o^poi'os'Hcrux 1 ' 01 ? 792 ^^ >^ ~ ^, 
 
 10 w w w 6 CV 
 
 ot 
 
 Antistrophe (1325-34). 
 
 'H/i. /S' (^e/MTW KaAa0ov rax^ TIS TTTC/OWV, av B' au^is 
 Ilet. TUTTTWV ye TOVTOV a8i. 
 
 'H/i. (3' TTOLVV yap (3pa.8i>$ ecrTt TIS worre/a ovos. Ilet. Mav^s yap e(TTt SetAos. 
 *H)M. ^8' (TV 8e TO. irrepa Trptarov 
 1331 Stages To5e KCXT/M^, 
 
 Ta TC /j.ov<ri) o/zou Ta TC /iavTt/ca {^at ra 6a\o.TTi^ eTretTa S' 
 
 OTTWS <^povifj.ws irpbs avSp' O/DWV TTTepaxreis. 
 1313 STJ Person : 5' a/ 1326 aC^is Brunck : aDrti 1328 ^O-T/ T Bentley : 
 
 The stasimon constitutes a mesodic triad, ABA, See 718. A = 
 AB (1313-17, 1318-22). A = aba, 424, mesodic triad: two 
 tetrameters with a dimeter as mesode. See 739. B = aab, 2- 2- 6, 
 epodic triad : two anapaestic penthemimers with a hexameter as 
 epode. See 737. B is probably a melic iambic tetrameter. See 805. 
 
 This is the only ode in simplified logaoedic rhythm in Aristophanes 
 composed solely of iambic and anapaestic cola, and even in this there is 
 logaoedic correspondence in the first colon of the antistrophe. 
 
 407. With the tetrameters and hexameter in this ode cf. 
 the tetrameter in Crat. 238. 3, which follows, probably, an 
 iambic subordinate period, of which the second metre is logaoedic : 
 
 dyav6<f>pove<i iJSvAoyo) cro<f>iy. fiportov wepwrcr 
 
 Cf. also Crat. 239.
 
 176 THE VERSE OF GREEK COMEDY 408 
 
 408. Lys. 1279-94 (Exode). 
 
 Hyporcheme. 
 Xo. 'A$. 7rpo(raye \opov, eTraye Xaptras, 
 
 O/0 ">***' \S ^^ W *s*s \S w* W 
 
 7Tt Se KaAecrov "Apre/iiv, v~ w ~ w w w 4 CV 
 
 1281 ri Se SiSvpov dye^opov 'Ifyov >~ ^ ~~ ^ *~w~-w ww 3 CV 
 
 1282 ev(f>pov, ri 8e Nwriov, w ~ ^ w ^ 2 CV 
 os /iCTa juatvacri BaK^ios ofj.p.a(ri Saterai, 
 
 383 5-~-~ ---- -w-3 c 
 
 1285 Aca re Trvpt ^>Aeyo/>cvov, e?rt re~~w~~w w^w^v> w 
 
 TTorviav aAo^ov 6X/3tav ^^ ^> w v 4 C 
 
 etra 8 Satyuova?, ofs 7Ttyu,a/OTV(Ti v^/ ^x^ ^o v^ 
 OVK 7riAry<r/AO(riv 
 
 383 - w -- - w w 4 CV 
 
 ayavo^povoslO ~ ^s. x^ w^ 
 
 1290 r)v 7roi?j(T ^a KVTT/DIS. ~ >^ ^/ w 4 CV 
 
 dAaAaAai n) 7ra4>)wv 802 <~ v_/ vy ^ -- 
 
 aipecrB' avw iai, w v^ 4 C 
 
 as eirt vtK^ toi, 206 wv^ w 2 C 
 
 evo? cvat i5ai. 15 -- -- _._3 C 
 
 1284 Bd/cxios Burges : BdKXy or Ba/cxefots 1289 dyav6(j>povos Reisig : 
 
 fjieya\6<t>povos 1291 dXaXaXai Bergk : dXaXai Of. ^v. 1763 (588), where KVT 
 
 have dXaXaXaJ, as the rhythm demands 
 
 Non-antistrophic. A = AB (1279-86, 1287-94). A = abcba, 
 43234, epodic pentad : a tetrad composed of a tetrameter and 
 two trimeters that enclose a dimeter, with a tetrameter as epode 
 that repeats the opening strain of the pentad. See 763. B = aabcd, 
 44423, epodic pentad : a tetrad composed of two tetrameters, 
 a protracted tetrameter and a dimeter, with a trimeter as epode. 
 See 759. The metrical form of 1291 ff. is doubtful. 
 
 409. Av. 451-9 = 539-47 (Debate). 
 
 Strophe. 
 
 'H/z. a' SoAcpbv [J-ev aei Kara iravra 8r; T/OOTTOV 
 
 400, 802 ~ ^-^- ^ * 3- cv 
 
 TT(j)VKfV OLvdptoTTOS" (TV 8' O/XWS Ay fJLOl. 
 
 381, 400 v - w - - - ~ - ~ - 3- c 
 
 453 Ta\ a y<*-P Tvx ot 5 & v XP r ) (J " T ^ v *~ 
 
 379 _-^---^-- 
 
 ciiratv o TI fiat Trapop^s, ^ ~ ~~ 4 C 
 
 455 Svfa*tv Tiva zeico 394 5 ~ - w^ - * 2- c
 
 410 LOGAOEDIC VERSE 177 
 
 456 Tra/aaAeiTro/wvTjv VTT' e/x^s </>vbs a^werov- crv 8e rovO' 
 
 6/sps' Aey' eis KOIVOV. 393 w ^ . ^ 5 CV 
 
 458 o yap av <rv TTJ^T/S /AOI 394 *~ ~ 2- c 
 
 459 aya#ov TroptVas, TOVTO KOIVOV rrai. 
 
 393 -- ~ - . - v - o - - 3 C 
 
 'H/i. /3' TroAv 877 TroAu 5^ ^aXeirwTaTovs Aoyovg 
 
 ^vey/cas avOpuxj) (is eSa/cpvo-a y' c/it3v 
 541 7raT/3Q)v Ka/cT/v, o? racrSe ras rt/xas Trpoyovcoi' TrapaSovrajv 
 
 543 7r' /iov KaTeAtxrav. 
 
 544 crv Se /zot Kara Saifiova KO.L <riva> (rvvrv^tav aya^v rJKts e/noi 
 
 546 dva$ets yap cyw (rot 
 ra veoTTta /ca/iavr^v 
 
 544 TW'a Bentley 547 T& Princeps : rd re 
 
 Monostrophic dyad. A = AB (451-4, 455-9). A = aab, 3- 3- 4, 
 epodic triad : two brachycatalectic logaoedic trimeters, with a 
 tetrameter as epode. See 737. B = abac, 2- 5 2- 3, epodic tetrad : 
 two anapaestic penthemimers that enclose a pentameter, with a 
 logaoedic trimeter as epode. See 748. 
 
 410. Av. 737-52 = 769-84 (Parabasis). 
 
 Strophe. 
 'Ifyu a Mowra \o\fiaia, ~ -- 2- 
 
 TIO TIO Tib TlOTt'y, 395 ww w v w s^/w 2 C ? 
 
 TroiKtAT;, /i^' ?^s eyd) va- w w w w ~ 
 
 740 TTCUCTI K0pv(f>aia-i r ev opetais, 400 wcv; 1 ^ ww^ -- 4 
 
 Tib Tib TIO TlOTi, Sw^www ~ w 2 C ? 
 
 396, 800 (ant.) - ~ - w - ~ - v^ ^ 3- cv 
 
 TIO Tib Tib T6OTl'y, w^www *~ v^ 2 ? 
 
 Si' ^s yevvos ovOf)s /leAewi' 404 wv ^/ *^ w^ 2 
 745 Ilavt vo/iov? IC/DOVS ava^aivw >^/ ~~ ^, -- 
 
 (re/xva T fj.rjrpl \opevp.ar opeia, 10 w/ ~ -- 4 
 
 TOTOTOTOTOTOTOTOTOTiy^, wwvv^v^ w^w/ 2 C ? 
 
 Iv^CV W(T7r/3t /itAlTTd v w v w 
 
 749 3>pvvix o< * oip.f3po<rt(i>v /^teAewv UTTC -- >~ w^ ^. v~ 
 
 BCKTKCTO Ka/OTrbv act 396, 802 - ~ - ww ^ 6- cv 
 <f>(puv yXvKciav oJSav, 404 15 w w w ^ 2 CV 
 
 TIO TIO Tib TlOTl'y. ^ww^.v/ w 2 C ? 
 
 N
 
 178 THE VERSE OF GREEK COMEDY 411 
 
 Antistrophe. 
 
 l HfJL. ft' TOldSe KVKVOl, 
 
 TIO Tto Tib TioTiy, 
 
 771 <rvp.fj.tyfj poty 6/xov irrepois K/OCKOVTCS IO.K\OV 'Afl-oAAw 
 773 Tib Tib TIO TioTiy, 
 
 6'x0<{> f<f>(6[j.fvoL Trap "E/3/oov irorapov, 
 775 TIO Tib TIO TioTiy, 
 
 Sia 8* ald'fpiov ve<os ^A0e /3oa, 
 777 TTT^C 8e TroiKiAa <uAa TC Ofjputv, tiVfJ-ara T r/?eo-e v^ve/xos atOpr), 
 
 779 TOTOTOTOTOTOTOTOTOTt y^ * 
 
 Tras S' fTreKTviTTjcf "OAvyMTros, elAe Sc OdfJL/3o<s avaKTas, 'OAv/*- 
 
 7ria8es Se /AcAos XapiTCS 
 Movcrai T' 7r(oAoAuav. 
 784 Tib Tib Tib TioTiy. 
 
 748 wo-Trepel Reiske : axrirep ^ 
 
 The monometer in 737 ( = 769) probably had the value of a 
 dimeter. Cf. the similar use of the dactylic penthemimer in address 
 in Nub. 275 (344). 
 
 The metrical value of the bird-notes is as difficult to determine 
 here as in 227 if. Compare the similar case in Ran. 209 ff. 
 Probably both syllables of TIO are short. The evidence of the manu- 
 scripts is overwhelmingly for the reading Tib Tib Tib Ticmy^, even that 
 of R, which only once commits the vagary of reading TIO seven times. 
 Both this phrase and TOTOTOTOTOTOTOTOTOTiy may have had the value 
 of a catalectic trochaic dimeter. There is no certain evidence else- 
 where in the ode, in the metrical equivalence of subordinate periods, 
 that any part of the melody was repeated. See the final note on 
 Man. 209 ff. (373). 
 
 411. Thesm. 312-30 (Parode). 
 
 Xo. Sf^ofifcrOa Kal 6e<av yevos *~ w w w 
 
 AiTO/iecr0a Tcuo-8' ITT' evx^is 379 ~ w ^ 4 C 
 
 </>avVTas 7r i^aprjvai. w w ^~ w 2 
 
 315 Zev fieyaXwvvfJ-e ^pvcroXvpa re x~ w~ w~ w 2 V 
 
 ArJAov os Xfi? icpai/, 383 5 w ~- w w^ 2 C 
 
 Kai o-u Tra.yKpa.TK Kopa yXav- ^ w w 
 
 xpvcroAoyxe iroAiv oi/covo-a ircpifjui- 
 
 X r ) TOV ) fXOe Sevpo. 
 
 320 Kal TroAvwvv/te Or)po<j>6ve Aa- ^/ ^^ w ~ 
 
 TOTJS X/ 3 ^ "^ 71 " 1 ^ ? /9VOS, 383 10 ~ w 4 CV 
 
 <TV T 7TOVT16 (TffJLVf II6o-l8oV ww ^/ <^ w 2 CV 
 
 323 dAi)tte8ov Tr/ooAirrwv /Jtvxbv ix^vdcvTa 
 
 383 ww s^ ^ w ^w u 3
 
 412 LOGAOEDIC VERSE 179 
 
 oiarpoSovijTOV, NTjpeos elvaXiov re Kopat 
 
 389, 396 - ~ --- - w- %* _ ^ _ _ ' 
 
 <f>ai r' opeiTrXayKTOi. w 5 
 
 327 \pwea re <o/a/uy 15 w w 2 C 
 ia^7j(Ttv CTT' ev^ais 416 ww -- ww -- 2 
 
 328 -rjfjLfTfpais' TeAews 8' fKK\rf(ridaraifJLfv 'AOrjvwv 
 
 389, 396 - ~ - ~ ---- ---- 
 
 330 evyeveis yuvcu/ces. w w 5 
 
 320 6i)p<xf>6i>e R, which adds ira?, probably a gloss (first rejected by Hermann) 
 on fyvos 323 ixQvbevra von Wilamowitz : l%6vi>evT 325 dva\lov Brunck : 
 
 iva\iov 329 'A&ijvwv Reisig: ' 
 
 Non-antistrophic. A = ABC (312-19, 320-6, 327-30). A = 
 abcde, 42227, pericopic pentad : logaoedic tetrameter, iambic 
 dimeter, dactylic dimeter, trochaic dimeter, trochaic heptameter. See 
 772. B = abed, 4235, pericopic tetrad : logaoedic tetrameter, 
 paroemiac, logaoedic trimeter and a pentameter. See 772. C = abc, 
 226, pericopic triad: trochaic dimeter, ionic dimeter, pentameter. 
 See 771. On the musical effect of pericopic grouping see 777. But 
 the melody which closed the second intermediate period (B) may 
 have been repeated at the close of the third (c). 
 
 412. Lys. 1247-72 (Exode). 
 
 Hyporcheme, 
 
 AOL. opp-aov TOIS 395 . . . . 
 
 KV/xravtois a> Mva^idva 383 ~ -- w 4 C 
 
 rav rcav Mwav, arts _ w _ . _ w _ v 
 
 1250 oiSev a.fj.6 TO>S T' 'Ao^avat- w w ^ -- 
 
 (OS, OKtt TOt fJLCV ir' 'A/3Ta/XtTty 
 
 383 5 - ~ - ~ _^^_ 
 crvetxeXot \s w w 8 C 
 
 d/A 8' a3 Acwvi'Sas w ^ w 5 C 
 
 1255 ayev $7T/9 TW? KCtTr/Dws ^a- w w ^ 
 yovras oiw TOV 686vra' TroAvs S' 
 
 384, v., 802 10 - ~ - ~ - ^ - . 
 
 dfjufrl ras yevvas a^>/3os 395 w ^~ v <* w 
 
 aV(TV, TToAvS 8' afJM KO.T- w w \J -- 
 
 TWV <TKf\(Hv IfTO. ^ w w 10 CV 
 
 1260 liyv yap ruvSpes OVK fAao-acos ^ <^ 3 C 
 
 ras ^a/t/xas rot IIf/30-ai. 15 . . _ . _ 3 
 
 ay port pa. (rrjpoKTOve /idA <^ w -- ^ w \^
 
 180 THE VEESE OF GREEK COMEDY 413 
 
 Sevpo irapxreve crta 395 w >~ w 
 
 7TOTTO,? OTTOvSaS, _ . _ . _ . _ 6 C 
 
 1265 ws 
 
 r cues 
 
 802 20 ~ ~ ~ -- 
 
 1268 TCUO-I a-wOr/Kauri, KOI rav w -- w -- 
 afyivAav dAtoTre/cwv Trav(raLfj.eOa. 
 
 v_/ w w w 9 
 1271 <w Sev/a' t#i Sev/o, (5 /cvvaye Trapo-eve. 
 
 379, 404 - - v- - - - w - s, - w w 3 CV 
 
 1248 rots Kvp<ravlois Meineke : TOJJ Kvpa-avius 1250 TC^S r' 'Atravafus Brunck : 
 
 TOI/J T' 'A<raf afous 1252 irp&icpoov Ahrens : irp&Kpoov ffveticeXoi. von Wilamowitz : 
 OeiKeXoi 1253 TU>J Mi^Sws Kiister : roi)y Mi^Jouj 1257 8.v<recv von Wilamowitz 
 
 (noting the scholiast : &vrl rov iji>0ei) : ijvffei 1259 KO.TT&V Reisig : Kal Kara 
 
 rwv Hero Brunck : d^>pos 'iero 1262 dyportpa. Dindorf : ayportp' "Apre/ut 
 
 1267 T' Schafer : 8' 1268 T<u<ri awff-fiKcutri von Wilamowitz : raiffiv <ru^^^/cats 
 
 1270 Travffo.iiJ.eBa. Thiersch : 
 
 Non-antistrophic. A = AB (1247 - 59, 1260-72). A = abed, 
 48510, pericopic tetrad : tetrameter, octameter, pentameter, deca- 
 meter. See 772. B = aabcd, 33693, epodic pentad : a tetrad 
 composed of two trimeters, a hexameter, and a nonameter, with a 
 logaoedic trimeter as epode. See 759, 777. 
 
 See von Wilamowitz, Textgeschichte, 88 ff. 
 
 413. Lys. 1297-1322 (Exode). 
 
 Hyporcheme. 
 
 Aa. TairyeTOV aSr' epavvov exAiTrwa w ~~ w ^ w v w 3 CV 
 MaJa yuoAe AaKaiva 7r/37TTbv d/itv 
 
 38 ~ <- ^~ v^ \^ \j 3 
 KAecoa rbv 3 A/u,v/cAais o~iov w v/ ^- ^ v^ 
 
 Kai XaAK60iKOV avacrcrav, TwSa/jtSas T' dyao~ws, 
 
 1302 TOI 8^ Trap Ev/xorav 
 
 393 5 - - v - - - w - 
 
 ?a /iaA' e/t/3a, 404 - ~ - w 1 H 
 
 <5 eta Kov(f>a TrdAAwv, w w w -- 2 C 
 
 1305 ws STrd/orav v/iviw/ies, ---- w w 2 CV 
 
 T^t attuv X / 30 * /^fAovTi w w v v 
 
 Kttl TToSwV KTV7TOS, w w w 4- CV 
 
 1308 <ox'> ^Te TrwAoi rat Kopai 10 w w -- ^~ 
 
 Trap TOV Ev/oa)Tav 393 
 
 1310 d/XTraSeovTi TrvKva TroSoiv 
 
 393
 
 414 LOGAOEDIC VERSE 181 
 
 1312 rat 8e KOfiai trfiovrai 383 -~ - 2 C 
 
 pirfp Ba/cxav 6vpcra88<aav /cat 7rai88<oav, 
 
 IK _ 
 iv 
 
 1314 dyqTat 8' a A^jSas Trats 404 5 C 
 
 dyva \opaybs evirpeirrjS' w w ^> ^ 2 
 
 1316 aAA' aye KOfiav Trapap.TTVKi8- 
 
 ww \J V^ \^> 
 
 $ Tts eAa^>os, Kporov 8' d/za 20 wv/w w w 
 
 1320 /cai Tav (ridv avrdv Kpari- w w 
 
 (rrav XaAKiotKov vp.vr]. w \^ 4 C 
 
 1299 <7t6j Valckenaer : 'Air6XXw <ri6' 1300 dvao-o-ai' Schol. : 
 
 1308 <x' von Wilamowitz 1310 d/t7ra5^ovrt von Wilamowitz : 
 
 1311 d^/coviwat Reisig : ayKovevov<ra 1312 <re/oj'Tat Richter : <jdovr" or 
 
 1816 irapafj-ir^KidSe Hermann : irapafj-irvKlSSere 1319 xP u <t > ^ Tav Hermann : 
 
 or xopufaXtrav 1320 <rtd)/ Blaydes : (riAj' 5' 1321 fytvTj Dindorf : 
 
 Non-antistrophic. A = ABCD (1297-1302, 1303-7, 1308-15, 
 (1316-22). A = aab, 338, epodic triad: two trimeters with an 
 octameter as epode. See 737. B = abbe, 1 2 2 4-, periodic tetrad : 
 a hortatory dactylic monometer as proode, two dimeters, and a 
 hypercatalectic trimeter as epode (36 f.). See 745. c = aabcd', 
 44252, epodic pentad : a tetrad composed of two iambic tetra- 
 meters, a logaoedic' dimeter, and a spondaic pentameter, with an 
 acatalectic iambic dimeter as epode. See 759. D = a stichic period 
 composed of three iambic tetrameters. See 778. 
 
 414. Tkesm. 433-42 (Scene I.). 
 
 Xo. OV7TW7TOTC TGlVTtyS iJKOVO~a -- ww --- v2 V 
 
 7ToAwrAo/oT/oas yuvaiKos 404 ~ ^ w vy w 
 
 ovSe Sctvore/jov Aeyovo-^s, 383 w w -- 
 
 436 Travra yap Aeyetv 8/Kata, w w w ^ 6 
 Tracras 8' t8eas e^rao-ev, 379, 404 5 -- ~ -- v 2 
 
 437 Trdvra 8' /3currao-c <^>/3vi TTVKVWS re 
 
 383, 404 - - ~ ^^-v 
 
 TroiKiAou? Adyovs avr;v/3v w w w v^ 
 
 ev 8terjTijp.tvovs' \^ -- w 6 C 
 
 440 OXTT' av et Aeyoi Trap' avnjv 
 
 e^s 6 Ka/3Kivov, SOKCIV av avrov, 
 
 
 442 (is ey^/iai, ireurtv v/uv w w v^ 
 
 dvri/cpvs p.i]8ev Aeyeiv. w w 9 C 
 
 436 iS^aj Suidas : et'5?as 437 ^dffrace Ed. : tpderaffev 440 irap' a>r}; 
 
 Scaliger : Trapoirr^j 441 SWOKX^ Bentley : S,tvoK\i)s
 
 182 THE VERSE OF GREEK COMEDY 415 
 
 Non-antistrophic. A = AAB (433-6 = 437-9, 440-2). A = ab, 2 6, 
 
 pericopic dyad: dimeter, hexameter. See 770. B is an indivisible 
 nonameter. See 773. 
 
 415. Sad. 952-9 = 960-7 (Episode II.). 
 
 Strophe. 
 
 NeoVis. Sevpo Srj Sevpo 677, _ w _ . _ w _ 2 C 
 
 (f)(Xov e/xov, Sevpo fj-oi Trpocr- 395 ~ w w w 
 
 953 eX.6c KCU wevvos w w w 4 CV 
 
 rrjv V(j>p6vr]v OTTW? rei, 404 -- w w w 
 
 Travu yap <Seivos> TIS eptos /*e Sovet 379 5 <~ --- ^ ^ 
 
 955 rwvSe TWV crwv ^SotrTpv^wv. v_/ -- v^ 
 
 aroTros 8' ey/ceiTcu /iot TIS >^ --- -- w 8 CV 
 
 TTO^OS, os /xc StaKvaicras cx ei> 379 ^~ w ^- -- ^ 2 
 
 958 p.We<i, iKvovfj-ai cr', "Epws, 404 ~ w w 2 
 
 KCU 7T017/0-OV TOvS' S CVV1JV 10 w -- w -- 
 
 959 TT)V CJLI^V iKecrdai. w w 4 C 
 
 Antietrophe. 
 
 Neavi'as. Sevpo 8rj Sevpo S^, w ^ 2 C 
 
 T^V 6vpav avoL^ov 
 962 T^v8', ci 8e {lit), KaTaTrecrwv 
 
 7o v 
 (f>i\ov, aAA.' ev ry (TO) (3ovXofiat 
 
 379 5 - ---- 
 TrXr)KTie(T@ai /JLCTO. T^S 0^7? 
 
 965 Kvjrpt TI /A' cKjuaiWis 7rt 
 
 383 ^^ -- - -- 2 
 [i.f6es, iKVov/iat a-' , "Epws, w w w 2 C 
 
 KCU TTOtr)(TOV T^vS' S fVVYjV w -- w -- 
 
 967 TT)V ep-rjv iKf(rdai. 10 w w 4 C 
 
 953 6vevvos Bothe : tyvevvbs p.oi 954 deivos Dindorf 
 
 The strophe and antistrophe constitute the fourth dyad in a 
 proodic combination of eleven strophes. See 717. E = ABA (952-3 
 = 958-9, 954-7). A = ab, 24, pericopic dyad : trochaic dimeter 
 and tetrameter. See 770. B = ab, 8 2, pericopic dyad : octameter, 
 dimeter. See 770. The cola composing the octameter in the strophe 
 are iambic dimeter, anapaestic dimeter, iambic dimeter and paroemiac ; 
 in the antistrophe iambic trimeter, logaoedic dimeter and catalectic 
 anapaestic trimeter. The octameter is followed in each case by a
 
 415 LOGAOEDIC VERSE 183 
 
 logaoedic dimeter, but this is in ascending rhythm in the strophe, 
 in descending rhythm in the antistrophe. 
 
 The variation of the melody of the mesodic intermediate period 
 in strophe and antistrophe is intentional and is found elsewhere. 
 See 51. Reisig (Coniectanea, 323) would find the explanation of the 
 metrical discrepancies in the young man's state of mind !
 
 CHAPTER VIII 
 MINOR IONIC VERSE 1 
 
 416. The fundamental colon of ionic verse in Greek comedy 
 is the dimeter, which consists of two minor ionic feet (8 iv., 9 ii.) : 
 
 Trdrep, rjv crov n SerjOu ; ^ w -- ^v -- Vesp. 292 
 
 An ionic dimeter, composed of two simple feet or metres (13), 
 normally consists of twelve primary times and eight syllables. 
 All minor ionic verse is in ascending rhythm. 
 
 417. Aristophanes occasionally uses the trimeter. This 
 normally consists of twelve syllables and eighteen times : 
 
 fio. At" ov Tapa TrpoTrefMif/o) (re TO Aowrov 
 
 v v -- ww -- ^ ^ w Vesp. 299 
 Xapirtav TrAetcrrov f\ov(rav /xepos ayvav 
 
 w w v v w w Ran. 334 f. 
 
 The monometer does not normally occur. 
 
 418. The %p6vo<; /cevos (32) of ionic verse is the second half 
 of the thesis of the foot, a diseme time (32), and an ionic colon, 
 by its suppression in the last metre, becomes catalectic (33, 34) : 
 
 a?r6 yap rovSf p.e TOV pwrOaplov w ^ -- ^ ^ -- ww Vesp. 300 
 
 419. Interchange of length is allowed in the fourth and 
 fifth places of two contiguous metres, so that a short syllable 
 occurs at the end of the first and a long at the beginning of 
 the second : 
 
 fta At", ei KpffjMurdf y v/^ets w w w w -- Vesp. 298 
 
 1 Major ionic verse does not occur in this book, when used without further 
 Greek comedy. 'Ionic,' therefore, in definition, signifies 'minor ionic.' 
 
 184
 
 425 MINOK IONIC VERSE 185 
 
 This partial derangement of the rhythm is called anaclasis 
 (avdK\aa-t<i). See Schol. Heph. 148. 5 ff., 19 ff. 
 
 420. Normal and anaclastic metres may correspond in 
 strophe and antistrophe : 
 
 <TIOVS I 
 
 <f>Xoyl <cyyTai 8e \tifjnav w w w w -- Ran. 327 = 344 
 
 421. Anaclasis is sometimes partial and derangement of 
 rhythm occurs only in the second metre, but in this case either 
 the anaclastic or the normal form is found in the corresponding 
 strophe or antistrophe : 
 
 p.V TlVaOXTCOV = 
 
 yovv TraAAerat yepovruw 
 
 w w _ ~ _ w R a n. 328 = 345 
 
 lepav <xm>is /mrrcus \opeiav = 
 SctTreSov x/ OO7rot ^ 1 ' p&KO-p tf/3av 
 
 w^-. v^w ^ w .Ban. 336 = 353 
 
 422. The initial long syllable of this ' irrational ' ionic metre 
 
 ( - w ) is simply trace of an irrational syllable in the metre 
 
 that probably was its source ( ^ - ^ - ). See 615 ff. This 
 original metre ( w - ^ - ) seems also to be the source, by 
 acephalization, of the singular metre (- w -) with which the 
 hypermeter in Ran. 326 ff. (427) begins. 
 
 423. The structure of the two ionic lyrics of regular form 
 found in Aristophanes is hypermetrical. Hephaestion (38. 6 ff.) 
 states that the most notable subordinate period is the cata- 
 lectic tetrameter, and quotes a line in illustration from the comic 
 poet Phrynichus : 
 
 a 8' dvayxa 'cr6' itpevcriv Kadapeveiv (^pdcrop.f.v 
 
 w \s vw ww ww Phryn. frag. 70 
 
 Cf. Eupol. 192. 
 
 424. A protracted metre of the form w w - . (32) is occasion- 
 ally found at the beginning of a colon : 
 
 l TO.V aKoAcKTTOV w v w v- 
 
 (friXoirato-fLOva npAv w ^ ^ ^/ Ran. 332 f. 
 
 425. Ionic rhythm was thought to lack vigour and nobility. 
 Dionysius in his rapid characterization of the style of 
 Demosthenes (De admir. m dicendi, xliii., 1093 R) says that
 
 186 THE VERSE OF GREEK COMEDY 426 
 
 one finds in the orator's speeches TCOV pvOpiov iro\\a^y fjuev 
 TOVS avBpcoSeis teal a%icofJMTiKov<> ical evyeveis, cnravicas Be 
 TTOV rou9 vTTopyrjpaTiKovs re KOL IMVIKOVS Kcd BiatcXcofjievovs. 
 Aristides (37 M., 24. 20 f. J.) even applies the epithet 'vulgar' 
 to ionic rhythm : ICOVIKOS Be Bia TO rov pvO/jbov <f>opTiKov, e<fS co 
 Kal ol "leave? eicca/jL<aBi]0'rj(rav. Compare the use of this word 
 in Aristotle's Politics (v. v. 9, 1340 b), where the terms ^opTt/co? 
 and \v0eptos are descriptive of the movement of contrasted 
 rhythms. Aristides's suggested inference of the character of 
 the rhythm from the soft and effeminate habits of the people 
 who used it and gave it its name is often repeated by later 
 writers, but especially with reference to major ionics. See the 
 passages quoted by Amsel in his dissertation De m atque indole 
 rhytkmorum, 101 ff. 
 
 426. Vesp. 291-302 = 303-16 (Parode). 
 
 Strophe. 
 
 Ila. 0eA^o~eis TI /AOI O'vv (5 800 w w \s ^ 
 
 292 TrdVe/3, rjv (rov TI BerjOw ; v/w wvy 
 
 Ko/3. a irdvv y a> iratoiov. dAA' tl- w w w ^ 
 
 jre, TI ftovXet. fj.f irpiaa-Qai ^ ^ wv 
 
 295 KaAov / oiiiat 8f tr tpf.lv dU 5w w ww 
 
 CTT/aayaAous BrjTrovQev (5 irai. ^/ w w 
 
 Ila. fj.a At' dAA' icr^aSa? 5 Trarr- v^w vv^ 
 
 TTta ^'8tov yap. Ko/3. a'. OI'K av 
 
 421 ww-^ - v 
 
 fj,a. A", ci Kpfj,aifrde y vjneis. 
 
 419 ww-w -w 
 
 Ila. /a,a At' or! Tapa Trpoirefjufso} (re TO AOITTOV. 
 
 10 ww ww W w-w21 v 
 
 Kop. a' aTrb yap Tot^Se p.e TOV fj.ifrOa.ptov 
 
 301 TptTOv atVrov 
 
 78 v^ ^^ v^ w ^ 2 
 
 Antistrophe. 
 Ila. aye vvv (5 Trdrep yv fj.rj 
 
 TO 8lKaO"T7J|OlOV ap^diV 
 
 305 KaOicry vvv, irodev (Lvrj- 
 apurrov ;
 
 427 MINOR IONIC VERSE 187 
 
 rtva v<pv V) 
 Tropov "EAAas lepov ; 
 Ko/3. ft' airairal <eu, 
 
 310 /Aa Ai" OVK eya/ye vtpv 018' 
 
 oirodev ye Seiirvov CCTTCU. 
 Ha. TI fie Sfjr (5 fj.e\fa ^Tcp eViKTs; 
 Ko/3. /3' JV e/x 
 
 dvovrjTOv ap' 
 Aaxiov (r' 
 316 ? e, Tra/aa v({3v 
 
 297 irairiria Bentley : waTrta 302 ? Hermann 304 </>xw Dindorf: 
 
 or &PX&V 314 dp' w ^f\</6^ cr' Hermann : S.pa ff' S> 6v\dici6v y' 
 
 Monostrophic dyad. B (716) = abed, 21 34 2, pericopic tetrad : 
 ionic hypermeter of twenty-one metres (twenty in the antistrophe), 
 trimeter, tetrameter, catalectic iambic dimeter. See 772. 
 
 See the scholiast on 308. With ludicrous effect, Aristophanes 
 changes the order of Pindar's phrase, "EAAa? Tropov tepov, leaves the 
 colon incomplete intentionally, and reduces the following dimeter to 
 an exclamatory monometer. See 51. 
 
 The omission of e ef in the last colon of the strophe is probably due 
 to accident. Editors who reject e e in both strophe and antistrophe 
 do not agree in their analysis of the clause <rv Se O-VKO. /* carets = irapa 
 vyv o-rei'cx^tj'. Rossbach (Spec. Metrik 5 , 328) assumes anaclasis and 
 shortened catalexis ( w w w -- ), but any other form of catalexis 
 in minor ionic cola than w w is very doubtful. See also Luthmer, 
 De choriambo et ionico, 81, and Schroder's extended discussion of the 
 colon ^, ^ ^, -- in his F'orarbeiten, 97 ff., and his final conclusion 
 in his Anstophanis Cantica, 13. 
 
 427. Ran. 323-36 = 340-53 (Parode). 
 
 Strophe. 
 
 & 448 w - ^ l v 
 
 tjii^T fv fSpais fv6a.Se vai<ov, 
 
 \s \j w ^ v^</ 3 
 
 326 cA$c rov8' ava Aci/xwva 
 
 422 w ww 
 
 ocriovs eis ^lacrwras, 420 5 ^ w ^ w -- 
 
 421 \^ ^/ w 
 
 Trepi Kparl <r< ftpvovra w w o w -- 
 330 ore<avov /IV/DTWV, dpavei B'
 
 188 THE VERSE OF GREEK COMEDY 428 
 
 332 iroSl rav aKoAacrrov w v ^ w 
 
 10 ^ w w 
 334 xapiTwv TrAeto-rov ^ovo~av /xe/aos dyvav, 
 
 i/oav ocriois JMIXTTCUS \opfiav. 
 
 ^/i^ . wv/ v/ " 22 
 
 eyetpe 
 
 Aa/i7raSas 
 
 343 VVKTfpOV TeAtT'^S ^>OKT<^O/3OS 
 
 ^>Aoyi <yyerai Se Aeiyu,wv 
 
 yovv TraAAerai ye/aovrcov 
 
 ttTrocretovTat Se AuTras 
 
 347 xpoviovs T TcSv TraAatwv eviavrous 
 349 tepas 
 
 crv 8e 
 351 TrpofBaSr/v eay' ITT dvOrjpbv e'Aetov 
 
 SaTreSov XO/OOTTOIOV fj.a.Kap vjfBav. 
 
 323 7ro\ur//i7jr' Reisig : iroXurt^rots 331 dpaa-el Princeps : 6dp<rei or 
 
 333 QiXoTraiff/Jiova van Herwerden : <pi\oTraLyfM>va rt/j-dv Princeps : TI^J> 335 
 a^vay Kaibel : aYvav or ayvty 336 yui^crrats Princeps : /itfarcucH 341 x e P ff l 
 
 Hermann : xe/xrt 7ii/) ^et 350 Qtyywv Bothe : <t>\ty<av, which would be a re- 
 
 version to primitive form (428, iv. ) and would involve a lengthening before mute and 
 liquid that is not found elsewhere in the melic verse of Aristophanes. See 790 ff. 
 
 Monostrophic dyad. B (704) = abed, 132 22, pericopic tetrad, 
 bacchiac monometer, ionic trimeter, bacchiac dimeter, ionic hypermeter 
 of twenty-two metres. See 772. 
 
 'FREE' IONICS 
 
 428. In course of time minor ionic rhythm developed great 
 variety of form. An example of this licentious manner of 
 composition is found in Thesm. 101 ff., a parody that ridicules 
 the effeminate (' modern ') tragic poet Agathon. This exhibits, 
 in addition to the forms found in the severer type of composition, 
 metres of the following constitution : 
 
 i. By resolution of ww -- : ^^~- (cola 11, 14, 21) 
 and - - -~ (3, 20, 22). 
 
 ii. The form - ^ -- (419 ff.) as the first metre of the 
 dimeter (9, 12, 13), and as the second (6, 8, 12, 13, 17, 18, 23) 
 without the ordinary restriction (421). 
 
 iii. By resolution of the foregoing : - ^ ~ - (7, 10, 19, 25) 
 and - -~~ (15).
 
 429 MINOR IONIC VERSE 189 
 
 iv. By interior anaclasis of the forms ^ ^ and - ^ : 
 
 v _ w _ (16) and w - (20). This was a reversion to 
 
 what was probably the original form. See 422. 
 
 v. By resolution of the anaclastic form s/ y : w-^~ 
 (16). 
 
 vi. The protracted form w ^ - (424) within the colon 
 (20). It will be observed that resolution of only normally long 
 syllables is allowed. This is the ground of objection to the read- 
 ing \eye vvv (or vtv) evTrlcnws Se rovfibv (\^^w w ) 
 
 adopted by some editors in Thesm. 105, not the correption of 
 vvv, which occurs in tragedy and might therefore be used in 
 parody of a tragic writer. 
 
 429. TJiesm. 101-129 (Prologue). 
 
 SIMULATED DUO 
 'Ay. lepav ^doviais oe- \^ ^/ >-> w 
 
 vv (Xevdepiq. irarpi- w w w w >~ 
 
 R v nfi'erarrftf firtiiv 8^ 
 
 Xo. TIVI Sat,p.6v(DV 6 KW/XO? ; 5 v w w w 
 
 105 Aeye vvv' TTWTTWS 8e rov/ibv v/w w ~ 
 
 Sat/iovas fX t " e ^'" at - wi^/ w w 6 
 
 'Ay. aye vw oX/3ie Movcra v^ w 
 
 vpwewv pvropa. TO fid) v \s ww 
 
 ^Ol/JoV, OS l8oVO"ttTO YWOaS 10 w\~ vyw 
 
 110 yuaAa 2tjtiouvTt8t y. www^ w ^ 8 C 
 Xo. X a W e KO-XXia'Ta.i'S doiSais w ^ 
 
 , V VfJ.OV(TOUri TljUatS w w 
 
 tepov irpo<f>p(av. ww^w w w 6 
 
 'Ay. Tav T' v opecri Spvoyovoto-tv 15 v/v^>^ ww 
 
 115 Kopav deiVar' "ApTefj.iv dypOTepav. 
 
 ^ - - w - ^ ^ ww-5 c 
 
 Xo. firofJMi KXyov(ra o-e/tvbv ww w 
 
 118 ydvov 6X(3iov(ra Aarous ww w 
 
 *ApTfJLiv aTret/ooAex^. ^w^ w w 6 C 
 
 'Ay. Aa-rw re Kpov/xard T' 'AonaSos iroSt 
 
 20 v w ^ w w ^< 
 
 121 ira.pa.pvB p.' fvpvdfia 4>/ouytwv 792 ww ww~ 
 
 8tavfV{JMTa Xa/3tTtov. w ^ w%/ ^/w 7 
 
 Xo. <rc(3o[j.a.i AaTto T' avao-Q-av wv/ w 
 
 KidapLv Tf fj.a.Tp' vfj.v(av w w w w 
 
 125 a/xrcvi /8o^t SOKI/XOV. 25 ^ >^ ^ww 6 CV
 
 190 THE VERSE OF GREEK COMEDY 429 
 
 'Ay. rq. (f>do<s eVcrvro 8at/iovio6s 342 *~ ~~ >~ 2 C 
 
 6/j.p.ajcriv afJLfTfpas re Si' altfiviSi- ^ ^/ v~ . 
 
 ov OTTOS, (5v \a.pw ~ >~ 3 
 
 avaKT* ayaAAe <&oi(3ov. 78 ^ w v/ -- 2 C 
 
 129 x a fy' oXfBtf TTCU Aarovs. 
 
 570, 511 30 - - w w --- 2 C 
 
 102 4\ev0eplq. Hermann : eXevdtpq. 103 -^opevtraffOe Bentley : xo/>etf<ra<r0cu 
 
 105 irl<rr<j>s von Wilamowitz : eviri<TTus 106 % Suidas : ^x e 107 8X/3ife 
 
 Bentley: &ir\ie 114 dpvoy6voi<ru> von Wilamowitz : 5pvoy6voifft 115 defo-ar" 
 
 Kiister : de/o-avr' 125 56/ct^o' Schol. : SOKI/J.^ 126 0dos Fritzsche : ^>tDj 
 
 128 Qciipov Dindorf : Qoifiov TI/JQ 
 
 In 109 the augment is omitted, as often in tragedy, and i is short 
 (790). 
 
 Aristophanes, as if in apology for the extreme licence he has 
 allowed himself in metrical forms, has given the lyric as a whole a 
 singularly simple and attractive structure. It is a non-antistrophic 
 systematic period, composed of four intermediate periods, AABC, 
 arranged as an epodic tetrad. A = ab, 8 6, pericopic dyad : octa- 
 meter, hexameter. See 770. B = abcb, 5676, proodic tetrad : a 
 pentameter as proode to two hexameters that enclose a heptameter. 
 See 750. c = abed, 2322, pericopic tetrad : catalectic dactylic 
 dimeter, dactylic trimeter, catalectic iambic dimeter, acephalous 
 Glyconic. See 772. 
 
 Our poet has allowed himself the following correspondences of 
 metres in paired subordinate periods : w ^ - , o w -- , v? ^ ** , 
 
 w w CCj \^ \j ^* ,^7 w v7, w w^ , w w ! 
 
 See von Wilamowitz, Isyllos, 155 ff.
 
 CHAPTER IX 
 PAEONIC VEESE 
 
 430. The fundamental colon of paeonic verse is the dimeter, 
 which consists of a combination of two simple feet, two paeons 
 or their equivalent, two cretics or a paeon and a cretic (8 iii., 
 9 iii.) : 
 
 & fj.La.pe KOI /SSeXvpe ^ ~ w ~ Eq. 303 
 
 Trpoa-rarfi prjroptav ^ w Eq. 325 
 
 Savorara rov Bepovg ^ ^~ w Pax 1134 
 
 ovx opys cretojuevov ; w w ~~ Ach. 344 
 
 The last combination is the least common, but it is legitimate. 
 
 431. A paeonic dimeter has the measure of ten primary 
 times, the simple foot or metre (13) being hemiolic. Paeonic 
 verse is in descending rhythm. 
 
 432. The paeonic trimeter consists of three simple feet or 
 metres, and has the measure of fifteen primary times : 
 
 rjpwa, re fioa-KoufOa irapdfvia 
 
 - ^^ - w ~ - w ~ Av. 1099 
 & Ka.T<iXaf3p', <5 KidapaoiSoTare 
 
 ^, ^ w ~ ^ *~ Eupol. frag. 293 
 
 w w w Ach. 214 
 crov y' aKOvtrwynev ; diroXcl' Kara <r 
 
 -w- - s ~ -w^ Ach. 294 f. 
 uS /* X.af3ov<ra TOV Srjuorrjv 
 
 w >^ v^ w J.cA. 675 
 
 The trimeter is rare. 
 
 433. Trimeters sometimes occur in pairs in the analyses of 
 Heliodorus where a triple dimetrical division would be expected, and 
 
 191
 
 192 THE VERSE OF GREEK COMEDY 434 
 
 is adopted in this book. His text thus sometimes avoided dimeters 
 of the form w w ~, but these are legitimate. See Ach. 
 665 ff. (453) and the metrical scholium. Heliodorus also classifies the 
 tetrameter as a colon, where dimetrical division is imperative, since 
 the tetrameter would be an isomeric compound foot and would exceed 
 the allowed limit (22 f.), but this usage is probably mere licence of 
 speech, just as he calls the trochaic tetrameter also a colon. Further- 
 more, it should be observed that Heliodorus does not use the terms 
 Si/jLerpov and rpiptrpov to designate the dimeter and trimeter, but 
 invariably UppvOpov and rpippvOp.ov, since he does not, as Hephaestion 
 does, include paeons among the principal metra 'metra pro to ty pa.' 
 See Hense, Hdiodoreische Untersuchungen, 1 1 9 ff. Paeons, in fact, occur 
 only in melic composition. 
 
 434. The monometer does not occur. The apparent instance 
 in Ach. 97l (456) is probably not authentic. See the critical 
 note. 
 
 435. The pentameter might occur as a colon, since it is a 
 hemiolic compound foot (24), but Heliodorus rejects it. See the 
 metrical scholium on Ach. 284 ff. (452) in which 294 f. is called 
 dicolic. No longer colon than the trirrhythmon is recognized by 
 Heliodorus in his analysis of any of the paeonic odes of Aristo- 
 phanes. 
 
 436. Eesolution of the long syllable of the thesis of the 
 cretic form of the paeonic metre rarely occurs. Hephaestion 
 (41. 7 ff.) notes this licence in a period in the Husbandmen : 
 
 V dyopy. 8' av TrXdravov ~~ w \j ~ 
 
 w ~ w Ar. frag. Ill 
 
 Of. Av. 246 (595). 
 
 437. A single catalectic paeonic period occurs in Greek 
 comedy : 
 
 T epo- ~ w w ~~ 
 
 evra Ma/oa0<3vos w ~ ^ v Av. 246 f. 
 
 Of. Heph. 42. 15 ff. See 34. With this exception, all sub- 
 ordinate periods in Aristophanes close with a cretic. 
 
 438. A long syllable does not admit protraction in paeonic 
 verse. See 32. 
 
 439. Dimeters and trimeters are not used independently as 
 subordinate periods. The favourite subordinate period in paeonic 
 verse is the tetrameter, composed of two dimeters, but in 
 Aristophanes its use is almost restricted to stichic formations,
 
 442 PAEONIC VERSE 193 
 
 as in Ach. 976 ff. (456), Vesp. 1275 ff. (457). With one 
 exception (Ach. 984) the tetrameter in Aristophanes consists of 
 three paeons and a cretic. The same form occurs also in Eupol. 
 160, Ar. frag. 110, 333, 507. Aristophanes uses the penta- 
 meter, hexameter and octameter freely. These may consist 
 solely of cretics, as in Ach. 214 f. (449), Eg. 322 ff. (451), once, 
 in an octameter, solely of paeonics, except the last metre (Ach. 
 216 ff.). Generally, however, there is great variety of arrange- 
 ment, but the principle holds that cretics are placed at the 
 beginning and close of the subordinate period, paeons within 
 it. It seems reasonable to conclude that fragments which are 
 quoted from the comic poets as tetrameters but have not the 
 regular form of the tetrameter ( - ^ ~ - ^ ~ - ^ ~ _ v _ j 
 see above) were parts of hexameters, octameters or hypermeters. 
 Of. Phryn. 57, Aristoph. frag. 334, 699. See also Eubul. 112. 
 Theopompus, on the authority of Hephaestion (42. 8 ff.), affected 
 a pentameter composed of four paeons and a cretic, the 
 ' Theopompeum ' : 
 
 irdvr dyaOa 8r) yeyovev &v8pd<riv e/zrjs dirb crwowias Theopomp. 38 
 
 440. Paeonic verse admits hypermeters freely. Aristophanes 
 has employed the dodecameter six times in the plays now extant 
 and a hypermeter of eighteen metres twice. Hypermeters show 
 great variety of form through free mingling of paeons and cretics. 
 
 441. On the combination of subordinate periods, hypermeters 
 and intermediate periods to form systematic periods, see 720 ff. 
 
 442. Paeonic rhythm has special affinity for trochaic rhythm. 
 It is combined, in the paeonic and occasionally in other odes of 
 Aristophanes, also with iambic, anapaestic and dactylic rhythms. 
 Cf. Ar. frag. 506, in which a paeonic series appears to be 
 introduced by a melic anapaestic trimeter : 
 
 ;, 271 ~~-- 
 
 yo-p TO. Xtirapa. /cdtTTTtoV. *~*~ %~ ww 3 
 
 aAAa (frepcO' r/Trdriov w ^~> ^> >~ 
 
 ff K<nrpi8iov veov w v~ w 
 
 Ttv' ' ci 8e fi.rj t 5 w v~ v 
 
 cnrArJvci y rj VT/OTIV, ff 
 
 v^ y^ 
 
 rjTpiaiav <^/DTC Sfvpo fiera w w *~ 
 
 KoAAa/3(ov xAiapwv. 10 ^ v 17 
 

 
 194 THE VERSE OF GREEK COMEDY 443 
 
 Of. also Anax. 12, in which an enoplic pentameter introduces a 
 paeonic series of which only the beginning is quoted : 
 
 TOVS JU.V 6pet.OVOfJ.OVS V- 475 w w w w 
 
 /AWV TTOI^O-CI SeA^ttKas ?}At/?aTovs, 483 ^ w w w ^ 6 C 
 
 TOVS Se Trav^pas, aA- w w 
 
 Aous ay/Diocrras AVKOVS w w 
 
 <r}> Aeovras .... 5 w x X 
 
 In the celebrated monody in Av. 227 ff. (595) paeonic is one 
 of the nine associated rhythms. See also Ran. 1359 ff. (592). 
 
 443. Correspondence between paeon and cretic ( - ^ =~ and 
 - ^ **) is allowed in strophe and antistrophe and in two corre- 
 sponding subordinate periods, but it is not common. 
 
 444. In the tetrameter and in the longer subordinate periods 
 and hypermeters cola are frequently joined within a word. The 
 principle that the close of a cretic must coincide with the end 
 of a word does not hold in comedy. 
 
 445. Heliodorus names this verse paeonic. Cratinus, in a 
 well-known verse of the Trophonius (frag. 222), calls it cretic. 
 See Heph. 40. 8 ff. On the probable relation of the cretic 
 to the paean see 620. On paeonic-trochaic rhythm see 223 ff. 
 
 446. Paeonic rhythm is not found in the last five plays of 
 Aristophanes, except in a single subordinate period in a parody 
 (Ran. 1359 f., 592), nor in the Clouds. It is spirited, and was 
 regarded as especially adapted to the movement of a lively dance. 
 Aristides (98 M., 60. 1 ff. J.) implies that hemiolic rhythms are 
 even livelier and quicker than trochaic : rofc & ev r)/j,io\iq) 
 \6ya> 6e(opov/JLevoi<j evOovo-iaariKwrepois elvat, a-vfJL/Seft'rjKev. He 
 evidently applies the epithet in the sense (' passionate,' ' inspir- 
 ing') in which Aristotle uses it in his Politics (v. vii. 1341 b ) 
 in his classification of melodies : ra pev jOi/cd, ra Be TrpaKTitcd, 
 ra S' evOovcriacrriKa. Aristophanes has the rhythm chiefly in 
 the Acharnians and Equites, plays written in the heyday of his 
 youth, when he was himself a lively young man about town. 
 In the parode of the Acharnians (204 ff., 449; 284 ff., 452) it 
 is used to express the rising excitement of the chorus ; in the 
 parode of the Eguites (303 ff., 450; 322 ff., 451), in passionate 
 denunciation of Cleon. Emotion is expressed in the second 
 stasimon of the Acharnians (971 ff., 456), but the tone is milder. 
 The language in which the Muse is invoked at the beginning
 
 449 PAEONIC VERSE 195 
 
 of the parabasis of the Acharnians (665 ff., 453) is significant: 
 Sevpo M.ov(r eX#e <p\ejvpa irvpos e^ouaa /iei/o? evrovos 'A%apviKij 
 Compare also the phraseology at the close of the strophe. The 
 sentiment in the antistrophe is bitter complaint. In the follow- 
 ing plays the scene is often domestic and the tone lighter. It 
 is quite appropriate to comedy that in some of these paeonic 
 odes lively sentiments should be inspired by the prospect of 
 dinner. 
 
 BACCHIAC EHYTHM 
 
 447. The bacchius (8 iii., 9 iii.) is a hemiolic foot and 
 belongs in the same class with the paeon, but it is little used 
 in Greek poetry and hardly at all in comedy. Cf. Hephaestion 
 (43. 1 f.) : TO Se /3a,K%taKbv cnraviov e&rw, ware el tcai TTOV 
 Trore efJiTrecroi CTTI ftpa'xy evpicncea-dat,. 
 
 448. Two bacchiac dimeters in correspondence appropriately 
 open the parode of the Ranae (316 f.) with invocation of 
 lacchus : 
 
 The foot derived its name from this use. The following ode 
 begins with a monometer (427). For other dimeters see NuT). 
 708 (289), Vesp. 317 (577), Ran. 325 (427), 1346 (592). A 
 single tetrameter is found in Th. 1144 (387): 
 
 <f>dvr)d' o Tvpdvvovs trrvyova-' ciwrTrep CI'KOS. 
 
 LYRICS IN PAEONIC EHYTHM 
 449. Ach. 204-18 = 219-33 (Parode). 
 
 Strophe. 
 
 Kop. a' r^Se TTUS rov SUOKC 212 w w - w 
 
 KCU TOV avSpa irvvOavov w v v ^ 4^ 
 
 205 T<OV 6Soi7TO/0(OV aTTClVTWV w & w -- 
 
 ry TToAei yap aiov w v w c? 4*^ 
 
 v\\a/3fiv TOV avSpa TOVTOV. 5 w ^ w w 
 
 aAAa pal /ir/vwrare, w ^ w i cv 
 
 207 ei TIS oiS' OTTOI TerpaTTTai w w w 
 
 y^S o ras OTrovfias <f>(p<av. _^,_^ _ w _4<3 
 
 'H/ju a' tKTre^cvy', of^erou w w
 
 196 THE VEESE OF GKEEK COMEDY 450 
 
 <j>pov8o<s. ot/j.01 TaAas 10 w \j 
 
 TWV TCOV TtoV e/JLUV 
 
 211 OVK av fTr /Ar)s ye veo- 
 OT eyw 
 
 dvdpaK 
 
 (av 
 
 w V 
 
 V 
 
 214 v^KoAovtfovv "^avAAo) rpe^iav, 15 ^ ^ \^ 
 
 5Se <^>avAtos avo _^__ W ^5 H 
 
 216 cnrov8o<f)6pos OVTO<S vir - 51 w^^ wv^~ 
 yu.ov TOTC Siaj/co/ievos ^ ^ w ^^ 
 
 ov8' av cAa- w ^< ^ ^^ 
 
 o. 20 w =^= w ^ 8 V 
 
 vuv 8' fireiSr) crreppov rj8rj 
 220 Kai TraAaio) AaKparaSy TO o-KeAos f3apvverai, 
 
 SUDKTCOS 8e- jxi) yap ey^avot TTOTC 
 
 ye/aovras ovras 
 /i. /3' ocrrts t5 Zeu irdrep K.O.I 
 226 owri Trap e/iov 7roAe/>ios Jx^^ O7r ^ s av^erai. TWV /i<3v 
 229 KOVK dvr)(T(u ?r/3iv av crxoivos avrotcrtv avre/iTrayw 
 231 ovs dSvv^/Dbs eTTiKWTro?, i'va jiTjTrore Trarwcrtv en ras 
 
 220 AaKparelSri Bentley : AaKpariSy 221 ^yx^ ' Brunck : 
 
 Monostrophic dyad. A = AB (204-7, 208-18). A is a stichic 
 period composed of four trochaic tetrameters. See 778. B = aabc, 
 6658, epodic tetrad : two hexameters and a pentameter, with an 
 octameter in the strophe, but heptameter in the antistrophe (51), as 
 epode. See 743. 
 
 See the metrical scholium on Ach. 204 and the comment in 728. 
 Heliodorus is here followed in regarding 204-8 = 219-22 as melic. 
 
 450. Eq. 303-13 = 382-90 (Debate L). 
 
 Strophe I. 
 
 ^ w 
 
 rov crov Opdcrovs 
 305 Tracra p*v yfj TrAea, 
 Traa-a 8' K/cA^crta 
 Kat TeA?/ Kai ypa<j>al 
 /cai 8iKa.<TTripL 3> 51 (ant. w w 
 
 /3opj3opOTa.pat Kal w w^ ^ 
 
 310 TT)V TroAtv aTracrav ij- v^ v^ w 
 
 /^wv dvareTvp^aKias' w ^^ w 18 V 
 
 Kop. a' ocrrts ^/AWV ras 'A^vos 212 10 w -- w -- 
 
 OWV v -- w 4 C
 
 451 PAEONIC VERSE 197 
 
 313 KOTrb TtoV 
 
 TOV<S <j)6pov<s 
 
 Antistrophe I. 
 
 v apa irvpos <y > erepa 
 depfiorepa Kal Aoywv 
 ev TToAct TWV avai- 
 
 385 KCU TO Trpayp fy ap' ov <f>avXov 
 aAA' 7ri^t Kal 
 [LrjSev dAiyov 
 388 vw yap 
 ' as av vwt 
 
 390 SeiAbv evp7;crets* eyw yap 
 
 TOV<S T/3O7TOVS 
 
 304 KpdKTa Dobree : *aJ /cpd/cra or /cal KCKpdKra 312 KKeKo<fxaKas Reiske : 
 
 or e/c/ce/ct60euKas 382 7' Princeps : om. 
 
 First dyad ( AA) of an antistrophic pericope. See 705. ' A = abb, 
 1844, proodic triad : a paeonic hypermeter of eighteen metres in 
 the strophe, seventeen in the antistrophe, as proode to two trochaic 
 tetrameters. See 738. 
 
 See the metrical scholia on Eq. 303 ff. and 382 ff. and notes. 
 
 451. Eq. 322-32 = 397-406 (Debate I.). 
 
 Strophe II. 
 
 'H/x. a' apa 8r)T OVK dir dp- 
 
 w ^ 8 V 
 
 JSryAovs dvai- 
 324 Sciav vJTTfp fj.6vr) 
 
 TrpotrraTfi prjropwv ; 
 
 326 y (rv 7rto*Tcua)v d/ieAycis 212 5 w ^ 
 
 TWV ^6l/0)V TOVS KapTTlflOVS w w 4^ 
 
 327 Trpcoros wv 08' l linro8diJ.ov ^ ^ w 
 
 328 dAA' t(f>dvr) yap dvrjp trepos TroAv 
 
 389, 342 -~-~ -~-~ 
 
 (Tov /itapwrepos, OXTTC ju,c %aipeiV) 10 \~ ^^ 4 
 
 330 os o-e 7rauo-t Kal Trdpeto-t, 212 
 
 331 iravovpyia re Kal 0/oacm 78, 506 w w 
 
 332 Kal KO/3a\iKfvpa(riv. 51, 511 -7 - ^ - 
 
 v-< v/-
 
 198 THE VERSE OF GREEK COMEDY 452 
 
 Antistrophe II. 
 'H/t. (B' (is Se Trpos irav dvatSeverat KOV fJLf0ioTir)o~i TOV x/^/AaTos TO ^ 
 
 TTapeO-TTJKOTOS. 
 
 400 ei ere /AT) /*io"t3, yevoifj-rjv i> Kpcmvov KuJSiov 
 
 /cat 8i8a.o~KoiiJ.rjv rrpoo~a8eiv Moparip,ov rpay^Sia. 
 402 <5 Trept Travr' CTTI 7rao-i re Trpdy/Aacri oa>poSo/cortv err av0criv i(ov, 
 
 404 e0e ^>avAa>s axrTrep ^Spes /c/3dAois TT)V ev^eo^iv. 
 
 405 faaifAi yap TOT av /AOVOV, "irive TTIV' rt o-vfj.(j>opal<s." 
 
 325 pijr6puv Bentley : TWV prjr6puv 
 
 Second dyad (BB) of an antistrophic pericope. See 705. B = AB 
 (322-27, 328-32). A = abb, 844, proodic triad: a paeonic octa- 
 meter as proode to two trochaic tetrameters. See 738. B = abc, 444, 
 pericopic triad : dactylic tetrameter, trochaic tetrameter, Aeolic 
 diiambic tetrameter in the strophe, diiambo-Glyconic tetrameter in 
 the antistrophe. See 771. See also 732. 
 
 See the metrical scholium on Eq. 322 f. 
 
 The Glyconic dimeter in the last colon of the antistrophe is a 
 quotation from Simonides (frag. 1 4 Bergk 4 ). 
 
 452. Ach. 284-302 = 335-46 (Parode II.). 
 
 LYRICAL DUO 
 
 Strophe. 
 
 At. 'Hpa/cAei? TOVTI rt eo-Ti; 212 w w \/ 
 
 Tf]V \vTpav crvvTpiif'fTe. 
 Kop. a' o"e p,ev ovv KaraAevo-o/iev (5 
 
 277 ~ - ^ ~ - - 3- c 
 
 At. dvri Trotas aiVtas 5- 212 v^ ^ 
 
 Xapvewv yepaiTaroi ; 5 w w w 4 CV 
 
 Kop. a' TOVT' epdiTas ; dvat- >-- w 
 
 O'X'l'l'TOS Cl KGU 
 
 289 (5 TrpoSora TT}S 
 
 O'O-TIS 
 291 o-7rto-tt/jievo? ?ra Svva- 10 v^ ^~ w v^ 
 
 At. dvTt 8' &v fo-Treicrdfj.rjv d- 212 w \s-\s 
 
 Kovcrar', aAA' aKovrrare. v^ w w vy 4 CV 
 
 Kop. a' o-oC y* dKovo~(afj.ev ; aTroAet Kara ere 
 
 Xaxrouev TOIS XiOois. 15 w w 5 V 
 
 At. /wiSa/xws Trpiv av y' aKovo-^T '212 ^ & w 
 
 dAA' dvdo-xo"^' wyaQoi. w w 4 C 
 
 Kop. a' OUK
 
 452 PAEONIC VERSE 199 
 
 298 /^V* Aeye /zot <rv Adyov w c~ w >~ 
 
 299 MS p,ep,i(rr)Ka. o~e KAe- 20 w w ^w 
 wvos ert pxiAAov, ov e- ^ v~ w <~ 
 ya> /caTare/xw TTO$' 'I??- w >~ <- ** 
 
 Ka.TTVfia.Ta. ^ ^ o 12 
 
 At. O>S (ZTTOKTeVW, KfKpa.)(6' - 
 
 yd) yap OVK a/coixro/zat. 
 Kop./3' aTroAeis ap' 6^At/ca TOV- 
 
 Se <f>L\avOpa.Kea j 
 At. ovS' e^iou Aeyovros v/xefs 
 
 apri'cos ^Kovo-are. 
 Kop. /?' aAAa yap vvv Aey', c? 
 
 croi So/cet, TOJ' TC Aa/cc- 
 339 Sat^idvtov avr^v o Tt 
 
 340 a>s rdSc r 
 
 ov irpo8aj(r<o TTOTC. 
 At. TOVS At#ovs vvv ioi 
 
 Kop. ^3' ovrott <rot ^a/xat, /cat o-v Kara- 
 
 ^ou TraAtv TO ^te^os. 
 At. aAA' OTTWS JUT) V rots Tpi/3u)criv 
 irou XiOoi. 
 
 o^x op^is creid/zevov ; 
 
 345 aAAa /x^y /xot irp6(f>a.(riv, 
 aAAa Ko.Ta.6ov TO /3Aos, 
 
 346 a>s oSe ye o~eto-Tos a/xa 
 777 arTpo(j>y ytyveTat. 
 
 293 d/coycraT* Hamaker : o^/c f<rar' R, oik fore A, o^/c fffre re or T* or 7' cet. 
 294 aKo^ffufifv Elmsley : a/cotfo-oMe" 296 4^ 7' r 2 (Bentley) : 7' &* TAB, 7' 
 
 (R) or &> cet. 298 pot <ri> Hermann : <rtf /wi R, STJ <ri> or <ri) cet. 301 irofl' 
 
 'iTTTreOo-i Hermann : roiaw Iwevylv TTOT' $ RFE, with variants TOIS or roiffi, iwevffi, 
 and TTOTC (for ITOT' ^s) in other MSS. 336 &p 6/x^\t/ca Reisig : S.pa 8' tf\iKa or 
 
 \i/ca 341 \t0ovs vvv /xot Bentley : vvv fJMi \l6ovs 
 
 On apparent hiatus in 285 = 336 see Lys. 479 (303) and note. 
 
 The strophe and antistrophe constitute the dyad BB of a proodic 
 triad. See 717. B = AA (284-92, 293-302). See 728. A = abac, 
 4 3 (5) 4 12, epodic tetrad : two trochaic tetrameters that enclose an 
 anapaestic pentapody (77) in the first half of the strophe and a paeonic 
 pentameter in the second half, with a paeonic dodecameter as epode. 
 See 748. 
 
 See the metrical scholia on Ach. 284 ff., with the note, and on 335 ff.
 
 200 THE VERSE OF GREEK COMEDY 453 
 
 453. Ach. 665-75 = 692-702 (Parabasis). 
 
 Strophe. 
 
 f H/x.a' 8fvpo Mover eX6e <})Xcyv- w w 
 
 pa. Trvpb 
 
 667 otbv e dv9pa.Kwv w ^ 
 
 <ei^aAos d- 5 ^ w ~ 
 
 r e/>0to/xvos w v^ ^ v~ " 
 
 ovpitf. pi7ri8i, w w v^ 8 V 
 
 670 i^viV ay eTravdpaKiSfs w ^, ^ ~~ 
 
 wcri 7ra/3aKft/Avai, ^ ~ w w 4 VH 
 
 671 ot 8f Oacriav avaKv- 10 ^ ^~ w >^ 
 
 K<3(ri XnrapdnTrvKa, ^ ^, <_, ^ 4 V 
 
 672 ot Se /iaTTWo-iv, 01!- ^ ^ 
 
 TO) (ro/3apbv iXOe /xeAos ^ ww w ^^ 
 
 ei/rovov dypoiKOTfpov ^ ^, v^ ^/ 
 
 ws f/^e Xa/3ovcra rov 8r)fj.oTrjv. 15 w^/ w w 9 
 
 Antistrophe. 
 'H/i. /?' ravra TTWS etKora, ye- 
 
 povr' aTToAeo^ai TroAtbv 
 avSpa Trepl K\e\j/v8pav, 
 694 TroAAa 8ff v[JiTrovr)- 
 
 cravra Kat Ofp/Aov aTro- 
 p.opdp.vov dvSpiKov t- 
 
 S/DOJTO, S^ Kttt TToAlJV, 
 
 697 dv8p' dyaObv ovra Mapa- 
 
 9(tiVL TTfpl TrjV TToAtV / 
 
 698 fira. Ma/Da^wvt yitei/ 6V 
 
 699 vw 8' -UTT dv8puv Trovrj- 
 p&v ar(f)o8pa. 
 
 702 TT/OOS raSe -rt's 
 
 Monostrophic dyad. A = abccd, 68449, proodic pentad : a 
 hexameter as proode to a periodic tetrad composed of an octameter, 
 two tetrameters, and a nonameter. See 753. 
 
 See the metrical scholium on Ach. 665 ff. See also 433. 
 
 454. Pax 1 1 2 7-3 9 = 1 1 5 9-7 1 (Parabasis II.). 
 
 Strophe. 
 
 'H/i. a' y8o(JLai y ^So/xat 78, 38 w . ^ 
 
 Kpdvovs cwnyAAay/zevos o <-- . w 
 
 TVpOV T Kttt KpOfJLfJ,Vd)V. v/ w
 
 455 PAEONIC VEKSE 201 
 
 1130 ov yap <f)i\-rj8ia fjid^ais, -- w w 8 
 
 aAAa TT/DOS vvp 8if\- 5 ^ w ~ 
 
 K<av fj,er dv8pwv erai- ^/ ^ ~ 
 
 arr av 17 _ w __ v _ / _ 
 
 Savorara TOU depovs w ^^ ^ 
 
 1135 6KTrfirpffj.vicrfJ.eva, 10 w w ^7 12 
 
 KavOpaKifav Tovpe/3iv6ov 212 w -- w 
 
 Tf]V T 
 
 X 
 1139 TTJS 
 
 av 8' axe 
 1160 ^iSy TOV r/Svv vo/xov, 
 
 ras 
 
 1163 i TreTratvoixriv r/- 
 
 8iy TO yap <ITI> 
 ov <f>v<rei' TOV re 
 AT^X' opwv oiSavovr 
 
 1166 ei^' oirorav rj 
 
 TOU 6vp.ov rpifiwv 
 1170 K<jLTa yiyvofj,ai 
 
 TijviKavra. TOV 6epov<s. 
 
 1135 tKireirpe/jLvifffdva Bergk : {KTrcirpiff/j-tva or tKirfiriffffdva 1159 ^t' S,^ 
 
 5' Hermann : ^vka 5' &i> or ^K' &^ 1165 olSdvovr Bentley : oldalvovr' 1170 
 
 7/7fo/tcw Brunck : ylvo/mt, 
 
 Monostrophic dyad. A = abed, 81262, pericopic tetrad : iambic 
 octameter, paeonic dodecameter, trochaic hexameter, trochaic dimeter. 
 See 772. 
 
 See the metrical scholium on Pax 1127 ff. Heliodorus analyzes 
 cola 5-8 into two trimeters and a dimeter in the strophe (1131-3), 
 but into trimeter, dimeter, trimeter in the antistrophe (1163-5). See 
 433. 
 
 455. Av. 1058-71 = 1088-1101 (Parabasis II.). 
 
 Strophe. 
 
 'H/z. a i]8r} 'fjiol T(j) Trai'TOTrrp 281 ---- --- 2 C 
 
 KOI TravTapxp OvrjTol TTOLVTCS ---- ---- 
 
 1060 Ovcrova-' euKTaiais cv^a-is. ---- --- 4 C 
 
 Tracrav fjxv yap yav oTrreva), ---- ---
 
 202 
 
 THE VERSE OF GREEK COMEDY 
 jw 8' evdaXeis xairovs 5 
 
 xapirovs 
 yevvctv 
 6rjpwv, a irdvr fv ycu'p 
 
 456 
 
 4 C 
 2 C 
 2 
 
 1065 
 1066 
 
 1067 
 
 1069 
 1070 
 
 vov ytvwt Trafj.(f)dyois 
 BfvSpfo-i r (f>rjfj.fva 
 Kapirbv dTTO/36 
 
 KTtlVO) 8' O? K1J7TOVS 
 
 10 
 
 281 
 
 epTrerd re /ecu SaKcra <7rav^'> oa-airep w ~^ wv^w 
 ecrriv w' e/icis 7TT/ovyos 15 w >~ w w^~ 
 
 ev <ovcus oAAvrai. w w 7 V 
 
 Antirtrophe. 
 
 evSa.ifj.ov 
 
 1089 
 1091 
 1093 
 
 ovS' au Oepp.?) Trviyovs ij/ias dKTts 
 ctAA' dvdrjpfav ACI/AWVWV 
 <vAAwv <T'> v KoA?rois vatw, 
 1095 vjviK av 6 ^ecnreo-tos 6v /xeAos d^^Tas 0aA7reo-t 
 
 tjAio- 
 
 1097 
 1099 
 
 a^aj 8' i> KotAois avr/30is i/v/x^ais ov/oei'cus p/A7rai{tov 
 ripiva. TC ftoa-Kop-fda. Trapdevia Xev/cor/jo^a fj-vpra Xaptrtuv re 
 
 1065 
 
 1060 e^x's Bentley : ei5xa?<rt(') 1064 A Dobree : ot 
 
 Dobree : TroXi/^d-yois 1066 i<f>ii^va Dobree : 4<pe^6fjxvoi or <p(6fj.eva 1068 
 
 <f>6flpovffit> Bentley : tf>9eipov<Ti. 1069 W/cera <irdt>6'> Dissen : 5d/cetf' 1094 
 
 T* Bentley 1095 6^1) /^Xoj Brunck : 6|vj3eX^s, (5|v/teX^s, or 6vojueX7ji 1096 
 
 Suid. : v<j>ri\io/j.a.vT)s R, y^' ^X^v juoi'els V 
 
 Monostrophic dyad. A = AB (1058-64, 1066-71). A = abbaa, 
 24422, epodic pentad in anapaestic rhythm : a palinodic tetrad 
 composed of a paroemiac, two tetrameters and a second paroemiac, with 
 a third paroemiac as epode that repeats the melody of the first and 
 fourth periods. See 757. B = abc, 847, pericopic triad : paeonic 
 octameter, acatalectic anapaestic tetrameter, paeonic heptameter. See 
 771. 
 
 The contrast in form of the anapaestic and paeonic lines is as 
 marked as possible. Cf. the spondaic anapaests in Ran, 372 ff. (301). 
 
 456. Ach. 971-985 = 986-999 (Stasimon II.). 
 
 Strophe I. 
 
 'H/i. a eiSes 5 7rao-a TroAi rbv (f)povip.ov ^ w ~~ w wv 
 
 973 
 
 rbv 
 
 o-Treicra/^ep'os ffuropiKa
 
 456 PAEONIC VERSE 203 
 
 974 <5v T<X /iev ev oiKia 5 w *~ w 
 
 Xp>Jcrt/za, TO, 6 av TrpeTrei w ~ v 
 
 KarefrBieiv. ^ ^ w ^ 6 H 
 
 Strophe II. 
 
 Kop. a' avrofiara irdvT ay ado. 
 
 T<j>8e ye Tropi^erat. 
 
 977 ovSeTTor eyw IIoAe^oi/ 10 
 
 978 ovSe Trap' /xot Trore rbv 
 
 c App.68iov jto-erat 
 
 979 uy Kara/* Ai vets, on Tra- 
 
 pOlVtKOS ttVl)p <v, 15 
 
 980 oarts CTrt TravT dya.0' e- 
 
 Xovras 7riKto/>ia(ras 
 
 981 ^pyacraro Travra KUKO. 
 
 982 Kafj.d\eTO Kai TrpocreTi 20 w w ^^ 
 
 TToAAa irpOKa.Xovfj.fvov ^ -~ w 4 
 
 983 "Trive KaraKCMTO Aa^Se w ^/ w <^ 
 
 njvfie (f>i\OTr)o-iav " w ~~ w 4 
 
 984 ras ^apaKas ^TTT TroAv w w^ w ^~ 
 
 /AttAAoV V T^5 TTVpi, 25 w i ^ i w vy 4 VH 
 
 985 ^^t 6' IJ/iWV /?ttt T^V 212 w -- w w 
 
 olvov tK TWV d/iTreAwv. w -- w 4 C 
 
 Antistrophe I. 
 
 'H/Z. ^8' 1TTCpOJTat T 7Tt TO SttTTVOV OtjUtt Kttt fJ.jdX.a 6^ (frpOVfl, 
 
 TOV /?iou 8' ff/3aXt Sety/za <Ta8e> ra Trrepa Trpo TO)I/ dvpStv. 
 988 <5 KvTrpiSi T^ /caA^ Kai Xapwri rats ^>i'Aai5 vvTpo(f>e AtaAAayiJ, 
 
 Antistrophe II. 
 
 Kop. /3' u>s /caAov e^ovtra TO TrpocrWTrov ap' Aav$avS. 
 991 TTWS av /x Kai ere TIS "Epws ^wayayot Aa/?wi/, 
 
 
 ^ Travv yepovTtov laws vevo/iiKas fte cru; 
 
 aAAa ere Aa/Jwv Tpia Soitw y' av Tt Trpocr/JaAetv 
 
 995 TrpwTa /AV av d/tTreAi'Sos opxov eAdcrai /xaKpdv, 
 e?ra Trapa TovSe vea jAOcr^i'Sia crvKtciwv, 
 Kai T& TptVov fjfMfpiSo'i opxov, 6 yepwv 66Y, 
 Kai Trepi TO \<apiov eX^Sas arrav ev KVKAy, 
 
 999 wcrr dAei^>ecr^at cr' aTr avTwv ica^e Tafs vov/x^vtais.
 
 204 THE VEKSE OF GREEK COMEDY 457 
 
 971 3es <D Suidas : eZSej & elSfs S>. Compare the antistrophe 979 
 
 irapowiubs Elmsley : irapolvios 981 K&vtrpeire Elmsley : Kavtrpaire 987 
 
 Sety/j.a rdSe Brunck : dely/tara or 6e1yfj.a 
 
 The ode is an antistrophic pericope, AB = AB. See 705. A prob- 
 ably = aa'b, 556, epodic triad : two pentameters, with a hexameter 
 as epode. See 737, 775 f. B is a stichic period of ten tetrameters 
 in the strophe, but nine in the antistrophe, of which nine in the 
 strophe and eight in the antistrophe are paeonic and one trochaic. 
 See 778. See also 51. 
 
 See the metrical scholium on Adi. 971 ff. Heliodorus rightly 
 denies that this is an epirrhematic syzygy, such as Adi. 665-718 
 (453), and gives his reasons. 
 
 457. Vesp. 1265-74, 1275-83 = 1284-91 (Stasimon I). 
 Strophe I. 
 
 'H/A. a TToAActKlS Srj '8o' /JLaVT( 212 w -- w -- 
 
 1267 dAA' 'A/xvvias o 2eAAov w w w 
 
 1268 ofrros, 6'v y 3 eyw TTOT' eZSov vy w w w 
 
 dvrt /t^Aov KCU poas Set- w \^ ~ 
 
 1269 irvovvra /xera Aewyopov TTCI- ^ w~ ^ w 
 
 vj; ya/> yirfp 'Avncfriov ^/ w w 8 
 
 1271 dAAa Trpecr/3ev(av yap eis ^d/xraAov w^er", 
 
 10 w w . 
 
 1272 T' /<et ynovos //.ovois ^ w w 5 
 
 TOIS nVO~TatO"l ^UV^l/ TO?S _ w __ _ w __ 
 
 1274 GcrraAwv, avros TreveaTTys w w 
 
 <wv eAaTTWv ouSevos. w w w 6 CV 
 
 Strophe II. 
 
 Ko/o. a' 5 p.aKapi AVTO/ACVCS 51 15 ^^^ w v~ 
 
 1276 TraiSas (f>vTfv<ras OTI ^ *~ w ~~ 
 
 avSpa re cro^xijTaTov, 20 w v~ ^ 4 
 
 1278 TOV KidapaoiSoraTov, w ^~ w ^^/ 
 
 *?/>!/ . V 
 
 0) YCXDtS OO"7TTO ~~ v^ v^ v/ O 4 
 
 I 1279 TOV 8 3 vTTOKpirrjv erepov ^ w \j *~ 
 
 dpyaXeov ws o-o^>ov w ^w w w 4^^
 
 457 PAEONIC VERSE 205 
 
 1280 ?T' ' A.pi<f>pa.8rjv TTO\V TI 25 w~~ ^ >^~ 
 
 1281 ovTivct TTOT' 
 
 dovra. Trapa fj.r)8fvb<i w ~ v^ c? 4 V 
 
 1282 aAA' a7r5 cro^s <wreos w >~ vy ^~ 
 
 aiJTOjuaTov tKfj.a.6eiv 30 -^ *~ w 4 V 
 
 1283 yAtoTTOTroieii' eis TO, Tropvet' 212 w -- _ w _ ^ 
 
 eKcurroTe. w w w w 4 CV 
 
 Antistrophe I. 
 'Hu.fi'* **** 
 
 Antistrophe II. 
 
 Kop. ft' ela-i Ttves ot /x,' eAeyov ws K 
 
 fjviKa KAewv /x t-TrerapaTTev cT 
 xai /AC Ka/ciitras Ixvio-e' K^' 6V d.7re8cip6[M]v } 
 OV/CTOS eycAwv fieya /ceKpayora 
 ovSfv ap' ffj.ov ueAov, ocrov S povov 
 (riafj.iJ.a.Tiov eiTTore TI OAtfio/xevos K^ 
 1290 ravra KartSwv UTTO Ti jAt/c/)ov e 
 eira vvv 
 
 1282 </)U(reos Bentley : <f>6<rfus 1286 /co/c/o-aj Briel : 
 
 This ode, like the preceding, is an antistrophic pericope, but 
 the correspondent to the first systematic period is now lost : AB = 
 <A>B. See 705. A = abcda, 64856, pericopic pentad, but with 
 reversion in the last subordinate period to the melody of the first : 
 trochaic hexameter, tetrameter, octameter, pentameter, hexameter. 
 See 772. B is a stichic period of nine tetrameters in the strophe 
 (eight in the antistrophe), eight paeonic (seven in the antistrophe), 
 and one trochaic. See 778. 
 
 See the metrical scholium on Vesp. 1265 ff. Heliodorus, influenced 
 by the parabatic quality of 126574, inconsistently regards this ode as 
 an epirrhematic syzygy. It is not, however, in the strophe and anti- 
 strophe, but in the epirrhemata of the true epirrhematic syzygy found 
 in the parabasis (668), that the chorus addresses the audience. Further- 
 more, the reason given in the metrical note on Ach. 971 ff. for denying 
 that the stichic periods BB are there epirrhemata, namely that they 
 are not in the proper trochaic rhythm, is equally applicable here. 
 
 In R and V the first systematic period (1265-74) of the pericope 
 is arranged in eleven O-TL\OL. See the metrical scholium. Some 
 modern editors have followed this arrangement in part, and introduced 
 an iambic cadence in some verses, but the rhythm is uninterruptedly 
 trochaic.
 
 CHAPTER X 
 DOCHMIAC VEESE 
 
 458. The fundamental form in dochmiac verse is a phrase, 
 called dochmius, of which the metrical constitution is ^ -- w - , 
 as rl ovv ov \eyeis (Ach. 358). Various opinions have been 
 expressed both in ancient and in modern times as to its source 
 and rhythm (624 ). 
 
 459. Two assumptions seem to be warranted by variant 
 forms of this fundamental phrase. First, that the long syllables 
 are theses admitting resolution : 
 
 7roAe/i.os aiperai ^ *~ w Av. 1188 
 
 ra.\a. 8e p.tTa.(3aXov<r ^ v~~ ^ Th. 723 
 
 o ri TTOT' & o^erAte (cf. Av. 427-9) w ~~ w ~~ Ach. 360 
 
 w ~~ ~^ w ^- Av. 1193 
 
 Secondly, that both the short syllables are arses which admit 
 irrationality. This manifestation may be combined with resolution 
 of theses : 
 
 TIS Tcurry jre/aai/ -- ^, Av. 1195 
 
 Aeeis T avocrtovs -- ~ w T/i. 720 
 
 w aSiKots epyots v^ ^/ --- 2%. 7l6 b 
 
 a> IIoTVtai Moi/oai - ~ --- !Z7i. 700* 
 
 rrjv ffj.rjv ^^ w ^lv. 1264 
 
 SdAov KaAe(re ^~^ w ^^ ^lv. 333 a 
 
 460. Aristophanes rarely irratioualizes the second arsis, and in 
 general he employs relatively few of the thirty -two forms (Seidler, 
 Zte versibus dochmiacis, 55 f.) made possible by irrationalization 
 and resolution. 1 He prefers ^ -- ^ -, has strong inclination 
 
 1 The irrational forms of the funda- --- w , (3) ^ ---- , (4) ----- . 
 mental phrase (1) w -- w are (2) By resolution of tfjeses, each of these four 
 
 206
 
 464 DOCHMIAC VERSE 207 
 
 towards ^ ~ - ^ - and - ~ - ^ - , which he employs about 
 equally, and inclines also to w~~^~. Other forms are 
 occasional and rare. 
 
 461. On the assumptions stated, the dochmius has eight 
 
 primary times and is octaseme, w ^ - = ^ ~~ w ~. This 
 
 was the opinion held anciently. 1 On the relation of the dochmius 
 to the primitive dimeter and on its name see 623 ff. 
 
 462. For convenience the dochmius will be regarded in this 
 book as a metre, and the dimeter and monometer as cola. The 
 dochmius admits neither catalexis nor protraction. 
 
 463. In comedy the metrical form of the dochmiac metres 
 in the strophe may be exactly repeated in the antistrophe, as in 
 Ach. 358 ff. (467). In Vesp. 729 ff. (469) and Av. 1188 ff. 
 
 (465) only simple variations occur, ^ ^ - (once), & ~~ ^~ 
 
 (once), and v ^ ^ - ^ - (four times). Greater freedom of corre- 
 spondence is found in Ach. 489 ff. (468) and Tli. 66*7 ff. (472). 
 
 In Aves 327 fif. (473) Aristophanes intentionally changes 
 the rhythm in strophe and antistrophe. The chorus sings in 
 dochmiac rhythm in the strophe (333335), in paeonic in the 
 antistrophe (34951). Each rhythm is singularly appropriate 
 to the sentiment expressed. Similar intentional variation of 
 melody is found elsewhere. See Ach. 492 f.~568 f. (468) and 
 Pax 950-955-1033-38 (583). In the latter, diiambic correspond 
 with aeolic cola. The attempt to secure metrical equivalence in 
 these cases by ' emendation ' and other devices 2 is unnecessary 
 and unconvincing. See 51. 
 
 464. The monometer occasionally occurs singly in comedy, 
 inserted between other rhythms or at the close of a strophe. Cf. 
 Nub. 1166 b , 1167 b (474), Vesp. 733 b , 735 b (469), 873 (470). 
 Elsewhere two, three, four, five, seven, eight metres are joined, 
 but in comedy no dochmiac subordinate period immediately 
 follows another, without interposition of a period in different 
 rhythm, except possibly in Ach. 5 6 6 ff. (468) and Aristoph. frag. 
 697. The dimeter and monometer may be assumed in all the 
 
 may theoretically assume seven other (327 ff.) as anapaestic, and the paeons 
 
 metrically equivalent forms. See (349-51) as 'cyclic,' i.e. metrical equiva- 
 
 Gleditsch, Metrik s , 188, for a convenient lents of anapaests. Kock (Die Vogel 3 , 
 
 summary. 265) regards 333-5 as partly anapaestic, 
 
 1 See the authorities cited in Kiihne, partly paeonic ; 349-51 as paeonic. 
 De dochmio quid tradiderint veteres. Schrdder (Aristoph. Cant. 32, 99) regards 
 
 2 Zielinski, for example (Gliederung, these verses as trochaic in both strophe 
 331), regards both the strophe and the and antistrophe ( s^ww and \^w^w= 
 antistrophe of the lyric in the Aves w <->).
 
 208 THE VERSE OF GREEK COMEDY 465 
 
 dochmiac lyrics of comedy without resort to word-division. 
 Generally also the first of the two metres composing the dimeter 
 ends with a word, but this is neglected in Ach. 358 (467), 489, 
 495, 569 (468), Nub. 1163 (474), Vesp. 744 (469), Av. 310, 
 and 1266, 1268 (465), Thesm. 724 (472), Plut. 640. 
 
 465. Aves 1188-95 = 1262-8 (Syzygy II.). 
 
 Strophe. 
 'H/x.a' TroAc/xo? aiperat, TroAe/xos ov ^>arbs <- \j w *~ w 
 
 1190 TTpOS /* KOI 0OV<i. dAAtt ^vAttTTC 7TCIS 
 
 ^ W^ ^ \^ WN^ X^ 
 
 1192 dfpa 7repii/e^>eAov, ov epe^Sos ereKero, 
 1194 //.?; o-c XdOy 6e(Hv TIS ravrj^ 
 
 1264 p.r]KTi rrjv ffJi-rjV Siairepav TrdAtv, 
 
 1266 /z^8c <ye> TIV' iepoOvrov dva SaireSov ert 
 
 1268 T?;8e f$poru>v deoicri Tre/iTreiv . Kairvov. 
 
 1266 7e Blaydes 
 
 Monostrophic dyad. The period consists of a single dochmiac 
 octameter. See 773. 
 
 466. The dochmius is frequently associated with other 
 rhythms in comedy, especially with iambic, as in the four odes 
 that follow. 
 
 467. Ach. 358-65 = 385-92 (Syzygy I). 
 
 Strophe. 
 
 ' T/ ovv ov Aeyet? v -- w 
 
 360 o T6 TTOT' (5 (r^erAte T^ /xeya TOVT' 
 362 iravv yap /j,e yc TTO^OS o TL <f>povfi<; 
 
 / Q, 
 
 1 For convenience, all antistrophes in in the style of hypermetrical systematic 
 
 this section that contain a dochmiac periods, and thus precisely repeat the 
 
 subordinate period which exceeds the form of their strophes. 
 tetrameter in length are printed in cola,
 
 468 DOCHMIAC VERSE 209 
 
 364 aAX' yircp auros TTJV 8iKrjv Stwpwrw, 
 
 78 5 -- ^ - 
 Sev/oo TOVTTI^T/VOV ey\f.lpe(. Xeyeiv. 
 
 'H/A./3' Tt ravra 
 
 re\vdeis re /ecu 
 
 387 Aa/3e 8' eyMOv y' eveKa ira/o' 'Iep(avvfj.ov 
 389 o-KOToSao-inrv/cvdrpixa TIV' "AtSos 
 391 c?r' e^avoiye /^xavas ras 
 ws (TKrjif/iv dywv ovros OVK 
 
 390 TIP' Brunck : rV 392 a'/wi' Person : dywi' 
 
 Monostrophic dyad. A = abb, 733, proodic triad : a dochmiac 
 heptameter as proode to two melic iambic trimeters. See 738. 
 
 See the metrical scholium on Ach. 358 ff. Heliodorus divides 
 the heptameter into five cola, but his arrangement necessitates word- 
 division. Furthermore, he does not include the melic trimeters in 
 the ode. It is to be noted that nevertheless he separates them from 
 the following trimeters, regarding them as a distich. 
 
 468. Ach. 489-96 = 566-71 (Syzygy II.). 
 
 Strophe. 
 Kop.a' rt Spcwreis; rt <f>rj<rci<s ; <aA.A/> icr#i vvv 
 
 \j \j vy 
 
 dvato-^vvTOS <Sv cnSrjpovs r' dvrjp, 
 
 \s \s \s \j 4(1 
 492 OO-TI? Trapacr\wv rjj TroAei rbv av^eva 
 
 78 ~ \j ^ \s \s \s \j 3 
 aTrcuri /iXAeis eis Xeyciv ro.va.vria. 
 
 494 avr)p ov rpefj.fi TO irpayfj.'. eid vvv, 
 
 5 w _ 
 
 eTrei8r)irep avrds alpei, \eye. 
 
 \s \j 
 
 Antistrophe. 1 
 
 Kop. ft' iw Adfj,a\ 5 /Bkeiroiv d 
 
 1 The antistrophe is printed in cola, in order to facilitate comparison with the 
 strophe. 
 
 P
 
 210 THE VEESE OF GREEK COMEDY 469 
 
 567 
 
 51 \^ \s w w w 6d v 
 
 IT TIS TTl Ttt^ia/^OS T) CTT/aaTTjyOS T) 
 
 51 ^/ w w v^ w w Id + 2 
 
 570 Ttxo/*X as " V7 ?/ 3 } /3or)Or)<ra,T<i) 
 
 5 ^^ w w w 
 
 TIS avwas, eyw ya/3 f^ofiai /iros. 
 
 W W W V W V^ 4(1 
 
 489 dXX' Hermann 494 avfy Dindorf : &VTJP 566 cD Hermann : to 
 
 569 The period consists of a dochmius and an iambic dimeter joined within a 
 word, and this was its constitution in the text of Heliodorus. See the metrical 
 scholium on 566 ff. Elmsley reduced the dimeter to a dochmius by reading 
 Taj-ia.px.6s TIS }), omitting ffrparriybs 1) 570 TeixofJ.d\a$ Dobree : 
 
 Monostrophic dyad. A in the strophe = abba, 4334, palinodic 
 tetrad : a dochmiac tetrameter as proode, two iambic trimeters, and a 
 second dochmiac tetrameter as epode. See 746. If the received text 
 of 569 is what Aristophanes wrote, the structure of the antistrophe 
 was intentionally varied, as in Av. 327 ff. (463), and became abc, a 
 pericopic triad : a dochmiac hexameter, a period that consists of a 
 dochmius and an iambic dimeter joined within a word, a dochmiac 
 tetrameter. See 771. Even in this case, the last period (570 f.), in 
 imitation of the strophe, may have repeated the melody with which 
 the first (566 ff.) began, and the variation may have extended merely 
 to the third and fourth cola. If 569 was, as Elmsley supposed, a 
 dochmiac dimeter, A in the antistrophe = aa, 6 6, a dyad of the mono- 
 strophic type : two dochmiac hexameters in correspondence. See 767. 
 
 See the metrical scholia on Ach. 489 ff., 566 ff. Heliodorus makes 
 the strophe a mesodic triad, aba, grouping the two melic trimeters as 
 a single distichic period. The lack of complete metrical agreement 
 between strophe and antistrophe probably led him to give, contrary to 
 his regular practice (701), a separate analysis of the antistrophe. In 
 his text, 571 consisted of two 'cola,' the antistrophe being octacolic. 
 
 469. Vesp. 729-35 = 743-9 (Debate). 
 
 Strophe, 
 
 'H/i. a' TriOov TTi6ov Adyowrt, fj,r)8' atfrpwv yevy 
 
 78 w-w- w-v^- v^-w-3 
 
 730 fwyS' drcvrjs ayav dre/oa/xwv T' 
 
 fJLOi KTjeyuwv rj 
 
 78 * - ^ - ^-w- * -i v r-. 8
 
 470 DOCHMIAC VERSE 211 
 
 733 <rol Se vvv TIS Oewv 38 5 w w 2 
 Trapwv eyue^avrys >-/ -- w Id 
 
 734 vAAa/i/3avei TOV TrpaypvaTOS, 78 -- ^ -- ^ 
 
 735 /cat SvJAos rrtv ev TTOIWV __ w _ ^ _ w _ 4 
 (TV Se Trapwv Se^ov. w ~ w Id 
 
 'H/t. /?' vevovdeTrjKfv aurbv ets ra TrpdyfiaO' ofs 
 
 TOT' 7TfiaivT'' eyvwKe yap 
 745 AoytfeTat T' Ketva TrdvO' d/ 
 a crov /ceAevovTos OUK cT 
 
 747 vw 8' ?(rajs Toto-6 (rots 
 Aoyots irf.iQf.Ta.1. 
 
 748 /cat o-<u<^povet JJ.CVTOI ^.e^taras ets TO AotTrbv TOV Tporrov 
 Tn6op.vo<s T orot. 
 
 749 iri66/j.evos Brunck : ireiObpevos 
 
 Monostrophic dyad. A = AB (729-32, 733-5). A probably = 
 aba'c, 3233, epodic tetrad : two iambic trimeters that enclose a 
 dochmiac dimeter, with a protracted iambic trimeter as epode. See 
 748, 776. B = abcb, 2141, proodic tetrad : an acephalous protracted 
 iambic dimeter as proode to two dochmiac monometers that enclose 
 an acatalectic iambic tetrameter. See 750. 
 
 470. Vesp. 868-74 = 885-90 (Scene). 
 
 Strophe. 
 
 Kop.a' fv<f)r)fj,ia p.ev TrpWTa vvv 
 
 78 
 
 5 <&oi/3' "AiroXXov Ilv^t' ITT dyaOy Tv 
 
 70 ^-w- _^^^ xr-w 
 
 870 TO Trpay^t' o fMrj^avarai ^ \j w -- 5 C 
 
 dvputv __^_ ^_ w _ 
 
 5 -^ w -- \^ 4 
 
 irAavwv. >^^ w id 
 874 tijt Ilaiav. Invocation. 
 
 Antislrophe. 
 
 Kop. /3' vvvx6p.(r6a <TavTa> o~ot KaTraSofJiev 
 
 veato"tv ap^ats evexa TWV TrpoAeAey/xevwv. euvot yap r/tV e 
 888 TOV STJ/IOV ycrd6p.^(rda. trov ^tAovvTas u>s ovSets dv^p 
 890 Twv ye vewTepwv. 
 
 885 rai/rd Reisig 886 tveica Reisig : ftveKa 888 7j<r06/ie<r0a Cobet : 
 
 890 7e vewrtpw Schol. :
 
 212 THE VERSE OF GREEK COMEDY 471 
 
 The strophe and antistrophe constitute the dyad BB of the proodic 
 triad inserted in the scene. See 717. B = abcd, 3541, pericopic 
 tetrad : iambic trimeter, pentameter, tetrameter, dochmiac monometer. 
 See 772. The melic trimeter in 886, with anapaest in the fifth place, 
 shows logaoedic form (70). 
 
 471. The dochmius has affinity also for anapaestic rhythm, 
 as exemplified in the two odes that follow. 
 
 472. Thes. 667-86 = 707-25 (Syzygy). 
 
 Strophe. 
 
 Kop. a r}v yap yu,e XdOrj Spdcras avocrta, 
 
 281,271 ~-so- --~~ 
 
 Sto(Tl Tf. SlKTJV /cat irpOS TOVT(J) -- ^/ *** --- 
 
 rots aAAots TTat aTTacriv 800 ---- ~ ^ 6 CV 
 670 TrapdSeiyfJi v/3pe(a$ dSt/cwv T' epy<av 
 
 re T/>o7TO)v ' (frrj&fi. 8' civat 
 
 TC Oeov<s ^>avcpa)s, Set^et r ffirj ~ ^o -- ^^ 
 674 Trcuriv dvOptoTrois <ref3i^eiv 212 ^ -- _^_^ 
 
 Sat/Aovas ^SiKaitos r 
 e<^>7rovTast ocrta /cat vo/jiifj.a 
 fj,r)Sofj,fvov<i TTOteiv o TL 
 
 678 Kav /M^ TTOtwcrt ravra, roicxS' ecrrai' 
 
 78 M- W - w _ w _ w -- 3 C 
 
 ttVTWV OTOV XfjcftOfl Tt? <OVK^'> 6'(Tia, S/JWV 
 
 v^ vy ^ 3^5 \J 3 
 
 680 <^> ^tavi'ais ^>Aeyo)v, v^ w 
 
 irapaKOTTOS, fet Tt S/jo^f 
 
 -- v^w- w --- 3d 
 f[J.<f>avr)<s opav e- 212 15 v w \^ 
 
 -ywat^t /cat /3poToi(riv t w w v ^ 4 
 684 on ra TrapdvofJLa TO. T w ^^^ w c^ 
 
 dvocrta 0e6s faTroTtveTat irapa\prjfj.d re TtvTat.f 
 
 V^ VW VA^ \S WV V./ WV ^ W "" 3(1 
 
 Kop. /?' Tt av o^v etTTOt irpbs ravrd rts, OT rotavra TTOIWV 08' dvat- 
 
 orxvj'Tei; Mv. novTTta JU.CVTOI ye TreTrauyuat. 
 
 Ko/o. /?' a AA' oSv ^ K '? 7 06 fv t?//cet? c/>avAws T' dTroSpas ovf Ae^ets ofov 
 
 S/adcras SteSvs epyov, A^et 8e KOKOV.
 
 473 DOCHMIAC VERSE 213 
 
 Mv. TOVTO fievTOi p,r) yei/oiro 
 
 Kop. ft' Tt's o3v <roi, TIS av <Tvp.p.a.*)(o<i e* #<3v d$avdVa>v fXOoi 
 
 Mv. p.a.Trjv AaAcire ' TT)V S* eyw OVK d^crw. 
 Ko/>. /?' dA A' ov /xa TO) 00> rax' ov \aipwv ra>s 
 
 evu/?/3t?s Aoyors Xe^eis T' dvocrtovs <7r'> d^eots epyois' 
 
 722 <KCU> yap avTafifufsofAfo-Od cf ucnrep et/c6s dvrt 
 
 723 Tax Se fjLerafBaXovo-' Irrl Kaxbv (.Teporpo-rrov 
 
 667 /*e Bergk : ^ 669 ?<7Tat afl-ao-w' Bothe : &wa.ffiv tffru 679 
 
 Meineke 680 ^ von Velsen 683 ?<rrat Reisig : ivrlv yvvail Bmnck : 
 
 yvvaii-lv Pporoifftv Enger : Pporois 710 iJKeis y' Suidas : ^/c$ T' 719 
 
 evvppceu Reisig : frvpplffeis 720 X^s T' Fritzsche : re X^etj 721 ^ir' Enger 
 
 722 /cai Hermann 723 3 Fritzsche : 5^ ere 725 ^^x Bergk : 
 
 Monostrophic dyad. A = AB (667-78, 679-85). A = aabcd, 
 66443, epodic pentad : a tetrad composed of two anapaestic 
 hexameters, a trochaic tetrameter, and a dochmiac tetrameter, with 
 a catalectic iambic trimeter as epode. See 759. B = abcb, 3343, 
 proodic tetrad : an iambic trimeter as proode to two dochmiac 
 trimeters that enclose a trochaic tetrameter. See 750. 
 
 This analysis assumes that the strophe and antistrophe were 
 originally in close correspondence, but this fact is by no means 
 certain. See 51. 
 
 473. Aves 327-35 = 343-51 (Parode). 
 
 Strophe. 
 
 'H/x. a la la, Exclamation. 
 
 328 TrpoSeSoped* dvoerid r eirddopev, o<s yap 
 
 281, 271 ~~~~ ~~- - 
 fiv ou.6rpo<j>d 6' nu.iv 277 ~ ~ 4- c 
 
 
 330 evep-ero ireSia vap ^/AIV, <~ %~ ~~ ^- 2- c 
 
 8' O/SKOVS opviOav, 5 z~ -- 
 
 333 eis Bf SoXov KaAe<re Tra.pefia.Xk r tp.*. rcapa, 
 
 yevos dvotriov, oncp c6r eyever' ep-ol w ~~ ^ ^ ^- 
 fTpd<f>v). w w^ w^ w 5d 
 
 (0> no, Exclamation. 
 
 345 <oviav, irrepvyd re iravry. >~ ^~ *~ 
 
 CTrt/jaAc Trept, re Ki)fcAwo"a" WV^A^V^WW 2- 
 
 co$ ot TWO oifJUi&Ceiv a/x<po> ~ ~ ^ ^.^ 
 
 Kai Sovvai pvy\ei <f>op[$dv. 5 4
 
 214 THE VEESE OF GREEK COMEDY 474 
 
 349 ovrc yap opos (TKiepov 51, 442 w ~~ w ~ 
 
 OUTC ve<t>os alOepiov w ~ w ~ 
 
 350 ovrc TroAiov TreAayos w ~~ ^, ^~ 
 IOTIV o TI Se^erou w w~ ^ 
 
 351 rcuS 1 aVo<vyovT6 /AC. 10 w ~~ w w 10 V 
 
 334 tpol Blaydes : ^r' {pol 345 iravrij. Reisig : irdvra 
 
 Hiatus in 345, 346 is only apparent. Cf. Lys. 479 (303) and the 
 comment. 
 
 Monostrophic dyad. A = abed, 4-2-45 in the strophe, 4-2-410 
 in the antistrophe, pericopic tetrad : brachycatalectic anapaestic tetra- 
 meter, brachycatalectic anapaestic dimeter, anapaestic tetrameter, and 
 in the strophe a dochmiac pentameter, in the antistrophe a paeonic 
 dodecameter. See 772, 463. 
 
 474. Nub. 1154-69 (Episode II.). 
 
 Zr. /Soda-opal rapa rav vireprovov 
 
 78 w v w </ w 
 
 1155 /3odv. iw KAaer a)/3oA.o(rraTai 
 
 />H 
 
 \j \j \j \^ v v O 
 
 avroi re Kal rdpxaia KCU TOKOI TOKWV 
 
 vy u v w 
 
 ov8v yap av p. <f>Xavpov epydcratO' en, 
 
 \^ \j \^ \^ \j \^ Q 
 ofos cfjiol T/3e<^)Tai 475 5 ww ^ ^ 2 C 
 
 rotcrS' evt Stafjiacrc Trais, w w w \^ 2 C 
 
 1160 dpfftrJKfi yXuTTy Aa^Trwv, 281 ---- --- 2 C 
 
 78 
 
 1163 Avcravtas TraTpwwv /ieyaAwv 
 
 1165 S TCKVOV 5 Trai, 281, 276 - - w 1 H 
 
 fe\6' oi/cwv, ---- 1 
 
 ate trou Trarpos. ^^ w w ld v 
 
 2a>. 6'8' eKctvos dv^p. 281, 276 >^ ~- l 
 
 2r. a> <f>i\os w (f)tXo<s. 15 v^ w w ld v 
 
 2a>. CITTI^I \a/3ij)v rbv vlov. 78 w^~w w w 2 CV 
 
 ST. 10) 1(0, TKVOV, 1(6. 212 wsx w ^^ w 2 
 
 1155 (5 '/SoXoo-rdrat Princeps : dftoXoffrdrai 1164 rp^uv ?vdo6ev Princeps : 
 
 RV 1168 uZ6v Dindorf : i/Jiv <rov 
 
 The systematic period ends with o. The following iou iov is an
 
 474 DOCHMIAC VERSE 215 
 
 anaphonema, and in the text of Heliodorus was separated from the 
 ode by the 8nrX$. See Schol. Nub. 1170 ff. 
 
 Non-antistrophic. A = ABC (1154-60, 1161-6, 1167-70). A = 
 abccd, 66222, proodic pentad : a protracted iambic hexameter as 
 proode to a ' periodic ' tetrad composed of an iambic hexameter, two 
 enoplic dimeters and a paroemiac. See 752. This intermediate 
 period possibly may be aabbc. See 754. B = abcde, 341 1 1, 
 pericopic pentad : iambic trimeter, dochmiac tetrameter, anapaestic 
 monometer, anapaestic monometer, dochmiac monometer. See 772. 
 C = abed, 1122, pericopic tetrad : anapaestic monometer, dochmiac 
 monometer, catalectic iambic dimeter, trochaic dimeter. See 772 
 The first two intermediate periods constitute a monody (593), and 
 show appropriate variety of rhythm.
 
 CHAPTER XI 
 PROSODIAC-ENOPLIC VERSE 1 
 
 475. The fundamental cola of prosodiac-enoplic verse are the 
 two dimeters from which it receives its name, the prosodiac, 
 TrpocroSuiKos, w v ^ ^/ , and the enoplius, evoTrXto?, 
 - w w - ^ w - ^, which are respectively in ascending and 
 descending rhythm. Each normally contains twelve primary 
 times and eight syllables, but the first syllable of the prosodiac 
 and the last syllable of the enoplius may be short instead of 
 long: 
 
 <ras aTTTOytievos <f>apeTpas w^/ w w 
 
 W <5 ova 7rpo<s yovoLTdiv w w ^ w w Eq. 1272 = 1298 
 
 r)v Sf <re Kap/avos eXBwv w w w^ Pax 782 
 
 a/aa ye TOUT' ap' lyw TTOT v v/ v w w JV^uft. 465 
 
 On the constitution and probable origin of these cola, see 630 ff., 
 643 ff. 
 
 476. The prosodiac does not admit catalexis, but a hyper- 
 catalectic (488) prosodiac dimeter occurs : 
 
 Koivfj yap fir evTV\iauriv ww w - w Eccl. 573 
 
 477. By catalexis the enoplius loses its final syllable : 
 
 <f>povri8' irrTa/iev^v w w w w Eccl. 572 
 
 478. Cola occur in association with these dimeters that when 
 joined with the prosodiac have the form of an iambic dimeter, 
 when joined with the enoplius that of a trochaic dimeter. In 
 both these associated cola, which in comedy do not admit resolu- 
 
 1 Since the prosodiac-enoplic odes in quoted, where necessary, from Bacchylides 
 Aristophanes are too few to illustrate and Pindar, 
 all the forms, occasional cola will be 
 
 216
 
 483 PROSODIAC-ENOPLIC VERSE 217 
 
 tion, the component metre is generally, but by no means always, 
 irrational (650) : 
 
 <rol yap rd8' eg apxys fieAei -- w -- ^ V H Pax 781 
 
 KOI Td\ av /3ovf3iavi(pr] w -- ^ W H Vesp. 277 
 
 \opov 8f fjir) 'xy Md/ixri/zos w w -- w Pax 803 
 
 rb (r<f>vpbv yepovros OVTOS w w ^ -- Fesp. 276 
 
 479. Catalexis in these dimeters assumes the regular iambic 
 ( w -- ) and trochaic ( - w - ) forms : 
 
 KOU yacrr/oicrov crcavrov v^ ^ Vesp. 1529 
 
 prjSev eis Ai'o-iVr/aaTov w ww v -Ej. 1267 
 
 ofj.i\f rats firifBSais w w w -- Crat. /rowjf. 323 
 
 e<r6iei KAewvv^tos w w ww v .Eg" 1293 
 
 480. Protraction may occur in cola of iambic and trochaic 
 form. The ithyphallic (203) is common : 
 
 TOV <f>i\ov xP fVcr ov w v-- w v Pax 777 
 Also a hypercatalectic (488) dimeter in iambic form : 
 OepfjMv 8' Ti Trvewv aeXAav -- w w w ^ Bacch. x. 22 EL 
 
 481. Two prosodiac trimeters occur : 
 
 MOKTOV yXvKvSupov ayaX/j-a, TWV yc vvv 
 
 -- ww w v w w Bacch. v. 4 
 avSpwv re Sairas Kal OaXias fjMKapwv 
 
 -- w - -- ww -ww- 1 Paa; 779 f. 
 
 482. Neither of these admits catalexis, but both may be 
 hypercatalectic : 
 
 aAX" Styaff dvicrTacro firjS 1 OUTW crtavTOV 
 
 -- wv w^/ -- ^ w Fesp. 286 
 rbi/ Trais o Aarovs tvpvp.e8(ov TC IIo<rt8av 
 
 -- v^ -- ww w w Find. 01. viii. 32 
 
 483. Two enoplic trimeters occur : 
 
 dvTt/3oXrj ftcra TWV 7rat'Sa>v 
 
 ^ _ w ^ -- -^ -- 2 Paa 783 f. 
 Iffivoia TroXirrjv 
 
 i. 574 
 
 1 This was called ' iambelegus ' (Heph. 2 This was called ' encomiologicum ' 
 
 51. 3 ff.). (Heph. 50. 18 ff.).
 
 218 THE VEESE OF GREEK COMEDY 484 
 
 484. These trimeters both admit catalexis : 
 
 p. Kare/Jav, rav Trovriav 
 
 ^ ^ ww -- w Find. 01. vii. 1 3 
 "Y/?pts, a irXovrov 8vvafj.iv re $oa>s 
 
 w -- w w w w Bacch. xv. 59 
 
 485. Trimetrical cola occur, in association with the two 
 prosodiac and two enoplic trimeters, which in ascending rhythm 
 have the form of an iambic trimeter and in descending rhythm 
 of a trochaic trimeter : 
 
 fXOovra Kocrfj,f}(ra.i OfoS/JiaTov TroAiv 
 
 -- w -- w -- w Bacch. xii. 7 
 Stp //.r) KOIKES 7rVo-$cu 
 
 -- ^ _ -- w _ w -- 2 . 1273 
 Kovpai Sua^iinroi *A.prjo<s 
 
 w -- v^ -- v/ w Bacch. ix. 44 
 zais CVCCTTO^IV <^pacrtv 
 
 w -- w -- ww Bacch. xiii. 229 
 
 486. Similar in formation are two tetrameters that fulfil the 
 function of cola in the composition of strophes. The first is 
 prosodiac : 
 
 os yap aAAots aAAos e-jr epyp-acriv avdpto-rrois 
 -- w -- ww wv -- w Find. Isth. i. 47 
 
 This does not admit catalexis. The second of these tetrameters 
 is enoplic : 
 
 5 /iev alfj,dpdai irapa 8aifJiovo<s dvQpunrois apurrov 
 w -- ^ w ww -- w -- Bacch. xiv. 1 
 
 The catalectic form is commoner : 
 
 eyydvwv yeuo-avro, KCU v^tTrvAov T/ooias e'Sos 
 v<> ^ v v^^/ ww Bacch. ix. 46 
 
 487. Compare the final colon of the hexameter in the follow- 
 ing fragment of Pherecrates (2) : 
 
 Aowa/zevoi 8 TT/DO Aa^TTpas r\fj.epa<i ev TOIS (rTe^avw/icwrtv, 01 8' v ry 
 AaAeire Trcpl <rurvfj.f3pi<jiv KOcr/iOO-avSaAwv re 
 
 w w \s \j
 
 489 PROSODIAC-ENQPLIC VERSE 219 
 
 On the probable origin and formation of the dimeters of iambic 
 and trochaic form, of the six trimeters and of the two tetrameters, see 
 633 ff., 643 ff. 
 
 488. The hypercatalectic syllable generally results in 
 Ionian verse from regressive reduction of an acatalectic colon. 
 The process of reduction is applied in successive stages : 
 catalexis, brachycatalexis, ' hypercatalexis.' Thus an acatalectic 
 dimeter in Ionian verse becomes successively a catalectic 
 dimeter, a brachy catalectic dimeter (tripody), and a ' hyper- 
 catalectic ' monometer (penthemimer) ; an acatalectic trimeter 
 becomes a catalectic trimeter, a brachycatalectic trimeter (penta- 
 pody), a ' hypercatalectic ' dimeter. See 33, 35, 36, 37. Hyper- 
 catalectic syllables in prosodiac verse arose some in this manner, 
 if, as seems probable, the iambic penthemimer is the constituent 
 element of prosodiac cola in iambic form (638), others through 
 the conversion of an original paroemiac into a prosodiac (631). 1 
 See 642. However derived, they were probably all rhythmized 
 in a similar manner. See 37. 
 
 489. Prosodiac -enoplic verse is regular and simple. The 
 twelve cola in ascending and descending rhythm that are illustrated 
 above : 
 
 1. Jsi _ ^ w _ ww _ 
 
 2. ^ - w - ^ - ^ - 
 
 3. \s w ^r \~> v_/ 
 
 4. w -~ww w w 
 
 5^ v/ \^ 
 \J ^ V_/ 
 
 6. ^ ^ ^ _ w ^ _^ w _ ^ _ w _ 
 
 7. w w w </ 
 
 8V V 
 
 \J \s 
 
 9. w w v w ^ 
 
 1Q __ v./ _ .j 
 
 11. -W-^ - W - ^ _ w _^ 
 
 12. ^ v^<-> w w ^i 
 
 with their catalectic and hypercatalectic forms, are the elements 
 from which respectively prosodiac and enoplic subordinate periods 
 are constructed. These cola may themselves serve as periods or 
 they may be combined into tetrameters, pentameters, hexameters, 
 heptameters and octameters. 
 
 1 Onhypercatalexisinhighlydeveloped notes. For Schroder's final treatment 
 Aeolic verse, see the editor's Origin and of the hypercatalectic syllable, see his 
 Form of Aeolic Verse, 300, with the Vorarbeiten, 93 S.
 
 220 THE VERSE OF GREEK COMEDY 490 
 
 490. Thus, by combination, in Aristophanes : 
 
 <ny>o/3ei, 7rapd/3atvf KVK\IJ> not yaonyncrov (reavrov 
 
 (1 + 2) w w w w w | -- v ^ -- Vesp. 1529 
 "Hpav re 01 'AcrTracriav TIKTU KaTa7rvyo<rwi7 
 
 (1 + 1) -- ww ^ ^ | -- vv/ w ^ Crat. 241 
 aia <rg <f>pevl crv/i/JovXewoju.ei'Ous /Ara <rov 
 
 (7 + 7) w w wvy -- | w w ^ ^ * .ZVw&. 474 f. 
 eras a.TTTOfj.fvo'S <f>apfrpas \\vdutvi. 8ia arj Ka/caJs TrfVffrOat, 
 
 (1+5) -- vw _ w ^ _ | -- w _ -- w _ w -- 2 . 1272 f. 
 rfv 8e ere Kap/avos eA^wv &VTi/3oXfj /j-era. TWV Trai'Stov x o / ^" at 
 
 w _ ^^ -- _ w -- Pax 782 ff. 
 tcrOUi KAewvu//,os 
 
 w -- | - v/ - w - w - J^g-. 1292 f. 
 Kai povos OVK av (TTfiOeT, dAA' OTTOT dvTi^SoAoi^ TIS, Kara) KUTTTOV av OUTW 
 (7 + 7 + 8) ww w<w/ v->| v-'-w' ww I w 
 
 _ w -- Fes^j. 278 ff. 
 KAetoixra ^ewv re ya^aovs dvSpwj/ re Sairas KGU ^aAtas fiaKaptav <rol 
 
 yap rdS' fg apX^ s /*^ et 
 (1 + 4 + 2) ww v^ v^ *-> \s \s \s \s \ 
 
 -- ^_ -- ^ - Pax 778 ff. 
 (3ov\o[JLevovs dvaKoivowdat re /cat ts Aoyov eA^etv itpay para Kavrtypa^as 
 
 TToAAtUV TttAaVTtUV 
 
 (7 + 7 + 9) ww v^v I w\^ ww I w \j 
 
 ww -- _^ -- Nub. 470 ff. 
 
 fj.rjT 8fSpa.fj.fva p.'fj'r flprjfifva TTW Trporfpov' /xiaoucrt yap T^V TO, iraAaia 
 
 iroAAa/as 
 
 ww _ w |_ w _ w - ^r - c. 578 ff. 
 
 491. A great variety of combinations of these twelve cola 
 is found in lyric poetry and the drama. Variants of these cola 
 are very rare. There are but two in Aristophanes. Variants 
 arose, under poetic impulse to secure special rhythmical effect, 
 by slightly altering the form of a particular colon, commonly 
 by the change of a single metre. For the two instances of 
 variation in Aristophanes, ^ w - ^ ^ -- corresponding with 
 _ w _ . _ w _ _ (Vesp. 276 = 283), and - ^ ^ - w - with 
 _ w ^ _ _ w _ (Vesp. 274 = 282), see 825 and 826 f., where 
 this subject is treated at length (812 ff.). The combination of 
 subordinate periods in ascending prosodiac rhythm with periods 
 in descending enoplic rhythm has its exact parallel in the 
 
 1 This was called ' choerileum ' (Schol. Nub. 457 ff.)- Of. Antiphanes 174. 2, 5, 6.
 
 493 PROSODIAC-ENOPLIC VERSE 221 
 
 union of subordinate periods in ascending and descending rhythm 
 in iambo-trochaic (367 ff.) and simplified logaoedic (392 ff.) verse. 
 
 492. Periods in other rhythms are sometimes combined with 
 prosodiac and enoplic periods in the same ode. A notable 
 example is found in Pax 785 ff. (497), where the regular series 
 is broken, at the beginning of the second intermediate period, by 
 a protracted Aeolic hexameter, followed by two dactylic dimeters 
 that enclose an anapaestic tetrameter. Similarly in Ran. 674 ff. 
 (498), the first intermediate period begins and the second inter- 
 mediate period both begins and ends with simplified logaoedic 
 cola. The first intermediate period in Nub. 457 ff. (500) is in 
 the same rhythm. JEccl. 571 ff. (501) begins with a logaoedic 
 trimeter. The first and last subordinate periods in Vesp. 273 ff. 
 (499) are in minor ionic rhythm. 
 
 Single prosodiac and enoplic subordinate periods occasionally 
 occur also in odes composed mainly in other rhythms. 
 
 493. Eq. 1264-73 = 1290-9 (Parabasis II). 
 
 Strophe. 
 
 e H/x. a' TJ KaAAiov apxo/ievoi- ^ w w w w 
 
 crtv rj KaTairavofj.evouriv 488 v ww w w c/ 5- c 
 
 >} Ooav i7nr<av lAa-nj/oas deiSeiv -- w -- ww wv -- 
 
 p.rj8fv eis AwMTTyjctTov, w w w 5 CV 
 
 (j.rjSe Oov/zctVTiv TOV avecrriov ai5 Av- 
 
 5VV \t ~ 
 
 \^/ - \s \s -^ \s \_/ -^ 
 
 TTf.lv CKOIXT7] KapSiq. ; 795 (ant.) w -- w 5 C 
 1270 KOI yap OVTOS cu ^>iA' "ATroAAov <det> Tret- 
 
 vrj, $aAe/3(us Sa^pvois ^/w w^/ 5 C 
 
 s aTTTO/ 
 
 HvOtovi 
 
 10 -- w- -- w w -- 5 C 
 
 1292 xat Stc^r^x' oi"o^fv TTOTC 
 
 1294 <^>a(ri </xev> yap avrov epeirro/icvov ra TWV exovrtov avepwv 
 
 1296 OUK civ e^cA^civ aV6 T^S O-ITTVT/S* TOUS 8' &vTt/3o\fiv av 
 
 1298 " W <5 ava Trpos yovarajv, e(\6c /ecu (rvyyva>$i T^ rpaircfy." 
 
 1270 oDroj Dindorf: oi/roffl <dei> Dindorf 1273 8/9 Hermann: &> 5i 
 
 or tv 8t4 1294 <M^> Bentley 1296 &v dfyitwy Bergk : &v 6/xofwj or 
 
 or d\X'
 
 222 THE VERSE OF GREEK COMEDY 494 
 
 Monostrophic dyad. A = abbcd, 5-5555, epodic pentad : a 
 periodic tetrad composed of a hypercatalectic prosodiac tetrameter, 
 two enoplic pentameters, and an enoplic pentameter of different form, 
 with a prosodiac pentameter as epode. See 751. 
 
 See the metrical scholium on Eq. 1264 ff. 
 
 The ode opens with parody of verses from one of Pindar's 
 prosodia (frag. 89 S.) quoted by the scholiast : 
 
 ri KaAAiov apxo/xevoio-iv rj KaraTravo/AeVowriv 
 
 TI /3adv(avov re Aarw KCU Ooav LTTTTIOV eAaVeipav aetcrai ; 
 
 Aristophanes has omitted Pindar's third colon as inappropriate, brought 
 forward his fourth with felicitous changes, and added with comic effect 
 the unexpected clausula /t^Sev Is Aver KTT parov. The scholiast says that 
 the antistrophe begins with a parody of verses quoted from Euripides. 
 
 494. Vesp. 1518-22 = 1523-7; 1528-37 (Exode). 
 
 Strophe. 
 
 'H/x. a ay & yu.eyaA.covv/xa re- 792 w w w w w " 
 
 1519 Kva TOV $aAatrcri(HO, 
 TrrjSdre Trapa ^d^aOov 
 
 KCU Blv dAbs drpvyeroL- 
 1522 o Kapi8(j)v dS(X.(f>oi. 
 
 Antistrophe. 
 
 'H/i. /3' ra^vv 7ro8a KVKXoa-o/Seire, ai TO 
 1525 KAaKTtcraTo> TIS, OTTCOS iSovres avto cr/ceAos wa>criv 01 Oearai. 
 
 Epode. 
 
 Xo. o~T/3O^8et, Trapd/3aiV KU/cAco icat yaorrptcrov creavTOV, 
 1530 pLTrre a-KeAos ovpdviov j3e/x/3tKS eyyevecr^tov. 
 1532 Kavrbs yap o Trovro/xeScov ava^ Trarrjp Trpoa-eprrei 
 
 1534 f)CT0fls 7Tl TOMTIV Jai'TOU 7TatCT6 TOIS TpLOp\^OL<i. 
 
 dAA' e^ayer, et TI ^lAeiT 5 6/3Xov/x,evoi, 6vpae 
 i^/Atts ra^v' TOUTO yap ovSeis TTCO Trapos SecSpa/cev, 
 1537 opxov/jtcvos oaris aTr^AXa^ev \opbv rpvywStav. 
 
 ^ \^ <w \^<^/ w \^ o 4 
 
 1519 0aXa<r<r/oio Dindorf : BaXatrcrtov 1523 7r68a KH/cXo(ro/3etTe Dindorf : a-65" 
 
 ^ K\JK\({> ffopeirf (ffrpo^etre V) RV 
 
 The ode constitutes an epodic triad, AAB. See 716. A = ab, 
 4 6, pericopic dyad : prosodiac tetrameter and hexameter. See 770. 
 B is a stichic period composed of seven prosodiac tetrameters. See 
 778.
 
 497 PROSODIAC-ENOPL1C VERSE 223 
 
 495. The tetrameter that constitutes the epode of the pre- 
 ceding ode was in favour with the comic poets. Compare : 
 
 \o-ip', <5 fiey' dxpeidyeAws o/uAe rats eVi/^Sats 
 
 cro^ias icpmjs apurre iravTOiV 
 
 ertKTf ere p-ifJTrjp IK/H'COV ^d^r/cris. Crat. 323 
 
 8' oTTLcrOev mo i<f>pov tjtepuv Av/coupyos 
 KaXdcrtptv. Crat 30 
 
 U7Touytofs dAodaavr' eu#us K7roi^crat. Pher. 65 
 
 ai 8T7TOTa, KGU TciSe vvv axovcrov av Aeya) crot. Eupol. 236 
 Aaywov \(a KCVOV, u> ypav, OvXaKOv Se fiftrrov. Diph. 12 
 
 Cf. also Eupol. 139. 
 
 496. A pentameter with corresponding, but trimetrical, 
 catalectic iambic close occurs, as we have already seen, in the 
 Eguites (1272 f. = 1298 f.). Compare the hexameter, with 
 dimetrical iambic close, in the strophe just above (Vesp. 1520 ff. 
 = 1525 ff.). Note also the fragment of the Oenomaus of 
 Sophocles, quoted in parody in Av. 1337 ff., an octameter 
 composed of two iambelegi (481, n.) and a catalectic iambic 
 dimeter : 
 
 * * yevoi/xav aieros 
 
 virep rpvyerov -- -^ -- 
 ITT' otS/xa At/ivas. -- ^ w 
 
 1337 <et ybp> yevol/Mv (?) Ed. 1338 d-nvoradeL-qv Blaydes : &v irvra.6dt\v 
 
 497. Pax 7 7 5-9 6 = 7 9 7-8 1 8 (Parabasis I.). 
 
 Strophe. 
 ' Mowra <rv p.ev TroAe/xovs air- w w w ^ c? 
 
 w \^ w w 4 C 
 
 777 TOV <f>i\ov xo/oevcrov, 480 w \^ ^ 2 CV 
 
 778 KAeioixra #ewv re yd/tous -- ww w ^ 
 
 dvSptav re Satras KOI 6a\ias fj.aKo.pwv 
 
 481 n. 5 \s ww wv 
 
 781 (roi ya/o rdS' e^ dp^^s /teAet. ^_ w _ -- wc?7 H 
 
 )v 8c ere Kapxtvos eA^wv ^ ^ ^ w 
 
 dvTi/3o\rj /xera TWV iraiStav \opfvfraL, 
 
 483 n. v/w wv/ v 5 
 
 785 p^ff vjraKove p.rjr' eA- 513, 516 v ^ w . 
 
 #gs (TVVfplOo'i aVTOlS, 10 w w w 
 
 dAAci vojufc Trdvras w w w o 6 CV
 
 224 THE VERSE OF GREEK COMEDY 498 
 
 oiKoyeveis 
 
 389, 800 (ant.) - ~ - ~ - ~ - ~ 2 
 
 793 Kal yap e<curx' o Trarrjp o Trap' eA;riSas 
 
 795 ?Y T 
 
 x/3^ Xa/>tT(ov 
 
 799 TOV cro^>5v TTOIT/T^V 
 
 800 vfj.veiv, 6Vav r/pcva. j 
 
 804 /r^Se MeAav^io?,' ov STJ iriKpoTa.Tr)v OTTO. yrjpvcravTO'S 
 
 807 rjviKa TWV T/oayySwv rbv ^opov ei\ov aSeA^os T Kat avros, 
 
 810 Fo/oyovcs d^o^ayoi 
 
 "A/37TV6at, ypa.ocr6/3ai fj.ia.poi 
 815 <ov Ka.Ta\pefj.\f/afj.^vrj yueya /cat 
 817 Movo-a ^ea /XCT' l/xov v/Aircufe T^V 
 
 785 inrdicove Bentley : {iira,Kov<rris 808 a5e\06j Bekker : 
 
 Monostrophic dyad. A = AB (775-84, 785-96). A = abed, 
 4275, pericopic tetrad : enoplic tetrameter, ithy phallic, prosodiac 
 heptameter, enoplic pentameter. See 772. B = abcbd, 62424, 
 epodic pentad : a protracted ehoriambo-iambic hexameter and two 
 dactylic dimeters that enclose an anapaestic tetrameter, with an 
 enoplic tetrameter as epode. See 762. 
 
 See the metrical scholium on Pax 775 ff. 
 
 The strophe and antistrophe open with parody of verses from 
 the Orestia, of Stesichorus (frag. 35, 36, 37). See the scholiast, who 
 quotes the lines parodied in the antistrophe. 
 
 498. Ran. 674-85 = 706-17 (Parabasis). 
 
 Strophe. 
 
 'H/i. a' Movoxx xopwv lepwv 
 
 396, 800 (ant.) - ~ - ~ - 2- c 
 
 fTTl/3r)dl KCU !A0' 7Tl T/D^IV (XOlSotS 6/ACtS, 
 
 379, 800, 795 (ant.) ~-~-~-~- .-^-3 
 676 rbv TroAvv 6\^ofj,vrj Aa- ww ^ w 
 
 wv oxAov, oS <ro<f>iai ^ ^ ^/w 4 C 
 
 pvpiai Kadrjvrai, 5 w w 2 CV 
 
 678 <jf>lAoTl//,OT/9CU KAeO<^0)VTOS, <^>' O? 
 
 394
 
 499 PKOSODIAC-ENOPLIC VERSE 225 
 
 877 \fi\<rw dfj.(f>t\dXoi<i w ^/ w v^ 2 
 
 680 Sfivbv fTrt/3pepTat, 792 ^ ^ w w 2 C 
 
 QprgKia xAi8wv w v 2- c 
 
 7Ti /SdpfBapov fo/j.evr) ireraXov 
 
 394, 800 (ant.) 10~ - ~ - ~-~- 
 683 KfXaSei 8' firiKXavrov drjSoviov vo/iov, d>? oVoAei- 
 
 rat, KO.V itrai yevcovrai. 393 -- w ^ -- 7 
 
 H/i. ^8' ei 8' ey w opdfa i 
 
 /3iOV dvfpOS 17 T/307TOV OtTTlS CT* Ot/>lW^Tat, 
 
 708 ou TroAvi/ ovS' 6 iriOrfKO<s OVTOS 6 vuv e 
 KAyevr;s 6 fiiKpos, 
 
 710 6 TTOV^pOTttTOS (3aXa,VVS OTTWTOt 
 
 if/evSoXirpov KOVIO.<$ 
 /cat KtjticoAtas yrjs, 
 714 \povov fv8ia.Tpi\pei I8wv Se 
 
 ^ Bentley : efSws 5<* or '5ws re 
 
 Monostrophic dyad. A = AB (674-7, 678-85). A = abed, 2-342, 
 pericopic tetrad : dactylic penthemimer, logaoedic trimeter, enoplic 
 tetrameter, ithyphallic. See 772. B = abcde, 22227, pericopic 
 pentad : anapaestic dimeter in logaoedic time (389), prosodiac dimeter, 
 enoplic dimeter, ithyphallic, simplified logaoedic heptameter. See 772, 
 777. 
 
 499. Vesp. 273-80 = 281-9 (Parode). 
 
 Strophe. 
 
 ' TL TTOT' ov 7rp6 Ovp&v <f>a.iver' dp' r/fiiv 
 
 417, 424 ww-. ww -- ^w -- " 
 
 274 o yep<av ov8' inraKovti ; ww -- w ^ ^ 5 V 
 /iwv aTroAwAcKC ras 491 w w c/w 2 C 
 
 275 ffj./3d8a<i, fj irpoa-fKO^' ev 802 (ant.) ^ w ww -- 
 
 T<{) (TKOTtp TOV SttKTvAoV 7TOV, 5 w -- w w4 H 
 
 276 C'T' f^Aey/iT/vev avroi) 491 w ^ -- 
 
 T& cr<f>vpbv yepovros OVTO?, w w w -- 
 
 277 Kai rax' " v PovfiaiVKpr) ; v^ -- w c?6 H 
 77 /x^v TroAv Spi/iVTaros y' -- ww w w 
 
 278 ^v rwr Trap' ^tv, 488 10 -- w - ^ 4- c 
 Kai /zovos OVK av ''
 
 226 THE VERSE OF GREEK COMEDY 500 
 
 279 dAA' OTTOT* dvTifioXoir) ^ w w ^ -- 
 Tts, Kara) KVTTTWV av ovr<a \s -- w -- 6 
 
 280 "Ai'0ov fyeis" IAyei>. ^ w -- ^ w - 2 
 
 'H/i. /3' Td*xa S' av Sia rbv xOifcvbv avOpiimov, os i?/ids 
 282 l^aTraTwv Kat Aeytov 
 
 ws (f>iXa6^vaios tfv Kat rav 2a/i(> Trpwros KaretVot, 
 
 cif" wrws Kerrai TTV/JCTTWV. ecrrt ya/3 TOIOUTOS 
 
 286 dAA' u>yd$' dvicrrao'o fj.r)8' OVTOJ (reavrov 
 2<r$te fj.rj8' dyavd/crct. icai yap 
 
 289 ov OTTCOS eyx^T/ouis. 
 
 281 -)(6i.^ivQv Hermann : 
 
 The strophe and antistrophe constitute the first dyad in an epodic 
 pentad, AABBC. See 716. A = AB (273-7% 277 b -80). A = abed, 
 5246, pericopic tetrad : ionic pentameter, enoplic dimeter, enoplic 
 tetrameter, enoplic hexameter in trochaic form. See 772. B = abc, 
 4- 6 2, pericopic triad : hypercatalectic prosodiac trimeter, enoplic 
 hexameter, ionic dimeter. See 771, 777. 
 
 The ode begins and ends with a minor ionic movement. The 
 entire ode that follows (291316) is in minor ionic rhythm. Verse 
 290, urray' tS Tra? wraye, is apparently a comical addition of the second 
 coryphaeus. It has the metrical form of the final colon of the ode. 
 
 500. Nub. 457-75 (Parode). 
 
 Lyrical Trio. 
 
 Ko/3. a' Xrjua fifv irdpea-Ti To>8e y' OVK aroA/xov 
 
 458 dAA' eroip-ov, ttrdt S* ais w ^ 
 ravra padiov Trap' fuov /cAeos ovpavo- 
 
 396 -^^-^, 
 
 460 /nr^Kts fv j3poTol(ri,v e'^ets. w ^ 
 2r. T4 TTficrofJLat ; Kop. a' rbv iravra \povov 
 
 481 n. 5 w - w ^ ^ - ^ w - 
 
 463 j^AwTOTarov fiiov dv- w^/ \-> w 
 
 2r. apd yc TOUT' dp' eya> TTOT w ^ w w w 
 
 oifsofiat / Kop. ^8' <5<TTe y crou TroA- 
 
 800 w w w^/ ~ 
 
 Aous CTTI Tafcri Ovpats del Ka6fj<rOai, 
 
 483, 802 10- ^ ^ - ovy -w 7
 
 501 PROSODIAC-ENOPLIC VERSE 227 
 
 470 /JovAo/ACVOVS OLVaKOlVOV- w w ww 
 
 <r&ai Tf. Ko.1 ei's Adyov fXdflv 
 472 TT pay para KavTiypa(j)a<s TroAAwv TaAavrwv 
 
 474 a^ia <rrj tfrpfvl crvfJi/Sov- ww ww 
 
 /xera <rov. 15 w ^ w w 4 C 
 
 Non-antistrophic. A = AB (457-60, 461-75). A = ab, 5 4, peri- 
 copic dyad in simplified logaoedic rhythm : pentameter, tetrameter. 
 See 770. B probably = ab'b'c, 7-774, periodic tetrad : a hyper- 
 catalectic prosodiac hexameter as proode, two enoplic heptameters, 
 and a choerileum (490 n.) as epode. See 745, 776. 
 
 See the metrical scholium on Nub. 457 ff. 
 
 501. Ecel. 571-80 (Debate). 
 
 'H/i. a vvv Srj Sei ere TTVKVYJV <f>peva. /cat <iAo<ro<jf>oi/ fyeiptiv 
 
 383 *~ -^^ v~ w^ v 3 
 (frpovTiS' eTTurTap-evrjv ww ^ w 2 C 
 
 573 Tawri fylXauriv dfj,vvetv. wv ww 2 
 
 Kotvj; yap eif f.vTv\ia.uriv 488 wv ^ ^ w 3- c 
 
 574 !/ox eTat yAwTTT^? eTTivota TroAtrvjv 
 
 575 Sfjfiov firay \aCova-a 790 ww w w w 5 
 /3iov 8r)- 
 
 Xov 8' on 7re/5 Suyvrai' v \^ w \^ 5 C 
 
 Kaipbs <>, Srai ya/3 TI (ro([>ov TIVOS e^- 
 
 481 li. v <-> \y >/ 
 
 cvp^/JiaTos 17 TrdAis 17/jtwv. 10 -- vw ^ w 6- c 
 
 578 aAAa Trepaive p.ovov ww w w 2 C 
 
 /i^re ScSpa/ieva /MJT' ci- w ^ ^^ -- " 
 
 prjp.cva. 7T(o Trportpov p.i- ^ <*j wv -- 
 
 580 (roucrt yap ijv TO, iraAata w w \^v^ w 
 
 ttKlS 00>VTai. 15 v^ vy 8 C 
 
 576 SrjXov 8' Meineke : SrjXovp <5i> Hermann 577 TI Princeps : rot or roi ye 
 
 The antistrophe of the monostrophic dyad is lacking (673). A = ABC 
 (571-3, 574-7, 578-80). A = abb, 322, proodic triad: a logaoedic 
 trimeter as proode to two enoplic dimeters. See 738. B = aVbc, 
 3-55 6-, periodic tetrad : a hypercatalectic prosodiac dimeter as 
 proode, two enoplic pentameters and a hypercatalectic prosodiac 
 pentameter as epode. See 745, 776. c = ab, 2 8, pericopic dyad : 
 enoplic dimeter and octameter. See 770.
 
 228 THE VEKSE OF GKEEK COMEDY 502 
 
 502. With the last subordinate period cf. the enoplic 
 hexameter ending with an ithyphallie in Crat. 240 : 
 
 8f KOI 
 
 X/oovos dXAr/Xotcri /iiyevre /xeyio-rov TIKTTOV rvpavvov 
 Qeol 
 
 503. Modern writers on Greek metric are not agreed as to 
 the origin and constitution of the cola that compose prosodiac- 
 enoplic verse. See 812 ff. Furthermore, all ancient metrical 
 theorists are not in agreement with one another, nor is the 
 individual ancient metrician always in agreement with himself. 
 The views of Heliodorus, who analyzes three of the foregoing 
 odes, are of peculiar interest to students of comedy. See the 
 metrical scholia on Pax 775 ff., Eq. 1264 ff., Nub. 457 ff. In 
 these analyses, he consistently regards the elements ^ - w - and 
 
 v **i not as 'epitrites' (see Heph. 12. 16 f. and 13 f.) nor 
 as ' ionics,' but respectively as iambic and trochaic. His phraseology 
 is iambic basis (for M - ^ -), iambic penthemimer, iambic 
 hephthemimer, iambic dimeter, iambic trimeter; trochaic basis 
 (for - w - ^), ithyphallie, trochaic hephthemimer, trochaic 
 dimeter, trochaic trimeter. 
 
 504. He does not name the enoplius, but calls the combination 
 
 wv/ ww ^ SaKTV\ifcbv rpiTTOW et? icrv\\af:}Lav (Pax 
 782 and 783, Eq. 1265) or SatcrvXucbv <rpi,rrovv et?> rpo- 
 'Xalov (Nub. 465). He does recognize, however, the prosodiac, 
 repeatedly designating the combination *' s .v .%/--*/ v by this 
 name. Thus aTrwaa/jievi] /zer' efiov (Pax 776) is TrepioSos irpov- 
 oSiatcri evBeKaa-tj/jLo^ rj (cf. the antistrophe, v. 798) ScoSe/cacr^/io?. 
 Again, Treivy, Oa\epol<$ 8a/cpvot9 (Eq_. 1271) is irpoaroBtaicbv 
 ScaSeKcicrijfjiov. He gives a single indication, of doubtful meaning, 
 as to the constitution of the prosodiac. Thus rbv irdvra %povov 
 
 efjiov (Nub. 462) is avaTraicmKr) Trpo&oSiaKr] TrepioSo? 
 Again, more simply, TroXXoy? eVt ral<n 6vpai<t 
 (Nub. 468) is dvairaicrTiicbv TrpoaoSiaKov Ba>8Kd<ri]/j,ov. Does 
 anapaestic attached to 'prosodiac' here signify the differentia- 
 tion that Hephaestion perspicuously states at unusual length 
 (630 ff.), or does it mean that Heliodorus regarded the prosodiac
 
 505 PROSODIAC-ENOPLIC VERSE 229 
 
 as a real anapaestic (logaoedic) tripody, but of fixed form ? x 
 The fact is perhaps indeterminable, but it is to be noted 
 that his analysis of these prosodiac and enoplic periods is 
 evidently controlled by his theory of acrvvapr^ra, which 
 Hephaestion seems to have adopted from him (chap. xv.). 
 Thus Heliodorus divides the first period in Pax 775 ff., a 
 catalectic enoplic tetrameter, into 'dactylic penthemimer' and 
 prosodiac. So also in Eq. 1270 f., a catalectic enoplic pentameter, 
 the period consists, by his analysis, of trochaic basis, 'dactylic 
 penthemimer' and prosodiac. 2 Thus the true nature of these 
 periods is obscured, whether we regard them as enoplic or as 
 ' dactylo-epitritic ' (812 ff.). These analyses reveal how heavily 
 he is obsessed by his theory. Thus again he states that Nub. 
 470 f., /3ouXo/i6i/ou5 avaKoivovvOai re /cal e? \6jov e\6elv, a 
 tetrametric combination of enoplic dimeters, consists of ' dactylic 
 penthemimer' and 'anapaestic hephthemimer.' He calls this 
 an CTTO?, and so far as number and arrangement of long and 
 short syllables are concerned, it is no doubt identical with one 
 form of the heroic line. 3 
 
 505. The reasons for regarding the prosodiac and enoplius 
 as dodecaseme isomeric dimeters, in which each short syllable 
 has the value of one primary time and each long syllable that 
 of two, are stated elsewhere in this book. See, in particular, 
 630 ff., 647 f. The probable origin of these two dimeters and their 
 consequent syllabic identity with fixed forms of the anapaestic 
 and dactylic tripody must not be forgotten in weighing the 
 significance of the phraseology used by Heliodorus in the metrical 
 scholia. Confusion would be likely to arise at once on the 
 loss of the music. 
 
 1 The prosodiac is briefly designated Pax 779 f., an iambelegus ; 783 f., an 
 
 simply as &va.ira.iffTU(l>v in the commen- encomiologicum ; 795 f. , an enoplic tetra- 
 
 tary on Eq. 1272 and Nub. 475. meter. 
 
 ' 2 Note also his analysis of Nub. 472 f., 3 See Blass, Bacchylidis Carmina 3 , 
 
 an enoplic trimeter; 474 f., achoerileum; xxxv. f. ; Goodell, Metric, 196 f.
 
 CHAPTER XII 
 
 AEOLIC VERSE 1 
 
 506. The fundamental colon in Aeolic verse is a poly- 
 schematist dimeter of eight syllables, in which the quantities 
 are practically unregulated in the first metre, but the second 
 metre is always a choriamb (19 f.): (i-) oooo -^^-. 
 Closely related with this dimeter are four others due to the 
 further choriambization of the primitive dimeter : (ii.) o o - ^ 
 v _ w _ f called Glyconic, in which the quantities of the first 
 two syllables remain unregulated ; (iii.) \* v v .\/ , 
 called choriambo-iambic, which begins with a choriamb and 
 has Glyconic close ; (iv.) ^ - ^ - w - w - , the diiambic 
 dimeter ; and (v.) - w - ^ - ^ - ^ , the ditrochaic dimeter. 
 These are all normal Aeolic dimeters, but the last is rare in 
 comedy. For their relation to one another and to the primitive 
 dimeter, as developed in Aeolic poetry, see 651 ff., 657 ff. 
 
 507. Aristophanes employs nine of the sixteen possible forms 
 (651) of the polyschematist dimeter : 
 
 KatVot TroAAoi Tavr fTradov 1 ---- w w Vesp. 1459 
 
 woi/Tes yvw/tats Ire/owv 5 ^/ --- w^/ Vesp. 1460 
 
 rots (robots, &v OVVCK lyw 6 w -- ^ ^ Nub. 526 
 
 ^rjXw j T^S evTv^tas 7 -- w wvy Vesp. 1450 
 
 TOV (f)V(ravTa cre/j.voTepot,s 8 --- w w ^ Vesp. 1472 
 
 Is (3a@v r}s i^AiKtas 9 w ^ ^ w JVit6. 514 
 
 e^fdrjKa, Trats 8' crepa 10 w w w w ^Tttfe. 531 
 
 o <T<a<f>p<av re ^^ KaTa7rv|ya>v 11 w -- v/ w w ^Tttft. 529 
 
 aireicnv Sia rty 12 w w v^w F"sp. 1464 
 
 1 The student is advised to read the discussion of the origin of Aeolic Verse 
 in 661 ff. 
 
 230
 
 511 AEOLIC VERSE 231 
 
 508. By catalexis (Heph. 29. 7 ff.) the polyschematist 
 dimeter becomes o o o o - w ^ (34). This catalexis appears 
 notably in the Eupolidean, a tetrameter in favour with the 
 comic poets, which consists of an acatalectic and a catalectic 
 polyschematist dimeter : 
 
 <5 6eu>p.evoi 
 
 VTJ rbv Aiovwov TOV eKdpfif/avTa. pe. 
 
 v Nub. 518 f. 
 
 The forms of the first metre in the polyschematist dimeter which 
 are preferred by Aristophanes are 7 and 9 (see 507) in melic 
 Aeolic verse; 1, 6, 8, 10 in the Eupolidean. 
 
 509. By brachycatalexis polyschematist cola end in -- , 
 but this is uncommon. Compare the following tetrameter : 
 
 5 fiaKapurrbv <rv ya/zov rySe TroAei y>y/zas 
 w v w w v^ w -- Av. 1724 f. 
 
 510. The Aeolic dimeter was originally severely restricted 
 to eight syllables, but later, under Ionian influence, it admitted 
 resolution of long syllables in certain forms (506, iv., v.) with 
 some freedom (659 f.). Resolution occurs even in the poly- 
 schematist dimeter, but only in the first metre : 
 
 viro re yepovT(av oXtOpiov ^ *~ \j ww Lys. 325 
 
 aAAa TroAe/zov /ecu /xaviwv ^~ w w w Lys. 342 
 
 TOT Tt TWV TTpOTfpdiV -- ws~ v^v/ Nub. 1029 f. 
 
 Aristophanes probably felt, although unconsciously, that the 
 original metre which underlay each of these resolved poly- 
 schematist metres was diiambic, the forms numbered 12 and 7 
 above. Under Ionian influence even an anapaest (cf. 70) might 
 appear at the beginning of the first metre : 
 
 ~ ^ ^ ^ Lys. 345 
 
 Cf. Eccl. 940 (567), Vesp. 1461 (548). 
 
 511. Aristophanes is fond of the Glyconic, of which the 
 catalectic form (oo-vy w-^)is called Pherecratean : 
 
 AopSou KiyxAoySctTav pvOp.6v --- w w w Arist. ,/ragr. 140 
 
 i^Swrrov <^>aos i^epas --- v^ v^ ^ 
 
 rrcu Tot(rt irapova-i KO.I --- w v w 
 
 Towrt 8evp' d<iKvovynvois, w w w w 
 
 ^v KAewv aTroA^Tai. w w \j -- Eq. 9736
 
 232 THE VEKSE OF GREEK COMEDY 512 
 
 The first two syllables of the Glyconic here assume two of the 
 four possible forms. Aristophanes uses ^ - very rarely and 
 w w only in parody, in which he allows also spondaic close of 
 the Glyconic ( o o - ^ w --- ), found in Sophocles and 
 Euripides. He never admits the anapaest into the Glyconic, 
 except in parody, as in Ran. 1322 (586). 
 
 512. Kesolution of a long syllable is allowed in one of the 
 first two places of the Glyconic, the unregulated syllables : 
 
 TL TTOTC irpayi^a. yev^crercu ; w w ^ \j \s Ran. 1251 
 
 Here the underlying metre was probably felt to be ditrochaic, 
 - ^ - w , since Aristophanes rarely begins the Glyconic with 
 the antispast, w -- w. Compare the unusual resolution in 
 frag. 141 : 
 
 This resolution, which occurs in Pindar, is found in Aristophanes 
 in parody in conjunction with spondaic close as in Aves 910, 
 914 (585). 
 
 513. The choriambo- iambic and diiambic dimeters occur 
 frequently in comedy in both their acatalectic and their catalectic 
 forms : 
 
 >S fJ.fV aTr 
 
 eoA.reuv 6 Zevs \^ ^ w -- Acli. 1152 f. 
 
 rpoTrov raAcuva /cv^crt^? ^ ^ w ^/ Eccl. 919 
 
 yvvaixas dvOpaKfveiv w w w -- Lys. 340 
 
 A diiambic penthemimer (36) is found in Nub. 702 = 806, 
 704 = 808 (562). 
 
 514. Irrational metres are freely allowed in diiambic dimeters 
 and sometimes even as the second metre in choriambo-iambic 
 dimeters : 
 
 iraprjXdev, WTT eywy -- w v ^ Vesp. 637 
 TOU irpdynacriv xP WT ^ Tat -- ^ -- ^ ~ Nub. 516 
 
 XaA,KOK/30TWV ITTTTtaV KTU7TOS \J V -- w Eq. 552 
 
 515. Eesolution also is common in the first metre of diiambic 
 dimeters : 
 
 OV fT fTTlSoifJLl TCvOlSo'S w^ww v v Adi. 1156 
 
 K\>K\U> 8f TTfpl (Tf KtOXTOS w w ~ w -- Tk. 999
 
 518 AEOLIC VERSE 233 
 
 jucuvd/zevos ' 6 8e XiOov fiaXeiv s~ w ~~ w w 
 
 (3ovX.6p.evos cv O-KOT<> Xdf3ot *~ ^ w w .4c/i.. 1168 f. 
 
 rcAca Se Srju w ^ ~ ^ -- 77i. 353 
 
 Diiambic cola may even have logaoedic form, under the influence 
 of iambic cola in Ionian rhythm (70), as in Ack. 849 (582), 
 Pax 948 (583). 
 
 516. Protraction (rovrf} is not common and is found chiefly 
 in cola of diiambic form, but sometimes in choriambo-iambic 
 cola : 
 
 Kara p.e\- \j . w 
 
 Aovres XajSeiv avrov KVMV w -- w 
 
 apTratrcura <^>euyot w w -- ^4cA. 1159 f. 
 
 rjviKa TWV TpaywSwv ^ w w . Pax 807 
 
 517. Ditrochaic dimeters are rare in the Aeolic verse of 
 comedy, but when they occur they admit the irrational metre, 
 resolution and protraction, as in Ionian rhythm : 
 
 fjirj <>vei raurLV 
 rb rpvfapbv yap 
 
 K7T7(H (TOV TC> 
 
 TO T TTlK\lVTpOV aT 
 
 J. 900 f. = 906 f. 
 
 518. Trimetrical cola are much less common than dimetrical, 
 but they occur in all five forms : (i.) polyschematist, (ii.) Gly conic, 
 (iii.) choriambo-iambic, (iv.) diiambic, (v.) ditrochaic (rarely), and 
 are due to the same choriambizing influence which produced the 
 dimeter. Compare the corresponding dimeters (506). In illustra- 
 tion, note the examples quoted from various poets in 654, and 
 also the following : 
 
 (i.) Ka.6' trepov vvKrepivbv yevoi.ro 
 
 \j \s \j \j w Ach. 1163 
 e^a-RovrCxriv Trapaf$aivov<ri re TOUS 
 
 \j \j </<_> \s \s Th, 357 
 KttT 5 opea vvp.<f>S.v eparois cv vfj.vois 
 
 wv ^ w _ _^ w _ w -- Th. 992 
 (ii.) X^P' & XP vo " KC / oa)S {$e/3a.KTa. KiJAwv 
 Ilav, IleXacryi/cov "Apyos (fJ.(3a.Tevn>v 
 
 -^-^ ^-w- ^ -- Crat 321 
 topav OVK aTToAeis ovS' d.Tro\r)if>et 
 
 --- v w -- ^ ^ -- Ecd. 923
 
 234 THE VERSE OF GREEK COMEDY 519 
 
 The first of these, quoted from Cratinus, is the Phalaecean (cf. 
 Vesp, 1226, 1227, 1248); the second, the catalectic lesser 
 Asclepiadean. 
 
 (iii.) f(m SIKOLIOV, fl 8r)fj.oKpaTOv[j.fOa 
 
 >_, ^ w -- w w _^_ Eccl. 945 
 Ij r' J E<rov p.aKaipa Tra.y\pv<rov X ets 
 
 ^ ^ w w wv^ Nub. 598 
 (iv.) <riov<ra TrapaAos 7rt rpaire^y KeifJLfvi] 
 
 -- wv~ w ~ w -- w ^Lcfe. 1158 
 yap fioi prjTrjp a\Xy f3ef3r)K 
 
 -- .- -- .- w -- Eccl. 913 
 (v.) KaTri TOIS jUTjAoi? eTravOei' crv S 3 a) ypav 
 
 i. 903 
 
 On the relation of all these cola to the primitive trimeter, see 
 655 ff. 
 
 519. Aeolic trimeters in comedy, except ditrochaic, generally 
 assume iambic, rarely choriambic, catalexis. They admit the 
 resolutions, irrational metres, protraction, and the irregularities 
 found in parody, that are allowed in dimeters. For example, 
 Aristophanes uses in Av. 908 (585), in parody, an acephalous 
 (38) polyschematist trimeter, ^-^ --- ^ ^ --- , which 
 ends in Glyconic form with spondaic close (511), where normally 
 he would have -w-w _ w _ w w _ w _. l n the following 
 colon (909) the same trimeter is brachycatalectic. 
 
 520. Correspondence is allowed between certain forms of the 
 unregulated metre in polyschematist cola : 
 
 vvv e rv * 
 
 oviratTToO' ovrw KaOapus ^ w w v-/ Vesp. 526 = 631 
 
 Aoyowri KCU tftpovrlart KOI = 
 
 ws i^Sv o-ov Toto-6 Aoyots *2 ^ w w Nub. 951 = 1026 
 
 rbv vyypa(f>?] TOV /^eAewv TTOIIJTI/JV = 
 
 Kq.0* erepov vvKrcpivov yevoiro 
 
 -^^- _^ w - w -- Ach. 1151 = 1163 
 
 rjv 
 ri yap CKCIVOS avnAeywv w 5 ^ w w w Fsp. 1458 = 1470 
 
 521. The different allowed forms of the Glyconic may 
 correspond : 
 
 ev TW Seiyfj-art TW 
 
 ov Swarai jj.aOeiv _^_ w w _^_ ^5. 979 = 995
 
 528 AEOLIC VERSE 235 
 
 'OpOayopav, O7r<os = 
 fia iraiyvia' TTJV 8' tfJtfjv w v w ^ J?cci. 916 = 922 
 
 522. The normal and irrational forms of the choriambo- 
 iambic dimeter may correspond : 
 
 \a\KOKp6T(l)V tTTTTWV KTU7TOS = 
 
 n/s IfpfDTo.Trj'S obrajo-tov ^w ^ w 5. 552 = 582 
 
 523. Normal, irrational and resolved metres may correspond 
 in diiambic cola : 
 
 Seo/icvov, t] 8' wrfTr)[J.evr) = 
 
 fV CTKOT^O Att/?CH O v~ w ^ -4c/l. 1157=1169 
 
 /. 969 = 973 
 TI p.TaTreo-iTai = 
 6 Trats o ^lAoxAewvos ^^ w >~ w -- Fissp. 1454 = 1466 
 
 524. The choriambo- iambic dimeter may correspond as a 
 whole with the polyschematist, Glyconic, or diiambic dimeter : 
 
 yvfjLvacriov Aeyeiv TI 8ei = 
 
 ovSevb? rjKovcrafjLev ovJ8 w w o w Fesp. 527 = 632 
 
 ^ Kara TOV veaviav 
 
 Tov8e Aeyeiv. 6/o^is yap as = 
 
 aS 8e Travr' TreXr]\v6ev v^w ^ w 
 
 KorSev TrapfjXdev, WO-T' lywy' ^ w w w Fesp. 532 f. = 636 f. 
 
 VOTTC/DOTTOUS f3or)6bj = 
 
 yvvatxas dv^paKcveiv w w v-. -- Z/ys. 326 = 340 
 
 525. The same correspondences are allowed in two equivalent 
 subordinate periods. 
 
 526. Single Aeolic subordinate periods may be combined in 
 the same systematic period with most of the rhythms of Ionian 
 verse, often with marked effect since the contrast of rhythms is 
 impressive. 
 
 527. Aeolic verse developed many tetrameters of fixed form 
 by uniting two of the five dimeters named above (506). Some 
 of these tetrameters had vogue and received particular names in 
 antiquity, and some came to be used, like iambic and trochaic 
 tetrameters, in recitative verse. These tetrameters are nearly all 
 catalectic. 
 
 528. Thus (i.) the Eupolidean, already cited (508), of which the
 
 236 THE VERSE OF GREEK COMEDY 529 
 
 general scheme is oooo ^ w oooo ^ ^. Com- 
 pare the Parabasis of the Nules (518-62). 
 
 The forms of the first metre in these forty-five verses, arranged in 
 the order of frequency of occurrence, are : ---- (16 times), 
 --- ^ (9), - w -- (8), - w - ^ (7), w -- w (1), with four 
 doubtful cases : --- * (2), ^ ^ ^ - * (1), - ^ -- (1). The 
 forms of the third metre are : ---- (12), ^> ^ (11), w -- 
 (10), --- ^ (5), w --- (3), ^ -- ^ (I), with three doubtful 
 cases : - - - ^ (1), - ^ -- (1), o --- (1). Compare the list 
 of forms in 651. 
 
 529. This verse was much affected by the comic poets. 
 Eesolution is admitted in the second dimeter of the tetrameter 
 as well as the first: 
 
 t)V 8' rjp,G>v (TVKOV rts tSy 8ia xpovov vcov Trore, 
 Tw<$aA./xa) TOUTW Trepifidrro/j-ev TW TWV TratSi'wv 
 ---- ^ w wcc w wo Pher. 132 
 
 For other examples of the Eupolidean cf. Crat. 74, 98, 318; 
 Pherec. 29, 4*7, 64, 122, 191 ; Eupol. 78, 120; Aristoph. 54, 
 55; Plat. 92, 169; Alexis 206, 237; Frg. incert. 53, 54, 55, 
 56, 1330. 
 
 530. The epionicum (ii.) likewise consists of two poly- 
 schematist dimeters, the first acephalous (38), the second 
 acatalectic (Heph. 57. 11 ff.): 
 
 (ras 
 
 uis ev8aifj.<av Trporepov T' rj(r@a, vvv 8e 
 --- - w ^ - -w-w - ^ w - Eupol. 290 
 
 Cf. also Eupol. 291, 292. 
 
 531. The Priapean (iii.) consists of two Glyconics, the second 
 catalectic (Heph. 33. 19 ff.) : 
 
 ovS' Aiwvt'S' fpvOpo^ptav ivBUw en rpiyXrjv, 
 ovSf r/avyovos, ov8e Seivov (frvrjv fieXavovpov 
 -^-w w-w- -w-w w -- Crat. 221 
 
 See also Crat. 320. 
 
 532. The greater Asclepiadean (iv.), called also 'ZaTrfaicbv 
 eKKaL^eKacrv\\a^Qv (Heph. 34. 11 ff.), likewise consists of two 
 Glyconics, but the first dimeter abandons Glyconic close, 
 developing an antispast as the second metre, as in the lesser 
 Asclepiadean (518, ii.), and is thus closely linked with the
 
 537 AEOLIC VERSE 237 
 
 following dimeter. Aristophanes has joined the Phalaecean 
 with this in parodying Alcaeus (frag. 84) in Av. 1410 ff. : 
 
 o/3vi#es TIVCS ol'B' ovSfv exovre 
 TroiKi'Aa \e\iSot; 
 
 
 Of. Aves 1415 also and Vesp. 1238 (Asclepiadean in a scolium). 
 For a discussion of Asclepiadean trimeters, tetrameters and 
 longer periods, see the Editor's Origin and Form of Aeolic Verse, 
 304 ff. 
 
 533. An acatalectic and a catalectic choriambo-iambic di- 
 meter (v.) were also combined (Heph. 30. 11 ff.) : 
 
 oiSa fj-fv dp^alov TI Spwv KOU^I \e\fjd' epavrov 
 w w w w w ^ Arist frag. 30 
 
 This tetrameter is used by line in the Flatterers of Eupolis 
 (frag. 159) in a quotation of sixteen verses. Compare also 
 EupoL 38, 361. 
 
 534. Different dimeters might be combined, as (vL) the 
 polyschematist dimeter and the Pherecratean : 
 
 ev Aci/Awvt Aa>TO<opw, KiVet/aov re 8po(T(a8rj 
 w - ^ w - ^ w w Pher. 109. 2 
 
 535. The polyschematist and the choriambo-iambic dimeter 
 were combined under the fundamental scheme oooo - ^ ^ - 
 
 - w ^ - w . The first metre assumes various forms, but 
 
 two of these tetrameters got vogue. First (vii.) : * 
 
 Aiyvvv SOKW fj.oi KaOopav KCU KOTTVOV <5 yvvaixes 
 axrirep irvpbs Ka.op.kvov aTrewrreov ecrri darrov 
 w w w wvy ^ Lys. 319, 320 
 
 536. Compare also (viii.) : 
 
 ei yap e/AOi 7rav(ra/xevo rov Tro\fj.ov yevoiro 
 _ wv ^_ _^ w _ _ w ^ _ w Arist. /ragr. 109. 2 
 
 For acatalectic examples of this tetrameter see Pher. 29 and 122. 
 
 537. The polyschematist and the diiambic dimeter were 
 combined, as (ix.) : 
 
 {^Aw ye T^S evrv^ta? TOV irpfar^vv 01 /XT<TT>; 
 w _ _ ws ,_ ^ - w Vesp. 1450
 
 238 THE VEKSE OF GREEK COMEDY 638 
 
 538. The Glyconic was combined with the choriambo-iambic 
 dimeter, as (x.) : 
 
 <5 irpea-fivra Trorepa <iAeis ras SpvrreTcts erai/aas 
 7} (TV ras VTTOirapdfvovs dAynaSas a>s lAaas 
 --- w w c~ w ^ w w -- Arist /ragr. 141 
 
 539. The choriambo-iambic dimeter and Pherecratean were 
 combined, as (xi.) : 
 
 5 /laAaxas pw (epwv &.va.7TVftov 8' va.Kiv6ov 
 \j \j \j \j w <~ \j \j Pher. 131. 1 
 
 540. The combination of the choriambo-iambic dimeter with 
 a catalectic polyschematist dimeter, of which the first metre was 
 usually w w , gave the celebrated tetrameter named (xii.) 
 Cratineuui (Heph. 54. 11 ff.) after Cratinus : 
 
 Ewe 
 
 iravra o/a^ra, Trai/ra T 
 TrXrjv Heviov vo/xotcrt Kat lx lI/t/(l)V0 5 ^> Xa/oov. 
 -ww- w-v^- -^-^ -w- Crat 324 
 
 Cf. also Crat. 327, and (text uncertain) 9, 41, 146, 210. For 
 Eupol. 37 see Heph. 54. 19 ff. 
 
 541. It seems probable that some of the foregoing tetrameters 
 may have been used in continuous passages as ' verses ' rendered 
 in recitative, as the anapaestic tetrameter and trochaic tetrameter 
 are often employed in Aristophanes, especially in the parabasis. 
 There is, for example, very strong presumption that the series 
 of sixteen (668) tetrameters in Eupol. 159 (533) constituted the 
 epirrhema or antepirrhema of a parabasis. The only certain 
 example in Aristophanes of Aeolic tetrameters rendered in 
 recitative is found in the parabasis of the Nules (528), where 
 Eupolideans are thus used. It is also possible that Aeolic 
 hypermeters may have been used in the pnigos, in the manner 
 of the anapaestic hypermeter in the parabasis. Cf. Pher. 96 
 quoted in 549, and note Bergk's surmise. 
 
 542. Pentameters, hexameters, heptameters, octameters and 
 hypermeters are formed by the union of dimeters and trimeters 
 of the same or different orders. 
 
 543. From the foregoing elements systematic periods of 
 simple or varied form are composed, according as they consist 
 of a single sort of colon or of different elemental cola.
 
 545 AEOLIC VERSE 239 
 
 544. A strophe may consist solely of a single sort of colon, 
 as in the two odes that follow : 
 
 Sq. 973-6 = 977-80 = 981-4 = 985-8 = 989-92 = 993-6 
 
 (Stasimon I.) 
 
 Strophe I. 
 'Ht a' 
 
 corrai rotcri Trapovcrt KCU _^_ w w _ w _ 
 975 rotcrt Seup' d<iKvov//,Vcus, o w w w 
 ^ KAov aVdATjTeu. w ^ w 8 CV 
 
 Strophe II. 
 
 KaiTOt 7r/3r/?iT/)Wv Tivwv oiwv d/ayaAewTaTwv ^i/ ry Sa'y/Aart TWV 
 
 SIKWV TJKOVCT' dvTiAeyovTwv 
 
 ^ropAe ///. 
 
 'H/i. a' a>s ei /A^ 'yevc^' O^TOS ev Tjj TroAet //.eyas, OI'K av r/cm/i' cr/cev^ 
 
 Suo x/)7^crt^aj, 8oi8v^ ovSe Topvvrj. 
 
 Strophe IV. 
 
 'H/i./3'dAAa Kai ToS' eywye ^avjia^w T^S w/xovcri'as OVTOV- ^>acrt yap 
 
 avrbv en iratSc? 01 ^we^oiVwv, 
 
 Strophe V. 
 
 'Hfj.. a' rr]V Awpwrrt fj.6vrjv av ap^ioTTecrOai, Oap.a rrjv Aupav, aAA^v 8' 
 
 OVK t^cAetv fJMBfiv tiS.ro. TOV 
 
 Strophe VI. 
 
 ' opyurdcvr' djrayeiv KeAeuetv, ws appoviav 6 Trats oSros ov Swarai 
 
 p-adeiv fy p.rj 
 
 975 Tot<rt 8eOp' i,<f>iKvovti.fr<,s Bentley : roiffiv d<f>iKvov/j^votffiv 981 ' 
 
 Scaliger : ytvoiB' 
 
 The six strophes constitute a monostrophic hexad (701). The 
 period consists of a single octameter composed of three Glyconics and 
 a Pherecratean. See 773. 
 
 See the metrical scholium on Eq. 973 ff. 
 
 545. Ran. 1251-60 (Episode II.). 
 
 Xo. T6 TTOTC Trpa.yp.a. ycv^o-erai; *~ ^ w w w 
 
 <f>povriciv yap lywy' ex w > --- w w w 
 
 Ttv' apa /i/i^iv 7roi<ret ^-w w -- 6 C 
 
 dv8/3i T^J TroAu 5rAeTTa 8?) w w w w
 
 240 THE VERSE OF GREEK COMEDY 546 
 
 1255 KCU KaAAwrra fifXirj Troir]- 
 
 <ravTi TWV {J-tXP 1 vvvt/ - ^> ^> w -- 6 C 
 
 0avfi.d.<a yap eywy' oVy 531 --- w ^ w 
 
 /ie^^erat TTOTC TOUTOV w w w w 4 CV 
 
 rbv BaKXiov ava/cra, --- w w w 2 CV 
 
 1260 KCU SeSoix' wcp avrov. 10 v^ w w -- 2 C 
 
 1256 M^XP 1 VVV L Meineke : tri vvv (vvv tr) SVTUV 
 
 Non-antistrophic. A = aab ( + ), 664 ( + 22), epodic triad, with 
 refrain, in Glyconic rhythm : two hexameters with a tetrameter as 
 epode, the strophe closing with two Pherecrateans that repeat the 
 melody of the final colon of the tetrameter. See 737 and 774. 
 
 546. In the following all but two cola are Glyconic : 
 
 Av. 676-84 (Parabasis). 
 
 Commation. 
 
 Kop. a 5 <i%7, <5 govOij, 509, 800 - w 
 
 5 <f>i\ra.Tov opvewv 38 
 
 TU)I> e/zcav 
 
 --- w ^ -- 6 
 680 fjXOes fj\6es u><t>OT)<s, 509 5 r- v - w -- 2- c 
 
 aAA.' (5 KaXXi/36av KpeKovfr' --- \^ w ^ 
 
 auAbv <j)deyfj.a(nv rjpivois --- w <_ w 
 
 ap)(ov TOJV dvaTratcTTtov. --- w w -- 8 C 
 
 Non-antistrophic. A = abac, 2- 6 2- 8, epodic tetrad : two brachy- 
 catalectic polyschematist dimeters that enclose a Glyconic hexameter, 
 with a Glyconic octameter as epode. See 748. 
 
 On the comma tion see 293 ff., 298. 
 
 547. The Pherecratean was sometimes used continuously in 
 a series of short verses : 
 
 "bj/ vow --- w \j -- 
 Kaivtj), --- w ^ -- 
 
 dvaTraicrTois --- w v -- Pher. 79 
 
 Cf. Crates 33, Eupol. 162. 
 
 548. The continuous use of the polyschematist dimeter in 
 an entire systematic period, in the manner of the Glyconic, was 
 avoided in melic verse, probably because of the irregularity of 
 form of its first metre. The nearest approach to this use in 
 Aristophanes is found in the following ode :
 
 549 AEOLIC VERSE 241 
 
 Vesp. 1450-61 = 1462-73 (Stasimon II.). 
 
 Strophe. 
 'H/i.a' ^Aw ye TTJS evTv^ias 537 w vy w 
 
 TOV wpco-pvv 01 p.Tcrrr) w w 4 CV 
 
 UV Kal /3lOTTjS' M_ v _ _ v-/v _ 
 
 erepa 8e vuv avrifj-aOwv wv^v v/w 
 
 ij /ieya TI p.f.raire<T(.lrai 5 oc ^ ^, ^/ ^ 6 CV 
 
 1455 CTTt TO TpV(f)<J)V Kal fJM\aKOV. Ov^/w vy v 
 
 8 J av io"ws OVK eOe\ot ' wv^w v^w 
 
 yap aTrotrT^vai ^aAeTrov w< w\^ 
 
 JCOUTOI TroAAoi TavT* (braOov 10 ^ ^ 
 
 1460 ^vvovTts yvw/tais erepiav *y ^ _ ww _ 
 
 /XTC^8aAAoVTO TOVS T/3O7TOVS. 510 ^~ v7 w 14 CV 
 
 TToAAov 8' ciraivov Trap ffj.ol 
 
 KO.I TOKTIV c3 <f>pOVOl'(TlV 
 
 TV^WV aTrewriv Sid r)v 
 1465 (fnXoTrarpiav Kal <ro<f>iav 
 
 6 Trais 6 
 ovSevi yap ovrws 
 
 vveyv6fj.r)v ovSe 
 
 1470 TI yd/o e/ceivos avriAeyajv 
 
 OU K/3tTTO)V 
 
 TOV (f>vcravTa 
 1473 KaTaKO<rfi.fj<rai 
 
 1454 ^eraTreo-eiTat Bentley : yueTa7rei(7erai or ^7* ireiVerat 1455 &rl ri 
 
 Tpv<f>G>v Dindorf : eiri r6 pv<f>av or tirtrpvQbv or &rl rd rpvipbv 
 
 Monostrophic dyad. A = abc, 4614, pericopic triad : tetrameter, 
 hexameter, hypermeter of fourteen metres. See 771. 
 
 The polyschematist dimeter here admits six different forms of 
 the unregulated first metre in addition to those that are pentasyllabic 
 or hexasyllabic by resolution or irregularity (1461 = 1473). Only 
 two cola are non-polyschematist, the catalectic diiambic dimeters 
 ending the first two subordinate periods. With these compare the 
 last colon, a catalectic polyschematist dimeter (508). 
 
 549. Compare the series of dimeters in the following 
 fragment : 
 
 B
 
 242 THE VEKSE OF GREEK COMEDY 550 
 
 TOIS 
 
 TOIS wvl K/OU/OWI Aeyw, 
 fir) *irtopKiv fj.r)8' aSiKWS 
 Kpivciv, fj vrf r6v <i'Atov 
 
 eis v/xas frepov 5 
 
 TOV KaKrjyopicrTfpov. w ^ w Pher. 96 
 
 As Bergk surmised, this may have been the close of the pnigos 
 of a parabasis, to which it would be admirably adapted. Cf. also 
 Pher. 13 (two subordinate periods), 95, Eupol. 362 (a colon and the 
 beginning of a second), Arist. frag. 11, 533. 
 
 550. The continuous use of the acatalectic choriambo-iambic 
 dimeter was likewise avoided in strophic composition, although 
 it appears, like the Eupolidean, in a verse of fixed form (533) 
 which was used by line. The catalectic dimeter, on the other 
 hand, occurs in a fragment of Aristophanes in a series of limited 
 extent : 
 
 OVK erbs 5 ywaiKes w w w -- 
 
 Tracri Ka/cortv 
 
 yap e'/oya Spwcrai w ^ w 
 
 Xafj,/3av6p,(r6' vir' avrwv 5 ^ w ^ -- Arist. 10 
 
 Compare also : 
 
 os x a /' TWV ' f* v o^et w w w -- 
 
 KaAAa/3i'8as Se f3aiv(,, ^ ^ w -- 
 
 a 8e )(pe/j,TrTfTai ... w w w Eupol. 163 
 
 The last colon seems to be an abnormal catalexis of the preceding 
 catalectic dimeter and has given offence. Emendations have been 
 proposed, but the form, since it is unique, is probably due to defective 
 quotation, as Hermann indicated (Elementa, 576). The sentiment 
 precludes the supposition that it is a dochmius. 
 
 551. Variety of effect was secured by the combination of cola 
 of different orders, as of polyschematist and choriambo-iambic 
 cola in the following : 
 
 Nub. 949-58 = 1024-33 (Debate I). 
 I 
 
 Strophe. 
 
 *H/x. a' vvv Set^erov TW irurvvta 535 -- ^ ww 
 950 TOIS Tre/otSe^iowrt ^ w ^ *y 4 CV
 
 553 AEOLIC VERSE 243 
 
 Adyowri KCU <povTri Kai 535 & w w w 
 
 yvto/zoTWOis /teptfivais, \^ v/ ^ ^ 4^ 
 
 953 Aeywv a/xctvwv TroVepos 5 o w w \^ 
 
 vvv yap aVas c? w ** - w 
 
 KivSvvos ai/emu 0-o<tas, ^ w w v^ w ^ 
 
 957 ijs 7T/3i TOIS e/iots <f>iXoi$ ww \^ \^ 
 
 w \^ w c? ll cv 
 
 'H/i. ^8'5 KaAAiVvpyov <ro<f>iav 
 1025 KAetvoTaTyjv eTrcurKwv, 
 aS i^Sv crov rotcrc Aoyots 
 <rtj)(j>pov eTretrTiv av^os. 
 1028 evSat/ioves 5' ^o-av ap' 01 
 
 a)VTS TOT 7Tl TWV 
 
 Trpos ovv TttS' (3 KO[Jt,\f/OTrpcTrf) fiovtrav f\<av 
 1032 56 o-e Aeyeiv TI Kaivdv, a>s 
 aviljp. 
 
 953 X^ywv dpelvuv ir6repoj Bergk : oTrirepos a^roo> \yuv &fj.elvuv, in which 
 airroiv is a gloss on the original Tr6repos 
 
 Monostrophic dyad. A = aab, 4411, epodic triad: two tetra- 
 meters, with a hendecameter as epode. See 737. 
 
 552. Polyschematist dimeters are combined with Glyconics 
 in the following fragment : 
 
 * * * * 
 
 yap rjv 
 
 /ZTT avSpwv Kai /xeipaKiwv wv 
 
 TTIVOVTWV, 6/xou 6 6/zaSa) w w w 
 
 ypp&V ty /AtyaAawriv 01- w ww w 
 
 vov ^aipovTa Ae7ra<rTafs. 5 w w Philyl. 5 
 
 See also Arist. frag. 561. 
 
 553. In the following ode, series of choriambo- iambic 
 dimeters and of Glyconics are linked by two trimeters : 
 
 JSq. 551-64 = 581-94 (Parabasis I.). 
 
 Strophe. 
 'H/ti. a ITTTTI ava II(xri8ov y w^ w w 
 
 XaAKOKpOTWV ITTTTWV KTV7TOS ~- w v 
 
 Kai \pffj-eTur fw<i dvfiavei 
 
 802 (ant.) -ww- w-w-" 
 Kai Kvave/i/?oAot
 
 244 THE VERSE OF GREEK COMEDY 554 
 
 555 /Jiur6o<f>6poi Tpn^pi<s, 5 w w w -- 10 
 
 fj.eifMKiwv 0' a/iiAAa Aa/i- w w ^ ^ 
 
 irpwofj-evtav ev appaa-iv ^ w ^ w 
 
 /cat (3apv8ai[AOVovvT<av, ^ ^ w 6 CV 
 Sevp eA0 3 ets \opov & \pv(TO-rpiaiv S> 
 
 518, ii. --- w w -- w ^ -- 3 C 
 560 8e\(f>iv(av p.fSe(av Sowta/aare, 
 
 10 --- w -- ^ v -o3 cv 
 
 irat K/aovov ^ w w w 
 
 T <f>l\Ta.T K O w w w 
 
 T<3v aAAwv re ^ewv 'AOij- -- w w w ~ 
 
 vaiois Tr/aos TO Trapecrros. --- w w c? 8 CV 
 
 Antistrophe. 
 
 IlaAAas, (3 
 
 a?ra- 
 
 iroXjj.<j) re /cat TTOIT/- 
 rais SvvdfJLet, 6' virepfapov- 
 585 CTJJS /xeSeovo-a ^wpas, 
 
 d<t>iKov \.a/3ovcra rrjv 
 crTyxxTiais TC K 
 
 f.<TTLV T(Xl/)a 
 
 590 TOIS T %0poi(ri p,f6' rnjiw 
 vvv ovv Sevpo <f>dvr)di' Set 
 yap rots dv8pd(ri roi(r8e Tra- 
 
 K7JV fllTfp TTOTf KOLl VVV. 
 
 Monostrophic dyad. A = abccd, 10 6 3 3 8, proodic pentad: a 
 decameter as proode to a periodic tetrad composed of a hexameter, 
 two catalectic Asclepiadean trimeters, and an octameter as epode. 
 See 753. 
 
 See the metrical scholium on Eq. 551 ff. 
 
 554. With this compare the following series of five 
 tetrameters : 
 
 539 - w w w-w 
 
 dvaTTvetav 8' vaKtvdov, w ^^ ^i w w 4 CV 
 
 Kai /MfAiAcuTivov AaAwv 533 wv-- w w 
 
 v /o / ^C 
 
 KOLl pOOOC 7rpOO"O"O"77pO)9. ~\^v^~'~ w 4 
 
 5 <j>i\(av [lev dp-dpaKOV 531 5 w w w ^
 
 556 AEOLIC VERSE 245 
 
 yfAwv 8' iirirocreXtva KOI 531 ^ ^ \j \^ 
 
 Koayio<rdv8aAa /Jcuvwv, ^ ^ w 4 C 
 
 cyX t KOLTTiftoa rpirov 531 w w _ w _ 
 
 TTGUWV', ws v(y*os rriv. 10 --- w w w 4 CV Pher. 131 
 
 555. A series of two catalectic choriambo-iambic cola and 
 a Pherecratean is found in Arist. frag. 695: 
 
 OO-TIS 
 
 <TT/3(0/WU7t 
 
 T^V S7TTOivav epeiSeis. -- ^ ^ -- 
 
 556. Diiambic and Glyconic cola are the chief constituents 
 of the following : 
 
 Ecchsiazusae 911-17 = 918-23 (Episode IL). 
 
 Strophe. 
 
 Ne. atai TI TTOTC Trcuro/iai ; -- v^y^/ w 2 C 
 
 ovx ^f /LIOVTOU/OOS, 73, 516 -- -- 
 
 912 /iov?7 S' avrov AeiVo/tai, i) 800 w --- w w 
 
 ya/o /iot /J-'rJTtjp aXXy (3((3r)K. -- -- ^ w 7 CV 
 KCU TaAA' ovSev /xera rawra Set XeyetV 
 
 38, 518 5 --- ww w - 
 
 915 ciAA' <5 ^iai' i/cTvo//,ai, ___^ v _,_ w _ 
 
 JcaAet 'OpQayopav, OTTCDS w -- w w ^ 
 
 <av> (ravTvys Karovai", dvTt/?oXw crc. 
 518, ii. --- 
 
 rpmrov raXaiva KVTjcrijts, w w ^ 
 
 920 SOKCIS Se p>t Kai \d/3Sa Kara TOUS Ae<r(3iovs. 
 
 ov/c av TTO^' \f>apird(rais --- ^ w w 
 rd/ia Tratyvto" T^V 8' efji.rjv 5 w ^ v ^ 
 
 wpav OVK aTroAeis ov8' aTroA^ti. 
 
 7 c 
 v w v \^ / 
 
 916 'Op6ay6pav Ed. : r6v 'QpOay6pav 917 ftv Hermann 921 v<f>apirdffaa 
 
 Scaliger : ix 
 
 The strophe and antistrophe constitute the second dyad in a 
 proodic combination of eleven strophes. See 717. In the strophe, 
 C = abc, 2710, pericopic triad : catalectic polyschematist dimeter, 
 Aeolic heptameter, decameter. See 771. In the antistrophe C = ab,
 
 246 THE VERSE OF GREEK COMEDY 557 
 
 7 7, epodic dyad : diiambic heptameter, Glyconic heptameter. See 
 
 770. Aristophanes simplifies the rhythm of the first half of the 
 
 antistrophe. See 51. Peculiarities of rhythm are intentionally 
 exaggerated in this part of the strophe. 
 
 557. In the following ode two subordinate periods that 
 are mainly ditrochaic end each with a catalectic ehoriambo- 
 iambic dimeter : 
 
 Ecd. 900-5 = 906-10 (Episode II.). 
 Strophe. 
 
 Ne. p.rj (frOovct. Tauriv veawrt, w w w 
 
 901 TO rpv<f>epbv yap efjLTre<f>vKe ^ ^ w ** w w 
 
 Tots aTraAowrt fj-rjpois w ^/ 
 
 903 Karri TOIS fiTjAots erravOei' <rv 8' Si ypav, 
 
 davdryt 
 
 Antistrophe, 
 
 <rov TO 
 
 907 TO T' erriKXivrpov a7ro/3aAots ^^ ^ ^ ^^ ^ 
 
 /3ovXofj.Vt] cnro8ei(r6ai, \^w w -- 6 C 
 
 909 KaTrt T^S /cAiv^s oe^iv ev- 51, 507 w w ^ w ~ 
 
 pots Kat TT/ooo-eAKixrato 517, 208 . w w w 
 
 ww w -- 6 C 
 
 The strophe and antistrophe constitute the first dyad in a proodic 
 combination of eleven strophes. See 717. In the strophe B = ab, 6 7, 
 pericopic dyad : hexameter, heptameter. See 770. In the antistrophe 
 (51) B = aa, 6 6, monostrophic type : two hexameters in correspond- 
 ence. See 767. 
 
 558. Still greater variety in form and melody was secured by 
 combining cola of three different orders in the same strophe, 
 as in the following, in which a simplified logaoedic pentameter 
 joins two periods composed of choriambo-iambic cola with a 
 series of polyschematist and Glyconic dimeters. 
 
 Nub. 563-74 = 595-606 (Parabasis L). 
 
 j 
 
 Strophe. 
 
 'H/i. a' iiif/tfjieSovra /xev $ewv 800 (ant.) w w w ^ 
 Zrjva rvpavvov e,i's \opbv ^ ^ ^ w
 
 559 AEOLIC VERSE 247 
 
 565 Trpwra ptyav KiKAyjo-KO), w w ^ -- 6 C 
 TOV re fj.eyao-@cvr} Tpicuvr/s 
 
 w w ww 
 
 yr}s TC KOU dA/ivpas 0aAacr- 
 
 800 5 - w w - ^ - v^ -~ 
 
 0-779 aypiov />xAevT?/v, w w ^/ 7 CV 
 
 KCU fJLfya\(avvp.ov r}/zTepov Trarep' 
 
 389 __-_-_-_ 
 
 570 Aldfpa O-ffJ-VOTOLTOV /BloOpffJLfJLOVa TTOIVTWV, 
 
 ooq 
 
 _>OO ^ ^'^^ *"~ s ^ > ^ "*~ S ^ N ^ ~ s ' s> ' 
 
 TOV ^' ITTTTOVW/XaV OS V7TC/0- -- w w w 
 
 \a.fj.irpoi<5 O.KTIO-IV Kare^ei 10 ---- ww 
 y>)s TTfSov, jueyas ev ^cois w w w v^ 
 ev OvrjTouri re 8ai/u,wi'. --- v/ w 8 CV 
 
 'H/x. ft' a(j.(f>i p.oi a^re 4*01^8* ava A^Aie Kw^tav l^tov u^iKepara Trerpav, 
 598 ^ T' 'E^>eo-ov fio.Ka.ipa irdyxpvcrov X l? oixov ev $ Kopai ere 
 
 AvSwi/ /icya/Xws o-/3owiv, 
 
 601 17 T eTri^wptos rjfJ.Tfpa 6eos aiytSos T^vto^os 7roAiovx5 'A0ava, 
 603 IIa/3vao'(rtav 0' os Kare^wv irerpav o~vv TTCVKUIS o-eAayci Ba 
 
 e/iirpcTrwv, KCD/jtao-T^s Atovixros. 
 
 Monostrophic dyad. A = abed, 6758, pericopic tetrad : 
 choriambo- iambic hexameter and heptameter, simplified logaoedic 
 pentameter, polyschematist-G-lyconic octameter. See 772. 
 
 559. The same Aeolic dimeters are combined more intricately 
 in An.st.frag. 109 (aab, 44 8 ?) : 
 
 Elpi/jvrj ftaOvir\ovT KOI 538 ^ w _ w _ 
 
 fevydpiov BoeiK^v v^ w w w 4*^ 
 
 d I I I 
 
 ei yap efjLOL Trawa/iev^) 536 w w <~> \*> 
 
 TOV TTO\ffJLOV yCVOlTO w w w w 4 CV 
 
 \j \s v^^vy 
 
 Tpvyos aprov AiTrapbv w ^ w w 
 
 _ w w _ w _ w 8 CV 
 
 Compare the following series of tetrameters : 
 
 VTT dvaSfvSpdSw a7raAas Ct536 ^/w 
 
 xarovvres w ^ w ^ 4 CV 
 
 534 ___ w _ ww _ 
 
 \s \s w -- 4 C
 
 248 THE VERSE OF GREEK COMEDY 560 
 
 KavOpvcrKov fiaXaKtav T to>i> 538 5 --- w ^ ^ 
 
 Kal Tpi(f>vXXov. w w \^ 4 Pher. 109 
 
 With the first of these tetrameters compare Arist. frag. 142. 
 
 560. Polyschematist, Glyconic and diiambic cola may be 
 combined : 
 
 Thus. 352-71 (Parode). 
 
 Xo. vvfv\6fj,e6a TfXea fjicv 75 v/ w ~~ v^~w 
 
 TroAei TeAta Se S^/zy w w v~ w -- 4 C 
 
 TaS' fvyfiar fK-yevecrOai, w w w -- 2 G 
 
 355 ra 8' a.pwj-6' 6'crcus Trpoo-rjKet 379 v^ w w -- 2 C 
 
 vtKav Afyovcrcus ' OTrocrat 8" 5 -- w w w 
 
 357 l^aTraTtlxrtv 7rapa/3atvoi;cri re TOVS 
 
 ^ w v^vy v^w 
 
 0/3KOVS TOVS VVO//,6(TJM6VOVS -- w V v> 
 
 360 K/3Swv el'vcK fTrl /3Xd/3y, --- w w ww9 H 
 
 ^ if^r](f)i(rfji.ara Kal vo/xov --- w w w 
 
 r avrt/xe^tcTTavai 10 --- w v w 
 
 re TOTIV e- --- ^ w w 
 
 \0pois TO is f)p.eT6poi / s Xeyova-', --- w ^ w 
 
 365 7} M^Sovs eTrayovort TTJS --- w w w 
 
 \ajpas t ovve/c' CTTI fBXdfir) f, 14 --- ^ w w w 12 H 
 axrtftova-' a8iKOv<ri re rrjv TroAtv aAA" 
 
 389 v^/ <^w ___ ^/ 2 
 (5 TrayK/QaTts Zeu 
 
 370 r) fj.lv 6eov<s ira.paa-Ta.Tf.lv -- w ^> \j 
 
 -yvvai^lv ovcrai<s. -- w w -- 7 
 
 354 ffiynaT tuyev^ffGai Dindorf : effyuara ycv^fftiai 357 ^avarufftv Hermann : 
 7rarw<ri 360 eJ!ve/c' Bentley : VCK' 364 X^ouo-' Suidas : \tyov<rtv 366 
 
 fc' tirl /SXd^y : a disturbing phrase derived from 360, that has displaced some 
 such sentiment as (ivpla T (L\\a vvv, the second count in the third item of indict- 
 ment, which should be double like the two that precede. The imprecation after 
 TV ir6\iv is left to the imagination of the spectator 367 dffefiovff' d8iKov<rl 
 
 Hermann : 
 
 Non-antistrophic. B = AB (352-60, 361-71). A = abbe, 4229, 
 periodic tetrad : a tetrameter as proode, two dimeters and a nona- 
 meter as epode. See 745. B = abc, 12 2 7, pericopic triad: Glyconic 
 dodecameter, anapaestic dimeter, diiambic heptameter. See 771. 
 
 561. The commonest combination in Aristophanes joins 
 polyschematist with choriambo-iambic and diiambic cola, as in 
 the five odes that follow :
 
 562 AEOLIC VERSE 249 
 
 Nub. 510-17 (Parabasis I.). 
 
 Commation. 
 Ko/o. a" dAA' Wi \aip<av TT)S dvSpeias 281 ~~ -- -- -- 
 
 ovvfKa Taurus. *~ -- 3 
 
 VOlTO rdv- 533 vy w v^ w 
 
 OTt TTpOYJKtitV 792, 800 w w v -- 4 C 
 
 ts /3a6v TTJS T^AiKias 5 w w w w 
 
 515 vcwTcpois TT)V <f>v<riv av- ^/ w w w 
 
 TOV irpdyfjuicriv XP iar ^ e ' rat -- w ~ -- w ~ 
 
 Kai (ro<f>iav liraa-Kft ww w -- 8 C 
 
 511 ovvfica. Brunck : eiveKO. or ?veca 515 auroO Dindorf : ai/roO 
 
 Non-antistrophic. A = abc, 348, pericopic triad : anapaestic 
 trimeter, Aeolic tetrameter and octameter. See 771. 
 On the commation see 293, 298. 
 
 562. Nub. 700-6 = 804-13 (Syzygy). 
 
 Antistrophe. 
 ' ap' ala-Odvei TrAewTTa Si rf- 535 ^ w ^ 
 
 EWV - w ^ - ^ - o 4 cv 
 
 ?wv; ws 513 ^ - ^ - -2- c 
 
 eToi/i.os 68' eortv oVavra Spav 
 
 379 w ~ - v, - 2 
 
 o<r 5 av KAev^9. 513 5 w w 2- c 
 
 810 /cat <ave/3a>s eirrjpfJLevov ^ w ^ w 
 
 yvovs aTroAd^cis o TI TrAeiorrov Svvacrat 
 
 51 _ ww _ _ wv ^_ _ w , 
 
 ;Ai yap TTCOS Ta TOI- 
 
 51 ^_ w _ w _~ 
 
 Tpeirfo-Oai. 51 10 - ^ w - w ll c 
 
 A^ropAg. 
 'H/i-a' <f>p6vrif Sr) Kal SidOpei iravra rpoirov re. cravrbv 
 
 ra^vs S', orav ci's aTropov TTCO-T/S, 
 7r' aAAo Tr^Sa 
 705 v6r)[i.a ^>pevos, vn-vos 3' aTreorw yAvKv^vp-os o/i/iaT<ov. 
 
 Monostrophic dyad. A probably = abc'bd, 42-22-11 (4 in the 
 strophe), epodic pentad : a tetrad composed of a tetrameter, and two 
 diiambic penthemimers that enclose a logaoedic dimeter, with a 
 hendecameter (tetrameter in the strophe) as epode. See 762.
 
 250 THE VERSE OF GREEK COMEDY 563 
 
 See the metrical scholium on Nub. 804 ff. 
 563. Lya. 321-34 = 335-49 (Parode). 
 
 Strophe. 
 
 Xo. TV. TTfTOV TTfTOV N lKo8lKTf) w w v_-v 
 
 322 irplv efjnrejrprjfrdai KaAu/oyv w w ^/ ^ 
 re /cat KptTuAAav 7rept<ucr?7Ta> 
 
 509 w - w - - ^ w - -* 7- cv 
 
 wro re vo/z,wv apyaAewv w^^c?^^ o ^ 
 
 325 VTTO re ye/3ovT<ov oXeOpuiv. 5o^^-w ^ ^ 
 dAA.a 
 
 327 vvv 8^ yap e/zTrA^o-a/^evrj 535 -- w w w 
 
 T^V vSpiav Kve<f>aia w ^ w 4 
 
 328 /zoAis a^ro Kprivrjs VTT' o^Aov 10^7www v^w 
 
 /cat dopvfBov Kal irardyov 
 
 330 SovXauriv (i 
 
 <TTiy/xaTtais ^', apTraAews w w ww 
 
 dpa.fj.evr), Tauriv epals ww vy w 
 
 S^p-ona-iv Kao/xevais 15 w w w w 
 
 334 (f>epovcr' vSwp (BorjOto. w w v -- 10 
 
 Antistrophe. 
 
 Xo. Fv. i^Kovo-a yap rv(f>oyepov- 
 336 ras avSpas cppeiv 
 
 t^epovras axnrep 
 ets TroAtv -{-ws TptraAavTOvf ^ 
 Setvorar' aTreiAouvTas ITTWV 
 340 a>s Trvpi XP^ Tas fJ-vcrapas 
 
 341 as 5 ^ea p-rj TTOT' lyw 
 
 342 dAAa TToAe/xoi) /cai /xavtwv 
 
 pv<ra/ievas 'EAAa8a /cat TroAtVas, 
 344 e<' 
 
 /cat ere /caAw 
 Tptroyevei', et Tts 6Kt- 
 vas VTroirifJLirprjariv av^p, 
 
 ^' U/XWV. 
 
 330 SewXcuo-ij/ Dindorf : 5oi)\7;(rt' 338 The second ' dactyl ' is dubious. Of. 
 
 s. 277, 278 (94) and the note 347 e: Reisig : ^
 
 566 AEOLIC VERSE 251 
 
 Monostrophic dyad. C (704) = abcde, 7-84510 (12 in anti- 
 strophe), pericopic pentad : brachycatalectic heptameter, octameter, 
 tetrameter, pentameter, decameter (dodecameter in antistrophe). See 
 772. On 345, the colon lacking in the strophe (51), see 510. With 
 the pentameter cf. Crat. 172. 
 
 564. Ecd. 968-71 = 972-5 (Episode II.). 
 
 Strophe. 
 
 Ncttl/lS. KCU TttVTtt fJLfVTOl {JLfTplWS 537 -- w wv^ 
 
 969 7jy>6s TT)V fp.^v di/ay/op w ** \s 4 CV 
 elprjpev' kuriv. crv Se fioi, 535 M_ W _ _ ww _ 
 
 970 <f>l\TO.TOV W LKfTfVto), w v^ _/ 4 CV 
 
 avoiov da~jrdov p.' 8id 5 w w -- ww^2 
 
 rot <re TTOVOVS ex w> ^^ w Id 
 
 Antistrophe. 
 
 Ncavias. (5 x/ 3VO " 5 at/ ^ ct ^- T01 ' ^/ x ^ v fuArj/Aa, Kv;r/)i8os Ipvos, 
 
 fj.eXi.TTa. Movers, XaptTwv QpefJLfJM, Tpvffrfjs irpoo-wrrov, 
 975 avoiov d(nrdov fj.f Sia 
 TO i ere Trove vs ex w - 
 
 The strophe and antistrophe constitute the fifth dyad in a proodic 
 combination of eleven strophes. See 717. F = aabc, 4421, epodic 
 tetrad : two tetrameters and a dimeter, with a dochmius as epode. 
 See 742. The dochmius that closes the lyric is admirably adapted to 
 express the emotion of the singer, and it occurs in just this form, in 
 connexion with iambics, elsewhere in Aristophanes in passages of 
 intense feeling, in comic imitation or parody of tragedy. Cf. Ach. 
 1219, 1221 (599), Nub. 1163, 1164 (474), Vesp. 730 = 744 (469), 873 
 = 890 (470). 
 
 565. Ach. 1150-61 = 1162-73 (Stasimon III.). 
 
 Strophe. 
 
 'H/z.a' 'Avrt'/zaxov TOV ^a/caSos v^w v/w 
 
 rbv vyypa<f>f) rbv /xeAewv 
 
 a>S p-tv dirXip Aoyw, KCXKWS 533 w w w w 
 
 e^oAecretev 6 Zevs ww w 4 C 
 
 os y' e/xe TOV T\r/fJ,ova Arj- 5 ^ \s \^v 
 1155 vcua xoprjytjjv aTreAixr" aSetTrvov. 
 
 OV CT' fTTlSoifJU TCvdlSoS ^ ^~ ^ ** ^> ^ 
 
 SO/iVOV, ij 8' WTT
 
 252 THE VERSE OF GREEK COMEDY 566 
 
 irdpaXos rt 
 
 K$TOL p-fX- 10 w \j 
 
 1160 AOVTOS Xaj3elv avrov KVWV -- w -- w 
 apirda-aa-a <ei5yoi. w w 6 CV 
 
 AntistiropJu. 
 
 'H/i. /3' TOVTO /AV aUT(> KO.KOV CV, K<j.O' CTCpOV VVKTCpW^V JfVOLTO. 
 
 1164 ^TriaAwv yap oi'/caS' ^ iTTTracrtas ^SaSt^wv, 
 1166 etra, Kara^eie TIS avrou fj.6@v(av rrjs /cec^aA^s 'OpecrT^s 
 1168 fJ.aLVOfj.evo'i' 6 8e Xidov /3aXew (SovAo/^evos ev (TKOT^) XdfBot, ry 
 
 ^etpt 7reAe$ov d/artws KC^ecryaevov 
 
 1171 7T^6V 8' ^WV T^V {La.pp.apOV, KOLTTClO' d^tapTWV /3dAo6 K/DdTtVOV. 
 
 The strophe and antistrophe constitute the dyad BB of the 
 proodic triad that forms the stasimon. See 717. B = abacd, 54576, 
 epodic pentad : a tetrad composed of a pentameter, a tetrameter, a 
 second pentameter and a heptameter, with a hexameter as epode. 
 See 761. The contrast in form, due to extreme resolution and 
 protraction, between the last two subordinate periods is admirably 
 adapted to heighten the comic effect of the sentiment. 
 
 See the metrical scholium on Ach. 1143 ff. 
 
 566. Cola of four orders may be combined in the same 
 strophe : 
 
 Vesp. 526-45 = 631-47 (Debate). 
 
 Strophe. 
 
 'H/A. a' vvv 8f rbv e/c Or/p-erepov ww w w 
 
 yvfivcuriov Aeyeiv TI Set, <^ w w \_/ 
 
 KCUVOV, OTTWS (f)aV^CTi - w w w 6 CV 
 
 B8. Ivey/caTO) juoi StCpo riyv ^ ^ -- ^ 
 
 KiorTrjv rts ws Ta^icrra. 5 w w ^7 4 CV 
 
 530 drap <f>avfi TTOIOS TIS wv, ^> ^ -- \^ 
 
 ^v ravra irapaKeXevr) ; w c~ w 4^ 
 
 ' H/i. a' py Kara rbv veaviav we/ w w 
 
 rovSc Alyeiv. 6/3^s yap <3s w w v,- w 
 
 <rot /jteyas CCTT' dywv <vw> 10 w ^ vy -- 6 
 
 535 Kai 7T/oi TWV aTrdvrutv ^> ^> ^> -- 2 C 
 
 cre/o, o /x 1 ^ yevoiro, w w w ^3 2 CV 
 
 537 oSros eOeXei KparrjiraL. OsJ ^ ^ 2 CV 
 
 B8. Kal fiyy ocr' av Xey y' aTrAws -- w -- \~> 
 
 fjLvr)p,6(rvva ypd\l/ofjt,ai, 'yw. 15 oo w w -- 4 
 
 1. rt yd/o ^>d^' v/xeis, rjv 681 o w w 
 
 ^c T<^ Adyaj KpaTrjfry; ^ \j w -- 4 C
 
 567 AEOLIC VEKSE 253 
 
 'H/z. a ovKfTt 7rpr/?uTwv o^Acs w w - w 
 
 541 ^p^(Ti;ao9 CCTT' ov8' a^cap?}, w ^ w w 
 
 ovetowrTO/ievot 8* ev TCUS 08015 etTrourais 
 
 20 ^ w ^ w 7 C 
 
 544 0aAAo<opoi KaX.ovfj.eO', avr- 533 w _< w w 
 topxxriwv 
 
 632 ovScvbs ^Kowxtyiej/ ov- 
 
 8c ^vverws Aeyovro?. 
 t. OVK, aXA' eprj/xas ye^' ov- 
 
 635 KaAws ya/a ySciv tos eyw 
 
 Tairn? 
 
 a>s 8 TTCIVT' 
 637 KovScv ^-aA^ev, OMTT' 
 
 avros o 
 
 641 ijSo/ievos Aeyovri. 
 4i. (os 8' oSros ^87; 
 
 rai /caoTiv OVK cv avrov. 
 B8. ^ /i^v eyw (re Tr/p,fpov 
 
 CTKVTr) /3\7TIV 7TOirj(Ta>. 
 
 'Hy& /?' 8ei Se cr6 Travroi'as irXeKCiv 
 
 6iS aTTO^ev^iv TraAa/tas, 
 646 TTJV yap ju,^v opyrjv TreTravat 
 /*^ Trpos e/xov Aeyovrt. 
 
 534 j/Oi/ Bentley 536 ytroiro Ed. (ytvoiO' Bentley) : ytvoiro vvv MSS. 543 
 Parson : &v tv 544 KaXotipeO' Person : Ka\olfj.e0' 642 ws 5' Hirschig : &<r^' 
 
 Monostrophic dyad. A = AB (526-37, 538-45). A = abba ( + ), 
 6446 ( + 222), palinodic tetrad, with refrain : a hexameter as 
 proode, two tetrameters and a second hexameter as epode, with three 
 dimeters in refrain. See 746 and 774. In the strophe B = aabc, 
 4474, epodic tetrad : two tetrameters and a heptameter, with a 
 tetrameter as epode. See 742. In the antistrophe B = aab, 449, 
 epodic triad : two tetrameters, with a nonameter as epode. See 737. 
 The close of the antistrophe is simplified. See 51. 
 
 567. The following ode has the metrical form of a famous 
 scolium ( Ath. xv. 695 a) :
 
 254 THE VERSE OF GREEK COMEDY 568 
 
 Eccl 938-41 = 942-5 (Episode II.). 
 Strophe. 
 
 Ne. 10* k^rfv Trapa ry vey 
 Kcu/r>) 'Set irporepov 
 
 940 dvcun/AOV T) 7rpe<r(3vTfpa.v, 510 v~ w ^ w 2 
 ov ya/o dvacrxerbv TOVTO y' e 
 
 r/3. oifJM>u>v apa vrj Ata (TTro 
 
 ov yap TaTTt Xapi^evrjs rdS* (TTtv. 
 Kara rbv vo/xov ravra TTOICIV 
 945 ecrri SiKaiov, ei 8rjfJiOKpa.ToviJ.f6a. 
 
 939 jurj 'Set Elmsley : /A^P 940 irpefffivrtpav Bothe : irpeff^<urepov 
 
 The strophe and antistrophe constitute the third dyad in a 
 proodic combination of eleven strophes. See 717. D = aab'c, 3323, 
 epodic tetrad : two Phalaeceans and a polyschematist dimeter with 
 anapaestic opening, with a trimeter as epode. See 742, 775. 
 
 568. With the last colon in the above compare the fragment 
 of the scolium in Vesp. 1245 ff . : 
 
 re /cd/xoi fiera QerraXtav. 
 
 569. Two closely related Aeolic tetrameters in common use 
 are illustrated in 535 f. In the fundamental scheme the first 
 metre is unregulated. Anacreon (frag. 24) uses a tetrameter 
 of this general form, with resolution in the first metre, and 
 Aristophanes appropriates it in Av. 1372 f . : 
 
 Hephaestion (30. 6 ff.) is in doubt whether the resolved first 
 metre represents an iambic dipody or a choriamb. Aristophanes, 
 with much humour, makes this ambiguous resolution the under- 
 lying conceit of a song in which he travesties the extravagances 
 of the dithyrambic poet Cinesias, but as he proceeds he genially 
 enlarges the original ambiguity. He rings all possible changes
 
 570 AEOLIC VEKSE 255 
 
 on the tetrameter they are all impossible according to his own 
 practice by means of resolution and contraction in the choriamb 
 and by substitution of metres equivalent in length to the 
 choriamb. Furthermore, with showman's art, he introduces 
 dialogue among these fancy tetrameters to break the stream of 
 the dithyrambist's 'melody.' In 1394 f. and at the close of 
 the song the poet shifts to the acatalectic form of the original 
 tetrameter. This had been made familiar by Pherecrates : 
 
 irlvf.iv del KCU fiedveiv trpiv dyopav ircir\.-r)6fvai 
 w w w w w w w Pher. 29 
 
 Av. 1372-1400 (Episode II.). 
 (Cinesias sings) 
 
 1372ff. " avaTTCTO/icu 8rj TT/DOS "OXv/A7rov Trre/ovyeo-o-i /cov^ais*" 
 
 8' 68bv aAAor' eir' aAAav fifXftov (Interruption) 
 
 1376 f. d<J>6(3(p <f>pcvl (rwfiaTi re veav </>7ru)v (Welcome) 
 
 w \s \_vy \s \s \s \s u \s 
 
 1380 f. o/ovis ycvearOai /?ouA.o/zai Xiyv<J>6oyyos drjSdav. (Remonstrance) 
 
 \s vy \s vy <^^ 
 
 (' Iambic ' and antispastic variations) 
 
 1393 ff. 
 
 aWepoSpofjuav oltavtav ravaoSet/owv (Interruption) 
 
 TOV aXdBpo- 
 
 pjov aXd/icvos a/x' dve/iwv Trvoiauri flafyv (Interruption) 
 -- ^ v -- (Major ionic variation) 
 
 ^y^yv^^/v^'w' \s u w \j 
 
 (Anaclastic minor ionic variations) 
 
 1398 ff. TOTC fifv voriav crrei'xwv 7r/>6s o&ov, Tore 8' av Sooea 
 eAtt^wv dXt/xcvov aldepos avAa/ca 
 
 Since Aristophanes himself never resolves either long of 
 the choriamb nor contracts its shorts not to mention the 
 extravagant variations here introduced his audience would be 
 quick to appreciate the skill with which he brought the resources 
 of metric into the service of his art as a comic poet. 
 
 570. Catalexis is common in all forms of Aeolic verse, at
 
 256 THE VERSE OF GREEK COMEDY 571 
 
 the close of a period. Brachycatalexis also is found even in 
 Aristophanes (509), as in Av. 676, 680 (546), 1724 (588), 
 Lys. 323 = 337 (563), and is not uncommon in other poets. 
 Similar shortening of the beginning of a colon was effected by 
 acephalization (38). One or sometimes even two of the initial 
 syllables of the colon might be suppressed. Aristophanes makes 
 frequent use of the acephalous Glyconic ( o - ^ w - v - ) and 
 of its catalectic form, the acephalous Pherecratean (^-^ ^ -- ). 
 The latter is called also colon Reizianum, a modern name. 1 
 
 571. In some odes Aristophanes employs these cola con- 
 tinuously, as in the following : 
 
 Eq. 1111-20 = 1121-30 = 1131-40 = 1141-50 
 
 (Stasimon II.) 
 
 Strophe I. 
 
 yi. a 
 
 1112 dpxrjv, ore Trares av- -- 
 
 dpwvroi 8f8iaari <r' awr- 800 (st. Hi.) ^ 
 irtp av8pa rvpavvov. o 
 
 1115 dA A' evTrapdy wyos e?, 5 -- 
 
 TOV re Aeyov-r' del 
 
 800 (st. iii.), 802 ^ - w w - ^ - 
 ) VOVS 8f O~OV & ^ \s \s 
 
 1120 Tra/awv cnrcS^/m. 10 o ^ w ^ 12 CV 
 
 Strophe II. Strophe III. 
 
 vovs OVK vt rats Ko/yiais 'H/>t. /?' ^OVTW p-fv av ev Trotots, 
 
 v, ore /A' ov <f>povcw ct 0*01 TTUKVOT^S evtorr' 
 
 eyw 8' l/cwv ev T^> T/3o:ra), a>s Aeyecs, 
 
 1125 auros TC yap ^jSofiai 1135 ei TOTxrS' eTrtV^Ses wcr 
 
 a TC f3ovX.ofj.ai cv rg TTVKVL, K$@' OTOLV 
 
 va. Trpoa'Ta.T'tjv ' firj crot TV\TJ 6\j/ov ov, 
 
 TOUTOV 8', orav y TrAews, TOVTWV o? av 
 
 1130 apas firdra^a. 1140 ^vo-a 
 
 1 On the various forms of this colon, 100. See also Leo, Rhein. Mus. xl. 
 
 as they appear in Plautus, see Lindsay's 185 ff., Plant. Cant. 58 ff., Der satur- 
 
 classification in his edition of the Captivi, nische Vers, 74 ff.
 
 573 AEOLIC VERSE 257 
 
 Strophe IV. 
 
 Ary. (rK\l/acr6e 8f p', ft <ro<ws 
 avrovs ireptepxofJ.v.1 
 
 TOVS OlO/ZeVOUS <f)pOVlV 
 
 1145 Trjpta yap CKOIO-TOT' au- 
 TOVS ovSe SOKIOV opav 
 /cAeTTTOVTas' fTTfir' dvay- 
 Kuw TraAiv e 
 S.TT' av 
 
 1150 
 
 Monostrophic tetrad, AAAA. See 701. A = ab, 812, pericopic 
 dyad : an acephalous-Glyconic octameter and dodecameter. See 770. 
 See the metrical scholium on JEq. 1111 if. 
 
 572. It is possible that the acephalous Glyconic was regarded 
 as a complete colon of seven syllables and ten or eleven primary 
 times, and that two contiguous cola were joined as closely as 
 two normal Glyconics. But it is more likely, in view of the 
 relation of the acephalous Glyconic to other cola (cf. Av. 1731 ff. 
 in 588 and Nub. 1345 ff. in 576), that it was normally dodecaseme 
 and had the full time of the Glyconic. The time of the syllable 
 lacking at the beginning of the acephalous colon within the sub- 
 ordinate period may then have been marked by a pause, if the 
 previous colon ended with a word ; but if two acephalous cola 
 were joined in the middle of a word, the union must have been 
 effected by protraction. Thus the first subordinate period in 
 the foregoing ode in the first and second strophes respectively 
 would be as follows, the instrumental accompaniment and the 
 dance continuing for the full time : 
 
 1111 ff. w ^> \j A w w v ^ w 
 
 v w w vy \J 
 1121 ff. w w w A w v w A ^ _ ^ w _ ,_, _ 
 
 A w w 1 
 
 573. The value of the dimeter now under consideration ( v 
 v - w ) has been variously determined by ancient and modern 
 metricians. Heliodorus consistently denominates this dimeter and 
 
 1 The metrical symbols A and A here indicates the protraction of a long 
 (33) designate respectively an eighth (I) syllable to the value of a dotted quarter 
 and a quarter (r) pause." The tie (~) note or of a half note. 
 
 S
 
 258 THE VEESE OF GREEK COMEDY 574 
 
 its catalectic form respectively as hephthemimeral and hemiolic major 
 ionic dimeters ( ^ ^ w and w ^ -- ). See, for 
 example, the scholium on this ode. Hephaestion (35. 8 ff.) ignores 
 the hemiolic phrase, but follows Heliodorus in his classification of the 
 longer colon (3,8' "Aprep-is, & Kopai, quoted from Telesilla) as ionic. 1 
 Rossbach denominates it "mixed first prosodiac" or "logaoedic 
 prosodiac" (Spec. Metrik 3 , 530, 563), and Westphal regards it (Allg. 
 Metrik s , 354)asanacatalectic monanapaestic tripody : w ^ w , 
 in accordance with the general ' logaoedic ' theory of all Aeolic verse 
 that these scholars entertain. If this dimeter is major ionic, it will 
 be noted that the second, catalectic metre has primitive trochaic form 
 (615 ff.) ; but this is without parallel in poetry of the fifth century. 
 Furthermore, major ionic verse is not found in Greek comedy, and 
 the constant association of this dimeter with Glyconics and diiambic 
 cola in Aristophanes, of which abundant illustrations follow, estab- 
 lishes a strong presumption that it is Aeolic, and a shortened form 
 of the Gly conic. See von Wilamowitz, Isyllos, 143. 
 
 574. With the exception of the acatalectic and catalectic 
 cola now under consideration, Aristophanes employs few 
 acephalous Aeolic cola, and only in obvious imitation of primitive 
 popular forms or in parody. Cf., in parody, Ao. 904, 908, 
 909 (585), Ran. 1319 (586), 1347, 1350 (592). An instance 
 of dissyllabic acephalization occurs in Th. 992 (589). See the 
 Editor's Origin and Form of Aeolic Verse. 
 
 575. Hermippus also used the acephalous Glyconic and 
 Pherecratean : 
 
 \o,ip & StairovTiov w w w 
 
 (TTpdrevfJia, TL irpaTTOfifv ; w w w \s 
 
 TO. [ixv y* <XTrb trciS/AaTos ^ w ^ w 
 
 7T/3OS O^W ;( KdAwS, w w w w 
 
 re veaviKy 5 ^ w ^ ^ 
 
 
 TOV *Af3v8oV O)S w w w 
 
 av^/s yeyevJjTcu; ^ w w Hermip. 58 
 
 Bergk emended the text of cola 3, 4, which is unintelligible in Athenaeus 
 (xii. 524 f. ) : rh. fi^v Trpdy 6\f/iv ^uaXa/cws ] txeiv dirb 
 
 576. Acephalous Glyconics are often associated with diiambic 
 coia, as in the ode that follows : 
 
 1 Hephaestion quotes the same colon earlier in his treatise (14. 11 ff.) as 
 ' anapaestic. '
 
 577 AEOLIC VERSE 259 
 
 Nub. 1345-50 = 1391-6 (Debate II.). 
 Strophe. 
 
 'H/t. a' (rov e/oyov (5 irpt<r/3vTa <f>povTieiv oiry 
 
 ^j \^ ^ w _ _ w _ 
 
 1346 rbv avSpa Kpar^o-eis ' o ^ w -- 5 C 
 
 (OS OVTOS, 4 /i^ T(p 'irejroidfv, ov/c av ^v 
 
 v^ \j C7 w 
 
 OUTCDS aKoAcurros. ^ w o 5 CV 
 
 aAX" ecr^' oTtp Opa&vveTai' 8ij\6v ye rdv- 
 
 5 \^ w vy \j 
 
 1350 6pU>TTOV Vri TC> XfjfJM. -- w w C7 5^ 
 
 H/i. /8' o?/iat yc TWV vccoreptov ras Ka/aStas irrjSav o TI Xtgei. 
 
 el yap roiaura y' ovros e^et/3ya(r/ivos XaAwv avaTretcrei, 
 1395 rb Stpfia TWV yepaire/xov Aa/Sot/tei/ av dAA' ou8 J epe/?iV^ 
 
 1349 ravOpuvov '<rrl ri> \ijfM Hermann : T^ X^ 
 
 Monostrophic dyad. A = aaa, 555, monostrophic : three penta- 
 meters in correspondence. See 768. 
 
 577. Note the combination of acephalous and full dimeters 
 in the first intermediate period of the following ode : 
 
 Vesp. 317-33 (Parode). 
 Monody. 
 
 4>t. <iAoi, rr/Kop-ai fj.tv 447 f. w w 2 
 
 TraAat Sta. Trjs oirrjs \j w \s \s 
 
 318 vfuov viraKovwv. w ^ 4 
 
 aAAa yap ov% otds r ei/*' 802 ^ \s ^ 2 
 
 319 pSeiv TI TTOITJO-W; 802 5 w w 2 
 
 rrjpovfJMi 8' i>7rb rwvS', 7rei ___ w w _ w _ 
 
 320 f3ov\ofJMi yc TraAai /xc0' u- w \^w w 
 
 jHWV JA^WV CTTt TOUS KttSt- w w v/ ~ 
 
 (TKOVS KttKOV TI TTOllJO-ai. 802 w w w 8 C 
 
 aAA' <S Zeu fieyaftpovra 281 10 ^ w 2 C 
 
 325 ^ Ilpo^eviS^v ^ T&V ScAAov *~ 
 
 TOUTOV TOV \ft(v8au.ditafivv. w~ w 6 CV 
 
 otKTt/aas, 17 f* Kcpavv^ 15 ^^ ~
 
 260 THE VERSE OF GREEK COMEDY 578 
 
 fw (nr68i(rov 
 330 KaTTfiT dveAiov /A a7TO^>vcr^(ras 
 
 rj Sfjra \i6ov p,e TTOITJCTOV e<f> o5 802 ~ ^ ~ 
 ras xoipivas o.pi6fiov<ri. 20 ---- >~ w 14 C 
 
 320 TTifXai Brunck : TrdXat Trd^u 
 
 The monody constitutes the epode of an epodic pentad AABBC. 
 See 716. C = AB (317-23, 324-33). A = abcde ( + ), 2 4 2 2 8 ( + 2), 
 pericopic pentad, with refrain : bacchiac dimeter, acephalous-Glyconic 
 tetrameter, choriambo-iambic dimeter, acephalous Pherecratean, and 
 Glyconic octameter, with refrain. See 772 and 774. B = ab, 6 14, 
 pericopic dyad in anapaestic rhythm : hexameter, hypermeter of 
 fourteen metres. See 771. 
 
 578. The diiambic element was sometimes slight, and quite 
 distinct, as in the two odes that follow, which begin each with a 
 diiambic tetrameter. 
 
 Eccl. 289-99 = 300-10 (Parode). 
 Strophe. 
 
 /. a 
 
 8>v8pfs, rj-JTfiXrpre yap 
 
 290 6 0(a[j.o6(Tr]s, osav 
 
 firj Trp<p TTO.VV TOV Kve 
 
 291 YI K D KCKovifJievos, 
 
 292 (3\TT(t)V VTTOI 
 
 Stikretv rb TpuafBoXov. 
 
 293 dAA* <5 Xa/tHTijcu'S>7 
 
 KCU 2^tKV#e Kal ApaKTjs 10 w w ^ 
 
 294 f-irov KaTeTretytov, o \^ >_/ 6 C 
 
 v-> 'w' 
 
 OTTCOS 
 
 
 
 295 ^7706 
 
 296 6Vws 8e TO (rvfj-floXov 15 w w ^ w 
 
 297 o-toi Ka.8e8ovp.f6', w? w v-> w ^ 
 
 298 a.Travff OTTOO-' av Sty o w w w 
 
 Tots rip.eTfpa<i <^>iAas. 20 w w w 
 
 299 KCU'TOI Tt Aeyw ; ^>i'Aovs v^ w w 
 
 yap X/ 3 ^ f 1 ' ovop.dfiv. w w 8^
 
 580 AEOLIC VERSE 261 
 
 Antistrophe. 
 
 ' opa 8' OTTWS wO-ij(TOfj.fv roixr&e TOVS e acrrews 
 301 -qKOVTas, ocroi TT/OO TOV jtev, rjvtK eSct Xa.ftf.iv iXOovr o/5oAbv 
 
 jtiovov, nadfjvro AaAowres 
 
 fv TOIS <rre<avto/iao-iv, puvi 8' vo>(Ao{5(r ayav. 
 dAA" ov^i, MvpwviSTjs oV tfpx fv o yevvaSa?, ov&is av croA/ia 
 305 ra T^S TroAews SIOIKCIV dpyvpiov fapuv dAA' ^KV eKacrros 
 
 ev d(TKi8t<j) <j>ep<av trielv a^ia T' aprov aur(^ xai 8vo KpofMfj,v<a nal 
 
 rpeis av eAaas. 
 vvvi Se rpiufioXov ^rjTovo-i XafBciv, orav ir/oaTTawrt rt KOIVOV 
 
 291 f. ffripywv ffKopoSd\fj.rj {ZXtirwv vw6rpifj.fj.a Person : fi\iruv vir6rptfj.fia 
 ffKopoSd\fjiri 293 'KapiTifjilStj Bentley : x^P' ri/t/a ^ 301 f. I5 Xo/3et 
 
 t\ObvT* Dawes : 4\&6vra Set \apeiv or ^X^6vr' (or ^Xtfii'Tes or ^X^6'Taj) ?5et Xo/3et' 
 307 aurcfJ von Velsen : ad R, om. F 
 
 Monostrophic dyad. A = ABC (289-92, 293-95, 296-99). A = 
 abc, 484, pericopic triad : diiambic tetrameter, acephalous-Glyconic 
 octameter and tetrameter. See 771. B = aa, 6 6, monostrophic : two 
 acephalous-Glyconic hexameters in correspondence. See 767. C = aa, 
 8 8, monostrophic : two acephalous - Glyconic octameters in corre- 
 spondence. See 767. 
 
 579. Han. 448-53 = 454-9 (Parode). 
 
 Strophe. 
 
 ets 7ro\vpp68ovs ^ w v 
 
 is, v-/ ** w - ^ 4 UV 
 
 450 TOV -fji^erepov rpoirov w w w ^ 
 
 TOV KaAAt^OptOTttTOV w/ w ^ 
 
 7rai^ovTSj ov oX/3iai 5 w w ^/ 
 
 Motpai ^vvayovo~iv. w w c/ 8 CV 
 
 Antistrophe. 
 
 'H/x. yS' /iovois yap i}/>itv r/Atos Kat <^>eyyos tAapov TTIV, 
 
 456 
 
 TOVS tStwras. 
 
 Monostrophic dyad. G (704) = ab, 4 8, pericopic dyad : diiambic 
 tetrameter, acephalous-Glyconic octameter. See 770. 
 
 580. Diiambic cola sometimes preponderate, so that in the 
 fusion of styles (659) the apparently Ionian element predominates. 
 The unconscious blending of Aeolic and Ionian rhythms is 
 perfectly illustrated in such odes.
 
 262 THE VERSE OF GREEK COMEDY 681 
 
 Pax 856-67 = 909-21 (Syzygy III.). 
 
 Strophe. 
 
 'H/j. a evSai/jLoviKws y 6 irpe- w w ^ 
 
 857 (r/ifvTT/s, 6'cra y' &8' iSeiv, ^ w \j w 
 
 TO, vuv rdSe TrpaTTet. 802 (ant.) w w w 6 CV 
 
 Tp. ri SfJT eVeiSav vv^iov ^ w ^ 
 
 /i opare Xajj/Trpov ovTa ; 5v7 w w w 4 CV 
 
 'H/u. a' f^AwTos etrei yepwv, v w ^ 
 
 861 av^is veos &v TrdAtv, w w ^ 
 
 fjivpfp KaTaAeiTTTOS. v ^ w 6 CV 
 
 Tp. ot/Mai. Tt 8^' 6Vav ^wwv w w w 
 
 TWI/ TirO'uav \(ap,ai ; 10 w ^ 4 
 
 'H/i. a' v8aifMOVfCTTfpo<i travel 802 (ant.) w ^ w 
 
 TWV Ka/DKtVOV CTT/3O^8lAo)V. w w 4 CV 
 
 T/3. oii/covv SiKaiws; OCTTIS eis v/ w 
 
 6'x^/xa KavOdpov Vt^Sa? w w ^ w 
 
 866 e<ra>cra TOVS "EAA^vas, WCTT' 15 v? w w 
 
 ev TO is dy/aoTo-iv awous w w 8 CV 
 
 867 aVavTas 6'vTas do-^aAws v^ w ^ w 
 
 Ktveiv TC Kai Ka^evSetv. i^ ^ ^ ^ 
 
 ^4w^s^rop^e. 
 
 'H/u,. /?' i^ x/ 37 ? " 7 "^ 5 dvi)p TroAtTJjs rriv aTracrtv oo-Tts ecrTi TOIOUTOS. 
 
 Tp. 6Vav rpvyar, eia-fcrOe TroAXaJ ^u,dAAov oios ei/^t. 
 
 'H/^t. /3' Kai vuv (TV ye S^Aos ei* aWTi)p yap airao-iv dv0pw7rots yeyevtjcrai. 
 
 Tp. ^^o"ets 7ret8av eKTTiys otvov veov Ae7ra(TTryv. 
 
 'H/z. ^8' Kai TrA^v ye TWV ^ewv det a' riyr)<r6(j.ecr()a irpwrov. 
 
 Tp. TroAAoiv yap v/^tv a^tos Tpvyatos afyiovevs eyw, Seivwv 
 
 Troveov rbv 8r)/j.oTrjv o/. 
 921 Kai TOV yecopyiKov Aetuv 'YTrep/SoAov TC 
 
 Monostrophic dyad. A = AAB (856-9 = 860-3, 864-7). A = 
 ab, 6 4, pericopic dyad : acephalous -Glyconic hexameter, diiambic 
 tetrameter. See 770. B = aba, 484, mesodic triad : two diiambic 
 tetrameters with a diiambic octameter as mesode. See 729. dypouriv 
 avTovs in 866 is found only in cod. B, and may be due to the metrical 
 recension of Triclinius. If dypois, the reading of the other MSS., is 
 right, B in the strophe is ab, 4 11. See 51. 
 
 See the metrical scholium on Pax 856 ff. 
 
 581. The distinctively Aeolic element is sometimes merely one 
 or two dimeters that break or close a diiambic movement. Odes
 
 582 AEOLIC VERSE 263 
 
 thus composed are iambic rather than Aeolic. See the remark 
 at the beginning of the preceding paragraph. 
 
 Nub. 1303-10 = 1311-20 (Stasimon II.). 
 Strophe. 
 
 *H/i. a' ofov TO Trpayp.a.T(av epav <f>\avp(ov 6 yap 
 
 yeptov 08' /oao-#ei? w w w 5 C 
 
 1305 a7roo-T/or)o-at /3ov\erat, ^7 w w 
 
 TO. xprip,a@' dSavetcraTO w w w wo4 v 
 
 1307 KOVK CO"^' O7TWS OV TrjfJLfpOV 5 w w " 
 
 A^^CTat TI irpayp.) o w ^ \^ 4 CV 
 
 TOVTOV TTOtTyO'ei TOV <TO<j)i- 51, 73 v_/ v^ 
 
 '^d. w_ w _ V " 
 
 w _ w _ ^ 6 CV 
 
 Antistrophe. 
 
 'H/i. j8' oTfuti yap avrbv avri\ evprjo-eiv OTrep iraAat TTOT fffi 
 1313 e'vai TOV vlov Setvov ol yvw/xas tvavrtas Aryeiv 
 1315 Totcrtv StKttiocs, wa-re viicav airavras oT<nr(p 
 
 av ^vyyevrjrat, KO.V A.eyy TrafjLTrovrjp'' icrws 8* wrws 
 
 Ka^tovov avrbv ctvai. 
 
 1307 Xi^eraJ rt Hermann : XiJ^eTai or TI XiJ^erat 1310 XajSetv 
 
 Hermann : TI KO.KOV \a/3eii> 
 
 Monostrophic dyad. A = abbe, 5446 (7 in the antistrophe), 
 periodic tetrad : a pentameter as proode, two diiambic tetrameters, 
 and a diiambic hexameter (heptameter in the antistrophe) as epode. 
 See 745. 
 
 See the metrical scholium on Nub. 1303 ff. 
 
 582. Ach. 836-41 = 842-7 = 848-53 = 854-9 
 
 (Stasimon I.) 
 Strophe I. 
 
 'H/i. a' ruSai/iovct y av^pa)7ros. OVK v w 
 
 T^/covtras of irpo/3aivei w ^ 4 CY 
 
 837 TO irpaypa TOV ffovXcvparos ; 
 
 515, 802 (st. in.) o-rr- ^- v - 
 
 KapTT(a<rfTai yap avrjp w w 4 CV 
 
 838 ev rdyopif. Ka^7y/Acvos. 5 !lC : w o w 
 
 Kav erty TIS K-n^rias 802 (st. IV.) ^ ^ w w
 
 264 THE VERSE OF GREEK COMEDY 583 
 
 Vf QTVKO<j>dvTr)<; dAAoS, Ot- w w 
 
 ^ - 8 C 
 
 Strophe II. 
 
 'H/i. /3' ov8' aAAos a.v6p(jjTT(i)V VTTOVJ/WVWV ere Trrjfiavft n, 
 843 ov8* loju.o/oeTcu IIpeTrts T^V evpwrpWKTiav <rot, 
 
 ov8' (icmci K Xtwvv/juj) xAcuvav 8' e^wv (f>avr]v Siet KOU 
 
 7/J. 
 
 ,. a' ov8 J evTr^tuv ev rdyopp ir/3oo-ri (roi /3a8i<av 
 849 Kpartvos act KfKapp,evo<s jxot^bv /xt^i /xa^atpp, 
 
 6 Tre/oiTTOVTj/sos ' h.prkp.(DV, 6 ra^us ayav T^V fj-ova-tKi^v, o^wv KCIKOV 
 To>v juao-^aAwv iraT/aos TpayacraioV 
 
 /F. 
 
 i. /?' ouS' aS^ts a5 o-e cr/cw^erat nawajv 6 Trap.Tr6vr)po<s 
 855 Azxri<TT/oaTOS T ev rdyopy. XoXapyewv ovctSos, 
 
 o 7re/06aAotY>yos rots KOKOIS, piywv re /cat TTCIVOJV aei irAeiv ^ 
 
 ' rjfj,epa.<i TOU //.r^vbs iKac 
 
 836 v6payiros Brunck : AvOpuiros 837 avyp Brunck : di>T)p 842 
 
 TI L. Dindorf : irtj/juvflrai 850 6 Bentley : <w5" 6 
 
 Monostrophic tetrad. See 701. A = aab, 448, epodic triad : 
 two tetrameters with an octameter as epode. See 737. 
 See the metrical scholium on Ach. 836. 
 
 583. Greater complexity of structure is found in the following 
 ode, in which the poet has employed anapaestic as well as 
 diiambic and acephalous- Gly conic cola. The last intermediate 
 period (c) illustrates in strophe and antistrophe the close relation- 
 ship between diiambic and Glyconic forms in Aeolic verse. 
 
 Pax 939-55 = 1023-38 (Syzygy IV.). 
 
 Strophe. 
 Ko/o. a' (os irdvO' 6V av 6eos Oe\y 51 ^ w w 
 
 940 \(i>pei Kara vow, erfpov 8' eTep<p 
 
 281, 389 --=o- ~ - 
 
 TOVTMV Kara Kaipov aTravry. ^ _ ^, ^ 4 
 
 T/o. a>s Tavra 8rjX.d y ecrO', 6 yap 5 ^ ^ ^> 
 
 ^Sw/xbs Ovpacri KOI 5^. ^_^,_ w 4
 
 584 AEOLIC VERSE 265 
 
 Kop. a 7TiyeT vvv fv oo-y (ro/3apa 281, 379 w ^~ ~ ~ 
 
 946 aupa, vvv yap 8aip,<av <avep<Ss ** ^ 
 
 cis dyadd (j.fTa(3i/3dfi. 10 ~~ w ~ ^ 8 
 
 Tp. TO Kavouv 7rapo~r' oAas X OV *!* ^^ w w w 
 
 icai (rTfJ./ML KCU fj.d\aipav, w w 4 
 
 949 Kai Trvp yc rovrt, Kov8v ?-, ^ _ ^ w 
 
 \ \ \ 'O jC 
 
 o'Xf'' 7TA,r)v TO irpoparov 7^/xas. w =~ w 4 
 
 Kop. a' ouKoi'v d/AtAA^o-eo-^ov; u>s 15 w w 
 
 951 17 v Xaipts Vjnas iSy, 802 (ant.) o V w 
 
 ^ ^ > ^ TOJ " . _/ \_/ vv < 
 
 TOS, K<f,TO. TOUT fU OtO OTl ii^i! ii ^^, 
 
 955 TrpocrSitxrfTf SrjTrov 1 . 20 w w 4 C 
 
 Kop. /3' cr rot Ovpavt. xpi] p-fvovra roivvv 
 
 1024 o-^i^as 8tvpl ridfvai raxews ra re Trptxrfyopa. TTO.VT' eirl 
 T/J. OUKOW SOKW (rot /iavTiKws TO (f>pvyoLVOv riOecrOai ; 
 
 Kop. ^8' TTWS S J ov\i ; TI ydp <re ire<f>evy' o<ra %pr) <j-o^>bv avSpa ; rL 8 
 ov (TV <f>povis oirocra xpe&v ecrrtv TOV 
 
 (ro<f>r) SoKtfjLov <j>pevi iropip.^ re 
 1p. r) o-\i^a yovv fvrjfifj.fVTfj TOV 2riAj8t87/v Trie^ei, 
 
 1032 /cat T^V TpaTrtfav oicro//.at, Kat TratSbs ou Serjcrfi. 
 Kop. /?' TIS o5v av OVK 7raiveo-iev dvSpa TOIOVTOV, 6'orts TrdAA' dvaTAas 
 
 eo"w<r r^v tepav TroAtv; 
 1037 <5o-T ovx^ p?) Trawei TTOT' wv J^Acoros aT 
 
 1023 Otpaffi Schol. : Ovpaun 1029 ftrnv Hermann : ten ye Triclinius 
 
 in cod. B 1033 otv &- Dindorf : Av oC*' or &/ 
 
 Monostrophic dyad. A = ABC (939-42, 943-9, 950-5). A in the 
 strophe = aba, 444, mesodic triad : two diiambic tetrameters with a 
 logaoedic-anapaestic tetrameter as mesode. See 739. A in the anti- 
 strophe = abc, 344. See 771. B = abb, 844, proodic triad : a 
 logaoedic-anapaestic octameter with diiambic close (colon 1 0) as proode 
 to two diiambic tetrameters. See 738. c = ab, 8 4, pericopic dyad : 
 in the strophe a diiambic octameter and a tetrameter composed of a 
 diiambic dimeter and an acephalous Pherecratean, but in the antistrophe 
 acephalous Glyconics are substituted for diiambic dimeters in cola 1 6, 
 17, 18. The attempts to 'emend' the text of these cola in the 
 antistrophe are neither necessary nor felicitous. See 51. 
 
 See the metrical scholium on Pax 939 ff. with the notes. 
 
 584. The following ode is composed solely of acephalous 
 cola, but the text is defective.
 
 266 
 
 THE VERSE OF GREEK COMEDY 
 
 584 
 
 Pax 1329-55 l (Exode). 
 Strophe I. (1329-32). 
 
 Tp. Sfvp' (3 yvvai eis dypov 802 
 
 //. (1333-5). 
 . a' 5 T/ots fj.a.Kap' as 8i/cai- 
 
 /at/a vvv 
 * * 
 
 #**# 
 Y/u,evcu' a>, 
 (S. 
 
 \^ v^ w 
 
 w w 6 C 
 
 w w 2 C 
 
 v w 2 C 
 
 ///. (1336-9). 
 
 'Hp;. /?' TI Spdcrofj-fv 
 
 J H/*. a' Tt Bpdarofjicv 
 
 'HjU. ^8' rpvyr/a-o/JLev avTrjv, 
 
 'Hyu,. a" Tpvyrj(ro[j.v 
 
 /F. (1340-3). 
 
 aAX' dpdfievoi <f>ep(o- 
 pev ol 7TyooTTay/>ievoi 
 
 TOV VVfJ.<f)lOV <SvS/3CS. 
 
 'Y^v ll Yfj,evat' 5, 
 
 F. (1344-7). 
 
 'H/i. a' oiKT^creTe yovv 
 
 ov Trpayyuar' e^ovres dA- 
 Aa cri'KoAoyovvres. 
 
 FJ. (1348-9). 
 
 e H/i. ^8' TOU /Aev //.eya /<at 
 
 * * * * 
 
 F/J. (1350-2). 
 
 <f>rj(ret,<s y' orav ecr6iy<s 
 
 OLVOV Tf 7Tiy<S 
 
 'H/x. a' l Y(j.r)v 
 
 'H/x./?' 'Y/njv 'Y/xevai' w. 
 
 F///. (1353-5). 
 
 1341 irpoTfray^voi Bentley : 
 
 Cola had been lost from this ode even in the time of Heliodorus, 
 and certain other cola in his text (1336-9) did not conform to the 
 
 1 All the strophes are printed in cola, in order to facilitate comparison.
 
 585 AEOLIC VERSE 267 
 
 general scheme of structure. What this scheme was is easily gathered 
 from his commentary. See the metrical scholium. 
 
 The ode was monostrophic, originally perhaps an o/cras fiovo- 
 (nyjo<iK?7. Each strophe (except perhaps III.) contained five cola, two 
 acatalectic and three catalectic, i.e. A = abb, 622, proodic triad : an 
 acephalous-Glyconic hexameter as proode to two acephalous Phere- 
 crateans. Probably the pair of subordinate periods in all the strophes 
 (except III.) consisted of the invocation c Yp)v 'Y^cvai' w repeated. Cf. 
 1340-3, 1344-7, of which the structure is intact. On this assumption 
 the period in 1329-32 is easily restored, and in general the equivalence 
 of parts is apparent. It will be observed that as they stand 1348 
 and 1351 end in a 'variable syllable.' This final syllable was doubt- 
 less lengthened by the opening of the following colon, now lost. The 
 third strophe (1336-9) now seems to be hopelessly corrupt. The text 
 preserved in the MSS. still extant was the reading Heliodorus had 
 before him. In some texts, he says (Schol, 1336-9), the haple occurs 
 after each of the four catalectic dimeters, to indicate that they were 
 taken alternately by the two half-choruses ; in other copies of the 
 text the dimeters are not given at all Sia rot fierpa, i.e. because the 
 'metres' failed to correspond to the general scheme. Heliodorus 
 gives the text of these four cola, but expresses no opinion, at least in 
 the commentary now extant; and consistently with this says, on 1344- 
 55, that he gives the text as transmitted (u>s 8e ^eperat, /cat evravda 
 &TTIV), although the pentacolic structure breaks down. There is an 
 intimation in a scholium under the last line of the text in V ('Yp)v 
 'Y/iei/ai' a> : ourws 'HAio8ay>os) that he suggested the refrain should be 
 added at the end. It does not follow from the lack of agreement in 
 structure between 1336-39 and the other strophes that Aristophanes 
 did not compose these cola as they stand. With that suppleness of 
 invention which characterizes him everywhere, he may have substituted 
 this quadruple refrain of acephalous Pherecrateans for a period of 
 normal form. 
 
 See Enger, Rhein. Mus. ix. (1854), 580 f. ; Schrader, Rhein. Mus. 
 xxi. (1866), 93 ff. ; Westphal, Prolegomena, 20 ff. ; Schroder, Aristoph. 
 Cant. 29 ; Zacher-Bachmann, Aristoph. Pax, 104 ff. 
 
 585. Ao. 904-53 (Scene III). 
 
 Aristophanes uses Aeolic rhythm in parody with excellent effect. 
 His own practice is so conservative that when he allows him- 
 self the freedom found, for example, in Euripides, the contrast 
 with his ordinary manner is glaring. This contrast is marked 
 in the first part (904-914) of the scene in the Aves in which he 
 introduces the Beggar Poet as representative of the melic poets 
 in general, as Cinesias in a later scene in the play (569) represents 
 specially the dithyrambists.
 
 268 THE VERSE OF GREEK COMEDY 585 
 
 904 Nc^eAoKOKKvyiav 508, 510, 574 ~ w - - w - 2 C 
 
 T<XV fv8a.ip.ova K\rj(rov & --- ww w 
 906 Movcra reats ev V/AVCOV doiScus. 
 
 518 iii., 519 - ^ ^ - ^ - . - ^ -- 5 C 
 
 Trimeter. 
 
 908 eya) //.eAiyAoxrcrtov eTrewv teis 519 v/ ^ --- ^ w -- 
 
 doiSav Movcrawv depaTTtav 5195 w v/ w 6- c 
 
 910 orprjpos, Kara TOV "Oprjpov. 512 w -- w w ~ w 2 V 
 
 Two Trimeters. 
 
 913 Moixratov ^e/oaTrovres -- w ^ w 2 CV 
 
 orprjpoL, /cara TOV "O[j.vjpov. 512 w w w ^~ w 2 V 
 
 There is here hardly a colon in which our poet does not do 
 violence to his ordinary form. The fifth colon is brachycatalectic, 
 but its last metre assumes, by a slight change in the words of the 
 song, ordinary catalectic form in the seventh colon. On the clause 
 xara TOV "Q^pov, which is wrongly omitted in some editions of the 
 play, see the Editor's Scholia on the Aves, 174 (Schol. Av. 909). 
 
 The subordinate periods that follow, except the second and 
 fourth, are in simplified logaoedic rhythm (392 ff.), but logaoedic 
 cola predominate : 
 
 924 aAAa TIS (i/ceia Mot>(raan' <ans 
 
 395, 206 - ^ ^ - - ^ - - - ^ w 3 CV 
 oTaTTfp nnriov a/^apv- 507 10 w w ^ w 
 
 ya, crv Se " irdrep KTICTTO/O Atrvas 
 
 517 - ^~- -^ -- 4 
 927 a#etov tepaiv 6/iwvv/Ae," Sbs l/xiv 6 T6 TT/) 
 
 929 re^i K(^>aA^ 0eAj7S 570 v^ w ^ w 
 
 930 Trp6(j}pii>v S6[j.ev ep.lv retv. 
 
 508, 510 ^ - ^ ^ - w - 4 C 
 
 Five Trimeters. 
 
 936 roSe fifv OVK ae/covo-a ^)tAa 383 15 ~ vy - ~ _^-2 c 
 
 Mov(ra roSe Stapov Several 383 w ^^ ~~ 2 
 TV 8e Tfy, (frpevl p.adf. HivSdpeiov CTTOS 
 
 080 ^^ v-' ^ ^^ ^* v ^ ^^ ^ " 
 
 941 " vo/ia8f(T(ri ya/> ev SKV^ais dAarat 
 
 379 ^^ ^-- >-> ^ ^ 
 943 os" v^>avTo8ovarov ecr^os " ov TreTrarai " 
 
 379 __ ~- ^ - ^ - ^ -- 6 C
 
 586 AEOLIC VEESE 269 
 
 " d/cAer); B* efto- " CTTroAas avev 
 
 o79 20 \^ \s \j -~ \s \^ \j 3 
 945 " wes 6 rot Aeyco." 395 ~ ^ - w - 2- c 
 
 Trimeters. 
 
 950 K\y<rov <S ^pvcroOpove rav rpofj-epav Kpvepav ' 
 
 GOO v-> ^^ \s w ^~ 3 
 
 952 vt<p6f$o\a TreSia iroXviropd. r 393 wv~ w ~~ ^ v~ w w 2 V 
 
 953 ^Av^ov dAaAav. 395 ^ ^ ^ 2- c 
 
 The scholiast on Av. 926, 941 l tells us that certain of these 
 periods are parodies of one of Pindar's hyporchemes, and quotes them : 
 
 o TO i Aeyw, >~ ^ ^ 2- c 
 
 v icpoJv o/xwviyte ^y <^ w ^ w 2 V 
 
 KTWTTO/3 AlTVa? ' v^ w -- 2 C 
 
 (rcrt yct/3 tv 2/cv^a6S aAarai (rrparutv ~^ ^ w \_/ . w _ 
 os d/xa^o^>opr/TOV OIKOV ov Treirarai, *~ ^^ w w _ w -- 6 C 
 ^s <8'> e/?a. ^^ w 1 
 
 Cf. Schol. Find. Pyth. ii. 127, JVw. vii. 1. 
 
 The hyporchemes of Pindar, if one may judge from meagre extant 
 remains, were written in simplified logaoedic rhythm, with Aeolic 
 variations such as cola 10, 11, 13, 14 in Aristophanes's parody. Com- 
 pare the three imitations of hyporchemes at the close of the Lysistrata. 
 
 The intervening trimeters naturally mark the divisions of the 
 poet's rhapsody into intermediate periods. There is no sure indication, 
 in the metrical correspondence of subordinate periods, of repetition 
 of any part of the melody, which varied from period to period with 
 lively effect. 
 
 586. Aristophanes's Aeolic manner in parody is well illustrated 
 also in the following direct travesty of Euripides. 
 
 Ban. 1309-28 (Episode II). 
 
 In the first part of the scene in which these verses occur 
 Euripides charges Aeschylus with cribbing the dactylic cadence 
 with which, as he alleges, the odes of Aeschylus uniformly end, 
 and adduces proof. See 349 ff. Aeschylus weakly concedes 
 the point and attempts a defence (Ran. 1298 ff.), but im- 
 mediately rallies and makes a savage counter-charge in kind. 
 The source of his own inspiration was at least noble, but 
 Euripides drew his from the bawdy-house, the carouse, the 
 dance-hall and the wake ! 
 
 1 See the Editor's Scholia on the Aves, ad loc.
 
 270 THE VEESE OF GREEK COMEDY 586 
 
 The song, therefore, that Aeschylus sings in illustration 
 of the villainous art of Euripides must have been largely com- 
 posed of quotations from his plays that in sentiment, form, 
 or melody suggested sources familiar to the audience. These 
 were strung together with only specious regard to grammatical 
 connexion. Unfortunately only one quotation can now be 
 identified with certainty, vv. 1317, 1318, borrowed from 
 Euripides's Eledra 435 f. See the Scholiast on sources no 
 longer extant. 
 
 The metrical form of the song may be submitted with some 
 confidence to the test of the comic poet's own practice. With 
 the exception of a single colon (5) the rhythm is Aeolic. 
 
 at Trap' deyaots $aAaoxr?7S 
 
 518 i., 519, 802 - ~ ^ - ~ w w _ w _ _ 3 
 
 1310 KVfJ,0.(Tl CTT/MD/ivAAcTe, 508 w -- ^> \J 2 CV 
 
 reyyovcrai VOTIOIS TTTC/OWV --- w ^ w 
 
 pavtcrt X/ a S/oo<rifo/*ei/at 
 
 510 w w~ ^ ^ w w v<> 4 H 
 at 6' vTT<ap6<j>iOL Kara ywvias 
 
 383 5 w ^s ^^ w 3- 
 eteieteiAicrcreTe SaKTvAots <^>aXayyes 
 
 518 ii. /w --- w ^ ^ w w 3 C 
 1315 tcrroToi/a Trrjvtcr/iaTa, 508, 510 ~ w ^ *-> 2 CV 
 K/3Kt'8os dotSou /jteAeras, v^w ^ ^/ 
 
 TV' 6 <tA.auAos 7raAAe SeA- 
 
 512 ^~ >- w w ^ 
 
 ^>ts 7T/)(j)/oats KvavepfBoXots, 10 --- w v^ ^ 
 /xavreta Kai (rraStovs, 574 -- ^ v ^ 
 
 1320 otvav^as ydvos d/x.7reAoi;, --- w w w 
 
 ftorpvos e'AiKa TratxrtVovov. 
 
 510 v^ ^^ v- 1 *- /w ~" <-* ^^ ~- 
 7T/oi^8aAA' (5 TCKVOV t5Aevas. 
 
 511 ^-- V w-w- 
 
 6/>s rbv TroSa TOVTOI/; opw. 
 
 16 S/ -- W W-v^- 
 
 TI e; TOVTOV 
 
 511 v^w w w w 
 
 1325 Totavrt jnevTot (ru TTOIWV 802 ---- ^ w 
 ToAyu,^s Tayu,a /xeAi^ ^eyetv, --- w s^ w 
 avol rb Sa)8e/<a/x^x avol/ w^w w w ^ 
 
 
 
 fj.f \oiro i<av ; 20 --- w w -- 26
 
 586 AEOLIC VERSE 271 
 
 The sixth colon begins with a musical shake (cf. Ran. 1348) on 
 the syllable ei-, introducing a Phalaecean (518 ii.). Our poet never 
 himself forces a syllable to do double duty, in order to secure a 
 peculiar musical effect such as this. Nowhere, except in parody 
 (569), does he resolve either long syllable of a choriamb (colon 1), 
 nor does he use polyschematist dimeters such as ^> ~ w ~ w ^ , 
 with double resolution in the first metre (4, 1 3), or ~ ^ w 
 
 (7), or ^ ^ w (11), nor Glyconics such as (14) ~ ^ 
 
 ^ w (cf. TroSa TOVTOV in 1323 with reference to the anapaest in 
 
 1322), or (15) w ^ ^ - ~ - (cf. TOVTOV in 1324 with reference 
 
 to 1323), or ^ ^ w w w (16). Presumably these are forms 
 that he condemns, but some of them at least were employed by poets 
 of good standing, and Aristophanes's metrical strictures are not to 
 be taken too seriously. His audience would appreciate the humour 
 with which he has Aeschylus, in his heat, make Dionysus by the 
 very course of the dialogue responsible for a monstrous form of 
 Glyconic (15) that doubtless all decent poets would have condemned. 
 
 The most effective feature of this genial burlesque was doubtless 
 the music to which it was sung. Of its quality we unfortunately 
 have but a single intimation in the trilling roulade in 1314. The 
 melody was doubtless continuous. There is no evidence of periodic 
 correspondence.
 
 CHAPTER XIII 
 COMPOSITE LYRICS 
 
 587. Many of the songs that have been treated singly in 
 the preceding sections in illustration of particular rhythms are 
 parts of composite lyrics of several strophes, such as Vesp. 273- 
 333 (716), Ran. 316-459 (704), and Eccl. 893-975 (717). 
 
 588. The two lyrics that follow will serve as special illus- 
 trations of this form of composition. 
 
 Av. 1720-65 (Exode). 
 
 Strophe I. 
 Xo. avaye oie^e Trdpaye Trapeze 
 
 wv^ v^y w v^ w^ w 3 
 
 1722 TOV /JLaKapa p.aKapt o~vv 
 <5 <f>ev ^>u Trj<s w/aas TOV 
 
 73 __._ __._ __._ 
 
 1724 5 /ia/ca/3TTOv <rv ydfjLov 509 ^ ^ w ^ 
 
 rBe TroAei xas. 5 w w -- 4- c 
 
 Strophe II. 
 
 Kop. a' fjLeydXai fj.eydh.ai, Ka.Tex.oixn rv^ai ^^ ^ 
 
 1727 ye i/os opvidwv *~ --- 
 
 8ta -rovSe rbv dv8p', dAX' vfj.eva.io is ~ ^. 
 
 KCU vvfi<j>ioioio-i 8e^f(r6' a>8ats -- w~ 
 
 1730 airrbv /cat T^V BacriAeiav. 5 ---- 
 
 Strophe III. 
 
 t H/*.a"'H/3p TTOT' 'OAu^TTt^ 570, 572 ^ - v^ 
 
 1732 rbv ^Ai^Sarwv Bpovuv O w 
 
 apx ol/Ta ^cois fj-eyav -- w 
 
 Moipat gvvfKoifJ.wrav -- w 
 
 272
 
 588 COMPOSITE LYRICS 273 
 
 1735 v TOILS' vfjievaiip- 5 --- ^ w -- 2 
 
 "Yp.r)v 5 'Y/xevcu' <S, w -- w^/ -- 2 
 
 <5 'Yicvai' <5.> w -- w ^/ -- 2 
 
 Antistrophe III. 
 
 o 8' d(ji<f>iOa.Xr)s *E/3o>s xpwoTrrepos rjvias r\vdvv TraAivrovovs, 
 
 Zrjvos Tra/ao^os ya.fj.vtv 
 1741 TT}S T' evScu/tovos " 
 
 'Y/ir)v 5 'Y/LWVttl' (5, 
 
 'Y/xevat' (3. 
 
 Ilet. e^aprjv vfj.voi<s, 
 
 ayajAai 8e Xdytov. aye vuv avrov 
 1745 KCU ras ^^ovtas K\y(raTe /^povras 
 ras re TrvpwSeis Aios atrrepoTras 
 Setvov T' dpyfjra. Kepavvov. 
 
 Strophe V. 
 
 Xo. 5 ftya \pva-fov do-TepoTrTJs <^>aos, s^ 
 
 1749 S Aibs afifipoTov cyxos 338 -^- 
 
 Trvp<f>6pov } & ^Ooviat jSapvaxfes ~~ ^^ ^/ ^ 
 
 6fj,/3po<j>6pot 0' dfj.a (Bpovral 388 ~ ^~ -- 4- c 
 
 af$ oSe vuv xOova cretet, 5 --- ^^ -- 2- c 
 
 1752 8ia (T TCI Trdvra Kpa-n^eras 334 ^x^v/ -~ -- 2- c 
 
 Kai TrdpeSpov BacriAeiav e^ei Atoj. ^ v^ ^ ^, 
 
 ^v S 'Y/icveu' 5. 511 w -- ^ w -- 2 C 
 
 Strophe VI. 
 
 II. firfo-Of vvv ydpouriv <5 ^ w 
 
 1756 <f>v\a irdvTa <ruvv6fj.(av w 
 
 Kal Ae^os yayx^Aiov. w 
 
 ope^ov 5 fj-aKaipa 
 1760 X^P - Ka ' TTepa> 
 
 \af3owra <rvy^6pfV(rov at- 
 p(av 8f Kov<t>i(a a-' eyw. 
 Xo. aAaAaAai t^ Traitov, 38, 802 -~ v^ w \^ 
 
 la KaAAiviKOS, <S 10 vy w w 
 
 vTreproiTf. ._ w _ ^ _ ^ w 6 V 
 
 1734 wfKol/j.i<rav Bentley : ^we*c6/ttta-ai' 1736 b Dindorf (cf. the antistrophe) 
 
 The song consists of a series of five non-ntistrophic systematic 
 periods and a single dyad, ABCCDEF (1720-5, 1726-30, 1731-6 = 
 
 T
 
 274 THE VERSE OF GREEK COMEDY 589 
 
 1737-42, 1743-7, 1748-54, 1755-65). See 717. A = abed, 3234-, 
 pericopic tetrad, with iambo-trochaic opening and Aeolic close : trochaic 
 trimeter, iambic dimeter, iambic trimeter, brachycatalectic poly- 
 schematist tetrameter. See 772. B is an indivisible anapaestic 
 nonameter, as D is an indivisible anapaestic decameter. See 773. 
 These are integral portions of the lyric that closes the play and are 
 melic (283, 292). In CC, a monostrophic dyad, C = abb ( + ), 8 2 2 ( + 2), 
 a proodic triad with refrain : an acephalous-Grlyconic octameter as 
 proode to two Pherecrateans, with the final colon repeated. See 738, 
 774. E = aabbcd, 4- 4- 2- 2- 2 2, proodic hexad : a brachycatalectic 
 dactylic tetrameter anticipates the opening strain of the following 
 periodic tetrad composed of a brachycatalectic dactylic tetrameter, 
 two brachycatalectic dactylic dimeters, and a dactylic dimeter, to 
 which a Pherecratean is added, the hymeneal refrain. See 755. 
 Finally F = aab, 886, epodic triad in iambic rhythm : two protracted 
 octameters with an acephalous protracted hexameter as epode. See 
 737. 
 
 589. Thesm. 947-1000 (Stasimon I.). 
 
 Strophe I. 
 
 K.op. a aye vvv ^/xeis irauriapev aVe/o 283 ~~ ~^ 
 
 948 orav opyia cre/tva Oeoiv tepcus ^/ *~ *~ ^ 
 
 wpats dvexw/xev, aircp KOI -- ^/ s~ -- 4 C 
 
 949 Ilaw-wv a-eficrai KO.I V^O-TCVCI, 5 -- ~ ---- 
 
 7roAAa/as avroiv CK rtav w3<3v *~ -- ---- 
 
 952 roiaura /teAeiv Odfj,' eavrcj). -- ^/ -^ -- 8 C 
 
 Strophe II. 
 Xo. opfjua xw/ l , 517, 209 - . - . - . - 2 
 
 Kov<j>a Trocrlv ay' ets KuxAov, 
 955 X e l' crvvaTTTC X^/ 
 
 519, 203 w-^ ~w-w -.-3 
 Tracra, /3alve Kapira\ifj.oiv TroSotv 
 
 518 i., 655 f. ^ - ^ - w - w ^ - w - 
 
 CtV 8 TTa,VTa\fj 5 w w w w 
 
 958 KVKA,ou<rav 
 
 Strophe III. I. 
 
 'H/ta' afia 8t KOI yevos '0\vp.Tri(av Oeuv 
 
 204 ~ w -
 
 589 COMPOSITE LYRICS 276 
 
 961 /JifXire Kai yepaic tfxavy ** w w ^ 
 Trcura ^opofiavfi T/JOTT^). v^ sc ^ w 7^ 
 
 Strophe III. n. 
 
 'H/t. /3' ei 8 TIS TT/socrSoKp KUKWS e/>eiv 4v te/3< y 
 
 OVK o/>0t3s 
 
 Strophe III. in. 
 
 Xo. aAAa X/"? v <ScT7re/) tpyov a5 TI Katvov 
 
 /F. 
 
 'H/ti. a' 7rpd)8aivc TTOOTI TOV tvX.vpav ^ \j ^ v w 
 
 970 /ilATTOWa Kttl T^V Too<f)6pOV -- w -- wCC 
 
 "Aprefjuv avcwrtrav ay v^v * ^^/w ^ -- 6 C 
 
 972 x a V>' 5 CKaicpyc, 570 -- ^ ^ - ^ 2*^ 
 OTra^e Se VIKVJV. 5 ^ ^ w -- 2 C 
 
 973 "H/oav re rrjv rcAetav -- w ^ -- 2 C 
 /ieA^w/ACV wcnre/3 ei/cds, w w w 2 CV 
 
 975 r/ Trcurt rots xopoicriv efiirai^ci TC Kat 
 
 - V^I - v^ - \s - ^J 
 
 -- w w -- 5 C 
 
 Antistrophe IV. 
 TC vofiLov avTO/iai Kai Ilova Kai Nv/A</>as <i'A.as 
 
 980 TCUS ^ 
 \apevra 
 
 981 ecu/3e S^ 
 
 983 7rara)fiV <5 ywaiKes ola-Trep vd/ios, 
 
 Strophe V. 
 
 Xo. dAA' eta TraAA' avacrrpe^' fvpvOfi.(p 
 
 _ _ _ _ _ _ 3* 
 
 986 rdpcve TraVav yS^v* w w w 2 
 
 ^ / CO* > ^ rr j 
 
 rjyov oe y wo airros 74 w . . 
 
 SeoTror' ' eyw Se K(O/J.UL$ 70 5 <_- ^ w 6 C 
 
 989 o~e d>iAovopoio"i ticA^w, ^^ \^< \^ v^ 2 
 
 990 cut' 5 Atdvvcre ^ ^ w w 2 CV 
 
 992 \opots repTTOfj-fvov 574 w w ^ 
 
 Kar' opca vvfufrav eparois v v/xvois. 
 
 518 L 10 ^ v~ w - -ws^- w 5 C
 
 276 THE VERSE OF GREEK COMEDY 589 
 
 994 Evtov Eviov f.\)i dva^opevw. 383 ^ *~ w ~ w 3 C 
 
 995 a/zt/)t Se crot KTUTreiTat w w w 2 C 
 
 997 /teAcfyi<vAAa T' 0/377 Sacr/aa KCU vavrai 
 
 518 lli W w v w w \^ 
 Trer/owSets PpefMVTai. 509 15 w -- w -- 5- c 
 
 999 KVKA<^> Se TTfpl <T /aOXTOS v w ~ w w 2 CV 
 
 euTreraAo? e'Ai/a $aAAet. w^v^w w -- 2 C 
 
 947 b ralffi Brunck : rats 948 Qfolv Meineke : 6ea.lv 952 fj^Xeiv Zanetti : 
 
 955 a xpi Dobree : x* 4 / 3 ^ 955 b xfya Ed. : xP a 966 XP^" Bothe : 
 968 eixpva Brunck : ev<j>vr) 969 iroai Reisig : Tro^ij' 969 b evXtpav 
 
 Kiister : Ai/pav 980 ^/uer^atirt Hermann : ^/yueT^pais 982 x^P'" Biset : 
 
 Xaipeiv 984 vriffredofnev Bentley : >'7j<rreiJw/*ev 989 0iXox<5pori Bentley : 
 
 <f>i\ox6poi<nt' 990 e&' (i.e. etfie) Ed. : eCtof 992 rffytrbfj-fvov Bentley : repTriyuej'os 
 994 a e(5i' (i.e. effta) Ed. : et/oi 994 b dpaxo/)ei)w Ed. : dvaxopfuuv 996 
 
 Kt0a(/>c6f(o; Zanetti : 
 
 The song consists of three non-antistrophic systematic periods, a 
 triad and a dyad, ABCCCDDE (947-52, 953-8, 959-61 = 962-5 = 
 966-8, 969-76 = 977-84, 985-1000). See 717. A = aab, 448, 
 epodic triad in anapaestic rhythm : two tetrameters with an octameter 
 as epode. See 737. The melody of the lively strophe B that follows, 
 which was sung by the entire chorus, was probably continuous, abed, 
 2238, pericopic tetrad in Aeolic rhythm : protracted ditrochaic 
 dimeter, ditrochaic dimeter, ditrochaic trimeter, polyschematist and 
 diiambic octameter. See 772. It is possible that the melody was 
 aabb'c. See 754. The division into cola follows R. In the following 
 monostrophic triad, C was probably an indivisible trochaic heptameter. 
 See 773. D = AB (969-72, 973-6). A = abb, 622, proodic triad: a 
 diiambic hexameter as proode to two acephalous Pherecrateans. See 
 738. B = aab, 225, epodic triad in diiambic rhythm : two catalectic 
 dimeters with a pentameter as epode. See 737. E = ABC (985-9, 
 990-4, 995-1000). A = abcb, 3262, proodic tetrad in diiambic 
 rhythm : a trimeter as proode to two catalectic dimeters that enclose 
 a protracted hexameter. See 750. B = aabc, 2253, epodic tetrad : 
 two Pherecrateans and an acephalous Aeolic pentameter, with a 
 logaoedic trimeter as epode. See 742. C = aabaa, 225-22, epodic 
 pentad in Aeolic rhythm : a tetrad composed of two dimeters, a 
 brachycatalectic pentameter and a third dimeter, with a final dimeter 
 as epode that repeats the melody of the preceding period. See 760.
 
 CHAPTER XIV 
 MONODIES 
 
 590. Solos sung by actors abound in Euripides, but his 
 peculiar manner in monodies was an innovation and was made 
 the subject of Aristophanes's ridicule. Generally, in Euripides, 
 monodies lack strophic correspondence completely, no part of the 
 melody being repeated, and display great variety of metrical form 
 and frequent shift of rhythm. The music to which they were 
 sung was doubtless of the most ' advanced ' character. 1 
 
 591. In the Banae Aristophanes manufactures a monody in 
 the Euripidean manner in comic illustration of his rival's art. 
 True to his model, he assigns the part to a woman. In matter 
 it is incoherent, but nevertheless falls into five main divisions 
 that serve as the periodic basis of musical composition. I. 
 The Vision by Night (1331-37). A brief invocation, in Aeolic 
 rhythm, introduces a description of the Dream, in anapaestic 
 rhythm that merges, as horror grows, into dochmiacs followed by 
 a catalectic logaoedic trimeter. II. The Purification (1338-41 a ). 
 A single hypermeter, mainly in dactylic rhythm, is closed by a 
 Pherecratean, the invocation of Poseidon, that is closely connected 
 metrically with the preceding dimeter (800). III. Sudden 
 Realization of the Portent (1341 b -45). A hypermeter in 
 paeonic-trochaic rhythm (to which the gloomy Aeschylus may 
 have danced a lively accompaniment !) is followed by a 
 dactylic penthemimer and an iambic clausula. IV. The Narra- 
 tive (134655) begins with a bacchiac followed by a logaoedic 
 
 1 On the monodies of Euripides see musique, ii. 538 ff. On the music of 
 
 Decharme's Euripides, in James Loeb's Aristophanes see Gevaert, Hishrire, ii. 
 
 version, 353 ff., and in particular 366 ff. ; 553 ff. 
 and on his music Gevaert, Histoire de la 
 
 277
 
 278 THE VERSE OF GREEK COMEDY 592 
 
 dimeter and ends (colon 31) with a dochmius. The intervening 
 periods are composed successively in Aeolic, anapaestic and 
 iambic rhythm. V. Passionate Appeals for Aid (1356-63) 
 are made to the ' Cretans ' in paeonic-trochaic rhythm, to Artemis 
 in paeonic, to Hecate in logaoedic, and the monody ends with a 
 protracted catalectic iambic trimeter. 
 
 592. Ran, 1331-63 (Episode IL). 
 
 Monody sung l>y Aeschylus. 
 
 1331 (5 WKrb<s /ceAaivo<a7)s --- ^ w ^ 2 
 
 op<f)va t riva pot, Svcrravov ovei- 
 
 281 _____-__- 
 us ' AtSa ---- ~ ^ 
 
 a\f/v)(ov 
 
 5- 
 1335 NVKTOS TrcuSa, (f>piKU>8rj Setvov o- 
 
 ScpKo/j-evov, /xryaAovs ovv^as e'xovra ; 
 
 383 *"' ~* ^^ " vy ^v ^ \s 8 
 
 1338 dXXd /JLOL a^iiroXoi Xv\vov a^are 
 
 342 -~-~-~-~ 
 
 1339 KaXiruri T K Trora/xwv 8po<rov apare, 
 
 10 *~ ^ ^ ^ 
 
 depfJLfTC 8' 1)8(0/5, v^ -- 
 
 1340 d>s av 06ov ovei^ov aTTOKAvcro), 
 
 800 --- ^-^-^ 
 
 1341 iw TrdvTie Sai/iov. w -- ^ w w 9 CV 
 TOVT e/ceiv * tw ^woi- 223 ff. w w v 
 
 /cot raSe T/3a ^ea- 15 w w w . 
 
 craa^f rbv aAeKT/9uova w ~- w ^ ^. w 
 
 /AOV crvvaprrdcraa-a <f>pov8rj T'XvKt). 
 
 opf<r(riyovoi. 338 v~ ^~ 2- 
 
 1345 (S Mavia gvXXafif. -- w- - 
 
 1346 eyw 8' a rdXaiva 448 20 w -- 
 
 epyotcrt, Aivov fifcrrbv arpaKrov 
 518 it, 570
 
 593 MONODIES 279 
 
 1348 eieieietciAto-o-ovo-a \epolv 
 
 Cf. Ban. 1314 (586) /W w w 
 
 /cAoKTT^pa TTOtOUO-', OTTOS 802 w v w 
 
 Kve<a?os ci's ayopav 25 w ^ w v 
 
 <f>epoixr' diro8oifj.av \s ^ w 8 C 
 
 1351 6 8' dvfTTTar' avftrraT es alOkpa KOV- 
 
 281 w^ ^ *s~ *~ ~ 
 
 cue/Mais' c/jtoi 8' d^c' d^ea KareAiTrc, Sdicpva 
 
 u T O.TT 6fj,fjMT(av c^SaAov 
 
 30w^w- v -w~5 
 
 a rAa/iwv. 464 w -~ Id 
 
 1356 dAA J <S K/O^TCS, "I- 223 ff. - . - . _ w - . " 
 
 Tot TO^tt <TC> Att- w v w wwvy 
 
 cTra/ivvarc, ra www vy ~. w 
 
 a T' a/ATraAAare KV- 35 w ^ ~- w 
 
 otKiav. v/ ^ 10 C 
 
 1359 a/ia Sc At/crvvva Trais a KaAa 
 
 432 ~w- -w- -v- 
 
 1360 ras Kvvio-Kas ()(ov<r eA^erw w w w 
 
 1361 o~i 8' S Albs StTTVpovs dvfyov- 
 
 379 40 w - w - ^ - s^ - " 
 X^poiv 
 
 'EfcaTa Trapa<f>r)vov eis 
 1363 OTTOS av eto-eA^oixra 
 
 
 \s v/ 
 
 1342 r^pa L. Dindorf : frepa or r^ara 1357 <re> von Wilamowitz 1359 
 d Kock : "Apre/ttj 
 
 See Leo, Plant. Cant. 81 ff . ; Schroder, Pkilologus, Ixiv. (1905) 
 147, and Aristoph. Cant. 77 f. 
 
 593. Aristophanes arraigned Euripides, not because he 
 introduced monodies upon the stage, but because his monodies 
 were vile. Aristophanes himself uses this form of composition. 
 Cf. Ach. 263 ff. (90), Nub. 1206 ff. (92). Generally his 
 monodies are of a simple type, but eight years before the Eanae 
 was submitted to the judgment of the public he had brought 
 upon the scene, as an appropriate part of the action of his play,
 
 280 THE VERSE OF GREEK COMEDY 594 
 
 an elaborate monody that must have charmed his audience by 
 its airy grace and sprightly fancy. His bird-song does not 
 differ structurally in any marked way from the monody in the 
 Ranae, and it employs quite as great a variety of rhythms and 
 shifts them as frequently, but nevertheless it produces the 
 general impression of greater simplicity, and the music that 
 accompanied it was characterized, of course, by none of the 
 extravagances that must have contributed to the success of the 
 parody. 
 
 594. The Hoopoe's song falls naturally into periods the 
 close of which is marked by a bird-call or, in one case, by the 
 name of the bird invoked (227-37, 238-42, 243-49, 250-62). 
 The rhythm of these bird-notes is as uncertain here as later 
 in the play (410). In two instances quantities are doubtful, 
 although the vowels in no and rptoro are probably all short ; 
 but the very succession of short vowels in these and other cola 
 perplexes conclusions. The possible melodic correspondence of 
 the first and fourth cola may justify the assumption that the first 
 was in dochmiac rhythm, which would be appropriate. The eighth 
 and eleventh cola are also probably dochmiac. The only reason- 
 able alternative is proceleusmatic anapaests which seem neither 
 BO likely nor so appropriate. Some editors assume similarly that 
 the fourteenth and fifteenth cola constitute anapaestic pentapodies, 
 which is improbable. They are here analyzed as a resolved 
 paeonic-trochaic tetrameter. This seems to suit their light and 
 airy quality. This tetrameter and the following paeonic-trochaic 
 pentameter prepare the way for the paeonic hypermeter with 
 which the next period opens. The song closes with three 
 paeonic-trochaic dimeters. It is to be noted that with one 
 exception, in the sixteenth colon just before the bird-call, the 
 iambic and trochaic metres are all rational. 
 
 595. Av. 227-62 (Parode). 
 Monody of the Hoopoe. 
 
 227 eTTOTTOTToi 7TO7TOI TTOTTOTTOTTOl TTOTTOt, 
 
 IU) io) ITU) ITU) ITU) tTO), w w \j w w w 3 
 
 tTO) TtS &8f TWV ffJLWV 6fJ.01TTfp(i)V '
 
 595 MONODIES 281 
 
 230 CKTOI T cvcriropovs dypoiKtav yvas 
 
 ^ -- w - w -- ^ - 2d 
 e, <f>vXa pvpia KpiOorpdywv 
 
 481 5 \s \s w w w \s \s 3 
 re yevrj 477 ^ v w w 2 
 v 7TTOjU,eva, fiaXdaKrjv tevra yfjpvv, 
 
 3 
 
 234 ocra T' ev aAoKt ^a/xa 464 w^/s~\^v~ld 
 ^e^' 58e ACTTTOV 
 
 v_/ w w v/ w w 3 
 10 ~~ --- 
 
 Tl6 TIO Tib TtO TIO Ttb Tib TIO. 
 
 238 oVa 6' v/taJv KaTcc K^TTOVS evri Kio~am> 
 
 417 vyvM> v^ \^ v*> w ^3 
 
 ^a TC KUT o/oea ra TC KOTI- 
 
 223 S. ~<* \s * 
 vorpdya TO. re Ko//,apo<aya, 
 
 15 ^^ v 
 241 dvwraTe TreTO/xeva irpos c/iav aoiSav 
 
 242 rpioro T/oioTb TOTo(3pi' >^ww^-w %^w 5 C 
 
 243 oi' $' JAeias Trap av- 440 w w 
 
 Awvas o^vo'TO/jiovs w ^ 
 
 e//,7riSas Ka.7TTf6\ ocra 20 w w - 
 
 f* euSpocrovs y^s TOTTOVS w >~> 
 e'^CTe XfifJLaivd. T Ipo- 
 
 436 ^~ v/ ^ - ' 
 
 cvra Mapa^wvos, 437 - w ~ - w 12 OV 
 
 248 OpVl? TC TTTe/OOTTOlKlAoS, 
 
 aTTayas aTTayas. 25 
 
 250 <5v T' ?ri TTOVTIOV oiS/ttx 
 
 fj.tr' dXKv6ve(r<ri 
 
 TravTa yap evOdSe <f>vX* dOpot 
 
 v^/ 8 
 
 oiwvwv TavaoSeipwv. 30 ---- ^^ -- 2 
 
 255 T/KCI yap TIS Spifivs irpftrftvs ---- ----
 
 282 THE VERSE OF GREEK COMEDY 596 
 
 KCUVOS 
 
 KOLIVWV T C/OyCDV 
 
 ctAA' IT ets Aoyovs a;ravTa. 
 
 <w f \J \^ \s 
 
 Sevpo Sevpo 8evpo Sevpo. 35 w ^ w ^ 4 
 
 260 TOpOTOpOTOpOTOpOTl -~ w ~- w *~ w 2 
 
 KiKKafBav KiKKa/3av ^ w 2 C 
 
 v~ w w w *~ w 2 C 
 
 227 Ed. : &ro irot irol iro TTO iro TTOL iro irol R, e?r6 iroi irb ir6 iro 7r6 
 TTO'TTO'Tro/' V, tirbirol-irbirb-iroirtfirbiro- iroirol A, ^Trd 7rot-'7r6 < 7r6'7r6-7r6'7roi'7roiror- 
 F, eTTOJroi 7r6- 7r<5 ?r6 ir6 7r<5 ir<5 ?r6 TTO M , tirowol- TTOTTOTTO VOTTOTTOI iroiroi U, ^TTOTTOI 
 TroTroTTOt- TroTrol 7ro7rol H 251 TTOTTJTai Cobet : TTOTaTtu 260 RrUH : 
 
 ropo 6 times + n V, 7 times + rly A, 5 times + T^ MVp 2 CB 262 Ed. : 
 
 ropo 4 times + XiXi\i RA, 3 times + roXtXtX^ V Vp 2 C, roporo roporo XtXtX^ M 
 
 596. It adds to the effectiveness of the monody in the Eanae 
 (592) to assume that no part of the melody was repeated, but that 
 the singer passed from strain to strain, the music constantly changing, 
 in exaggerated imitation of the ' licence ' of Euripides. There is, 
 indeed, no instance in this monody of exact metrical correspondence 
 between any two subordinate periods. In the monody in the Aves 
 (595) there are possibilities of melodic correspondence, based on 
 practical identity of the metrical form of subordinate periods, and 
 this comports with its greater simplicity. For example, the melody 
 to which the first colon was sung may have been repeated in the 
 fourth ; that of the second in the third ; of the seventh in the ninth ; 
 and correspondences may have been introduced within the paeonic 
 hypermeter (18-23) and the dactylic octameter (26-29), but this is 
 less likely. 
 
 597. Commentators on Aristophanes assume that the song 
 that closes the exode of the Acharnians is a lyrical duo. The poet 
 undoubtedly affected this form of composition, but the closing 
 song of the Acharnians lacks the distinguishing feature of the duo, 
 intimate recognition by each singer of the presence of the other. 
 Of., for example, in this play 284 ff. (452) and 1008 ff. (83). In 
 Ach. 1190 ff. Lamachus does not recognize the presence of 
 Dicaeopolis, and his lament, if rendered continuously, with the 
 burlesque echoes of Dicaeopolis omitted, is a monody that in 
 tone is not unlike the celebrated monody in the Banae. 
 Lamachus's apprehension, expressed in 1196 f., that Dicaeopolis 
 may see him and jibe at him as he is carried wounded to his 
 house, furnishes the proper dramatic motive for the appearance 
 of the rustic hero with the girls. It enhances the comic effect 
 of the remainder of the lyric to assume that while Dicaeopolis,
 
 599 MONODIES 283 
 
 although half-seas-over, does recognize that Lamachus is present, 
 the latter steadily ignores his rival's presence. Lamachus 
 disappears from the scene, at 1226, before the close of the play. 
 Then follows, in a stichic period (778), a real trio of Dicaeopolis 
 and the leaders of the half-choruses, closed by a final strain 
 sung by the chorus entire. 
 
 598. The poet's purpose in this play is to ridicule the party 
 in Athens that was clamouring for war. The closing scene of the 
 play contrasts, in individual experience, the joys of peace (!) with 
 the horrors of war. Dicaeopolis caps Lamachus. His echoing 
 lines must have produced a great effect. The scholiast on 
 
 1190 says of Lamachus : Opijvwv TraparpayqiSei, and continues : 
 TrapartjpriTeov be on avrtridrjcriv avOts 6 p,ev ra etc rov 7ro\e/not/ 
 Setva airep e-rraffev, 6 Be a-rrep e^et ev elp^vy %apfi6<rvva. This 
 contrast of sentiment is appropriately marked by difference in 
 metrical form. The metres used by Lamachus are those of 
 tragedy, the metres used by Dicaeopolis tend to comic form, 
 except when he repeats the warrior's lamentations with set 
 purpose (1198 = 1190, 1206 = 1205, 1208 b fio^po^ ey<o = 
 1208 a , 1209 b =1209 a , 1217 = 1215, 1221 = 1219). Compare 
 
 for metrical contrasts 11911197 (paratragedic : ^ - only 
 
 once, three suppressed arses) with 11991202 (comic: ^ 
 
 five times, one suppressed arsis), and 1210 with 1211, 1212 
 with 1213, 1214 with 1216, 1218 with 1220. See 129. In 
 12241225 Dicaeopolis adopts tragic metrical form but not 
 sentiment on his own account. When the lyric dialogue 
 passes at 1227 to Dicaeopolis and the Chorus, the metrical form 
 is comic. The effect of this variation was probably increased by 
 burlesque variations of the melody. Invariable agreement in 
 length, therefore, of the periods of Dicaeopolis with those of 
 Lamachus was not demanded, and commentators who would 
 restore verses after 1201 and 1205 are probably in error. 
 
 599. Ach. 1190-1234 (Exode). 
 
 Burlesque of a Monody. 
 
 Aa. aTTarat arraTat 
 
 Of. Nub. 707 (289). 38, 72 - w - - w - 2 
 
 1191 crrvyepa rd8e ye. Kpvepa. irdOfa' raXas cyw. 
 
 67 W~W~ w~N-~ ^ ^ 3
 
 284 THE VERSE OF GREEK COMEDY 599 
 
 StoAAiyxat Sopbs vrrb TroAe/Mtou TVTret's. 
 
 1194 Ktivo 8' CUCIKTOV av ytvotTo /ioi, 
 
 w ^ \_/ * \^ ^ \j \_/ ^ 3 
 1196 AtKatoTToAis i /*' i'Sot rerpw/j-fvov 
 
 5 w w v~ w w <-> 3 
 KCIT* cy\dvoi rats e/x,ais ru^aitrtv. 
 
 w v^ - W V^ 3 
 
 At. arTarai arraTat w w 2 
 
 1199 TWV TIT^IWV d)S <TK\ir)pa. Kdl KllSdJI'ia. 
 
 Ka?rt^iav8aA(OTOv. 
 in 
 
 1U v-> v^/ 
 
 1202 rbv ya/o \oa Tr/atoros e/C7r7rci>Ka. 
 
 Aa. <3 <rvfj,<f>opa raAatva TWV 
 
 1205 to) tw Tpavfj-drtDV eTrcoSvi/cov. w ^ 
 At. i^ t^ X*'/ 36 Aa/xaxtTTrtov. v^ ^ 
 
 Aa. (TTvye/abs eyw. At. yuoyepos eycu. 
 
 15 V-> v^^ W 
 
 Aa. Tt /te cri) KDVCIS; At. Tt /it o-u Sa 
 
 Aa, TaAas eyw ^v/t/?oA^s ^Sa/oeta?. w w w v^ 3 
 
 At. rots Xoixri yap TIS ^v/A^SoAas eirpa/Tmo ; 
 
 v_/ .(_, <w> S^V/3 
 
 Aa. lii) Ilaiav Ilatav. w 2 
 
 At. dAA 1 ov^t vwt Tripepov Ilattuvia. 
 
 20 ^ w- ws^3 Y 
 
 Aa. Aa/3ecr0 )aov Xd(3eo-0e TOV 
 
 1215 
 
 At. ffj.ov 8e ye oxo> TOU TTCOVS 
 
 1217 7r/x>crAa/?0-0 J u> <t'Aai. 
 
 Aa. eiAtyytw Kapa Ai'0a) 
 
 25 w ^ ^j - 
 
 1219 Kat (TKOToSiviw. ^/ w 3 + Id 
 
 At. Kaya> Ka^ei'Setv ^ovAo/xat Kat 
 
 1221 Kai (TKOTo/3tvia). >^ ^ 3 + Id
 
 599 MONODIES 285 
 
 Aa. 0vpae \i f^eveyKar' ei's TOV IIiTTaAov 
 
 1223 7rai(oviaio-t \epo-iv. 30 -- w 
 
 At. OS TOVS KptTO.? fJ. <j)fpfT ' TTOV 'cTTlV O 
 
 1225 ebroSoTC /tot TOV acr/cov. w v^ w w vy 5 CV 
 
 Aa. ^-OyX 1 ? Tl? /*TCT7^yC ftOt -- ^ v^ w 
 
 St' oVrewv dSv/ora. w w w w 4 CV 
 
 At. opare TOVTOVI KCVOV. 35 w ^ w w 
 
 rryveXXa KaAAtviKos. -- ^ \s ^ 4 CV 
 
 Ko/3. a' TJ^vcAXa 8^r', ewrcp /caAets y', 
 
 d) irp((T/3v KaAAlVlKOS. -- w w w 4 CV 
 
 At. KOI TT/OOS y' a/cparov ey^cas -- w w \^ 
 
 afjiixTTLV e^eAa^a. 40 w w w \^ 4 CV 
 
 Kop. ^8' nJveAAa ia>v 5 ycvvaSa ' __ w _ -- w 
 
 X^P fL Aa^Swv TOV ao-fcov. -- w w v 4 CV 
 
 At. firecrde vvv $8ovTS y w w w 
 
 TT^veAAa xaAAtvtKos. -- w w -> 4 CV 
 
 Xo. aAA' f\f/6fj.f(rOa <rrjv X-P tv ^ -- w w vx 
 
 a KaAAtvtKOS ^t- w v^ w 
 
 ~ /cat TOV do-/cdv. -- ^> w w 6 CV 
 
 1194 alaicria' Porson : aioKrij' ol^uKTbv 1210 J-vppoXrjs Dindorf : TTJS ei* 
 
 tjSoX-ijs 
 
 See the metrical scholia on Ach. 1190 ff.
 
 CHAPTER XV 
 OEIGIN OF THE FOEMS OF GEEEK POETEY 
 
 600. It is now a commonplace of Comparative Metric that 
 the primitive poetic forms in Aryan speech were a dimeter of 
 eight and a trimeter of eleven or twelve syllables. The language 
 was quantitative, but the order of longs and shorts was not yet 
 regulated, so that the dimeter, for example, may be represented 
 aso ooooooo or ^^^^^^^^. This dimeter is found 
 in the Avesta, where two dimeters, separated by diaeresis, form 
 a tetrameter, and two tetrameters are united in a distich. The 
 first ordering of quantities appears in the Rigveda. The fifth, 
 sixth and seventh syllables of the octosyllabic dimeter are 
 respectively short, long, short ; the final syllable remains ancipital. 
 This gives an iambic metre in the second half : oooo^ w ^ . 
 The rhythmizing impulse gained force as it operated. 1 The 
 quantities of the first metre of the Vedic dimeter remain 
 practically unregulated, although preferences are manifest. 
 
 601. The facts have been ascertained with great patience and are 
 clearly stated. See Oldenberg's Hymnen des Rigveda, i. 1 ff. From 
 the table on p. 14 it appears that of the sixteen possible forms of the 
 first metre (two units in four places) fifteen occur. The four that 
 
 predominate are, in the order of preference, , ^ ^ , 
 
 v , w . The combination ^ w ^ ^> is not found. 
 
 E. Vernon Arnold in his Vedic Metre in its Historical Development, 153, 
 records that over ninety per cent of the lyric dimeters he tabulates 
 have pure iambic close : ^> ^ . He distinguishes three forms of 
 
 the opening as relatively common the normal form : ^ (39 
 
 per cent in lyric dimeters) ; the iambic form : - - ^ - (29 per cent) ; 
 and the 'syncopated' form: - ^ (11 per cent). Arnold gives 
 
 1 See 653 on the evolution of the dimeter in Aeolic Greek verse. 
 286
 
 604 ORIGIN OF THE FORMS OF GREEK POETRY 287 
 
 much interesting detail (pp. 149-174). For the trimeter in the 
 Avesta and Rigveda see 611 f. It is one of the many services 
 rendered to metrical science by Rudolf Westphal that he noted many 
 years ago the Avestan and Vedic dimeters and trimeters and pointed 
 out their significant bearing on the corresponding Greek cola. See Zur 
 vergleichenden Metrik, 437 if. See also his Allg. Metrik B , 38-47. 
 
 602. The distich of the Avesta, with its four dimeters arranged 
 pair and pair, is an impressive means of dignified expression, 
 elevated by its form above ordinary prose speech, but it is not 
 rhythmical. Poetic impulse, however, could not long be held 
 in check, and the rhythmizing influence that gave melodic form 
 to the second half of the primitive dimeter in India found early 
 expression also among those other more highly gifted men of 
 Aryan speech who in the third millennium before Christ began 
 to make their way from the north-western regions of the Balkan 
 peninsula into the land which afterwards was to be known as 
 Greece. The rhythmizing impulse regulated the order of 
 quantities among these earlier Greeks in two modes which are 
 now seen to have been distinct. 
 
 IONIAN VERSE 
 
 603. Among the ancestors of the Ionian poets, it fixed a long 
 syllable in the even places of the dimeter, second, fourth, sixth : 
 
 _o-o-o^. These even places were finally developed 
 into the theses of simple feet (664) and they remained remark- 
 ably constant and stable (27) in all the various formations that 
 were gradually evolved. The dimeter was in ascending rhythm. 
 The odd syllables, on the other hand, the arses ultimately of 
 simple feet, were for a long time in a state of flux. They 
 might be short or long, or become two shorts ; they might be 
 omitted altogether. Variability of form remained the distinctive 
 mark of these odd places in the dimeter. 
 
 LOGAOEDIC, IAMBIC AND ANAPAESTIC DIMETERS 
 
 604. Probably the first metrical phrase to emerge from these 
 elements was logaoedic (375 ff.), with its theses constant but 
 its arses variable and the division into thesis and arsis only 
 approximately diplasic. This was the form that would naturally 
 be first evolved, when poets were dealing with material that 
 was not yet under easy control.
 
 288 THE VERSE OF GREEK COMEDY 605 
 
 605. The unconscious effort to secure regularity of order, 
 without that sacrifice of variety which would have produced 
 monotony, evolved two forms of the dimeter in ascending rhythm 
 that, with the corresponding forms in descending rhythm, became 
 the chief resources of Ionian poetry, namely the iambic (62 ff.) 
 and the anapaestic (270 ff.) dimeter. 
 
 606. The constitution of the iambic dimeter ( ^ _ w _^_ v _) 
 seems simple, but while it is regular it admits variety. Short 
 syllables were fixed in only the second and fourth arses of the 
 original dimeter ; the first and third continued to admit either 
 short or long. The dimeter was now naturally felt to consist of 
 two ' metres,' identical in structure : ^ - ^ - v , This 
 metre, like the dimeter itself, was isomeric (12), but its arsis 
 might be ' irrational ' (15), with a variability parallel to that 
 which characterized the odd places of the primitive dimeter. 
 The recognition of thesis and arsis in the metre ( ^ - o - ) 
 finally established the simple foot, the iamb ( w - ), as a distinct 
 element of rhythm. 
 
 607. In the evolution of the anapaestic dimeter : **-**- 
 ^ - ^ - , the unconscious effort to differentiate it from the iambic 
 dimeter, in which the simple feet were diplasic (9 ii.), gradually 
 fixed one long or two short syllables in all arses of the original 
 dimeter and this long syllable assumed its normal value of two 
 primary times. Thus arose an isomeric simple foot, adapted to 
 the movement of men on the march. 
 
 LOGAOEDIC, TROCHAIC AND DACTYLIC DIMETERS 
 
 608. The principle prevails in Greek poetry that cola are 
 reduced, not enlarged, in verse-building ; the process involves loss 
 rather than growth. Catalexis is the natural manifestation of 
 this principle at the close of cola, and results from disposition to 
 ease the strain upon the voices of the singers, the musical 
 accompaniment and the dance, if the song was orchestic, con- 
 tinuing for the full time of the colon. The syllable thus 
 suppressed in the primitive dimeter was the final arsis. But it 
 was the first arsis of this dimeter that, in consequence of its 
 position, was peculiarly exposed, and initial attrition was so 
 constant that gradually a series of dimeters was evolved in 
 descending rhythm. The primitive form of the acephalous 
 dimeter in Ionian rhythm was - o - o - o - . From this came
 
 610 ORIGIN OF THE FORMS OF GREEK POETRY 289 
 
 - ^ - ^ - v -, with recognition of metres and simple feet, 
 as in the iambic dimeter (606). Eelations are now apparently 
 but only apparently reversed: the odd syllables are the 
 constant and stable part of the phrase, the even places are 
 subject to the variability that marks the arsis. Thus arose, 
 not to dwell needlessly on obvious facts, logaoedic, trochaic and 
 dactylic hephthemimers in descending rhythm : 
 
 x l ~ ~ ~ ~ ^ Thesm. 1140 
 
 VUKTC/OIS w -- w Av. 1564 
 
 /cat irapairpicrfJiaT CTTWV ~ ~~ ~ Ran. 882 
 
 609. It is not likely that in the primitive stage the rhythm 
 of these dimeters was felt to be different from that of the 
 complete dimeters; the syllable corresponding to the initial 
 upward beat with which the phrase began was felt to be lacking, 
 the melody beginning with the first downward beat. See 38. 
 This fact is illustrated by two forms of the acephalous iambic 
 dimeter in early use, the acatalectic, 1 - ^ - ^ - w - , and the 
 catalectic, - ^ - ^ -- . These sometimes occur even in later 
 poetry, in association with ascending rhythms, and remain iambic, 
 but generally they are associated with descending rhythms, and 
 have trochaic scansion, - w ^ - v -, catalectic dimeter, and 
 _ w _ w _ _, the ' ithyphallic ' (203). See Heph. 18. 6 ff. and 
 19. 5 ff. 
 
 610. When, however, two acephalous cola were united in a 
 tetrameter in continuous rhythm, a vital change took place. For 
 example, two acephalous cola, - ^ - ^ - ^ - and - ^ - ^ - ^ - , 
 cannot be united in continuous rhythm ; a primary time is needed 
 to link them. This was secured in two ways. The final thesis 
 of the first phrase might be held in singing till it had the value 
 of three primary times : 
 
 \v ovSev, aA.|Ao)S 8e 
 \s-\s w ^/| ^ w \s Av. 1476 f. 
 
 This process was called protraction (31). But generally a syllable 
 was expressed for the lacking primary time : 
 
 1 This happens to be identical with famous jest, came to be called \yKv6iov. 
 
 that part of the iambic trimeter that Cf. Ran. 1197 ff., and Heph. 122. 14 ff. 
 
 follows the penthemimeral caesura, and, The name XT/IK^M has no historical 
 
 after Aristophanes had perpetrated his significance. 
 
 U
 
 290 THE VERSE OF GREEK COMEDY 611 
 
 ovfj&s vtos. dAAa fir) /3o|aYe* KCU yap rvy\dvfi 
 ^ w w ^ | -> v/ Vesp. 336 
 
 The syllable was a natural interposition, since it merely restored 
 the lost arsis of the second acephalous dimeter. The movement 
 was now felt to begin with the downward beat, the rhythm was 
 descending. Thus arose the acatalectic trochaic dimeter. Acata- 
 lectic logaoedic and dactylic dimeters were developed in a 
 similar manner. Thus in dactylic rhythm : 
 
 Sfivordroiv crro/iaToiv 7rcy>ra<r0cu | pr^aTa KOI irapaTrpio-fj.aT orwv 
 -~ | - ~ - ~ - ~ - Ban. 880 ff. 
 
 TRIMETERS 
 
 611. Besides the dimeter of the epic distich (600 ff.) there 
 also occurs in the Avesta a hendecasyllabic trimetrical colon, with 
 quantities still unregulated : ooooooooooo, found in 
 the gathas. The heudecasyllabic colon appears also in the 
 fiigveda, together with an acatalectic colon of twelve syllables, 
 and in both the principle of ordering of quantities is manifestly 
 in operation. The regular rhythm in the last four places (eighth, 
 ninth, tenth, eleventh) and in the last five places (eighth, ninth, 
 tenth, eleventh, twelfth) of the two trimeters is respectively 
 - ^ - ^ and - w - w ^, that is, iambic. The seven preceding 
 syllables are in a state of flux, although preferences are distinctly 
 manifest, with disposition to iambic rhythm in the first metre. 
 
 612. See Oldenberg's Hymnen, i. 42 ff., and Arnold's Vedic Metre, 
 175-227. The following facts are the results of Arnold's pains- 
 taking investigations. The percentages here given are for archaic 
 lyric metres (Table, 188). 
 
 Trimeters are almost invariably divided by caesura either after 
 the fourth syllable (45 per cent) or after the fifth (50 per cent), the 
 latter corresponding to penthemimeral caesura in the iambic trimeter 
 in Greek. The regular iambic rhythm of the close of the colon is 
 sometimes broken by a short syllable in the eighth place, less 
 frequently in the tenth, rarely by a long syllable in the ninth. The 
 normal form of the three syllables (fifth, sixth, seventh) that follow 
 the early caesura is ^ w , subnormal forms are w , w ^ w, 
 w v, all with the sixth syllable short. The normal form of the 
 corresponding syllables in the trimeter divided by penthemimeral 
 caesura is | w w , varied by a subnormal form w | ^ w . In both, 
 the two syllables that follow the caesura are normally short. 
 Trimeters generally open with a metre of the form - - ^ - (36 per
 
 615 ORIGIN OF THE FORMS OF GREEK POETRY 291 
 
 cent) or ^ --- (32 per cent), the latter being non-iambic. The 
 ' normal ' forms of the acatalectic trimeter, therefore, would be : 
 ^-^-|^w -- w - w ^ and ^ - ^ -- 1 w v, - w - w * , but 
 numerous variations occur in the first metre, and especially, as has 
 been seen, in the second. Arnold concludes (p. 226) that the dominant 
 scheme of the pre-Vedic trimeter was ^ <) <> | ^ ^ -- 1 w - ^ . 
 
 613. The acatalectic trimetrical colon appears in Ionian 
 verse in Greek with a long syllable fixed in the even places 
 but with variable syllables in the odd places : o-o- o-o- 
 
 o - o ^. From this base were developed, by processes identical 
 with those that produced dimeters, acatalectic and catalectic 
 logaoedic, iambic and anapaestic trimeters in ascending rhythm, 
 and logaoedic, trochaic and dactylic trimeters in descending 
 rhythm. Anapaestic and dactylic trimeters in which the simple 
 feet were in even time, which was their normal measurement, 
 exceeded the length allowed to diplasic compound feet (22) 
 and fell apart into dimeters and monometers. The use of the 
 monometer (dipody) as a colon probably began in this manner. 
 
 614. In certain forms of verse the thesis of simple feet 
 might be resolved (11, 17). The result of this new source of 
 variation was greater liveliness in musical expression. Just 
 the opposite effect was secured by the other variation denominated 
 protraction (TOVIJ), in which the thesis of a simple foot absorbed 
 an adjacent arsis and took its time. Thus in the rhythmization 
 of the iambic verse : 
 
 w _ w _ . _ w _ . _ ^ _ ^ - ^ - Av. 851 f. 
 
 there was no pause in singing, but compensative lengthening of 
 the long syllables following the suppressed arses, here indicated 
 by dots. In this case the long syllable assumed the value of 
 three primary times. See 31. 
 
 IONIC COLA 
 
 615. The relation of minor and major ionic dimeters and 
 trimeters to the primitive cola is not so well determined as that 
 of the dimeters and trimeters already considered. They appear, 
 however, to have arisen, in the unconscious effort to secure 
 greater variety of rhythmical expression, through interior 
 anaclasis within the metres of the primitive dimeter in its
 
 292 THE VERSE OF GREEK COMEDY 616 
 
 iambic and trochaic development. Thus from ^ - v - ^ - v - , 
 by interchange of thesis and arsis of simple feet within each 
 
 metre, came w ^ ^ ^ in ascending rhythm ; from 
 
 _ w _ v _ w _ w came ^/^ ww in descending 
 
 rhythm. This view is supported by the fact that we apparently 
 see these ionic cola in process of making in extant remains of 
 early lyric poetry. Thus in minor ionic rhythm : 
 
 7repuT(r6v' a* yap 'ATroAAcov 6 AVKTJOS Alcm. 83 
 'Ivu) (ra\a(rcrofJL8oi(r' , av dzro p.d(r8wv Alcm. 84 
 {jxv ' A.v8pofj.e8a KttAav dfj.oi(3av Sapph. 58 
 TI Tolv 7roXvoX(3ov ' A.(f>p68iTav Sapph. 59 
 
 Here iambic metres and minor ionics are combined in the same 
 colon. That the formative dipody is iambic is confirmed by 
 the fact that it may be irrational. 
 
 616. That anaclasis (syncopation in modern music) is a 
 legitimate and natural operation, and is not to be stigmatized 
 as an artificial and mechanical metrical process, is proved by 
 the terminal anaclasis found between the second and third 
 metres of the last two fragments, a constant manifestation in 
 ionic verse of the classical period (419 ff.). Ionic verse, although 
 generally regular, was nevertheless plastic, as Aristophanes's 
 famous extravaganza proves (429). 
 
 617. Similarly, fragments of early lyric poetry are extant 
 in which trochaic metres are combined with major ionics in the 
 same colon. Compare the following, which are all quoted by 
 Hephaestion (chap, xi.) in illustration of major ionic verse 1 : 
 
 TrAiJ/tnjs p.ev efaivtr' d (reXdvva' ww w ^ 
 
 ai 8' (is Trepl /3<3/Aov lo-Ta^ryo-aj/ Sapph. 53 
 
 1 Not all modern metricians agree who classifies all the other periods here 
 
 with him. Sappho 52, for example, quoted as ionic (Isyllos, 125 ff.), regards 
 
 has been variously regarded. Bergk this particular fragment as Glyconic 
 
 (Altestes Versmass, 407) thought its com- (Isyllos, 129 n.). But no scansion of these 
 
 ponent cola were a form of the Spruchvers cola is satisfactory that does not bring 
 
 (paroemiac), and he was followed by them and the trimeters in Sappho 53 
 
 Usener ( " paroemiacus, " Altgriechischer and Alcaeus 38 under the same formula. 
 
 Versbau, 93) and Schroder ("enoplion," Schroder discusses some of these periods 
 
 Aristoph. Cant. 88). Von Wilamowitz, in Hermes, xxxviii. (1903), 204.
 
 619 ORIGIN OF THE FORMS OF GREEK POETRY 293 
 
 Tptft(a\Tfp- ov yap 'ApKa.Se<r<ri Xw/?a Alcaeus 38 
 
 d <re\.dvva w 
 
 /cat IZA^idSes, /iecrai S -- 
 
 S, Trapa 8' fp\ fT ' <"Y> a > -- 
 
 Sf nova KarevSto Sap ph. 52 w 
 
 t vv TTOT' 58* ejtieAews 7ro8r(riv 
 
 (poevra 
 repcv av^os /AaAaxov /xarewrai Sapph. 54 
 
 v^ \^v-> v^i v 
 
 fvp.op<f>OTfpa MvacrtSina ras aTraAas Fv/aivvw? Sapph. 76 
 dfraporepas ov8ap.d ir&pava credev rv^oicrav Sapph. 77 
 
 In major ionic verse the initial metre of a colon, but 
 no other, may begin with a short syllable in consequence of 
 partial acephalization. 
 
 618. Aristophanes quotes from a scolium of primitive form 
 two cola that illustrate the same process (Vesp. 1240 f.): 
 
 ouS 5 dfJL<j>OTfpouri yiyvearBai fyiXov -- wv^ w -- w 
 PAEONIC COLA 
 
 619. In certain odes of Aristophanes, which are fully treated 
 in 223 ff., trochaic and paeonic metres are freely mingled. 
 
 Treurtv oTrotrot yetapymov /3iov fTpi/3ofj,cv fioyr) yap ^fias ai^>e/\.ets 
 
 ^/ W \s ^ ^^ ^VXW ^^'~>^' \^ ^\y-~- Z fliC &C>y II 
 
 Aristophanes even uses a ' paeonic-trochaic ' tetrameter by line : 
 
 ovSfv crn drjpiov yvvaiK^s a/za^wTe/oov, 
 
 wp, ovS 5 tSS 1 avaiS^s ovSffiia Tro/oSaAts 
 
 w w wv^v w Zr/s. 1014 ff. 
 
 The trochaic metre and the paeon may correspond in strophe 
 and antistrophe: 
 
 KCU /car auro TOUTO [Aovov av8pc9 /xa^t/MOTaTOt = 
 TOUS evavrioi^ irAewv CKCICTC rais Tpirjp<riv 
 _ w _^ -wo^ - v ow -w- Vesp. 1062 = 1093 
 
 The paeon may assume cretic form, both when used independently 
 and when in correspondence with a trochaic metre :
 
 294 THE VERSE OF GEEEK COMEDY 620 
 
 ei TI Ke\apt(Tfj.evov xpipiSiov ourda Trap ep,ov ye /care&jSo/cws 
 www w www www www w - Pax 347 f. 
 
 KOVKfT O.V [A CUpOl? 8lKa(rT7jV 8/3t/tVV OvSf S 
 TOVTO /A^ <avA.OV VOfJ,l eV TwSe T0> 7T pdj [MLT I 
 
 \j - - W - - W W - W 
 
 -w -- -w -- -w- -w- Pax 349 = 388 
 
 620. The time of these periods must have been uniform, and 
 it is highly probable that it was trochaic, each metre had 
 approximately the rhythmical value of six primary times. Von 
 Wilamowitz explains the origin of these ' light ' trochaic metres. 
 In rapid dancing, he suggests, the second step is less heavy than 
 the first ; the foot just touches the earth and is again quickly 
 lifted, so that the second long of the trochaic dipody is 
 differentiated from the first by shortening. In the dance the 
 trochaic metre gravitated toward paeonic form and actually 
 assumed it in some cases. Expressed in mechanical symbols, 
 
 - w - ^ became -www. The cretic of three syllables 
 ( w ) is a later substitute for www. See von Wilamowitz's 
 Orestie, 265. 
 
 621. It is obvious that if successive periods consisted solely 
 of metres in paeonic or cretic form, the tendency would be to 
 reduce the original value of these metres from six primary times 
 to five. The process by which www had arisen from 
 
 - w - w affected only the arsis of the trochaic metre, its lighter 
 part ; the thesis remained constant. At a time when metres, 
 still in evolution, were seeking final definition, it would be but 
 a step, and a natural step, in a continuous series of cola composed 
 of metres of the form - w w w , to give each short its normal 
 value of a primary time. Thus would arise a new metre of five 
 primary times, in descending hemiolic rhythm, with thesis related 
 to arsis in the ratio of 3 to 2, namely the paeonic (-www, 
 
 622. Kossbach and Westphal first expressed the view that the 
 paeonic metre, in essence, was a rhythmical shortening of the trochaic 
 dipody. See Mhythmik 3 , 221, Rhythmik\ 141 ff., 153 f. But they 
 maintained that in such series as are quoted above from Aristophanes 
 the trochaic metres were reduced to the value of paeonics. These 
 were the ' cretics ' (K/WJTCKOI Kara Sirpoxaiov) of the Greek rhythmicians, 
 with the value, not of J .PJ J", but of J J"Jt,*. See their Spec.
 
 625 ORIGIN OF THE FORMS OF GREEK POETRY 295 
 
 Metrik 3 , 738. This would account for the equivalence of the paeon 
 and the trochaic metre, but they fail to explain the process by which 
 the paeonic metre J J^J* J* was derived from J J*J J" or J 
 
 THE DOCHMIUS 
 
 623. The occurrence of the dochmius, ^ ^ - , in Greek 
 
 poetry before Aeschylus is doubtful, and its use is mainly 
 confined to the drama. Its evolution was apparently due to 
 the pressing need that tragic poets felt for a rhythmical phrase 
 adequate to express the great excitement naturally incident to 
 scenes in tragedy. 
 
 621 Its source and even its constitution are still subjects of 
 discussion. Among the ancients, Quintilian (ix. 4. 97) was uncertain 
 whether it consisted of bacchius and iamb or of iamb and cretic. 
 Aristides states (39 M., 26. 5 ff. J.) that it is composed of iamb and 
 TraiW Sidyvios ( ^ ). *Hephaestion (32. 5 ff.) regards it as 
 an antispastic penthemimer (/<Aveiv /nou'erai). Choeroboscus in his 
 commentary (Heph. 239. 13 ff.) interprets this to mean antispast 
 and a syllable, but adds ol pevroi pydpiKol rb TTO.V p.f.rpov o>s p.ia.v 
 (rvvyiav Xafj,/3a.vovTf<s So^/iiaxbv 6vop.dov<ri. The scholiast on Aesch. 
 Sept. 128, (TV T u> Atoyeves (jn\6/j,a^ov K/DCITOS, has similar comment: 
 KO.I ravra So^itaica TTIV Kal wra, lav TIS aura OKTOO-^/AWS /3aivy. 
 *cv/3ici>s Se eiirov f$a.ivr) ' pvOftol yap fi<ri ' fiaivovTat 8e 01 pvOfioi, 
 SiaipeiTai 8f TO. perpa, ov%l jSaivovrat. On Sept. 103, quoting Av. 
 1188, 1190, he says that the rhythm is octaseme. 
 
 625. Among the moderns, Hermann (Elementa, 243 ; Epitome, 
 225 ff.) regards the dochmius as a hypercatalectic antispast and 
 divides it ^ ^ | ^- 1 ^ J. . Westphal (Spec. Metrik z , 853 f.), holding that 
 any octaseme rhythm must have dactylic division (4 : 4), and that such 
 division as is indicated by Quintilian (3:5 or 5 : 3) is arrhythmical, 
 regards the dochmius as a catalectic bacchiac dimeter ( w ^ ), 
 the last long syllable being followed by a pause equal to two primary 
 times. 1 J. H. H. Schmidt (Metrik, 509 ff., Introduction, 76 ff.) 
 analyzes the dochmius into ' bacchius,' with anacrusis, and following 
 
 shortened choree (^: ^ I A ||). Pickel (De versuum dochmiacorum 
 
 origine, 167) holds that the dochmius is an iambic tripody, with the 
 second thesis protracted in consequence of the loss of the second arsis 
 ( w u. w ). In dochmii in which the first two theses are both 
 resolved, and protraction is therefore impossible, he assumes a pause, 
 sometimes necessarily in the middle of a word, in place of the lost 
 second arsis. Brambach (Metrische Studien zu Sophocles, 59 ff.) regards 
 
 1 See Rossbach's discussion in Spec. Metrik 3 , 760 ff.
 
 296 THE VERSE OF GREEK COMEDY 626 
 
 the dochmius as a catalectic trochaic tripody with anaclasis in the 
 first two syllables. Every dochmius is catalectic, representing an 
 original phrase of nine primary times. Crusius (Zu neuentdeckten 
 Musikresten, 193 ff.), observing that the first syllables of the dochmii 
 in the Reynier papyrus, which dates in the time of Augustus, are 
 stigmatized (even the ' iambic ' form nvaas Sat/^wv), and assuming that 
 the a-Tiyp,'/} was attached to the thesis, concludes that the beginning of 
 the dochmius shows the same variability of form that characterizes 
 Aeolic rhythm. The dochmius, he thinks, is the shortest and freest 
 Aeolic ('logaoedic') colon. Von Wilamowitz also believes that the 
 source of the dochmius is to be found ultimately in Aeolic rhythm 
 (Comment. Metricum, ii. 29), notwithstanding the fact that resolution is 
 alien to Aeolic metre, which limits variability of form by the strict 
 counting of syllables (Gottingische gelehrte Anzcigen, clx. 149). He 
 regards ^ w w as the primitive form of the dochmius (Orestie, 
 189). Schroder (Vorarbeiten, 126 ff.) derives the dochmius outright 
 from the acatalectic lesser Asclepiadean (cf. 518 ii.) by fusion of 
 its two halves, ^ ^ w and w v, ^ . 
 
 626. These and other theories that have been advanced have 
 not escaped criticism. Their number and variety show that the 
 problem is difficult. It is perhaps insoluble, but certain in- 
 disputable facts must not be ignored in any attempt to establish 
 the relation of the dochmius to the primitive dimeter. The case 
 may be stated as follows. Each short syllable of the fundamental 
 
 form of the dochmius ( ^ ^ - ) may be long. This is true 
 
 also of the arsis of the first simple foot in each metre of the 
 primitive dimeter as developed in iambic form in Ionian rhythm. 
 Thus ^ - w - v7-w-. Again, each normally long syllable of 
 the dochmius may be resolved. This is true also of each of the 
 first three theses of the primitive dimeter in its iambic develop- 
 ment. Thus w ** v ** w ^ w _. Now the fact cannot be 
 ignored that the first three simple feet of the iambic form of the 
 primitive dimeter thus developed furnish all the thirty-two 
 theoretically possible forms of the dochmius (460, n.), if the 
 second arsis is absolutely suppressed and the number of primary 
 times is thus reduced from nine to eight. Thus ^***~^**. 
 The effect of this suppression, in its disturbance of the rhythm, 
 is startling, through the juxtaposition of two theses, with dis- 
 solution of the time. This is an entirely new effect, since 
 continuous rhythmization by repetition of simple feet is the 
 law that prevails elsewhere in Ionian verse. The name 0^109
 
 630 ORIGIN OF THE FORMS OF GREEK POETRY 297 
 
 given to this new phrase seems thus to be justified by its form. 
 Other regular rhythms are called opdoL 
 
 627. Furthermore, dochmiac verse is associated in the tragic 
 poets chiefly with iambic periods, generally trimeters and tetra- 
 meters, and these display, by means of protraction and resolution, 
 appropriate variety of form. The relation between the iambic 
 metre and the dochmius is so close that they may be united 
 within a single colon and even joined within a word. Compare, 
 for example, in Aeschylus,/^. 347 = 359, 370 = 381,738 = 
 745 (jroXet /j,\ayxifi<p <rvv a-rparm), Agam. 1100 = 1107 (la> 
 rd\aLva, roBe yap reXet?), 1117 = 1128, 1157 (io> ^icapdv^pov 
 Trdrpiov TTOTOV) =1168 (io> irpoTrvpyoi Ova-Lai 7rarpo<s), Eum. 
 173 = 178 (judo-rop 1 elaiv ov Trda-erat). Less often the iambic 
 metre follows, as in Sept. 888 = 900. 
 
 628. In comedy also iambic is the rhythm with which the 
 dochmius is most frequently associated. See 466. Here also 
 the two rhythms may be closely joined, as in Ach. 569 (460). 
 With this compare Aesch. Sept. 419 f. : rpefiw S' alfjuarrj^opov^ 
 /to/>ov9 vTrep <pL\o)v. Five dochmii precede and an ithyphallic 
 follows, closing the strophe. Note also the much discussed 
 colon in Ecc. 971 (564), a combination of an iambic dimeter 
 with a dochmiac monometer. With this compare Aesch. Agam. 
 1156: 
 
 iw ydp.01 ya.fji.oi TldpiSos 6Xf$pioi 
 
 
 629. The facts noted in 626 ff. may indicate the true source 
 of the dochmius, namely, that it is in origin an iambic tripody 
 with the arsis of the second simple foot absolutely suppressed. 
 
 PROSODIAC-ENOPLIC COLA 
 
 630. Testimony that is trustworthy links the prosodiac, as 
 it appears with fixed constitution in the poets of the fifth 
 century, with an early form of the Ionian dimeter. This early 
 phrase appears as the first half of a celebrated simplified 
 logaoedic period in Archilochus (79. 1): 
 
 t roc yeAoiov
 
 298 THE VERSE OF GREEK COMEDY 631 
 
 Hephaestion (xv.) expressly states that the prosodiac, "which 
 consists of ionic and choriamb," lies implicit in the anapaestic 
 hephthemimer which constitutes the first part of this tetrametrical 
 period. The second half, he says, is the ithyphallic. Archilochus, 
 he continues, always observed the division of the two cola and 
 admitted different forms of the anapaestic dimeter (^ - =~ - 
 =c ^ ), but Cratinus and the poets who followed him maintained 
 and cultivated a fixed prosodiac form of this ' tetrameter.' They 
 made it a real tetrameter, treating its division with indifference : 
 
 \aLip' S fiey' d^pei6ye\.(a<i 6'//,iAe TCUS rt/3Scus Crat. 323. 1 
 
 and regarding its first half not as anapaestic but as prosodiac. 
 For, he adds, an anapaestic tripody of the form -- ^ ^ - ^ w - 
 admits prosodiac division, -- w ^ ^ ^ , and he explains 
 the process at length. 1 This means that Cratinus and his 
 successors, pleased with its rhythm, adopted a fixed form of 
 the logaoedic period employed by Archilochus, but gave it a 
 different metrical constitution : the first half was identified with 
 the prosodiac, an ancient and well-known dimeter, the second 
 was a catalectic iambic dimeter. 2 The tetrameter thus con- 
 stituted was in ascending rhythm, as was each of its parts, and 
 each half of each dimeter had the rhythmical value of six 
 primary times. This particular prosodiac tetrameter, as we have 
 seen (495), had great vogue with the comic poets. 8 
 
 631. The identification by Cratinus of a fixed form of the 
 anapaestic tripody with the prosodiac at once suggests the 
 probable relation of the prosodiac to the primitive dimeter, 
 namely, that it had its source in the paroemiac form of this 
 
 1 oi S ;ter' afobv rfj fj.t> TO/XT; ddia- rov irpoffodtaicov &j> Kal TOVTO eldos, rb Q 
 
 (pbpus txpti ffaVTO t &GT*P KpoTH/os (323) IUVIKOV Kal xopia/u,/3t/coO ffvyKetftevov. rb 
 
 X acp & ptf dxP6 7 eX W 9 S/uXe rats l ^J^^ etru oSruSuupoiTO, 
 
 4irl88ais eupijerei rip irpoaooiaKtf e<pap(j.ofov. (av 
 
 f e ^f AvairalffTovs, raj rov devrtpov 
 dvairaiffrov 56o /3paxas irpoffVels r<p 
 
 frTavBa ybp oftolws rb rpirov r^Tjrat ffTrovSelif) irot^o-etj iwvixbv &irt> nelfrvos, 
 
 TOIS 'ApxtXoxe^oiy, ra 5^ irpt> atVoO Sto T ^ v $' ^ X opla^ov. Heph. 47. 16 ff. 
 irpb <ri/XXo^s. /cai ^VTOL teal TOI)S ffwov- 2 cf_ Schol. Heph. 154. 11-17. The 
 
 Sefous tra.priT-f)ffa.vTO TOI>S 4v r$ ^fftf ol statement at the close of the scholiast's 
 
 rbv 'A.pxt\oxov, oi>x ws dvawaiffriKbv comment is significant : ty8iHufiepis yap 
 
 nevoi, d\\a irpovodiaicbv, rb t iuvucrj? la.^i.Kbv r$ irpo<ro8ia.K$ TV KaOap$ 4*1- 
 
 Kal xoptwPiKfy, TTJ* IUVIKIJS Kal Ppaxeiav M ^ tKTat K al irpoffodiaicbv 6,uoiwy /caXetrat. 
 HIV irptln-riv 8exo^vr)s. dwarai dt Kal 3 p or a discussion of this important 
 
 els rpLirovf ava.irawTi.Kbv 8iatpei<r6ai, el dirb testimony see the Editor's Enoplic Metre 
 
 ffirovSflov &PXOITO, olov Tb 2a7r^oOs (82) i n gt^fc Comedy, 419 ff. 
 52 ait KaXXi67ro,
 
 633 ORIGIN OF THE FORMS OF GREEK POETRY 299 
 
 dimeter and was thus derived at a time when the first arsis of 
 the paroemiac was still in flux, M-^^-^^-M (603). In 
 the conversion of this particular form of the paroemiac into the 
 prosodiac, in the various processes of verse-building, its final 
 syllable was either merged in the following colon, as in the 
 tetrameter under consideration, * - ^ ^ - w ^ - ^|-w- 
 w -- , or appeared sporadically as a hypercataleetic syllable 
 (488), as in odes in which a prosodiac used as an independent 
 period assumes the form -- ^ ^ - w ^ - ^ , such as : 
 
 KOivy yap CTT* f&TVxiaurtv Eccl. 574 
 
 or was lost, at the close of an acatalectic period, as : 
 
 TI (rvv XapiTTecnri fiaOvfavots ixfrdvas v/tvov diro 
 -- w ^ ^ *s -- ^ -- ww w^/ v Bacch. v. 9 f. K. 
 
 632. It is to be observed that the tetrameter employed by 
 Cratinus and his successors is not found in Pindar and in but 
 one ode of Bacchylides (xix. K.). The lyric poets did not, in 
 general, make use of catalectic prosodiac cola and periods, but 
 substituted for them, with the same purpose of resting the voices 
 of the singers (33), the hypercataleetic cola and periods which 
 they found ready to their hands. The discovery of Cratinus 
 which Hephaestion notes at length was not, of course, the 
 invention of prosodiac verse, but the adoption of a new form of 
 prosodiac tetrameter by the clever adaptation of a line that- 
 Archilochus had made famous. Prosodiac verse had long been 
 in use, but had originated, it seems probable, from anapaestic 
 and iambic forms of the primitive dimeter in a manner precisely 
 analogous to that which Cratinus employed, although he was not 
 conscious of precedents. 
 
 633. What was the iambic element in prosodiac verse ? Two 
 longer tetrameters antecede the catalectic tetrameter of Cratinus. 
 The first is hypercataleetic : 
 
 i. ras e epaTtov e(j>6/3r]crev Tray/cpa-nys "Hpa fjie\d6p(av 
 \s \j \s \j | w __ w _ Bacch. xi. 43 f. K. 
 
 6 ras Ofov, ov tyap-dtifia TIKT' eirl p/y/nivt TTOVTOV 
 w w w ^ v w| w -- w Find. Nem. v. 13 
 
 The second is acatalectic : 
 
 ii. v\f/ov Trapa. Saifuxri Keirai' <rvv 8' d\aOfiy. ftpoTwv 
 -- ww w w I v -- w Bacch. ix. 84 f. K.
 
 300 THE VERSE OF GREEK COMEDY 634 
 
 68bv Trapa. KaAAioTras Xa^oifrav e^o^ov yc/oas 
 w \j \j ww w | w ^ ^ Bacch. xix. 1 3 f. K. 
 
 TTO>S 8rj AITTOV ev/cAeo. vcwrov, Kai TIS avSpas dA/aju,ovs 
 -- ww w w | w w v Find. .ZVem. v. 15 
 
 The catalectic tetrameter of Cratinus, particularly affected by the 
 comic poets, may again be illustrated : 
 
 iii. & SeanroTa KOI rdSf vvv a/cowov av Aeyco crot 
 
 -- ^ ^ w w w | ^/ ^ -- Eupol. 236 
 
 634. The identification of Hephaestion's ' ithyphallic ' that 
 closes iii. as an acephalous catalectic iambic dimeter and of the 
 corresponding clause in ii. as a ' lecythium ' (609, n.) is forbidden 
 by i., for an acephalous hypercatalectic iambic dimeter is foreign 
 to Ionian rhythm. 
 
 635. The nature of this phrase as it appears in i., 
 -w- -- w- -, from which evidently the corresponding 
 phrases in ii. and iii. are successively derived by regressive 
 reduction, is revealed by certain other prosodiac periods. Com- 
 pare first two hypercatalectic trimeters (iv. and vi.), from which 
 were formed, by regressive reduction, two corresponding acatalectic 
 trimeters (v. and vii.) that often occur: 
 
 TUJV TTO.p rjfJ.IV = 
 
 ' &ydd' dviorao-o ^8' OI!TU> creavrbv Vesp. 277 b f. = 286 f. 
 iraXivrpoTrov e/x^aAev voij/ia 
 
 -- ww -ww- ^|-w- ^ Bacch. xi. 54 K. 
 v. vtKav T epiKvSfa fjt,e\Trer y , (5 veoi 
 
 -- ww w ^ w| w Bacch. xiii. 190 K. 
 
 Vi. TOV 7TCUS 6 AttTOVS 6VpV(J.&WV T HoCTeiSaV 
 
 \eip(JHv au>Tov BAe^iaScus CTTIVIKOV 
 
 -- w- -j w w _ vw _ ^ Pi n d. 01 viii. 32, 75 
 vii. dvSptav re Sairas /cai ^aAtas jLtaKapcov Pax 779 
 
 Kfivov (rvv dvS/oos Sai^ovtais d/aerais Pind. Nem. i. 9 
 
 w w | w w w w Pind. ^em. v. 1 1 
 8' avtcrxovres X*P a/s ddavdrois 
 ^> ^> | ^w w w Bacch. xv. 45 K. 
 i 
 The last (vii.) was called ' iambelegus ' (481, n.). 
 
 636. Prosodiac verse is thus seen to be eminently episynthetic. 
 In all other verse trimetrical cola are derived from a primitive
 
 639 ORIGIN OF THE FORMS OF GREEK POETRY 301 
 
 trimeter (611 ff.), but in prosodiac verse trimeters as well as 
 longer periods are compound. It appears, furthermore, that the 
 component elements may be combined in either order of 
 arrangement. 
 
 637. The shorter iambic phrase that appears in the first and 
 third of the foregoing trimeters ( & - ^ - v in iv. and vi.) is seen 
 also in the following : 
 
 viii avSrrjfjL lAcu'as fv IleAoTros 3?pvyiov /cAetvois dc 
 -- w | w ^ ^ ^ | w Bacch. viii 14 ff. K. 
 
 Compare the verses quoted by Hephaestion (51. 16 f., "TO 
 TltvSapiKov ") : 
 
 os KOI Tvrms ayj/w TreAe/cei re/cero av6av 'A.6dvav 
 (ro(f)ol Se Kal rb (JuqSfv ayav ITTOS aivr^rav Trcptcroxos 
 ^ ^ ^| ww ^> s | w Find. frag. 34, 216 
 
 This tetrameter, like all other hypercatalectic prosodiac periods, 
 might be reduced by a syllable : 
 
 ix. fiia-6o<s yap aAAois aAAos CTT" epypaa-iv av$pw7rois 
 
 -- w | w w w v | ^ Find. Isth. i. 47 
 
 638. The phrase joined with the paroemiac in the foregoing 
 examples is the iambic penthemimer, ^ - ^ - ^, which ends in 
 an arsis, as the paroemiac, being catalectic, ends in a ' variable ' 
 syllable. The combination of paroemiac and penthemimer into 
 periods was controlled by the rhythmical law, which holds 
 without exception in all compound prosodiac periods, that each 
 phrase if initial is complete, ^- WW - VV/ -M or ^ - w - ^ , 
 but in each of its subsequent occurrences is acephalous, 
 -wv^-wv-^, acephalous paroemiac, or - w - , acephalous 
 iambic penthemimer. In the various processes of verse- 
 building, the final syllable of each phrase (cf. 631) was either 
 merged in the following colon, supplying the lacking arsis, 
 or appeared sporadically as a hypercatalectic syllable, or was 
 lost, at the close of an acatalectic period. 
 
 639. To revert now to the tetrameter with the consideration of 
 which this investigation of the iambic element in prosodiac verse 
 began, it seems certain that i. (633), like viii. (637), is a 
 triple compound, but with the elements differently arranged : 
 ^. _ ^ ^ _^ w _ MJ_ W _ ^j-^- **. Compare the follow-
 
 302 THE VERSE OF GREEK COMEDY 640 
 
 ing period, which is composed of the same elements but con- 
 versely arranged : 
 
 vvv xpvj Iloo-etSavos re. Herpaiov re/wvos Kf 
 -- ^ _ _ | _ w _ _|_ wvy _ wv/ _ _ Bacch. xiv. 20 f. K. 
 
 This composite ' hypercatalectic iambic dimeter ' occurs also as 
 an independent period : 
 
 Oepfiav 8' en Trvecov aeAXav -- ^ w | w Bacch. x. 22 K. 
 TroAA' Iv a\i(rroi<s -- w ^ Find. Isth. vi. 59 
 
 640. It is now obvious that the iambic trimeter also of 
 prosodiac verse was not originally indivisible, like the normal 
 iambic trimeter in Ionian verse (613), but composite. It is 
 found in three forms, hypercatalectic, acatalectic and, in the 
 drama, catalectic : 
 
 ov. TI p.a.Kpav yA-okrcrav Wv<ras eXavv(a 
 
 , _ _|_ w _ _|_ w _ _ Bacch. x. 51 K. 
 [av 8' a/cayLtTTTOS, TrpocriraXaicrw ^X6' dvrjp 
 
 w _ _ | _ ^ _ _ | _ w _ pi n d. Isth. iv. 53 b 
 
 xii. TlvdtavL 8iq. pr) K<XKWS irtvecrdai 
 
 v- -|-w- w| Eq. 1273 
 
 641. The paroemiac and iambic penthemimer suffice for the 
 constitution of all normal prosodiac periods, and it is a striking 
 fact that they can be identified in the fully developed prosodiac 
 verse of poets of the fifth century. 
 
 642. The examples quoted (cf. i., iv., vi., viii., x.) disclose 
 the origin of the 'hypercatalectic' syllable in prosodiac verse 
 (488). This syllable, which has been the subject of much 
 discussion in recent years, is the trace, still subsisting in later 
 poetry, of the final syllable of an original paroemiac or of an 
 original iambic penthemimer. On the rhythmical value of the 
 hypercatalectic syllable, see 37. 
 
 643. To turn now to enoplic verse, we could hardly expect 
 to find testimony as explicit as that given by Hephaestion in 
 regard to the prosodiac (630 ff.) ; but once in possession of the 
 key to the general process by which, in Ionian verse, all cola in 
 descending rhythm arose from the primitive dimeter by loss of 
 its first arsis (608 ff.), we see at once the ultimate relation of the 
 enoplius to the prosodiac and thereby discover its probable origin. 
 The enoplius was the acephalous form of the same primitive
 
 645 ORIGIN OF THE FORMS OF GREEK POETRY 303 
 
 paroemiac from which the prosodiac had sprung : the enoplius, 
 -w^-|ww-^, arose from the paroemiac, ^-^^-w^-^, 
 by acephalization. The enoplius, therefore, is in origin a 
 dactylic tripody of fixed form, but it differs from this tripody in 
 metrical constitution (647). Each half normally contains six 
 primary times. If described in terms similar to those used by 
 Hephaestion in describing the prosodiac, it would be said to 
 consist of a ' choriamb ' and ' minor ionic.' In verse-building 
 it is associated with trochaic cola. The distinction between 
 prosodiac and enoplic cola is precisely that which subsists 
 between anapaestic and dactylic or iambic and trochaic cola : 
 prosodiac cola are in ascending, enoplic in descending rhythm. 
 
 644. Each prosodiac colon and period, with a few exceptions, 
 has in fact its enoplic correspondent, and the original distinction 
 between prosodiac and enoplic cola was due to the retention or 
 suppression of an initial arsis, Compare the following enoplic 
 cola and periods, which are numbered to correspond with the 
 numbered prosodiac periods previously quoted : 
 
 viv doiSal Travrl KapvovTi A,a<> 
 -- ! ^ -- I ~ w -- Bacch. xiii. 230 f. K. 
 
 ' TC> 8e TTCIVTWV ev/jLapeiv ov8ev yXvKV 
 - w ^ - ww -- | - -- | - w - Bacch. i. 174 f. K. 
 
 evSofj,d')(a.<s O,T' dXeKTbip criryyova) Trap' ecrrip. 
 w w ww -- | w w | w Find. 01 xii. 14 
 iii. fl\ rb Spdpa yaXrjv TTJS carre/acis dirdy^at 
 
 ^ w ww -- I w w I -- Pax 795 f. 
 iv. el S' apery KaraKCiTat Tracrav opydv Find. Isth. i. 41 
 
 Trpay/iara KavTiypa<as TroAAwv TaAavrwv 
 -ww- w ^ -- |-w -- (483, n.) Nub. 472 f. 
 v. yrivi crov yepas COTTCT' dyAaov 
 
 w w ww w| w Find. 01. viii. 11 
 
 645. Analyzed with reference to their origin, these five 
 periods consist of a paroemiac with suppressed initial arsis, i.e. 
 an enoplius (-^^- ww -- ), and the same acephalous iambic 
 elements that constitute the final phrase of the five corresponding 
 prosodiac periods. But just as the enoplius, although ultimately 
 derived by acephalization from the same form of the primitive 
 dimeter as the prosodiac, was early individualized as a distinct 
 dimeter in descending rhythm, thus also the second colon in each 
 of the enoplic periods just quoted, even in early antiquity, when
 
 304 THE VERSE OF GREEK COMEDY 646 
 
 this form of verse was developed, must have been felt to be 
 trochaic. Poets of the fifth century at least must have regarded 
 these clauses as, respectively, trochaic dimeter, catalectic trochaic 
 dimeter, ' ithyphallic,' trochaic metre, catalectic trochaic metre. 
 
 646. The order of arrangement might be the converse of 
 that in i. v. An iambic element with suppressed initial arsis 
 begins each of the following periods, the opening is now trochaic : 
 
 vi. d<j>06vr)To<$ 8' cu^os 'OA.VjU,7rioviKais Find. 01. xi. 7 
 cpXfTdi -yXwTTTjs ri'voia TroAmyv 
 
 w -- | w ^ ww -- Eccl. 574 
 ofa, TrapOevoi <j!)iXeotcrtv eratpai 
 
 w v | vxv/ ww -- Find. Pyth. iii. 18 
 vii. XP*? 5 0"Tiv 8' ovpaviwv vScmov Find. 01. xi. 2 
 
 oT8a KOI TrXovrov p.yd\av Svvcuriv 
 
 w -- | v w w w Bacch. x. 49 K. 
 vvv 8' 'OX.vp.Tria crTe^avoxra^evos 
 
 ^ ^ | ww vw Find. OZ. xii. 17 
 viii. OCTTIS a.ur\vvtav fTTi\wpia Trairraivei TO. TTO/XTW 
 
 w -- | vy w vxw -- I ^ -- Find. Pi/(fe. iii. 22 
 
 ix. eyyovcov yewavro, /cai v\j/nrv\ov Tpotas e'Sos Bacch. ix. 46 K. 
 6s TV^^ /*^v Sat/Aovos, avopcas 3' OVK a^wrAaxwv 
 
 ^ -- | w w ^v -- | ^ Find. 0J. viii. 67 
 <acryai'o> re fj.apvafj.eva Kepd'ifcv dypiovs 
 
 v w| ww vy ^ v | v Find. PytA. ix. 21 
 x. ciSe viKctcravra xP^^OTra^vs 'Aws 
 
 _ w -- |_^_ w |_ w -- Bacch. v. 40 K. 
 fivafJia TWV 'OAiyrii KaAAwrTov (je^Atov 
 
 w w| w -- I ~ ^ -- Find. OZ. iii. 15 
 xi. fv8ov dfnrfkov Ka)(Xdoi(rav 8poar<p 
 
 -v/-w-w -- - v - Find. 01. vii. 2 
 
 x. /Ae/oo) x/'" ao " <)VKTOv OKTTOV 
 
 _^ -- |_^_ w | -- Eur. Med. 634 
 
 In all cases (i., iv., vi., viii., x.) the hypercatalectic syllable of the 
 prosodiac period becomes the final syllable of the corresponding 
 acatalectic enoplic period. 
 
 647. The poets of the fifth century were probably unconscious 
 of the relation of the prosodiac and enoplius to their common 
 source. To them these were dimeters, isomeric dodecaseme 
 'feet,' and as distinct and individual entities, in musical phrasing, 
 as iambic and trochaic dimeters. Yet these poets must have 
 felt the anapaestic movement in the prosodiac and the dactylic
 
 648 ORIGIN OF THE FORMS OF GREEK POETRY 305 
 
 in the enoplius. There is ample evidence, nevertheless, that they 
 differentiated the prosodiac and enoplius from true anapaestic 
 and dactylic cola. Hephaestion states that Cratinus and his suc- 
 cessors thus distinguished the prosodiac (630, n. 1). Aristophanes 
 himself testifies as to the enoplius. 1 Socrates in the Clouds 
 (649 f.), in the first extant literary reference to the enoplius, 
 instructs Strepsiades that it is important for a gentleman in 
 society to understand the difference between dactylic and enoplic 
 verse. The two were different, therefore, and yet so similar that 
 an uninstructed person like Strepsiades might confuse them. 
 Their differentiation is now not difficult. The enoplic dimeter, 
 
 - ^ w - ww , differs from the dactylic tripody in metrical 
 
 constitution. Taken as a whole, it is the metrical equivalent of 
 
 a dactylic tripody of fixed form, -ww-ww , but in the 
 
 process of musical phrase-building this rhythmical basis was 
 converted into an isomeric dimeter (TTOU?), complete in itself, in 
 which each half, as in the trochaic dimeter, normally consisted of 
 six primary times. Here, as elsewhere, the dimeter was normally 
 the smallest unit of rhythmical measurement and was regarded 
 as a whole. The enoplius was a TreploSos, to employ the term 
 applied by Heliodorus to the prosodiac (Schol. Pax 775 ff.). 
 
 648. Hephaestion (ch. xv.) and the scholiasts (cf. Schol. 
 metr. Pind. 01. iii 2) might, as a convenience, designate the 
 metres of the prosodiac as ' ionic ' and ' choriambic,' naming each 
 from its accidental form, but these are spurious choriambs and 
 ionics. The true choriamb is Aeolic (651) and is alien to Ionian 
 rhythm (71, 206), and the two true ionics are at variance both in 
 their probable origin (615 ff.) and in their rhythm with the 
 'ionics' found in the prosodiac and enoplius. The genuine 
 minor ionic is in ascending, the genuine major ionic in descending 
 rhythm (29). In such a tetrameter as 
 
 v/ _ v ,_ w _ Pind. Isth. ii. 1 
 
 the rhythm of the first half of the period is anapaestic, of the 
 second iambic, but the period is a tetrameter, composed of two 
 dimeters, and the first is as certainly an isomeric -TTOU? as the 
 second. The normal measure of each dimeter is twelve primary 
 
 1 See Blass, Kleine Beitrcige, 455 ff. ; Bacchylidis Carmina 3 , xxxv. ff. ; Rhythms 
 of Bacchylides, 166 f. 
 
 X
 
 306 THE VERSE OF GREEK COMEDY 649 
 
 times, four longs and four shorts ; the normal measure of each 
 metre is six primary times, two longs and two shorts : the order 
 of arrangement of the longs and shorts in each dimeter is deter- 
 mined by its rhythm. The metres of the prosodiac and enoplius, 
 therefore, are not ' feet/ and these dimeters are the best existing 
 illustration of the essential indivisibility of the Greek dimeter. 
 Here certainly there can be no assumption of podic stress. 
 See 28. Each dimeter is a unit, with thesis and arsis equal, the 
 order being arsis, thesis in the prosodiac in ascending rhythm, 
 and thesis, arsis in the enoplius in descending rhythm. 
 
 649. Doubt has been expressed whether the last two metres in 
 such a tetrameter as that just quoted can properly be regarded as 
 
 iambic, since this view involves the combination of diplasic ( 1 ^ v ) 
 
 and isomeric ( w - 1 ^ - ) feet in the same period. See Gleditsch in 
 Bwrsian's Jahresbericht, cxliv. (1909), 128 f. The error that underlies 
 this criticism is the assumption that the metre, and not the dimeter, 
 is the element that determines the composition of a tetrameter. In 
 fact, each component dimeter in this tetrameter is isomeric, and the 
 only difference between the two parts is their rhythm. But ignoring 
 this mistaken point of view for a moment, the objection seems ill- 
 taken, for diplasic and isomeric ' feet ' are combined in precisely this 
 manner in true ionic verse, in early Greek poetry. See the periods 
 quoted from Alcman, Alcaeus and Sappho in 615, 617, and Gleditsch 
 in his Metrik s , 106. 1, 107. 3, who cites some of these periods in 
 illustration of ionic verse. 
 
 650. The iambic and consequently also the trochaic elements 
 in prosodiac -enoplic verse are generally irrational This is 
 not an abnormal manifestation that invalidates the assumption 
 that these metres are iambic and trochaic, for irrational out- 
 number rational metres in all three sorts of iambic and trochaic 
 verse in comedy, melic, recitative and spoken. This fact, which 
 is commonly overlooked or ignored, is of such significance that 
 statistics confirming it are given elsewhere in this book. See for 
 iambic verse 186 f., for trochaic 247, 256, 261, 268. The general 
 use, therefore, of irrational iambic and trochaic metres in prosodiac- 
 enoplic verse is legitimate, and it is also natural, comporting 
 with the character of this verse, which is eminently dignified and 
 stately. But pure iambic ( w - ^ - ) and trochaic ( - w - ^ ) 
 metres are by no means excluded, as the periods prove that are 
 quoted above (633 ff., 644 ff.).
 
 653 ORIGIN OF THE FORMS OF GREEK POETRY 307 
 
 AEOLIC VERSE 
 
 651. The rhythmizing impulse regulated the ordering of 
 quantities in Aeolic poetry in a mode that was distinct from that 
 which prevailed in Ionian verse (603). The musical number in 
 which the poetic impulse of early Aeolian singers found satis- 
 factory rhythmical expression was the choriamb, - w w -. This 
 is the fundamental metre (foot) in Aeolic verse. The first half 
 of the primitive dimeter in which it appeared remained with 
 quantities practically unregulated (oooo - w w - ) even in 
 the fifth century. The principle that prevailed, in the un- 
 conscious attempt to give this first half of the dimeter rhythmical 
 form, was exclusion in selection. Nine of the sixteen possible 
 forms (two units, w and -, in four places) that the first metre 
 might assume are found in Aristophanes. These are starred in 
 the following list : 
 
 j * 5 w * 9_ ww _* 13 www 
 
 2wwww 6 w * 10 w w* 14 w w w 
 
 3 ^ w 7 w * 11 w w* 15 w w w 
 
 4 w w 8 w* 12 w w * 16 www 
 
 652. Besides this polyschematist dimeter (Heph. xvi.) two 
 others often occur in Aeolic verse, the Glyconic, with the 
 quantities in the first two places of the octosyllabic dimeter 
 unregulated (oo-w w-w-), and a third dimeter with 
 choriamb in the first metre and Glyconic cadence in the second 
 (-ww- w-w-). The second metre here assumes diiambic 
 form, and the dimeter, for convenience, may be called choriambo- 
 iainbic. 
 
 653. The probable genetic connexion and rhythmical rela- 
 tion of these three dimeters to one another may be expressed in 
 simple graphic form : 
 
 O O O O ww 1 
 O O w w 2 
 
 - w w - 3 
 
 The rhythmizing impulse pressed steadily towards the chor- 
 iambization of the primitive dimeter, but, precisely as in the case 
 of the Vedic dimeter (600), the attempt to reduce the stubborn 
 materials of prose speech to rhythmical form was successful only 
 as it progressed. In the first stage, the rhythmizing impulse
 
 308 THE VERSE OF GREEK COMEDY 654 
 
 failed to regulate the first half of the primitive dimeter, but 
 gathering force gave choriambic form to the second half. In the 
 second stage it placed the choriamb at the middle of the dimeter, 
 forming the Glyconic, with final cadence in the last two syllables 
 that had been developed in the first stage. In the third stage 
 the first metre finally became choriambic and the dimeter ended 
 with the double final cadence developed in the two preceding 
 stages. The process was natural and it was unconscious. All 
 these dimeters were inherited by poets of a later age. 
 
 For illustrations of these dimeters and of their catalectic forms, 
 see 507 f., 511, 513. 
 
 654. The choriambization of the primitive colon of twelve 
 syllables (611) produced trimeters of constitution similar to that 
 of the three dimeters just considered. Compare the following 
 acatalectic and catalectic trimeters : 
 
 I. Polyschematist Trimeters. 
 
 7rpov\fi KOL yviofta, Trap' OTO> TO deiov Soph. Ph. 139 
 
 1 w\-> ^ 
 aAAo. TWO" f\0' } ai TTOTO. Karepwra Sapph. frag. 1. 5 
 
 TOV vyypa<f>vj TOV /AeAecov TTOI^T^V Ach. 1151 
 
 7 <w/ v_ w < 
 oiav eS^Aworas ave/oos a?#ovos Soph. Aj. 221 
 
 7 w w w 
 
 evO' oi/JMt. TOV eypefiaxav Qrjo-ea Kal Soph. O.G. 1054 
 
 cvddSf KivSwos dvcirai o-o</>ias Nub. 956 
 TroiictAd^pov 5 , dOavdr' ' A.<f>p68iTa Sapph. frag. 1. 1 
 
 10 w \^ w ^ ' 
 
 6 Mowrayeras fj.e KaXel ^o/>evo"ai Find. frag. 116 
 
 11 v^ w \^v> < 
 
 efjLol ^vveiv) 8ta TTCIVTOS ev(f>p(ov Soph. Aj. 705 
 
 eyw 8' 6 T\d(j.tav TraAaib? a<' ov ^povos Soph. Aj. 599 f. 
 
 II. The following trimeters begin with Glyconic movement 
 (o o v/w ): 
 
 1 Sapphic hendecasyllable, Heph. 43. 2 Pindaric hendecasyllable, Heph. 44. 
 
 11 ff. 12 ff.
 
 656 ORIGIN OF THE FORMS OF GREEK POETRY 309 
 
 HWV eraptov es "A/oyos ITTTTIOV Find. Isth. vii. 11 
 
 irapa ry vty. Ka&evSetv EC. 938 w w w */ 1 
 
 yas (\e<f>avTivav Alcaeus 33 
 
 Sfvp* eX.d' cis xopov & x/awoT 'piatv' <5 Eq. 559 
 (\ftv fivpiov ax#os o vvoiK(i Soph. Ph. 1168 
 
 III. The following open with choriambo-iambic movement 
 
 ov yap dva(r\Tbv TOVTO y' fXevdepfp EC. 941 
 TOV T p.eya<r6evfj rpiaivrjs rafjLiav Nub. 566 
 
 See also the trimeters quoted in 518, i. iii. 
 
 655. The Aeolic trimeter originated under the same chor- 
 iambizing impulse that produced the dimeter, and the possible 
 forms of the trimeter, like those of the dimeter, may be exhibited 
 in graphic form : 
 
 OOOO v^w 1 
 
 o o w w 2 
 
 _ o 
 
 656. The choriambization of the primitive trimeter was a 
 continuation of the process begun in the choriambization of the 
 dimeter. The law by which the different forms of the trimeter 
 are controlled is simple, and it operates with singular precision. 
 Formation develops by dissyllables, and a metre may consist 
 only of such elements as have already been regularly formed. 
 The third metre of the trimeter, therefore, like the second metre 
 of the dimeter, will be either - ^ ^ - (by catalexis - -^ ) or 
 
 v _ w _ (by catalexis w ). The second metre in the first 
 
 stage of the trimeter must be -w^- or -w-^; in the 
 second and third stages it may be distinctively ^ - ^ - or 
 
 ^ ^ , forms not allowed in the first stage. The first metre 
 
 of the trimeter in the first stage is polyschematist, in the second 
 
 1 Phalaecean, Heph. 32. 21 if. 2 Asclepiadean, Heph. 33. 5 ff.
 
 310 THE VERSE OF GREEK COMEDY 657 
 
 it always has Glyconic form, in the third it is the choriamb. 
 These facts are illustrated in the examples just quoted (L III.). 
 
 657. Other cola occur in Aeolic odes that in appearance 
 are iambic or trochaic : 
 
 <rv 8' avSpbs e/cTreTrA^y/zevov Nub. 809 \_> w w ^ 
 
 yvvaiKas dvdpaKcvfiv Lys. 340 w w w 
 
 K\y<s eTTi yAaxro-p /3e/3a/ce w ^ - w 
 
 TzyjocrTroAcov Ev/AoA7ri8ai> Soph. 0.(7. 1052f. w _- 
 
 658. These cola associated with Aeolic verses are them- 
 selves legitimate Aeolic cola, and, like the others, are due to 
 choriambization. This process, for example, if carried to the 
 length of four or five metres, as dimeter + dimeter, dimeter + 
 trimeter, or trimeter + dimeter, would give, among others, under 
 the law just stated, tetrameters and pentameters such as : 
 
 659. It is probable, however, that the poets of the fifth 
 century did not consciously differentiate Aeolic and Ionian 
 cola where they crossed, such Aeolic cola, namely, as have just 
 been quoted, and the iambic and trochaic verses of Archilochus. 
 These poets admitted into all ' iambic ' and ' trochaic ' cola not 
 only the irrational metres found in Archilochus, but also the 
 two other variations that characterize these forms of verse in 
 the fifth century, resolution and protraction (TOVIJ). We have 
 seen that the 'iambic' element even of choriambo-iambic cola 
 might be irrational (514). In illustration of resolution and 
 protraction in diiambic and ditrochaic (19) cola in Aeolic odes 
 compare the following: 
 
 a reAea fiev Thes. 352 w w ~ ^ ~. w 
 
 o TTOUS 6 'I'lAo/cActoi/os Vesp. 1454= 1466 ^ 
 ireXfdov a/OTtw? Ke\e 
 8' e'wv Ach. 1170f. 
 
 8' aire 
 
 ^ *~ ^ w w w w ^ ^Tu6. 705 f. 
 Trap' a<i'Aois eTreo"' cTrea-e yueAeois 'AT/seiSaij 
 ^ - ^ ^ w w -^ -- Soph. 4;. 620 f.
 
 663 ORIGIN OF THE FORMS OF GREEK POETRY 311 
 
 660. Ditrochaic cola are not frequent in comedy, but Aristo- 
 phanes abounds m diiarabic dimeters in close association with 
 other Aeolic cola. Doubt whether these diiambic cola are in 
 fact Aeolic is dissipated by cases in which they correspond 
 in strophe or antistrophe with undoubted Aeolic cola. For 
 example, compare : 
 
 Kparr<rai = 
 
 f)86fJLevo<s Afyovrt Vesp. 537 = 641 
 
 <os TTvp xpr ras /iwapas yvvaiKas 
 
 - w ^ - - w w - ^ w ^ - w -- Lys. 326 = 340 
 
 661. The metres, then, that appear in Aeolic verse are six 
 in number : the fundamental choriamb, - ^ ^ - ; the unregulated 
 first metre of the polyschematist dimeter and trimeter, ^ ^ ^ ^ ; 
 the semi-regulated first metre of the Glyconic, ^ ^ - w ; and 
 three others due to the process of choriambization carried 
 through : the diiamb, w v , the ditrochee, %* v , and the 
 antispast, w -- w (19). On the antispast see the Editor's 
 Origin and Form of Aeolic Verse, 303309. 
 
 662. The evidence of crossing of styles exhibited by ' iambic ' 
 and ' trochaic ' cola is interesting and instructive, for it points 
 the way to the differentiation of Ionian and Aeolic verse. The 
 main facts are now apparent. The choriamb is alien to the 
 rhythm of Ionian verse, and when it occurs there it is due, 
 except in the prosodiac and enoplius, where it is a spurious 
 form (648), to interior anaclasis, as in iambic verse in English. 
 It may thus occur in Greek, as has often been noted, at the 
 beginning even of a spoken trimeter. Of. Aesch. Sept. 488, 
 547; Choeph. 1049; Soph. frag. 785; Arist. Pax 663. On 
 the other hand, a succession of two or more dactyls or anapaests 
 is clear indication of Ionian rhythm, just as conversely the single 
 occurrence of a long and two shorts, or of two shorts and a 
 long, generally signifies that the verse is Aeolic. Hybrid cola 
 are inadmissible, but a series of Aeolic cola is sometimes effec- 
 tively varied by the introduction of one or more cola completely 
 in Ionian metre. See 526. 
 
 663. The effect of the interrelation of Aeolic and Ionian 
 verse in the fifth century is still further manifest. Aeolic verse 
 counted syllables ; a dimeter was octosyllabic, a trimeter dodeca-
 
 312 THE VERSE OF GREEK COMEDY 664 
 
 syllabic. But the poets of the fifth century, under the influence 
 of Ionian rhythm, admitted resolution in Aeolic cola generally 
 with some freedom, not only in those that in form were identical 
 with the normal iambic and trochaic cola of Ionian verse (see 
 657 f.), but also in the polyschematist dimeter and the Gly conic 
 and the corresponding trimeters : 
 
 TTl TO TpV<p(OV KCU 
 
 ouSevt yap oimos ayavw Vesp. 1455 = 1467 
 TO yap dirocrTfjvai, ^aXeTrov Vesp. 1457 w 
 
 TI yap KC6vos avriAeytov Vesp. 1470 w 
 
 a>VTS TOT' 7Tl TtoV 7T/3OT6/DWV .2VU&. 1029 
 
 KO.T' opea vv/x<^>av /oaTois v v/wots TA. 992 f. \^ 
 Tt 7TOT6 IT pay p.a. yev^crtTat jRa?i. 1251 ^- 
 
 Kai 2/teAas Trat Th. 991 ^ 
 
 See for other examples 510, 512. 
 
 CONCLUSION 
 
 664. It appears from the preceding survey (600 ff.) of the 
 probable origin of Ionian and Aeolic cola, that the colon itself, 
 not the metre or the simple foot, is the true unit of rhythmical 
 measurement in Greek poetry. Aristoxenus called cola 'feet,' 
 jroSes avvOerot (21), and Aristophanes in a merry jest refers to 
 the Glyconic dimeter as a Trovs, contrasting two extreme types 
 {Ran. 1322 ff.). The primitive poetic element in Aryan speech 
 was the colon, in which the regulation of quantities was a 
 gradual process. It was in this gradual development of the 
 colon that metres and simple feet took form as subordinate 
 elements of the true unit of measurement.
 
 CHAPTER XVI 
 STRUCTURE OF COMEDY 1 
 
 665. The structure of a comedy of Aristophanes is essentially 
 different from that of a tragedy of the same period. The 
 primitive elements of a play of the Old Comedy were the parode, 
 in which the poet brought in his chorus ; the debate, in which 
 two of his players maintained and disputed the theme of his play, 
 contending against one another as if pleaders in a court of law ; 
 and the parabasis, in which, at the close of the primitive play, he 
 set forth his own merits and personal grievances, and in two 
 following topical parts expressed his views on questions of the 
 day. The debate and parabasis are peculiar to comedy, and are 
 structurally individualized by the pairing of non-melic as well 
 as melic parts. The oldest Attic comedies were short 2 and 
 probably consisted only of parode, debate, and parabasis. A 
 comedy of Menander, on the contrary, derived its five acts 
 from tragedy and was structurally far removed from a play of 
 Aristophanes. 
 
 666. As comedy developed and lengthened, other divisions 
 were added to the three original elements : prologue and exode ; 
 epirrhematic syzygies ; episodes with following stasima ; and 
 mediating scenes that, while advancing the action, served specially 
 to connect other divisions of the play. Among these the syzygy, 
 a division that is also peculiar to comedy, is a free imitation of 
 
 1 See, in particular, Zielinski's Gliede- 2 See Kaibel's Fragmenta, 72. 13 fl'. : 
 
 rungderaltattischcnKomodiesindl&SLZcm's "sed in fabulas primi earn contulerunt 
 
 Composition des comedies d' Aristophane. <non> magnas, ita ut non excederent in 
 
 In reading this chapter, the student singulis versus trecenos" (e libro glos- 
 
 will need to consult the "Table of sarum), and Usener in Rhein. Mus. xviii. 
 
 Structure and Rhythms," to be found (1873), 417 ff., 429 f. 
 at the end of this book. 
 
 313
 
 314 THE VERSE OF GREEK COMEDY 667 
 
 the last four parts of the parabasis, and admirably illustrates in 
 balanced speech and song, the primitive distinguishing principle 
 of the structure of comedy, the pairing of non-melic as well as 
 melic parts. A play of Aristophanes is in many particulars a 
 peculiar literary creation. It is a drama only in a restricted 
 sense, since the action is at a standstill during two important 
 divisions, the debate and the parabasis. It is distinguished, 
 furthermore, from a comedy of Shakspere or Moliere by the 
 fact that quite one-half of its verses are melodramatic, recitative, 
 or melic, and were rendered to the accompaniment of a musical 
 instrument. 
 
 667. Some of these divisions have canonical form and most 
 of them show canonical use of rhythm, but Aristophanes is 
 bound by neither. He varies and changes, shifting his rhythms 
 to secure special effects and subordinating form to the better 
 development of the action, often weaving division imperceptibly 
 into division, but always in such fashion that the fundamental 
 structure and limits of the divisions are discoverable. He is 
 always flexible, he has complete mastery of his materials, and 
 the development of his theme never suffers from slavish adherence 
 to convention. 
 
 668. The parabasis 1 was originally an epilogue, but in the 
 developed comedy of Aristophanes it is found at about the 
 middle of the play, except in the Vespae. It consists, when 
 complete, of seven parts : /co^drtov, 7rapd/3a<rts, fjuarcpov (Schol. 
 Pax 765) or Trvtyos (Schol. Ach. 659), /i-eXo? (strophe, ode), 
 eTTipprj^a, /*eXo9 avria-rpofyov (antistrophe, antode), dvT7rippr)fj,a. 
 The first three are single parts and were probably all rendered 
 by the first corypheus ; the last four are paired and constitute, in 
 the terminology of Heliodorus, an eTnpp^fiariK^ <rvwyia (Schol. 
 Ach. 665, Eq. 551, 1264). The commation (293 ff.) was 
 probably a solo, and is composed, wholly or partly, in anapaestic 
 rhythm, except in the Aves (546). The parabasis proper, avrr) fj 
 Trapdpacns (Schol. Ach. 626), is the poet's own address to the 
 spectators, and is written in anapaestic tetrameters, except in the 
 Nubes (528) ; these anapaestic tetrameters were rendered in 
 recitative. The pnigos that follows is an anapaestic hypermeter, 
 and was so named because it was to be recited at one breath 
 
 L, Heph. 73. 4), leaving the corypheus speechless. The 
 1 See Heph. 72. 11 ff.
 
 670 STRUCTURE OF COMEDY 315 
 
 strophe and antistrophe were sung respectively by the first and 
 second half-choruses. Their structure is elaborate and they are 
 composed in many different rhythms. The epirrhema, following 
 the strophe, as the name implies, and the antepirrhema, following 
 the antistrophe, are composed in trochaic tetrameters and 
 probably were rendered in recitative by the leaders of the two 
 half-choruses respectively. 1 In theme they are topical. The 
 number of verses in the antepirrhema, if it occurs, is always 
 equal to that in the epirrhema. The number is commonly a 
 multiple of four, sixteen in eight epirrhemata, twenty in the first 
 parabasis of the Nubes and in the Vespae and Ranae, and twice 
 ten in the Lysistrata. 
 
 669. Sometimes a play contains a second parabasis. This 
 is never complete and generally consists of the last four normal 
 parts. A tricolic trochaic period is added to the epirrhema and 
 antepirrhema of the Peace. See Schol. Pax 1127. The second 
 parabasis of the Nubes (1113 ff.) consists merely of a protracted 
 iambic tetrameter, of the nature of a comniation, and an 
 epirrhema. Even the first parabasis is not always complete. 
 That of the Nubes lacks a pnigos ; that of the Peace has neither 
 epirrhema nor antepirrhema ; that of the Thesmophoriazusae 
 consists simply of parabasis proper, pnigos, and epirrhema ; that 
 of the Ranae of the last four parts ; that of the Lysistrata of 
 these four parts doubled. It is to be observed that the first two 
 periods in the first strophe and antistrophe of the parabasis of 
 the Lysistrata have the tone of a comniation. 
 
 670. The debate is now a recognized division of the Old Attic 
 Comedy, thanks to the acute investigations of Eossbach and 
 Westphal, 2 Zielinski 3 and Humphreys. 4 In two plays of 
 Aristophanes (Vesp. 534, Ran. 883) the chorus speaks of it as a 
 ' contest,' asyo>v. The subject in dispute, which is generally the 
 poet's main contention in the play, is often indicated and an 
 umpire chosen at the close of the preceding division. See, for 
 example, Vesp. 513 ff., Eq. 733 ff. The master of ceremonies 
 is the chorus, and it is the chorus that announces the verdict. 
 The debate belongs historically in the first half of the play, 
 
 1 On the division of the chorus of 2 Spec. Melrik 1 *, 401 ff., Spec. MetriJc*, 
 
 comedy into half-choruses and the 133 ff. 
 
 functions of its two leaders, the two 3 (fijgdgruna 9 ff 
 coryphei, see the editor's Unrecognized 
 
 Actor, 103 ff. 4 Agon of the Old Comedy, 179 ff.
 
 316 THE VERSE OF GREEK COMEDY 671 
 
 between the parode and the parabasis (665) and it generally 
 occurs there in the comedies that are extant, but in two of these, 
 the Nubes and the Eanae, the poet has transferred it for special 
 reasons to the second half of the play. When complete, it 
 consists of nine parts, of which the second four are paired with 
 the first four. It begins with a song by the first half-chorus, 
 whose leader in two recitative anapaestic or iambic tetrameters 
 then bids one of the contestants open the debate. He proceeds 
 to argue his case in tetrameters, which tail off as feeling is 
 roused into dimeters, both in the same rhythm as the distich. 
 Iambic tetrameters and dimeters rendered by a debater are 
 melodramatic (804). Then the second half -chorus sings the 
 antistrophe and its leader exhorts the other contestant to defend 
 his views. His argument also is expressed in tetrameters and 
 dimeters. The verdict follows. Slight modifications of the 
 disposition and significance of the nine parts as just outlined 
 may occur. Zielinski has named these parts ySr), KaraK\evo-fj,6<i, 
 TTVLJOS, dvrtnBij, dvriKaraK\eva-fji,o<i, dvreTripprjfjia, 
 
 671. The songs of the debate are closely connected in theme 
 with the following discussion : they emphasize the importance of 
 the question at issue or touch upon the abilities or characters of 
 the contestants, often addressing one or both directly. In a 
 single case (Uq. 303 ff.) the song consists of two strophes and 
 two antistrophes, mesodic tetrameters separating the two parts 
 of the pericope. The following distich, with two exceptions (Eq. 
 407 f., Thesm. 531 f.), is hortatory. It is worthy of note that 
 it begins in fourteen instances out of nineteen with d\\a and 
 that the epirrhema, following the first distich, in seven cases in 
 ten begins with KOL ^v. The antepirrhema, however, has this 
 locution only once. In exceptional cases both distichs may be 
 addressed to the same debater, as in the Equites (761 f., 841 f.), 
 in which the chorus is intensely partisan, and in the Aves (460 f., 
 548 f.), in which there is only one debater. In the antihorta- 
 tion of the Lysistrata (549 f.), Lysistrata and her companions 
 are addressed, as both Chremylus and Blepsidemus in the Plutus 
 (487 f.). In the hortation of the Ranae (905 f.) both debaters 
 are warned by Dionysus to mind their manner of speech. This 
 is the only hortatory distich not recited by the leader of one of 
 the half-choruses. The debate proper, composed of epirrhema
 
 672 STRUCTURE OF COMEDY 317 
 
 and pnigos, antepirrhema and antipnigos, does not consist of two 
 set speeches delivered without interruption, but is a dialogue, 
 often bitter in tone, in which other speakers may take part 
 besides the two debaters. Both epirrhema and antepirrhema are 
 generally expressed in the same rhythm, anapaestic or iambic, 
 but one may be anapaestic, the other iambic. When the tone 
 of the debate is contentious and abusive, the lines are iambic. 
 The four trimeters in Nub. 10858 are the only exception to 
 the principle that the epirrhema and antepirrhema are written 
 solely in tetrameters. The number of tetrameters is generally 
 approximately equal in epirrhema and antepirrhema. In two 
 cases it is exactly the same (Eq. 335 ff., Av. 462 f.), and in the 
 first of these it is a multiple of four, as if in imitation of the 
 epirrhema and antepirrhema of the parabasis. The pnigos is 
 generally a dialogue and differs in this particular from the pnigos 
 of the parabasis (668), but with two exceptions (Lys. 598 ff., 
 Ran. 1078 ff.) it also consists of a single hypermeter. 
 
 672. The verdict, when it occurred, was probably delivered 
 by the second corypheus, but it might be omitted, as in both 
 debates in the Nubes, in which one of the speakers in each 
 debate abandons his case. Of. Nub. 1101 b ff., 1437 ff. In the 
 first debate in the Equites (457 ff.) it consists of four iambic 
 tetrameters, in the Tkesmophoriazusae (571 ff.) of three, and here 
 it is no more than a peremptory command to stop wrangling ; in 
 the second debate in the Equites (941 f.) it is expressed in prose. 
 In the Vespae (725 ff.) it consists of four anapaestic tetrameters 
 and two paired songs and two paired recitative anapaestic periods. 
 The verdict proper is found in the first three tetrameters ; in the 
 verses that follow the chorus, now convinced, pleads with 
 Philocleon to yield. Similarly in the Aves (626 ff.), after the 
 chorus has clearly expressed its judgment in the first two 
 tetrameters, it begins to think of the future, and the remaining 
 verses constitute an appropriate introduction to the following 
 scene. In the Lysistrata the poet substitutes for the verdict two 
 trimetrical tristichs spoken by the two debaters (608 ff.). The 
 chorus is still divided and a verdict is not possible. The intro- 
 duction to the debate in this play (46770-4715) is noteworthy, 
 as also the hortatory distich (539 f.) prefixed to the second half. 
 The first debate in the Nubes has an elaborate introduction in 
 anapaestic dimeters (889 ff.). Generally a scene (679 ff.) serves
 
 318 THE VEKSE OF GREEK COMEDY 673 
 
 this purpose. The close of the debate in the Ranae resembles 
 that of the Lysistrata ; here also the discussion has not been 
 brought to a satisfactory conclusion (^akeTrov ovv epyov Siaipelv is 
 the judgment of the chorus), and in a monostrophic dyad (Ran. 
 1099 ff.) that is substituted for the verdict, the chorus urges its 
 continuance, but in some other form. 
 
 673. Two plays, the Eguites and Nubes, have each two 
 debates. The debates in the Thesmophoriazusae, Ecdesiazusae, 
 and Plutus are not complete, lacking the second half. Debates 
 in canonical form are not found at all in the AcTiarnians and 
 Peace. The theme did not allow set discussion. There is an 
 exposition of the poet's main contention in the Acharnians 
 (347625), but it is veiled, and the effect of its seriousness 
 is counteracted by the intrusion of a laugh-compelling satire 
 (393488). To discuss in set form, in 425 B.C. in Athens, the 
 folly of the party that insisted on continuing the war with 
 Sparta would have exasperated the public. 1 In the spring of 
 421 B.C., when the poet's Peace was brought out, the question of 
 peace or war needed no discussion. On the other hand, the 
 debate sometimes preserves canonical form, but in reality is not 
 a debate but a continuous argument. In the Aves, for example, 
 there is but one debater. In the epirrhema he endeavours to 
 convince the chorus of birds that sovereignty rightly belongs, not 
 to men, but to them ; in the antepirrhema he develops his plan 
 for securing it. 
 
 674. The parode of the earliest Attic comedy (665) was 
 probably wholly lyrical ; subsequently verses in recitative were 
 added, in two extant plays to the complete exclusion of the 
 lyrical element (Eq. 242 ff., Pax 299 ff.). This division is in 
 many particulars singular as developed in Aristophanes. The 
 definition of 'parodos' in Aristotle's Art of Poetry (1452b), 17 
 TT/JOOTT; Xet9 0X77 xopov, whether his own or not and whether 
 intended to apply to comedy or not, certainly does not cover 
 the parode of Aristophanes. 2 Zielinsld's definition of the comic 
 parode, as ' the verses rendered by the chorus, with accompanying 
 evolutions and music, from the time it first appears in the isode 
 until it comes to a standstill in the orchestra,' also fails to 
 
 1 See Mazon, Composition, 24 f. of the parode of comedy (Gliederung, 
 
 2 See Westphal's discussion of this 127), with Gleditsch's restatement 
 statement of Aristotle (Prolegomeiut, 57 (Metrik 3 , 236). 
 
 ff.) and Zielinski's elaborate definition
 
 676 STRUCTURE OF COMEDY 319 
 
 comprehend the facts. Actors, as well as the chorus, appear 
 within the limits he sets, and in two plays, at least (Nubes, Ranae), 
 the chorus is heard before it is seen. The chorus is an important 
 factor in comedy, its two leaders are actors as well as singers, 
 in the parode it dominates the scene. Its coming is always 
 intimated, and the preparations for its appearance, which may be 
 purposely delayed, are sometimes elaborate. The parode would 
 naturally seem, then, to begin at that point in the play where 
 the chorus either actually appears or its coming is definitely 
 indicated. There is always a shift at this point from the stock 
 trimeters of the prologue to some other rhythm. Some previous 
 allusion to the chorus in the trimeters of the prologue prepares 
 the way for the change in all the extant plays. See Ach. 178 ff., 
 199 ff.; Eg. 225 f . ; Nub. 252 f. ; Vesp. 214 ff. ; Pax 296 ff. ; 
 Av. 198 ff.; Lys. 247 ff. ; Thesm. 280 ff. ; Ran. 312 ff. ; Eccl 
 268 ff. ; Pint 223 ff. The parode would naturally seem also 
 to end at that point in the action where the chorus has ceased 
 to be the most prominent figure on the scene. This is coincident 
 with the beginning of a following division of the play of which 
 the form and use are unmistakable. These limits of the parode 
 are adopted in this book. 
 
 675. The parode lacks canonical form. In each instance 
 the poet has employed the particular structure that is best 
 adapted to carry the action forward at this important stage of 
 its development. It is noteworthy that the principle of pairing 
 of non-melic parts that is seen in the parabasis and is so 
 notable a feature of the debate is rarely employed in the parode. 1 
 The lyrical elements, on the contrary, which are abundant in 
 some plays, are generally paired. 
 
 676. The parode of the Ranae (316 ff.) is almost wholly 
 lyrical, and the lyrical elements are in correspondence as dyads, 
 triad and octad. Non-lyrical parts, rendered by actors, by the 
 first corypheus of the chorus of men as hierophant, and by the 
 leader of the supplementary chorus of women as daduch, serve 
 
 1 Zielinski endeavours to establish is four or a multiple of four. He 
 
 both 'symmetry' and 'eurhythmy,' assumes, of course, exceptions to the 
 
 in the technical sense in which he application of these principles. Their 
 
 employs those terms, in the parode application to the debate (Gliederung, 366 
 
 (Gliederung, 352 ff.). Not only are ff.) involves the frequent assumption of 
 
 epirrhema and antepirrhema here dis- pauses equivalent to a whole tetrameter, 
 
 coverable, he says, but each has the In this investigation, Zielinski proceeds 
 
 same number of verses, and this number from the parabasia (Gliederung, 349 ff.).
 
 320 THE VEESE OF GREEK COMEDY 676 
 
 as links to connect the songs. See 704. Just when the choruses 
 appeared in the isode in this play cannot be certainly determined. 
 It cannot have been before 323, and it is probable that the 
 general introit was delayed till 354, when the hierophant entered 
 at the head of the great procession. Compare the similar 
 situation in the Nubes. The lyrical elements in the parode of 
 the Lysistrata also (254 ff.) are paired. See 704. Compare 
 with the preceding the simple structure of the first half of the 
 parode of the Acharnians (204 ff.), AA**. 1 This is separated 
 from the second half by an intermediate scene, during which 
 the chorus is in hiding. The structure of the lyrical element in 
 the second half is proodic, AB*B. The parode of the Ecdesiazusae 
 is peculiar. The members of the chorus have gathered during 
 the prologue, 2 and leave the scene in the 'parodos' 3 (285 ff.), 
 *AA. They return in the epiparode (478 ff.), ABB**. The 
 first parode of the Peace (299 ff.), like that of the Equites 
 (24*7 ff.), is non-lyrical, although extremely lively. At the close 
 of the following syzygy Hermes bids the chorus and the super- 
 numeraries 'come in' (ela-ioures, 427), namely to that part of 
 the orchestra which lay within the wings just in front of the 
 proscenium, and shovel away the stones under which Peace is 
 buried. When she has been recovered, the chorus, in the second 
 parode (553 ff.), returns with the supernumeraries to its proper 
 place, and after a song settles down for the remaining business 
 of the play. These two parts of the second parode, of which 
 each has the structure and employs the rhythms of the first 
 parode, are separated by a non-antistrophic mesode, so that the 
 general scheme is **A**. The lyrical elements in the parode 
 of the Plutus (253 ff.) are pentadic, *AABBC ; the structure 
 of that of the Vespae (230 ff.) is similar, **AABBC. See 716. 
 In that of the Thesmophoriazusae (295 ff), on the other hand, 
 there is no correspondence of lyrical parts, *A*B. In the Nubes 
 the chorus does not appear until long after the parode (263 ff.) 
 is under way. Cf. 323 ff. Its song, in answer to the invocation 
 of Socrates, has been heard from afar. The discourse that follows 
 this lyric dyad is very long, but the Clouds are its continuous 
 subject. The long anapaestic verses in which it is written are 
 singularly appropriate to the character both of the chorus and 
 
 1 The asterisk signifies a non-melic part. 
 a See the editor's Unrecognized Actor, 124 f. 3 jiT(i<rra<m Poll. iv. 108.
 
 677 STRUCTURE OF COMEDY 321 
 
 of the two elderly men. With becoming dignity the chorus 
 takes but small part in it, but it closes the parode in a trio with 
 Strepsiades. The structure of this parode is *A*A**B. The 
 parode of the Aves (227 ff.) is an excellent illustration of the 
 poet's skill in devising a form suited to the theme. The Hoopoe 
 convokes the birds in an elaborate monody, but the chorus delays 
 its coming till 294. It probably enters in regular formation, 
 since six birds are named in 297301, the first file, and six each 
 in 302, 303, 304, but it breaks rank at the isode, and its 
 members run chirping and calling in confusion about the orchestra. 
 Its excitement increases when the Hoopoe repeats his fatal 
 announcement in 320, an attack ensues, and it is long before 
 its hostility can be allayed and the parode brought to a close. 
 The structure of this parode seems to be intricate, but it is 
 exactly adapted to the situation, A**B*B**C. 
 
 677. In imitation of the epirrhematic syzygy that closes the 
 parabasis, a primitive part of the play (665), comedy developed 
 a division which has also been appropriately named syzygy by 
 Zielinski, since it consists of strophe and antistrophe, epirrhema 
 and antepirrhema, with strophe and antistrophe always separated. 
 But this new division, although its structure is unmistakable, 
 differs from the epirrhematic syzygy that closes the parabasis 
 in important particulars. The strophe and antistrophe of the 
 parabasis are never amoebean, but were sung solely by the 
 half-choruses. In the syzygy quite one half of the strophes 
 and antistrophes are extremely vivacious duos or trios in which 
 the singers were actors and the leaders of the half-choruses. 
 The epirrhema and antepirrhema of the parabasis always 
 consist of trochaic tetrameters, and the number of these is the 
 same in each ; they always follow strophe and antistrophe, and 
 they were continuously rendered in recitative respectively by 
 the leaders of the half-choruses ; in the syzygy they consist, 
 with a few exceptions which will be considered below, exclusively 
 of spoken trimeters which are not equal in number, they 
 frequently come first in order, epirrhema, strophe, antepirrhema, 
 antistrophe, in place of strophe, epirrhema, antistrophe, ant- 
 epirrhema, and they are commonly a dialogue in which the 
 speakers are actors (or an actor) and a leader of one of the 
 half-choruses, or actors alone. Occasionally the epirrhema or 
 antepirrhema, or both, is a monologue taken by an actor. 
 
 Y
 
 322 THE VERSE OF GREEK COMEDY 678 
 
 Syzygies in four parts of canonical form and rhythm occur 
 in Ach. 347 ff., 489 ff., Pax 819 ff., Av. 1118 ff., Ran. 
 460 ff. Syzygies do not occur in the Lysistrcuta, Ecclesiazusae 
 or Plutus. 
 
 678. Deviations from the prescribed form may occur. These 
 result from the natural development of the action and are 
 generally simple. Thus, in Eq. 611 ff. and Ach. 1000 ff. the 
 situation warrants a brief introduction in trimeters. In Pax 
 922 ff., a prayer in anapaestic rhythm (9741015) breaks the 
 continuity of the antepirrhema. Similarly in Nub. 627 ff. the 
 poet has inserted a burlesque /CO/A/AO? (70722) between the two 
 halves of the syzygy. Twenty epirrhemata or antepirrhemata 
 in a total of thirty-two are composed exclusively in trimeters, 
 but appropriate variations of rhythm may occur, as in Pax 346 
 ff., in which each half of the syzygy closes with two hortatory 
 trochaic tetrameters, so that the epirrhema and antepirrhema end 
 each in a compound tristich; in Aves 801 ff., 1494 ff., in which 
 the epirrhemata consist solely of trimeters, the antepirrhemata 
 of trimeters and prose; and in Pax 459 ff., in which the 
 antepirrhema ends in four iambic tetrameters and a final Yo- 
 heave-ho in the effort, which is successful, to bring the huge 
 statue of Peace from the pit. In Vesp. 403 ff. the epirrhema 
 and antepirrhema are composed in trochaic tetrameters, in imita- 
 tion of the corresponding parts in the parabasis, but the number 
 of tetrameters is respectively thirty-one and thirty-eight and 
 they constitute a dialogue. In Vesp. 334 ff. the poet imitates 
 the epirrhematic structure of the debate : the epirrhema and 
 antepirrhema are written in anapaestic tetrameters ; the first two 
 of these in each division are recited by a corypheus and are 
 hortatory ; the epirrhema even ends in a recitative anapaestic 
 hypermetrical period. But no question is tinder discussion and 
 the action advances rapidly. The syzygy in TJiesm. 655 ff. is 
 unusually elaborate. In the preceding scene the sex of 
 Mnesilochus has been revealed and Cleisthenes, as he leaves, bids 
 the women watch him with care until he lodges information with 
 the prytanes. The women constituting the chorus are greatly 
 excited there may be other men lurking near ! and the syzygy 
 is prefaced by an introduction, as in Ach. 1000 ff. and Equites 
 611 ff., but here it is a Song of Quest opened by recitative 
 anapaestic tetrameters that have the ring of the commation of a
 
 680 STRUCTURE OF COMEDY 323 
 
 parabasis. A lively dance accompanies the song. Then the 
 syzygy begins at 667. In this again epirrhema and ant- 
 epirrhema, written in the main in trimeters, begin each with two 
 hortatory tetrameters recited respectively by the leaders of the 
 half-choruses, but the rhythm is now trochaic. When, further- 
 more, in the epirrhema the women realize the bold stratagem of 
 Mnesilochus, feeling is so intense that the rhythm shifts from 
 trimeters to dochmii and trochaic tetrameters. 
 
 679. There are certain divisions of a comedy that serve to 
 mediate the parts between which they occur, special connecting 
 links that adjust and advance the action. It is historically 
 significant that more than half of them thus connect primitive 
 divisions (665). Furthermore, twenty in twenty-six of them 
 occur either before a parabasis or before a debate, primitive parts 
 in which the action of the play stands still. They here gather 
 up the lines of the action and bring it to the point at which it 
 may be readily resumed after the intermission. This continuance 
 of a suspended action is marked in those cases in which the 
 same personages that are actors in the scene that precedes a 
 parabasis reappear in the part that follows it. Cf. Eq. 461 ff. 
 with 611 ff., Nub. 476 ff. with 627 ff., Vesp. 891 ff. with 1122 ff., 
 Pax 657 ff. with 819 ff., Ao. 638 ff. with 801 ff, Them.. 765 ff. 
 with 846 ff., Ran. 605 ff. with 738 ff. When this connecting 
 division occurs before a debate, it becomes, by its ordering of the 
 action, an appropriate introduction to the following discussion. 
 Cf. Nub. 1321 ff, Ao. 434 ff, Lys. 387 ff., Thesm. 372 ff, Han. 
 830 ff., Eccl. 520 ff., Pint. 322 ff. The name scene has been 
 given to this mediating division. 
 
 680. The stock verse of the scene is the trimeter, as would 
 be expected. In fifteen cases in a total of twenty-six the scene 
 is composed exclusively in trimeters, including shorter iambic 
 lines and anaphonemata. Eecitative verses are introduced in 
 four scenes : Nub. 476 ff. begins with a hortatory anapaestic 
 distich; Pax 428 ff. begins with three trochaic tetrameters 
 and ends with a prose formula; Pax 1039 introduces dactylic 
 'hexameters'; Ao. 638 ff. three anapaestic tetrameters. The 
 scene may include a lyric, if the situation warrants it. Thus 
 Ach. 242 ff. ends with a monody in iambic rhythm and Thesm. 
 765 ff. with a short monody in anapaestic rhythm. On Ran. 
 664-7, in Scene I., see 709. Ran. 830 ff. includes a prayer to
 
 324 THE VERSE OF GREEK COMEDY 681 
 
 the Muses in dactylic rhythm, Thesm. 372 ff. two hortatory iambic 
 tetrameters and two songs, one in simplified logaoedic, the other 
 in paeonic-trochaic rhythm, Av. 903 ff. the song of the Poet, 
 dactylic 'hexameters' and prose. In Vesp. 760 ff. the length of 
 the mock-trial is skilfully relieved by the introduction of a lyric 
 triad and a prayer in recitative verse between the preparations 
 for the case and its hearing. 
 
 681. The special use of the scene before parabasis and debate 
 determines its position. Twenty scenes are found somewhere in 
 the first half of the play, all preceding the first parabasis ; the 
 other six are in the second half, into which they have been 
 attracted by a second parabasis (Eq. 1151 ff, Nub. 1105 ff, Pax 
 1039 ff, Av. 903 ff.) or by a debate (Nub. 1321 ff, Ran. 830 
 ff), immediately before which they occur. Only two scenes 
 (Ach. 242 ff, Thesm. 765 ff), as has been noted, end in a lyric, 
 and in each case this is a non-antistrophic monody. 
 
 682. The action of the second half of the play is carried 
 forward mainly in the episode, which is invariably followed by 
 a stasimon that either actually occurs or is indicated in the 
 manuscripts. From the point of view of structure, therefore, 
 episode and stasimon properly constitute a single division. Both 
 names have been adopted from tragedy. The stasimon is never 
 non-antistrophic. It is often a monostrophic dyad AA (seven 
 cases), but it may be a tetrad AAAA (Ach. 836 ff, % 1111 ff., 
 Ban. 814 ff), a hexad AAAAAA (Eq. 973 ff), a triad consisting 
 of proode, strophe and antistrophe ABB (Ach. 1143 ff.) or of 
 strophe, mesode and antistrophe ABA (Av. 1313 ff), a pericope 
 ABAB (Ach. 971 ff, Vesp. 1265 ff.), or it may have still more 
 elaborate structure AABCD (Thesm. 1136 ff), ABCCCDDE 
 (Thesm. 947 ff). A stasimon is missing in the Nules and no 
 stasima occur in the Ecclesiazusae and Plutus, but their places are 
 severally indicated in the manuscripts. The stasimon always 
 follows the episode, once with an introduction composed of verses 
 in recitative (Lys. 101442) ; its parts are never separated from 
 one another by intervening recitative or spoken verses ; in six- 
 teen cases in eighteen it is rendered solely by the chorus, as are 
 the strophe and antistrophe of the parabasis, and the two 
 instances in which it is a duo (Eq. 1111 ff, Av. 1313 ff.) 
 introduce each a single actor. Besides these two cases, there are 
 only two others (Eq. 973 ff, Thesm. 1136 ff.) in which an actor
 
 684 STRUCTURE OF COMEDY 325 
 
 or actors remain during the rendering of the stasimon. 
 Aristophanes, like the tragic writers, emphasized its importance 
 by leaving the chorus in sole possession of the scene during its 
 performance. The particulars just mentioned differentiate the 
 stasimon from the lyric dyad of the syzygy. This is always a 
 dyad ; strophe and antistrophe often precede the epirrhema and 
 antepirrhema ; they are always separated by intervening verses ; 
 in half the instances of their occurrence they are duos or trios ; 
 in twenty-nine instances in thirty-two an actor or actors are 
 present during their rendering. In three cases (Av. 851 ff., 
 1553 ff., 1694 ff.) the situation requires that the actors shall 
 leave the scene. 
 
 683. The stock verse of the episode is the trimeter. In ten 
 cases in twenty-six it is composed solely of trimeters, including 
 anaphonemata. In seven other cases, dochmii (Thesm. 846 ff., 
 Pint. 627 ff.), recitative verses (Eq. 997 ff., Poo; 1191 ff., Lys. 
 706 ff., 1072 ff.) or prose (Ach. 719 ff.) have been introduced. 
 The episode may include lyric elements, if the situation warrants 
 it. Thus melic periods have been introduced in Vesp. 1122 ff., 
 melic periods and the song of Cinesias in Aves 1335 ff., a non- 
 antistrophic iambo-trochaic monody in Vesp. 1292 ff., a non- 
 antistrophic anapaestic trio in Lys. 829 ff., a dyadic iambic trio 
 in Ach. 860 ff., an extremely lively duo in composite rhythm and 
 a short iambic monody in Nub. 1131 ff., a parody of a scene from 
 the Andromeda in iambo-trochaic rhythm and the echo-scene in 
 Thesm. 1001 ff., a continuous succession of songs in Heel. 877 ff. 
 Finally, in the celebrated Battle of the Bards in Ran. 1119 ff., a 
 long but closely connected episode, a song in Aeolic rhythm, in 
 which the chorus expresses eager curiosity to learn how Euripides 
 will establish his charge against Aeschylus, follows the test of the 
 poets' prologues, and two mock lyrics in dactylic rhythm, a mock 
 lyric in Aeolic rhythm and a burlesque monody are introduced 
 into the following test of their choral rhythms, the episode ending 
 with the trial of the scales, introduced by a short lyric in 
 trochaic rhythm which expresses great excitement. 
 
 684. The prologue is that division of a comedy which 
 precedes the parode (674 ff.). Like the scene it is normally 
 trimetrical, and the prologues of six extant plays are written 
 exclusively in trimeters, including short iambic lines and ana- 
 phonemata. Eecitative verses and non-antistrophic songs by
 
 326 THE VERSE OF GREEK COMEDY 685 
 
 actors may be introduced on occasion, but since the chorus has 
 not yet appeared no dyadic lyric, consisting of strophe and 
 antistrophe, is found in the prologue of any play. Dactylic 
 ' hexameters ' occur in the prologue of the Eguites ; a melic 
 anapaestic period in that of the Aves ; two recitative anapaestic 
 periods and a melic dactylic period in that of the Peace ; a 
 recitative anapaestic period and a song chiefly in ionic rhythm in 
 the Thesmopkoriazusae ; the frog-song in iambo-trochaic rhythm 
 in the Ranae. 
 
 685. In eight of the extant comedies of Aristophanes the 
 exode follows a stasimon, in the other three, Eguites, Nubes, Aves, 
 it follows respectively a second parabasis, a second debate and a 
 syzygy. The last lines of eight of these exodes were rendered 
 by the chorus, in a ninth, the Lysistrata, by a supplementary 
 chorus. It seems likely that the Peace also originally ended 
 with the singing of the hymeneal strain by half-choruses, so that 
 the rendering of the last strophe was the same as that of the 
 strophe that preceded it. See 584. This general choral ending 
 of the plays led Dindorf to suggest that lines had been lost at 
 the close of the Equites, which as transmitted consists simply of 
 recitative anapaestic tetrameters and iambic trimeters. 
 
 686. It seems probable that these final lines were all melic, 
 but the Nubes, Thesmophoriazusae and Plutus end each in an 
 anapaestic period that is too brief to furnish sure evidence of this 
 in its metrical form. See 292. The final words, however, of 
 the chorus in the Plutus are significant : Set yap Karoinv rovrcov 
 aBovra? ejreo-Ocu, although they are sometimes interpreted to 
 refer to a following stock song that has not been preserved. 
 The remainder of the exode in each of these three plays is com- 
 posed in trimeters. Trimeters are found also in all the other 
 plays except the Ranae, in which the exode begins with a 
 recitative anapaestic period and ends with a non-antistrophic 
 dactylic period, and the Peace, in which it consists of recitative 
 anapaestic tetrameters, a recitative anapaestic period, and probably 
 a monostrophic octad in Aeolic rhythm. The lyrical close of the 
 latter is elaborate and five other plays end similarly : the 
 Acharnians in a pseudo-monody, chiefly in iambic rhythm ; the 
 Aves in a lyric of seven periods ; the Lysistrata in three 
 non-antistrophic periods in simplified logaoedic rhythm; the 
 Ecclesiazusae in a hyporchematic lyric, chiefly in dactylic rhythm,
 
 687 STRUCTURE OF COMEDY 327 
 
 following recitative trochaic tetrameters ; and the Vespae in an 
 epodic triad in prosodiac rhythm, following a recitative anapaestic 
 period and recitative anapaestic tetrameters. 
 
 687. Four of the divisions of comedy that have been dis- 
 cussed in the preceding paragraphs have canonical form, the 
 parabasis, the debate, the syzygy, and the episode with following 
 stasiinon. Eegarded from the point of view of their use of 
 rhythms, the divisions of comedy fall into two classes, of which 
 one normally excludes the trimeter, the other admits it. The 
 former includes the three primitive divisions, parode, debate and 
 parabasis. Trimeters never occur in the parabasis ; they are 
 irregularly admitted into the debate only in Nubes 10858 and 
 Lys. 60813, and into the parode only in Thesm. 331-51, Ecd. 
 504-13,^. 263-6,and Ran. 318-22, 337-9, 414-1 5(?). The 
 normal elements of these three divisions are melodramatic and 
 recitative verses and periods and lyric strophes. Four of the 
 remaining divisions, syzygy, episode with stasimon, scene and 
 prologue, all normally include the trimeter. The first two consist 
 of trimeters and lyric strophes that are arranged eV Sie^eia in 
 the former and Kara a-vve^iav in the latter (700) ; trimeters are 
 the sole normal constituent of the last two, but Aristophanes, as 
 we have seen, is not bound by convention, and the trimetrical 
 parts of these four divisions may admit recitative verses and 
 periods and lyric strophes. The prologue and the trimetrical 
 parts of the syzygy eschew the infusion of the lyrical element, 
 the scene admits it freely, the episode still more freely. Eecita- 
 tive verses and periods are admitted into any of these trimetrical 
 parts on occasion. The remaining division of comedy is the 
 exode, a happy elective combination, with melic close, of 
 trimeters, recitative verses and periods, and lyric strophes.
 
 CHAPTER XVII 
 COMPOSITION OF A COMEDY 
 
 688. Ancient metricians distinguish three principal forms, 
 ), of poetic composition. A poem may be written by line, 
 
 Kara o"rt%oz>, and then it consists of the same verse, o-rt^o?, 
 indefinitely repeated without change of rhythm, as the Iliad of 
 Homer. If it is composed of more than one form of stichic 
 verse, as a comedy of Menander (Heph. 64. 12 ff.), which 
 combines trimeters and tetrameters, it is said to be fiircrbv Kara 
 a-ri^ov. Secondly, it may be composed Kara TrepioSov, when it 
 consists of great periods, of which the strophe is a type. An ode 
 of Pindar exemplifies the periodic form. Finally, in combination 
 of these two, a poem is JJUKTOV Kara <yevo<; when it is written in 
 part /cara ari^ov and in part Kara vrepioSov, as a tragedy or 
 comedy of the fifth century (Heph. 63. 12 ff.). A comedy of 
 Aristophanes, therefore, is a rroi'q^a yevi/ca)*; (AIKTOV. 
 
 689. The verse of comedy is extraordinarily varied, but may 
 be broadly classified, under the two divisions named above, as 
 stichic verse, used by line, tcara o-ri^ov, and periodic verse, com- 
 posed in periods, Kara irepioSov, but the second division trenches 
 upon the first, for songs occasionally occur that are composed in 
 part of irepioSot Kara a-ri^ov (778), just as conversely there is 
 a class of non-melic periods (710 ff.). 
 
 690. The iambic trimeter, the stock verse of the dialogue of 
 comedy (95 ff.), is the principal form employed by line, but 
 Aristophanes also uses tcarct ari^ov the iambic tetrameter (167 
 ff.) and protracted tetrameter (189, cf. Vesp. 24872), the trochaic 
 tetrameter (244 ff.) and paeonic- trochaic tetrameter (226, cf. Lys. 
 101435), the anapaestic tetrameter (305 ff.) and, in dactylic 
 rhythm, the heroic ' hexameter ' (356 ff.). These are all forms 
 
 328
 
 694 COMPOSITION OF A COMEDY 329 
 
 of Ionian verse (603 ff.). Once he uses a tetrameter in Aeolic 
 rhythm (651 ff.) by line, the Eupolidean (528, cf. Nub. 518-62). 
 
 691. Periodic verse employs all the cola described in preced- 
 ing chapters (II. XII.). It combines freely, but in prescribed 
 orders of arrangement, cola that are in the same rhythm or in 
 different rhythms and that are of the same length or of different 
 lengths, both the full forms and those modified by acephalization, 
 catalexis, and protraction. Cola thus combined constitute the 
 irepioSos, systematic period (47), from which this form of com- 
 position takes its name. 
 
 692. The non-melic stichic verse of comedy is its larger but 
 simpler part. The classification and analysis of its periods, on 
 the other hand, involve problems of real difficulty. An orderly 
 and logical classification of these periods is the first consideration ; 
 only on this basis may the analysis of the periods themselves be 
 safely attempted. Such a classification must conform to the 
 doctrine of Heliodorus, so far as this can be determined, and 
 where this fails must follow in the main Hephaestion's treatises 
 Trepl TLoujfjiaTos, which are brief but valuable. Supplementary 
 dependence may be placed on these with greater confidence, in 
 the investigation of the periods of comedy, since it is now demon- 
 strated that Hephaestion's doctrine rests on the authority and 
 practice of Heliodorus. 1 
 
 693. These sources, unfortunately, are not wholly satisfactory. 
 The Heliodorean metrical scholia on Aristophanes (830 ff.) must 
 be our chief authority in dealing with comedy, and they are 
 indeed helpful, but they are too meagre and mutilated to furnish 
 a systematic body of doctrine. Hephaestion's treatises, on the 
 other hand, though brief, cover all Greek poetry from Homer to 
 the citharodic nomes of Timotheus, and where he particularizes it 
 is evident that he has the lyric poets specially in mind. His 
 classification, therefore, needs serious modification in application 
 to comedy. In this book, the periodic parts of the comedies of 
 Aristophanes are grouped and discussed under the following order 
 of arrangement 
 
 694. Classification of Systematic Periods : 
 First Class. Periods in antistrophic relation : Kara 
 
 1 On the subject of poetic composition ff., 62. 15 ff. House's demonstration 
 
 see in particular Heliodorus in the older (Untersuchungen, 128 ff.) that Heliodorus 
 
 metrical scholia on Aristophanes (830 ff.) is the source of the shorter treatise irepl 
 
 and Hephaestion irepl IlonfifMTOt, 58. 12 llonj/uaros in Hephaestion is important.
 
 330 THE VERSE OF GREEK COMEDY 695 
 
 I. Monostrophic: A = AorA = A = AorA = A = A = A etc. 
 II. Pericopic: AB = AB. 
 
 Second Glass. Non-antistrophic periods : airXal. 
 
 I. Melic. 
 II. Non-melic. 
 
 Third Class. Antistrophic and non-antistrophic periods com- 
 bined : 
 
 I. Epodic: AAB. 
 
 II. Proodic: ABB. 
 
 III. Mesodic: ABA. 
 
 695. The word ' period ' is here used in the first sense in 
 which Heliodorus employs it, in reference to the largest combina- 
 tion of cola. This is the systematic period (47). Thus he 
 applies it to a whole strophe and antistrophe in the parabasis of 
 the Peace. Each of these is said to be a Trepto&o? of nineteen 
 cola (Schol. Pax 775-818 ; cf. Schol. Eq. 551 ff. and 1264 ff.). 
 The strophe and antistrophe of the syzygy in the Equites are both 
 TrepioSoi of eight cola (Schol. Eq. 616-23 = 683-90; cf. Schol. 
 Ach. 1008-17 = 1037-46). Each strophe of the tetras and 
 hexas (701) in the Equites is a TreptoSo? (Schol. Eq. 111150, 
 973-96 ; cf. Schol. Ach. 836-59). Heliodorus applies the term 
 also to songs which lack antistrophic correspondents, the first 
 division of the second general class above, as to the monody of 
 Dicaeopolis in the Acharnians (Schol. Ach. 263 ff. ; cf. Schol. 
 Pax 512 ff.). His comment on the second stasimon in the 
 Acharnians, that each half of the TrepucoTrij is a period (Schol. 
 Ach. 97199), is particularly instructive. Compare also the 
 comment on the third stasimon of the Acharnians (Schol. Ach. 
 114373), a triad that consists of three periods, prob'de (an 
 anapaestic hypermeter), strophe, and antistrophe (717). 
 
 696. It is to be noted that Hephaestion, in his longer treatise, 
 employs the term crvcm^fjia, ' system,' instead of TrepioSo? to 
 designate a strophe. He uses Tre/JtoSo? once in the shorter 
 treatise (61. 15 = 68. 3) in the same sense as Heliodorus. 
 
 697. On this application of the term Trt/aioSos, signalized by Helio- 
 dorus, compare Dionysius : eire Kara O-TI^OV, eire Kara TrepioSov, ty 
 KaXowriv ol p-ova-LKol a-rpo^v (De adm. vi die. in Demosth. 1110 R.), 
 and Planudes : (rrpo^ KCU dvT7T/3o<os KCU e7r<j>S&s (nxr-r^aro, /ier/owv 
 eo-riv v AV/HKOIS TroiTy/iowrtv ' 17 fj.lv ovv crrpoffrr) e<mv r/ Trptarrj Tt,OejJ.tvTj
 
 700 COMPOSITION OF A COMEDY 331 
 
 (Khet. Graec. ed. Walz, v. 510). See Christ's Metrische 
 Uberlieferung, 138. 
 
 698. Heliodorus also applies the term TrepioSos, in the 
 ordinary manner, to the combination of two or more cola into 
 a single rhythmical whole. This is the subordinate period or 
 hypermeter (39, 40). For this usage, as exemplified in the 
 metrical scholia, see his analysis of Ach. 929 39 = 940-51, in 
 which the two iambic heptaineters 92931 and 9324, each 
 composed of three cola, and the octameter 94851 are each called 
 TreptoSo?. On Ach. 1214 ff. he designates each of the six com- 
 binations of trimeter and shorter colon as a 'dicolic period/ 
 and on Eq. 498506, the anapaestic decameter and heptameter 
 constituting the commation as two ' periods.' It is the com- 
 bination of such lesser subordinate periods, or of subordinate 
 periods and hypermeters, that produces the greater or systematic 
 period. 
 
 On an intervening stage, the intermediate period, established by 
 the metrical scholia, see 728. 
 
 699. The systematic periods of comedy may be classified, on 
 the basis of their collocation with one another and with other 
 parts of the play, in three main divisions (694). 
 
 First Class : TO, Kara a-^ea-iv TreptoSi/cd. 
 
 700. The first general class comprehends systematic periods 
 in antistrophic relation, Kara a-^eo-tv. The related parts (strophe, 
 antistrophe) may be juxtaposed, TO. Kara awe-^eiav avraTro&iSo- 
 peva. 1 This relation of parts is found in stasima and sometimes 
 elsewhere, as in Pax 775-96 = 797-818. But the antistrophe 
 is generally separated from the strophe, in comedy, by an inter- 
 vening series of verses in another rhythm to which a second series 
 corresponds, as in the last half of the parabasis, in the debate 
 and in syzygies. Thus Heliodorus commenting on Pax 93955 
 says : /ie\o9 o vrrovo<a fj,ev e%iv rb avrio-rpotyov ev &i%eia, with 
 reference to the antistrophe in 102338. Such periods, there- 
 fore, may be denominated ra ev Sie^eta (or Kara Bie^eiav Heph.) 
 
 On their semeiosis see 851. 
 
 1 The phraseology does not happen to Hephaeation, but is restored by Hense 
 occur in the Aristophanio scholia nor in (Untersuchungen, 131).
 
 332 THE VERSE OF GREEK COMEDY 701 
 
 This first general class may be divided into two sub-classes. 
 
 701. I. Monostrophic. In monostrophica, the song consists 
 of a single systematic period repeated one or more times. Cf. 
 Heph. 66.21 f. : jjuovoo-Tpofyitca fiev ovv el<rlv oTrcxra VTTO iiias 
 arrpoffis Kar after peer at. If it occurs twice A = A, the common 
 form in comedy, the song consists of strophe and antistrophe and 
 is called fiovoo-rpofatcr) St/a?. Cf. Pax 775-96 = 797-818, in 
 which the arrangement is Kara a-vve^eiav, and the metrical 
 scholium. When strophe and antistrophe are separated, the 
 analysis into cola is not repeated in the metrical note on the 
 antistrophe, except by oversight. Cf. Schol. Eq. 683-90 ( = 616- 
 23): ejrerai rj avrivrpofyos TT}<? irpoa'iroBeBofjiev'rjs, and Schol. Pax 
 385-99 ( = 346-60). If the song occurs three times it is a 
 fj,ovoa-rpo<f>iKr) rpids, as in Ran. 398413, arranged Kara 
 avve^etav, A = A = A, and in Thesm. 95968. If four times, 
 it is a fj,ovo<TTpo(f>iKr) rerpds, as in Ach. 83659, on which 
 the comment is: /jLovoarrpofyiicr) Trepibbwv e^atccoXcov rerpa<s\ 
 Eq. 11111150: //.eXo? p,ovocrrpo<$>iKov afjioiftalov TreptoSwv 
 reaa-dpajv ; Ran. 81429. Uq. 9736 (see the comment) is a 
 fjioi>oa-Tpo<j)LKr) e|9, A = A = A = A = A = A; Ran. 4 1 639, and 
 perhaps Pax 1329-57 (584), a fAovoa-rpofaicr) o/cra?. 
 
 The following single monostrophic dyads occur in Aristo- 
 phanes : 
 
 702. eV Sie X eia: Parode: Ach. 204-18 = 219-33, 284- 
 302 = 335-46, Nub. 275-90 = 298-313, Ao. 327-35 = 343- 
 51. Syzygy: Ach. 358-65 = 385-92, 489-96 = 566-71, 
 1008-17 = 1037-46, % 616-23 = 683-90, Nub. 700-6 = 
 804-13, Vesp. 334-45 = 365-78, Pax 346-60 = 385-99, 
 459-72 = 486-99, 856-67 = 909-21, 939-55 = 1023-38, 
 Ao. 851-8 = 895-902,1188-95 = 1262-8,1553-64 = 1694- 
 1705, Thesm. 667-86 = 707-25, Ran. 534-48 = 590-604. 
 Debate: Eq. 756-60 = 836-40, Nub. 949-58 = 1024-33, 
 1345-50 = 1391-6, Vesp. 526-45 = 631-47, 729-35 = 743- 
 9, Av. 451-9 = 539-47, Lys. 476-83 = 541-8, Ran. 895- 
 904 = 992-1003. Parabasis : Ach. 665-75 = 692-702, Sq. 
 551-64 = 581-94, 1264-73 = 1290-99, Nub. 563-74 = 
 595-606, Vesp. 1060-70 = 1091-1101, Pax 1127-39 = 
 1159-71, Av. 737-52 = 769-84, 1058-71 = 1088-1101, 
 Ran. 674-85 = 706-17. 
 
 703. tcara trvvk^iav. Parode: Ecd. 289-99 = 300-310.
 
 706 COMPOSITION OF A COMEDY 333 
 
 Debate: Han. 1099-1108 = 1109-18. Parabasis: Pax 775- 
 96 = 797-818. Episode : Ach. 929-39 = 940-51. Stasimon: 
 Nub. 1303-10 = 1311-20, Vesp. 1450-61 = 1462-73, Pax 
 1-305-10 = 1311-15,^. 1470-81 = 1482-93, Lys. 781-804 
 = 805-28, 1043-57 = 1058-71, 1189-1202 = 1203-15, Ran. 
 1482-90 = 1491-9. 
 
 704. Monostrophic dyads may follow one another within 
 the same main division of the comedy, as in the parabasis of the 
 Lysistrata-. 614-25 = 636-47, 658-71 = 682-95, A*A*B*B*, X 
 and in the parode of the same play : 256-65 = 271-80, 286- 
 95 = 296-305, 321-34 = 335-49, *A*A*BB**CC**. This 
 is a favourite arrangement of lyrical parts in tragedy. Mono- 
 strophic dyads, triads, etc. may thus be joined in comedy within 
 the same main division, as in the parode of the Ranae : 316 = 
 317, 323-36 = 340-53, 372-7 = 378-81, 384-8 = 389-93, 
 398-402 = 403-408 = 409-13, 416-18 = 419-21 = 422-4 = 
 425-7 = 428-30 = 431-3 = 434-6 = 437-9, 448-53 = 454- 
 
 9, AA*B*B*CC*DD*EEE*FFFFFFFF*GG. Dyads and triads 
 
 are found also as parts of the groups in the third class described 
 below (715 ff.) 
 
 705. II. Pericopic. Two systematic periods that are not 
 metrically equal are sometimes united in Aristophanes into a 
 larger unit called irepiKoirrj avofAoiofiepijs and two such TrepiKdTrai 
 may stand in antistrophic correspondence (Kara o-^e<ui>), after 
 the manner of monostrophica Compare the second stasimon of 
 the Acharnians : 971-5 + 976-85 = 986-9 + 990-9, AB = AB, 
 which Heliodorus calls a crv^vjia icara 7Tptfco7rrjv avo/jLoio^eprj. 
 Compare also the second stasimon in the Vespae: 126574 + 
 1275-83=<x x x >+ 1284-91, AB = <A>B, the second syzygy 
 in the same play : 403-14 + 415-29 = 461-70 + 471-87, AB* 
 
 = AB*, and the first debate in the Equites: 303-13 + 322- 
 32 = 382-90 + 397-406, A*B* = A*B*. 
 
 Second Glass : n-epioStica a-TrXa. 
 
 706. In comedy a systematic period frequently stands by 
 itself. It is not in relation of antistrophic equivalence with any 
 other period. Such periods are conveniently grouped in two 
 sub-classes (694). 
 
 1 The asterisk (*) signifies a non-nielic part.
 
 334 THE VERSE OF GREEK COMEDY 707 
 
 707. I. Melic. The period, on inspection, is discovered not 
 to differ essentially in kind or constitution from those of the 
 preceding general class. It is always a song, but it is not used 
 antistrophically. 
 
 The following single non-antistrophic melic periods occur in 
 Aristophanes : 
 
 708. Prologue: Pax 114-23, Av. 209-22, Thesm. 101-29, 
 Ran. 209-68. Parode : Nub. 457-75, Pax 582-600, Ao. 227- 
 62, 400-33, Thesm. 312-30, 352-71. Scene: Ach. 263-79, 
 Av. 904 ff., Thesm. 433-42, 459-65, 776-84, Ran. 875-84. 
 Syzygy: Nub. 707-22, Pax 512-19, Thesm, 659-66. Debate: 
 AD. 628-35, Thesm. 520-30, Ecd. 571-80. Parabasis : Ach. 
 626-7, Eg.. 498-506, Nub. 510-17, Vesp. 1009-15, Pax 
 729-33, Av. 676-84. Episode: Nub. 1154-69, 1206-13, 
 Vesp. 1326-40, Av. 1372 ff., Lys. 954-79, Thesm. 1015-55, 
 1065-97, Ran. 1251-60, 1264-77, 1284-95, 1309-28, 
 1331-63, 1370-77. Exode: Ach. 1190-1234, Nub. 1510, 
 Lys. 1247-72, 1279-94, 1297-1322, Thesm. 1227-31, Ran. 
 1528-33, Ecd. 1163-81, Pint. 1208-9. Non-antistrophic 
 periods are found also as parts of the groups in the third class 
 described below (715 ff.). 
 
 709. Detached lyrical strains of only a line or 'two in extent 
 that are too small to be designated as strophes are occasionally 
 found interspersed in the dialogue of comedy. Hephaestion 
 names these parts aarpofa (69. 7 ff.). Of. Vesp. 1226-7, 
 1232-5, 1238-9, 1241-2, 1245-7, 1248, Av. 310-12, 314- 
 16, 1337-39, 1410-12, 1415, Thesm. 700-1, 913-15, Plut. 
 637, 639-40. 
 
 Ran. 6647 probably masks an original trimeter : " ITocretSoi/ " 
 T;A/y?7<rei> rt9 a\o? ev ftevOea-iv. Whether the remaining 
 words : " 09 Alyaiov Trpwvas rj y\avtca<; /z.eet9," a continuation 
 of the quotation from Sophocles's Laocoon (see Schol. Ran. 678), 
 were part of the original text of the play or not is uncertain. 
 See the editors. 
 
 710. II. Non-melic. The period consists of an indefinite 
 number of dimeters, varied by occasional trimeters or monometers, 
 all in the same rhythm, anapaestic, iambic, or trochaic. With 
 rare exceptions it is hypermetrical. Its close is marked by a 
 catalectic dimeter, or rarely trimeter, in the same rhythm, and, if 
 it is composed of more than one hypermeter, each hyperrneter
 
 715 COMPOSITION OF A COMEDY 335 
 
 ends in the same manner. Such a period is said to consist of 
 ' like ' cola, e'f OJAOIWV, In the paired parts of comedy two 
 jrepio^ot, eg opoifov sometimes correspond to one another, a fact 
 indicated in this book by the sign ~, but this is not a relation of 
 equivalence, since with one exception, Pax 11568-118890, 
 such periods are not of the same length and they may be in 
 different rhythms. Of. Eq. 82435, anapaestic dimeters -911 
 40, iambic dimeters and trimeter. Tlepio&ot, eg opoiwv are found 
 in nearly all the main divisions of comedy. 
 
 The following non-melic periods occur in Aristophanes. Those 
 that consist of two or more subordinate periods or hypermeters 
 are marked with a dagger. 
 
 711. Anapaestic: Prologue: Pax 82-101, 154-72, Thesm. 
 39-62f. Parode: Nub. 439-56. Syzygy: Vesp. 358-64, Pax 
 974-1015f. Debate: Eq. 824-35, Nub. 889-948, 1009-23, 
 Vesp. 621-30-719-24, 736-42~749 c -59, Av. 523-38-611- 
 25, Lys. 532-38f~598-607t Ran. 1 078-9 8f, Eccl. 689-709, 
 Pint. 598-618. Scene: Vesp. 879-84. Parabasis: Aeh. 659- 
 64, Eq. 547-50, Vesp. 1051-9, Pa* 765-74, Av. 723-36, Them,. 
 814-29. Exode: Vesp. 1482-95, Pax 1320-8, Ean. 1500-27f. 
 
 712. Iambic: Parode: Lys. 382-6. Debate: Eq. 367-81 
 -441-56, 911-40, Nub. 1089-1104, 1386-90-1446-51, Kan. 
 971-91. 
 
 713. Trochaic : Parode : Eq. 284-302, Pax 339-45, 571- 
 81-651-6, Av. 387-99. Parabasis: Pax 1156-8-1188-90. 
 
 714. The limitations imposed above on the form and rhythm of 
 the 6/iotwv, with the purpose of securing a clearly formulated 
 principle of classification, are more definite than Hephaestion's defini- 
 tions warrant. See Heph. 59. 18 ff.; 65. 12 ff. These, unfortunately, 
 are not explicit, but it is generally assumed that the anapaestic hyper- 
 meter ('system') is the type of what he means. Cf. Heph. 75. 15 ff. 
 
 Third Class : TreptoSttca fiiicrd. 
 
 715. The third class (694) of the songs of comedy comprises 
 those that consist of three or more (Heph. 67. 1 ff.) systematic 
 periods, of which at least two were sung to the same melody. 
 Cf. Hephaestion's definition of the troir)p,ara fittcrd in his smaller 
 treatise : /ura 8e o<ra /ie/>o9 f^ev rt, e%i Kara (r%e<riv, pepo? 
 Be TI atTo\e\vpAvov rj eg o/*otW (60. 9 f.). In comedy the
 
 336 THE VERSE OF GREEK COMEDY 716 
 
 song is not repeated, as in lyric poetry, that is, it is not, as a 
 whole, used Kara aykaiv. 
 
 The pe^r) /u/cra of comedy may be subdivided into three 
 sub-classes, epodic, proodic, and mesodic. 
 
 716. Epodic. In this sub-class the unpaired period follows 
 a strophe and antistrophe, AAB, ytteXo? e-rryBt/cov rpta&i/cov. Of. 
 Vesp. 1518-37, in which the epode is stichic. Epodic structure 
 prevails in Pindar Kara a-^ea-iv, and is not uncommon in 
 tragedy. The song is generally a triad, but by easy and natural 
 development the triad, consisting of a pair of antistrophic parts 
 with epode, may become a pentad consisting of two such pairs 
 with epode, AABBC, /LteXo? eTrwBiicbv TrevraSiicov. Of. Plut. 
 290-321 and Vesp. 273-333. A heptad of this form occurs 
 in Sophocles El. 121-250, AABBCCD. The epode may be 
 irregularly expanded to two or more periods and assume the 
 form of an anomoeomeric pericope (705), as in Thesm. 113659, 
 AABCD. 
 
 717. Proodic. In this sub-class, the single period introduces 
 the song, ABB. Cf. Ack. 114373, and note the comment of 
 Heliodorus : /i-eXo? TOV ^opov TrpowBitebv vrepioBav rpiwv. Cf. 
 also Vesp. 863-90, Ack. 280-346, and Ecd. 478-503. The 
 group of monostrophic dyads introduced into the second episode 
 of the ficclesiazusae (893-975) begins with proode, ABBCC*DD* 
 EEFF. Cf. the form of the first stasimon in Thesm. 947-1000 
 in which two non-antistrophic systematic periods in the form of 
 a pericope are followed by a triad, a dyad and a non-antistrophic 
 period, ABCCCDDE. In Av. 1720-65 a monostrophic dyad 
 has pericopic epode as well as proode, ABCCDEF. 
 
 718. Mesodic. In this sub-class the single period separates 
 strophe and antistrophe, ABA, //,eXo? fiea-wSiKov rpiaSitcov. Cf. 
 Av. 1313-34. 
 
 719. Hephaestion (67. 16 ff.) adds two tetradic to the three 
 normal triadic forms just illustrated, the palinodic, ABBA, and 
 the periodic, ABBC. These combinations of systematic periods 
 do not happen to occur in comedy, but each form of structure is 
 there illustrated in the combination of subordinate periods within 
 the strophe (740 ff.). Both occur in tragedy. The periodic form 
 is, of course, a combination of the first and third triadic forms : 
 proode, strophe, antistrophe, epode.
 
 CHAPTER XVIII 
 ANALYSIS OF SYSTEMATIC PEKIODS 
 
 720. ALL systematic periods in comedy are melic except the 
 recitative and melodramatic periods enumerated in 710 ff. Un- 
 happily, the music of none of these melic periods has been 
 preserved, and we are reduced, in our attempt to determine the 
 form and relation of the subordinate periods and hypermeters 
 that constitute a strophe, to a study of their metrical structure. 
 But this recourse is not sufficient, for metric is not adequate to 
 deal finally with all the problems that demand solution. The 
 original score of these melic periods, with its rhythmical and 
 musical notation to indicate pauses and the length and pitch of 
 syllables, would alone suffice, by plainly revealing the exact 
 value of syllables, equations and variations in the melody, and 
 rhythmical close, to determine the poet's complete intention as 
 to metrical form and periodic structure. The determination, 
 therefore, of the subordinate periods and hypermeters of which 
 some of the melic strophes in Aristophanes are composed cannot 
 now claim to be final, some facts remain uncertain. Nevertheless, 
 since the Greek language was quantitative, and since Greek music 
 was in general simple, and the melody in song was subordinate 
 to the words, metrical form is in Greek unusually significant, 
 and with due reservations the analysis of the systematic period 
 may safely be attempted. The structure of most periods can 
 be determined with reasonable certainty. 
 
 721. The difficulty of determining the periodology of the strophe 
 without the sure indications furnished by the music is well illustrated 
 in Hephaestion's discussion of the aTroAcAv/ieva. In speaking of the 
 a.Tfj.r)Ta he says (69. 16 ff.) that their division is possible, but that the 
 
 337 Z
 
 338 THE VERSE OF GREEK COMEDY 722 
 
 poet has left no indications as to what his division of them was. It 
 is manifest also in the practice of Heliodorus, who generally analyzes 
 the strophe in comedy not into subordinate periods and hypermeters, 
 but directly into cola. 
 
 722. The systematic periods that occur within any main 
 division of a comedy are arranged, as we have seen (694), in 
 three ways: they are in antistrophic relation, or they stand 
 alone, or they are a combination of these two modes of arrange- 
 ment. The subordinate periods and hypermeters that constitute a 
 indie systematic period are grouped in the same manner. This 
 statement rests first on the direct testimony of the practice of 
 Heliodorus and secondly on internal evidence. 
 
 723. The testimony furnished by the practice of Heliodorus 
 in the metrical scholia on Aristophanes is meagre but conclusive. 
 He generally analyzes the systematic period directly into cola, 
 but sometimes, pursuing a middle course, he groups the cola of 
 which the strophe is composed, and then, in designating these 
 groups, he uses precisely the phraseology he employs in grouping 
 systematic periods. Thus in analyzing Ach. 92939 = 94051 
 (86), he calls the two subordinate tricolic periods 929-31 and 
 9324, which are metrically equal and were arranged in his 
 edition each in two crrL^oi, a JAOVOO-T pofatcrj Svds, as if they were 
 strophe and antistrophe (701). Verses 9356 constitute a third 
 TreptoSo? and 937-9 a fourth. See the scholia on Ach. 929, 
 946, 948. He here even introduces the term Si7r\rj (Svo BtTrXat, 
 851, 854), which is not normally used within the strophe (850), 
 to indicate the separation of the different metrical groups, just 
 as he employs it in the commation of the Equites (294, see Schol. 
 Eq. 498) to mark the separation of the opening hypermeter, 
 addressed to a retiring actor, from the following subordinate 
 period, which is the real beginning of the complete parabasis. 
 
 724. The partially preserved metrical scholia on the amoebean 
 song that closes the Acharnians (599) exhibit the same use 
 of technical terms. The separation of the Treplobos which begins 
 with 1210 (ra\a$ eym etc.) from the preceding period is indicated 
 by SiTrXr). The three pairs of periods in 1214-25 (1214-15 
 
 = 1216-17, 1218-19 = 1220-21, 1222-3 = 1224-5) are 
 designated as SuaSes rpels. To indicate, then, the structural 
 interrelation of these periods (aa, bb, cc), Heliodorus employs 
 precisely the phraseology by which normally he indicates the
 
 728 ANALYSIS OF SYSTEMATIC PERIODS 339 
 
 relation of strophes. See 701, 704. Each of these six sub- 
 ordinate irepioSoi is dicolic. 
 
 725. Heliodorus calls Pax 459-72 = 486-99 (302) a 
 TrepiKOTTij of fourteen cola. See Schol. Pax 459 ff. He does 
 not indicate the point or points of division, but probably the 
 grouping is dyadic (459 66, 467 72), and the strophe is 
 regarded as a TrepiKOTrrj dvofjuoto/jiepr)*; BvaBiKij, phraseology that 
 strictly is appropriate only to a group of unequal systematic 
 periods (strophes). See 705. 
 
 726. Heliodorus calls Ach. 489-96 (468) a Tpias /-teo-wSt/c??, 
 as if these subordinate periods (48991 =4946, 492 f.) were 
 a mesodic combination of three systematic periods (718). 
 
 727. Finally, it has already been noted (695, 698) that 
 Heliodorus uses the term Tre/woSo? in the two main senses of 
 systematic period and of subordinate period or hypermeter, 
 that is, he applies it both to a strophe and to a part of a 
 strophe. 
 
 It thus appears (723 ff.) that Heliodorus regarded the forms 
 of structure of single systematic periods as the same as those of 
 the combinations of systematic periods found in different main 
 divisions of the play (694). 
 
 728. His practice, furthermore, establishes another fact of 
 great importance, an intermediate stage of grouping between the 
 subordinate period or hypermeter and the systematic period. 
 The systematic period in Ach. 284302 (452) consists of eight 
 subordinate periods and hypermeters of respectively 45(3)412 
 4 5 4 12 metres. The second half repeats the first. He calls 
 each half of this strophe 7re/3toSo9 and the whole &va<; ftovo- 
 <rTpo<f>iKT]. The type of this strophe, therefore, is B (717) = AA, 
 the small capital letters designating the periods intermediate 
 between the subordinate and the systematic periods (46), and 
 A = abac. Heliodorus, then, made three applications of the term 
 Bvas fjuovoa-rpo^ncij. It might signify strophe and antistrophe 
 (701), or as in Ach. 1214 ff. (724) two subordinate periods, or, 
 as we have just seen, two equivalent combinations of subordinate 
 periods with a hypermeter. And he used the term irepioSos to 
 indicate the half of each of these combinations. Ach. 20418 = 
 21933 (449) is called a /i\o? fiovoo-Tpofaieov ( = t/a? fiovo- 
 <rTpo<f>iicr), A = A). Each systematic period (-TrepioSo?), A, consists 
 of two ' monads ' ( = TreptoSoi). Heliodorus does not state how
 
 340 THE VERSE OF GREEK COMEDY 729 
 
 many cola each ' monad ' contains, but there can be no doubt 
 that the change of rhythm marks the division, and that the first 
 monad or intermediate period A consists of the four trochaic 
 tetrameters, the second B of the following paeonic cola. In this 
 case A = AB. The phraseology of the scholium on Pax 856 
 67 (580) is instructive. The first five cola (856-9) in this 
 systematic period, which constitute two subordinate periods, are 
 exactly repeated in the following five cola (8603). Heliodorus 
 remarks that these two groups may be regarded as arpo(j>ij and 
 az/Tio-T/3o<o9 and the verses that follow as eVpSo?. He means, 
 of course, that the parts of this single strophe (85667) are 
 arranged in an epodic group AAB, as the systematic periods are 
 generally arranged in Pindar AAB. 
 
 Since the subject seems to be complicated, although in fact 
 analysis proves to be simple in practice, it may be well to 
 illustrate the method of Heliodorus by analyzing two or three 
 odes. 
 
 729. Pax 856-67 = 909-21 (580). The metrical complex 
 85667 is a systematic period A, and strophe and antistrophe 
 together constitute a monostrophic dyad AA. Each consists of 
 three intermediate periods (8569 = 8603, 8647 in the 
 strophe), grouped in epodic form : AAB. Each of the equal 
 intermediate periods AA consists of two subordinate periods 
 (8568, two acephalous Glyconics and an acephalous Pherecratean ; 
 859, a diiambic tetrameter = 860 2, 863). These two sub- 
 ordinate periods are grouped after the manner of a dyadic 
 pericope : ab, 6 4 metres. The remaining intermediate period 
 (8647) is the epode, B, and consists of three catalectic sub- 
 ordinate periods (864, a diiambic tetrameter; 8656, a diiambic 
 octameter; 867, a diiambic tetrameter), which are grouped after 
 the manner of a mesodic period : aba, 484 metres. Briefly 
 summarized the formula is : A = A, A = AAB, A = ab, B = aba. 
 
 730. The significance for the music of the exact metrical 
 correspondence of various parts of such a lyric as this is not to 
 be doubted. The antistrophe (90921) has the metrical constitu- 
 tion of the strophe (85667), and all scholars agree that strophe 
 and antistrophe in comedy were sung to the same music, 
 unless the poet has intentionally varied their constitution (51). 
 Correspondences within this metrical and musical complex must 
 have the same significance. The air to which the first inter-
 
 734 ANALYSIS OF SYSTEMATIC PERIODS 341 
 
 mediate period (A: 8569) was sung was repeated in the second 
 (A: 8603). The tune was changed in the final intermediate 
 period (B: 8647), but within this period mesodic metrical 
 structure (aba) indicates that its first and last subordinate periods 
 (aa) were sung to the same melody. 
 
 731. All these correspondences, whether of strophe and anti- 
 strophe or of two intermediate periods or of two subordinate 
 periods, are of the same nature. It must be sharply observed 
 that the metrical agreement of two intermediate or subordinate 
 periods which, it is assumed, had the same melody, must be as 
 exact as that between strophe and antistrophe. Musical correspond- 
 ence of periods in different rhythms, although of the same 
 length, is an impossible assumption. 
 
 732. Eq. 322-32 = 397-406 (451): B = B (705). The 
 strophe, B, consists of two intermediate periods (3227, 32832), 
 which are grouped as a dyadic pericope, AB. The first inter- 
 mediate period, A, consists of three subordinate periods (322-5, 
 a paeonic octameter ; 326, a trochaic tetrameter ; 327, a trochaic 
 tetrameter) grouped as a proodic period : abb, 844 metres. The 
 second intermediate period, B (32832), consists of three sub- 
 ordinate periods (3289, a dactylic tetrameter; 330, a trochaic 
 tetrameter; 3312, a protracted acatalectic diiambic tetrameter), 
 which are distinguished from one another by their rhythm and 
 therefore cannot have been sung to the same melody, are grouped 
 as a triadic pericope : abc, 444 metres. Summary : B = B, 
 B = AB, A = abb, B = abc. 
 
 733. Pax 346-60 = 385-99 (232): A = A. The strophe 
 consists of three intermediate periods (346-9, 350-7, 358-60) 
 grouped as a triadic pericope, ABC. The first, A, consists of 
 three subordinate periods (346, a trochaic tetrameter ; 3478, 
 a paeonic -trochaic hexameter; 349, a trochaic tetrameter), 
 grouped as a mesodic period, aba, 464. B consists of four 
 subordinate periods (350, a trochaic tetrameter; 3513, a 
 paeonic-trochaic hexameter; 3545, a paeonic-trochaic hexameter; 
 356-7, a trochaic tetrameter) grouped in palinodic (719) form, 
 abba, 4664. c consists of a single hypermeter of nine paeonic- 
 trochaic metres. A = A, A = ABC, A = aba, B = abba, c = a. 
 
 Few strophes in Aristophanes have as complicated structure 
 as those just analyzed. Most of them are comparatively simple. 
 
 734. The close of the intermediate period is generally marked
 
 342 THE VERSE OF GREEK COMEDY 735 
 
 by a rhetorical pause, indicated in the text by punctuation that 
 is commonly strong, as in the three odes just analyzed. This 
 fact is particularly significant, since neither Aristophanes nor the 
 Greek poets in general attempted thus to mark the close of 
 subordinate periods. 
 
 735. The correct analysis of a strophe depends on the proper 
 observation of the close of its subordinate periods and hypermeters. 
 This close is normally indicated by catalexis, the variable 
 syllable, or hiatus (43), and no period or hypermeter ends within 
 a word. Commonly also change of rhythm indicates close, but 
 not invariably, since certain rhythms are so concordant that 
 they may be joined within a word. Compare, for example, Ach. 
 836-41 (582). Here A consists directly of three subordinate 
 periods (836 = 837, 83841), a diiambic tetrameter, a diiambic 
 tetrameter, and an octameter consisting of three diiambic dimeters 
 and an acephalous Pherecratean, the last diiambic dimeter and 
 the Pherecratean uniting within a word. The group is arranged 
 after the manner of an epodic triad : A = aab, 448. 
 
 736. Subordinate periods and hypermeters, then, that con- 
 stitute a systematic or intermediate period are grouped in the 
 same manner as systematic periods. See 722. Examples of the 
 various types follow. It will be simpler, in attempting this 
 analysis, to begin with periods of the mixed class, corresponding 
 to the Trepto&i/ca pitcrd of the general classification. See 694 
 and 715 ff. 
 
 TRIADIC GROUPS 
 
 Epodic Type : A or A = aab. 
 
 737. The simplest exemplification of the epodic triad occurs 
 in Ran. 416 ff. (80), a monostrophic octad. The structure of 
 this little iambic strophe is 2 2 3 : two catalectic dimeters with 
 an acatalectic trimeter as epode. See von Wilamowitz, Comment, 
 metricum, ii. 31, and Leo, Plaut. cant. 63. Compare Thesm. 
 947-52 (589), 448: in anapaestic rhythm, two tetrameters 
 with an octameter as epode. Nub. 949-58 (551), 4411: in 
 Aeolic rhythm, two tetrameters with a hendecameter as epode. 
 Thesm. 1136-9 (387), 222: in logaoedic rhythm, two catalectic 
 dimeters with a protracted dimeter as epode. Vesp. 4037 
 (243), 447: in trochaic rhythm, two tetrameters with a hepta-
 
 740 ANALYSIS OF SYSTEMATIC PERIODS 343 
 
 meter as epode. Av. 4514 (409), 3- 3- 4 : in logaoedic rhythm, 
 two brachycatalectic trimeters with a tetrameter as epode. 
 Thesm. 973-6 (589), 225: in Aeolic rhythm, two diiambic 
 dimeters with a diiambic pentameter as epode. Ran. 898904 
 (214), 667: in trochaic rhythm, two hexameters with a hepta- 
 meter as epode. This is a large class in Aristophanes. 
 
 Proodic Type : A or A = abb. 
 
 738. Thus Pax 1329-32 (584), 622: in Aeolic rhythm, an 
 acephalous Glyconic hexameter as proode to two acephalous 
 Pherecrateans. Ach. 35865 (467), 7 3 3: a dochmiac hepta- 
 meter as proode to two iambic trimeters. Eg_, 30313 (450), 
 1844: a paeonic hypermeter of eighteen metres (see 40) as 
 proode to two trochaic tetrameters. Ran. 8957 (214), 233: 
 an anapaestic dimeter as proode to two trochaic trimeters. Eq. 
 3227 (451), 844: a paeonic octameter as proode to two 
 trochaic tetrameters. 
 
 Mesodic Type : A or A = aba. 
 
 739. Thus Pax 864-7 (580), 484: in Aeolic rhythm, two 
 diiambic tetrameters with a diiambic octameter as mesode. 
 Pax 93942 (583), 444: two diiambic tetrameters with an 
 anapaestic tetrameter as mesode. Av. 131 31 7 (406), 424: 
 in simplified logaoedic rhythm, two logaoedic tetrameters with an 
 iambic dimeter as mesode. Pax 3469 (232), 4 6 4 : in paeonic- 
 trochaic rhythm, two tetrameters with a hexameter as mesode. 
 
 TETRADIC GROUPS 
 
 740. Hephaestion (66. 24 ff.) defines the epodic, proodic, and 
 mesodic combinations of systematic periods as groups in which 
 (Tvo-TrifAacrw o/Wot? avopotov TI eVM^eperai, AAB, ABB, ABA, 
 and continues : Sr)\ov6ri CTT' \arrov fjt,ev rov ro>v rpiwv apiOfiov 
 OVK av yevoiro n TOLOVTOV, eVt Tr\elov Be ovBev avro Ka>\vi 
 eKreiveffOai, jiverai yap wcnrep rpias eVcoSt/c?;, OVTOJ Kal rerpas 
 Kai Trevras Kal eTrl ir\elov. He here uses the term rptas 
 eVwSt/c^ in a general sense that includes all three groups. He 
 notes two forms of the rer/aa? (67. 16 ff.), but does not exemplify 
 the Trei/Ta? and ea9. The practice of Aristophanes, however, in
 
 344 THE VEESE OF GREEK COMEDY 741 
 
 his combinations of subordinate periods and hypermeters within 
 a systematic period, clearly illustrates Hephaestion's meaning 
 when dealing with combinations of systematic periods with one 
 another. See 719. 
 
 741. Tetradic and pentadic combinations of subordinate 
 periods and hypermeters arose by process of accretion. Tetrads 
 and pentads were a growth. Every tetrad reveals one of the 
 three triadic groups aab, abb, aba, as the underlying form. The 
 accretion is a proode or epode, with a strong inclination to epodic 
 rather than proodic structure. Similarly, the basis of every 
 pentad is a tetrad of established form, with proode or epode 
 added. 
 
 742. The commonest form of the epodic tetrad is the group 
 aab with epode. Thus arose aabc. The epode of the tetrad 
 consisted not of one subordinate period, but of two, with 
 amplification of the melody by the addition of a new strain. 
 Thus Ran. 398-402 (82), 3 3 5 3 : in iambic rhythm, two 
 catalectic trimeters and a catalectic pentameter, with the same 
 ephymnium, an acatalectic trimeter, as epode in each of the three 
 strophes. See von Wilamowitz, Comment, metricum ii. 31; and 
 Leo, Plant, cant. 63. The former would make similar analysis 
 (4462) of Ach. 836 ff. (582), ending the ode with the colon 
 Eeizianum, as an independent period, notwithstanding hyphena- 
 tion in 840. Compare also Ran. 814-17 (346), 3 3 3- 2 : two 
 dactylic trimeters and a brachycatalectic dactylic trimeter, with 
 a catalectic trochaic dimeter as epode. 
 
 743. But the fourth subordinate period is often not simply a 
 clausula, but a unit of independent proportions. Thus Plut. 
 3028 (88), 4 4 6 7 : in iambic rhythm, two tetrameters and 
 a hexameter, with a heptameter as epode. Av. 147081 (215), 
 6 6 4 8 : in trochaic rhythm, two hexameters and a tetrameter 
 with an octameter as epode. Ach. 20818 (449), 6 6 5 8 : in 
 paeonic rhythm, two hexameters and a pentameter with an 
 octameter as epode. Lys. 619-25 (230), 4445: in paeonic- 
 trochaic rhythm, two paeouic-trochaic tetrameters and a trochaic 
 tetrameter with a paeonic-trochaic pentameter as epode. 
 
 744. If the last subordinate period reverts to the melody of 
 the opening period, the type becomes aaba, with simplification of 
 the melody. Thus Lys. 614-18 (230), 4464: two trochaic 
 tetrameters and a protracted iambic hexameter with a third
 
 748 ANALYSIS OF SYSTEMATIC PERIODS 345 
 
 trochaic tetrameter as epode. The rhythm of this intermediate 
 period is iambo-trochaic. 
 
 745. Hephaestion, as we have seen (740), recognizes tetradic, 
 pentadic, and even more elaborate forms of Trot^ara /M/crd, and 
 he records (67. 16 ff.) two tetradic groups, the 'periodic,' ABBC, 
 and the ' palinodic,' ABBA. These are both represented in the 
 grouping of the subordinate periods that constitute a strophe. 
 It is obvious that the ' periodic ' form arose by accretion of a 
 proode to the epodic triad, forming abbe, or of an epode to the 
 proodic triad, forming abbe. In other words, abbe is a pair of 
 equal periods with both proode and epode. Thus Nub. 130310 
 (581), 5447: in Aeolic rhythm, a pentameter, consisting of a 
 diiambic trimeter and an acephalous Pherecratean, as proode, two 
 diiambic tetrameters, and a diiambic heptameter as epode. Thesm. 
 35260 (560), 4 2 2 9 : in Aeolic rhythm, a diiambic tetrameter as 
 proode, two diiambic dimeters, and a nonameter as epode, consist- 
 ing of a polyschematist dimeter and trimeter and two G-lyconics. 
 
 746. The last member of the ' periodic ' group just considered 
 may be identical with the opening period, giving abba, with 
 simplification of the melody. This is Hephaestion's ' palinodic ' 
 group. As the name implies, it closes with the same musical 
 strain with which it begins. (Compare the group aaba, 744.) 
 Thus Ach. 489-96 (468), 43 3 4: a dochmiac tetrameter as 
 proode, two iambic trimeters, and a second dochmiac tetrameter 
 as epode that repeats the melody of the first period. Ach. 
 100817 (83), 6446: in iambic rhythm, a hexameter as 
 proode, two tetrameters and a second hexameter as epode. Pax 
 350-7 (232), 4664: in paeonic- trochaic rhythm, a trochaic 
 tetrameter as proode, two paeonic-trochaic hexameters, and a 
 second trochaic tetrameter as epode. 
 
 747. The first member of the ' periodic ' tetrad may anticipate 
 the melody of the paired periods that follow and the type then 
 becomes aaab. Thus Han. 534-40 (217), 66 6 4 : in trochaic 
 rhythm, a hexameter as proode that anticipates the melody of 
 the two hexameters that follow, and a tetrameter as epode. The 
 musical effect was that of a monostrophic triad with epode. 
 Compare Pax 114-18 (345), 2 2 2 5 : in dactylic rhythm, three 
 dimeters with a pentameter as epode. Ban. 1370-7 (218), 222 
 1 : in trochaic rhythm, three dimeters with a decameter as epode. 
 
 748. A tetradic group arose from the mesodic triad aba by
 
 346 THE VERSE OF GREEK COMEDY 749 
 
 accretion of an epode, forming abac. Thus Av. 67684 (546), 
 2- 6 2- 8 : in Aeolic rhythm, two brachycatalectic polyschernatist 
 dimeters that enclose a Glyconic hexameter with a Glyconic 
 octameter as epode. Ach. 294-302 (452), 4 5 4 12: two 
 trochaic tetrameters that enclose a paeonic pentameter, with a 
 paeonic dodecameter as epode. Av. 4559 (409), 2- 5 2- 3 : in 
 simplified logaoedic rhythm, two anapaestic penthemimers that 
 enclose a logaoedic pentameter, with a logaoedic trimeter as epode. 
 
 749. If the last period of this tetrad repeats the melody of 
 the paired periods, the type is abaa. (Compare the groups aaba 
 744 and abba 746.) Thus Vesp. 338-41 (238), 4 2 4 4 : in 
 trochaic rhythm, two tetrameters that enclose a paeonic-trochaic 
 dimeter, with a third tetrameter as epode. 
 
 750. A second tetradic group arose from the same mesodic 
 triad aba, by accretion of a proode, forming abcb. Thus Ecd. 
 47882 (85), 1 4 5 4 : an anapaestic monometer as proode to 
 two iambic tetrameters that enclose an iambic pentameter. 
 Thesm. 67985 (472), 3 3 4 3 : an iambic trimeter as proode to 
 two dochmiac trimeters that enclose an acatalectic trochaic 
 tetrameter. Vesp. 7335 (469), 2 1 4 1 : an acephalous iambic 
 dimeter as proode to two dochmii that enclose an acatalectic 
 iambic tetrameter. Thesm. 11425 (429), 5676: in ionic 
 rhythm, a pentameter as proode to two hexameters that enclose 
 a heptameter. 
 
 PENTADIC GROUPS 
 
 751. Pentads arose by accretion of an epode or proode to one 
 of the tetrads just described. The epodic pentad abbcd, for 
 example, is the ' periodic ' tetrad with epode. Thus Eq. 6 1 62 3 
 (231), 44428: in paeonic-trochaic rhythm, a periodic tetrad 
 composed of a trochaic tetrameter, two paeonic-trochaic tetra- 
 meters and a dimeter, with a trochaic octameter as epode of the 
 tetrad. JEq. 1264-73 (493), 5-5555: a hypercatalectic prosodiac 
 tetrameter, two enoplic pentameters and an enoplic pentameter 
 of different form, with a prosodiac pentameter as epode. 
 
 752. The converse of this is the proodic pentad abccd, formed 
 from the ' periodic ' tetrad by accretion of a proode. Thus Thesm. 
 77684 (286), 12446: in anapaestic rhythm, a monometer as 
 proode to a periodic tetrad composed of a dimeter, two tetrameters, 
 and a hexameter.
 
 758 ANALYSIS OF SYSTEMATIC PERIODS 347 
 
 753. But the proode is sometimes not simply a brief intro- 
 ductory strain, but a unit of independent proportions. Thus 
 Ach. 66575 (453), 68449: in paeonic rhythm, a hexameter 
 as proode to an octameter, two tetrameters and a nonameter. 
 Eq. 551-64 (553), 106338: in Aeolic rhythm, a choriambo- 
 iambic decameter as proode to a choriambo-iambic hexameter, 
 two catalectic lesser Asclepiadeans and a Glyconic octameter. 
 
 754. The proode of this pentad may anticipate the first 
 period of the following periodic tetrad, giving the form aabbc, 
 with simplification of the melody. (Compare the tetrad aaab 747.) 
 Thus Ach. 929-39 (86), 77228: in iambic rhythm, a hepta- 
 meter as proode that anticipates the melody of the first period of 
 the following periodic tetrad composed of a heptameter, two 
 dimeters and a heptameter. The musical effect to this anticipa- 
 tion was a group that consisted of two monostrophic dyads (aabb) 
 with an epode (c). 
 
 755. From this pentad by addition of an ephymnium arises 
 one of the two hexads found in Aristophanes, aabbcd. See Av. 
 1748-54 (588), 4- 4-2-2-22: mainly in dactylic rhythm, a 
 brachycatalectic tetrameter as proode to a brachycatalectic 
 tetrameter, two brachycatalectic dimeters and a dimeter, with a 
 Pherecratean as epode. 
 
 756. The palinodic group also became pentadic by accretion 
 of an epode, giving abbac. Thus Lys. 291-5 (370), 42243: 
 in trochaic rhythm, a palinodic tetrad composed of a tetrameter, 
 two dimeters and a second tetrameter, with a protracted trimeter 
 as ephymnium. 
 
 757. The final epode may repeat the melody of the first and 
 last periods of the tetrad, giving abbaa. Thus JEq. 75660 (91), 
 44444: in iambic rhythm, a palinodic tetrad composed of a 
 tetrameter, two protracted tetrameters and a tetrameter, with a 
 tetrameter as epode that repeats the melody of the first and fourth 
 periods. The musical effect of this repetition was a group that 
 consisted of a proode (a) and two monostrophic dyads (bbaa), of 
 which the second reverted to the melody of the proode. Av. 
 1058-64 (455), 24422: in anapaestic rhythm, a paroemiac, 
 two tetrameters and two paroemiacs. 
 
 758. A hexad occurs in which the central pair of periods in 
 the palinodic group abba is repeated, giving abbbba. See Lys. 
 793-804 (242), 822228: two paeonic-trochaic octameters
 
 348 THE VERSE OF GEEEK COMEDY 759 
 
 enclosing two pairs of trochaic dimeters. The evident pairing pf 
 parts in the dialogue in 797800 forbids the division of this 
 hexad into two intermediate periods, proodic, abb, and epodic, 
 aab. 
 
 759. The basis of each of the foregoing pentads is a 'periodic' 
 or ' palinodic ' tetrad. Other tetrads also underlie pentadic 
 groups. Thus from the familiar tetrad aabc (742) arose the 
 pentad adbcd by accretion of an epode, as in Han. 3727 (301), 
 222-32: in anapaestic rhythm, a tetrad composed of two 
 paroemiacs, a brachycatalectic dimeter and a catalectic trimeter, 
 with an acatalectic dimeter as epode. Lys. 128794 (408), 4 4 
 423: in simplified logaoedic rhythm, two logaoedic tetrameters, 
 a trochaic tetrameter and a catalectic trochaic dimeter, with a 
 protracted trochaic trimeter as epode. 
 
 760. From the variant aaba (744) of this tetrad, by accretion 
 of an epode that repeated its prevailing melody, arose the pentad 
 aabaa. Thus Pax 1305-10 (87), 44244: in iambic rhythm, 
 a tetrad composed of two tetrameters, a dimeter and a tetrameter, 
 with a final tetrameter as epode that repeats the melody of the 
 first, second, and fourth periods. The musical effect of this 
 repetition was a group consisting of two equivalent monostrophic 
 dyads (aa, aa) enclosing a mesode (b). 
 
 761. The pentad abaed arose by accretion of an epode to the 
 tetrad abac (748). Thus Ach. 1150-61 (565), 54576: in 
 Aeolic rhythm, a tetrad composed of a pentameter, a tetrameter, 
 a second pentameter and a diiambic heptameter, with a protracted 
 diiambic hexameter as epode. See von Wilamowitz, Comment, 
 metricum, ii. 31. Lys. 954-79 (287), 9691213: in anapaestic 
 rhythm, a nonameter, a hexameter, a second nonameter and a 
 dodecameter, with a hypermetrical period of thirteen metres as 
 epode. 
 
 762. The pentad abcbd arose by accretion of an epode to the 
 tetrad abcb (750). Thus Thesm. 433-42 (414), 26269: in 
 simplified logaoedic rhythm, a paroemiac and two logaoedic hexa- 
 meters that enclose a logaoedic dimeter, with a trochaic nonameter 
 as epode. 
 
 763. The epode of the foregoing pentad might revert to the 
 melody of the first period, giving abcba. Thus Lys. 127986 
 (408), 43234: in simplified logaoedic rhythm, a tetrad com- 
 posed of a tetrameter and two trimeters that enclose a dimeter,
 
 768 ANALYSIS OF SYSTEMATIC PERIODS 349 
 
 with a second tetrameter as epode that repeats the melody of 
 the first period. 
 
 764. The following table summarizes the triads, tetrads, 
 pentads, and hexads found within the strophe in comedy and 
 shows their relations to one another : 
 
 aab (737) aabc (742 f.) aabcd (759) 
 
 aaba (744) aabaa (760) 
 
 abbe \ 
 
 abb (738) abbe j (745) abbcd (751) 
 
 zbccd (752 f.) 
 
 aabbc (754) aabbcd (755) 
 abba (746) abbac (756) abbbba (758) 
 
 abbaa (757) 
 aaab (747) 
 aba (739) abac (748) abacd (761) 
 
 abaa (749) 
 &bcb (750) abcbd (762) 
 
 abcba (763) 
 
 765. These are the structural forms in which, in the mixed 
 class (736 ff.), the subordinate periods and hypermeters that 
 constitute a systematic or intermediate period appear to be 
 arranged in Aristophanes. In each combination, identity of 
 metrical structure indicates that at least two of the subordinate 
 periods or hypermeters were sung to the same melody with 
 effect of simplifying the melody to which the larger period as a 
 whole was sung. The variants of the normal types, such as 
 aaba, abba, etc. (indented in the table), are due to the same 
 disposition to simplify musical expression. 
 
 766. Other forms of strophic structure occur than those of 
 the mixed type. These, like the preceding, are direct imitations 
 of corresponding groupings of systematic periods. Examples of 
 the different types follow. 
 
 Monostrophic Type : A or A = aa or aaa. 
 
 767. The grouping of the subordinate periods in an inter- 
 mediate period may be that of a monostrophic dyad (701). Thus 
 (aa) Eccl. 293-5 (578), 6 6 : in Aeolic rhythm, two acephalous 
 Glyconic hexameters in correspondence. Compare the following 
 intermediate period in Eccl. 2969. 
 
 768. In one instance in Aristophanes the grouping of the
 
 350 THE VEKSE OF GREEK COMEDY 769 
 
 subordinate periods of a systematic period is that of a mono- 
 strophic triad (701). The three subordinate periods are all equal 
 (aaa). Nub. 1345-50 (576), 555: in Aeolic rhythm, a triad in 
 which each subordinate period consists of a diiambic trimeter 
 and an acephalous Pherecratean. In the last period these are 
 connected within a word. 
 
 Pericopic Type : A or A = ab, abc, etc. 
 
 769. The grouping of subordinate periods and hypermeters 
 in a systematic or intermediate period is often that of a 
 TrepiKOTrrj avofj,oiofj,epij<; (705). Both the dyadic, ab, and triadic, 
 abc, forms are common, and tetrads, abed, and even pentads, 
 abode, occur. There was no repetition of any part of the melody 
 in these periods. On the significance of this fact, see 777. 
 Musically these are the most elaborate periods in Aristophanes. 
 
 770. Thus, in illustration of pericopic dyads, Av. 8518 
 (93), 116: in iambic rhythm, hendecameter and hexameter. 
 See von Wilamowitz, Comment, metricum, ii. 31. Vesp. 132631 
 (371), 5 6 : in trochaic rhythm, pentameter and hexameter. Eq. 
 498-506 (294), 107: in anapaestic rhythm, decameter and 
 heptameter. Vesp. 151822 (494), 4 6 : in prosodiac rhythm, 
 tetrameter and hexameter. Eq. 1111-20 (571), 812: in Aeolic 
 rhythm, acephalous Glyconic octameter and dodecameter. Ecd. 
 952-3 (415), 24: in trochaic rhythm, protracted dimeter and 
 tetrameter. Thesm. 101-6 (429), 8 6 : in free ionic rhythm, 
 octameter and hexameter. Pax 8 5 69 (580), 64: in Aeolic 
 rhythm, acephalous Glyconic hexameter and diiambic tetrameter. 
 
 771. The subordinate periods and hypermeters grouped in a 
 systematic or intermediate period often constitute a pericopic 
 triad, abc. Thus Nub. 510-17 (561), 348: anapaestic tri- 
 meter, Aeolic tetrameter and octameter. Vesp. 133541 (371), 
 266: iambic dimeter and hexameter and trochaic hexameter. 
 Vesp. 1450-61 (548), 46 14: in Aeolic rhythm, tetrameter, 
 hexameter and hypermeter of fourteen metres. Thesm. 52030 
 (222), 2149: anapaestic dimeter, trochaic hypermeter of fourteen 
 metres, and trochaic nonameter. Av. 106571 (455), 847: 
 paeonic octameter, anapaestic tetrameter and paeonic heptameter. 
 Ecd. 289-92 (578), 484: iambic tetrameter, and acephalous 
 Glyconic octameter and tetrameter. Vesp. 278-80 (499), 4-62:
 
 773 ANALYSIS OF SYSTEMATIC PERIODS 351 
 
 hypercatalectic prosodiac trimeter, enoplic hexameter and ionic 
 dimeter. 
 
 772. The subordinate periods and hypermeters grouped in a 
 systematic or intermediate period often constitute a pericopic 
 tetrad, abed, or even pentad, abcde. No part of the melody is 
 repeated. Thus Pax 1127-39 (454), 8 12 6 2 : iambic octa- 
 meter, paeonic dodecameter, trochaic hexameter and dimeter. 
 JVw&. 56374 (558), 6758: choriambo-iambic hexameter and 
 heptameter, simplified logaoedic pentameter, and an octameter 
 composed of a polyschematist tetrameter and a Priapean. 
 Ban. 1099-1108 (236), 4 8 6 10: in trochaic rhythm, tetra- 
 meter, octameter, hexameter, and decameter. Thesm. 1269 
 (429), 2322: dactylic dimeter and trimeter, catalectic iambic 
 dimeter and acephalous Glyconic. Av. 1720-5 (588), 3234: 
 trochaic trimeter, iambic dimeter, iambic trimeter, and Aeolic 
 tetrameter. Pax 77584 (497), 4275: enoplic tetrameter and 
 dimeter, prosodiac heptameter and enoplic pentameter. Pentads 
 occur. Thus Lys. 321-34 (563), 7- 8 4 5 10 : in Aeolic rhythm, 
 brachycatalectic heptameter, octameter, tetrameter, pentameter, 
 decameter. Vesp. 126574 (457), 6 4 8 5 6 : in trochaic rhythm, 
 hexameter, tetrameter, octameter, pentameter, and hexameter, with 
 return in the last period to the melody of the first period (abcda). 
 
 Indivisible Periods : A or A = a. 
 
 773. A systematic or intermediate period sometimes lacks all 
 indications of division into subordinate periods or hypermeters, 
 its cola being continuously connected by synaphea. Thus JEq. 
 9736 (544) consists of three Glyconic dimeters and a Pherecra- 
 tean, and Ran. 3848 (89) of five iambic dimeters. Only the 
 last colon in each is catalectic, and no colon ends in a variable 
 syllable or is separated from the following colon by hiatus. 
 Compare also Ecd. 8939 (220): a trochaic hypermeter of five 
 dimeters, a trimeter, and a dimeter. Av. 118895 (465): 
 a dochmiac systematic period of four dimeters. Vesp. 8637 
 (300) : an anapaestic hypermeter of three dimeters, a monometer 
 and a paroemiac. Av. 20922 (285): an anapaestic hypermeter 
 of twelve dimeters, a monometer and a paroemiac. Nub. 1206 
 1 3 (92) : an iambic hypermeter of seventeen metres. Pax 
 358-60 (232): a paeonic- trochaic nonameter.
 
 352 THE VERSE OF GREEK COMEDY 774 
 
 Periods with Refrain. 
 
 774. In a few odes in Aristophanes the regular structure is 
 broken by a short clause that seems to have been merely a 
 refrain, repeating the melody of the last colon of the preceding 
 subordinate period. For example, in Lys. 781-804 (242), a 
 song in popular form that is in many particulars instructive, 
 verses 78192, A, seem to be grouped as abc, 69+4. The 
 rhythm is paeonic-trochaic. A hexameter (781-3) is followed 
 by a nonameter (7848) that ends with the strain rots opea-iv 
 qjtcei, -www|- -, a dimeter of unique metrical form that 
 is exactly repeated in the three cola that follow. It seems 
 probable that these three cola were sung to the melody of the 
 preceding clausula. The third period (792), a tetrameter, ends 
 with the same strain. Thus also in Ran. 125160 (545), the 
 type seems to be aab, 664 + , two Glyconic hexameters followed 
 by a Glyconic tetrameter. The two cola that follow (1259, 
 1260), both Pherecrateans, may have been, in the music, no more 
 than a refrain of the strain that ended the third period. Vesp. 
 52637 (566), an intermediate period, is apparently palinodic 
 6446 + , two Aeolic hexameters enclosing two diiambic tetra- 
 meters, followed by three cola (535, 536, 537) that repeat 
 the final colon of the preceding period. Av. 17316 (588), 
 abb, 822+: acephalous Glyconic octameter followed by two 
 Pherecrateans, with words and melody of the last repeated in the 
 following final colon. 
 
 775. In the foregoing analyses (737 ff.), the normal indica- 
 tions of the close of the subordinate period and hypermeter, 
 catalexis, variable syllable, hiatus (43), are strictly regarded. No 
 subordinate period or hypermeter has been assumed whose close 
 was not marked by one of these or by a change of rhythm. But 
 while the variable syllable and hiatus, since they are not allowed 
 within a subordinate period or hypermeter, clearly denote that the 
 period has reached its close, and are therefore never to be ignored, 
 nevertheless a combination of cola that constitute a true period 
 may lack both these indicia (44). This fact is established by the 
 correspondence of acatalectic subordinate periods in strophe and 
 antistrophe of which one ends with variable syllable or hiatus 
 but the other does not. Thus we should connect Nub. 1313-14 
 (581) with the following dimeters, if the variable vowel in which
 
 776 ANALYSIS OF SYSTEMATIC PERIODS 353 
 
 the corresponding period of the strophe ends (13056) did not 
 show that each is an acatalectic iambic tetrameter. Paeonic 
 verse, in particular, which avoids catalexis (437), abounds in 
 illustrations of this principle. Of. Ach. 208-10 = 223-5 v , 
 hexameters ; 211-13 V = 226-8, hexameters ; 214-15 = 229- 
 3 H , pentameters (449). Cf. also Ran. 814 H = 818 = 822 = 826 
 and 815 V = 819 = 823 = 827, dactylic trimeters (346); Vesp. 
 275 H =282 b -3 a , enoplic tetrameters (499); Av. 1731-4 V = 
 173740 (588), acephalous Glyconic octameters. It follows, of 
 course, that all indications of the close of a subordinate period or 
 hypermeter may be lacking in both strophe and antistrophe in a 
 particular instance. In Eccl. 93841 = 9425 (567) Aristophanes 
 has imitated a popular form of scolium. The rhythm is Aeolic 
 and the stanza consists of four cola, two Phalaeceans, and a 
 dimeter and a trimeter. The third colon in Aristophanes lacks 
 all indications of periodic close, so that the third and fourth cola 
 seem to constitute a pentameter, but in other occurrences of this 
 strophe the third colon ends with variable syllable, as in Ath. xv. 
 694e, and there is no doubt that each colon is a subordinate 
 period and the strophe is a tetrad of the form that is commonest 
 in Aristophanes, aabc. 
 
 776. It is just here that metre fails to furnish complete 
 evidence as to the periodic structure of the strophe. See 720. 
 A subordinate period or hypermeter may end in an acatalectic 
 colon of which the last syllable is not marked by hiatus or 
 variable vowel. This does not often happen in lyric poetry 
 such as Pindar's, in whose odes the strophe is repeated again and 
 again, but in Aristophanes correspondence is generally confined 
 to two strophes (strophe and antistrophe), and many songs are 
 non-antistrophic. It is therefore possible that some combinations 
 of cola entered in this book as single subordinate periods or 
 hypermeters may really have been two or more periods, each 
 with its proper musical cadence. But a period that lacks the 
 customary indicia of close should be sharply inspected before 
 acceptance. A period thus theoretically constituted must rigidly 
 conform to two requirements, it must be an established form of 
 verse and the systematic or intermediate period of which it is a 
 part must be of normal type. In Plut. 316 ff. (88), the non- 
 antistrophic period (31621) is apparently a pericopic dyad, ab, 
 4 12, but it may have been a mesodic triad, ab'a, 484, consist- 
 
 2 A
 
 364 THE VERSE OF GEEEK COMEDY 777 
 
 ing of two iambic tetrameters enclosing an acatalectic octameter. 
 In Ecd. 483 if. (85), the first intermediate period of the strophe 
 (483-8) is apparently a pericopic triad, abc, 4610, but it may 
 have been a palinodic tetrad, abb'a, 4664, consisting of two 
 iambic tetrameters enclosing two hexameters. In Ran. 875 ff. 
 (347), the non-antistrophic period is apparently a pericopic pentad, 
 abode, 56244, but it may consist of two intermediate periods 
 AB (875-8, 879-84), with A a proodic triad, ab'b, 533, 
 consisting of a dactylic pentameter as proode to two trimeters, and 
 B a pericopic triad, abc. In Ach. 971 ff. (456), the first strophe 
 (9715) of the pericope is apparently a pericopic dyad, ab, 
 106, but it may have been an epodic triad, aa'b, 556, consisting 
 of two pentameters in correspondence with one another with a 
 hexameter as epode. In Lys. 286 ff. (370), the first five cola 
 (28690) apparently constitute a single hendecametrical hyper- 
 meter, but they may have been sung as a mesodic triad a'b'a, 
 434, consisting of two syncopated iambic tetrameters enclosing 
 a trimeter. In Nub. 457 ff. (500), the prosodiac and enoplic 
 intermediate period B (461-75) is apparently a pericopic dyad 
 ab, 7- 18, but it may have been a periodic tetrad, abVc, 7-774, 
 consisting of a hypercatalectic prosodiac hexameter as proode, 
 two enoplic heptameters, and an enoplic tetrameter as epode. 
 In all these cases, the music would instantly have revealed whether 
 or not the assumed correspondences existed. Some of them seem 
 probable, but it is obvious that the process by which they are 
 now determined is arbitrary. Examples might be multiplied. 
 
 777. It should be observed that the melody of a strophe 
 was simplified precisely as the number of its subordinate periods 
 that were in correspondence was increased. Many of the songs 
 in Aristophanes are simple, but it is inherently improbable that 
 all of them were of this type. The pericopic form of structure, 
 therefore, in which the pericopic period was sung to a melody 
 without recurrences, was normal. Such a melody was specially 
 adapted to situations that were lively or unusual and to 
 sentiments that were spirited or elevated or vehement. It is 
 from this point of view that the melic hypermeter, which is of 
 frequent occurrence in Aristophanes and is composed in nearly 
 all rhythms, is to be regarded. It is a normal and useful form. 
 Compare the trochaic hypermeter in Ecd. 8939 (220), the 
 anapaestic in Nub. 711-22 (289), the dactylic in Nub. 276-86
 
 778 ANALYSIS OF SYSTEMATIC PERIODS 355 
 
 (344), the paeonic in JSq. 303-11 (450), 1 the ionic in Ran. 326- 
 36 (427), the choriambic in Vesp. 1455-61 (548). The assump- 
 tion is justifiable that the melody of hypermeters such as these 
 was continuously sustained without recurrences from the beginning 
 to the close. 
 
 STICHIC PERIOD 
 
 778. A melic period remains to be considered which 
 resembles the hypermeter in form, but in reality is far removed 
 from it. This is the period in which periodic verse trenches 
 upon stichic (689). Groups of tetrameters, namely, in iambic, 
 trochaic or anapaestic rhythm and of trimeters in dactylic rhythm, 
 all forms of recitative verse in familiar use in comedy, sometimes 
 occur as melic systematic or intermediate periods. Cf. Ecd. 489 
 92 (85), Ach. 204-7 (449), Pax 729-33 (295), Ran. 1528-33 
 (348). Groups of paeonic-trochaic, paeonic and prosodiac tetra- 
 meters are similarly used. Cf. Vesp. 415-29 (243), 1275-83 
 (457), 1528-37(494). Each of the 'verses' thus used con- 
 stitutes a subordinate period. Those in iambic, trochaic, anapaestic, 
 paeonic-trochaic, and prosodiac rhythm are all catalectic, except 
 in the group found in Plut. 2905 (88), in which the fourth 
 tetrameter is acatalectic, but is separated from the fifth by hiatus. 
 Different rhythms may be combined in the same group as in Pax 
 729-33 (295) anapaestic and trochaic, in Ach. 976-85 (456) 
 paeonic and trochaic. These groups were often rendered by the 
 leaders of the half-choruses or by actors or by both. It is now 
 impossible to determine how the subordinate periods, all of the 
 same length, in any stichic period were grouped in the melody. 
 The extreme assumptions, on the one hand that the subordinate 
 periods in any given period were all sung to the same air (e.g. 
 aaaaa), on the other that the melody to which they were sung was 
 without recurrences (e.g. abode), are both unlikely. Within these 
 extremes a great variety of combinations was possible. 
 
 1 Compare the long paeonic hyper- Bulletin de correspondance helUnique 
 
 meters in the Delphian Hymns to Apollo, xvii. (1893), 569 ff., 584 ff. (note 
 
 published by Weil, with the accompany- particularly 593 ff.), and xviii. (1894), 
 
 ing music by Theodore Reinach, in 345 ff. (note 348), 363 ff., with PI. xix.
 
 CHAPTER XIX 
 VAEIOUS MATTEES 
 
 CATALEXIS 
 
 779. KOSSBACH and Westphal hold that the catalectic metres 
 of iambic and anapaestic cola are protracted, and that the pro- 
 traction these rhythms suffer affects the long syllable that 
 precedes the omitted primary time or times. The rhythmical 
 value (31), for example, of such a catalectic iambic trimeter as 
 
 ^ . w _ w _ w is w u. w _ w _ V_,L_ (3), not 
 
 w _ u. w _ w _ w A . See 33. They assume, therefore, 
 
 that the catalectic metre in such a colon as this is rhythmically 
 identical with the protracted metre that precedes, and they thus 
 differentiate iambic and anapaestic from all other rhythms, in 
 which they rightly hold that a catalectic colon is followed by 
 a pause, while the corresponding acatalectic colon is complete. 
 Their theory of iambic and anapaestic catalexis has been so 
 generally accepted that the evidence by which they endeavour 
 to establish it demands consideration. 1 
 
 780. It is to be observed, first, that their general theory of 
 protraction in iambic verse is disproved by evidence that has 
 been made available since the publication of the last edition of 
 their Theorie der musischen Kiinste. They hold (Spec. Metrik 5 , 
 
 1 Rossbach and Westphal, Rhythmik 3 , See Rhythmik 1 , 88. See also Allg. 
 
 177 f., Allg. Metril<?, 173 ff., 272 ff., Metrik 1 , 471 ff., Spec. Metrik 1 , 7 f., 
 
 Spec. Metrik 3 , 7 f., 179. Rossbach first 137 ff. The doctrine is maintained by 
 
 proposed the doctrine in Rhythmik 1 , Westphal in the second edition of their 
 
 85 tf., but he places dependence on the Metrik. See Allg. Metrik 2 , 155 ff., 
 
 evidence supposed to be furnished by the Spec. Metrik^, 329 f., 445, and note the 
 
 Hymns to Helios and Nemesis much less concession on p. 330. The tone of 
 
 confidently in the first presentation of the statement in the third edition is 
 
 his theory than in subsequent editions. dogmatic. 
 
 356
 
 781 CATALEXIS 357 
 
 179) that in such an iambic colon as w - ^ - . - w _ the 
 %povo<; /ceixfc (31) is taken up not by the following, but by the 
 preceding long syllable, so that the colon cited becomes by protrac- 
 tion w-^i -- w - (w-w --x- - w - ). But in the fragment of 
 Aristoxenus's Principles of Rhythm, recovered in Oxyrhynchus, 
 five cola are quoted and rhythmized as follows (Grenfell and 
 Hunt, Oxyr. Papyri, i. 15) : 
 
 Trap aAeros a/3poTrap6evov<s 
 po 
 ay/caAais Se 
 
 Aristoxenus's ' foot ' is here the diiambic metre. He has just 
 illustrated the use of the protracted ditrochaic metre - w i- , 
 and in introducing the quoted hypermeter notes that, in the 
 protracted diiamb i- w -, the triseme syllable, 17 irepie^ovaa 
 %v\\afiii, 1 is placed in a position the reverse of that which it 
 has in the protracted ditrochee. His comment on the hyper- 
 meter is as follows : ev rovrw yap ot re trivre irpS>roi 7ro'e9 
 ovrw Ke^pvjvrai rfj Xea Kal "rrd\iv erepoi rpi<j. Farther 
 on (p. 17) he analyzes the protracted diiamb i- ^ - as follows : 
 wcrre rrjv jj,ev irpcarrfv v\\af3r]V ev T&3 /jLeyia'TQ) ^pova) Kei<r0ai, 
 rrjv Be Bevrepav ev ro3 eXa^iVrw, rrjv 8e rplriyv ev ru> 
 fieao). The diiambic colon w - ^ - - w -, therefore, is to be 
 rhythrnized thus : ^ ^ u. s/ , not thus : ^ *> i- w ". 
 The facts adduced completely invalidate Westphal's attempt 
 (Rhythmik*, 128) to establish ^ - w t- as a xpovo? T^? pvOpo- 
 Trotta? t'Sto? of greater compass than the %p6vo<; 7ro8t/co9> and 
 nullify whatever support this doctrine may be supposed to give 
 to his theory of iambic catalexis (Allg. Metrik*, 274 f.). 
 
 781. The form of the protracted iambic metre that occurs 
 most frequently is that just discussed, . w . A second 
 but rarer form (73) is ^ - -. We should expect this, under 
 the operation of the principle manifest in i- w -, to be rhyth- 
 mized as w - - , but Rossbach and Westphal hold, as already 
 
 stated, that it becomes ^ i . This conclusion is disproved by 
 
 an inscription from Asia Minor published by Sir William Ramsay 
 in the Bulletin de correspondence hdle'nique in 1883, but not fully 
 
 1 See Weil, faults de rhythmique, 200 ff.
 
 358 
 
 THE VERSE OF GREEK COMEDY 
 
 781 
 
 interpreted till 189 1. 1 This is the work of a certain Seikelos, 
 of the first century of the Christian era, and consists of a 
 protracted acatalectic iambic octameter, with musical setting, 
 marks to indicate the rhythmization, and cnv^^aL on the theses 
 of the metres. The inscription is well preserved, but has so 
 much detail that scholars are not agreed as to a few readings. 
 I give the transcription of M. Eeinach, but do not indicate the 
 position of the notes on the staff, in order not to distract attention 
 from the metrical and rhythmical facts revealed by the song. 
 Short syllables, here indicated by the eighth note, are not marked 
 in the inscription ; long syllables, if not completely resolved into 
 shorts in the music, have either - or -i (the equivalent of >- ). 
 
 6 <rov 
 
 fjjs 
 
 j . 
 
 fat - 
 
 rk - Xoj 6 
 
 / j j=5 
 
 The iambic metre here assumes the following forms in the 
 melody : w w ; w~w~; ^ ^ , ending in a logaoedic 
 anapaest (389) ; - w ^ *~, iambic choriamb (71), with its last 
 syllable resolved ; ^ -- ' and ^ w ^ . Metrical values, stated 
 from the point of view respectively of syllables and musical notes, 
 are as follows : 
 
 1 See Ramsay, Bulletin de corr. hell. 
 vii. (1883), 277 f. ; C. Wessely, Reste 
 griechischer Musik, Wien, 1891 ; Wessely 
 and Ruelle, Revue des fitudes grecques 
 v. (1892), 266 ff. ; 0. Crusius, Philologus 
 1. (1891), 163 ff., Hi. (1893), 160 ff. ; Th. 
 Reinach, Bulletin de corr. hell, xviii. 
 (1894), 365 ff., with excellent facsimile 
 and transcription, plates xiii. and xxiii. ; 
 
 D. B. Monro, Modes of Ancient Greek 
 Music, 89 ff., 133, with supplementary 
 note ; F. A. Gevaert, La MttopSe antique 
 (1895), 46, 386 f. ; K. von Jan, Musici 
 scriptores Graeci, supplementum (1899), 
 35 ff. All the extant remains of Greek 
 melodies ar conveniently brought to- 
 gether in this little supplement.
 
 783 CATALEXIS 359 
 
 The protracted metre ^ - . - here becomes ^ -- 'or w - v/""- 
 or singularly ^ - ^- . In each case the xpovos /cevos is part 
 of the second simple foot. The inscription nowhere indicates that 
 it is possible to rhythmize this metre as ^ -> - . 
 
 782. Rossbach and Westphal support their statement (779) 
 that catalectic cola in iambic and anapaestic rhythm close 
 respectively with the metres w < and w ^ -" - almost solely 
 by the evidence that they believe is found in the musical score 
 of the Hymns to Helios and Nemesis, which were republished by 
 Bellermann, with extraordinary care, in 1840. 1 They cite this 
 evidence repeatedly. These hymns, composed in the second 
 century of the Christian era, consist of simply constituted logaoedic 
 dimeters in ascending rhythm, with musical setting The funda- 
 mental values of syllables, revealed by the Xe *?, are as follows : 
 
 KvavwTTi dea Ovyarep At'xas Nem. 2 *~ ^, *~ w 
 
 O.KTIVO. TToXwrrpofyov dfj-TrXeKiav Hel. 12 -- ~~ ~ w 
 
 \iovo j3Xe<f>dpov irdrep 'Aous Hel. 7 ~ ~ *~ -- 
 
 xparovara Nem. 13 ^ *~ *~ ^ 
 
 The first simple foot may be ~ - , -- or ^ - ; the second 
 and third are invariably ~ - ; the fourth in the acatalectic 
 dimeter is ^ - ; the catalectic dimeter is the logaoedic paroemiac. 
 With the last colon quoted, compare the famous dimeter of 
 Archilochus, 'Epaoy/,oi/iS?7 Xa/nXae. 
 
 783. The music, while maintaining, of course, fundamental 
 metrical values, admits variations of form additional to those 
 indicated by the words of the Hymns. These variations are 
 simple and consist in attaching two tones to a single long syllable. 
 As we have already seen (390 f.), scholars are not agreed as to 
 the manner in which isomeric anapaests and diplasic iambs 
 were combined in logaoedic verse, but we may here assume, in 
 order to illustrate the melodic values of syllables in the Hymns 
 in modern musical notation, that the simple feet in logaoedic 
 verse were diplasic and that the iamb was sung as J*J, and the 
 anapaest, ~ - and -- , as ^f J and J N J, although the last 
 two values are too exactly stated, since the equalization of slightly 
 variant metres was, in all Greek rhythms, only approximate. 
 
 1 Bellermann, Hymnen, with account fhwm.es, 327 ff. ; Bergk, Lyrici I. 4 xiii. f. ; 
 
 of previous publications on p. 20 ff. See Gevaert, ffistaire, i. 132 ff., 144 ff., 374 ff., 
 
 also Westphal, Rhythmik und Harmonik*, 445 ff., and Mttopte, 39 ff. ; von Jan, 
 
 Supplem. 57 ff., and Musik d. gr. Alter- Musici, 460 ff., and Supplem. 40 ff.
 
 360 THE VERSE OF GREEK COMEDY 784 
 
 (Compare the remarks on the trochaic metre in 228.) On this 
 assumption, the acatalectic colon of the Hymns, cb - -- ^ _ w _ ? 
 on the basis of syllables will be either ^M J^^J JJJ /J or 
 s J ^P^P J J*J* J J* J in dodeeaseme time. The simplest varia- 
 tion from this in the music to which the Hymns are set is as 
 follows : 
 
 ircpl VWTOV direipLTOv ovpavov P M F ,^ ' j^-Pj*-^- 1 ' Eel. 11 
 
 , j--- 1 
 
 The third anapaest has proceleusmatic form, and the first 
 syllable of ovpavov was sung as ov-ov, 1 with variation of tones 
 on the whole word : Pf|J 
 
 784. In six apparently catalectic cola (Hel. 8, 9, 21, Nem. 3, 
 10, 13) of the thirty-nine set to music in these Hymns, the 
 sign A occurs between the last two notes of the musical score 
 that is set over the words of the colon. Five of these six cola 
 have four notes, with A , over the second metre. Thus : 
 
 ft I ft i p ft I f A 
 
 TTTavois VTT fyveo-o-i 8iWKis Hel. 9 (Cod. N) 
 
 The sign A ordinarily signifies a pause of a primary time (33), 
 but in each of the six instances of its occurrence in these Hymns 
 it stands over a dissyllabic or trisyllabic word and cannot there- 
 fore signify an actual pause, which was not permitted in Greek 
 within a word, but must indicate protraction, precisely as we 
 meet apparently catalectic dimeters in Aristophanes that are 
 nevertheless complete, as in the first dimeter of the following 
 melic trochaic tetrameter : 
 
 Xprjo-ifJiov /iev oi58ev, aA-Xtos re SeiAov /cat /xeya 
 
 \J-\J \J \J W - W 
 
 (Av. 1476 f., cf. 1559 f., 1695 f.) 
 
 The A would be the only means of indicating a protracted 
 syllable in a musical score that did not employ signs of quantity. 
 (See the inscription of Seikelos.) In one instance of the six, five 
 notes, with A , stand over the apparently catalectic metre : 
 
 C p ft H ft C p ft ft t A/X 
 
 a 8e irdpoide 2)e - Act - va Hel. 21 (Cod. N) 
 
 1 Compare the Hymns to Apollo, in (Bull, de cor. hell, xvii., 1893, plate 
 
 paeonic rhythm, found at Delphi (von xxi. bis) reads pipp6fnovov (for tpippdpov) 
 
 Jan, Supplem. 8 ff.). For example, in the Btiyarpes evdXevoi, a device often met 
 
 first Hymn, the text of the third line of elsewhere in these Delphian Hymns. 
 the second fragment of the inscription
 
 786 CAT ALEXIS 361 
 
 Here the first syllable of the first metre has two notes : Jj^ as 
 also the penultimate syllable. Furthermore, there are in these 
 Hymns four apparently catalectic cola (Hel. 13, 23, 25, Nem. 9) 
 that have si* notes, but without A , over the last metre. Thus : 
 
 I ** j </> c P f P e 
 
 Trb (rvpfiaa-L /IOCTXWV Hel. 23 (Cod. N) 
 
 785. It is on these ten apparently catalectic cola, six with A , 
 four without it but with six notes over the catalectic metre, that 
 Rossbach and Westphal seek to establish their case. They hold 
 that the protraction indicated by A found in six of the cola 
 affects the preceding syllable, so that, for example, Sttu/tet? in 
 Hel. 9 (supra) is ^ -- . But we have the testimony of Aristo- 
 xenus that protraction affected the thesis of the simple foot in 
 which it occurred, and in the inscription of Seikelos we have 
 direct evidence of this fact in a metre of the form ^ - -, 
 which was sung ^ -\- . The only reasonable conclusion to be 
 drawn from this evidence is surely that irravois VTT t^veatri 
 Bid)KL<f (supra) was -- ~ ~ u. , ^ J *^ J e not 
 -- - ~i_ -, J 
 
 SeXaVa (supra) was -- ~- ~-i_, 'ftjsj 
 not - --.--, JJ"JJ /^JQJ 
 
 786. The other four apparently catalectic cola cited above 
 are held by Rossbach and Westphal to confirm their theory of 
 the nature of iambic and anapaestic catalexis. They state that in 
 Hel. 23 (supra) and the similar cases the first three of the last 
 four notes belong to the penultimate syllable of the colon and 
 only the fourth to the ultimate, so that the last metre is ^^J*^jJ 
 ( v/ w i- - ). It is clear that the four cases belong in the same 
 category with the other six, and it is equally clear that, by 
 analogy with these six, such a colon as \evKwv viro 
 
 (supra} must have been ---- -- i- , JTfc i 
 
 * J.J and that 7X.au/ca Se irdpoiOe 
 
 conclusion is confirmed by internal evidence that has hitherto been 
 overlooked. Whenever a given note is repeated in these two Hymns 
 there is always a syllable to correspond to each occurrence of this 
 note. See Hel. 21, ft/up (supra). If two notes are attached to 
 the same syllable, they are always different, the tone shifting. 
 Note c p, pi in the same colon. But among the four instances 
 now under consideration these two occur :
 
 362 THE VERSE OF GREEK COMEDY 787 
 
 l It p M '/ MPf>< 
 
 cuyAas TroXvSfpKfo. Traydi/ Hel. 13 (Cod. N) 
 
 It it it it ^ j >t ^ p it e t <t> 
 
 Se Trap TroSa paivets Nem. 9 (Cod. N) 
 
 The usage of the poet demands the division of pppc and /x,c< < 
 between two syllables. The ascription of pp and re to the same 
 syllable and the assumption that the last metre was here 
 J'i ft PJ s J i J * s aDS l ute ly forbidden. 
 
 787. Besides the ten cola just examined, the parts of these 
 Hymns set to music consist of twenty-two acatalectic cola and 
 seven others (Hel. 7, 14, 18, 19, 22, Nem. 4, 6) such as the 
 following : 
 
 ctcc cc p c <t> c 
 
 X<>ovo/3X<f>dpov Trarep 'Aovs Hel. 7 (Cod. N) 
 
 Each of the seven has ten syllables and ten notes, except Nem. 6, 
 of which the score is defective. These are true catalectic cola, 
 with the arsis of the last simple foot absolutely suppressed, 1 and 
 with three others (Hel. 11, Nem. 13, 14), that were shortened by 
 hiatus or the substitution of a short vowel for a final long (43), 
 they furnished the pauses designed to rest the voices of the 
 singers. These ten pauses occur at irregular intervals, since the 
 melody of each Hymn is without recurrences and the component 
 periods are of different lengths. 
 
 788. The seventeen ' paroemiac ' cola of the two Hymns are 
 clearly differentiated into three classes, and this differentiation is 
 instructive. The metrical form of each of the cola, as revealed 
 
 by the Xet?, is the same : & - ~ - ~ . The missing 
 
 element, needed to complete the rhythm, has the value of a 
 primary time. In six cola this is restored by protraction of the 
 thesis of the last simple foot and the procedure is indicated by 
 the \eifjL/*a placed in the position of the lost arsis. In four other 
 cola protraction is indicated by the ascription of four notes to the 
 last two long syllables, whereby the final long syllable is sung as 
 ^J We reject the assumption that its musical value is J^J* with 
 a primary time still lacking, because the colon in that case would 
 
 1 See Rossbach, Ehythmik 1 , 88. Bel- indifference or carelessness of the com- 
 
 lermann (Hymnen, 66) and Bergk poser or copyist, but the stubborn fact 
 
 (Lyrici, I. 4 xiv.) think of a leimma ( A ) remains that the leimma is not there, 
 between the last two notes, lost by the
 
 789 CATALEXIS 363 
 
 end with the musical equivalent of six short syllables, a catalexis 
 that is without parallel. The protraction of the remaining seven 
 cola is not indicated in any manner. We conclude, therefore, 
 that they are really incomplete, that is, catalectic. Hephaestion 
 says that in catalexis the last foot is ' diminished,' Aristides 
 that it is ' robbed of a syllable ' (33). The distinction between 
 catalectic and acatalectic cola is substantial, how substantial is 
 apparent when one recalls that catalexis is the chief means 
 employed by the poets to indicate the close of the combination 
 of acatalectic cola that constitute the subordinate period. Any 
 theory of catalexis that does not maintain this distinction is 
 discredited, 1 and this consideration would alone condemn the 
 assumption that the final metre in a catalectic iambic colon was 
 rendered as <*> i -- , even if there were not additional convincing 
 evidence for rejecting it. We must conclude that in iambic and 
 anapaestic catalexis the arsis of the last simple foot is actually 
 suppressed and that two theses are thus brought together, ^ -- 
 and ~ -- , precisely as in the ionic, ^ ^ -- . To complete the 
 time of the colon, a pause follows its final syllable, as in all 
 other rhythms. 
 
 789. Disposition to accept the current theory of iambic and 
 anapaestic catalexis is promoted by the practice of modern music, 
 which ignores the distinction between ascending and descending 
 rhythm. This distinction is nevertheless very real. When the 
 trochaic dimeter had developed the arsis of its last simple foot 
 and stood forth as an independent rhythm (610), fundamental 
 relations were shifted. It is the first metre in the trochaic 
 dimeter that constitutes its thesis, it is the first simple foot in 
 each trochaic metre that constitutes the thesis of that metre. 
 This reverses the relations found in the primitive dimeter and 
 consequently in the iambic dimeter, in which the last metre and 
 the last simple foot in each metre are theses. It is precisely 
 this distinction that Aristoxenus has in mind when he notes the 
 difference between the protractions - ^ i- in trochaic and L- ^ - 
 in iambic rhythm (780). It is the arsis of each metre that 
 suffers protraction. This distinction of relations is lost in 
 modern music, which stresses all rhythms and rigidly puts the 
 stressed syllable in all of them at the beginning of the bar. 
 
 1 "Was 1st denn die Katalexe, wenn nicht der Vers KaToXifrei ? " von Wila- 
 mowitz on Sappho 51 in Isyllos, 128.
 
 364 THE VEKSE OF QKEEK COMEDY 790 
 
 Thus the melic iambic tetrameter J* J J*J J*J J*J J*J J*J 
 .TJ Ji becomes f /| J /J ^| J J*J/| J /J /| J. J i ||, 1 com- 
 bining trochaic protraction and catalexis in the last metre. 
 Westphal asserts (All. Metrik 3 , 273) that the last metre of the 
 iambic tetrameter cannot be rendered otherwise than as ^ t- ^ . 
 This is true, if the tetrameter is first reduced, in violation of 
 perfectly defined differences, to trochaic movement. One might 
 add that the iambic period quoted by Aristoxenus (780) cannot 
 be rendered at all in the modern manner. For it is not possible 
 to restate such a period as i- ^ - L- ^ - w - ^ - ^ - ^ - in 
 terms of trochaic movement and at the same time preserve the 
 syllabic values Aristoxenus certifies. See the difficulties into 
 which Gevaert falls (M&op4e, 386) in his musical setting of the 
 first part of the inscription of Seikelos. 
 
 QUANTITY OF SYLLABLES IN COMEDY 2 
 
 790. When a double consonant or two or more single 
 consonants follow a vowel that is naturally short, the syllable 
 containing the short vowel is lengthened by position. When, 
 however, the two single consonants are a mute and a liquid that 
 are in the same simple word or in the same part of a compound 
 word, the syllable is lengthened in Aristophanes only before 7/4, 
 yv, B/J,, Bv, 7\, /3A,, middle mutes with p, v, or X. Before so 
 many of the remaining thirty combinations of mute and liquid as 
 occur, it remains short in all rhythms except dactylic, with few 
 exceptions. These exceptions are found, in spoken and recitative 
 verse, only in trimeters, anapaestic tetrameters and dactylic 
 hexameters. 
 
 791. The following exceptions occur in trimeters : irarp^ov Nub. 
 1468; Trarpts Thesm. 859; ITOTVI Lys. 742, EC. 369; Kvrrpov Lys. 
 833; vypov Pax 140; fj 8' 'O/SptpoTraTpa (probably -- ^ ^ -- ) 
 JEq. 1178. All these instances show the influence of tragic or epic 
 usage. Many of the remaining cases have been emended and the 
 editors should be consulted: Spaxpuv Pax 1201, PI. 1019; KO-TTVIOV 
 J^esp. 151; 8f /cvac^euet. PI. 166; p.a.Kpov Eq. 207; Tvydrpiov Th. 
 1184; KpenaOpw Nub. 869; Ka8iSpvOevTe Av. 45; ify>wao-0e PL 1153. 
 
 1 See the form given by Gevaert Helios and Nemesis. 
 
 (Histoire, i. 145) to the melody of the 2 For the general doctrine, see He- 
 
 two iambic tetrameters that begin the phaestion, chap. i. (1, 5 ff.), Aristid. 
 
 Hymn to the Muse, printed in the 44 f. M., 29. 10 ff. J. 
 collections along with the Hymns to
 
 794 QUANTITY OF SYLLABLES 365 
 
 On AuTp<r/s (vulgate) Av. 1442, see Kirchner's Prosopographia, i. 
 3755. Some words have been brought into the discussion which do 
 not belong here, since the vowel of the syllable that seems to 
 constitute an exception to the rule is probably naturally long ; i/cpiW 
 Th. 395 (cf. Cratin. 323); irpia Ach. 1092. On all these cases see 
 Kopp's Ueber positio debilis, 249 ff. 
 
 792. The following exceptions occur in recitative anapaestic 
 tetrameters : TreTpcus Eq. 783, KOMI-VOW Nub. 320, a/cpov 401, vypaV 335 ; 
 ^/icrepe KpoviBr) Vesp. 652, vypy 678; /ax^wv Av. 591, <5 Kef3pi6vrj 
 553, dypwv 579, oAtyoSpavees 686 ; x 1 ? Kvrrpoyevet i^S. 551 ; Spa^^v 
 Vesp. 691. See the editors. 1 
 
 The following occur in melic verse : povo-a fiapv/Spofios Nub. 313 
 (344), OT6 TrporjKwv 513 (561), rcKva F<5Sp. 1518 and Kv/cAoo-o/Jeire 1523 
 (494), iroXvSaKpw Av. 212 and eSpas 216 (285), dyavo>povos 1321 (406), 
 Eon. 680 (498). Cf. also Trapapvfyi' evpv6(j.u. Th. 121 (429). 
 
 793. Aristophanes evidently inclines to Homeric usage 2 in 
 lengthening the syllable containing a naturally short vowel 
 before mute and liquid in his dactylic ' hexameters,' but his Attic 
 disposition to keep the syllable short is strong and the two 
 tendencies about balance one another. 
 
 794. Compare the following instances of lengthening : 
 Eq. 199, Sia rpiTToSajv 1016, KaraKputfawt 1020, 7riKpwowi 1051, 
 KcKpoTrt'Srj 1055, roSe <pao-om 1058, Tro\vi8piv 1068; d<f>pa8irj(ri Pax 
 1064, roSe Trporepov 1074, 1107, a^rwp 1097, o/cpvoevros 1098, 
 1270, OTrAorepovs 1271 ; XVKOTpix a Av. 971, axA^ros 983; 
 Lys. 773. On the other hand, the syllables remain short 
 in yafKJ>TfjXya-i Spa/covra Eq. 198, Setva KCKpayws 1018, rot Ila^Aaytuv 
 1054, rfv <roi e(f>pafv 1058, T^S epv6pa<s 1088 ; Oepptis 6 TrXf.vfJMV Pax 
 1069, 7reiyo/iev7/ rv<f>\a 1078, aAAa rl XP*) V 1080, yap Kara, 
 1088, fcrrlv 6 \pr](rp.6<s 1101, (5 iroTvt (nota bene) 1108; 
 Kptov Av. 971, TrpcoTKTTa Trpo^rr/s 972, X^P' e^riTrA^o-at 975, 877 Tore 
 X p^ 985. 
 
 The following instances of lengthening occur in melic dactylic 
 verse : Trarpbs OTT' Nub. 278, Pa.pvppop.ov 284, Ke/cpoTros 301 (344), 
 cpi^pe/zeras Ran. 814 (346). But the vowel is kept short in avriTe\vov 
 Ran. 816 (346), KCU TrapaTrpiV/taT' 882 (347), dpyaAewv cv OTrAots 1532, 
 TOVTWV irarptots 1533 (348), 'Arpews (\/ s* ) 1269, ci/xt Opoelv 1276 
 (351), 'Axatwv SiOpovov 1284, Kat x e />t irpoLKTopi 1289 (352), and four 
 cases in Eccl. 1169 ff. (354). 
 
 1 Their statements often need revision, anapaestic tetrameters in Aristophanes, 
 
 as that of Blaydes in his exegetical note and in none of his dimeters. 
 
 on Nub. 320 : " quod licuit in tetra- a See La Roche's Homerische Unter- 
 
 metris et dimetris anapaesticis, splen- suchungen, 1 ff., Seymour's Homeric 
 
 didiore genere metri." This licence is Language and Verse, 90 f. 
 allowed in only 12 of the 1235 recitative
 
 366 THE VERSE OF GREEK COMEDY 795 
 
 795. A few words in Aristophanes allow lengthening of an 
 initial short a in the thesis, as in Homer. 
 
 Cf. <xKapiTos and aflavaros in melic dactylic verse, Nub. 286, 289 
 (344). The latter occurs also in anapaestic rhythm, Av. 220 (285), 
 688, 700, and even in trimeters, Ach. 53, Av. 1224, Ran. 629. 
 
 Aristophanes has drfp ( ) also, Av. 687, Eq. 1295 (493), Ran. 706 
 
 (498), Av. 1313 (iroXvavopa, 406), the last three occurring in melic 
 verse. 
 
 796. A final vowel short by nature is always lengthened in 
 Aristophanes before the single consonant p at the beginning of 
 a word, except once in a melic trochaic dimeter, r&vSe pcofiyv 
 Vesp. 1067 (235). 
 
 Thus in trimeters: Nub. 647, Vesp. 982, Pax 699, PI. 51, 1065; 
 in anapaestic tetrameters: Eq. 546, Nub. 344, 416, Pax 740, Ran. 
 1059, 1066; in anapaestic dimeters: Vesp. 1487, Th. 781; in melic 
 verse: Ach. 1146 (299), Th. 665 (221), Ran. 405 (82). This fact is 
 to be noted in rendering such verses as Ach. 412, Lys. 944, Ran. 495. 
 
 797. A final long vowel or diphthong in the dissyllabic arsis 
 of an anapaest or dactyl or in the dissyllabic (resolved) thesis of 
 an anapaest ( - w w ) may be shortened in anapaestic tetrameters 
 and dactylic ' hexameters ' before an initial vowel or diphthong. 
 This is sometimes called weak or improper hiatus, since there is 
 actual loss of quantity without a compensating pause. See 43. 
 
 798. Thus, in anapaestic tetrameters, ov in Eq. 532, Nub. 373, 
 977, Vesp. 599, 687, Lys. 574, PL 528 ; ei in Eq. 813, 818, Nub. 347, 
 Vesp. 651, 694; 01 in Eq. 1329, Nub. 327, 352, Vesp. 673, Av. 687; 
 <u in Eq. 807, 809, 1329, Nub. 293, 316, 365, 1002, 1007, Vesp. 602, 
 660, etc. ; y in Eq. 763, Nub. 324, Vesp. 699 ; v in Eq. 806, Nub. 
 321, 346, 372, 375; rj in Nub. 355, 394; <o in Eq. 784; i in Nub. 
 392. Aristophanes has this shortening in anapaestic dimeters only in 
 Pax 1008, in a 'dactylic anapaest' formed by a proper name. 
 
 799. Thus also, in dactylic 'hexameters,' ov in Pax 1068, 1098, 
 Av. 987 ; in Eq. 1090, 1092, Av. 979; <H in Eq. 1015, 1032, 1056, 
 1058, 1080, Pax 1063, 1279, 1286 bis, 1300; ai in Eq. 199, 1018, 
 Pax 1091, 1274, 1276, 1280, 1298, Av. 978, Lys. 771, 774; T? in 
 Pax 1292 ; a> in Eq. 1090 ; ev in Eq. 1015, 1030. 
 
 800. The same shortening may occur in dissyllabic combinations 
 of short syllables and in the arsis of the trochee in melic verse, as 
 ei in Ran. 714 (498); ot in Nub. 298 (344), 595 (558), Vesp. 291 (426), 
 Pax 585 (233), 810 (497), Ran. 875 (347); cu in Nub. 304, 306, 307 
 (344), 466 (500), 567 (558), Vesp. 407 (243), Pax 119 bis (345), Th. 1027
 
 802 QUANTITY OF SYLLABLES 367 
 
 (374), 1149 (387), Man. 674 (498); y in Eq. 1138 (571); <,> in Eq. 
 1133 (571), Nub. 290 (344), 513 (561), Av. 774 (410); rj hi Vesp. 
 1064 (235), Av. 676 (546), Th. 1150 (387); o in Pas 122 (345), .Raw. 
 706 (498), 1340 (592). 
 
 Of these exceptions one is ionic, four are trochaic, two paeonic- 
 trochaic, three anapaestic, one enoplic, six Aeolic, and as we should 
 expect from the dominating influence of Homer, twelve dactylic. 
 See Clapp's Quantitative Difficulty, 339 f. 
 
 801. A diphthong or long vowel within a word may be 
 shortened before a following vowel or diphthong in the same 
 word. The syllable thus shortened is the arsis of the iamb or 
 trochee, or the second syllable of the dissyllabic arsis of the 
 anapaest or dactyl or of the dissyllabic (resolved) thesis of the 
 anapaest. 
 
 Thus ai in fciAatos ending a trimeter, Eq. 139, Nub. 1473, Vesp. 
 40, 165, etc.; ot in certain pronouns: ofos Pax 1111, THUDS Vesp. 
 1369, roioOros Eq. 418, Vesp. 512, Pax 311, Nub. 342, Pax 1280; 01 
 in other words: Boioma Ach. 160, Bounrds Adi. 900, Eq. 479, 480, 
 Lys. 40, o?o/tcu Lys. 247, 1149, Eq. 860, and in particular TTOJCW and 
 its compounds and derivatives: Ach. 52, 58; Nub. 1046, 1054; Eq. 
 246, Nub. 583; Eq. 811, 1321, Nub. 296; Vesp. 1057, Pax 88; Eq. 
 1082, Pax 1065, 1089 ; /towoirotew Nub. 334, TrcuSoTrouw ^c. 615, 
 s .Raw. 71, 84; JVttft. 1362, 1366; Ran. 1008, TAesm. 59; 
 rjs Pax 734 ; rj in ^v. 298. It should be observed that 
 the long vowel or diphthong which immediately precedes the demon- 
 strative -i in ouroo-t is always shortened in Aristophanes, as in avrtji 
 Ach. 20, Av. 301, rovrovi Ach. 246, Vesp. 434, TOVT(I)L Eq. 869, ravryi 
 Eq. 271, ovroit ^c/t. 40, avrau Ach. 194. Compare the double 
 shortening in the compound TVWOVTOS in Nub. 392, TVVVOUTOVI ofa 
 TreTropSas >~ 1~ , in an anapaestic tetrameter ! 
 
 Here belongs dei (aUC) of which the first syllable is sometimes in 
 the thesis and long, as in Ach. 608, 751, Eq. 215, Nub. 1279, 1288; 
 Eq. 274, 568, but generally in the arsis and short, as at the end of a 
 trimeter in Ach. 761, Nub. 761, Vesp. Ill, 218, 1318; elsewhere in 
 trimeters, as in Ach. 28, Eq. 5, Pax 425, Lys. 1135, Ran. 146 (deivwv) ; 
 and in other forms of non-melic verse, as in Nub. 1053 ; Av. 271, EC. 
 1160, 1162; Eq. 541, Vesp. 702, Pas 744, 760, Av. 590, 596; Fiwp. 
 719, Ran. 1086. The first syllable of act is sometimes long in the 
 arsis of the simple foot in anapaestic verse, the word constituting a 
 'spondaic' anapaest, as in Vesp. 390, 667, 699, Lys. 491, Ran. 1027 ; 
 Nub. 1011. 
 
 802. The same interior shortening may occur in dissyllabic com- 
 binations of short syllables and in the arsis of the iamb or trochee 
 in melic verse, as in ^tAa^vaios in Vesp. 282 b (499), TTOKW in Nub.
 
 368 THE VERSE OF GREEK COMEDY 803 
 
 1308 (581), 7eap. 319, 322, 324, 332 (577), Pax 358 b (232), Lys. 968 
 (287), Han. 1325 (586), Troths in Eq. 583 (553), Ran. 1528 (348), 
 cTrtvoia in Av. 405 (290), oios in Fesp. 318 (577), TOIOVTOS in Pax 911 
 (580), 1034 (583), o3 in Lys. 1256, yvvat in Pax 1329 (584), and aies 
 in 1267 (412). The first syllable of dei in melic verse is short under 
 the same conditions in Ach. 849, 857 (582), 942 (86), Eq. 1118 (571), 
 Fesp. 1458 (548), Pax 399 (232), 917 (580), Av. 451 (409), 750 (410), 
 Ran. 1309 (586); but long in the thesis in Av. 1478 (215), Nub. 275 
 (344), Lys. 819 (242), Ran. 536 (217), and probably in Nub. 469 (500) 
 and in the Eupolideans in Nub. 547, 552. 
 
 MODES OF RENDERING 
 
 803. The determination of the modes (59 f. ) in which the 
 different parts of a comedy were rendered is generally not 
 difficult, but some parts are in doubt. Hard and fast rules do 
 not suffice. The trimeter of comic dialogue, for example, was 
 generally delivered with the speaking voice unsupported by 
 musical accompaniment, but some trimeters in comedy must have 
 been rendered differently. Lamachus's dolorous farewell to the 
 light of day in the Acharnians is called //,e\o9 by his attendant, 
 although it is expressed in trimeters (11845). These are 
 probably melodramatic trimeters. The narrative continues : 
 roa-avra \efa9, etc. Compare the phraseology in Nub. 1370 f . : 
 \egov rt T&V VWT&P&V, arT e<7rl ra (ro<j>a ravra \ o 8' evBvs 
 yd ~Etvpfrri&ov pfja-tv nv, etc. Some trimeters in comedy, 
 then, in parody and paratragedy, were rendered in the manner of 
 tragedy. The entire passage in the Acharnians (117489) may 
 have been thus rendered. 
 
 804. The iambic tetrameter is the verse of abuse in comedy, 
 and a vehement debate conducted in this verse, such as occurs in 
 Eq. 335 ff., contains in itself strong intimation of melodramatic 
 rendering, a fact confirmed by its metrical form, which does not 
 materially differ from that of the trimeter of dialogue. But not 
 all iambic tetrameters in comedy are abusive, and some were 
 rendered in recitative. For the metrical differentiation of 
 recitative and melodramatic iambic tetrameters, see 186. Most 
 iambic hypermeters were rendered melodramatically. See 190 ff. 
 Trochaic tetrameters and hypermeters and anapaestic tetrameters 
 and hypermeters were probably never thus rendered. It is 
 instructive to observe that the half of the celebrated debate in
 
 806 MODES OF RENDERING 369 
 
 the Ranae conducted by Aeschylus (1006 if.) is in anapaestic 
 rhythm, that conducted by Euripides (907 ff.) in iambic. The 
 contrast between the Good Young Man and the Bad Young Man 
 is similarly marked in the Nubes (961 ff., 1036 ff.), and it is not 
 without significance that Aristophanes in his Equites, designing to 
 out-Cleon Cleon, has his famous blackguard in the second debate 
 carry on in iambic tetrameters the argument which Cleon 
 has begun in anapaests (Eq. 763 ff, 843 ff). The dactylic 
 ' hexameters ' of comedy, used in mock oracles and heroics, were 
 rendered in recitative, and probably even the Eupolideans in the 
 parabasis of the Nutes (518 ff). 
 
 805. It is now impossible to determine with certainty how 
 some tetrameters and hypermeters were rendered, whether in 
 song or in recitative, and the distinction, indeed, between the two 
 modes may sometimes not have been great. Aves 131336 
 (406) seems to be a mesodic musical number, ABA, with a melic 
 iambic tetrameter between strophe and antistrophe, but this 
 single tetrameter may have been recited. In the Lysistrata 
 (254 ff), to judge from the practice in other parodes (cf. Eq. 
 247 ff., Tesp. 230 ff, Pax 301 ff, EC. 285 ff, Plut. 257 ff), the 
 two verses with which the half-chorus of old men enters were 
 rendered in recitative, but the corresponding verses with which 
 the women enter (319 f.) are in Aeolic rhythm. Shall we con- 
 clude that these verses were also rendered in recitative, as the 
 Eupolideans in the Nubesl It is possible, of course, that one 
 pair of verses was recited, the other sung. 
 
 806. Scholars are not agreed as to the rendering of the 
 trochaic tetrameters of the epirrhemata and antepirrhemata of 
 the parabasis (668). Hermann in his Epitome, 653, states 
 that they were recited by the leaders of the two half-choruses 
 that sang the strophe and antistrophe, and this view is now 
 generally entertained. Enger in JRhein. Mus. x. (1854) 119 f. 
 attaches special importance to the prevailing tetradic form of 
 these parts of a comedy (668), and suggests that they were taken 
 respectively by four members of each half -chorus. Westphal 
 in his Prolegomena, 40 ff, holds that strophe and epirrhema con- 
 stituted a single lyrical number, and were rendered by the whole 
 chorus with dance (the cordax) and song. But when we consider 
 the contents of the epirrhemata and antepirrhemata of the 
 parabases, it is difficult to believe that they were rendered by 
 
 2 B
 
 370 THE VEBSE OF GREEK COMEDY 807 
 
 twenty -four persons in song, with the accompaniment of the 
 cordax. These were topical addresses to the audience, full of 
 local hits, and the first requirement must have been that they 
 should be so rendered that the audience could take the jokes. 
 Positive evidence is lacking, but it should be noted that 
 Heliodorus differentiates the metrical form of strophe and 
 epirrhema so sharply, contrasting ' melic ' with ' stichic,' as 
 perhaps to indicate difference of rendering. See Schol. Pax 
 1127 ff., Ach. 665 ff., JEq. 551 ff., 1264 ff. ; also Schol. Ach. 
 971 ff. 
 
 807. Heliodorus regards Ach. 204-18 (Schol. 204 ff.) as a 
 single melos consisting of two monads with shift of rhythm at 
 208, but the opening of other parodes (cf. 805) might lead one 
 to think that the four introductory tetrameters were recited by 
 the leader of the first half-chorus. In this instance we are in 
 doubt where the first half -chorus began to sing, but in Vesp. 
 403 ff. we are uncertain where its singing ceased and passed into 
 recitation. If we conclude that 40814 constitute the choral 
 part of the first half of the parodic syzygy, and that recitation 
 began at 415, we must account for the cretics of the half-choruses 
 in 418 f., 428 f. = 47o f., 486 f. Continuous series of pro- 
 tracted trochaic metres are not used elsewhere in recitative. 
 
 808. Trochaic hypermeters also perplex inquiry. Trochaic 
 hypernieters in Aristophanes that are strictly trochaic generally 
 follow trochaic tetrameters. Such hypermeters are Eq. 284 
 302, Pax 339-45, 571-81, 651-6, Ao. 387-99, and these 
 are each part of a parode. It seems certain that those in the 
 Equites and Aves were rendered in recitative, yet Heliodorus 
 states that each of the three in the Peace is melic. See his 
 commentary on these passages. But since he applies this term 
 also to the iambic period (JEq. 91140, see the commentary) in 
 the second debate in the Equites that was almost certainly melo- 
 dramatic, it is probable that he uses /te'Xo9 as a general term, 
 applied to the rendering of all verse except the spoken trimeter 
 of dialogue, and that the three trochaic periods in question were 
 rendered in recitative, as the preceding tetrameters. 
 
 809. Elsewhere Heliodorus generally uses the word /ueAos, as we 
 should expect, in application to a strophe that was sung. Cf. the 
 metrical scholia on Ach. 665 ff., Eq. 551 ff., 1111 ff., 1264 ff., Nub. 
 1303 ff., Pax 856 ff., 939 ff., 1127 ff. Similarly he applies it to the
 
 811 MODES OF RENDERING 371 
 
 missing first stasimon of the Nubes (Schol. Nub. 889 ff.). He applies 
 it also to Ach. 263 ff., consisting of the monody of Dicaeopolis and 
 the four dimeters of the chorus, where the second part probably was 
 sung as well as the first. Similarly he applies it to Pax 571-600 as a 
 whole, consisting probably of a recitative trochaic hypermeter and a 
 melic strophe. For Ach. 204 ff. see 807. 
 
 810. The means of differentiating melic from recitative 
 anapaests are stated in 282, but we are sometimes in doubt. 
 The leader of the first half-chorus had the anapaests in Aves 
 1726-30, Peithetaerus those in 1743-7. No peculiarity of 
 metrical form indicates that they were sung. If Peithetaerus 
 recited 17437, how did he render the syncopated iambic 
 tetrameters in 175562? We fall back on the probable fact 
 that all the comedies ended with a lyrical number. Opinions 
 also differ as to the rendering of the Koppdna that open the 
 parabases. Some of the commatia of comedy must have been 
 sung, as Av. 676 ff. (546). Others must have been at least 
 partially melic, as Nub. 510 ff. (561), Vesp. 1009 (297), Eq. 
 498 ff. (294), probably also Pax 729 ff. (295). The difference 
 in mode of rendering, if it existed, was due to the fact that the first 
 part of the commation was addressed to actors as they left the 
 stage, and that the verses that followed were a prelude to the 
 poet's address to the audience. Some may have simply been 
 recited by the leader of the first half-chorus, as perhaps Ach. 
 626 ff. (296). 
 
 811. It must frankly be confessed, then, that the mode of 
 rendering certain parts of a comedy cannot now be determined 
 with certainty, just as many questions which the modern 
 interpreter of Aristophanes must face when he attempts to 
 determine the scenic presentation of a play in detail cannot now 
 be answered. Happily the audience that gathered in the ancient 
 theatre to see the play as well as to hear it were not disturbed 
 by these questions. Uncertainty in settling these points now 
 does not imply the least doubt that they were definitely and 
 clearly determined by the poet before the actual performance.
 
 372 THE VEKSE OF GREEK COMEDY 812 
 
 PKOSODIAC-ENOPLIC VERSE 
 THEORIES OF CONSTITUTION 
 
 812. Until recent years, the prosodiac and enoplius have 
 generally been regarded by modern scholars as respectively an 
 anapaestic tripody and a dactylic tripody, and the iambic and 
 trochaic metres that are joined with them as third and second 
 epitrites (Heph. 12. 1318). The verse composed of these 
 elements has therefore been named dactylo-epitritic. The 
 combination of tripody with dimeter and the union of isomeric 
 single feet (dactyls) with diplasic single feet (trochees) in such 
 a tetrameter as 
 
 ecTTe<f>dvti)crfV fOeipas ev TiaveXXdvwv 
 w w w ^ -- I ~ w --- w -- Bacch. xiii. 164 f. K. 
 
 have been variously explained. The former involves the difficult 
 operation of uniting a tripodic colon with dipodic metres. 
 Westphal appreciated the difficulty and made the long syllables 
 at the close of the tripody tetraseme, thus constituting a tetra- 
 meter. See Spec. Metrik 2 , 619 ff. But this remedy, which is 
 unsupported by ancient evidence, is of no avail when the tripody 
 ends with trochaic close, as in the following corresponding verse 
 in the same ode : 
 
 urriov dpTraAews T' aeXirrov (IKOVTO \f.fxrov Bacch. xiii. 98 f. K. 
 
 This manifestation is not infrequent and has historical explana- 
 tion, the short syllable at the end of the tripody being, in fact, 
 the final syllable of an original paroemiac (643), but manifestly 
 the short syllable cannot carry the burden of tetraseme length. 
 The combination of single feet of different yevrj within the same 
 period is likewise a difficult problem for those who make the 
 simple foot the unit of rhythmical measurement. Bockh equalizes 
 the simple feet in the epitrite, giving it the value of six primary 
 times ( - ^ -- = 2 1 ^ -^). The single dactyl, furthermore, had 
 the value of the epitrite (-ww=3f-| and -- =33). See 
 Find. Op. I. ii. 107. The tetrameter quoted thus becomes a 
 pentameter with the value of thirty primary times. Eossbach 
 proposed in the first edition of his Ehythmik, as one solution of 
 the difficulty, to give each long syllable the value of two primary 
 times, each short syllable of the dactyl that of one primary time,
 
 813 PROSODIAC-ENOPLIC VERSE 373 
 
 but the short syllable of the epitrite, which was ' irrational,' that 
 of one and one-half times. See Rhythmik 1 , 130. The tetra- 
 meter thus has the value of twenty- seven times. Westphal 
 varied this by giving the trochee of the epitrite the value of 
 four primary times (f- ^). See System der Rhythmik, 184. The 
 verse quoted thus measures twenty-eight times. This view was 
 subsequently modified (Spec. Metrik 2 , 6 1 9 ff.) by giving tetraseme 
 value to each long syllable of the final foot of the dactylic tripody. 
 The verse quoted thus has the value of thirty-two primary 
 times. J. H. H. Schmidt (Compositionslehre, 84 ff., Rhythmic 
 and Metric, 41) also gives the trochee of the epitrite the value of 
 four primary times, but by assuming triseme length for the long 
 syllable (31). Kossbach finally (Spec. Metrik z , 431 ff.) insists on 
 diplasic measurement of all the simple feet; the epitrite ends 
 with an irrational long syllable and the dactyl is ' cyclic ' (389 ff.). 
 Goodell (Metric, 202 ff.) rejects this absolutely. The dactyl, he 
 says, was a true dactyl in even time and controlled the period. 
 The trochees were somehow rhythmized under the influence of 
 the dactyls and spondees. Just how this was effected is not 
 now determinable. But the process of equalizing the time of 
 the dactylic and trochaic cola was not rigid ; a purely trochaic 
 dimeter, perhaps even a dipody, may have kept its own triple 
 time. 
 
 813. Some modern metricians hold that the verse now 
 under consideration is ionic, regarding the prosodiac and enoplius 
 as composed each of two distinct and separable metres and 
 
 believing that all these metres are ionics, not only ^ ^and 
 
 w ^ but even - ^ ^ - ; furthermore, that the elements 
 
 ^ - ^ - and - w - ^, designated in this book as iambic and 
 trochaic, are also ionics, but irrational, the equivalents respectively 
 
 of w w and w w . In prosodiac periods, therefore, the 
 
 major ionic (1) ^ w may appear as (2)^ - ^ ^ (first syllable 
 
 variable), or (3) ^ - (second syllable of the arsis irrational), 
 
 or even (4)^ - ^ - (both manifestations). In enoplic periods 
 
 the minor ionic (1)^ ^ may appear as (2)^ ^ ^ (last 
 
 syllable variable), or (3)-^ (first syllable of the arsis 
 
 irrational), or even (4)- w - ^ (both manifestations). The 
 ' choriambic ' form of the ionic mediates between the first series 
 and the second, being found in both. Otto Schroder, who is the 
 chief exponent of this theory, would put a stress (ictus, 28) at
 
 374 THE VERSE OF GREEK COMEDY 814 
 
 the middle of each metre, namely on the second syllable of the 
 
 thesis of w w and its equivalents, on the first syllable of the 
 
 thesis of w w and its equivalents, and on the short syllables 
 
 of the choriamb. See the tabulation in his Vorarbeiten, 93. 
 
 814. It is obvious, if this theory is sound, that these ' ionic ' 
 elements in prosodiac-enoplic verse must have had a peculiar 
 development. 1 Since the publication in 1 8 8 6 of von Wilamowitz's 
 Isyllos, a stimulating book, the search for ionics has gone on 
 merrily and a bizarre collection has been assembled. Among 
 these is the choriamb, but sober reflection must relegate this to 
 its proper place as the fundamental metre in Aeolic verse. The 
 choriamb, it should be observed, is not found among the minor 
 ionics of Isyllus, nor, at the other extreme, in any ionic fragment 
 of early melic poetry on the scansion of which scholars are agreed, 
 nor in any ionic ode in the drama, even in Aristophanes's tour 
 deforce (429). In short, the choriamb, whenever it appears in 
 any form of Ionian verse, and the instances are not numerous, is 
 due to interior anaclasis. For the cases in Aristophanes see 71, 
 
 206. The form ^ - , furthermore, does not occur in major 
 
 ionic verse in the early melic poets nor in the drama, in which it 
 remains to be proved that major ionic verse occurs at all. The 
 fragments of ionic verse in the melic poets are few, but happily 
 the laws governing minor ionic verse can be formulated with 
 exactness in the drama, since entire odes in this metre are found 
 both in comedy and in tragedy, and furnish means of complete 
 
 comparison. The form w occurs in the drama only as the 
 
 result of terminal anaclasis (419 fif.), except that Aristophanes 
 
 occasionally allows a collocation v/ ^ - ^ | - w , not found in 
 
 the tragedians, with ^ w - w | - w and ^ ^ - ^ in 
 
 correspondence in strophe and antistrophe, where the anaclastic 
 form in the one case prevents misinterpretation of the other, and 
 
 once he has ^ ^ 1 ^ w , where the normal interprets the 
 
 irregular form. 2 In all these cases the colon begins with true 
 
 minor ionic arsis. The form - w , then, in true minor ionic 
 
 verse, we may safely conclude, is not a minor ionic, but arises 
 by conversion through anaclasis or in imitation of such con- 
 version. The instances of the latter are extremely rare. 8 But 
 
 1 See Schroder, Vorarbeiten, 85 ff., extravagance that exhibits with set 
 91 ff. purpose every possible licence in form. 
 
 2 I exclude, of course, Thesm, 101 ff. 3 A sporadic case occurs in Aeschylus : 
 (429) from consideration, a ludicrous jrepivaiovTai ira\<u6v Supp. 1021 = 1030.
 
 815 PROSODIAC-ENOPLIC VERSE 375 
 
 we constantly encounter enoplic cola in Bacchylides and Pindar 
 such as follow : 
 
 Zr/vos evdaXfs ireSov Bacch. ix. 5 K. w 
 
 <f>ap.l KOL <f)d(r<a p-eyiorrov Bacch. i. 21 K., 159 B. 
 
 ia T avrov irtefci Pyth. i. 19* ~ w -- w -- 
 
 ravpov dpyajvra irarpl Seiov 01. liii. 69 b w -- ^/ ^ 
 rfav 8' a.<f>dvT<av KvSos dvreivei <ra6p6v Nem. viii. 34 b 
 
 vy - \J \S 
 
 a T E/2oia' xai TraVav Kara 01. xiii. 112 
 
 6 8* dvarcivais ovpavo) \fipa<i a/ia^ovs Js(A. vi. 41 
 
 ^, w ^^ i^i v 
 
 <rvv Kp^rwv 6^tiAa> Bacch. frg. L 5 f . K., i. 115 B. 
 
 Cola of this description may be continuously combined in periods : 
 
 8' opvi|xcs XiOv<f>doyyoi <j>6f3ti> 
 
 -- -w -- |-w-^ -^^ Bacch. v. 22 f. K. 
 os T' ev aiV^t Taprap^) KeiJTat, ^ewv iroAe/ztos 
 
 . i. 15 
 
 ayvtav 
 
 -^ -- -v -- | - v -- _ w _^ Bacch. ix. 51 f. K. 
 6Vta Sptav ev<J)paiv Bvfj-ov TOVTO yap | KepSfwv VTreprarov 
 -^ _^_i=i _ w _.|_ w _^ _ w ^ Bacch. iii. 83 f. K. 
 
 Xovrpa. f3ao-Ta.ei<s o[JLi.\\%yv Trap' oiKciats dpovpais 
 w -- w -- w ] w -- ^ -- Oi. xii. 19 
 TOV yap "I8as dp.(f>l fBowriv TTWS ^o\(a\0el<5 Irpaxrcv ^aA.K6a? Xoy^as dxp-a 
 
 x. 60 
 
 815. There are scores of these cola and periods in Pindar 
 and Bacchylides, but there is nothing comparable in true minor 
 ionic verse in the Greek poets. If these are ionics and represent 
 each the ground form ^ w -- , they must indeed have had a 
 peculiar origin and independent development ! But as trochaics 
 they are unobjectionable; neither resolution nor the irrational 
 form of the most of the metres (650) occasions difficulty. But 
 if, on the contrary, - ^ -- is the equivalent of w ^ -- , then 
 the form ~ ^ -- involves resolution of an irrational syllable, 
 a phenomenon not found elsewhere in Greek verse. Thus also 
 in prosodiac verse -- w - sometimes appears as -- ^ ~ :
 
 376 THE VERSE OF GREEK COMEDY 816 
 
 $rcravTO, Trap (Bwfjtiv irarcpos 'EXAaviou 
 
 w _ w ** W M pi n d. Nem. v. 10 
 
 OVTTW ycvvcrt <atWv re/3ei|vav futrfp otvav0as OTTW/XXV 
 w ^ w I ^ ~ w Find. JVem. v. 6 
 
 In such cases as these, w * also involves resolution of an 
 
 irrational syllable, if w - is regarded as equivalent to 
 
 ^ v. But such resolution is unobjectionable in the iambic 
 
 metre w - . For Schroder's explanation of this phenomenon 
 
 see his Vorarbeiten, 102 ff. 
 
 816. In an article recently published in Hermes (xliv., 1909, 321 ff.) 
 
 Friedlander rejects the derivation of the element ^ , found in 
 
 enoplic verse, from the minor ionic, rightly maintaining that the first 
 
 syllable in ^ , as well as the third, is a thesis. But he also 
 
 denies that this element is trochaic, on the sole ground that its final 
 syllable is generally long, ignoring the sufficient explanation of this 
 
 found in its irrationality. See 650. He maintains that w 
 
 in prosodiac verse and, by loss of the initial arsis, ^ in enoplic 
 
 verse are not respectively an iambic penthemimer ( ^ ) and a 
 trochaic metre ( ^> ) but are "shorter secondary forms" of 
 
 ^ ^ and w w , and he assumes an intermediate 
 
 tripody w w ^ , which in enoplic verse, by loss of its initial 
 arsis, would become ^ ^ . But it is precisely this tripody which 
 does not occur in prosodiac-enoplic verse. It will be noticed that 
 in the process of regressive reduction from i. to v. in the illustrations 
 quoted in 644, a final colon of the form ^ w (with restored arsis, 
 i _ w _ w _ ) fails between iii. and iv. Whereas the final phrases in 
 i., ii., iii., reckoning in simple feet, have each four theses, those in iv. 
 and v. have but two. The intermediate colon with three theses is not 
 found in prosodiac-enoplic verse in any poet, and it is unfortunate 
 that Friedlander should have impaired the value of an interesting 
 investigation by quoting in its support not only Aeolic periods from 
 Pindar, but even part of a heavily protracted melic iambic trimeter 
 from Sophocles ! It is a commonplace of Greek metric that cola may 
 have the same metrical form and yet be unrelated. Friedlander's 
 
 subsequent deductions are not tenable. For if w were 
 
 derived from ^ w and w from w ^ , necessarily 
 
 in each case by the loss of a final arsis, both forms would contain three 
 theses, like their sources, and the final syllable of each would always 
 be long within a colon, whereas it is often short in prosodiac-enoplic 
 
 verse, as we have seen, w ^ and w ^ . Friedlander's 
 
 assumption that ^ , thus derived, might sometimes have the 
 
 value of a simple metre of two theses ("fallender Zweiheber") is 
 
 manifestly erroneous, as are his statements that v , as actually 
 
 found in prosodiac verse, has sometimes the value of three theses, and
 
 818 PROSODIAC-ENOPLIC VERSE 377 
 
 that the ithyphallic, which, reckoning in simple feet, has always four 
 theses, may sometimes be accounted a tripody (" Dreiheber "). 
 
 817. Furthermore, the 'ionic' theory of prosodiac verse 
 excludes from this class a whole series of periods which belong 
 to it, and compels their classification elsewhere, although these 
 periods occur in prosodiac-enoplic odes. It cannot account for 
 catalectic periods of the following forms : 
 
 os av irapa Tlicpi8<av Xa^r^rt Stapa Mowav Bacch. xix. 3 f. K. 
 pivre o-KeAos ovpdviov ^ffj.j3t,Kf<s fyyfvecr6(av Vesp. 1530 f. 
 to TrayK/oares, <5 T/DOHCIS ff^X") ""<*Acud Sci/tas Eur. Rhes. 232 
 
 eras aTTTo/ievos <apT/)as \\vdutvi Sta p.r) 
 wv _ w ^ _ | w _ w _ ^ _ w JEq. 1272 f. 
 
 The ' ionic ' theory has no explanation of this catalexis. 1 Yet 
 the tetrameter found in Bacchylides, Euripides and Aristophanes 
 is the period that Hephaestion expressly certifies as prosodiac 
 (630, n.). For further examples see 495. 
 
 VARIANTS FROM NORMAL TYPES 
 
 818. The final argument that has induced many scholars to 
 accept, however reluctantly, the ' ionic ' theory of prosodiac- 
 enoplic verse is doubtless that drawn from the apparent corre- 
 spondence of certain ' metres ' in Bacchylides and Pindar. See 
 Leo, Zur neuesten Bewegung, 159. If it were true that the mere 
 occurrence of different forms in the same place in successive 
 strophes proved their rhythmical equivalence, then doubtless we 
 
 should have to agree that, for example, - w ^ - and - w , 
 
 and - w and w ^ , were convertible, and make search 
 
 for a name that would fit them all. But the mere fact of 
 substitution does not prove rhythmical equivalence either in this 
 or in other rhythms. See 51. These changes arose under poetic 
 impulse to secure a special rhythmical effect. The question, 
 
 1 Schroder's classification of Vesp. 1530 directly against the express testimony 
 
 and Eq. 1273 is significant. Both (494, of Hephaestion. The latter (Aristoph. 
 
 493) occur in odes composed exclusively, Cant. 11, 98, 100), he admits, ends with 
 
 the former of prosodiac, the latter of a catalectic iambic trimeter, although 
 
 prosodiac and enoplic periods. Yet he the remainder of the strophe, he says, is 
 
 classifies the former (Aristoph. Cant. prosodiac and enoplic ("Chalcidic"). 
 21) as an Archilochian tetrameter,
 
 378 THE VERSE OF GREEK COMEDY 819 
 
 then, of the significance of these changes is one of rhythm, and 
 must be answered, not by consideration of single ' metres ' or 
 even cola, but of the period as a whole. Such consideration 
 may reveal even to men whose speech is not quantitative, and 
 to whom therefore Greek quantitative rhythm often seems strange 
 and difficult, the special rhythmical effect at which the poet 
 aimed, and thus disclose the true differentiation of the slightly 
 different forms that the period takes. 
 
 819. Prosodiac-enoplic verse is regular and simple. Four 
 dimeters and six trimeters and two triply - compound tetra- 
 meters (489), all of normal form, suffice for the building of 
 the stately and impressive strophes found in lyric poetry and 
 the drama. Exceptions to normal types are not numerous. 
 There are only two in Aristophanes. Bacchylides is the poet 
 who manifests special disposition to vary his rhythms by means 
 of abnormal forms, but even in Bacchylides there are relatively 
 few variants from normal types. The papyrus manuscript of 
 this poet, first published in 1897, contains about 665 prosodiac 
 and enoplic cola that are either complete or so slightly mutilated 
 that their exact original metrical form is not in doubt. All 
 but twenty-eight of these are included among the twelve normal 
 ' cola,' and these twenty-eight show, among limitless possibilities, 
 only six different sorts of variation. In other words, variation 
 is strictly limited. The question at issue is so fundamental 
 and important that I shall now briefly submit all these variants 
 in Bacchylides to consideration, quoting occasional parallels from 
 Pindar. 
 
 820. These variants arose, as I have just said, under poetic 
 impulse to secure special rhythmical effect by substituting a 
 slightly different form for one of the twelve regular cola. The 
 variation commonly consists in the change of a single element. 
 It never involves confusion of rhythms, that is, no enoplic element 
 is introduced into any prosodiac period, as conversely no pro- 
 sodiac element is introduced into any enoplic period, by which 
 the continuous ascending or descending rhythm of either period 
 respectively would be broken. The normal form represented by 
 the variant is generally determined by apparent correspondence ; 
 if not, it is revealed by the contiguous forms composing the 
 colon in which the variant occurs. The variants follow. 1 
 
 1 The hair-lines here indicate the division into cola.
 
 822 PROSODIAC-ENOPLIC VERSE 379 
 
 821. IIAevpwva ' ftivvvda 8e fioi ^v^a yAvKcija yv<av 8 oAiyoo-0evea>v 
 \s \s \s \s v | \^w wvy Bacch. v. 151 f. K. 
 TOV 8' u>s iStv 'AA/c/XTjvios #av/iao"rbs i^pos Tv\e<ri Aa/wrd/Aevoi' 
 v/ w \^ w I wv^ wv^ Ibid. 71 
 
 Three times in this long ode the regular rhythm of the pentameter 
 is disturbed, as in the second period quoted, by the anticipation, 
 in the second metre, of the iambic movement that follows in the 
 third. 1 Compare in Pindar : 
 
 T d)vTO"6 7reprreAAwv doiSav ~ 
 os 8' dfj.fi dW\OL<s rj iroX.ep.ifov aprjrai /cvSos dfBpov 
 \s \j \j wv/ w Isth. i. 33, 60 
 
 This period (33) is normally the hypercatalectic form of a 
 well-known tetrameter (489, 6). 
 
 822. The reverse effect is observable in the following penta- 
 meter in descending rhythm : 
 
 &fJKV dvr evepyecriav, Xnrapwv T dX\\<av <rrf<f)dv<av iirip.oi.pov 
 
 \j \j \j \^ \j ww \j \j 
 
 Bacck i. 19 f. K., 157 f. B. 
 
 wr(Tov dv (ay \povov, rovSe \d%ev ' T'L | pdv ; dperd 8' rt'/AOX#os 
 - ^ -- -w -- vxv/-^J-vw- w ^ -- Ibid. 42 f. K., 180 f. B. 
 
 In this single period of the ode (v. 42 f.) the regular rhythm is 
 varied by continuing the opening trochaic cadence into the second 
 metre. Thus also in a catalectic tetrameter (489, 12), in Find. 
 Pyth. i. : 
 
 TOV irpofrepTTOVTa xpovov, &v eparai Kaipbv 
 p,ur66v, V ^Trdpry. 8' epfto rdv irpb 
 w -- w w wv^ -- w Pyth. i. 57, 77 
 
 Compare the following heptameter : 
 
 \aX.KOKpavov 8' eireir e^jci'Aero J-iov dvaiTTV\a<i <f>apfTpa<; 
 
 8' fvavria 
 
 \j w I w w wv I w \j \j v 
 
 Bacch. v. 74 ff. K. 
 Once in this ode (colon 115) a trochaic metre occurs instead of 
 
 1 In Bacch. xiv. 5 Blass reads 17$', occurs in prosodiac verse nowhere else 
 
 where the manuscript is uncertain, but in Greek poetry. Housman's conjecture 
 
 this would give a variation ( -- w IS' is, therefore, right. See Jebb's note. 
 w w for w u u w ) which
 
 380 THE VERSE OF GREEK COMEDY 823 
 
 the normal - ^ ^ - at the beginning of the second dimeter, 1 
 due perhaps to the trochaic swing of the period. 2 
 
 823. The displacing element is sometimes the first half of 
 the prosodiac or the second half of the enoplius. Thus in a 
 pentameter in ascending rhythm : 
 
 yvtapai iroXvirXayKTOi (Bportav \ dpepcrav vireprarov 
 Kcwrav Trap evvSpov irpoyo\vtav r<ra|U,ei/a)v, 
 
 Bacch. xi. 35 f., 119 f. K. 
 
 Twice in this ode the regular rhythm is varied in the second 
 metre by the anticipation of the opening movement of the 
 trimeter that follows. Compare in Pindar : 
 
 Kal TrevTciKis 'la-dp-ol o-re^ai/wcra/ievos JVem. vi. 19 
 
 \J \s - - w \J \J \S 
 
 SaifJidiv dir' Oivwvas eAajcrev. crrao-oyxai ' ovrot diraa-a /cepSiwv 
 \j v^v-'l v^w vw w \j Nem. v. 16 
 
 824. The reverse effect is observable in descending rhythm : 
 
 w -- ^ w w w ww Bacch. x. 15 f. K. 
 
 The tetrameter does not here end, as it would normally (489, 
 12), with trochaic movement, but continues the ' ionic ' cadence 
 (Hephaestion's phraseology) in the last metre. Pindar affects 
 this cadence : 
 
 \ TIS yap ecrAclv 
 OUK are/3 AtaxiSav | Keap V/JLVW yeverai 
 \j \j w w | w ^ Isth. v. 41, 20 
 
 The first period (41) shows the normal tetrameter. Of. Nem. 
 i. 6 and 17, Pyfh. iv. 6, Isth. vi. 37. 
 
 825. The disposition to this substitution is so strong that it 
 may be made even when it is not supported by an adjacent 
 metre of the same form. Thus it occurs as the initial movement 
 in a period, where the effect is equivalent to partial acephalization. 
 
 1 This period cannot begin with the name in a restored line, and in 170 B., 
 
 fifth colon of the epode, because of where, however, the editors read vbffuv 
 
 hyphenation in 74. for vofowv of the manuscript. Elsewhere 
 
 ^ A trochaic metre is substituted for in the ode the normal w w occurs 
 
 the first metre of the enoplius also in in this place. 
 Bacch. i. 9 B., in a conjectured proper
 
 826 PKOSODIAC-ENOPLIC VEESE 381 
 
 t@f\i 6" aveiv (frpfvas dvSpos, o 8' e5 epStav Oeovs 
 -- _ w w _ ww -- - s, - Bacch. i. 24 f. K., 162 f. B. 1 
 
 <f>id\av o>s ei TI<S d<t>ve\a.s oVb xeipos eAwv 
 
 V ^/ vy V- | WV/ <w V Oi. Vll. 1 
 
 The second as well as the first metre may have this opening : 
 
 . iii. 23 
 avrov \ TO ar<f>vpbv ye/aovros OVTOS; | Kat 
 
 ia TOUT ovvT^eis etr to~cos Kemu irvperT<av. o~Tt yap TOIOVTOS 
 
 y./ ^/ 
 
 v/ \-/ -^ I ^ \^ " O v./ ^ >- / Nh/ _ 
 
 Fesp. 276 f., 283 f. 
 
 This variation of rhythm thus established may occur even within 
 a trochaic series, with distinct effect of dissonance : 
 
 el TO, Trap \etpos KvfBfpvarat SiKcuaicri <f>peve<r<rtv ~ 
 
 <rvfj.<fopa 8' ecrOXbv d/zaA8v|vt ^SapVTAaTos ftoXov<ra 
 
 _ v -- M W -- | _ w -- _ w _^ Bacch. xiv. 10 f., 3 f. K. 
 
 Cf. Bacch. x. 10 ; Pind. Pyth. ix. 41. 
 
 826. Cola occur in both Bacchylides and Pindar that are 
 wholly iambic or trochaic except for a single metre in choriambic 
 form. This is the 'iambic' or 'trochaic' choriamb found in 
 iambic and trochaic verse throughout Greek poetry 2 : 
 
 vp.vourw vfaivc vvv ev | TCUS Tro\vr)pa.TOi<s TI KAcijvov oAjSiais 5 A#dvcus 
 
 <<> v-v/ I ww \J w |vy \J vy 
 
 Bacch. xix. 8 ff. K. 
 
 The second dimeter would normally be wholly iambic, but an 
 ' iambic ' choriamb displaces its first metre with rhythmical effect 
 comparable to syncopation in modern music : 
 
 <f>6pfJLiyy 'Afl-oAAcov 7TTayAa>cr|o-ov xpvo-e 
 a>$ apa vvjit^>tas eTretjpa /cctvos fv Ae/CTpois ' 
 ^ w -- w ~| -- ^ ~ -- w ~ ~ Nem. v. 24, 30 
 veavia yafiftptf TrpOTrtjvwv oiKodev oi/ca8e, 7rdy|xpw"oi/, KOpv<f>av 
 IleAAava T' A?yivd T vt|KO)vd' e^aKis 1 Iv Mydpot[o'tv T' ov^ fTfpov 
 
 XiOiva. 
 
 13 \.s \j \ \j\j \j\j- \ \j\j v^</ 
 
 Of. vii. 4, 86 
 
 1 Bacch. v. 160 K. is an iambic tri- editors. 
 
 meter with ' ionic ' opening, if the verse 2 For Aristophanes see 71, 206. 
 begins with a short syllable. See the
 
 382 THE VERSE OF GREEK COMEDY 827 
 
 827. In descending rhythm this is the commonest form of 
 variation of rhythm found in enoplic verse : 
 
 ouAiov dpfjvov 8ia7rAecucr' ' 
 
 ewAea Aaoo-croov yuvacr-nj/o' aywvwv Pyth. xii. 8, 24 
 
 <rw f3a6vu>vov 8iSu/4Ois TTawrt AvjSas OZ. iii. 5, 35 
 TII/ 8' ev 'IcrO/JLy SiTrAoa. fldAAowr' dperd JsiA. v. 17 
 
 For longer periods cf. JVm. viii. 2, xi. 5 and 14, JsrfA. vi. 6. 
 Compare also : 
 
 KCIVOS dvrjp, fTriKVpcrav; | d<f>d6v(t)v currwv ev i/j,epTai<s dotSats ~ 
 Trpos Hirdvav 8 Trap' Ev/3(o|Ta iropov Set (rdp.fpov (XQelv tv &p<. 
 ww v^w -- | w -- _ w ^_ _ v -- 01. vi. 7, 28 
 
 KCU Awatov Trap Aios 0^Ke Sp6fj.(i), | OT>V TToSaiv ^ei/owv re vt/cao-ai o-$evi ~ 
 awrbs "OXu/A7rov ^eAeis vaieiv epol \ crvv T 'AOavaia KcAatveyKet r "Apei 
 
 x. 48, 84 
 os dvSpwv epyfjMTi, KdA|XrTos' e5 epSovra 8e Kal ^ebs opBol 
 
 w -- w w | w -- w ^ v/w -- Bacch. xiv. 1 7 f. K. 
 Zyvl TrapicrTapeva K.pi\vei<> reAos d^avaTOt|criV re KCU 6va.Tois dperas 
 
 Bacch. xi. 5 ff. K. 
 The dimeter sometimes occurs independently as a period : 
 
 yXfocr&a Troi/xcuveiv fdfXci 01. xi. 9 w ^ ^ 
 
 ev 8' "A/OTjs dvdei vtw rbv 8' ev 'OXvp-inp (frdrvai 01. xiii. 23, 92 
 
 The substitution of - s/ ^ - -w-in the last dimeter for the 
 normal - w -- - ^ - furnishes the key to the explanation of 
 an unusual substitution found in Bacchylides and Aristophanes, 
 v^ \j w lor \j \j \j \j ', 
 
 MeveAaos | ydpvt Oe 
 w w ww -- I ^ w vw Bacch. xv. 48 K. 
 
 This is normal, two enoplic dimeters combined, but once in a 
 defective line (13 K.) the period ends in - ^ -. Compare :
 
 829 PROSODIAC-ENOPLIC VERSE 383 
 
 wv aTroAwAfKf ras | e/z^aSas, r/ irpotrfKO^' fv \ Tip (TKOT^ rbv 8a.KTvX.6v 
 
 TTOV ~ 
 wv KCU Aeytov | u>s <tA.a0ryvcuos ^y /cai | rav 2a/z 
 
 . 274 f., 282 f. 
 The two normal dimeters are found in correspondence in Pindar : 
 
 6va.Ta OvaTolcri TrpeTrci = 
 
 'H/oa/cAei.' TrpOTCpov Isth. v. 16, 37 ^ ^ ^> 
 
 The nature of the substitution in Bacch. xv. 13 K. and Vesp. 
 282 is now clear: the dimeter - ^ ^ - - ^ - occurs in these 
 
 passages as the allowed substitute for - ^ ^ - (cf. 01. 
 
 xiii. 23, 92 quoted above). 
 
 828. All the variations from normal types in Bacchylides 
 have now been considered, 1 and practically all in Pindar. 
 
 829. The change involved in each of these cases undoubtedly 
 produces temporary dissolution of the regular rhythm and is 
 comparable with dissonance in harmony. But it is not fortuitous 
 nor arbitrary, but due to some special tendency which is dis- 
 coverable when the rhythm of the entire period is taken into 
 account. Occurring but rarely in any single ode its general 
 effect may have been as distinct and satisfactory as that of the 
 regulated discords of modern music. 
 
 1 The third colon in the strophe in Bacch. xiii. is probably a Pherecratean.
 
 CHAPTER XX 
 THE COMMENTAKY OF HELIODOKUS 
 
 830. In the editions of plays of Aristophanes purchasable in 
 the bookshops of Athens during the fourth and third centuries 
 B.C. the trimeters of dialogue and tetrameters were doubtless 
 given each its own line, but lyrical parts were written solidly 
 as prose without indication of the limits either of cola or of 
 periods. Furthermore, the musical notes, found in the author's 
 original book of the play, were probably soon eliminated from 
 the copies offered for sale by the trade. Even cultivated men, 
 therefore, as early as the time of Lycurgus, must often have felt 
 doubt as to the metrical form of these comic songs, although 
 it is neither elaborate nor complex. 
 
 831. It was probably Aristophanes of Byzantium (c. 200 B.C.) 
 who devised and published the colometrical editions of the tragic 
 dramatists that became the basis of our present texts. His 
 colometrical edition of Pindar is certain. Some Alexandrian 
 scholar must early have done the poet Aristophanes the same 
 service, for it cannot be supposed that, when so simple a way to 
 a better understanding of the metrical constitution of dramatic 
 odes had been discovered and applied, Aristophanes was left 
 neglected for three hundred years until the time of Heliodorus. 
 In these colometrical editions the entire text was written in 
 a-rL^oi and Ka>\a, and o^eta were also used to indicate quickly 
 to the eye certain important facts relating to rhythm and 
 structure. Sooner or later also the principle of indentation was 
 employed to bring into relief the relative length of lines and cola. 
 These editions promoted the systematic study of the subject, and 
 metrical treatises were written. 
 
 384
 
 834 THE COMMENTARY OF HELIODORUS 385 
 
 832. Heliodorus (c. 100 A.D.) wrote a noteworthy colometry 
 of Aristophanes, a continuous commentary in which he analyzed 
 the metrical structure of the plays and ventured occasional 
 criticism. Doubtless he corrected and improved the colometrical 
 texts of the poet which he had before him as he wrote. It is 
 not likely, for the reason just stated, that he himself first con- 
 stituted such a text. Extracts were made from his colometry of 
 Aristophanes, of which copies (TO, 'H\ioSa>pov in the subscriptions 
 at the end of the Nubes, Pax, and Aves) were current, by the 
 anonymous scholar who early in the Byzantine period collected 
 the scholia on Aristophanes now found in part in the oldest 
 extant manuscripts. This scholar depended chiefly on Symmachus, 
 practically contemporary with Heliodorus, for exegetical comment. 
 Symmachus was not interested in colometry. 1 
 
 833. Mutilated remains of these Heliodorean extracts are found in 
 existing manuscripts mingled with the exegetical commentary. The 
 text of these remains is in a deplorable condition, but nevertheless 
 admits trustworthy restoration in most cases. Dindorf, in his Oxford 
 edition of Aristophanes (iv. i., p. xvi.), first attributed the older metrical 
 scholia to Heliodorus. Schneider (De schol. fontibus, 1 1 9) a little later 
 suggested that Heliodorus had written a colometry. Thiemann 
 collected and published, in 1868 and 1869, the fragments of the older 
 metrical scholia, separating them from the Byzantine metrical com- 
 mentary, and in the following year Hense, in his Untersuchungen, made 
 very substantial contributions to a better understanding of Thiemann's 
 collections, and corrected many of his conclusions. See also a lively 
 chapter in Rutherford's History of Annotation, 87 ff. Triclinius, who' 
 lived at the beginning of the fourteenth century, is the author of 
 the "Byzantine" metrical scholia, as Dindorf surmised. See Zacher, 
 Handschriften, 603 ff. Musurus incorporated the Triclinian analyses 
 with the scholia in the Princeps. Compare the metrical commentary 
 on the Nubes in the important Vatican manuscript Vv5 (Zacher, 
 628 ff.) with that of the Princeps (reprinted in Thiemann, 32 ff.). 
 
 834. In Heliodorus's colometrical texts of Aristophanes, the 
 difference in length of cola was indicated to the eye by means of 
 indentation of lines. The technical term for indentation in the 
 commentary is tcr0e<ri<;, and the standard is the preceding line. 
 The shorter line is said to be eV elo-Beret. If the order of length 
 is reversed and the shorter line precedes, the position of the 
 longer line is indicated by the term K0e<ns, it is said to be 
 
 1 Hense, Heliodoreische Untersuchungen, 12 if., interprets the subscriptions differently. 
 
 2c
 
 386 THE VERSE OF GREEK COMEDY 835 
 
 ev etcdecret,. The participle eKKelfievos is sometimes employed to 
 indicate this relation. To prevent constant iteration, the state- 
 ment ev ela-ffeo-ei or ev etcOeo-ei may be applied to an entire 
 group of verses provided that no member of the group is theoreti- 
 cally longer or shorter than the preceding norm. The phraseology 
 in this case is often eto^eoY? et<? or e/c#e<ns et? TreptoSov or yu,eXo<? 
 or the like. All verses in a given category, as, for example, 
 iambic trimeters, are assumed to be of the same length. 
 
 835. The iambic trimeter, which occurs oftener in comedy 
 than any other verse and is of medium length, was centred on 
 the page. Measured by this, iambic and trochaic tetrameters and 
 the heroic line were ev eK0e<rei. Cf. Schol. Ach. 836, 204, Eq. 
 1015. Conversely, the trimeter following any of these was ev 
 elo-Oecrei,. Cf. Schol. Pax 431, Eq. 1041. The longest line was 
 the anapaestic tetrameter. Compared with any other, it was 
 ev e/cOeo-ei. Thus Eq. 761 f., following an iambic tetrameter 
 (Schol. Eq. 761); Pax 729 ff., following an iambic trimeter, and 
 Pax 734, following a trochaic tetrameter (Schol. Pax 729 ff.). In 
 Schol. Pax 729 the difference in length of anapaestic and trochaic 
 tetrameters is the subject of special comment. Thus three 
 categories are established. All verses in any one of these three 
 categories were estimated as of the same length. In fact they 
 are not, but all verses in each group began theoretically on the 
 same perpendicular line. 
 
 836. Measured by the standard of the trimeter or of any of 
 the longer lines just mentioned, certain shorter lines are ev 
 ei<r0e<Ti and constitute a fourth category, as iambic, trochaic, 
 anapaestic and dactylic dimeters and Glyconics. Thus iambic 
 dimeters following trimeters (Schol. Ach. 263) or iambic tetra- 
 meters (Schol. Ach. 836); trochaic dimeters following trochaic 
 tetrameters (Schol. Pax 337); anapaestic dimeters following 
 trimeters (Schol. Pax 82) or anapaestic tetrameters (Schol. Ach. 
 659); dactylic dimeters following trimeters (Schol. Pax 114); 
 Glyconics following trimeters (Schol. Eq. 973). 
 
 837. The relative positions of the verses in the four 
 categories mentioned may be indicated thus :
 
 839 THE COMMENTARY OF HELIODORUS 387 
 
 838. The relative position of some other cola mentioned in 
 the commentary is not equally certain. Heliodorus recognizes 
 iambic, trochaic, and anapaestic monometers as elements in hyper- 
 meters (Schol. Eq. 911, Pax 571, 82). The commentary leaves 
 it uncertain whether they began flush with the dimeters or were 
 set in, and thus constitute the nucleus of a fifth and final 
 category. The hypermeter is treated as a whole and is said to 
 be ev ei&Oe'a-ei with reference to the norm, but it does not 
 follow that all its elements began on the same line. But 
 Heliodorus has a term specially employed to indicate additional 
 indentation, eireta-Bea-tt (843), and it is at least singular that he 
 nowhere applies it to the monometer if this was actually set in 
 beyond the dimeter. 1 Cf. Schol. Ach. 274: ev ela-Beaet, tcwXa 
 rpia icrdpid/jia, a>v ra ft' lap/3 iica ^i per pa, TO Be ev povoperpov. 
 He does not say TO Se ev < ev eTreia-Oeaet > povoperpov. The 
 phrase would be equally appropriate elsewhere. Most modern 
 editors indent the monometer, as also catalectic dimeters. 2 The 
 relative position of colaria, including brief prose formulae, is 
 equally in doubt, as also, of the various exclamations (ava<jxovr)- 
 para, Trpoava<p(ovrfpara, TrpoavcKJMavij&ets} that occur, generally 
 among the trimeters of dialogue. The former were indented 
 when following a trimeter or longer line, but whether they were 
 in the fourth or a possible fifth category is uncertain. See 
 Schol. Ach. 43, 123, 407, Pax 433, Eq. 941 (after a catalectic 
 iambic trimeter), Pax 1104 (between hexameters). Generally, 
 as the commentary now stands, the position of an ava^otvrjpa 
 is not indicated. Cf. Schol. Eq. 1170, Nub. 1259, Pax 1, 173, 
 657, 1191. In Pax 1291 alftol follows a trimeter, but is not 
 said to be ev ela-Bearei. The following hexameter is ev et 
 
 The trimeters that follow Nub. 1170, lov lov, are ev 
 
 but the analysis of the preceding ode is lost. With Nub. 1170 
 
 cf. Nub. 1321 and note. 
 
 839. Dochmiac dimeters are in the fourth category, but the 
 
 1 The iambic monometer in Ach. 407 Pax 512). 
 
 is i> eiffBtffet, but with reference to a 2 See the Schol. on Pax 469 ff., Ach. 
 
 trimeter (Schol. Ach. 407). Cf. the same 1008 for such evidence of the indentation 
 
 statement in regard to an iambic penthe- of catalectic dimeters as is found in the 
 
 mimer and an iambic -i)fjLi6\iov, /u> Haidi' Commentary. Cf. the iambic hephthe- 
 
 Hai<iv, in the same position (Schol. 43, mimer which Heliodorus read in Ach. 
 
 1210). The anapaestic SurXovv in Pax 557, but the case is not decisive (Schol. 
 
 512 is included in the same group with Ach. 557 and note), 
 the following iambic dimeters (Schol.
 
 388 THE VERSE OF GREEK COMEDY 840 
 
 position of a single dochmius is as uncertain as that of iambic, 
 trochaic, and anapaestic monometers and for the same reason. 
 Of. Schol. Ach. 358, 566. 
 
 840. The position of paeonic cola is perhaps in doubt. 
 Dirrhythma and trirrhythma following a tetrarrhythmon are ev 
 ela-Oeo-ei, as a tetrarrhythmon after a dirrhythmon or trirrhythmon 
 is ev exOea-et (Schol. Ach. 665). No tetrarrhythmon described in 
 the commentary happens to occur after or before a trimeter, but 
 in Schol. Pax 346 trochaic tetrameters are said to be ev eTretcOeo-et, 
 (843) with reference to a tetrarrhythmon, which is itself ev 
 efcOeo-ei, with reference to a dirrhythmon. See also Schol. Pax 
 585. Since the trochaic tetrameter is in the second class (835), 
 these scholia place the paeonic tetrarrhythmon in the third 
 class, along with the iambic trimeter. Trirrhythma would then 
 be in the fourth class, but dirrhythma and trirrhythma are 
 grouped together in the commentary, like iambic, trochaic, and 
 anapaestic dimeters and monometers and single and double 
 dochmii, and the relative position of the dirrhythmon is as 
 uncertain as that of the monometer and dochmius. 
 
 841. Glyconics are in the fourth class (Schol. Eq. 973), but 
 acephalous Glyconics, which Heliodorus regards as Iwviica airo 
 /A6/bi/o?, are indented with reference to anapaestic dimeters in 
 Schol. Pax 1329, but in a reading (ev eireta-Sea-ei) that is due 
 to restoration. This would place acephalous Glyconics doubt- 
 fully in a fifth class. There is nothing to contradict this 
 classification elsewhere in the commentary. Of. Schol. 2Zq. 1111, 
 Ach. 836, Pax 856. 
 
 842. A group of cola beginning a new metrical part is 
 sometimes in the same category as to length as the preceding 
 colon that constitutes the norm. To indicate this, the com- 
 mentary occasionally employs the word o^oLwj. Cf. Schol. JEq. 
 763, Pax 301, 337. Cf. the use of ird\t,v in Schol. Eq. 247 
 and for a parallel use of op,oios cf. Schol. Ach. 628, Nub. 1353. 
 
 843. Heliodorus is generally content to indicate the position 
 of a line by means of the simple terms t<r0etris or e/e#e<rt<?, 
 measuring it exclusively by the preceding line, but sometimes, 
 although very rarely, he employs two standards of comparison in 
 establishing position. The third line in a descending scale is 
 then said to be ev eTreia-dea-ei, it is additionally indented. The 
 converse expression, in an ascending scale, is ev eTre/cOearei.
 
 846 THE COMMENTARY OF HELIODORUS 389 
 
 Thus a group of trimeters would be ev ela-Oeo-ei, with reference to 
 a preceding trochaic tetrameter; shorter lines following the 
 trimeters might then be said to be ev eTreia-ffeo-ei. Conversely 
 trimeters would be ev etcBecrei in relation to a preceding dimeter ; 
 trochaic tetrameters following the trimeters might then be said 
 to be ev 7reK0e<rei. A triple relation of this sort, in fact, often 
 exists, but Heliodorus frequently ignores it, and the practice 
 of the modern editors of the commentary of substituting 
 the terms eTreta-Oea-ts and eVe/e#eo-9 by conjecture for the simple 
 ei<r0<ri<; and e/ctfecm whenever they might occur is not to be 
 approved. Compare the following instances in the commentary, 
 consulting the explanatory and critical notes : ev eVeto-fleo-et : 
 Schol. Ach. 1008, Eq, 616, 941, Pax 433, 1329, 1333; ev 
 eVe*6^m: Pax 346, 459, 470, 553, 585, 1316. 
 
 844. The position of the second line in a descending scale is 
 sometimes indicated not simply by ev eicrOea-ei,, but by ev elaOeaei, 
 irapa followed by the name of the norm in the accusative. Cf. 
 Schol. Pax 431. The prose formulae following in 433 f. are 
 designated as ev eTreia-Oeo'et. The phraseology ev elcrdecret irapa 
 expresses the idea of intermediate or approximate indentation, 
 and may be used even when no shorter lines follow. Cf. Schol. 
 Nub. 1131, Pax 657, 729. On the converse term irapeicOea-^ 
 see the note on Schol. Pax 459, 464. 
 
 845. In the colometrical text of Heliodorus the relations of 
 length were indicated, in accordance with the rules deduced above, 
 by their position on the page. It was not necessary, therefore, 
 to burden the commentary with technical terms. Analyses of 
 many odes, indeed, as now transmitted in the manuscripts, 
 completely lack designations of position. Heliodorus, no doubt, 
 used his judgment in expressing or omitting these designations. 
 Some, to be sure, may have been lost in transmission, and he 
 may have been careless and inconsistent in inserting them, but 
 it does not seem wise, if indeed it is possible (838 ff.), now to 
 attempt to insert these terms, as some editors are inclined to do, 
 in restoring the mutilated text of his commentary, in all cases 
 where they might be employed. 
 
 846. In the colometrical texts of the dramatic poets not only 
 indentation, but also semeiosis, was employed to indicate certain 
 important facts quickly to the eye (831). The tokens (<rr)fieia) 
 thus used by Heliodorus were the Trapdypafyos and the
 
 390 THE VERSE OF GREEK COMEDY 847 
 
 847. He employed two forms of the -jrapdypafas, the single 
 (7rapdypa<f>o<; aTrXr}), , and the double (7rapcvypa(j>o<; 8i7r\rj), -*-. 
 
 848. The double paragraph TT-, placed over the beginning of a 
 colon or verse, signified change of perpa, i.e. cola or verses 
 regarded from the point of view of their metrical form, as the 
 metricians were wont to regard them, rather than of their 
 rhythm. Cf. Schol. Pax 82, 114, 124, 154, 173, 299, etc. 
 This change was generally an actual shift of rhythm, as from 
 trimeters to anapaestic dimeters and monometers or to dactylic 
 dimeters (Schol. Pax 82, 154, 974; Schol. Pax 114) or to 
 trochaic tetrameters (Schol. Pax 299, 383, 426), or from 
 anapaestic dimeters and monometers or the heroic line to 
 trimeters (Schol. Pax 173, 1016; Schol. Pax 124); but 
 the change was sometimes simply a shift from one colon to 
 another in the same rhythm. The 8nr\rj is thus placed in the 
 commentary over the first of a series of dimeters following 
 tetrameters. Compare, in iambic rhythm, Schol. Eq. 911, in 
 trochaic, Schol. Eq. 284, Pax 651, in anapaestic, Schol. Ach. 
 659, Eq. 824, Pax 1320. 
 
 849. All changes of ' metres ' in this special sense were thus 
 marked, in non-melic parts, with one exception. Colaria and 
 exclamations were set in (838), but the fact that they were 
 different fierpa from the preceding and following lines was not 
 marked, except by indentation, unless they had the compass of 
 two lines, when the St,7r\f) was employed. A single Si7r\fj suffices 
 in Schol. Nub. 1170, 1321 for both the exclamation and the 
 following trimeters. With these cf. Schol. Eq. 941, Nub. 1259, 
 Pax 433. The exclamations and colaria in the last two cases 
 stand between trimeters. That they also (as in Schol. Eq. 941) 
 originally had the Bnr\rj is inferable from the StTrX?} attached to 
 the trimeters that follow in each case. 
 
 850. A strophe, on the other hand, was regarded as a 
 metrical whole. The 8i7r\f) did not occur within it, although it 
 might be composed in different rhythms, but was placed at the 
 beginning both of the strophe and of the part that followed it 
 (except as in 851), even if the first line of the song was the same 
 perpov as the line that preceded, and its last line the same as that 
 which followed. The strophe was thus marked off as a musical 
 entity with great distinctness. Generally there was actual change 
 of rhythm at the beginning, both of the strophe and of the follow-
 
 852 THE COMMENTARY OF HELIODORUS 391 
 
 ing part. Thus the strophe of the ode of the syzygy in the 
 Equites (616623), of which the beginning and close are in trochaic 
 and the remainder in paeonic- trochaic rhythm, is enclosed by 
 trimeters (Schol. Eq. 616 and 624). The BiTrXij was here set 
 over the beginning of 616 and also of 624, but not within the 
 song. The strophe in the first syzygy of the Acharnians (358 
 365), composed of dochmiacs and a trimetrical iambic distich, is 
 likewise enclosed by trimeters and the BiTr\ij was placed over the 
 beginning of 358 and also of 366, but here 365 and 366 are 
 both trimeters, one melic, the other spoken. Heliodorus regards 
 Pax 337345 as a /xeXo?, closing the parode, and sets the BiTrXij 
 over the beginning of 337 and again of 346, although 336 
 and 337 are the same perpov. The distich, however, spoken by 
 a coryphaeus, that frequently follows a strophe, he includes with 
 the song and does not give it the BnrXfj. The following line has 
 the 8t,7r\rj, even if it is the same fierpov. Cf. Schol. Ach. 303, 
 JSq. 761, Nub. 476, and also Schol. Eq. 409. 
 
 851. If the antistrophe in a dyadic ode immediately followed 
 the strophe (700), strophe and antistrophe were not separated by 
 the 8nr\r), but were regarded as a musical whole. If, however, 
 the antistrophe was separated from the strophe (-TreptoSo? eV 
 Stella), two BnrXai, -r- -*-, were set over the beginning of the 
 first colon of the antistrophe, and the reason of this is given in 
 the commentary. Cf. Schol. Pax 383 : v<j> ov? (383 f.) BiirXeu 
 ft, jhrerai <yap 37 avria-rpe^ovcra ry KKai8tcaK(b\a>, with 
 reference to the strophe, 346-360. Cf. also Schol. Pax 486, 
 and Schol. Ach. 1037, Eq. 683. In one instance, Heliodorus 
 has recorded the use of the two Bnr\ai to indicate the corres- 
 pondence of trimeters in a syzygy. Cf. Schol. Pax 956 and note. 
 
 852. The complete parabasis (77 reAe/a Trapd/Sao-is?) consists 
 of seven parts (668). The general rules determine the use of 
 the Bnr\i) with the first three, the commation, parabasis proper 
 and pnigos. If the commation was melic, the Bi7r\r) separated it 
 from the following parabasis proper (Schol. Pax 734, Eq. 507); 
 if Heliodorus did not regard it as melic, and if there was no shift 
 of per pa, the Si7r\f) did not occur (Schol. Ach. 626). The BvrrXrj 
 always marked the beginning of the pnigos and that of the 
 following strophe. The last four parts of the parabasis, strophe, 
 epirrhema, antistrophe, antepirrhema, constitute an eTripprj/jLariKrj 
 <rv%v<yia (Schol. Ach. 665, Eq. 551). This was regarded as a
 
 392 THE VERSE OF GEEEK COMEDY 853 
 
 whole, and its parts were not separated by the Bt7r\rj. The 
 second stasimon in the Acharnians (Ach. 971999), a Trepucoirrj 
 avouoioueprjs /cara cr^ea-iv (705), was similarly regarded (Schol. 
 Ach. 971). This is a syzygy, but not epirrhematic. On the 
 other hand the non-antistropliic parts of irepiKoiraL that were not 
 composed Kara a-^e<riv seem to have been marked off by the 
 Si7r\f}. Heliodorus regarded Pax 571600 as an amoebean 
 anomoeomeric pericope and separated its two parts by the 8nf\rj 
 (Schol. Pax 571). Similarly, the proode of the triadic pericope 
 in Ach. 11431173 is separated from the following strophe and 
 antistrophe by the StTrXfj (Schol. Ach. 1150). 
 
 853. Under the principles stated in the preceding paragraphs 
 (848 ff.) the 8i7rA,?7 would occur in the Acharnians over the 
 beginning of the following verses: 204, 234, 242, 263, 280, 
 284, 305, 347, 358, 366, 393, 489, 497, 572, 626, 628, 659, 
 665, 719, 836, 860, 929, 952, 971, 1000, 1008, 1018, 1047, 
 1143, 1150, 1174, 1190. Two Si7r\ai would occur over the 
 beginning of 335, 385, 566, 1037. 
 
 854. There is a second, sporadic use of the SnrXrj in the 
 Heliodorean commentary that demands attention. Heliodorus 
 generally analyzes a strophe directly into cola, but sometimes he 
 designates the subordinate periods of which the strophe is com- 
 posed. In these cases he sometimes irregularly places the BnrX.f) 
 over the beginning of a subordinate period which has not the 
 same metrical constitution as the subordinate period that precedes, 
 just as he uses it to separate the non-antistrophic parts of a 
 pericope (852). He then regards these smaller musical entities 
 as wholes, just as he invariably so regards a single strophe, or a 
 strophe and antistrophe when juxtaposed (851). See 723 f. and 
 cf. Schol. Ach. 929, 1210, Hq. 498. This subordinate use of 
 the Bnr\rj is not recorded in the Table of Structure and 
 Rhythms, to be found at the end of this book. 
 
 855. The 7rapd<ypa<f>os a?rX^ had a more limited use than 
 the SfcTrXr;. It was employed in a continuous monostrophic ode 
 of more than two strophes to indicate that the strophes were 
 rendered by half -choruses. Thus in the first stasimon of the 
 Equites (cf. Schol. Eq. 973) it was written over the first part of 
 977, 985, 993, to indicate that the second half-chorus sang the 
 following strophes, and over 981 and 989 to indicate that the 
 first half-chorus here resumed the singing. The BnrXrj, of course,
 
 859 THE COMMENTARY OF HELIODORUS 393 
 
 separated 996, where the song ended, and 997, in which the 
 rhythm changed. Of. Schol. Pax 1336 for further indications of 
 the use of the airXrf in Aristophanes. The irapajpatyos airXrj 
 occurred in the Acharnians over 842, 848, and 854; the a?rX^ 
 appears not to have been used unless the ode was sung exclusively 
 by the chorus. Cf. Schol. JEq. 1111. 
 
 856. The single paragraph (lineola) was not employed by 
 Heliodorus in comedy in the manner prescribed by Hephaestion 
 (75. 5 ff.), to indicate in dialogue or song change of speaker or 
 singer, although, as is well-known, there are traces of this later 
 Hephaestionic usage in the older manuscripts of Aristophanes. 
 The a7r\rj here often stands before the verse taken by a new 
 speaker, in place of the compendium of his name (860). 
 
 857. The coronis (5) intimated certain facts of the scenic 
 action. It was thus used : i. at some point early in the parode 
 to mark the coming of the chorus ; ii. at any point in the play 
 where the actors all retired and left the chorus in possession of 
 the scene ; iii. on the return of an actor or actors after such a 
 part taken by the chorus ; iv. at the end of the play as an 
 ' exeunt omnes.' It was not employed to indicate the coming 
 and going of actors when other actors remained on the scene, or 
 to mark the going and immediate return of an actor who happened 
 to be on alone, e.g. Ach. 328-330, 365-366. 
 
 858. Commonly Heliodorus adds the explanation of its use. 
 Cf. in the Acharnians: ela-ep^erai jap 6 %o/oo?, Schol. 204; OTI 
 elariacriv ol vTrorcpirai, Schol. 242 ; e^tovrcov TWV VTro/cpirwv o 
 %o/)o9 Xeyet rrjv r\eiav Trapdftaa-iv, Schol. 626; OTI fareurfaurt, 
 Schol. 7 19 ; e^e\BovTO)v T&V vTTOKpirwv KO\ pevovros rov %opov, 
 Schol. 836 ; eicriaa-i yap ol viroicpirai, Schol. 860 ; 
 
 <rdvT(ov T(ov vTTOKpirwv, Schol. 971 ; eio~iacriv ol 
 
 Schol. 1000; ela-ep^erai jap 6 vTroKpirtfs, Schol. 1174; rj rov 
 
 Spdparos, Schol. Eq. 1335, Pax 1329. 
 
 859. Thiemann places the a.TrX.rj, StTrA^, and KO/DOWS on the right 
 at the end of the first of the two cola differentiated by these signa, 
 and lines the signum with the text of the first of these two cola. See 
 his Heliodori colometria, 128 ff. Editors of Aristophanes who avail 
 themselves of semeiosis follow the same practice, but this mode of 
 writing is in defiance of the phraseology by which Heliodorus indicates 
 the position of these signa and is contradicted by the evidence of the 
 manuscripts. Heliodorus, in stating the position of the SurXrj which 
 indicates that the rhythm of the tetrameters in Pax 734 ff. is different
 
 394 THE VEKSE OF GREEK COMEDY 860 
 
 from that of the last of the tetrameters that precede, says (Schol. Pax 
 734) : v(f> ov<s SnrXrj KCU e/<#<ris ets avrrjv rrjv irapafBaa-tv. Cf. Schol. 
 Pax 383 on the antistrophe, preceded by tetrameters, that begins with 
 385: vfi oi)s 5i7rAcu/3'; also Schol. Pax 299, on the parode which 
 begins in 301 : v(j> ovs KO/>U>VIS, and Schol. Ach. 971 : v<}> o Kopuw's. 
 See also Schol. Ach. 347, 364, 566, Eq. 761. Heliodorus invariably 
 states that the signum is placed under the first of the contrasted 
 cola or verses. 
 
 860. The evidence of literary papyri for the use of the Trapdypafos 
 a.TrX.f) and Kopwvis antedates the time of Heliodorus. The British Museum 
 papyrus of Bacchylides, assigned by Kenyon to the first century B.C., 
 uses the paragraphus to separate strophe and antistrophe and epode 
 and places it, always at the beginning of the lines, between the last 
 colon of the strophe and the first colon of the antistrophe, and between 
 the last colon of the antistrophe and the first colon of the epode. The 
 epode is separated from the strophe of the following triad by a 
 combination of coronis of simple antisigmatic form and the para- 
 graphus, thus } . This also is placed between the cola at the 
 
 extreme left. Compare the fragment of a partheneum of Pindar in 
 Oxyrhynchus Papyrus 659 (iv. 53 ff.) of the first century of the 
 Christian era, and the fragments of paeans of Pindar in 841 (v. 24 ff.) 
 of the second century. In both these manuscripts the coronis is 
 elaborate. The paragraphus has a long history. Originally it was a 
 rhetorical device (ypappr) 7rapaypa<os) employed to indicate the 
 beginning of a new sentence and its use in prose is well known. It 
 is to be noted that in this use it does not stand at the end of the first 
 sentence, but at the beginning of the column between the two 
 sentences to be separated, even if the second begins in the preceding 
 line. Compare Oxyrhynchus Papyrus 696 (iv. 142 f.), a fragment 
 of Thucydides of the first century of our era. In the drama this 
 signum was employed to denote a change of speaker, although 
 Heliodorus does not thus use it, so far as is known (856). Record of 
 this use begins early. In a papyrus of the third century B.C. that 
 contains seventy verses of the Antiope of Euripides (Flinders Petrie 
 Papyri, i., plates i., ii., edited by Mahaffy), the speakers are not 
 named in the margin of the part of the play now extant, but the 
 paragraphus is placed at the left over the beginning of the verse with 
 which the change occurs. Remains of an interesting papyrus manu- 
 script of Aristophanes are found among the Berlin fragments of classical 
 authors (Berliner Klassikertexte, v. ii., xviii. Taf. v.), which von 
 Wilamowitz assigns to the fifth century of our era. This contains a 
 very considerable number of verses of the Acharnians and some verses 
 of the Eanae and Aves. The paragraphus is written in this manuscript 
 in the manner just described, but the compendium of the speaker's 
 name also is sometimes given and placed before the verse. Compare 
 also the new Menander, which Korte (Menandrea, xii.) assigns to the
 
 860 
 
 THE COMMENTARY OF HELIODORUS 
 
 395 
 
 fourth or fifth century of our era. Examples might be multiplied. 
 In the Ravennas of Aristophanes, which is a parchment manuscript 
 of the tenth century, the paragraphus has dropped to the front of the 
 colon and taken the place of the compendium denoting the speaker. 
 
 The conclusions to be drawn from the facts stated l may be 
 illustrated as follows : 
 
 733 f. 
 
 rv f^ofjifv ov Aoycov CITTCO/ZCV 6<ra re vows 
 
 fJLfV TVTTTIV TOVS paf38oV\OV<S, 61 T4S 
 
 <5 Trovrjpoi fir) (TiwTraT ' et Se /irj, 
 
 os S 8f<nrod' *Epp.f}, /it/Santos, fi^8a/A(3s, Pax 384 f. 
 ffofip. viral irrcpvywv Ki^Aav /cat Ko^t^wv. 
 
 ^ 3 
 
 l8cS to TTCUra TToAt TOV <f>pOVlfJMV Adi. 970 f. 
 
 KA. iSov. AA. iSov vr) rbv At ' ovSev 
 
 CTTat TOMTt TTapOWl Kttt 
 
 TOMTI Sevp d(f>iKvov[j.evoi i s, 
 fv KAetov 
 
 KatToi Trpfcr/3vTep(av Ttvwv j&J. 972 ff. 
 
 1 See Conradt, C/6er rfie Semeiotik des 
 Heliodvrus, 273 ff. The 5rX^ had little 
 vogue in the use made of it by Heliodorus 
 and has not been reported in any extant 
 manuscript of Aristophanes. The forms 
 of the diirXi) and Kopuvis vary. As a 
 critical mark the SiirXrj was > or > 
 or < . For the form adopted in this 
 
 book, two cb-Xat, =, joined at the left 
 -^-, see Blass, JVewe Fragmente, 297. For 
 the coronis here used, a paragraphus with 
 a simple apostrophio coronis attached 3> 
 see Blass in von Miiller's Handbuch der 
 Alter tumswissenschaft, i. 2 308, 311, and 
 Bacchylidis carm. xiv.
 
 ABBREVIATIONS AND SIGNA 
 
 R Codex Ravennas 137, 4, A. V Codex Venetus Marcianus 474. E 
 Codex Estensis iii. D 8. T Codex Laurentiamis xxxi. 15. 6 Codex 
 Laurentianus 140 (AF 2779). Pr. Editio Princeps. The readings of 6, 
 when it is used, are due to Dindorf in his Oxford edition. 
 
 D Dindorf. T Thiemann. H Hense. Z Zacher. B Bachmann. Ed. 
 Editor. S signum. 
 
 Greek words within ( ) have been supplied by Thiemann, within < > by 
 Hense, within F 1 by the Editor. 
 
 attached to an incomplete Greek word signifies that it is written com- 
 pendiously in the manuscript and that its original form must be determined 
 from the context. 
 
 in a Greek quotation signifies that intervening words are omitted. 
 
 * * after : or ) signifies that the metrical scholium is attached in 
 the manuscript to a scholium on general matters. After numerals within 
 ( ) without following : * * * signifies that no metrical scholium on the 
 verses indicated by the numerals is extant. 
 
 The superior numeral in the text of the metrical scholium stands before 
 the Greek word or phrase to which the critical note pertains. 
 
 The lemma is in heavy-face type when it occurs before the text of the 
 metrical scholium, but not in the critical notes. If it is immediately followed 
 by : the following scholium is marginal ; if it is followed by ) the scholium 
 is interlinear. 
 
 The spelling of some Greek words, such as 8ippv6fj,ov, rpippvOpov, etc., 
 has been silently corrected. 
 
 396
 
 METKICAL SCHOLIA 
 
 Achamians 
 
 43 : irdpir' els TO irptaQcv : et'o-#eoY<? r etV 2 K(o\dpiov air 3 
 
 CTOVO9- EF 
 
 In fact, the half-line is an iambic penthemimer, not an anaclastic 
 minor ionic hemiolion. Compare Schol. 123. 
 
 123 <riya K<dic : 7rd\tv ev * ela6eo~i, 
 
 E 
 
 124203 Toy j3a<nXe'us d^OaXfidc ) 7rd\(,v ev efcOeo-ei 
 E 
 
 The metrical scholium on 1-203 found in T p. 17 (D iv. ii. 327, 
 1-7) occurs in no extant MS., except as here represented by the 
 metrical scholia on 43, 123, 124, but it is given in the Princeps under 
 the list of dramatis personae. The existing metrical commentary fails 
 to account not only for 1-42, 44-60, 62-122, but also for the prose 
 formula in 61. Cf. Schol. Eq. 941. 
 
 20433 TtjSe iras cirou : * * * Kopwvfa, ela-ep^eTat yap 
 6 %opo9 Biancwv rov 'AfjL<f>ideov, Kal ean 
 
 K BvO 3 ftOvdBcOV 4 p,OVO(TTpO<j>lKOV 5 lB' 
 
 7re/3toSot/9, wv (2047) B' fiev ev eKdeffei elal <<rr/^ot> 7 Tpo- 
 l Kara\tjKTiicol reTpdfierpoi ' etra (208 12) ev 8 eiaOetret 
 g 7' iraiwviKa Blppvdfia r ical ev K0(7t rerpdppvdfiov 
 ez/. 1 EF (213 8 10 ) teal iraXiv ev eio'Oeo'ei /cwXa e^, wv 
 BippvBfiov TO re Trpfarov Kal TO rpirov f/cal TO "Tre/jLTrrov^ Tct 
 Be \onra TpippvOfjia. E See 449. 
 
 43 J T : ) in E 8 T : KOfj.fiAri.ov 3 E : Adrrcwoy T 
 
 123 1 Ed. : (ttfft? 
 
 204-33 * T : ^era^iynKov E 2 E : rb (*t\os T 3 E : dvdSuv T * T : 
 
 E * T : i<04ffei 9 E : rpla. F 10 dvOpdicuv <f>opriov) in E 
 
 397
 
 398 THE VERSE OF GREEK COMEDY ACH. 
 
 Misconception of the meaning of /iovas (intermediate period, not 
 strophe) led some corrector to read //.ovoo-r/xx/uKtov, 3>v 17 p*v TT/OWT^ 18' 
 e'^ei for fjLovoa-Tpo(f>iKbv 18 KwAcov fX v - The //,eAos is juera- 
 since the monads are in different rhythms. The paeonic cola 
 (208-18), with the exception of the first two, are divided in Heliodorus's 
 analysis as in the text of R, in which they contain respectively 4, 2, 4, 
 2, 3, 2, 3, 2, 3 paeonic metres, but see 433. 
 
 24262 irp5i0' <i>s TO irpocrOei/ : * * # 
 
 vlBos, 1 ort eiaia<nv 2 ot viroicpiTai, /cat 3 et<r/ la^ftoi (/ca). EF 
 
 2 6 38 3 <t>a\t]S ETdtpe : Bnr\rj KOI yu.eXo9, ou rfyelrat, l irepi- 
 
 0&09 (263 79) Z KCO\(i)V it,' TOV VTTOKptTOV, ^9 TT/JCOTa /i6I/ 4O-tI/ 
 
 17' (26370) ev elcrBea-et ta/i/3t/co Bi/jberpa, aKardXtjiCTa /j,ev ft', 
 TO Be s <y' KaTa\t]KTiKov, ra Be aXXa e' 4 a/caraX^/cra.. EF 
 (271-3) * * * (2 74-6 5 ) ev ela-Qearei tcw\a rpia I<rdpi0fj,a, 
 wv ra ft' lap/Biica Bl/^erpa, TO Be ev /jiovo/jieTpov. EF (277 
 9, 280-3) * * * See 90, 234. 
 
 may institute a numerical comparison with the three cola 
 (trimeters) that preceded 274-6 in the text of Heliodorus. Three 
 trimeters followed 274-6 also in his text. 
 
 284302 'HpdicXeis: Bi7r\ij etra eTrerat Bva<> fj,ovo(TTpo<f>iKr} 
 ia ra? TreptoBovs e^ovcra BeKa,Ka>\ov<>, e/c aTi^wv Bvo 
 
 KaTa\tJKTtK(ii)V TpO^aiKWV KOI KOH\WV V}' , WV TOl9 
 
 o vTTOKpiTr)? \<yei TO, Be K(o\,a 6 ^0/309. 
 
 TOLVVV e(TTv <(TTO9> ev efcea-et era KCITO, TO icrov rot9 
 Xopitcois a Troiei Bo%/j,i,av trv^wyiav r ev Trj TrpooTrj 7rept,6B<0^ 
 teal ^ev Trj BevTepa^ 7rala)vas Tpets /ecu (Bvo KCLTO) Biaipea'iv, 
 rcS Be BiK(i)\a> TOVTM TO fj^ev TrpwTov ecrrti/ " a?roXe?9 apa TOV 
 rjXt/ca TovBe <J3t\av0paKea," TO Be r^9 BevTepa? " OVTOL 4 icroi 
 L ' " 7rTai Be rot? Bv<rl tca)\oi<i crTfyos 5 Tpo%aiKos oBe 
 7rota9 atVta9," KOI ev ela-dea-et TO, \onra /cwXa "' 
 BippvOpa. EF See 452. 
 
 Heliodorus regards the two intermediate periods 284-92 and 293- 
 302 (see 728) as strophe and antistrophe, the two constituting a 
 monostrophic dyad, and he considers 285, an anapaestic ' pentapody,' to 
 be the metrical equivalent of 294 f., a paeonic pentameter. He means 
 to quote these subordinate periods, but inadvertently substitutes 336, 
 
 242-62 1 E : fire T 2 ol E : om. T 3 T : Tct la^ela E, t<rra> la^ela T 
 
 263-83 l H : ireploSos 1) irfptKoirj) 2 E : ic6\ov T 3 E : rpirov Y 4 T : 
 
 KaraKyKTiKd, e Lemma \jAat\v \a/i6vTes (\a(l6i>T' F) Apavra EF 
 
 284-302 J Pr. : d/*ot/3atas 2 E : Tpoxa'iicuv rerpafj^rpuv KaraXr/KTiKuv F 
 
 3 Ed. : doxn&v 4 sic 5 H :
 
 ACH. METRICAL SCHOLIA 399 
 
 from the second dyad, for 285, and 342 for 294 f. He analyzes 285, 
 it should be noted, as two ' dochmii ' arranged as two cola (note T<J> 
 8iKwA.<>). When he says that they are Kara TO fcov rots x / 31 * '? ^ e 
 means that they are equally cv eur0rei with the six paeonic cola that 
 follow 286. 
 
 Heliodorus here applies the word o-vvyia to the union of two 
 ' dochmii,' which he regards as two cola, just as he uses it in Schol. 
 Nub. 889 of the union of two anapaests in a dipody. For his general 
 application of the word, see 668. 
 
 3034 aoo 8' yu Xoyoos Xeyorros : CTrerai Trj BvdBi Bi- 
 o-rt^oy, o rot? fj,\etriv e edovs V7rdyov<riv, ovrep earl 2 rerpd- 
 fierpov rpo^aiKov Kara\tjKriKov. EF See 850. 
 
 335-46 r <Js diroKTefw i" 1 * * * * Bi7T\ai Be Bvo, 2 on rj 
 erepa evrerat Svas rj dvTi<7rpe<pova'a Ty 3 TrpoaTroZe^o^evrj, 179 
 77 dp^rj " o>9 4 aTtOKTevoi) fce/cpa^Oe," reXo? ^e r^9 Trpcbrijs " ov 
 7T/ooSa)o-G) Trore," T?)9 Be Sevrepas " rfj a-rpo^fj juyverai." EF 
 See 452. 
 
 34757 fiA.\eT' apa irdrra : v<f>* o 8i7T\r] Kal V l efcffearei 
 (TTI^OI iajji/SiKol ta'. EF 
 
 35884 TI ou\> X^yeis : Snr\f) Kal (35863) i<r0e<ri<} 19 
 irepioSov rov l %opov TrevraKooiXov 8o^fji,iav, s OVTMV StTrXwi/ 
 fjbev TWV Bvo 7rp(0TO)v, dir\S)v Be rwv Tptwv 4 rwv \OITTCOV. EF 
 (364 5 5 ) 6 ev 7 e/cOeo-et, 8 <TTI%OI la/j,/3tfcol Bvo t/<^>' o BnrXf), 
 Bion (36684) 7ri<j>eperai, ev rfj Bi<rTi%i,q (rrfyovs la/j,/3iKov<? 
 id'. EF See 467, 850. 
 
 40756 d\X' ou OXO\TJ : eV * eicrQeaei 2 /Aovo/jLerpov lap/Si/cov, 
 o 3 eicOecns et9 <TTt^ov9 lafifiiKovs dicaTd\,r)icTov<$ rpi- 
 
 EF 
 
 The comment may originally have covered 407-88, and the last 
 part of it have read T/M/ACT/OOVS ^ird, /xera 8e /j,@' ecrri Trpoava<fxavTjfjLa rb 
 " ^cG."" 1 Cf. Schol. Pax 657. 
 
 48996 TI Spaaeis : Bnr\f) Kal Tpias fj,<rq)St,Kii, ^9 al pkv 
 1 eKarepcaOev (TrepioBoi) eicn BIKO)\OL Bi7r\(!)v So^icov, r) Be 
 2 fa/i)8o9 rpLfierpo^ dKardXijKTos. EF See 468. 
 
 303-4 1 E : SidSi F 2 Pr. : Sl^rpov (i.e. S'^erpov in some preceding codex) 
 
 335-46 J Adscript to Schol. 336 in EF 2 T : *) Sri E, ^ T ' 3 E : diro3i5o- 
 F 4 F : diroKrevuv E 
 
 347-57 1 T : clffOteti 2 E : HvSeica. T 
 
 368-84 J T : x/ KoC 2 E : ^evrdKoXov F * T : &v SiirXuv ntv ruv 
 
 * T : rb \onr6r 5 Lemma d\X' yirep atrrbs (a^r6s om. E) : * * * EP 6 tv F : 
 om. E 7 Ed. : eladtaei 8 <rr/xot E : om. T 
 
 407-56 J T : (icOtfffi 2 Pr. : novbrpovov 8 T : 
 
 489-96 J E : eio-Jv ^Ko.rtp<a9ev T 2 T :
 
 400 THE VERSE OF GREEK COMEDY ACH. 
 
 557 l a\T)0cs w '-jriTpnrTe : * * * ev elcrffecrei Be r 
 la/J,(3iKr)v rrjv " aXyOes & ' TTiTpnrre." EF 
 
 The text of Heliodorus did not contain Kal (juapwrare in 557. 
 
 56671 iw Adjiax' iw : <' o Bi7r\rj Kal e7#ec7t9 et? "jrepL- 
 oBov 1 oKTaKwKov, ^9 ra /iez> aXXa eVrl Boyyua, djrXovv Be TO 
 reraprov, 8i7r\ovv Be TO CKTOV, TO Be TreftTTTOv i 
 atcar aXrj/cTov. EF See 468. 
 
 Heliodorus designates the length only of the two cola necessary 
 to place the fifth, the iambic dimeter. In his analysis 1, 2, 3, 6 
 were Soxp-to. SwrAa, cola 4, 7, 8 d;rAa. He does not regard this period 
 as an antistrophe. See 851. 
 
 626 718 d^rjp vma : efyovTwv TWV vTTotcpiTwv 6 
 \eyei, TTJV T\eiav irapdftacriv, Trjs Be Trapaftdcrea)<; TO pep 
 (626 7) ecrrt <TTi')(a>v Bvo l dvaTraicrTiKcav TTpa- 
 KaTa\r}KTiK(*)v, 2 avTrj Be rj Trapdfiacris (62858) e^ 
 6poia)v (TTi^Qiv 3 \d. EF (659 64 4 ) BiTrXij KOI eicrQetris et? 
 
 TO Kaovj,vov 5 Trviyos, Kal avTo 6 vaTraia-Tttcov, e/c 
 
 10 e'. EF (665 718 u ) 
 Bnr\f] teal lz eTnppvjpaTitcr) arv^wyla, 779 (66575 = 692702) al 
 fjue\tKal (jrepioBoi) elcn KfaXwv la TraitaviKwv, &v TO, JJLCV 
 8' TplppvdfJba, TO Be 14 e' BippvOftov eiTa ev 15 K0eo-et 
 TeTpdppvOfjia Bvo Kal ev 16 eicr0eo~ei, Tpia fiev BippvO/ta, ev Be 
 EF (676-91 = 703-18) ** * See 296, 453. 
 
 Heliodorus assumes that the /co/i/mriov is not melic, otherwise 
 he would have written TT/S Se Trapa/^ao-ews rb jiiev Ko/A/Aariov ecrrt . . . 
 KaraA^KTtKWi', v^> o SnrXrj Kal avTrj etc. See 852. See also 433 on 
 665 ff. 
 
 719 34 l opoi per dyopas : Kopoivk, OTi 7Tt,O'laa'tv (ol 
 v-rroKpiTaf), Kal elan o-Ti%ot lajjifttKol rplpeTpoi aKaTaXijKTOL 
 2 eKKalBeKa. EF 
 
 83659 euSaipovei y' ai/Opwiros : (Kopwvfa}, e^e\66vTO)V TWV 
 
 657 J E : 4\7;0es oin. T 
 
 566-71 x E : dicrdKuvov T 
 
 626-718. J H : dvairaLffruv 2 T: avrij 3 Pr. : rpidKOfra 860 E, X/3' T 
 
 4 Lemma Tr/ods raOra KX^aw in EF 6 H: irvlyos r6 Kal fj.a,Kp6i' ' T: 
 
 draTraiOTt^j', &(-7rep *caZ ^ /cara/cXef j 7 E : Sia^rpov T 8 Pr. : d/caraX^KTOi/ 
 
 9 Pr. : Kara\r)KTiKuv 10 T : *f n Lemma Sevpo p-owa in EF 12 E r 
 
 v^vylai T 1S T : 7' " T : 5' 18 T : e&706m 16 T : 
 
 719-34 ! E : 720 d7opdfi' : * * * T 2 Ed. : t' ?| E, iS" T
 
 ACH. METRICAL SCHOLIA 401 
 
 VTTOKplTWV Kal l fACVOVTOS TOV %OpOV, ^Kal^ 2 (AOVOO~TpO<plKr) 
 
 v e%a,K<i>\wv rer/ja?, wv faovvreu a-rfyoi ianftiKoi rerpd- 
 3 KaTa\t)KTtKol Bvo ev etcdeaei, KOI ^ev^ elffQecrei K<o\a 
 S', lafJi^LKa Bifjierpa d/cardXijKTa y' Kal ev IWVLKOV airo 
 fteifrvo? ruj,i6\iov. EF See 582, 573. 
 
 860 928 FITTW 'HpaicXTJsl etttLp&v y r ^ v ruXoK : Kopwvls, 
 el<ria<rt, yap ol viroKpirai, Kal el<riv tap/Sol, l %0'. EF 
 
 92951 ! eyStjaoy w Xucrre : SiTT^rj Kal //.6Ta/3a<U5 6t5 (929 
 34) fAovo<TTpo<j)iKr)v SvdSa 2 Sicrr^oi/? %ov<rav ra? Trepio&ovs. 
 EF (935-6, 937-9) * * * (940-5) * * * (946-7 = 
 935 6 3 ) (Bvo) 4 8i7r\ai Kal eirerat, ofioia CK T&V e 
 rfj Trpcarp. EF (948-51 - 937-9 5 ) r 8vo"> 6 StTrXat Kal 
 TrepioSo? TOV %opov lafj,/3iKrj Kal avrtj CK rpiwv pev 
 dKara\r]Kr(i)v Kal rerdprov KaTa\r)KTi,Kov. EF See 86, 723. 
 
 By rrj Tr/oam? Heliodorus refers to the period in 935-6, just as 
 r] Kal avrrj recalls 937-9. 
 
 95270 jjioXis Y' l e^Sijaa : * * * StTrX^ Be Kal 
 3 et? ta/iySoi/9 4 10'. EF 
 
 97199 etSes w: u^>' 6 Koptavis, VTro^coprja'dvTcov 
 Kal ecTTL av^vyia Kara irepiKOTrrjv 
 
 2 eTTtpprjfiaTiKijs r <rv^vyia<;^ on, ra? 
 
 OVK 6^64 6 TOU aVTOV CTTl^OU, aX\' OwS 
 
 ettrl TrapeicrftaTiKal Trpb? TO Oearpov. at fikv ^ovv^ (9715 
 = 9869) TrporjyrjTtKal 3 avrrjs irepioSoi elcriv 4 
 7rata)^t/cai e/c 5 fiovoppvOfiov Kal 6 TptppvOfAov ^K 
 Sis KCLK r&Jol * T pippv0/juov. EF (9 7 6-8 5 = 99 0-9 8 ): * * * 
 at Se dKO\ov0r)ri,Kal irepio^oi el<ri Se/ca/ccoXot e^ eVvea 
 9 rerpappvOfjuov Kal ez/o? <err/yov> rerpafierpov 
 KaTa\t)KTiKov. EF See 456. 
 
 Heliodorus reads at the beginning of the strophe ctSes <S e?<5es <S. 
 He observes hiatus in the monorrhythmon ?8cs <3, and can hardly 
 
 836-69 * Pr. : ^XXovros 2 T : novoffrpoQinbv ireploSov ed.Ku\oi> 6' 3 Pr. : 
 
 860-928 l Ed. : fe' 
 
 929-61 J E : interlinear in T 2 T : Stortxs 3 Lemma ilSij >caXwj *x 
 
 <rot : * * * EF 4 T : StirXi; 5 Lemma dXX' <D (fruv /SArto-re Er 6 Ed. : 
 diir\-fj 
 
 962-70 ' T : ISipav E 2 T : er<r^e<rti 3 E : ef $ om. T 4 Ed. : /3' T, 
 
 5i'-o E 
 
 971-99 J H : 6.vo/ju>iofi.cp7js 2 Ed. : tirippfi/Mros 3 airrrjs Ed. : /cat atfrotj 
 
 4 T : ^TTTct cwXa Tratwi'txi 6 H : fu>vo(trpov 6 Ed. : rerpa/j^rpov 7 Ed. : 
 
 8 Adscript to Schol. 977 in ET 9 T : Terpa^rpuv 
 
 2 D
 
 402 THE VEKSE OF GREEK COMEDY ACH. 
 
 have ignored the variable vowel at the end of 972. By his analysis, 
 then, 971-5 consisted of seven cola of respectively 1, 3, 2, 3, 2, 3, 3 
 paeonic metres. On the last two, see 433. The force of Sis (bis) 
 extends only over the preceding rpippvdpov KCU 
 
 10007 1 dKouere Xew : (/co/?ft>z/t9, OTI) elviaaiv ol VTTO- 
 Kpiral. R 
 
 1008 17 T)\U <re TTJS eu/JouXias : StTrX?) /cal Trepio&os 
 a/ioty3ata, ^5 TO irpwrov ev eiadecret, ^elra ev 
 l lafj,/3iicol rerpdfjLeTpot, tcaTa\r)KTiKoi 2 Bvo, KOI ev 
 Kw\a Bvo, 4 &>v ev eiffOecrei, KW\OV ev o/iotoi/ 5 ro5 
 teal 6 ev ev 7 eTreia-Oecrei 8 la/mftitcov e<#?7/u/4epe9, ef wv 
 
 >/ 9/ / " n & / 10 C**" C*\ > 
 
 afjL(f>orepa>v yiverat <TTI^O^ oyttoto? rot? ovo e^rj<i oe ev 
 elcrQea-et, tc)\ov OJMOIOV rc5 Trpcary, ^ro 8e^ ll trTt^o? 
 12 1S TTpdfjiTpo<i KaTa\T)KTi/c6<;. EF See 83. 
 
 In K, E, F, the text of 1008-17 is arranged in seven 'cola,' which 
 end respectively with the words evfBovXlas, Tra/oow-r/s, iSrjTc, Xeyetv, 
 vTroa-KaXeve, /x,ayeipiKws, SiaKoveiTai, and this arrangement Heliodorus 
 approved; but in the colometrical text before him 1013 f. seem 
 to have been written : 
 
 l (re /ecu TOVT e3 Aeyetv 
 Trvp 
 
 with indentation (here eVer0eo-6s) of the second colon. Regarding 
 these as a tetrameter, he properly says the next colon (1015) is 
 ev eiV0m. His fifth colon (1014) is the only instance of the in- 
 dentation of a catalectic iambic dimeter in the extant commentary. 
 
 103746 di/^|p dfcuprjice : (Suo) Bi7r\ai, avrij yap ecrrtv 17 
 o/A<H&>9 rfj avwrepa e7TTa/co)Xo9 dvrtcrTpe(j)ova'a. EF 
 See 83. 
 
 114373 tre STJ x a ip ol ^ c s : tcopmfa r /cal /*6\09 rov %opoifl 
 1 TrpcxpSiKov TrepioBwv rpiwv, wv e<m Trpcari) avaTrata-riKij. EF 
 (115073 2 ) Bt,7r\fj teal f) T&V ofioiwv Svas e^ova-a TO,? 
 >8e/ca;a>Xot9, &v (11503) TO Trp&rov ^opiaf 
 aKara\,f)Krov' TO ft ev /J>ev rf} Trptarr} TrepioSo) ea~rlv 
 
 1000-7 1 Prescript to 1000 in R 
 
 1008-17 * Ed. : ia/ij8iKct dlftera /caraX^KTiKa. Heliodorus's rerpd/jLerpot may 
 have been written SVerpoi (cf. Schol. Ach. 303 fF. and critical note 2) and this 
 may have passed into Slperpa in EP 2 E : /3' T 3 Ed. : 5' * Ed. : 
 
 ical. Heliodorus's &v was mistaken by some scribe for ws, and its symbol in turn 
 mistaken for that of ical. 6 E : rb wpurov F 6 Ed. : irtvre. Heliodorus's tv 
 
 became e', which appears as irtvre in Er 7 Ed. : iraptKBeaei 8 Ed. : fa/u/3iArd 
 
 9 T: ylvovrai ffrlxot S/JLOIOI. 10 Ed. : tv elffOtvei 8t n Ed. : ^irrA crrixot E, 
 ewT&ffrixoi F 12 Ed. : lanfiiKol 1S T : rerpd^eTpoi KaKa\i)KTi.Kot 
 
 1143-73 * T : irpooStK&v E, TrpowdiK&v F 2 Lemma r6v f vyypaiprj in E
 
 EQ. METRICAL SCHOLIA 403 
 
 ov, ev Be rfi Bevrepa TreptoBw %ppiafj,/3iK6v, eo~Ti be 
 <rvyyeve<; 3 TO> ta/i/3t/ca>' TO rpirov %opiafj,(3ite6v e 
 TO TCTapTov. E (1154-61) * * * See 299, 565. 
 
 117489 *Q Spies : tcopwvis, eio~ep%Tcu yap 6 v 
 fcai J eio~iv ia/J>/3oi rpifierpot KaraXrjKTLKoL 2 iS"' . EF 
 
 1190-1234 rdTrarat dntiToii: (1190-1209) * * * (1210- 
 
 3 J ) Bt7T\fj KCU d\\V} 7TpioBo<i 2 7rVTdKQ)\OS, ^9 TO TTp&TOV 
 
 OfMotov Tc3 7T/30 auToO, 8i/jierpov aKara\.r]KTov, TO ft' i0v<j}a\\i/c6v, 
 TO y' 3 ta/iy3i/co9 (O-T 1/^09) ev etc9e<Ti, TO B' ev etV^eo-et iapftiKov 
 r)/jLi6\iov, TO e' ta/iy8t/co9 crT^o9. EF (1214 25 4 ) SiTrXrj real 
 Tpei? 5 8iK(t)\ov<; e^ovo-ai T9 jrepioSovs, eg Id 
 
 r OyU,Ot&)9 1 KKi/J>evOV f Kdl 
 
 ovv TrptoTys Bvdo~o<> TO 6 BevTepov 
 
 Bippvdfjiov, TO " irpoo-\dfte(T9 % & <f>i\ai" r T?}9 Be 
 BOX/JUOV aTrXovv. 1 EF (1222 5 7 ) T^9 r Se^ T/otTi79 8 BvdBos r To 
 BevTepov^ lappifcbv e^e^fii^pe^. F (1226-31) * * * (12 32- 
 
 4 ) ev elffdeaec iap,f3oi, BifieTpoi dKaTdXijtcToi r Bvo, KaTa\r)KTiKo<; 
 Be elf, real rcopwvls rj TOV 8/oayttaTO9. 1 F See 599. 
 
 The text of 1210 in EF reads raAas eyw r^s tv /taxi/, that of 
 1212 in EET reads iw Ilaiav 
 
 Equites 
 1196 
 
 24783 x irate: Kopcovis, em eltrep^eTai 2 (5 %opo9 
 
 ewv, /ecu 7rd\iv CTI^OI Tpo^atKol 3 \'. V 
 
 284302 J rdiroOai'eto-Oo/ 1 : St?rX^ /cat el'o-0eo-t9 <et9 7repioBov> 
 K<o\Q>v id', a>v TO, /jv te' dfj,oi/3aia T&V VTroxpiTcov B/j,Tpa 
 2 dfcaTd\r)KTa, TO, Be B' 3 eVaXXa^ 4 KaTa\.r)KTiicd, xal 
 
 BtCTTi^OV TTpdfJLTpOV KaTOKTjKTUCOV. V 
 
 3 <d. : r 
 
 1174-89 J T : ?<rrtj' ia/J.^e'ia rpl^rpa. AcaTaXijKrtAcA 2 F : ie' E 
 
 1190-1234 l Lemma rdXaj e7<i in EF 2 T : Se/cd/cwXos s T : lanpucbv tv 
 
 ti<T0tffei * Lemma XdfieffOt pov \dpr6e E, XdjSeo-tf^ yuou T s E : 5i/c6Xovs T 
 
 8 T : vpurrov E, Trpwroi' ^<rri T 7 Lemma 6tpa& fj.' tevtyica.T' in F 8 Ed. : 
 
 ' Lemma dXX' tyt>iJ*aOa. in F cor., rf)ve\\a in F 10 F : 
 
 F cor. 
 
 1-196 J S ia.TTa.Ta.ilLt in V 2 Ed. : pS~7' 
 
 247-83 J S Trate in V 2 6 D : om. V 3 Pr. : Tptdfcoj/ra /S' 
 
 284-302 J S before scholium in V, but not in Text 2 D : Kar 
 
 3 9 : ^aXd| V 4 Ed. : d/tardXij^ra 5 Ed. : flffl dl<rrtx . . Terpd^erpo
 
 404 THE VERSE OF GREEK COMEDY EQ. 
 
 In 300 Heliodorus doubtless read KCU ere <avw TO?S Trpvraveo-iv, the 
 reading of the manuscripts now extant. 
 
 3 31 1 w pviape ital {3SeXXupe : Sl7T\r) l Kal l<rOO~l<i r l<? n 
 "jrepioSov K(a\(av 6 , 979 TO TTpwrov TraicoviKov Sippv6/jiov, TO 
 y9' e/c KptjTiKov Kal So^fjbiov, ra Se \OLira ' 
 V See 450. 
 
 Heliodorus read /cat /cc/cpa/cra in 304. His employment of cur- 
 0ris, implying that all the following cola are shorter than the 
 preceding norm (301 f., a trochaic tetrameter in his analysis), is a 
 second indication that he did not include the distich in 312 f. in his 
 analysis, but gave it separate consideration. Of. Schol. Eq. 761. 
 
 322-32 r dpa STJT ofo" 1 : (322-7) * * * (328-9 x ) ev 
 2 ela-ffecrei Kw\a ft' , 8aKTv\itca Biperpa, aKaraXijKTov TO a', 
 TO Be ft' KaTa\t]KTiKov. V (3302) * * * See 451. 
 
 On this doctrine of dactylic catalexis see Heph. 13. 10 ff., 21. 1 ff. 
 
 3828 T^ apa irupos : Bt7r\rj Kal ev x eiffdecrei, TrepioSos TOV 
 %opov TraiwviKr) eTrTa/fwXo?, e^ovo-a TpippvOfia a'fi'y', TO, 8e 
 \oiira SippvOfMi. V See 450. 
 
 Heliodorus read Kal KCKpaKra in 304. This reading and the 
 apparent loss of a metre in the antistrophe, which has only seventeen, 
 explain his failure to note the correspondence of strophe and anti- 
 strophe. See 851. Properly two SnrXai would be placed under 381 
 and again under 396, since these verses precede each an antistrophe. 
 The analysis of 367-81 has been lost, but probably Heliodorus re- 
 garded its last verse as a catalectic iambic trimeter. Of. Schol. Eq. 
 911 ff. on Eq_. 939 f. It is with reference to this that the following 
 group of paeonic dirrhythma and trirrhythma (382 ff.) are said to 
 be fv eicr0ecrei. See 840. 
 
 40940 OUTOI jj,' uireppaXeurO' ) x 8t7T\f) Kal 
 \ft' , wv T\evTaio<s " avrjp av r}Seo)<; \dftoi" V 
 
 498610 d\V 161 x a ip w|/ : Kopmtfa' l ef e\06vTcov yap TWV 
 vTTOKptT&v, eiTa KaTa\ei(f>0el<; o %o/309 \eyei (498 506) 
 2 TreptoSou? ava7rai,a-TiKa<s ft, Trjv pev TrpOTrefnrTtKrjv TOV 
 
 6T6/30U T(OV VTTOKptT&V OV&av SeKttfieTpOV 7TVTdKO)\OV, V<j> 3 r)V 
 
 303-11 l Ed. : ireploSos Kal et<r6eiris 
 322-32 l Adscript to 328 f. in V 2 H : 
 
 382-8 l Ed. : ^7r<rW<ret 
 409-40 l D: dtwXot 2 H: ta^oi 
 
 498-610 * T : el<reK6bvruv 2 Ed. : -ireploSov avairaiffruv i), T reads irepi68ovs 
 
 (81/0) dvairalo-ruv [rf] 3 Ed. : 8
 
 METRICAL SCHOLIA 405 
 
 ?7 Kara rrjv BevTepevov&av r e<rrt Be avrrj TO 
 
 yap rfjs tca\ov/j,evr]<; reXeta? 7rapa/3d<re(i><;, * e 
 Be eo~TL TO KOfiaaTiov rerpaKcoXov. V (507 46 5 ) 6 8477X77 
 xal 7 eieQearis et? avrrjv rrjv Trapdftaarw, 8 dvairaia-TiKol a-ri^oi, 
 KaTa\t]KTiKo\ rerpdp^rpoi, 9 /*'. V (54750) * * * (551 
 610 ) : * * * Bnr\rj elra cTrdyerai, 7rtppir]/j.aTiKr) <rv%vyia, 
 ifc (55164 = 58194) at uev u ae\iKal TrepioBol el<ri iB' 
 K(o\a>v ' TO TrpwTov ^opca^tKov iafjiftifcrjv e%ov eTrifAejjMyfJiev'rjV 
 aKardX.ijKrov Kal TO y8' ofioiov aKarcO^KTOv KO\ TO y' teal TO 
 B' oaoiov Kai TO e xopiapftiicbv 12 KaTa\r)KTLKov icai TO 5"' 
 r a/caTaA,77/cTOz/l /cat TO ^' ouoiov Kal TO rf 12 KaTak^KTLKOv, 13 ro 
 Be 6' KOI TO i avTWiraa'TiKov TplpeTpov KaTa\T)KTtKov, TO, 
 Be \oi7ra 8' 4 avTiwrrafrTiKa Bt/jieTpa, Tola aev T'XvKcoveta, TO 
 TeXeimuoi/ Be ^epexpaTeiov. V (565-80 = 595-610 15 ) TO 
 
 e<TT i 16 
 17 ' 
 
 , o ^>tXet 17 'Apt<TTo<f>dwii<i. V See 294, 553. 
 
 On the sporadic use of 8nrX.yj between two subordinate periods, 
 illustrated in this scholium, see 854. The Ko/t/xartov is properly all 
 that part of the complete parabasis which precedes the parabasis in 
 the limited sense. Cf. Schol. Ach. 626, Pax 729. But the two 
 regular parts (see 293) of the introductory strophe in this parabasis 
 are so distinctly divided that Heliodorus regards the second as the 
 real beginning of the complete parabasis. 
 
 6 1 15 |>i\TaT' d^Bpoiv : Ti TOV %opov tap/Sot, TpiaeTpoi 
 
 TOi <B', 6 Be> e' TOV viroKpiTov Trapep^o/juevov. V 
 61623 l tvuv ap' a|io' 1 : BnrXij Kal 2 7T6/3to8o5 TOV X<>pov 
 
 3 O/CTft) /Cci)X&)I/, 979 TO a' TpOJ^a'CKOV 4 TTpduTpOV 5 /3pa%VKaTd\'r)KTOV, 
 
 TO $ ev elo'Oeo'ei Traiwvucov TTpdppvO[jiov, TO, Be \onra ev 
 6 7rei<r0(rei, TO y' iraiwviKov Bippvduov, TO B' Tpo^a'CKov e<j>6r)- 
 e9, TO e' iranavLKov Bippvffuov, TO 5"' Tpo^alKov TpifieTpov 
 
 TOv, TO %' O/JLOIOV Kal TO i) Tpo%a'iKov 
 V See 231. 
 
 * T : ^TTTd/tcrpa Sf elvi (evrd/j-erpov dt tffn 6), rb Si Konfjuinov rerpdfierpov 
 8 Lemma el fitv rti av-f)p in V 6 T : dvairaiffrtK^ SIW\TJ 7 T : etcfffffiv 
 
 8 Pr. : Av&iratffroi. 9 Ed. : jta' 10 Adscript to scholium on 551 in V with 
 
 lemma linti dva UbffeiSov " T : fd\i) Kal 12 T : dieoTdXj; . . 1S T : icai 
 
 rb 6' rb Si i d.va.iraiffri.Kbv 14 T : dvatraiffrtKbif rplfnerpa. 15 Lemma ei>Xo- 
 
 Pov\6fie6a in V 16 T : rerpdnfrpov rpo-xainbv dKaraXiJ . . n Kiister : 
 
 . 
 
 616-23 * (5 icaXA \tywv in 617 V 8 T : eta6e<ru eis *eplo8ov 3 Q : 
 
 Xos V 4 9 : y"fterpov (sic /) V, r piper pov 6 cor. 8 Pr. : Ka.ra\i}KTiK6v O, 
 
 dicard\r) . . V 6 Ed. :
 
 406 THE VERSE OF GREEK COMEDY EQ. 
 
 On the theoretical indentation of the second colon see 840. 
 Trochaic trimeters (Heliodorus's sixth and seventh cola) are here 
 grouped with catalectic dimeters and paeonic dirrhythma. 
 
 62482 KOI fj-Tji' dxouacu : l SiTrXr) (/cat) (ni^oi 2 lafj,(3iKol 
 3 rpifierpoi aKarakrjKroi, v& '. V 
 
 6 8 39 " irtln-a TOI Wirpayas : (Swo) 2 8nr\ai, OTI ejrerai V) 
 
 rrj<> TrpoaTroSeSofjLewrjs. V See 231. 
 691 755 l KCU p)i/ : o^TrX?; Kal 2 K0<ri<; et9 tayLt/Sou? 
 
 V 
 
 756823 yuy 8^ ae : StTrX?} Kal (75660) a-ri^oi e', <av o 
 /j,ev a Kal 8 Kal e' iafj,(3oi rerpdfjierpoi, Kara\t)KTiKoi, 6 Se 
 ft' Kal 6 j % ld/j,/3a)v St/nerpefv (Kal Wv<f)aX\tKwv ) etra 
 (7612) ev eKdecrei ea-rlv 1 o e^i/io? StVrt^o? dvdiraLO'TO^ 
 KaTa\r)KTt,Ko<; v<j> o 8i7r\f) Kal e^9 (763823) 
 
 2 a'. V See 91. 
 
 82435 6m5Tai> x a(r H'? : * * * StvrX^ 8e at ei<rOe<ri,<s elf 
 
 V 
 
 836910 irdo-u' di/Opuirois : SiTrX?) Acat J e/c^ecrt9 oy /car 
 
 t'<roi/ rot? dvaTraicrTot,*; et? 2 ldfj,/3ovs 3 reT paper povs 
 
 oe. 
 
 V 
 
 When Heliodorus says ou Kar tcrov TOIS avaTraicrrois he means that 
 the iambic tetrameters (836 ff.), although ev K#rei with reference 
 to the standard (835), are not so long as the preceding anapaestic 
 tetrameter (823), the standard for the following dimetrical period. 
 On the position of the anapaestic tetrameter, see 835. Heliodorus 
 again fails to note an antistrophe (836 ff. = 756 ff.). 
 
 91140 1 ^fxou fiey ouv: 8i7T\rj Kal el'crtfetn? 6/9 dfjuoiftaiov 
 TWV vTTOKpirwv K<o\a)v X' TTavTcov 2 IdfjbfSwv, <av ra 
 Svo fj^vo/^erpa, rd 8 ^779 Sifter pa dKard\r)KTa, TO Be 
 reXevralov TO 4 rpiaKocrrbv rpifjberpov KaTa\ i r)KTiKov. V 
 
 9412 eu ye FT] TOV Aia : SfcTrX?} Kal rov %o/jou (jrepLo^>o<i) 
 8t/ca>\09 ev enreio'decrei, eTrLrq^e^ l &ia\e\vfj,evri 2 et9 TOI> ire^bv 
 \6yov <TTI 8e TroXXa Kal Trap 1 EwTroXtSt o-eo-^/ietw/iez/a. V 
 
 624-82 J D : SiTrXot 2 H : fa/it/3ot 3 T : r/sets 
 
 683-90 J S before 683 in V 2 T : SiTrX^ 
 
 691-765 l S over 691 in V 2 T : d<r6e<ru 
 
 756-823 J T : rb Wi^ov 5ur\9) dvdiraiffTos rerpd/j-er . . KaraXi) . . 2 Ed. : f ' 
 
 824-35 1 Ed. : rerpd/^T , . Kal elKoaifjxrpov 
 
 836-910 J T : eMeffts 2 8 : te/*jSA V 3 T : rerpd^eTpa V, rpi^rpovs 9 
 
 4 9 : KaraXiJKTiKa V 
 
 911-40 J S ^/xoO in V 2 T : Id/nfiov 3 T : T' V 4 Ed. : ^j/aroy V 
 
 941-2 l 9 : SiaXeXu^J'ws V 2 eij D : om. V
 
 BQ. METRICAL SCHOLIA 407 
 
 For an attempt at a metrical analysis of this ' dicolic ' prose line, 
 made by some Byzantine grammarian and found in V, see D iv., ii. 
 289, 9-13. 
 
 94372 icdfioi 8oKi: Bnr\fj real ^i/ 1 1 eK0ea-ei Zap/Boi 2 rpi- 
 fierpoi aKard\.7)KTOi V. V 
 
 9 7 39 6 TJSioroi' <J>dos : Kopcovis, e^laa-i yap ol viroKpurai, 
 Kal ev eicrOea-ei, rov %opoO e|fa<? l fjLovocrrpo<f>tK7) 2 rerpaK(b\ov<; 
 %ovcra ra? irepioBovs ex <y' 3 Y\VKOveia>v Kal rov <&epeKpareiov, 
 a-vvfj-Trrat, Be ry \e^ei Kal fiovov BiaKCKpirat TO ^epe/cpdretov 
 irapdjpa<f>oi Be 4 air\al p^ev e, 5 17 Be 5"' Bnr\rj fiera /copatviBos, 
 on elo-iao'iv ol vTro/cpirai,, /cat elffiv (9 9 71014) 'iap^ftoi rpL- 
 fierpot, a/caraX^/crot ITJ'. V See 544. 
 
 The 7rapay/5a<os that separated the six strophes was single ; that 
 under the sixth was double and was joined with the coronis (855). 
 
 1015-20 Ir 4pd6u 'Epex0et8t)1 : ev K0e<rei o-rL^ot, (eVt/col) 
 
 r'. v 
 
 10219 1 rauTi fi& TTJI' A^/iTjrpa : /cal ev eiffOecrei ari^ot 
 ia[j,/3iKol & . V 
 
 1037-50 r !(m yu^: * * * (1037-40 1 ) ev * eK0e<rei, 
 3 eTTttcol B' Kal (104150) ev ela-dea-ei la^oi Bexa. 
 
 10679 r AiYet8t] ^pdaaai 1 KucaXuireKa : ev eKdeffei eiriKol 
 
 T/3649. V 
 
 1070-9 ir ou TOUT<S ^tjaic 1 : * * * ev ela-ffeaei, Be tap/Sot 
 if, <rvv 0^9 7rpoava<f>a)Vi cifjua TO " etev." V 
 
 111150 J 5 ATJpe KaX^ : Bt7r\7j Kal 2 ev elo~6e<rei, (jieXos 
 fiovoaTpo^tKov afjioifSalov TrepioBow B' eva\\af; rov %opov 
 <jcal rov v7roKpirov>, BeKaK(i)\oi 4 Be el<rtv at TrepioBot 5 IcoviKal 
 a/iro fj,eiovos, uv ra p,ev ecrriv e^OTj/jiip^epfj, Bvo Be t]/j,io\ia, TO 
 reraprov Kal TO BeKarov. V See 571, 573. 
 
 12641315 TI icdXXioi' dpxo/JieVoio-i : * * * K0po)vl<f Be, 
 
 943-72 J Ed. : el<r6 . . 2 Ed. : rerpd^erp . . 
 
 973-96 l Pr. : pbvov <rrpo<J>iKTi 2 T: rerpdKuiXos ofoa 3 Pr. : y\VKUv 
 
 el 4 D : dwAot 5 Two notes in V, the first ending f) dt S~' Kal fJLfrd. nopuvlSot, 
 the second (S /5oO tf^ewai) beginning 5nr\ij 8n cl<rla.<riv 
 
 1015-20 1 Adscript to 1014 in V 
 
 1021-9 l Prescript to 1021 in V 2 T : tKSiffei 
 
 1037-50 J The entire metrical scholium is adscript to the general scholium on 
 1040 in 9 a T : ei<r0<?o- * T : <?7rt/<ca 
 
 1070-9 J aXXA vavs eKiiffrore as lemma in V 
 
 1111-50 J Adscript to 1111 ff. in V a 9 : iv i K 6t . . V T : xPv' 
 
 iicee<rei- * 5t Pr. : om. V s T :
 
 408 THE VEESE OF GREEK COMEDY NUB. 
 
 $;ia<ri yap ol vrroKpiral, Kal eari arv^vyia eTripprjfjLariKij, 1 ^9 
 at /Jbev fjie\iKal TrepioBoi (126473 = 12909) BeKaKwXoL elcn, 
 teal avr&v rb fiev Trp&rov 2 iafiftiKOv <f>0r)fMfj,pe<;, rb Be {3 1 
 rpiirovv 619 8 Bicrv\\aftiav, TO Be B' 4 rpo^difcbv 
 
 rb TTGfJ/jrrOV K TpO%al'Kf)<> ftd<TO)<t Kal 5 BaKTV\lKOV 
 
 TO "' la^ftiKov Bl/jierpov rb ' o/iotw? T e'- 
 
 TO 17' TrpocroSiaicbv ScoSeKdcrrj/^ov Sia<f)6pa)<} trpoaeKafte TO ^' 
 
 avairaiaTLKov rb i iajj,(3t,Kbv rpi^erpov KaTa\r)KTiKov. V 
 (1274-89 = 1300-15) * * * See 493, 503 flf. 
 
 Heliodorus regards rt KaXXiov dpxopfvouriv as an iambic heph- 
 themimer, notwithstanding the anapaests. He overlooks his third 
 colon. 
 
 131634 6u<f>T)fieii' xpV fTi^ot, ev eicOecrei avaTraicrriKol re- 
 rpdfierpot Kara\t}KTiKol l id' . V 
 
 13351408 u <j>i\TaT' di'Spwi' : ev eladeaei, iafj,(3oi rplfierpot 
 2 aKard\r)Kroi, oB' Kal p,era 3 rbv reXevralov Kopwvis 17 TOV 
 V 
 
 Nubes 
 
 45775 l Xtjfjia (xec irdpecm : 7T6/3io8o9 evSe/cdicioXos, &v rb 
 Trp&rov rpo%a'Cfcbv Bfaerpov dKard\r)KTOv' rb ft' rpo^a'iicbv 
 rpifjierpov 2 Kara\v)fCTiK:6v ' rb y' SaKrv\i/cbv 3 TrevOvj/JiifAepes' rb 
 B' dvaTraicrrifcbv 4 7Tv8'r)iJ,i[J,epe<; ' rb e' 
 rb "' ia/j,/3i/cr) /3d<rt,<; ' rb % dvaTraicrri 
 Sa>8e/eao"77yu,o9, /cat TO 17 , d\\a crvvfjTrrai To3 
 6 Trevdrj/jujAepei' rb i BaKrv\ifcbv (rpiirovv et?) rpo%aiov' rb ia 
 rpi(rv\\afto<; Kara froBa KpyriKov. V (46775 ) rj TreploBos 
 8 vvedfc(o\o<;, wv rb irp&rov yopiaiiftiKov TTOICI <rvvyiav rb 
 ft' 9 avarraicrnicbv 10 TrpOGoBia/cbv BcoBeicda''r]fiov' rb <y' la/j,fti/cbv 
 12 Kal rb % o-vv^trrat, Be F TO 8' BaKrv\iKov 
 Kal rb e^9 avarraKTriKov e^^T/yttt/iepe?, Kal yap 
 13 ra ft' eTro?* TO S" BaKTvXiKov irevOiipipepes, u Kal rb v)' , 
 
 1264-1315 1 D : ws 2 V : ta.ft.ftov 9 8 Pr. : 5urv\\ . . 4 Ed. : 
 
 rpo\aiK6i> Tplirovv f<f>6rnufj.epfa V, e<j>0r)/MfJ,epts rpo-xjaiMv G 6 T : 3axTuXt/c^s 
 
 irfvOrifUfijeph 6 T : irpooSucbv 7 6 : d/caTdX^KTOi' V 
 
 1316-34 l T: te' 
 
 1335-1408 ! T : ftttfe . . 2 H : KoraXij . . 3 T : TO 
 
 457-75 J S \TIIM in V * Pr. : oKardXijKTOj' 8 Pr. : irev6t]fjiijfj.ep^ 4 Pr. : 
 jrtvOwHi.epis 5 Pr. : Qepfupdriov 6 D : Trev6rifj.r)fjitpfT 7 A separate 
 
 note in V, but under the same signum 8 D : 0'/cwXos 9 H : avairaiarov 
 
 10 D : irpo<ru5ia.Koi> ll D : irevOTinept* 12 Kal rb f transferred from below 
 
 by Ed. 13 TO, H : rb in V, i.e. T(L ft'=ra. 8i5o 14 Ed. : Kal rb f Kal rb r,' 
 
 (see note 12)
 
 NUB. METRICAL SCHOLIA 409 
 
 trvvijTrrai Be TO> e^rjf OVTI dvaTraKmieq), Kai yap ra /3' 15 TO 
 \eyofjievov %oipi\iov. V See 500, 503 ff. 
 
 Heliodorus divides the ode into two periods (457-66, 467-75), 
 which he analyzes separately, as if a dyadic pericope. The first ends, 
 in his analysis, with ctyo/zcu, a ' cretic ' ; the second begins with wore 
 ye crov, a ' choriambic ' colon. The following statement, Troie? <rvvyiav, 
 apparently unites the choriamb with the preceding cretic in a syzygy. 
 
 4767 TdXX' yx *P l1 * * * * ico0e yap fiera TO a&at 
 eirdyeiv 2 BLO-TI%OV. V 
 
 Compare the Triclinian note in the Vatican manuscript, Vv5, based 
 on a Heliodorean original : ev K0rei 8e a-riyoi Svo dvaTraumKol 
 KaTaXrjKTiKoi, fOos yap l<rTt /xera ras roiavras TreptoSovs 
 vaL. Zacher, Handschriften, 631. Compare also the following 
 note on 478, in Handschriften, 632. 
 
 80413 5p 5 aicrSdvei : ^opia^of Sifj,Tpo<; dKard\r)KTO<i' 
 ifj,rpo<f Kara^KTtKo^' "a/A/So? 7rev0r]fjLifj^p^' airo 
 y8ao-e&>9 649 xopiapfiov' ta/t)8o9 SifAerpos /cara- 
 
 49 ia[j,/ov' ^opia/j,t,Kov rpfierpov 
 e<f>0i)fji,i/jiepr)<;. V See 562. 
 
 Heliodorus overlooks his ninth colon. 
 
 889948 x^P 61 Seupi : * * * 8nr\rj teal tcopoovfa, d 
 <rdvTO)v rwv VTro/cpirwv' /Lte\09 Be rov %o/3ou ov 
 aXXa yeypaTrrai, fiev ev pecrw " ^opov" KOI eTrerai ev 
 ela-Oeo-ei (TreptoBo^ dva7rai<rTitcr) rcov vTroicpircov, teal Bia ra 
 irpO(7oyjra ovBt T\eta9 e^et Ta9 <rvvyla<;, effrt, Be ra irdvra 
 KM\a oB' , wv ra TrpwTa B' ^Bifierpa^ dvaTrata-rtied. V See 
 326. 
 
 1131 53 1 ire(Aim), rerpds : tcopwvif, elaiovrwv T&V VTTO- 
 tcpt-Twv, teal eiaQecris Trapa TOV$ <o~Tt^ou?> Terpa/jLerpovs, el<rl 
 yap " ol 6^9 iafi/3oi rpifj^rpot icy'. E 
 
 11701205 1 loo loo : Bi7r\f), 2 etTa eia-0<ri<; 3 et9 irpoava- 
 
 15 T : ruv \eyofttvuv 
 
 476-7 1 The note of which this is a part is placed after 467 in V and is referred 
 
 to that verse by signum 2 T : Slimx* 
 
 804-13 x S 804 in V 2 T : 5iKard\r,KTOt 
 
 889-948 J S 889 in V 2 T : etvet dvairaiffriKoi V 
 
 1131-53 J Prescript to 1131 flF. in R 2 T : TO, e|iji fa/x/3t . . T/x/ierpo R 
 
 1170-1205 1 Lemma in V, S iov in R 2 T : elra ical V. etra and space R 
 
 * V : ^ (erased) els R
 
 410 THE VERSE OF GREEK COMEDY VESP. 
 
 , 4 TO " lov toO," Kal tap/Sot rpt/jLerpot 5 \e' ev 6 eicdeo-ei. 
 
 VK 
 
 12591302 l ici jiot fiot : Trpoavaffxttvrjfjia TO " ico /AOI /iot 
 /eal TO " ea. ' Sto StTrX?} KOI crri^ot lafA/3ifcol rplfjierpoi 
 Te<T<rapaKOVTa 7'. V 
 
 1303 20 olov TO irpayfjidTa)!' : * * * * /copwvls Be ical 
 
 fj,e\0<f r fJLOVOffTpO<plKOV^ TOV XP OV r Ttt? 7repl6BoV<^ K(O\(0V 
 
 2 #' r e^oi/^, 5i/ TO Trpwrov iafjbftucbv Tplfierpov aKard\r}Krov, 
 ical 3 ev el<r0(ri 4 /cwXa rpLa &v TO irpwrov IWVLKOV 5 fjpiokiov, 
 VK (1307-1310 6 ) * * * See 581. 
 
 132144 lou loo : StTrXT}, x etTa elV^eo-t? r et9 Trpoava- 
 <f>a>vr)cnv, TO lov lov, /cat e'/ctfea-t? 1 et? Idpfiovs 
 
 Cf. Schol. AM&. 1170 for the restoration. See 838. 
 
 135385 KOI fjLTjf oQev ye: (TTI^OL 6/JLOiOt TO) 
 av /cat " 
 
 1229 ^OTOS TI irdo-xeis: * * * 
 2 lap/Si/col TpijATpoi d/caTaXi;/CTOt atcO' , 
 SiKao~T(t)v ar<f)7]Kiav Sia<TK$av " (sic). V 
 
 24872 1 T6f inf|X6i' w irdrep irdrep : * * * TO Be 
 evTevOev rpO^a^ev, <TTI 2 jap /JMKTOV, <TVVT0V e/c Te 3 l 
 4 BifAeTpov dfcaToXijKTov /cat l6v(f>a\\i,Kov. V 
 
 The remainder of the note in V (T p. 21 ; D iv. ii. 450, 8-9) is 
 not Heliodorean. 
 
 126591 1 iroXXtlKis ST) *8o|a : 2 o TroirjTrjs TavTa \eyet, O,TTO 
 TOV %opov' TrapaftaTLica oe TO, fjue\vBpia- eiTa TO 
 
 * rb R : om. V 6 T : e' VR 6 T : e/<r^<r VR 
 
 1259-1302 : S 1259 in V 
 
 1303-20 1 : Kopuvk . . . dKard\i]KTov, xal om. RV 2 Ed. : of 6 (mean- 
 
 ing to include both strophe and antistrophe) 3 Adscript to 1304 ff. in RV 
 
 * R6 : Tpla. KwXa V 5 V6 : ^/j.i6\eiov R 6 The analysis is continued in 
 (see D iv. 569 n.), but is Byzantine 
 
 1321-44 1 Ed. : ^ 
 
 1353-86 J T : rtXevralov 
 
 1-229 J S oi5Tos in V 2 H : fa^oi 
 
 248-72 x Pr. : (5 Trdrep irdrep V 2 7&p fjuKrbv Pr. : fuKpbv V 3 Pr. : 
 
 lajjifieiKov 4 D : /drpov di>Ti\i}KTOv ical WvpaXtKOV 
 
 1266-91 l T : the note faces 1265 in R 2 6 . . . jteXtfSpt* r : iro/oj8aTt/cd, 
 
 R s elra rd avreiripprj/ML R, om. F, Mppri/j.a. Kal rb added by Rutherford
 
 PAX METRICAL SCHOLIA 411 
 
 strip pr) pa ical TO dvreTripprjfia. RF (127583) * * * 4 
 
 5 dvacrrrwv evai, r<av 
 7rXei<7TG>z/ Be evpov f rovra>v^ evBeica. V 6t H\t6Bcapo<i' per a 
 rov crrfyov rov " <y\(orro7roieiv ei<? ra iropvela elffiovra eicderore " 
 elo~l rorrot, errrd e^ovres crnjfjMij fcal d\6yov<f, wv CK irpo^eipov 
 p>ev evpelv rov \6jov ov/c etrn, ra Be roiavra TroXXa/a? elrrov 
 on v7ro\afjL/3dvci) ev rot? irptorois avnrypdfyow <f>6apevra on 
 ftV roa-avra ^v rov dpiOfjLov <yv(oa-0f)vai, ov 8 fir)v riva V 
 (1284 91 9 ) fjiera TO Bid\eifjLfj,a ev TroXXot? 10 tyepovrat, (rri^oi 
 7rrd /col rerpd/^erpov, ov 6 vovs ov 'jrpocr'irL'jrrei. V See 457 
 
 The disorder in which the metrical scholia on 1275 ff. are reported 
 in Dindorf (iv. ii. 527, 11-18) has confused their application and 
 interpretation. The speaker throughout is apparently the anonymous 
 Byzantine compiler of the scholia (832), who, here as elsewhere, 
 bases his metrical statements on the commentary of Heliodorus. 
 Once (see the first note on 1275 ff.), citing Heliodorus (<f>r)<riv) as 
 authority for the SidXeifjLfw. where Antistrophe I., now lost, stood in 
 the original book of the play, he says that the largest provision for 
 disarranged lines which he himself found in any of his copies was 
 eleven spaces. It is worthy of note that Strophe I. (1265-74), to 
 which the lost antistrophe corresponded, is arranged in eleven CTTI'XOI 
 in both R and V. The compiler next gives Heliodorus's own 
 words, prefixing his name to the quotation. Heliodorus says that the 
 non-interpretable lines in his copy numbered seven, and he assumes 
 that they were already in confusion in the ' first copies ' of the original 
 book of the play. 'Seven,' then, would be the number of solid 
 lines in which Aristophanes wrote Antistrophe I. as one continuous 
 musical whole in his own copy. Heliodorus let this antistrophe go as 
 hopeless. It was later ' editors ' who attempted to heal the lines and 
 arrange them in metrical conformity with the strophe. The compiler 
 may have repeated one of these attempts in his great variorum 
 edition, but if he did the lines were subsequently lost. 
 
 Pax 
 
 181 r a fyj' atpc na^ac 1 : rov Bpaparos rrpSyrot, r piper poi 
 l'a/jL/3oi dKard\r)KTOi TT', <av 2 reXeimuos " iTnrrjBov e? rov akp 
 
 4 The following metrical note is added to the scholium on 1281 in V. rovro refers 
 to the epirrhema (1275-83) 5 Bergk : Avdurrarov 6 The note is placed in 
 
 V between the scholia on 1259 and 1267, but it is separate from these and is 
 complete in itself 7 Bergk: viroXa/jfidvw 6n 8 D : /J.TJV nva 9 Signum 
 over efol rives in V 10 Bergk (except o5 Ed. : S>v Bergk) : <f>tperai ffrl\ov evbs 
 
 Kal rpirov duotrov irpoffirlirret. 
 
 1-81 * The note in V precedes the first general scholium on 1 2 D : 
 
 reXevratov
 
 412 THE VERSE OF GREEK COMEDY PAX 
 
 67Tt TOV KavOdpov," pera Be TrevTtjKOVTa 3 evvea eo-rt Trpoava- 
 
 l ' V ci M A W "YT 
 
 <p<ovr)/jia TO ea ea. V 
 
 82101 a fjoruxos TJO-UXOS : Bnr\fj /cat eto-^ecrt? et9 irepioBov 
 
 2 dvaTraKTTiKrjv T&V VTrotcpiT&v Tpwyalov Kal rov oi/cerou 
 
 3 evveaKaiTpiaKOVTdfjieTpov ei/cocrt K(i)\a)v, on %ei, fjiovofjuerpov TO 
 
 4 V 
 
 1 1 41 7 1 r <S Trdrcp 1 : 2 StTrX?) /cat etcr#ecrt9 et9 vrepioBov, 
 
 SCIKTV- 
 
 \IKOV, TO fjiev irpSjTov KOI BevTepov tcaTaXrjKTiicov, TO Be 7 Kal 
 B ctKaTaKriKTOV. 4 dvairaicTTiK^v Be avTrjv ov <j>afj,ev, eirel 
 fovB^ a7r6 TIVOS TV^I)? 6 ovK avaTratcTTOv e^et f ovBeva^, dXXa 
 
 6 
 
 V See 345. 
 
 On this doctrine of dactylic catalexis see Heph. 13. 10 ff., 21. 1 ff. 
 
 12453 Kal TIS ir<5pos eroi TI}S 68ou yen^aeTai : 8t7T\^ /cat et'<7- 
 
 2 V. V 
 
 15472 x dXX' aye n^yaac : * * * StTrX,?} Se 2 /cat et<7- 
 t9 frepioBov 3 dva7rat,<TTtKr)v TOV 7rpe<rj3i>TOV 4 o/cr&)/cat- 
 
 TpiaKOVTafJ,TpOV id K(a\WV. V 
 
 173298 x oijioi ws S^SoiKa : Bnr\rj Kal e/c^e<rt9 et9 ia/ty8ou9 
 Tpi/jieTpov? pKS~', wv 2 o reXeurato9 " /cat 3 vr)<ri,a>Tai, Bevp* IT 
 w irdvTes Xe&>.'' 4 ev evlois Be dvTiypdtyois /-tera crrt^ov9 va' 
 e<7Ti K(o\dpiov ToBe " T'I 5 0^9 ; " /cat yiiera aXXof 9 XT/ ToBe 
 
 ff >\ > / 5 -TT 
 
 ti) t?;. V 
 
 299-336 ^s rdxitrr' afias : StTrX?) /cat (299-300) e/c^eo-t9 
 
 6t9 <TTt^Ot9 T/aO^at/COl'9 TTpa/J,eTpOVS KaTa\V]KTlKOV<; ft , OU9 
 
 ert o Trpeo-fivTrjs Xeyer y^>' oi>9 Kopcavls, TOV %o/?ov etVeX- 
 OOVTOS, Kal (30136) o-rt^ot o/Aotw9 rpo^at/col TeT 
 
 3 H : OKTW 4 V adds after la a : xai ret e^s iaju/3t*cd, probably a later 
 addition 
 
 82-101 1 S first Tfo-uxos in V 2 D: dj/airatorurij 3 D: ^^a icai 
 
 TptdKovra ^rpov 4 On 91 V has the interlinear note TOVT& ten ri> StKarov 
 
 fj.ov6/j.erpov 
 
 114-17 J The note is given twice in V in slightly varying forms, and is mis- 
 placed both times. It is attached by a signum once to vaiSl' in 111 (V a ) and again 
 to ten in 118 (V b ) 2 dnr\i) . . . ^acrox V a : ri> fUrpov V b 8 Ed. : 
 
 TfTp&K<a\ov V a 4 Ed. : dvairaiffTiK^v 6 aiirb 5 Ed. : ot)5 dvairaiffrov f<rx fv 
 
 6 1 : ffv\\dpuv 
 
 124-53 x els D : om. V 2 H : ice' 
 
 154-72 a S before 154 in V 2 Kal D : om. 8 D : dvavaumK . . 
 
 4 Z : <5/crw /cai rpiaKovrd/JXTpos 
 
 173-298 l S of/iot wj in V 2 T : r6 TeXeuratoj' 3 Text of V : 
 
 and fre in scholium in V 4 T : eirevlots 6 Ed. : ^17 . . 
 
 299-336 a S d)j rdxtffr in V
 
 PAX METRICAL SCHOLIA 413 
 
 \S~', <av T\evTaio<; " fjbd\\ov r) TO 
 
 V 
 
 33745 l pf\ TI ical vuvL y : Bi7T\ij, eireTai yap 2 /ie\09, ov 77 
 fjLev 3 7r/>oa>8o9 eo-TM/ e/c 4 6WTi%oi> o/Wa>9 5 eKKeiftevov Kal ev 
 6 elffdecret, <7repioBo<>> K(O\COV ' rpo^alKwv, 7 
 aKara\r)KT(av e' KaTaXrjKTiKov Be TOV re\vraiov, 
 
 5- ' f~ > n ^ 9 '-\ " S^ V '-v 
 
 6e ' etrrt, ' TO Trapare \evrov. etrrt Oe TO TeXo? 
 fcefcpayevai" V 
 
 346 60 r ei ^ 
 
 etc/caiSeica KQ)\a)v, wv o pev a eo'ri 
 
 Kal s Bevrepov ev elaffea-et K&\OV iraiwviicbv (BippvOfjuov 
 4 Terpdppvdfj,ov dicard\'r}KTOv, KCLV 
 l /8' rerpafierpoi KaraXrjKri/coi' r 
 ~', wv ra y3' 5 iraLwviKa SippvOfia, TO Se rpirov rpo^aiicov 
 e<f>@r)/j,iiJ,pe<;, ra Se \oi7ra Tot? rpitrlv ojAOia 6 e/caarov kicdcrTq) 
 ira ev etcOea-ei o-Tt^o? Tjoo^ai'/co?, o " e<? Avxeiov KCLK Avfceiov 
 <rvv Sopl <rvv dcnriSi,'' Kav 7 etV$ecret Kw\a &' Trai&viKd, 
 rpla fiev 8ippvO/j,a, TO Se 8' TpippvOjiov, TO " eJXeT* dyaOrj 
 
 V See 232. 
 383-99 ^etw jxoi TI Tr<<rxT 5 i: Snr\rj K al (383-4) ev 
 
 O%aiKol 2 TTpdfJLTpOl KaT 
 
 V(f> 01)9 StTrXat /3', 67T6Tat 70/9 (38599) ^ 
 
 TTJ eKKaiSeKaKoaiXw, 179 7r/)WTO9 " jj,T)8afj,(t)<i w Sea-Trod' ' 
 
 4 Seo-TTOT 5 d<ya\ovfjiv ripels" VF 
 
 426-34 fiji^epoK 4KTu0^: StTrX?} /tat l ev K0e<Tei (426-30) 
 Tpo^aiKol TerpdfAeTpoi KaTa\ijKTiKol (e')* etTa (4312) 
 ep 2 eicrOeGei, Trapd TOU9 TTpa/jLeTpov<f 4 arrival la^iKol Svo, 
 xdv (4334) 5 eVeto-^eo-et /cwXa Suo, wi/ TO /tev e'/c oWXov 
 (nrovSeiov, TO Be ex TOV BevTepov Tpo^aLov Kal avTov Bnr\ov. 
 
 vr 
 
 337-45 x Adscript to 337 ff. in V 2 Following /^Xos in V is diro irpo (then 
 
 erasure covering two short intramarginal lines) pouj oO ^ /^v etc. The scribe probably 
 wrote dird wpo6Sov fdv etc., but failed to erase the beginning and close of his miswritten 
 note * D : 7rp6o5os 4 T : Stor** . . s T : ttcKeifdvijt 6 T : 
 
 ^K&^ffei 7 dtfdrpuv /j.v Ed. : /WTa Si/j.rp<t)v 8 Ed. : AraraXi; . . d rk 
 
 reXeurato 9 T : reXeirr . . 
 
 346-60 * S before 347 in V. The lemma is given as in the text of V 2 H : 
 Kal TUV ou.oiui' eKKaldeKo. 3 T : devrepos tv ti(6tffei. /cwXwv vaiuviKuv * H : 
 
 TfrpappvBfMs a.Kara\ri . . 5 D : irattii/to. SIUVIKO. dipvd/j.a 8 T : ?Ka<rroj 7 T : 
 
 8 T : rpifj&T . . dlpvBfJta 
 
 383-99 * S 4Kireir\i)ntvo<, in V, ficireir\riy/j.vot as lemma in F 2 T : T/H/* . . 
 
 ij . . V, rpifj-erpoi dfcardX^ . . T 3 V : X/3' T 4 T : a-yaXou d^aXXoO- 
 
 etj V 
 426-34 1 ^T: om. V 2 T: ^^<r 3 T: TOCJ rrrpoM^potj * T: 
 
 . . v, <TT/X<> r 5 r : ^-/cW(T v
 
 414 THE VERSE OF GREEK COMEDY PAX 
 
 43558 <nr^8oi/Tcs euxo'/ieo-Oo, : * * * Bnr\rj Be Kal ev 
 a-et <rri%oi, lapftiKol rpfaerpot, a/caraX^/croi icB', &v re\ev- 
 Tat09 " vrrorewe 8r) Tra?." VF 
 
 45972 l & eta: BnrX.'fj Kal 2 Trepuco'jrr) d/AOiftaicov rov 
 %ooot) Kal rov vrroKpirov ev 3 7retc0(Ti Kal TrapeKdea-ei, ^9 
 (45963) ra rrpwra e' * Kara 5 KW\OV, e^ei jap 6 a\\ayr]v 
 r&v irpoo'titTrtav, Kal ecrrt TO fiev rrpwrov Kal y' rpia-v\\afta 
 Kara 7raXt/i/3a/c^etoy, TO Be /3' rraiwv rrpwros, TO Be B' 
 BaKrv\iKov BITT\OVV rf rpo^aiKov Trevdrjfiifiepes eirj av, TO 
 e' 8 BnrXov? 7raXi/z-j8a:^e409. VF (4646 9 ) ra 6^7)9 rpia ev 
 10 dva7rai<rriKa Bi/Jierpa aKard\rjKra /3' Kal Kara- 
 ev, V(467 8 11 ) elra ev 12 ei<rOe<ri rpi<rv\\af3oi </3'> 
 Kara TroBa KpqriKOv. V (469 13 ) etT* ev K0e(rei avarrai- 
 crriKov u etyOijfjMfjiepe*;. V (470 1 15 ) ra e?}9 Bvo avarraicrriKa 
 ev 16 e7reK0crei, Bfaerpa aKardXrjKra. V (472 17 ) * * * 18 ev 
 16 ela-decrei 19 Be 20 Kara\rjKrtKov BLperpov. VP See 302. 
 
 Heliodorus classifies the exhortations in cola 1-5 and 9, 10 
 merely as the simple feet which the syllables seem to constitute, 
 but he is in doubt in regard to colon 4. These short ' cola ' evidently 
 would be indented as deeply as any cola could be. With reference, 
 for example, to a trimeter, an anapaestic dimeter intervening, they 
 would be ev 7rio-0rei. The anapaestic dimeter, in turn, following 
 any of these, would be eV 7ra/oK0eo-ei, with reference to a trimeter. 
 Recognizing the problem these very short elements present, Heliodorus 
 serves notice at the beginning of his note that he will have occasion 
 to employ the terms 4VeK#eo-is and Trape/cflecris, and he does use them, 
 but in introducing the term eVe/cfleo-ts (the only possible designation 
 here, if one is to be used at all) in stating the position of cola 
 12, 13 (470-1) he is inconsistent with himself and certainly in error. 
 Neither above in placing cola 6-8 (464-6), nor elsewhere, does he 
 differentiate a catalectic from an acatalectic anapaestic dimeter, but 
 he does this in treating cola 11-14 (469-72), of which two are 
 catalectic dimeters. The note on these cola, if consistent with his 
 previous note, would read : rot e^s rea-a-apa ev TrapeKOea-fi, dvaTraur- 
 
 459-72 l T : adscript to 459 ff. in V 2 Ed. : &0e<r. Of. Schol. Pax 486 
 
 3 V : ti<6tcrei F * AcarA . . . icpoadnruv V : om. T 6 Ed. : /cc&Xuw Should this 
 be /cara 7r65a as below ? 6 D : dXXd yh.p 7 V : 6n T& ft^v a' rpi(r&\\a,p6v 
 
 iffri TraXifJL^dKxeiov F 8 V : 5iir\ovv T 9 By error, S ela in 463 in V 
 
 10 Z : dvairaiffriK . . dip . . aicaraXij . . eV Kal /caraXi; . . /3' n Adscript to 466 
 
 in V 12 T : tKOtati V 13 Interlinear in V 14 H : vev6r,funtpts V 
 
 15 Adscript to 470 in V 16 Ed.: V has efcrtfeVei here and Vr <?ireK0&r just 
 
 below. These two terms got transposed in transmission 17 Adscript to 472 in 
 
 V, lemma TTWS o5i> 01) XY> in T 18 T : om. V 19 T : om. V ^ T : 
 
 . . Slfj. . . V, Sifter . , d/card XT/KTOI F
 
 PAX METRICAL SCHOLIA 415 
 
 TIKOV SifjLerpov KaTaXrjKTLK^v TO a KCU TO 8 , aKaraX^KTOV 8f TO /8 /ecu 
 TO y . 
 
 47385 1 <3 Ad/lax' 68iKis : 8t7r\f) ical o-Tt^ot rpifierpoi 
 la/j,@iKol 47'. VF 
 
 48699 ela) Svo StTrXat, errerai yap 77 dvri,(7rpo(J30<; rrj 
 Trporepa TrepitcoTrfj dpoiftalq 1 i,B' tc(a\cov, e^ovcra KOI rrjv et9 
 TO TrpoVtwTra Biaipecrcv 6/j,oiav, 779 77 dp%f) " <w eta," TeXo9 Se 
 3 " aXX' etc-' ot /cwXvovo-ti/." V See 302. 
 
 51219 aye vuv aye iras : StTrX?} /cat eta - #e<7t9 619 irepioBov 
 Ko>\a)V TI' aftotftaiwv rov %o/9oO /cat rou vTroKpirov' TO 
 jrp&rov avairaKTriKov StTrXouy' TO )8' (/cat TO e') ta//./3toy 
 e(pOrjfj,ifjipe<;' TO 7 /cat TO S' ta/i/3t/coy BifAerpov aKardXijtcrov' 
 1 TO 5"' /cat (TO) ' /cat 2 TO 77' 8 opoiov. R See 84. 
 
 Heliodoms seems to have read (518-19) : 5 eta eta e?a vvv \ & eia 
 eta ?a Tras (Kichter), or something similar, two acatalectic dimeters. 
 
 553 70 1 ws Tcixior' avu Sopariou : ev eVe/c$ecret arisen, 
 3 rpo^a'i/col Kara\r]KTtKol 4 IT;', wv TeXewTato9 " /cat rpicuvovv 
 5 TT; St/ceXXT?." VF 
 
 571600 1 dXX' dfafinrjerO^rres : SiTrX?} /cat /ieXo9 d/JLOiftalov ' 
 TO yiiei/ TOU vTroicpiTOV (57l 81) 2 Se/ca/cwXoi/ rpo^alKov, ov ev 
 eter^ecret evvea, a/caTaX^/cTa Biperpa TO, 77', p,ovop>erpov Be TO 
 3 evarov TrapareXevrov, /cat eV e/c^ecret 4 <TTt^09 T/3o^at/eo9 
 TeT/3a/iT/oo9 /caTaX77/cTt/co9. VF (582 600 5 ) StTrX?} xrat <TO> 
 TOW %opov, <ov ev lcr6ea'i> /cwXa 7' Tpo%aitcd, e<rri Be TO 
 oXoi/ Tpo%aifcbv e^dperpov Tti/69 < f yap> ypd^ovcrtv " eBajjUj/jiev " 
 /cat <acrt Ta /iei/ ^' rpo^alica <8i/merpa> aKard\7)KTa, TO Se 7' 
 rpo^ai/cov Kara\r)KriKov. V (585 92 6 ) etT* eV 
 8 Terpdppvdfiov dtcaTaXyKTOv, /cat ey 10 
 
 /ca>Xa, <ui/ Ta 7' Trat&JVt/ca StppvOfia, TO Se irapare\evTov 
 V (593-600) * * * See 233. 
 
 473-85 a T : S u> Ad/ai*' in V 
 
 486-99 1 T: 5' 2 Ed.: o5 3 D: aXXoiicw.. 
 
 612-19 ! r6 T' cai B : om. R 2 rd B : om. R 8 B : OA 
 
 663-70 a T : S Sopariov in V 2 V : At06ret T 3 Z : art** . . 
 
 tf . . Kara\ri . . V, <rrixoi KOTaXij/cri/coi rpoxaiVoi P * ir}' F : om. V 8 7-3 
 
 SiKt\\ri V : om. T 
 
 671-600 J F : adscript to 571 ff. in V 2 D : Se/cdvoAa rpoxat/cw V, SeKa/ctiXw 
 
 rpoxa-tKu F ' Ed. : ' rd V, om. F 4 T : <TTtx . . T/X>X . . S'/j. . . xaraXij . . 
 
 V, ffrixoi, Tpoxatot. rerpdfifTpoi KaraX-ijKTiKol F 5 x a 'P f X a 'p' * lemma in V 
 
 6 da.ifj.6via as lemma in V 7 H : Tra.iuvi.Krjs 8 H : rerpa/x . . V, rerp&ppvOfjLo^ T 
 9 H : Ka.ra\-n .. 10 T : ^/c^crei " T :
 
 416 THE VERSE OF GREEK COMEDY PAX 
 
 6516 l UTT' &t> ouv \yeis : 8t7T\rj /cal 2 
 ov &' fjiev <v ei<7#eo~et> elcrl Kw\a Siperpa atcaraXrjKTa, 
 Te\evTaiov Be e&Tiv ev exQeaet, 3 Q-TI/^O? Ter/ao/AeT/Jo? Kara- 
 \IJKTIKCX; Tpo%aiK6<;. VF 
 
 657728 1 f&\\' on aiwiras" 1 : 8i7r\r) Kal eicrdeGis Trapa 2 rov 
 TTpdfji,Tpov 4? 3 Idfiftovs Tpi/j,eTpov<f off', fiGTa * & X~' eVrl 
 
 729818 x d\\' 161 yaipuv : 6 %opbs fAevwv Troiei Trapd/3a(riv ov 
 T\eiav, aXXa (72933) KO/JLJUITIOV fjiev ecm, 2 roO %opov 
 e'" 1 , Sv 3 Terpd/jLerpoL (crr/^ot) /caraX^/crt/cot S' /^ei/ eV 
 (ev Se eio~0eo~i) Trapa 4 rouTot5, ort ettriy dva7rai(TriKot, 
 5 reXeyrato? Tpo%aiKo?, <ov> 6 /car' to-oy rot? a\A,ot? 7 avairai,- 
 crrtAco?. VF (73464 ) 9 u^>' 01)5 SiTrX?} /cat 10 e/c^e<7t5 et? 
 <avrr)v> rrjv irapafiaaiv, dvaTraio-Titcol (crr/^ot) 12 rerpa^erpoi, 
 fcaraXijKTiKol \a , wv TeXeuraiO5 " iravp 1 dvidcras.' V (765 
 74 18 ) * * # StTrX?) 8e at ei<r6e<ri<i et? TO 
 ov, ojrep eo~rl TreptoSo? dva7raio~TiKr) 
 
 TO TeXeuTatoi/ " avBpos TO 
 (775 818 14 ) 15 Bi,7T\rj Kal /J,ra(3o\r) et? fJ,ovoa-Tpo(f)t,Kr]v SvdSa 
 16 evveaKaiSetcaKcoXovs 17 %ov<rav Ta? TreptoSou?, 18 wi/ TO a' 
 SatcTV\itcbv TrevOrj/jiifJiepes' TO Sevrepov Tre/JioSo? 19 TrpocroBta/cr} 
 20 - -' 21 S' 
 
 r) weKo-'rjfjLos ;a TO opoiov TO 7 
 
 TO e' 3 SiTre^tiAeJe?, o 24 
 
 TO 5"' Iap,f3iicov Bl/juerpov aKardX^Krov TO ^ 
 
 et<? 5 o'i,o'v\\a(3iav TO ?/ 8a/cTvXt/coz/ OJJLOIOV, 
 
 (real TO 6' Tpo%a'itcr) /3ao-t?,) 
 
 TO ^' 27 et? BnrevOr)fj,i,fj,ep^ /cal <yiveTai, ejK(a/MO\oyiK6v, o Kal 
 
 " \*-28'',O' f ^29 '-\ v 
 
 apetvov. Ta e^5 t ta tp, w? /^-ei/ KeKai^Lcrrai, e<TTi 
 
 651-6 : F : S before scholium in V, but not in text 2 H : &c0e<m e/s 
 
 3 D : <rrtx . . rerpa/x . . KaraX-r) . . rpoxa-i'K . . V, OT/XWJ' TCTpa/jitTpw Ka.Ta\r)KTiK<j)t> rpo- 
 X^iKuv F 
 
 657-728 J S d\X' o^/c in 658 in V, d\\' ou/c A^ etirot lemma in T 2 T : ri> 
 
 3 T : JctAi/3' . . rpt^t . . V, la^iK^. rpL^erpa F 4 T : 5^ rd T, om. V 
 
 729-818 1 T : S Wi xa^pw' in V 2 roO Pr. : om. "VT 8 T : Terpa/i . . 
 
 KaraXi; . . V, TfTp6.fJ.er -pa Kara.\r]KTiKa T 4 T : irdvras V, roiJraj F 5 T : 
 
 reXfVTaioi rpoxo-iKol (rpoxaiK . . V) "VT 6 T : Karuroi V, Kdruroi F 7 H : 
 
 AvaraurriK . . V, om. F (the word stands at the beginning of the following scholium 
 in V) 8 Adscript to 734 ff. in V 9 Ed. : t<ft 10 H : tirticee 
 
 11 Ed. : avairaiffTiK . . 12 T : rerpa/j, . . /caraXij . . 13 Adscript to 
 
 scholium on 765 in F 14 S fj.ovcra in V, adscript to scholium on 775 in F 
 
 15 StTrXTj V : 5ur\T) 5^ F 16 D : tvveaKaiSeKo. icdXtav " T : l%owa 18 3>v 
 
 ri> . . . iO' lan^tKbv dlfierpov Kara\riKTiK6v V : om. F 19 T : TrpoffoSwri ^ D : 
 
 21 Z : rb y l6v<t>6.\iKov Kal rb S' 6/J.oiov ** D : lOvfdXiKOv T : 
 
 O-niufJiepl* D : lafi^arXeyov ** D : truXX . . D : K * Bergk : 
 
 yiv . . fyK(i}/juo\oyiKi>v els dnrev6ri/j.i.fj.epts w t' D : IT* * D : Keic6\\iffTa.i
 
 PAX METRICAL SCHOLIA 417 
 
 so e<f>6i)fj,ip,epri<s, crvvijTrrai, Be Svvarat, Be "fro Trpatrov 
 /j,TaT0f)vai 31 K rfjs e?7? o~v\\a(3r)<?, ra Be \onra 
 
 vai.^ TO ty BaKTV\i/cbv 32 TrevBrj^ifiepe^ TO tS' ai/a- 
 TTCUO-TIKOV Tp'nrovv ' TO TTevTCKaiBeKaTOv BaKTV\iKov rerpdirovv 
 64? rpt(Tv\\a^iav, TO r 5e 1 *&""' St7r\oOi/ et? Bi<rv\\a(3i,av TO 
 
 TTpa7rovv TO irj 
 TO t#' 33 lafifiitcbv BipcTpov KaraXijicTiKov. VF See 497, 503 ff. 
 
 The meaning of the obelized words in the note on 785 ff. is not 
 obvious. The text is probably corrupt. 
 
 81955 ws x a ^ ir 1 ' : Kopwv'is, 2 trpotao'L yap ot v 
 8 Kal 01 Trpwroi 4 cni^oi 5 la/J,/3ucol 
 
 7 x^'. vr 
 
 85667 euSat/xoviKws : Bt,7T\r), eTrerai yap /i\O5 
 rov %o/ooi) /cat TOU vTTOKpirov, ov cart l TrpGyra ev 2 
 K(o\a y' rov ^opov, S)v TO Trpwrov /cal TO yS' 3 iwvuca airo 
 e(f>0'r}fji>ifiepr) <rvwrj/j,/j,eva, TO Be y' 4 ICOVIKOV Kal avTo 
 ' ' TO> viroicpiTov 6 Q-TI^O? 
 
 8 Tot? 
 
 > /I ' T'T ^10^-v ></ /% 
 
 acruecreL 'yap ecrTi" TOU %opov K(o\a y o/j,oia Tot? 
 
 aTa\tjKTiicb^ BevTepos ev 
 evai <TTpo(f>r) Kal avTi<rTpo<f)os, 
 
 M <<>n 12' 7>v r '-\ x~' f \ ' \ ^ x~'T 6 
 
 o 6^75 67Tft)oo5 ' K(i)\cav b , wy TO a /cat TO fa ' 
 
 TTpdfjt,TpOl, KaTa\1]KTiKoi, r T Se 
 
 el<rde<rei iapftiKa BipeTpa, dKaTaXrjKTa y' Kal ev 
 
 V See 580. 
 92238 J aye STJ TI kui' : StTrX^ 
 
 V 
 9 3 95 5 <>s irdfd' oar' &K 6e6s 9e'\oi : 
 
 30 D : tyOyfuufpts 31 D : ^/CTTJI/ ef^j a-vXX 32 H : 4<f>6i}fufits w Z : 
 
 et's ia/uL^iKOv 
 
 819-55 x T : adscript to 819 ff. in V 2 T : . . far V 8 T, reading /cat 
 
 ol (/jv) irpurroi. : /col rt Kal TOI irpura V, /fal ra a-pwra T 4 B : om. "VT " B : 
 
 laH^iK . . V, iaytt/3t/ca F 8 T : rpt^t . . a/caroXj; . . V, rpi/Merpa a.Ka.ra.\ijKra. F 
 
 ' H: XT' 
 
 856-67 x B : ttpCrrov 2 T : <?/>cW(r 3 T : tw<tK . . 4 Z : fcwi<c . . S' 
 
 5 Ed. : 8' : (here S fTjXwrdi iu 860) K in V, which continues TOU vironpiT . . 
 <rrix rtrpan . . 6,uoios TO Avw ravra Stivarai elvai ffrpoipi] Kal dvTl<rrpo<f>os ' ra. S 
 f|^s eij firuSov eifft dt rov \P ffrl -XX. 8/*oio (sic) rots av<a tapfltK . . rerpa/i . . 
 Kara\ri . . 81)0 Se tv eicOiffei ffnxx tap-floi rerpd/A . . KaraXi; . . Confusion of terms 
 resulted from the transposition of the words ravra Stvarai . . . tirySov and from 
 omissions 8 T 7 Z 8 Ed. : 0/xotos 9 kv daQtaei. T : eun W 10 B : 
 
 ffrt XX ll Ed. : fafifliK . . rerpa/j. . . /caraXi; . . Si/o Se 12 Ed. : et'j ftrudov 
 
 13 H: raM|3oi 
 
 922-38 J Adscript to 922 ff. in V 2 Ed. : l/c0e<ns 
 
 2 E
 
 418 THE VERSE OF GREEK COMEDY PAX 
 
 TO dvTL<rTpo<f>ov ev Bt,%eia, l <j>eperai Be o>9 
 Btd<f>opov, Bioirep Trporepov irapaOrjaofiaL o>9 <peperai. Kal 
 eoiKev evravOa (939) TO " KaropBoi" Trepirreveiv Kal 6 "re" 
 avvBecTfjios Trpbs TO (1023) " ere roc 6vpa<n %pr) peveiv ovr . . 
 nvds," ical rovro Be d^dprtj^d ecrrw, cm irpwra 7' /eoVXa ecrrt 
 xal 2 fiera r ravra^ <rri%o<i aXXo9 r rer paper po<^. ravra pev 
 *ovv^ eareov, (09 Be e%ei e^yrjreov. TO roivvv jrp&rov 3 rwv 
 rpiwv Kca\(0v rov 4 %o/jo0 layu-/3o? rerpdfAerpos Kara\r)KTi,K6s, Kal 
 (ev elffdeo'ei) 5 dvaTraicmKa 8vo Sifierpa, dKard\r)Kr6v re Kal 
 Kara\tjKrt,K6v. (942 947 ) elra ev eKOevei 8 o^Tt^o? ta/i/3t/<co9 
 TT/Da/xeT/309 Kara\ijKTiKb<> rov VTTOKpirov, Kal ev el<r0e<rei <rb> 
 rov %opov, ov TO Trpwrov TrpotfoSiaKov ev8eKdcrr)fj,ov' TO y3' 
 9 dvaTraiariKr) rpiTroSta' TO Be j laftftiKov e(f)0i)[JMfJi,epes, TO Be 
 
 a > 10 /i '/a v *' v ll' ve>\/ 
 
 <rvvyov iafj,piKOV rj avairat,crriKov rpnrovv, TO oe e 
 
 iafju/SiKov e<f>6'r)f.iifji,pe<;. (9489 12 ) elra ev K6ecrei rov vTTOKptrov 
 13 8to-Tt^o9 m/Lt/3o9 rerpdfjLerpos Kara\r)Krt,Ko^. (950 55 14 ) al 
 ev elffdeffei, rov %opov S"' K<i>\a, <av TO a lap/SiKov Bi/jierpov 
 aKardkrjKrov' TO y8' e^ iappiKfjS /3acr&)9 /cat rpo^aiKr)? Kard- 
 K\eiBo<$' TO 7' <at TO B' Kal TO e'> lafj,/3iKov Bi^erpov aKard- 
 TO ff"' laviKov 15 iioXtoi/. V See 583. 
 
 Heliodorus's text read #eAoi re in 939 instead of 6eX,y. He condemns 
 the attempt to reduce this period to a trimeter by rejecting KaropOoi, 
 in order to make it equivalent to the corresponding period in the 
 antistrophe (1023). His reading of that line is unfortunately now 
 indeterminable. His argument for keeping 939 a tetrameter is 
 apparently its correspondence with the tetrameter in 942, but the 
 text of the metrical scholium on 942 at this point is uncertain. 
 
 Note the application of the phrase o~6vyov rpiirow to the words 
 vvv yap 8aifjL(av <f>a.vepus (three simple feet) and see Schol. Ach. 284 and 
 note. 
 
 95673 x aye 8f) TO KO.VOUV : yS' Bi7r\at Kal ev cKea-et, <rr-%oi 
 ol rpifierpot dKard\r)KTOi, i'. V 
 
 On this use of two SwrAcu, see 851. But there are in fact eighteen 
 
 939-65 J Schneider : fepovri 2 Ed. : per S~' &\\ (a blurred letter or letters 
 
 at end of 4XX) 3 r&v D : om. V 4 D : viro/cpir . . tapfioi rerpiifj. . , 
 
 Kara\t) . . 5 D : dvairaiffriKol 6 D : Kara\t)KTiK6v re Kal d/cardXi; . . 
 
 7 etpaffi Kal 5i} in 942 as lemma in V 8 D : crnxx ^M/3'f rerpa^ . . 
 
 Ka.Ta\i} . . 9 D : avairaurTiK . . rpiiroS . . 10 D : <ruf . . V u Z 
 
 doubtfully : om. V 12 Prescript to 948 f. in V 1S H : dltrrix . . ta^u 
 
 (variant Sl/Merpoi) Kara\ij . . V 14 S oiiKovv in 950 in V 16 D : 
 
 i> V 
 956-73 a Adscript to 956 f. in V
 
 PAX METRICAL SCHOLIA 419 
 
 trimeters here, and in general the doctrine of the equivalence of 
 groups of trimeters is very doubtful. 
 
 9741015 w <TfiKOT(Trj pcwriXeia : Bt7T\rj ical eivdeais ei9 
 1 avaTraL<rra)v TrepioBovs Bvo, rrjv /u-ei/ 2 irevreKairptaKovrdfjierpov 
 10' K(o\Q>v, or t, e^ei fjiovofierpa y', TO re ft' Kal ia /cal i"', 
 3 rrjv Be ei;Katre<T(TapaKovrd/Aerpov Ky' Koi>\cav* V 
 
 101622 l raoT* w iroXiTifiTj-r' : Bnr\fj /cal e/c#e<rt5 eh Id/jiftovs 
 rpifterpovs dicaTa\iJKTOvs '. V 
 
 103962 l raurl Se'Sparai : Bi7T\r) Kal e'/c#e<rt9 et9 idfiftovs 
 TpifJ,erpovs aKa,Ta\r)KTOv<s /c8'. V 
 
 1104 OTTOI'ST] OTTOK8r|) * V 6tV^(Tet KO)\dpl,OV BvO aTTOvBeitDV. F 
 
 110514 lyxei STJ icdfioi : fcal ev eK0(ret, l eTTiicol a\\ot, i. V 
 1127 90 TJSofAcu Y' ^Sojiai : Kopwvis l e^eXdovrwv <yap> 
 rwv vTTOKpir&v o %opo? /u,oi/o9 /caraXtTTel? Siairepaiverai <rv- 
 vyt,av <TTipp i r)fJ>aTiKT}v Kara i rrepi,KO'jrr)V> 2 dvofAOiofAepfj rpiaBiKrjv 
 ov TTVKVWS yevofjuevijv, al 3 yap 4 TrXeterTat 7nppr)fjLan,Kal 
 SvaSueaL el&iv, 5 auri; 8e e^et /j,e\ifcr)v (JLV 6 TrpwTrjv (irepioBov^ 
 ty K(a\cov, cm^iKrjv Be iS~' a-Tfywv, w yLtaXttrra <j>i\r)Bei 
 'ApHTTotyavr)*;, Kal v&repav rpiKa)\ov. <Kal (112739 = 
 115971) T^? fj*v i rrpa>T'r)<i> 8 TO a' TratcoviKov BlppvOpov, TO 
 /S' /cal 7' (/cat) S' e t'a/i.ySt/c?79 ftdaecos Kal Tpo%a'iKij<; 9 Kard- 
 /c\ei8o9, TO e' /cat 5"' 10 rpippvOfia, ai /cat 12 BippvO/Mi rj' ff. 
 ev fiev TV} ft' TrepiKo-rry e<m r To e' /cal TO 5"' 1 iraiwviKov 
 rpippvBfAov re Kal 13 BlppvOfiov, Bvo Be ^rpippv6fjba^ ev ry 
 <rrpo<f>f} TO i ta' ift 1 iy rpo%aiKa Bifterpa, Bvo fj,ev aKard- 
 \rjKra, Bvo Be Kara\r)KriKd. V (114055 = 117287) * * * 
 (11568 = 118890) 14 avrrj e<rrlv 17 Tpt/ca)Xo9 /cal 15 auT^ 
 rpo^atKi], a\Xa Btfierpcav, Bvo fiev dKara\ijKr(ov, evb$ Be 
 Kara\tjKriKov. V See 454. 
 
 11911269 l lod tod : 2 Kopwvfc, elcriaa-i 3 yap ol 
 
 974-1016 J T : dvdiraiffTov ' irtpioSoi 2 D : e' Kal X' /A^rpwp * D : ri 
 
 5^ 5~' xal Tf<rffa.paKOvr&fJiTpov y' Kal 4 V adds Srt ?x el (*oi>6/j.(Tpa rpta, which H 
 
 rejects 
 
 1016-22 J Adscript to 1016 and interlinear in V 
 
 1039-62 1 Adscript to 1039 in V 
 
 1104 l irapfiriypa^ ^ prefixed in T 
 
 1105-14 J T : tveiK 
 
 1127-90 1 T : dffeXOtvrw 2 T : buoiofiepi) 3 Z : om. V 4 T : 
 
 irXencral 5 D : am 6 D : irpdrri} 7 T : forepos rplicuXos s dXXi 
 
 xpdj TrOp Sif\Kwv (1131) as lemma in V 9 H: *XeiSdj 10 T : rptp^/xoj 
 
 11 Ed. : 5* ai 12 T : dlpve/j.ov 13 Ed. : Sipi/^o " By error, S vo\\a 
 
 in 1188 in V 15 T : ofrnj 
 
 1191-1269 l S first ioi> in V, adscript to 1191 ff. in F 2 V : om. T : V 3 ol 
 Kal IffTi r
 
 420 THE VERSE OF GREEK COMEDY PAX 
 
 TO " lov toy," 4 er/9 5 Be 
 iapftiKol rpifierpoi 6 afcard\r)Kroi, (or;'). VF 
 12845 x etcf ; &K.6pecrQev : elra e^ 2 eicrOecrei arfyoi lap-ftiKol 
 rpifjierpoi aKaTa^rj/crot 3 /3'. VF 
 
 128 67 * Owpiqaoir' ap* : etr' eV eK0eaei eiriKol ft'. V 
 128890 Kdicior' diroXoto) : elr ev l elcrdecrei ffri^oi la/j,(3iKol 
 rpl/J,Tpoi afcard\r)KTOi j'. V 
 
 12913 l alpoi : elra TTOVS (nrovbelos KOI ev 
 
 l /3'. V 
 12947 l aireppe Kal TOIS : al arri^OL la^ftiKol 
 
 S'. V 
 12981301 1 d<nri8i fiey laiuc : 2 'A^tXo^ov eo"Tt TO 
 
 3 
 
 130 51 * ofiwi' r6 Xoiiroi' : ^/copa)i//9, e^iovTWV TWV VTroicpi- 
 ^, Kal a-rl^oi iafj,f3iKol reTpd^erpot Kara\f]KTiKol ft' (1307), 
 
 ta/i/3o9 Bifierpo^ d/caraX7;/cT09. V (130810) * * * 
 See 87. 
 
 131628 l eu^TjfAeiK XPT : tcopwvfa, eiffiacri, yap ol viro- 
 i, Kal (131619) el<nv ol Trpwroi ev eVe/c^ecret a-ri^ot 
 8'. V (1320 8 2 ) Bt,7r\rj Kal ev & eicrOecrei 
 
 TO e.' V 
 Trygaeus recites verses 1316-28. 
 
 132955 Seup' w yucai : StTrX?} Kal 2 ev 
 3 fjiovoa-Tpo<piKr) TrepioBwv TrevraKtoKwv IWVLKWV Stfjuerpfav, Bvo 
 rpi&v $e ftpa^yKara\r)Kra)V. (13335 5 ) elra 
 ev e7ret,<r0ea-ei rov %o/ooO TO lo~ov. (13369 6 ) ev TOVTOLS 
 <j>epovrat Kara riva<$ Trapdypa^ot, tva 6 ^0/309 dva pepo? avra 
 
 * V : e?)s . . . a/eardXij/croi om. F B D : 5mxx 6 D 
 
 1284-5 l S etev in V, adscript to scholium on 1283 in T 2 T : <?K0<?<m V 
 
 8 V : tj 8' 
 
 1286-7 J S Bup-fiffovr in V 
 
 1288-90 1 T : 0e . . 
 
 1291-3 J Prefixed to 1291 in V 2 T : el<r8e . . 
 
 1294-7 1 S &veppe in V 
 
 1298-1301 J T : S dcriKSt V 2 'A/oxtXixoi' (D : 'Apx^xo$ V) ^ri r6 
 
 V : (cai tXeyfiov 'Apx'^^xov F 3 xai ff-riyoi diriKol |3' F : om. V 
 
 1305-10 l Adscript to 1305 f. in V 2 Adscript to 1307 in V 
 
 1316-28 x S Ko^friv in V 2 Adscript to 1320 ff. in V 3 T : 
 
 4 On 1324 also V has ToCr6 fart rb fj.ov6fj.frpov r6 e' 
 
 1329-55 1 Adscript to 1329 ff. in V 2 T : <!iri rA 3 Ed. : MO-O- 
 
 <rrpo(f>iK . . irfploSos 4 D : ftpaxeuv KaraX^KTuv 5 Adscript to 1333 f. in V, 
 
 and beginning elr' iv (sic) 6 Prescript to 1334-6 in V 7 T :
 
 PAX METEICAL SCHOLIA 421 
 
 \eyrj, 8 ev THTIV ^Se 1 ov (freperat, r ra K&iXa 1 Sta ra fierpa. 
 (13403 = 13447 9 ) ical Trd\w ra e' rov avrov /Merpov TOV 
 
 10 %opov. (1348 55 n ) evrevOev ev rot? avTi<ypd<f>oi,<$ ov <f)eperat 
 
 12 ra TrevTcucafKa aico\ov8co<;, to? r Se n (f>eperai /cat evravffa eanv. 
 
 13 u<^>' a fcopwvls <f)> rov 8/9a/iaro9. V See 584. 
 
 8 Adscript to 1335 f. in V 9 Prescript to 1340 ff. in V 10 D : nbpov 
 
 11 By error, S okijo-ere in 1334 in V 12 T& T : otf 13 Adscript to 1355 
 in V
 
 TABLE OF STRUCTURE AND RHYTHMS 
 
 SEE the following sections on the main divisions of the plays : 
 
 Prologue 666, 684, 667, 687; Parode 665, 674-6, 667, 687; 
 
 Scene 666, 679-81, 667, 687; Syzygy 666, 677 f., 667, 687; Debate 
 
 665, 670-3, 667, 687 ; Parabasis 665, 668 f., 667, 687 ; Episode 666, 
 
 682 f., 667, 687 ; Stasimon 666, 682, 667, 687 ; Exode 666, 685 f., 
 
 667, 687. 
 
 See the following sections on non-melic rhythms in Aristophanes : 
 Trimeter 95-143, 186 f. ; Tetrameter: Iambic 167-83, 186-9; 
 
 Trochaic 244-55, 259, 226; Anapaestic 305-20; Eupolidean 528 f. ; 
 
 Hypermeter: Iambic 190-6, 710, 712; Trochaic 267-9, 710, 713; 
 
 Anapaestic 321-31, 710 f. ; Dactylic Hexameter 356-66. 
 See the following sections on the use of o-rj^eta : 
 Trapdypafos air\f} 846 f., 855 f. ; Trapaypcu^os SnrXrj 84654 ; 
 
 Kopwvis 857 f. 
 
 ACHARNIANS 
 
 Prologue: 1-203 
 
 1_42, 44-60, 62-122, 124-203: trimeters (200). 
 43, 123 : iambic penthemimers. 
 61 : prose. 
 
 Parode I. : 204-41 
 
 204-18 = 219-33 
 
 234-7 ~ 238-41 
 
 204-18 = 219-33: monostrophic dyad in trochaic and paeonic 
 rhythm. See 449. 
 
 234-6, 238-40 : recitative trochaic tetrameters. 
 237, 241 : prose formula. 
 
 Scene I. : 242-79 
 
 242-62 ; 263-79 
 422
 
 ACH. TABLE OF STRUCTURE AND RHYTHMS 423 
 
 242-62 : trimeters (21). 
 
 263-79 : non-antistrophic period in iambic rhythm. See 90. 
 
 Parade II. : 280-346 
 
 280-3 
 
 284-302 = 335-46 
 303-4 
 
 305-34 
 
 280-3 : non-antistrophic period in paeonic-trochaic rhythm, con- 
 stituting the proode of a triad. See 234. 
 
 284-302 = 335-46 : dyad of the triad, in paeonic rhythm varied 
 by periods in trochaic and anapaestic rhythm. See 452. 
 
 303-34 : recitative trochaic tetrameters. 
 
 Syzygy L : 347-92 
 
 347-57 ~ 366-84 
 358-65 = 385-92 
 
 347-57, 366-84 : trimeters (30). 
 
 358-65 = 385-92 : monostrophic dyad in dochmiac and iambic 
 rhythm. See 467. 
 
 Scene II. : 393-488 
 
 393-488 
 
 393-403, 405-6, 408-56 a , 457-88 : trimeters (94). 
 404 : iambic dimeter. 
 407 : iambic monometer. 
 456 b : anaphonema. 
 
 Syzygy II. : 489-625 
 
 4^9-96 = 566-71 
 497-565 ~/572-625 
 
 489-96 = 566-71: monostrophic dyad in dochmiac and iambic 
 rhythm. See 468. 
 
 497-565, 572-77% 577 b -625 : trimeters (124),
 
 424 THE VERSE OF GREEK COMEDY ACH. 
 
 Parabasis: 626-718 
 
 626-7 
 628-58 
 659-64 
 
 f 665-75 = 692-702 
 \676-91 (16) = 703-18 (16) 
 
 626-7 : non-art tistrophic period in anapaestic rhythm. See 296. 
 628-58 : recitative anapaestic tetrameters. 
 659-64 : recitative anapaestic hypermeter. 
 
 665-75 = 692-702 : monostrophic dyad in paeonic rhythm. 
 See 453. 
 
 676-91, 70318 : recitative trochaic tetrameters. 
 
 Episode!.: 719-835 
 
 719-835 
 
 719-34, 736-79, 781-835 : trimeters (115). 
 735, 780 : prose. 
 
 Stasimm I. : 836-59 
 
 836-41 = 842-7 = 848-53 = 854-9 
 836-59 : monostrophic tetrad in Aeolic rhythm. See 582. 
 
 Episode II: 860-970 
 
 860-928 
 929-39 = 940-51 
 
 952-70 
 
 860-928, 952-70 : trimeters (88). 
 
 929-39 = 940-51 : monostrophic dyad in iambic rhythm. See 86. 
 
 Stasimon II. : 971-99 
 
 *rS 
 
 f 971-75 = 986-89 
 
 1976-85 = 990-99
 
 BQ. TABLE OF STRUCTURE AND RHYTHMS 425 
 
 971-75 = 986-89 : first pair of strophes in a pericope, in paeonic 
 rhythm. See 456. 
 
 976-85 = 990-99 : second pair of strophes in the pericope, in 
 paeonic rhythm with trochaic close. See 456. 
 
 Syzygy III. : 1000-68 
 
 10<X)-1007 
 1008-17 = 1037-46 
 
 1018-36-1047-68 
 
 1000-7, 1018-36, 1047-68: trimeters (49). 
 1008-17 = 1037-46: monostrophic dyad in iambic rhythm. 
 See 83. 
 
 Episode III: 1069-1142 
 
 1069-82 a , 1083-1142: trimeters (74). 
 1082 b : anaphonema. 
 
 Stasimon III. : 1143-73 
 
 U43-9 
 
 n50-61 = 1162-73 
 
 1143-9 : non-antistrophic systematic period in anapaestic rhythm, 
 constituting the proode of a triad. See 299. 
 
 1 1 50-6 1 = 1162-73: dyad of the triad, in Aeolic rhythm. See 565. 
 
 Exode: 1174-1234 
 
 U74-89; 1190-1234 
 5 
 
 1174-89 : trimeters (16). 
 
 1190-1234: pseudo- monody in iambic rhythm, with slight 
 dochmiac variation. See 599. 
 
 EQUITES 
 Prologue: 1-241 
 
 1-196 ; 197-201 ; 202-241 
 
 1-196, 202-41 : trimeters (236). 
 197-201 : dactylic hexameters.
 
 426 THE VEESE OF GREEK COMEDY EQ. 
 
 Parade: 242-302 
 242-6; 2 5 47-83; 2^4-302 
 
 242-83 : recitative trochaic tetrameters. 
 284-302 : recitative trochaic hypermeter. 
 
 Debate L : 303-460 
 
 303-13 = 382-90 
 
 314-21-391-6 
 
 322-32 =T9T-406 
 
 333-4 ~ 407-8 
 
 335-66 (32) -409-40 (32) 
 367-81-441-56 
 
 457-60 
 
 303-13 = 382-90 : first pair of strophes in a pericope, in paeonic 
 and trochaic rhythm. See 450. 
 
 314-21, 391-6 : recitative trochaic tetrameters. 
 
 322-32 = 397-406 : second pair of strophes in the pericope, in 
 paeonic and trochaic rhythm, varied by periods in dactylic and Aeolic 
 rhythm. See 451. 
 
 333-4, 407-8, 457-60 : recitative iambic tetrameters. 
 
 335-66, 409-40 : melodramatic iambic tetrameters. 
 
 367-81, 441-56 : melodramatic iambic hypermeters. 
 
 Scene I. : 461-97 
 
 461-97 
 461-97 : iambic trimeters (37). 
 
 Parabasis L : 498-610 
 ^3 
 498-506 
 
 507-46 
 
 547-50 
 
 ( 551-64 = 581-94 
 \565-80 (16) = 595-610 (16)
 
 BQ. TABLE OF STRUCTURE AND RHYTHMS 427 
 
 498-506 : non-antistrophic period in anapaestic rhythm. See 294. 
 
 507-46 : recitative anapaestic tetrameters. 
 
 547-50 : recitative anapaestic period. See 710 f. 
 
 551-64 = 581-94 : monostrophic dyad in Aeolic rhythm. See 553. 
 
 56580, 595-610: recitative trochaic tetrameters. 
 
 Syzygy : 611-755 
 
 611-15 
 616-23 = 683-90 
 
 62~4-82 ~ 691-755 
 
 611-15, 624-82, 691-755: trimeters (129). 
 616-23 = 683-90 : monostrophic dyad in paeonic-trochaic rhythm, 
 with trochaic close. See 231. 
 
 Debate II. : 756-942 
 
 756-60 = 836-40 
 761-2-841-2 
 
 763-823 (61) -843-910 (68) 
 
 824-35-911-40 
 
 941-2 
 
 756-60 = 83640 : monostrophic dyad in iambic rhythm. See 91. 
 
 761-823 : recitative anapaestic tetrameters. 
 
 824-35 : recitative anapaestic hypermeter. 
 
 841-2 : recitative iambic tetrameters. 
 
 843-910: melodramatic iambic tetrameters. 
 
 911-40 : melodramatic iambic hypermeter. 
 
 941-2 : prose. 
 
 Episode I. : 943-72 
 
 943-72 
 943-72 : trimeters (30). 
 
 StasimmL: 973-996 
 
 <m-6 = 977-80 = 981-4 = 985-8 = 989-92 = 993-6 
 973-96 : monostrophic hexad in Aeolic rhythm. See 544.
 
 428 THE VERSE OF GREEK COMEDY EQ. 
 
 Episode IL: 997-1110 
 
 997-1014 ; 7oi5-20 ; 1021-9; To30-4 ; 7o35-6 ; 1037-40 ; To41-50; 
 K)51-60; 1061-6; 1067-9; 1070-9 ; To80-95 ; 1096-1110 
 
 997-1014, 1021-29, 1035-6, 1041-50, 1061-6, 1070-77 a , 
 1078-9, 1097-1110: trimeters (69). 
 
 1015-20, 1030-4, 1037-40, 1051-60, 1067-9, 1080-95 : dactylic 
 hexameters. 
 
 1077 b , 1096 : anaphonemata. 
 
 Stasimon II. : 1111-50 
 TTll-20 = 1121-30 = 1131-40 = 1141-50 
 1111-50: monostrophic tetrad in Aeolic rhythm. See 571. 
 
 Scene II. : 1151-1263 
 
 U51-1263 
 
 1151-1237* 1238-63: trimeters (113). 
 1237 b : anaphonema. 
 
 Parabasis II. : 1264-1315 
 
 ( ?264-73 = 1290-99 
 11274-89 (16) = 1300-15 (16) 
 
 1264-73 = 1290-99: monostrophic dyad in prosodiac - enoplic 
 rhythm. See 493. 
 
 1274-89, 1300-15 : recitative trochaic tetrameters. 
 
 Exode: 1316-1408 
 
 1316-34; 1335-1408 
 
 5 
 
 1316-34 : recitative anapaestic tetrameters. 
 1335-45 a , 1346-1408: trimeters (74). 
 1345 b : anaphonema. 
 
 NUBES 
 Prologue: 1-262 
 
 1, 40 b , 235 : anaphonemata. 
 
 2-40% 41-221, 223-34, 236-62: trimeters (259). 
 
 222 : iambic monometer.
 
 NUB. TABLE OF STRUCTURE AND RHYTHMS 429 
 
 Parade: 263-475 
 
 263-74-291-7 
 ^75-90 = 298-313 
 JJ14-26; 327-438 
 
 439-56 
 
 457-75 
 
 263-74, 291-7, 314-438: recitative anapaestic tetrameters. 
 
 275-90 = 298-313 : monostrophic dyad in dactylic rhythm, with 
 anapaestic close. See 344. 
 
 439-56 : recitative anapaestic hypermeter. 
 
 457-75 : non-antistrophic period in prosodiac-enoplic rhythm, 
 with simplified logaoedic opening. See 500. 
 
 Scene!.: 476-509 
 
 476-7 ; 478-509 
 
 476-7 : recitative anapaestic tetrameters. 
 478-509 : trimeters (32). 
 
 Parabasis I. : 510-626 
 510-7 
 
 ?18-62 
 
 f563-74 = 595-606 
 \575-94 (20) = 607-26 (20) 
 
 510-7 : non-antistrophic period in Aeolic rhythm, with anapaestic 
 opening. See 561. 
 
 518-62 : Eupolidean tetrameters. 
 
 563-74 = 595-606 : monostrophic dyad in Aeolic rhythm, with 
 simplified logaoedic variation. See 558. 
 
 575-94, 607-26 : recitative trochaic tetrameters. 
 
 Syzygy: 627-813 
 
 627-99-723-803 
 
 700-6 = 804-13 
 
 707-22
 
 430 THE VERSE OF GREEK COMEDY NUB. 
 
 627-99, 723-803 : trimeters (154). 
 
 700-6 = 804-13: monostrophic dyad in Aeolic rhythm, with 
 logaoedic variation. See 562. 
 
 707-22 : non-antistrophic period in anapaestic rhythm, with 
 iambic and bacchiac opening. See 289. 
 
 Episode!.: 814-88 
 
 8U-88 
 814-88 : trimeters (75). 
 
 [Stasimon /.] 
 Introduction to Debate : 889-948 
 
 889-948 
 889-948 : recitative anapaestic hypermeter. See 326. 
 
 Debate!..- 949-1104 
 
 949-58 = 1024-33 
 959-60- 1034-5 
 
 961-1008 (47) ~ 1036-84 (49) + 1085-8 
 
 1009-23- 1089-1104 
 
 949-58 = 1024-33: monostrophic dyad in Aeolic rhythm. See 
 551. 
 
 959-1008 : recitative anapaestic tetrameters. 
 1009-23 : recitative anapaestic hypermeter. 
 1034-5 : recitative iambic tetrameters. 
 1036-84 : melodramatic iambic tetrameters. 
 1085-8 : trimeters (4). 
 1089-1104: melodramatic iambic hypermeter. 
 
 Scene II. : 1105-12 
 
 U05-12 
 1105-12: trimeters (8). 
 
 Parabasis II. : 1113-30 
 
 1113-4; 1115-30 
 
 111 3-4 : protracted iambic tetrameter. 
 1115-30 : recitative trochaic tetrameters (16).
 
 NUB. TABLE OF STRUCTUEE AND RHYTHMS 431 
 
 Episode II.: 1131-1302 
 
 T- 3 T- -r- -v- T- 
 
 1131-53; 1154-69; 1170-1205; 1206-13; 1214-58; 
 
 T259-9 b ; 1260-1302 
 
 1131-53, 1171-1205, 1214-58, 1260-1302: trimeters (146). 
 1154-69: non-antistrophic period in varying rhythm, iambic, 
 enoplic, anapaestic, dochmiac and trochaic. See 474. 
 1170, 1259, 1259 b : anaphonemata. 
 1206-13 : non-antistrophic period in iambic rhythm. See 92. 
 
 Stasimon II. : 1303-20 
 130^3-10=1311-20 
 
 1303-10=1311-20: monostrophic dyad in Aeolic rhythm. 
 See 581. 
 
 Scene III. : 1321-44 
 
 ?3Yl-44 
 
 1321 : anaphonema. 
 1322-44 : trimeters (23). 
 
 Debate II. : 1345-1451 
 
 f345-50 = 1391-6 
 1351-2-1397-8 
 
 r353-85 (33) -139 9-1 44 5 (46) 
 ?386-90~ 1446-51 
 
 1345-50 = 1391-6: monostrophic dyad in Aeolic rhythm. 
 See 576. 
 
 1351-2, 1397-8 : recitative iambic tetrameters. 
 1353-85, 1399-1445 : melodramatic iambic tetrameters. 
 1386-90, 1446-51 : melodramatic iambic hypermeters. 
 
 Exode: 1452-1510 
 
 U52-1509 ; 1510 
 
 5 
 
 1452-92, 1494-1509: trimeters (57). 
 
 1493 : anaphonema. 
 
 1510 : melic anapaestic tetrameter.
 
 432 THE VERSE OF GREEK COMEDY VESP. 
 
 VESPAE 
 
 Prologue: 1-229 
 1-229 : trimeters (229). 
 
 Parade: 230-533 
 230-47 
 
 248-72 
 
 2T3-80 = 281-9 
 290 
 
 291-302 = 303-16 
 Jm-33 
 
 230-47 : recitative iambic tetrameters. 
 
 248-72 : recitative protracted iambic tetrameters. 
 
 273-80 = 281-9: first dyad in an epodic pentad, in prosodiac- 
 enoplic rhythm, with ionic opening and close. See 499. 
 
 290 : ionic dimeter. See 499 end. 
 
 291-302 = 303-16 : second dyad of the pentad, in ionic rhythm, 
 with iambic close. See 426. 
 
 317-33 : non-antistrophic period in Aeolic and anapaestic rhythm, 
 with bacchiac opening, constituting the epode of the pentad. See 577. 
 
 Syzygy I. : 334-402 
 
 3^4-45 = 365-78 
 346-7-379-80 
 
 348-57 ~ 381-402 
 358-64 
 
 334-45 = 365-78 : monos trophic dyad in trochaic rhythm, with 
 paeonic-trochaic variation. See 238. 
 
 346-57, 379-402 : recitative anapaestic tetrameters. 
 358-64 : recitative anapaestic hypermeter.
 
 VESP. TABLE OF STRUCTURE AND RHYTHMS 433 
 
 Syzygy II. : 403-525 
 
 f 403-1 4 = 461-70 
 [415-29 = 471-87 
 
 430-60-488-525 
 
 403-14 = 461-70 : first pair of strophes in a pericope, in trochaic 
 rhythm, with paeonic-trochaic variation. See 243. 
 
 415-29 = 471-87: second pair of strophes in the pericope, in 
 trochaic rhythm, with ' cretic ' variation. See 243. 
 
 430-60, 488-525 : recitative trochaic tetrameters. 
 
 Debate: 526-759 
 
 526-45 = 631-47 
 
 546-7 - 648-9 
 
 548-620 (72) -650-7 18 (69) 
 
 621-30-719-24 
 
 725-8 
 
 729-35 = 743-9* 
 736-42 - 749 b -59 
 
 526-45 = 631-47 : monostrophic dyad in Aeolic rhythm. See 566. 
 
 546-620, 648-718, 725-8 : recitative anapaestic tetrameters. 
 
 621-30, 719-24, 736-42, 749 c -59 : recitative anapaestic hyper- 
 meters. 
 
 729-35 = 743-9": monostrophic dyad in iambic and dochmiac 
 rhythm. See 469. 
 
 749 b : anaphonema. 
 
 Scene: 760-1008 
 
 760-862 
 
 863-7 
 868-74 = 885-90 
 
 875-78 
 
 2 F
 
 434 THE VERSE OF GREEK COMEDY VESP. 
 
 879-84 
 891-1008 
 
 760-862, 891-902 a , 903-30, 932-1008 : trimeters (220). 
 
 863-7 : non-antistrophic period in anapaestic rhythm, constituting 
 the proode of a triad. See 300. 
 
 868-74 = 885-90 : dyad of the triad, in iambic rhythm, with 
 dochmiac close. See 470. 
 
 875-8 : recitative anapaestic tetrameters. 
 
 879-84 : recitative anapaestic hypermeter. 
 
 902 b , 931 : anaphonemata. 
 
 Parabasis: 1009-1121 
 
 1009-15 
 1016-50 
 1051-9 
 
 ( 1060-70 = 1091-1101 
 J1071-90 (20)= 1102-21 (20) 
 
 1009-15 : non-antistrophic period in anapaestic and trochaic 
 rhythm. See 297. 
 
 1016-50 : recitative anapaestic tetrameters. 
 
 1051-9 : recitative anapaestic hypermeter. 
 
 1060-70 = 1091-1101: monostrophic dyad in trochaic rhythm, 
 with paeonic-trochaic variation. See 235. 
 
 1071-90, 1102-21 : recitative trochaic tetrameters. 
 
 Episode L: 1122-1264 
 
 IT22-1225 ; 1226-7 ; 1228-31 ; 1232-5 ; 1236-7 ; 1238-9 ; 1240 ; 
 1241-2 ; 1^43-4 ; 1*245-8 ; 1249-64 
 
 1122-1225, 1228-31, 1236-7, 1240, 1243-4, 1249-64: trimeters 
 (129). 
 
 1226-7, 1248 : Phalaeceans. See 518 ii., 709. 
 
 1232-5 : catalectic logaoedic trimeters. See 383, 709. 
 
 1238-9 : greater Asclepiadean. See 532, 709. 
 
 1241-2 : primitive major ionic dimeter and trimeter. See 618, 
 709. 
 
 1245-7 : Aeolic trimeters. See 568, 709.
 
 VE8P. TABLE OF STRUCTUEE AND RHYTHMS 436 
 
 Stasimm I. : 1265-91 
 
 [1265-74 = [lacking] 
 1.1275-83 = 1284-91 
 
 1265-74 = [lacking] : first pair of strophes in a pericope, in 
 trochaic rhythm. See 457. 
 
 1275-83 = 1284-91 : second pair of strophes in the pericope, in 
 paeonic rhythm, with trochaic close. See 457. 
 
 Episode II.: 1292-1449 
 
 1298-1886 ; 1326-31 ; T332-4 ; 1335-40 ; 1341-1449 
 
 1292-1325, 1332-4, 1341-1449: trimeters (146). 
 1326-31, 1335-40: non-antistrophic period in iambo- trochaic 
 rhythm. See 371. 
 
 Stasimm II. : 1450-73 
 
 1^50-61 = 1462-73 
 
 1450-61 = 1462-73: monostrophic dyad in Aeolic rhythm. See 
 548. 
 
 Exode: 1474-1537 
 
 1474-81 
 
 ?482-95 
 
 1496-1515 
 
 1516-7 
 ?51 8-22 =1523-7 
 
 1528-37 
 
 5 
 
 1474-81, 1496-1515: trimeters (28). 
 
 1482-95 : recitative anapaestic hypermeter. 
 
 1516-7 : recitative anapaestic tetrameters. 
 
 1518-22 = 1523-7 : dyad of an epodic triad, in prosodiac rhythm. 
 See 494. 
 
 1528-37 : non-antistrophic period in prosodiac rhythm, constitut- 
 ing the epode of the triad. See 494.
 
 436 THE VERSE OF GREEK COMEDY PAX 
 
 PAX 
 
 Prologue: 1-298 
 
 1-81 j ^2-101 ; To2-13 ; U4-23 ; W4-53 ; 154-72 ; 173-298 
 
 1-59, 61-81, 102-13, 124-53, 173-298: trimeters (248). 
 
 60 : anaphonema. 
 
 82-101, 154-72 : recitative anapaestic hypermeters. 
 
 114-23 : non-antistrophic period in dactylic rhythm. See 345. 
 
 ParodeL: 299-345 
 
 2^9-300 ; 301-38 ; 339-45 
 
 299-338 : recitative trochaic tetrameters. 
 339-45 : recitative trochaic hypermeter. 
 
 Syzygy L: 346-427 
 
 346-60 = 385-99 
 ("361-82-400-25 
 [ 383-4-426-7 
 
 346-60 = 385-99 : monostrophic dyad in paeonic-trochaic rhythm, 
 with pure trochaic variation. See 232. 
 361-82, 400-25 : trimeters (48). 
 383-4, 426-7 : recitative trochaic tetrameters. 
 
 Scene L : 428-58 
 
 428-30 ; 431-2 ; 433-4 ; 435-58 
 
 428-30 : recitative trochaic tetrameters. 
 431-2, 435-58 : trimeters (26). 
 433-4 : ritualistic formulae. 
 
 Syzygy IL: 459-519 
 459-72 = 486-99 
 473-85 - 500-19 
 
 459-72; 473-85; 486-99; 500-7; 508-11; 512-9
 
 PAX TABLE OF STRUCTURE AND RHYTHMS 437 
 
 459-72 = 486-99 : monostrophic dyad chiefly in anapaestic 
 rhythm. See 302. 
 
 473-85, 500-7 : trimeters (21). 
 
 508-11 : recitative iambic tetrameters. 
 
 512-9 : non-antistrophic period in iambic rhythm, with anapaestic 
 opening. See 84. 
 
 Scene II. : 520-52 
 
 520-52 
 520-52 : trimeters (33). 
 
 Parode II. : 553-656 
 
 553-70-603-50 
 57~1-81 ~ 651-6 
 
 582-600 
 601-2 
 
 553-70, 601-50 : recitative trochaic tetrameters. 
 571-81, 651-6 : recitative trochaic hypermeters. 
 582-600 : non-antistrophic period in paeonic-trochaic rhythm, 
 with pure trochaic variation. See 233. 
 
 Scene III: 657-728 
 
 657-728 
 
 657-92 a , 693-728 : trimeters (72). 
 692 b : anaphonema. 
 
 Parabasis I. : 729-818 
 729-33 
 7^4-64 
 765-74 
 
 775-96 = 797-818 
 
 729-33 : non-antistrophic period in anapaestic rhythm, with 
 trochaic close. See 295. 
 
 73464 : recitative anapaestic tetrameters. 
 765-74 : recitative anapaestic hypermeter.
 
 438 THE VERSE OF GREEK COMEDY PAX 
 
 775-96 = 797-818: monostrophic dyad in prosodiac - enoplic 
 rhythm, varied by periods in Aeolic, dactylic, and anapaestic rhythm. 
 See 497. 
 
 SyzygyllL: 819-921 
 
 879-55 ~ 868-908 
 856-67 = 909-21 
 
 819-55, 868-896 a , 896 b -908 : trimeters (79). 
 856-67 = 909-21: monostrophic dyad in Aeolic rhythm. See 
 580. 
 
 Syzygy IF. : 922-1038 
 922-38 ~ 956-1022 
 939-55 = 1023-38 
 
 922-38 ; 939-55 ; 956-73 ; 9^4-1015 ; K>16-22 ; 1023-38 
 
 922-38, 956-73, 1016-22 : trimeters (42). 
 
 939-55 = 1023-38 : monostrophic dyad in Aeolic rhythm, with 
 anapaestic variation. See 583. 
 
 974-1015 : recitative anapaestic period. See 710 f. 
 
 Scene IV. : 1039-1126 
 1039-62; 1063-1114; 1115-26 
 
 1039-62, 1115-26: trimeters (36). 
 
 1063-76, 1076 b -1103, 1105-14: dactylic hexameters. 
 
 1104 : ritualistic formula. 
 
 Parabasis II. : 1127-90 
 
 U27-39= 1159-71 
 
 1140-55 (16)= 1172-87 (16) 
 
 1156-8-1188-90 
 
 1127-39 = 1159-71: monostrophic dyad in iambo - trochaic 
 rhythm, with paeonic variation. See 454. 
 
 1140-55, 1172-87: recitative trochaic tetrameters. 
 1156-8, 1188-90 : recitative trochaic periods. See 710, 713.
 
 AVES TABLE OF STRUCTURE AND RHYTHMS 439 
 
 Episode!.: 1191-1304 
 
 H91-1269 ; 1270-83; 1284-5; 1286-7; 1288-90; 1291-3; 
 1294-7 ; 1298-1301 ; lo2-4 
 
 1191, 1291: anaphonemata. 
 
 1192-1269, 1284-5, 1288-90, 1294-7, 1302-4: trimeters (90). 
 1270-83, 1286-7, 1292-3, 1300-1: dactylic hexameters. 
 1298-9 : elegiac distich. See 365. 
 
 Stasimon I. : 1305-15 
 
 1305-10 = 1311-5 
 
 1305-10=1311-5: monostrophic dyad in iambic rhythm. 
 See 87. 
 
 Exode: 1316-55 
 
 1316-9 ; 1320-8 ; 1329-55 
 
 3 
 
 1316-9 : recitative anapaestic tetrameters. 
 
 1320-8 : recitative anapaestic hypermeters. 
 
 1329-55 : monostrophic octad in Aeolic rhythm. See 584. 
 
 AVES 
 Prologue: 1-226 
 
 1-208 ; 209-22 ; 223-6 
 
 1-161, 162-93, 194-208, 223-6: trimeters (212). 
 
 161 b , 193 b : anaphonemata. 
 
 209-22 : non-antistrophic period in anapaestic rhythm. See 285. 
 
 Parade: 227-433 
 
 2^7-62 
 
 2*6~3-6 ; 2T7-93 ; 294-309 ; sTo-2 ; sTs ; 314-6 ; 317-26 
 
 327-35 = 343-51 
 
 336-42
 
 440 THE VEESE OF GREEK COMEDY AVES 
 
 352-86 
 387-99 
 400-33 
 
 227-62 : non-antistrophic systematic period in varying rhythm, 
 dochmiac, iambic, prosodiac-enoplic, trochaic, ionic, paeonic-trochaic, 
 paeonic, Aeolic, dactylic and anapaestic. See 595. 
 
 263-6 : trimeters (4). 
 
 267 : anaphonema. 
 
 268-309, 313, 317-8, 320-6, 336-42, 352-86 : recitative 
 trochaic tetrameters. 
 
 310-2, 314-6: dochmii. See 709. 
 
 319 : four long syllables, perhaps prolonged in rendering to the 
 time of a trochaic tetrameter. 
 
 327-35 = 343-51 : monostrophic dyad in anapaestic and dochmiac 
 rhythm in the strophe, in anapaestic and paeonic rhythm in the 
 antistrophe. See 473. 
 
 387-99 : recitative trochaic hypermeter. 
 
 400-33 : non-antistrophic period in anapaestic, iambic and 
 dochmiac rhythm. See 290. 
 
 Scene /.;.- 434-50 
 
 434-50 
 434-50: trimeters (17). 
 
 Debate: 451-637 
 
 451-9 = 639-47 
 460-1 ~ 548-9 
 
 462-522 (61) -550-610 (61) 
 
 523-38-611-625 
 
 626-7 
 
 628-35 
 636-7 
 
 451-9 = 539-47: monostrophic dyad in simplified logaoedic 
 rhythm. See 409.
 
 AVES TABLE OF STEUCTUEE AND EHYTHMS 441 
 
 460-522, 548-610, 626-7, 636-7: recitative anapaestic tetra- 
 meters. 
 
 523-38, 611-25 : recitative anapaestic hypermeters. 
 
 628-35 : non-antistrophic systematic period in iambo-trochaic 
 rhythm. See 372. 
 
 Scene II. : 638-75 
 
 61J8-57 ; 658-60 ; 661-75 
 
 638-57, 661-75 : trimeters (35). 
 658-60 : recitative anapaestic tetrameters. 
 
 Parabasis L : 676-800 
 eVe-84 
 
 685-722 
 723-36 
 
 f 737-52 = 769-84 
 (753-68 (16) = 785-800 (16) 
 
 676-84: non-antistrophic systematic period in Aeolic rhythm. 
 See 546. 
 
 685-722 : recitative anapaestic tetrameters. 
 
 723-36 : recitative anapaestic hypermeters. 
 
 737-52 = 769-84 : monostrophic dyad in simplified logaoedic 
 rhythm. See 410. 
 
 753-68, 785-800 : recitative trochaic tetrameters. 
 
 Syzygy L : 801-902 
 801-50-859-94 
 851-8 = 895-902 
 
 801-50; 851-8; 859-63; 864-7; 868; 869-71; 872; 873-5; 
 876; 877-9; 880; 881-8; 889-94; 895^-902 
 
 801-19* 820-50, 859-63, 868, 872, 876, 880, 889-94: 
 trimeters (65). 
 
 819 b : anaphonema. 
 
 851-8 = 895-902 : monostrophic dyad in iambic rhythm. See 93. 
 
 864-7, 869-71, 873-5, 877-9, 881-8 : prose.
 
 442 THE VERSE OF GREEK COMEDY AVES 
 
 Scene III. : 903-1057 
 
 903; 904-6; 907; 908-10; ?ll-2 ; ^3-4 ; 915-23; 924-30; 
 931-5 ; 936-9 ; 940 ; 941-5 ; 946-9 ; 9To-3 ; 954-66 ; 967-8 ; 
 969-70 ; 9Tl-3 ; 97~4 ; 97~5 ; 97^6 ; 977-9 ; 980-2 ; 983-5 ; 986 ; 
 987-8 ; 989-1034 ; 1035-6 ; 1037-9 ; 1040-2 ; 1043-5 ; 1046-7 ; 
 1048 ; 1049-50 ; 1051-7 
 
 903, 907, 911-2, 915-23, 931-5, 940, 946-9, 954-66, 969-70, 
 974, 976, 980-2, 986, 989-1034, 1037-9, 1043-5, 1048, 1051-7 : 
 trimeters (104). 
 
 904-6, 908-10, 913-4, 924-30, 936-9, 941-5, 950-3 : Song of 
 the Poet, in Aeolic and simplified logaoedic rhythm. See 585. 
 
 967-8, 971-3, 975, 977-9, 983-5, 987-8: dactylic hexameters. 
 
 1035-6, 1040-2, 1046-7, 1049-50 : prose. 
 
 Parabasis II. : 1058-1 117 
 
 ( 1058-7-1 = 1088-1101 
 \1072-87 (16)= 1102-17 (16) 
 
 1058-71 = 1088-1101: monostrophic dyad in anapaestic and 
 paeonic rhythm. See 455. 
 
 1072-87, 1102-17 : recitative trochaic tetrameters. 
 
 SyzygylL: 1118-1268 
 
 U 1 8-87 ~U 96-1 261 
 
 lT88-95 = 1262-8 
 
 1118-87, 1196 (defective)-! 261: trimeters (136). 
 1188-95 = 1262-8: monostrophic dyad in dochmiac rhythm. 
 See 465. 
 
 Episode I. : 1269-1312 
 
 1269-1312 
 1269-1312: trimeters (44).
 
 AVKS TABLE OF STRUCTURE AND RHYTHMS 443 
 
 Stasimon I. : 1313-34 
 
 1313-22 = 1325-34 
 1323-4 
 
 1313-22 = 1325-34: dyad of a mesodic triad, in simplified 
 logaoedic rhythm. See 406. 
 
 1323-4: non-antistrophic iambic tetrameter as mesode of the 
 triad. See 406. 
 
 Episode II. : 1335-1469 
 
 1335-6; 133*7-9; 1340-71; 1372-4; 1375; 1376-7; ^78-9; 1380-1; 
 1382-92 ; 1393-6 ; 1397 ; 1398-1400 ; 1401-9 ; U10-2 ; 
 
 1413-4; U15 ; 1416-69 
 
 1335-6, 1340-1* 1342, 1344-71, 1375, 1378-9, 1382-92, 
 1397, 1401-9, 1413-4, 1416-69: trimeters (113). 
 
 1337-9 : prosodiac octameter. See 496, 709. 
 
 1341 b , 139 5 a : anaphonemata. 
 
 1372-4, 1376-7, 1380-1, 1393-4; 1395 b -6, 1398-1400: Song 
 of Cinesias, in bastard Aeolic rhythm. See 569. 
 
 1410-1 : greater Asclepiadean. See 532, 709. 
 
 1412, 1415: Phalaeceans. See 518 ii., 709. 
 
 Stasimon II. : 1470-93 
 
 1470-81 = 1482-93 
 
 1470-81 = 1482-93 : monostrophic dyad in trochaic rhythm. 
 See 215. 
 
 SyzygyllL: 1494-1705 
 1494-1552-1565-1693 
 
 1553-64 = 1694-1705 
 
 T-5 T- 5 -v- 5 -v- -r- ^r-^-5 
 1494-1552; 1553-64; 1565-1660; 1661-6; 1667-93; 1694-1705 
 
 1494-1509, 1511-52, 1565-1660, 1667-93: trimeters (181). 
 1510 : anaphonema. 
 
 1553-64=1694-1705: monostrophic dyad in trochaic rhythm. 
 See 216. 
 
 1661-6: prose.
 
 444 THE VERSE OF GREEK COMEDY AVES 
 
 Exode: 1706-65 
 
 1720-25 
 H26-30 
 -6 = 1737-42 
 r?43-7 
 
 1748-54 
 
 1755-65 
 
 5 
 
 1706-19 : trimeters (14). 
 
 1720-25: non-antistrophic systematic period in iambo- trochaic 
 rhythm, with Aeolic close. See 588. 
 
 1726-30 : non-antistrophic period in anapaestic rhythm. See 588. 
 
 1731-6 = 1737-42: monostrophic dyad in Aeolic rhythm. See 
 588. 
 
 1743-7 : non-antistrophic period in anapaestic rhythm. See 588. 
 
 1748-54 : non-antistrophic period in dactylic rhythm, with Aeolic 
 close. See 588. 
 
 1755-65 : non-antistrophic period in iambic rhythm. See 588. 
 
 LYSISTRATA 
 Prologue: 1-253 
 1-253 : trimeters (253). 
 
 Parode: 254-386 
 
 254-5 
 
 256-65 = 27 1-80 
 
 S266-70 ~ 281-5 
 
 286-95 = 296-305 
 
 306-18 
 
 3T9-20
 
 LTS. TABLE OF STRUCTURE AND RHYTHMS 445 
 
 321-34 = 335-49 
 350-1 
 
 352-81 
 382-6 
 
 254-5, 266-70, 281-5, 306-18, 350-81 : recitative iambic tetra- 
 meters. 
 
 256-65 = 271-80: first monostrophic dyad, in iambic rhythm. 
 See 94. 
 
 286-95 = 296-305 : second monostrophic dyad, in iambo-trochaic 
 rhythm. See 370. 
 
 319-20: Aeolic tetrameters. See 535. 
 
 321-34 = 335-49: third monostrophic dyad, in Aeolic rhythm. 
 See 563. 
 
 382-6 : recitative iambic hypermeter. 
 
 Scene: 387-466 
 
 ^3 
 387-466 
 
 387-466 : trimeters (80). 
 
 Debate: 467-613 
 
 4^57-70 (4) - 471-5 (5) 
 
 476-83 = 541-8 
 484-5 ~ 549-50 
 
 486-531 (46) ~ 551-97 (47) 
 532-8 ~ 598-607 
 
 539-40 
 608-10 (3) -61 1-13 (3) 
 
 467-75, 539-40 : recitative iambic tetrameters. 
 476-83 = 541-8 : monostrophic dyad in iambic and anapaestic 
 rhythm. See 303. 
 
 484-531, 549-97 : recitative anapaestic tetrameters. 
 532-8, 598-607 : recitative anapaestic periods. See 710 f. 
 608-13: trimeters (6).
 
 446 THE VERSE OF GREEK COMEDY LYS. 
 
 Parabasis: 614-705 
 
 f ^514-25 = 636-47 
 J626-35 (10) = 648-57 (10) 
 
 r 658-71 = 682-95 
 
 J672-81 (10) = 696-705 (10) 
 
 614-25 = 636-47: first monostrophic dyad, in iambo- trochaic 
 rhythm, with paeonic-trochaic variation. See 230. 
 
 626-35 = 648-57; 672-81 = 696-705: recitative trochaic tetra- 
 meters. 
 
 658-71 = 682-95 : second monostrophic dyad, in trochaic rhythm, 
 with paeonic-trochaic variation. See 241. 
 
 Episode I. : 706-80 
 
 7^6-9 ; TlO-ll ; 7T2-69 ; 7?0-6 ; 777-80 
 
 706-9, 712-5, 717-69, 777-80: trimeters (65). 
 710-1, 716 : anaphonemata. 
 770-6 : dactylic hexameters. 
 
 Stasimon I. : 781-828 
 
 781-804 = 805-28 
 
 781-804 = 805-28 : monostrophic dyad in paeonic-trochaic rhythm, 
 with trochaic close. See 242. 
 
 Episode II. : 829-1013 
 
 829-953 ; 954-79 ; 980-1013 
 
 829-78, 880-953, 980-1013: trimeters (158). 
 
 879 : anaphonema. 
 
 954-79 : non-antistrophic period in anapaestic rhythm. See 287. 
 
 Stasimon II. : 1014-71 
 
 1014-42 
 1043-57 = 1058-71
 
 THES. TABLE OF STRUCTURE AND RHYTHMS 447 
 
 101435 : recitative paeonic-trochaic tetrameters. See 682. 
 1036-42 : recitative trochaic tetrameters. 
 
 1043-57 = 1058-71 : monostrophic dyad in trochaic rhythm, with 
 paeonic-trochaic variation. See 239. 
 
 Episode III. : 1072-1188 
 
 1072-3; 1074-1107 ; U08-11 ; U12-88 
 
 1072-3, 1108-11 : recitative anapaestic tetrameters. 
 1074-1107, 1112-88: trimeters (111). 
 
 Stasimon III. : 1189-1215 
 
 71 89-1202 = 1203-15 
 
 1189-1202 = 1203-15: monostrophic dyad in trochaic rhythm, 
 with paeonic-trochaic variation. See 240. 
 
 Exode: 1216-1322 
 
 1216-46; 1247-72; 1273-8; 1279-94; 1295-6; 1297-1322 
 
 5 
 
 1216-46, 1273-8, 1295-6 : trimeters (38). 
 
 1247-72 : non-antistrophic period in simplified logaoedic rhythm. 
 See 412. 
 
 1279-94 : non-antistrophic period in simplified logaoedic rhythm. 
 See 408. 
 
 1297-1322 : non-antistrophic period in simplified logaoedic 
 rhythm. See 413. 
 
 THKSMOPHORIAZUSAE 
 Prologue: 1-294 
 
 1-38 ; 39-62 ; 63-100 ; 101-29; 130-294 
 
 1-38, 63-100, 130-294: trimeters (241). 
 39-62 : recitative anapaestic period. See 710 f. 
 101-29 : non-antistrophic period in free ionic rhythm, with 
 dactylic, iambic and Aeolic variation at the close. See 428 f. 
 
 Parode: 295-371 
 295-311 ; 3T2-30; 331-51 ; 352-71
 
 448 THE VERSE OF GREEK COMEDY THES. 
 
 295-311 : prose. 
 
 312-30: non-antistrophic period in simplified logaoedic rhythm, 
 with ionic variation. See 411. 
 
 331-51 : trimeters (21). 
 
 352-71 : non-antistrophic period in Aeolic rhythm, with anapaestic 
 variation. See 560. 
 
 Scene I.: 372-519 
 
 372-80 ; 381-2 ; 383-432 ; 433-42 ; 443-58 ; 459-65 ; 466-519 
 
 372-80, 383-432, 443-58, 466-519 : trimeters (129). 
 
 381-2 : recitative iambic tetrameters. 
 
 433-42 : non-antistrophic period in simplified logaoedic rhythm. 
 See 414. 
 
 459-65 : non-antistrophic period in trochaic rhythm, with paeonic- 
 trochaic variation. See 237. 
 
 Debate: 520-73 
 520-30 ; 531-2 ; 533-73 
 
 520-30 : non-antistrophic period in trochaic rhythm, with 
 anapaestic opening. See 222. 
 
 531-2, 571-3: recitative iambic tetrameters. 
 533-70 : melodramatic iambic tetrameters. 
 
 Scene II. : 574-654 
 
 5^4-654 
 574-654 : trimeters (81). 
 
 Syzygy : 655-764 
 
 655-8 
 
 659-66 
 
 667-86 = 707-25 
 
 687-8 ~ 726-7 
 689-706-728-64 
 
 655-8 ; 659-66 ; 667-86 ; 687-8 ; 689-98 ; 699-701 ; 702-6 ; 
 707-25 ; 726-7 ; 728-64
 
 THES. TABLE OF STRUCTURE AND RHYTHMS 449 
 
 655-8 : recitative anapaestic tetrameters. 
 
 659-66 : non-antistrophic period in trochaic rhythm. See 221. 
 667-86 = 707-25 : monostrophic dyad in anapaestic and dochmiac 
 rhythm, with iambo-trochaic variation. See 472. 
 
 687-8, 702-6, 726-7 : recitative trochaic tetrameters. 
 
 689-98, 728-64 : trimeters (47). 
 
 699 : anaphonema. 
 
 700-1 : dochmii. See 709. 
 
 Scene III. : 765-84 
 
 ?65-75; 776-84 
 
 765-75: trimeters (11). 
 
 776-84 : non-antistrophic period in anapaestic rhythm. See 
 
 Parabasis: 785-845 
 
 785-813; 814-29; 830-45 
 
 785-813 : recitative anapaestic tetrameters. 
 814-29 : recitative anapaestic hypermeter. 
 830-45 : recitative trochaic tetrameters (16). 
 
 Episode I. : 846-946 
 
 846-912; 913-5; 916-46 
 
 846-912, 916-46 : trimeters (98). 
 913-5: dochmii. See 709. 
 
 Stasinum I. : 947-1000 
 
 947-52 
 953-8 
 
 959-61 = 962-5 = 966-8 
 
 969-76 = 977-84 
 
 985-1000 
 
 947-52 : non-antistrophic period in anapaestic rhythm. See 589. 
 953-8 : non-antistrophic period in Aeolic rhythm. See 589. 
 
 2 G
 
 450 THE VERSE OF GREEK COMEDY RAN. 
 
 959-68 : monostrophic triad in trochaic rhythm. See 589. 
 
 969-76 = 977-84: monostrophic dyad in Aeolic rhythm. See 
 589. 
 
 985-1000: non-antistrophic period in Aeolic rhythm, with 
 logaoedic variation. See 589. 
 
 Episode II. : 1001-1135 
 
 1001-14; Tbl5-55; 1056-64; To65-97 ; 1098-1135 
 
 1001-14, 1056-64, 1098-1135: trimeters (61). 
 
 1015-55 : non-antistrophic period in iambo- trochaic rhythm, 
 varied by subordinate periods in Aeolic, enoplic, dactylic and ana- 
 paestic rhythm towards the close. See 374. 
 
 1065-97 : non-antistrophic period in anapaestic rhythm. See 
 288. 
 
 Stasimon II. : 1136-59 
 
 H 36-9 = 1140-2 
 
 U43-7 
 
 H48-54 
 
 U55-9 
 
 1136-9 = 1140-2: monostrophic dyad in logaoedic rhythm. See 
 387. 
 
 1143-7 : non-antistrophic period in logaoedic rhythm, with 
 bacchiac opening. See 387. 
 
 1148-54: non-antistrophic period in simplified logaoedic rhythm. 
 See 387. 
 
 1155-9 : non-antistrophic period in logaoedic rhythm. See 387. 
 
 Exode: 1160-1231 
 
 neO-1226; 1227-31 
 
 3 
 
 1160-1187*, 1187 b -1213, 1214-5, 1216-22, 1223-6: trimeters 
 (68). 
 
 1213 b , 1215 b , 1222 b : anaphonemata. 
 
 1227-31 : non-antistrophic period in anapaestic rhythm. See 291. 
 
 KANAE 
 
 i 
 
 Prologue: 1-315 
 1-208 ; 209-68 ; 269-315
 
 KAN. TABLE OF STRUCTURE AND RHYTHMS 451 
 
 1-14, 16-HO a , 141-207, 269-315: trimeters (253). 
 
 140 b , 208 : anaphonemata. 
 
 209-68 : non-antistrophic period in iambo-trochaic rhythm, varied 
 by two subordinate periods in enoplic and prosodiac rhythm respectively. 
 See 373. 
 
 Parode: 316-459 
 
 318-22 
 323-36 = 340-53 
 
 ^37-9 
 
 354-71 
 3^2-7 = 378-81 
 
 382-3 
 384-8 = 389-93 
 
 394 a -7 
 398-402 = 403-8 = 409-13 
 
 414-5 
 Il6-8 = 419-21 = 422-4 = 425-7 = 428-30 = 431-3 = 434-6 = 437-9 
 
 448-53 = 454-9 
 
 316 = 317: bacchiac dimeters in correspondence as first mono- 
 strophic dyad. See 448. 
 
 318-22, 337-9, 414-5: trimeters (10). 
 
 323-36 = 340-53 : second monostrophic dyad, in ionic rhythm, 
 with bacchiac variation at the beginning. See 427. 
 
 354-71, 382-3: recitative anapaestic tetrameters. 
 
 372-7 = 378-81 : third monostrophic dyad, in anapaestic rhythm. 
 See 301. 
 
 384-8 = 389-93 : fourth monostrophic dyad, in iambic rhythm. 
 See 89. 
 
 394", 440* : anaphonemata. 
 
 394 b -7, 440 b -7 : protracted iambic tetrameters. 
 
 398-413 : monostrophic triad in iambic rhythm. See 82.
 
 452 THE VEKSE OF GKEEK COMEDY RAN. 
 
 416-39 : monostrophic octad in iambic rhythm. See 80. 
 448-53 = 454-9 : fifth monostrophic dyad, in Aeolic rhythm. See 
 579. 
 
 Syzygy : 460-604 
 
 460-533 ~ 549-89 
 534-48 - 590^604 
 
 460-533, 549-89 : trimeters (115). 
 
 534-48 = 590-604 : monostrophic dyad in trochaic rhythm. See 
 217. 
 
 Scene I. : 605-73 
 
 605-73 
 
 605-63, 668-73 : trimeters (65). 
 
 664-7 : probably a disguised trimeter. See 709. 
 
 Parabasis: 674-737 
 
 ^r-5 
 C 674-85 = 706-17 
 
 \686-705 (20) = 718-737 (20) 
 
 674-85 = 706-17: monostrophic dyad in prosodiac - enoplic 
 rhythm, with simplified logaoedic variation. See 498. 
 686-705 = 718-737 : recitative trochaic tetrameters. 
 
 Episode I. : 738-813 
 
 738-813 
 738-813: trimeters (76). 
 
 Stasimon I. : 814-29 
 
 814-7 = 818-21 = 822-5 = 826-9 
 
 814-29 : monostrophic tetrad in dactylic rhythm, with trochaic 
 close. See 346. 
 
 Scene II. : 830-94 
 830-74 ; 875-84 ; 885-94
 
 RAN. TABLE OF STRUCTURE AND RHYTHMS 453 
 
 830-74, 885-94 : trimeters (55). 
 
 875-84 : non-antistrophic period in dactylic rhythm, with trochaic 
 close. See 347. 
 
 Debate: 895-1118 
 
 895-904 = 992-1003 
 
 905-6 - 1004-5 
 907-70 (64) ~ 1006-77 (71) 
 
 971-91 ~ 1078-98 
 1099-1108 = 1109-18 
 
 895-904 = 992-1003: monostrophic dyad in trochaic rhythm, 
 with anapaestic opening. See 214. 
 
 905-6 : recitative iambic tetrameters. 
 
 907-70 : melodramatic iambic tetrameters. 
 
 971-91 : melodramatic iambic hypermeter. 
 
 1004-77 : recitative anapaestic tetrameters. 
 
 1078-98 : recitative anapaestic period. See 710 f. 
 
 1099-1108 = 1109-18: monostrophic dyad in trochaic rhythm, 
 with paeonic-trochaic variation. See 236. 
 
 Episode II.: 1119-1481 
 
 U19-1250; 1251-60; 1261-3; 1264-77; 1278-83; 7284-95 ; 
 
 1296-1308 ; 1309-28 ; Ts29-30 ; Tisi-63 ; 7364-9 ; 
 
 1370-7 ; 1378-1481 
 
 1119-1250, 1261-3, 1278-83, 1296-1308, 1329-30, 1364-9, 
 1378-1431 a , 1431 b -1481 : trimeters (267). 
 
 1251-60 : non-antistrophic period in Aeolic rhythm. See 545. 
 
 1264-77, 1284-95 : two mock lyrics in 'dactylic' rhythm. See 
 351 f. 
 
 1309-28: mock lyric in Aeolic rhythm, with slight logaoedic 
 variation. See 586. 
 
 1331-63: parody of a Euripidean monody in varying rhythm, 
 Aeolic, anapaestic, dochmiac, logaoedic, dactylic, paeonic-trochaic, 
 iambic, bacchiac and paeonic. See 591 f. 
 
 1370-7 : non-antistrophic period in trochaic rhythm. See 218.
 
 454 THE VERSE OF GEEEK COMEDY EC. 
 
 Stasimon II. : 1482-99 
 
 1482-90 = 1491-9 
 
 1482-90=1491-9: monostrophic dyad in trochaic rhythm. 
 See 219. 
 
 Exode: 1500-33 
 
 1500-27; 1528-33 
 
 5 
 
 1500-27 : recitative anapaestic period consisting of three hyper- 
 meters and an octameter. See 710 f. 
 
 1528-33 : non-antistrophic period in dactylic rhythm. See 348. 
 
 ECCLESIAZUSAE 
 Prologue: 1-284 
 l-223 a , 223 b -284 : trimeters (285). 
 
 ' Parode ' Acrao-Tourts : 285-310 
 
 285-8 
 289-99 = 300-10 
 
 285-8 : recitative iambic tetrameters. 
 
 289-99 = 300-10 : monostrophic dyad in Aeolic rhythm. See 578. 
 
 Scene I. : 311-477 
 
 3Tl-477 
 311-477 : trimeters (167). 
 
 Epiparode: 478-519 
 
 47~8-82 
 483-92 = 493-503 
 
 504-13 
 514-6-517-9
 
 EC. TABLE OF STRUCTURE AND RHYTHMS 455 
 
 478-82 : non-antistrophic period in iambic rhythm with anapaestic 
 opening, constituting the proode of a triad. See 85. 
 
 483-92 = 493-503 : dyad of the triad, in iambic rhythm. See 85. 
 
 504-13 : trimeters (10). 
 
 514-9 : recitative anapaestic tetrameters. 
 
 Scene II. : 520-70 
 520-70 
 
 520-70: trimeters (51). 
 
 Debate: 571-709 
 
 671-80 ; 581-2 j 583-688 ; 689-709 
 
 571-80: non-antistrophic period in prosodiac-enoplic rhythm, 
 with logaoedic opening. See 501. 
 
 581-688 : recitative anapaestic tetrameters. 
 689-709 : recitative anapaestic hypermeter. 
 
 Scene III. : 710-29 
 710-29 
 
 710-29 : trimeters (20). 
 
 [Parabasis] 
 Episode I. : 730-876 
 
 730-876 
 
 730-876 : trimeters (147). 
 
 [Stasimon /.] 
 Episode II. : 877-1111 
 
 877-92 
 
 893-9 
 
 900-5 = 906-10
 
 456 THE VERSE OF GEEEK COMEDY PLUT. 
 
 911-7 = 918-23 
 
 924-37 
 938-41 = 942-5 
 
 946-51 
 
 952-9 = 960-7 
 968-71 = 972-5 
 
 976-1111 
 
 877-92, 924-37, 946-51, 976-1111 : trimeters (172). 
 
 893-9 : non-antistrophic period in trochaic rhythm, constituting 
 the proode of a hendecad. See 220. 
 
 900-5 = 906-10 : first dyad of the hendecad, in Aeolic rhythm. 
 See 557. 
 
 911-7 = 918-23: second dyad of the hendecad, in Aeolic 
 rhythm. See 556. 
 
 938-41 = 942-5 : third dyad of the hendecad, in Aeolic rhythm. 
 See 567. 
 
 952-9 = 960-7 : fourth dyad of the hendecad, in simplified 
 logaoedic rhythm. See 415. 
 
 968-71 = 972-5 : fifth dyad of the hendecad, in Aeolic rhythm, 
 with dochmiac close. See 564. 
 
 [Stasimon II.] 
 Exode: 1112-81 
 
 1112-54 ; U55-62 ; U63-81 
 
 5 
 1112-54 : trimeters (43). 
 
 1155-62 : recitative trochaic tetrameters. 
 
 1163-81 : non-antistrophic period in dactylic and trochaic rhythm. 
 See 354. 
 
 PLUTUS 
 
 Prologue: 1-252 
 1-252 : trimeters (252). 
 
 Parade: 253-321 
 
 253-89 
 290-5 = 296-301
 
 PLUT. TABLE OF STRUCTURE AND RHYTHMS 457 
 
 302-8 = 309-15 
 316-21 
 
 253-89 : recitative iambic tetrameters. 
 
 290-5 = 296-301 : first dyad of an epodic pentad, in iambic 
 rhythm. See 88. 
 
 302-8 = 309-15: second dyad of the pentad, in iambic rhythm. 
 See 88. 
 
 316-21 : non-antistrophic period in iambic rhythm, constituting 
 the epode of the pentad. See 88. 
 
 Scene L : 322-486 
 
 322-486 
 
 322-36P, 362-486: trimeters (165). 
 36 l b : anaphonema. 
 
 Debate: 487-618 
 
 487-8 ; 489-597 ; 598-618 
 
 487-597 : recitative anapaestic tetrameters. 
 598-618 : recitative anapaestic hypermeter. 
 
 Scene II. : 619-26 
 
 619-26 
 619-26 : trimeters (8). 
 
 [Parabasis] 
 Episode!.: 627-770 
 
 627-36 ; 637 ; 638 ; 639-40 ; 641-770 
 
 627-36, 638, 641-770: trimeters (141). 
 637, 639-40 : dochmii. See 709. 
 
 [Stasimon L] 
 Episode II. : 771-801 
 
 771-801 
 771-801 : trimeters (31).
 
 458 THE VERSE OF GREEK COMEDY PLUT. 
 
 [Stasimon II.] 
 Episode III. : 802-958 
 
 802-958 
 802-805 b , 806-958 : trimeters (158). 
 
 [Stasimon III.] 
 Episode IV. : 959-1096 
 
 959-1096 
 
 959-1051', 1052-1096: trimeters (138). 
 1051 b : anaphonema. 
 
 [Stasimon IT.] 
 Episode V.: 1097-1170 
 
 1097-1170 
 1097-1170: trimeters (74). 
 
 [Stasimon VJ\ 
 Exode: 1171-1209 
 
 im-1207; 1208-9 
 
 3 
 
 1171-1207: trimeters (37). 
 
 1208-9 : non-antistrophic period in anapaestic rhythm. See 
 292, 686.
 
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 MASQUERAY, P. Traite de Metrique grecque. Paris, 1899. 
 
 MAZON, PAUL. Essai sur la composition des comedies d'Aristophane. Paris, 
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 RAMSAY, SIR WILLIAM. Unedited Inscriptions of Asia Minor. Bulletin de 
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 GENERAL INDEX 
 
 This Index is analytical, and is intended to serve as a summary statement of doctrine. 
 The references are to sections. 
 
 a : initial 8. lengthened in the thesis, 795 
 
 Accent, irpwrySta : 2. See Ictus 
 
 Aoephalization : 31, 38; Aeolic, 519, 530, 570, 572 f., 574; ionic, 422, 617; 
 examples of iambic, 92, 289, 303, 413, 454, 469; primitive, 608 ff., 643; in 
 verse building, 608, 638 
 
 dfi : quantity of o variable, 801 f. 
 
 Aeolic Feet (Metres) : choriamb, antispast, diiamb, ditrochee, 19 f. ; undeveloped, 
 661 ; choriamb fundamental, 506, 651 
 
 Aeolio Verse: 506 ff. ; the dimeters, 506 ; polyschematist, 507 ff., 651 ; Glyconic, 
 511 f., 652 ; its colometrical position, 836 ; Pherecratean, 511, 547 ; acephalous 
 Glyconic, 570 ; its rhythmization, 572 f. ; colometrical position, 841 ; choriambo- 
 iambic dimeter, 513 f., 516, 550, 652; development of these three dimeters, 
 653; diiambic dimeter, 513 ff., 657 ff., 660; ditrochaic, 517, 657 ff. ; the 
 trimeter, 518 f., 654 ; its development, 655 f. ; Phalaecean, 518, 532 ; lesser 
 Asclepiadean, 518; the penthetnimer, 513; catalexis in Aeolic verse, 33 f., 
 508, 511, 519, 570 ; brachycatalexis, 509, 519, 570 ; acephalization, 38, 519, 
 530, 570, 572 f., 574; irrationality, 514, 517, 519 ; resolution, 510, 512, 515, 
 517, 519, 529, 659, 663; protraction, 32, 516 f., 519, 659; rhythm, 30; 
 correspondence, 520 ff. ; Aeolic combined with other rhythms, 526, 662 ; 
 Aeolic subordinate periods and hypermeters, 527 ff., 542 ; Eupolidean, 
 508, 528 f. ; epionicum, 530 ; Priapean, 531 ; greater Asclepiadean, 532 ; 
 Cratineum, 540 ; other combinations of dimeters, 533 ff. ; recitative use of 
 certain tetrameters and hypermeters, 541, 690 ; the origin of Aeolic verse, 
 651 ff. ; indicia, 662 ; influence of Ionian rhythm on Aeolic, 20, 30, 510 ff., 
 514 ff., 580 ff, 659, 662 f. See Choriamb and the Introduction, pp. xi. ff. 
 
 Aeschylus: metrical usages, 95 n. 2, 96 n., 98 n. , 108 n., 814 n. 3 ; parodied, 350, 
 352 f. ; quoted or cited, 627 f., 662 ; his iambic lyrics, 129 
 
 dyuyrf, tempo : 4. See Time 
 
 Alcaeus : parodied, 532 ; quoted, 617, 654 
 
 Alcman : quoted, 615 
 
 Alexander : trochaic tetrameter, 259 
 
 Alexis : trochaic tetrameters, 259 ; anapaestic hypermeter, 332 ; dactylic hexa- 
 meters, 366 ; Enpolideans, 529 
 
 4X070$, irrational : 15 f. See Irrationality 
 
 465 2 H
 
 466 THE VEESE OF GREEK COMEDY 
 
 Ameipsias : trochaic tetrameters, 259 ; anapaestic tetrameters, 320 
 
 Amphis : trochaic tetrameters, 259 
 
 ddK\a<ns, anaclasis : terminal, 419 ff., 616; interior, 71, 206, 615 f., 617 f., 662, 
 814 
 
 Anacreon : parodied, 569 
 
 Anacrusis : 29 
 
 Anapaest: 8, 9, 10; resolved, 11, 271; in iambic verse, 70, 113 ff., 157 ff., 172, 
 177, 185, 193 ; logaoedic, 382, 388 ff. ('cyclic'), 392, 394 ; in Aeolic verse, 510, 
 515; its time in logaoedic verse, 281, 388 ff., 400; spurious ( o c/ ) in 
 trochaic verse, 17, 200 
 
 Anapaestic Metre : 12 f. ; its close, 275, 315, 329, 330 ; its use as a colon, 276, 613 
 
 Anapaestic Verse : 270 ff. ; the dimeter, 23, 270 ff. ; the monometer, 276, 613 ; 
 the tripody and pentapody, 26, 277, 394 ; the penthemimer, 277, 394 ; the 
 trimeter in logaoedic rhythm, 394, cf. 276, 613 ; all anapaestic verse in 
 ascending rhythm, 270 ; anapaestic catalexis, 33, 272 ff. (paroemiac), 779 ff. ; 
 brachycatalexis, 35, 277 ; every melic anapaestic colon ends in a complete 
 word, 275 ; no protraction in comedy, 278 ; anapaestic subordinate periods and 
 hypermeters, 279 ; anapaestic combined with other rhythms, 78, 281, 442 ; 
 melic and recitative verse distinguished, 282 f., 292, 810 ; nature and use of 
 anapaestic rhythm, 284 ; its origin, 603, 605, 607. See Gemmation. Non- 
 melic anapaestic verse : 55 ff., 690, 280, cf. 113 ff., 293; the tetrameter, 280, 
 305 tf. ; Aa,KuviK6i>, 306 ; diaeresis and caesura, 315 ff. ; quantity, 792, 796, 
 798 ; used KO.T& prixo", 690 ; how rendered, 804 ; its colometrical position, 835, 
 837 ; fragments, 320 ; the hypermeter, 280, 321 ff. ; quantity, 798 ; colometrical 
 position, 836 f. ; Trviyos or /j.a.Kp6v, 668 ; hypermeters in Aristophanes, 711 ; 
 fragments, 332 
 
 dva,<f>&vt)(jia, irpoava^vrifji.a,, Trpoava<f>6vri(ns : 838, 849 
 
 Anaxandrides : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic 
 hypermeter, 332 ; dactylic hexameters, 366 
 
 Anaxilas : iambic tetrameter, 188 ; trochaic tetrameters, 259 ; anapaestic hyper- 
 meter, 332 ; enoplic-paeonic fragment, 442 
 
 Anonymus de Musica : on metrical signs of length of syllables, 3 n. 2 ; of pauses, 33 
 
 Anonymus in Studemund's Anecdota Varia : on TO(JL-/I, 130 ; on pauses in the 
 hexameter, 360 
 
 Autepirrhema : see Epirrhema 
 
 Antiphanes : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic hyper- 
 meters, 332 ; trimeters and hexameters, 356 ; elegiac distich, 365 ; enoplic 
 tetrameters, 490 n. 
 
 Antispast : see Aeolic Feet 
 
 Antistrophe : 61. See Systematic Period under Period 
 
 CITI-XT; : see Trapdypatpos 
 
 Apollophanes : trochaic tetrameter, 259 
 
 Archilochus : invented melodramatic rendering, 59 ; versus Archilochius, 398, 405 ; 
 his use of irrational metres, 659 ; quoted, 365, 630 
 
 Archippus : iambic tetrameters, 188 
 
 Aristagoras : anapaestic tetrameter, 320 ; dactylic hexameters, 366 
 
 Aristides : on the elements of rhythm, 1 n. 1 ; the quantity of syllables, 790 n. ; the 
 foot, 5 n. 3 ; the dactylic metre, 14 ; the ' cretic ' ( w ^ ), 355 n. ; the 
 compound foot, 22 n. ; the dochmius, 624 ; tempo, 4 ; arsis and thesis, 7 ; 
 ascending and descending rhythm, 29 ; xP^ * K ev ^> 31 ; catalexis, 33, 788 ; 
 brachycatalexis, 35 n. ; hypercatalexis, 36 n. ; caesura in the trimeter, 130 ; 
 caesura in the hexameter, 360 ; on logaoedic verse, 375 n. ; diplasic rhythm,
 
 GENERAL INDEX 467 
 
 213 ; isomeric rhythm, 284, 343 ; hemiolic rhythm, 446 ; ionic rhythm, 425. 
 Not authority for an ictus, 28 
 
 Aristonymus : anapaestic tetrameters, 320 
 
 Aristophanes : on the iambic trimeter and trochaic tetrameter, 259 ; the enoplius, 
 647 ; the Glyconic as a ' foot,' 664 ; fragments, iambic tetrameters, 188 ; trochaic 
 tetrameters, 259 ; anapaestic tetrameters, 320 ; paroemiacs, 274 ; proceleusmatic 
 cola, 304 ; dactylic hexameters, 366 ; versus Archilochius, 398 ; paeonic frag- 
 ments, 436, 439; anapaestic-paeonic fragment, 442; Aeolic dimeters, 511 f., 
 549 f., 552, 555, 559 ; Aeolic tetrameters, 529, 533, 536, 538 
 
 Aristophanes of Byzantium : 831 
 
 Aristophon : trochaic tetrameters, 259 
 
 Aristotle : on the rhetorical period, 39 n. ; iambic rhythm, 79 ; trochaic, 213 ; the 
 trochaic tetrameter, 246, 259 ; Homer and the hexameter, 356 ; his definition 
 of parodos, 674 ; use of the terms <j>opruc6s and d\ev0tpios, 425 ; tv0ov<ria<TTiK&s, 
 446 
 
 Aristoxenus : on the elements of rhythm, 1 n. 1 ; his definition of rhythm, 2 ; on 
 ascending and descending rhythm, 29 ; the primary time, 2 ; the syllable as 
 a measure of rhythm, 3 n. 1 ; diseme, triseme, tetraseme, pentaseme time and 
 syllable, 3, cf. 780 ; the simple foot, 5, 6, 7, 8, 9 ; his ' cretic ' ( - ^ - ^ ), 
 355 n. ; on the irrational metre, 15 f., 391 ; the compound foot, 21, 22 n., 23, 
 664 ; protraction in iambic and trochaic metres, 780, 789 ; protraction in the 
 choriamb, 34. Not authority for an ictus, 28 
 
 Arsis, dpirts : defined, 7 ; of simple feet, 8, 9, 10 ; its relative length, 8, 29 f. ; 
 prefers short syllables, 8 ; in protraction, 31 f. ; absolutely omitted in catalexis 
 in many rhythms, 33, 66, 201, 272, 335, 779 ff. ; of the metre, 12 ; irrational, 
 15 ff., 63, 65, 198, 200 ; shortened in iambic and trochaic metres, 75, 223 ff. ; 
 of the simple foot in logaoedic verse, 388 ff., 400 ; of the compound foot, 21 ff. ; 
 the primitive variable element in Ionian verse, 18, 27, 70, 113, 375 ff., 382, 
 386, 392, 603 ff. 
 
 Asclepiadean : lesser, 518 ; greater, 532 
 
 &ffTpo<t>a: 709 
 
 Athenaeus : cited, 567, 575, 775 
 
 Axionichus : trochaic tetrameters, 259 
 
 Bacchius : 8, 9, 447 f. 
 
 Bacchylides : his use of irregular forms in prosodiac-enoplic verse, 819 ff. ; quoted 
 
 or cited in illustration of this form of verse, 480 f., 484 ff., 631 ff., 635, 637, 
 
 639 f., 644, 646, 812, 814, 817, 821 ff. The use of o^/ma in the British 
 
 Museum papyrus, 860 
 Brachycatalexis : the nature of the process, 35, 37 ; in anapaestic verse, 277 ; 
 
 dactylic, 338 ; logaoedic, 381 ; Aeolic, 509, 519 
 
 Caesura, rop-fi : defined, 56 ; not in melic verse, 132 ; in the trimeter, 130 ff., 166 ; 
 controls the form of the trimeter, 101, 109, 116 ; in tetrameters, 180, 183, 254, 
 266, 315 ff., 318 ; in the hexameter, 360 ff. ; penthemimeral, 130, 166, 360 f. ; 
 'trochaic' in dactylic verse, 360 f. ; hephthemimeral, 130, 166, 360 f. ; medial, 
 137 f., 166 ; tetremimeral, 137 f., 166 ; octahemimeral, 137 f., 166 ; triemimeral, 
 138, 364 ; cretic, 138 
 
 Callias : trochaic tetrameters, 259 ; anapaestic tetrameters, 320 
 Catalexis : the nature of the process, 31, 33 f., 37, 608 ; marks the close of a 
 subordinate period or hypermeter, 43, 735, 775, 788 ; in iambic verse, 66 f., 
 74, 779 ff. ; trochaic, 201 f., 209 ; anapaestic, 272 f., 779 ff. ; dactylic, 335 ;
 
 468 THE VERSE OF GREEK COMEDY 
 
 logaoedic, 380 vi., 384 vi. ; ionic, 418 ; paeonic, 437 ; prosodiac-enoplic, 476 f., 
 482, 484, 486, 479, 485 ; Ae'olic, 508, 511, 513, 519 
 
 Choerileum : 490 n. 
 
 Choeroboscus : paeonic feet td<njnot, 231 ; on the dochmius, 624 
 
 Choriamb : in iambic and trochaic verse, 71, 206, 662 ; spurious in prosodiac- 
 enoplic verse, 630, 643, 648, cf. 814 ff. See Aeolic Feet and Aeolic Verse 
 
 Choriambo-iambic : see Aeolic Verse 
 
 Xpbvos : see Time 
 
 Colarion : 838, 849 
 
 Colometry : of Aristophanes by Heliodorus, 832 f. ; colometrical texts made by 
 Aristophanes of Byzantium, 831 
 
 Colon, KU\OV : a iroits fffoOeros, 21 ; defined, 22 ; cola classified, 23 ; mixed cola, 25 ; 
 metrically defective cola, 31 ; the colon a constituent element of the sub- 
 ordinate period and hypermeter, 39 f. ; synaphea of cola, 44 ; reduced in verse- 
 building, 608. See Colometry. 
 
 Comedy : its structure compared with that of tragedy, 61, 665 ff. ; distinguished 
 from modern comedy, 666 ; oldest Attic comedies short, 665 ; its freedom of 
 form, 667 ; constituent parts, 668 ff. ; composition, 688 ff. ; technically a 
 irolrifM yevticus f*iKT&i>, 688 ; variety of its verse, 689 ff. ; classification of its 
 periods, 692 ff. ; structure of its periods, 720 ff. 
 
 Commation, Ko/j./j.dnov : first part of the parabasis, 293, 298, 668 ; how rendered, 
 810 
 
 Commentary of Heliodorus : 830 ff. 
 
 Composite Lyrics : 587 ff. 
 
 Coronis : see Kopuvls 
 
 Correspondence : of strophe and antistrophe and of subordinate periods, 51, 463, 
 69, 204, 224 f., 443, 520 ff., 525 ; structural types, 694, 700 ff., 705, 715 ff., 
 722 ff., 736 ff., 764 f., 767 f., 774, 778 ; its musical significance, 730 f., 765, 
 777 ; in non-melic parts of comedy, 668, 670 f., 675, 677 
 
 Crates : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic tetrameters, 
 306, 320 ; dactylic hexameters, 366 ; Pherecrateans, 547 
 
 Cratineum : 540 
 
 Cratinus : adopted a new form of the prosodiac tetrameter, 630 ff., 647 ; called 
 paeonic verse 'Cretic,' 445; fragments, iambic tetrameters, 188; trochaic 
 tetrameters, 259 ; anapaestic tetrameters, 306, 320 ; paroemiacs, 274 ; dactylic 
 hexameters, 366, 356 ; simplified logaoedic fragments, 405, 407 ; paeonic frag- 
 ment, 445 ; prosodiac-enoplic fragments, 479, 495, 630, 490, 502 ; Phalaeceans, 
 518 ; Eupolideans, 529 ; Priapeans, 531 ; Cratineans, 540 
 
 Cratinus the Younger : trochaic tetrameter, 259 ; dactylic hexameters, 366 
 
 Cretic : see Paeon 
 
 ' Cyclic ' : see Anapaest, Dactyl 
 
 Dactyl : 8, 9, 10 ; resolved, 11, 334 ; in trochaic verse, 205, 250, 264, 268 ; 
 logaoedic, 386, 388 ff. ('cyclic'), 392, 396 ; its time in logaoedic rhythm, 342, 
 388 ff., 400; spurious ( o o) in iambic and anapaestic verse, 11, 17, 65, 
 107 ff., 153 ff., 171, 176, 185, 193, 271 
 
 Dactylic Metre : 12 ff. ; its close, 336 ; its use as a colon, 337, 613 
 Dactylic Verse : 333 ff. ; the dimeter, 23, 333 ff. ; the monometer, 337, 613 ; the 
 tripody and pentapody, 26, 338, 396 ; the penthemimcr, 338, 396 ; the trimeter 
 in logaoedio rhythm, 396, cf. 337, 613 ; all dactylic verse in descending 
 rhythm, 333 ; dactylic catalexis, 33, 335 ; brachycatalexis, 35, 338 ; a melic 
 colon often ends within a word, 336 ; no protraction in comedy, 339 ; dactylic
 
 GENERAL INDEX 469 
 
 subordinate periods and hypermeters, 340 ; dactylic combined with other 
 rhythms, 342 ; nature and use of dactylic rhythm, 343 ; travestied. 349 ff., 
 352 f. ; its origin, 608 ff. Non-melic dactylic verse : 55 f., 690, 341, 356 ff. ; 
 the hexameter, 14, 55 f., 341, 356 ff. ; caesura and diaeresis, 360 ff. ; quantity, 
 794, 799 ; used /card yrixov, 690 ; how rendered, 804 ; its colometrical position, 
 835 ff. ; elegiac distich, 365 ; fragments, 366 
 
 Dactylo-epitritic : 504, 812 
 
 Dactylo-trochaic : a misnomer, 399 
 
 Debate: 61, 665, 670 ff., 687 
 
 Diaeresis, dialpfffis: defined, 56; not in melic verse, 132; in iambic verse, 179 ff., 
 183 ; trochaic, 244, 253 ff., 266 ; anapaestic, 315 ff. ; bucolic in the hexameter, 
 360 ff. 
 
 Diiamb : see Aeolic Feet 
 
 Dimeter : defined, 13 ; an isomeric colon, 21, 23, 25 ; its successively reduced 
 forms, 37, cf. 608 ; the primitive, 600 ff. ; its development in Ionian verse, 
 603 ff., 608 ff. ; in Aeolic verse, 651 ff. ; the fundamental colon in all rhythms 
 except dochiniac, 62, 197, 270, 333, 376 f., 416, 430, 448, 475, 506; the 
 primitive source of the metre and simple foot, 664 
 
 Dionysius of Halicarnassus : on the anapaest, 284 ; authority for the term ' cyclic, ' 
 389, 391 ; characterizes ionic rhythm, 425 ; on the period, 697 
 
 Dioxippus : trochaic tetrameters, 259 
 
 Diphilus : trochaic tetrameters, 259 ; dactylic hexameters, 366 ; prosodiac tetra- 
 meter, 495 
 
 Diplasic : simple feet, 9 ; compound feet, 22 f. ; tripodies, 26 
 
 Stir\rj : see irapdypatpos 
 
 Dipody, SaroSia : 12 
 
 SlppvO/Mf, Tpippv0/j.ov, TerpdppvfffJiov : 433 ; colometrical position, 840. See Paeonic 
 Verse 
 
 Diseme : time, syllable, 3 
 
 Distich : a part of the debate, 670 f. ; not marked off by the 8ur\rj from the pre- 
 ceding song, 850 ; elegiac, 365 
 
 Ditrochee : see Aeolic Feet 
 
 Dochmius : 458 f. ; an octaseme phrase, 461 ; forms used by Aristophanes, 460 ; 
 regarded as a metre, 462 ; its source, constitution, and name, 623 if. 
 
 Dochmiac Verse : 458 ff. ; the dimeter and monometer, 462 ; their colometrical 
 position, 839 ; correspondence, 463 ; dochmiac periods, 464 ; dochmiac com- 
 bined with other rhythms, 78, 466, 281, 471 ; a burlesque rhythm in 
 comedy, 290 
 
 Dyad : monostrophic, 51, 701 ff. ; monostrophic grouping of two intermediate 
 periods, cf. 217, 452 ; of two subordinate periods, 767 
 
 Duo : lyrical, 59 ; examples, 83, 217, 238, 452, etc. ; simulated, 597 ff. 
 
 Ecphantides : trochaic tetrameter, 259 
 834, 836 ; fr elffOtffei vapd, 844 
 834 f. 
 
 equivalent to kv ^K0fffei, 834 
 Elegiac Distich : 365 
 
 Elision : without effect on pauses, 141 ; position of elided syllables in the MSS., 323 n. 
 Embateric : anapaestic periods, 284, 292, 306, 321 
 
 Emendation : often unwarranted, 51, 463, 583, 205, 224 ; editors often disposed 
 to emend merely for metrical reasons, 106, 120 iv. n., 121 iii. n., 125, 307 f., 
 316 f., 323, 550
 
 470 THE VERSE OF GREEK COMEDY 
 
 Encomiologicum : 483 n. 
 
 Enoplius : see Prosodiac-enoplic Verse 
 
 tirtK0e<ris, tirelff6e<ris : 843 
 
 Ephippus : anapaestic hypermeters, 332 
 
 Epicharmus : metrum Epicharmium, 259 
 
 Epicrates : anapaestic hypermeter, 332 
 
 Epionicum : 530 
 
 Epirrheina, Antepirrhema : of the parabasis, 668 ; verse employed, 246, 251, 253 ; 
 how rendered, 806 
 
 Episode : 61, 666, 682 f., 687 
 
 Epitrite : 6, 503, 812 
 
 Epodic : grouping of systematic periods, 694, 716 ; triadic, tetradic, etc., 54, 740, 
 745 ; triadic grouping of intermediate periods, cf. 580 ; epodic grouping of 
 subordinate periods and hypermeters, cf. 736 ; triadic, 737 ; tetradic, 741 ff., 
 748 ff. ; pentadic, 751, 756 f., 759 ff. ; hexadic, 755, 758 ; summary, 764 
 
 Eriphus : trochaic tetrameter, 259 
 
 Eubulus : trochaic tetrameters, 259 ; anapaestic hypermeter, 332 ; dactylic hexa- 
 meters, 356, 366 ; paeonic fragment, 439 
 
 Euphanes : trochaic tetrameter, 259 
 
 Eupolidean : 508, 528 f., 541 ; used /card ffrlxov, 690 ; how rendered, 805 
 
 Eupolis : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic tetra- 
 meters, 320 ; dactylic hexameters, 366 ; ionic tetrameter, 423 ; paeonic tetra- 
 meters, 439 ; prosodiac tetrameter, 495 ; Aeolic dimeters, 547, 549 f. ; 
 tetrameters, 529 f., 533, 541, 540 
 
 Euripides: metrical usages, 95 n. 2, 96 n., 98 n., 108 n. ; his use of iambo-trochaic 
 rhythm, 368 f. ; his freedom of form in Aeolic verse, 511, 585 ; his monodies, 
 590 f., 593, 596 ; parodied, 288, 374, 683, 493 ; travestied, 586 ; quoted, 646, 
 817 
 
 Evangelus : trochaic tetrameters, 259 
 
 Exode: 61, 666, 685 ff., 810 
 
 Foot, TTofo : 5 ff. ; simple, dfffoOeros, 5 ; compound, fftivderos, 21 ff. ; its parts, 5, 7 ; 
 a rhythmical combination of syllables, 6 ; in Ionian verse, 8 ff . ; in Aeolic, 
 19 f. ; its classification, by length, 8 ; by rhythm, 9 ; spondaic, 10 ; double, 
 12 ; historical relation of the simple to the compound foot, 664. See Colon 
 
 Fragmenta Incertorum Poetarum : iambic tetrameters, 188 ; trochaic tetrameters, 
 259 ; anapaestic tetrameters, 320 ; dactylic hexameters, 366 ; Eupolideans, 529 
 
 7&os : tffov, isomeric, 9, 19, 22 f. ; 8nr\d<noi>, diplasic, 9, 22 f., 26 ; i)/j.i6\iov, 
 
 hemiolic, 9, 24, 26 
 Glyconic : see Aeolic Verse 
 
 Heliodorus : his Colometry, 832 f. ; extant Metrical Scholia on Aristophanes, pp. 
 397 ff. His doctrine : on the iambic and trochaic monometer, 195, 269, 838 ; 
 the catalectic trimeter as the final colon of an iambic hypermeter, 194 ; his 
 agreement with R and V, 326 ; on the dactylic metre, 14 ; his use of the term 
 tiriic6$, 345 ; on paeonic verse, 433 ; the paeon as a TTOI>S efdo-^oy, 231 ; the 
 name paeon, 231, 445 ; rejects the paeouic pentameter, 24, 435 ; on dochmiac 
 cola, 467, cf. 464 ; the iambic and trochaic element in prosodiac and enoplic 
 verse, 503 ; the prosodiac and enoplius, 504 f. ; the prosodiac as a period, 647 ; 
 the acephalous Glyconic and Pherecratean, 573, 841 ; the tetrameter as a colon, 
 433, cf. 83 ; the parts of the parabasis, 668, cf. 456 f. ; rb avrlarpo^v iv
 
 GENERAL INDEX 471 
 
 Stexeig., 700 f., cf. 468 ; irepiKoir^, 705; his use of the term ireploSos, 49, 58 ; 
 classification of periods, 692 f. ; on the systematic period, 48, 695 ; the sub- 
 ordinate period and hypermeter, 698 ; the intermediate period, 45, 728 ; the 
 structure of the systematic period, 723 ff., 727 ; his methods of analyzing it, 
 721, 723 ff. ; differentiation of strophe and epirrhema, 806 ; use of the term 
 ptXos, 808 f. ; indentation of lines, 834 ff. ; use of o^eict, 846 ff. 
 
 Hemiolic : simple feet, 9 ; compound feet, 22 ; paeonic pentameter, 24, 435 ; 
 pentapodies, 26 
 
 Hephaestion : his catalogue of 'feet,' 6 ; on the 'epitrites,' 6, 503, 812 ; the colon, 
 21 ; his definition of catalectic cola, 33 ; on brachycatalexis, 35 n., 203 n. 
 (Ithyphallic), 609 ; hypercatalexis, 36 n. ; the quantity of syllables, 790 n. ; 
 syllaba anceps, 43 n. ; (rrixos, 56 ; vir^pfj-erpov, 57 n. ; dywdprrira, 504 ; caesura 
 in the trimeter, 131 ; \-r)Kti6iov, 609 n. ; the derivation of the word paroemiac, 
 273 n. ; the continuous use of the paroemiac, 274 ; the proceleusmatic, 304 ; 
 T& 'ApiffToipdveiov, 305 ; the close of the anapaestic tetrameter and ri> AancwviKbi', 
 306, 314 ; the rhythms employed in the Margites, 356 ; logaoedic verse, 375 n., 
 398 n. ; ' episynthetic verse,' 399 ; the catalectic ionic tetrameter, 423 ; major 
 ionic fragments in early lyric verse, 617 ; paeonic verse, 433 ; paeonic catalexis, 
 34, 437 ; unusual resolution of the paeon, 436 ; the name ' cretic,' 445 ; the 
 bacchius, 447 ; the Theopompeum, 439 ; the source of a celebrated prosodiac 
 tetrameter, 630 ff., 817, 643, 647 f. ; the iambelegus, 481 ; the encomiologicum, 
 483 n. ; rb HtvdapiKbv, 637 ; choriambic catalexis, 34, 508 ; resolution of the 
 choriamb, 569; his use of the word 'polyschematist,' 652; regards the 
 acephalous Glyconic as ionic, 573 ; on the Sapphic hendecasy liable, 654 n. ; 
 the Pindaric hendecasyllable, 654 n. ; the Phalaecean, 654 n. ; the lesser 
 Asclepiadean, 654 n. ; the epionicum, 530 ; the Priapean, 531 ; the greater 
 Asclepiadean, 532 ; the choriambo-iambic tetrameter, 533 ; the Cratineum, 
 540 ; the dochmius, 624 ; the parabasis, 668 n. ; the irvlyos, 668 ; the verse 
 employed in the Old and in the New Comedy, 688 ; his treatises irepl Iloti?- 
 fjuiTos, 692 f. ; on ffv<rrri/j.a = Treplo5os, 696 ; ra Kara dUx eiav dvTa,iro6i$6fj*va, 
 700 ; fJ.ovo<TTpo<t>iKd, 701 ; &<rTpo<pa, 709 ; ffWTiJ/uara e opoluv, 714 ; iroirifMTa 
 (juKrd, 715 ; a difficulty in lyric analysis, 721 ; triadic, tetradic and longer 
 systematic periods, 715, 719, 740, 745 f. 
 
 Hermippus : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic tetra- 
 meters, 320 ; hypermeters, 332 ; dactylic hexameters, 366 ; Aeolic dimeters, 575 
 
 Herodotus : the first extant author to use the term ' hexameter,' 14 
 
 Heroic Line : the ' hexameter. ' See Dactylic Verse 
 
 Hexad : monostrophic, 51, 701 ; hexadic grouping of subordinate periods, 740, 755, 
 758, 764 
 
 Hexameter : in iambic verse, 76 ; trochaic, 210 ; anapaestic, 279 ; simplified 
 logaoedic, cf. 406, 410, 412, 414 ; free ionic, cf. 429 ; paeonic, 439 ; dochmiac, 
 cf. 468 ; prosodiac-enoplic, 489 ; Aeolic, 542. See Dactylic Verse 
 
 Hexaseme : foot, 8, 19 
 
 Hiatus, 43 ; may indicate the close of a subordinate period, 735 ; weak or improper, 
 797 
 
 Hymns: Delphian, 777 n., 783 n. ; to Helios and Nemesis, 779 n., 782 ff. ; to the 
 Muse, 789 n. 
 
 Hypercatalexis: the nature of the process, 36 f., 488; in the penthemimers, 513, 
 203, 395, 277, 394, 338, 396 ; in prosodiac verse, 476, 480, 482, 632, 642 ; the 
 iambic penthemimer as a formative element, 638, 642 
 
 Hypermeter : defined, 40 ; indications of its close, 43 f. ; never ends within a word, 
 44 ; constituent element of the intermediate and systematic period, 45, 47 ;
 
 472 THE VERSE OF GREEK COMEDY 
 
 composed in many different rhythms, 76, 210, 279, 340, 423, 440, 542. 
 Non-melic : 55, 57, 710 ff. ; iambic, 77, 190 ff., 712, 804 ; trochaic, 211, 267 ff., 
 713, 804, 808 ; no recitative trochaic hypermeters in the later plays of Aristo- 
 phanes, 267; anapaestic, 280, 321 ff., 711, 804, 810 
 
 Iamb : 8, 9 ; resolved, 11, 64 
 
 Iambic Metre: 12 f. ; irrational, 15 ff., 63, 186 f. ; resolved, 65; protracted, 32, 
 72 ff. ; its arsis shortened, 75 
 
 Iambic Verse : 62 ff. ; the dimeter, 23, 62 ff., 76 ; the trimeter, 23, 67, 76, 126 ff. ; 
 the tripody and pentapody merely apparent, 26, 68, 393 ; the penthemimer, 
 36 ; the iambic element in simplified logaoedic verse, 393 ; in prosodiac verse, 
 633 ff., 638, 650 ; all iambic verse in ascending rhythm, 62 ; iambic catalexis, 
 33, 66, 779 ff. ; correspondence, 69 ; logaoedic metres, 70 ; choriamb, 71 ; 
 iambic subordinate periods and hypermeters, 76 ; the melic tetrameter, 184 ff. ; 
 iambic combined with other rhythms, 78, 281 ; nature and use of iambic 
 rhythm, 79, 213, 284; its origin, 605 f., 613 f. See Acephalization. Non- 
 melic iambic verse : 55 ff., 77, 95 ff. ; its logaoedic element, 382 ; the trimeter, 
 77 ; pure, 95, 144 ; irrational and trisyllabic feet, 96 ff., 145 ff. ; combinations 
 of triple feet, 124 f., 163 ff. ; tribrach, 100 ff., 123, 150 ff. ; 'dactyl,' 107 ff., 
 123, 153 ff. ; anapaest, 113 ff., 123, 157 ff. ; spoken and melic trimeters com- 
 pared, 126 ff., 186 f. ; caesura in the spoken trimeter, 130 ff., 166 ; quantity, 
 791, 795, 796 ; the stock verse of comedy, 687, 690 ; how rendered, 803 ; its 
 colometrical position, 835 ff. ; the tetrameter, 77, 167 ff. ; used /caret <rrlxov, 690 ; 
 its colometrical position, 835 ff. ; the recitative tetrameter, 168 ff. ; diaeresis 
 and caesura, 183 ; compared with melic and melodramatic tetrameters, 186 f. ; 
 the melodramatic tetrameter, 173 ff., 804 ; diaeresis and caesura, 179 ff. ; com- 
 pared with melic and recitative tetrameters, 186 f. ; comic fragments, 188 ; the 
 protracted tetrameter, 189, 690 ; the hypermeter, 190 ff., 712, 836 f. 
 
 lambelegus : 481 n. 
 
 lambo-trochaic Verse : 367 ff. 
 
 Ictus : 28 
 
 Indentation : 831, 834 ff. 
 
 Indivisible Period : 773 
 
 Ionian Verse : 603 ff. ; feet, 8 ff. ; its influence on Aeolic verse, 20, 30, 510 ff., 
 514 ff., 580 ff., 659, 662 f. See Arsis 
 
 Ionic : minor and major, 8, 9, 29 ; 'ionic ' forms in prosodiac-enoplic verse spurious, 
 630, 643, 648, 814 ff. 
 
 Ionic Verse : minor, 416 ff. ; the dimeter, 23, 416 ; the trimeter, 23, 417 ; the 
 monometer rare, 417 ; minor ionic verse in ascending rhythm, 416 ; ionic 
 catalexis, 33 f., 418 ; anaclasis, 419 ff. ; protraction, 32, 424 ; ionic subordinate 
 periods and hypermeters, 423 ; the nature of ionic rhythm, 425, 616 ; its 
 origin, 615 ff., 422, cf. 428 iv. ; free ionics, 428 f. ; trace of primitive major 
 ionic cola in Aristophanes, 618, cf. 416 n. ; recent disposition to enlarge the 
 range of ionic verse, 814 
 
 Irrationality : its rhythmical effect, 15, 129, 228 ; modern views, 16 ; historical 
 significance, 18 ; iambic verse, 63, 65, 73, 97, 129, 146, 169, 174, 184, 186 f., 
 191, 193 ; trochaic, 198, 200, 247, 256, 261, 268 ; ionic, 422 ; dochmiac, 
 459 ; prosodiac-enoplic, 478, 650, 815 ; Aeolic, 20, 514, 517, 519 
 
 Isomeric : simple feet, 9, 19 ; double feet, 12 ; compound feet, 22 f. 
 
 Isyllus: 814 
 
 Ithyphallic, 'Itfv^aXXi/civ : see Trochaic Verse
 
 GENERAL INDEX 473 
 
 v : see Gemmation 
 846, 857 f. ; position, 859 f. 
 
 \eifjifuL : 31, 784 f., 787 n., 788 
 \T)Ki>6iov : 609 n. 
 
 Lengthening: quantitative, of short syllables, 790 ff., 795, 796 
 Line : see OT/XOJ 
 
 Logaoedic Verse : 375 ff. ; its origin, 604, 608, 613 ; its name, 375 n. ; simplified 
 logaoedic verse, 392 ff. ; its 'inventor,' 398 ; generally called 'dactylo-trochaic,' 
 
 399 ; logaoedic verse distinguished by variability of the arsis, 375 ; its com- 
 ponent metres in ascending rhythm, 376 ; in descending rhythm, 377 ; the 
 distinctively logaoedic metres (\s ^ <u , *-> w ^ and ^ w ^ , 
 w w w ), 376 f. ; occurrence of the first two in iambic verse, 70, 185, 113, 
 177, 193, 382, cf. 515 ; of the last two in trochaic, 205, 250, 268, 386 ; logaoedic 
 cola, 378 ; examples in ascending rhythm and deductions, 379 ff. ; in descend- 
 ing rhythm and deductions, 383 ff. ; time of the component simple feet 
 ('logaoedic anapaest,' 'logaoedic dactyl'), 388 f., 391 ; various modern views, 
 390 ; logaoedic trimeters, 389 ; ' cyclic ' anapaest and dactyl, 389 ff. ; resolution, 
 380, 384, 393, 395 ; protraction, 32, 380, 384 ; catalexis, 33, 380, 384 ; brachy- 
 catalexis, 35, 381 ; hypercatalexis, 36 f., 385 ; time of cola in simplified verse, 
 
 400 ; forms of purely iambic cola, 393 ; of anapaestic, 394 ; of trochaic, 395 ; 
 of dactylic, 396 ; laws governing the combination of cola, 401 ff., 404 ; versus 
 Archilochius, 398, 405 
 
 \6yos 7ro5t/c6s : 9 
 
 Lysippus : trochaic tetrameter, 259 ; anapaestic tetrameter, 320 
 
 Magnes : trochaic tetrameter, 259 
 
 fj.a.Kp6i> : see irviyos 
 
 Melodramatic : rendering, 59 f. ; trimeter, 803 ; iambic tetrameter and hyper- 
 meter, 804 
 
 A^Xos : in Heliodorus, 808 f.; of parabasis, 668 ; how written, 830 ; melic rendering, 
 59, 805 ff., 810 
 
 Menander : his constitution of the trimeter, 144 ff. ; of the trochaic tetrameter, 
 260 ff. ; structure and composition of his plays, 665, 688 ; fragments, trochaic 
 tetrameters, 259 ; anapaestic hypermeter, 332 ; dactylic hexameter, 366 
 
 Mesodic : grouping of systematic periods, 54, 694, 718, 740 ; of intermediate periods, 
 cf. 415 ; of subordinate periods, 736, 739 ; summary, 764 
 
 Metagenes : trochaic tetrameters, 259 ; anapaestic tetrameters, 320 ; dactylic 
 hexameters, 366 
 
 fifTdffTa<ris : 676 n. 3 
 
 Metre : a subordinate unit of measure, 13, 606, 664 ; in melic dactylic verse, 
 13 f., 333 ; irrational, 15 ff. ; Aeolic 19 ; ptrpov as a technical term, 848 
 
 Metrical Form: as a means of comic effect, 93, 94, 113 n., 129, 290, 301, 349 ff., 
 356, 374, 426, 428 f., 455, 564, 569, 585, 586, 591 f., 598 f. ; of other special 
 effect, 168, 173, 191, 192, 229, 245, 367 f., 455, 463, 526, 551 ff., 558 ff., 565, 
 566, 567 f., 671, 804 
 
 Metrical Scholia : pp. 397-421 
 
 Metrical Signs : of length of syllables, 3 ; of pauses, 33 
 
 fjjtrpov : 848 
 
 Mingling of Styles : 20, 30, 659, 662 f. 
 
 Mnesimachus : trochaic tetrameter, 259 ; anapaestic hypermeter, 332 
 
 fiovds: 728
 
 474 THE VERSE OF GREEK COMEDY 
 
 Monody: 59, 368 f., 590 S. 
 
 Monometer : anapaestic and dactylic, 276, 322 ff., 337, 613 ; iambic aiid trochaic 
 
 recognized by Heliodorus, 195, 269 ; ionic, 417 ; dochmiac, 464 ; colometrical 
 
 position uncertain, 838 
 Monostrophic : systematic periods, 694 ; dyads, triads, etc., 51, 701 ff. ; grouping 
 
 of intermediate periods, cf. 217, 452 ; of subordinate periods, 767 f. 
 
 Nicophon : anapaestic tetrameter, 320 
 
 Nicostratus : trochaic tetrameters, 259 
 
 Non-antistrophic : systematic periods, 694, 706 ff., 710 ff. 
 
 Non-melic : verse, 55 ff., 690, 692 ; systematic periods, 694, 706, 710 ff. 
 
 Octad : monostrophic, 51, 701 
 
 6/u.otaj : its colometrical use, 842 
 
 Origin : of the forms of Greek poetry, 600 ff., 664 
 
 Oxyrhynchus Papyri : quoted or cited, 3 n. 2, 34, 355 n., 780, 860 
 
 Paeon and Cretic:! 8, 9; their probable origin, 619 ff. ; the probable relation of 
 the cretic to the paeon, 620 ; resolution of the cretic, 436 ; paeon and cretic 
 in paeonic-trochaic verse, 223 ff. ; the ' cretic ' of Aristoxenus ( w w ), 
 355 n., 622 ; apparent cretic in other forms of verse, 72, 207, 223 ff. 
 
 Paeonic Verse : 430 ff. ; its name, 445 ; the dimeter, dlppvO^ov, 23, 430 f., 433 ; the 
 trimeter, rplppvdfj-ov, 23, 432 ff. ; the monometer, 434 ; the pentameter, 24, 
 435 ; the tetrameter in Heliodorus, 433 ; the colometrical position of cola, 
 840 ; paeonic verse in descending rhythm, 431, 621 ; paeonic catalexis, 33 f., 
 437 ; correspondence, 443 ; paeonic subordinate periods and hypermeters, 439 f. ; 
 frequency of the variable syllable and hiatus, 43 ; synaphea, 444 ; paeonic 
 combined with other rhythms, 212, 281, 442 ; the nature and use of paeonic 
 rhythm, 446. See Bacchius 
 
 Paeonic-trochaic Verse : see Trochaic Verse 
 
 irdXiv : as a colometrical term, 842 
 
 Palinodic : odes, 719 ; grouping of subordinate periods, 745 f. 
 
 Parabasis : 61, 665, 668 f., 687, 852 
 
 irapdypcHpos : 846 ff. ; diir\T), 847 ff. ; sporadic use, 854 ; airXij, 855 f. ; where 
 placed, 859 f. 
 
 jrapaKaTa\oy/i : 59 f. 
 
 rap^Kdeffis : 844 
 
 Parode : 61, 665, 674 ff., 687 
 
 Parody and Paratragedy : indicated by metrical form, 129, 281, 342, 511, 512, 519, 
 574; examples of parody, 93, 288, 349 ff., 374, 428 f., 493, 496, 497, 532, 569, 
 585, 586 ; of paratragedy, 94, 286, 287, 290, 465, 467, 468, 469, 470, 472, 473, 
 474, 564, 592, 598 f., 803. See Metrical Form 
 
 Paroemiac : see Anapaestic Verse 
 
 Pause : final, in catalectic cola, 33 f. ; in brachycatalectic, 35 ; in hypercatalectic, 
 36 ; due to the variable syllable or hiatus, 43 ; rhetorical, at the close of the 
 intermediate period, 45, 734 ; after the spoken trimeter and dactylic hexameter, 
 132. See Diaeresis, Caesura 
 
 Pentad : epodic, 716 ; pentadic grouping of subordinate periods and hypermeters, 
 740 f., 751 ff., 764 
 
 Pentameter : in iambic verse, 76 ; trochaic, 210 ; anapaestic, cf. 288, 291 ; dactylic, 
 cf. 345, 347 ; simplified logaoedic, cf. 409, 411, 412, 413 ; free ionic, cf. 429 ; 
 paeonic, 439 ; dochmiac, 464 ; Aeolic, 542
 
 GENERAL INDEX 475 
 
 Pentapody : 26, 35 ; in iambic verse, 68, cf. 393 ; trochaic, 203 ; anapaestic, 277 ; 
 dactylic, 338, cf. 396 ; logaoedic, 379, 381, 383, cf. 409, 411, 558, 592 
 
 Pentaseme : time, syllable, 3 ; foot, 8 
 
 Pentbemimer : see Hypercatalexis 
 
 TreptKoinfi, pericope : 52, 694, 705 ; pericopic grouping of intermediate periods, cf. 
 214, 232, 413 ; of subordinate periods and hypermeters, 722, 769 ff. ; dyadic, 
 769 f. ; triadic, 769, 771 ; tetradic and pentadic, 769, 772 ; musical effect of 
 pericopic grouping, 777 
 
 Period : subordinate, intermediate, systematic, 39, 45, 47, cf. 49 ; verse composed 
 xarii, veplodov, 689, 691, 695. Systematic Period: classification, 692 f., 694, 
 699 ; monostrophic grouping, 51, 700 ff. ; pericopic, 52, 705 ; non-antistropbic, 
 
 53, 706, 707 f., 57 f., 710 tf. ; triadic (epodic, proodic, mesodic) and tetradic, 
 
 54, 715 ff., 719, 740; correspondence of strophe and antistrophe, 51; their 
 semeiosis, 850 ff., 855 ; analysis of systematic periods, 720 ff. Subordinate 
 Period : defined, 39 ; limit of its length, 42 ; its relation to the hypermeter, 
 40 ; indications of its close, 43, 735 ; these sometimes lacking, 44, 775 f. ; 
 subordinate period and hypermeter the constituent elements of systematic and 
 intermediate periods, 45, 47 ; never end within a word, 44 ; the law which 
 governs their grouping, 722, 736 ; its proof, 723 ff. ; epodic type in triadic 
 grouping, 737 ; proodic, 738 ; mesodic, 739 ; the law governing the formation 
 of tetradic and pentadic groups, 741 ; epodic tetrads, 742 ff. ; ' periodic,' 745, 
 746 ( ' palinodic '), 747 f . ; proodic, 750; epodic pentads, 751, 756 f., 759 ff. ; 
 proodic, 752 ff. ; hexads, 755, 758 ; summary, 764 ; monostrophic grouping, 
 767 f. ; pericopic grouping, 769 tf. ; indivisible periods consisting of a single 
 period or hypermeter, 773 ; periods with refrain, 774 ; grouping by <rrlxoi, 
 50, 689, 778. Intermediate Period : defined, 45, 47, 728 ; its close, 45, 734 ; 
 grouped commonly after the pericopic type, as AB, cf. 85, 214, 221, 230, 239 f., 
 etc.; ABO, cf. 232, 235, 238, 411, etc.; ABCD, cf. 413 ; ABCDE, cf. 373 ; ABCDEF, 
 cf. 374 ; triadic, AAB, cf. 580 ; ABA, cf. 415 ; 'periodic,' AABC, cf. 429 ; mono- 
 strophic AA, cf. 217, 452. Heliodorus on the period, 49, 58, 647, 692 f., 695, 
 698, 700 f., 705, 717, 721, 723 ff., 728 ; Hephaestion, 688, 692 f., 696, 700 f., 
 714, 715, 719, 721, 740, 745 ; Dionysius and Planudes, 697. Musical signi- 
 ficance of correspondence of periods, 51, 730 f., 765, 777 
 
 Phalaecean : 518, 532 
 
 Pherecratean : 511, 547 
 
 Pherecrates : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic tetra- 
 meters, 320 ; dactylic hexameters, 366 ; prosoiliac-enoplic fragments, 487, 495 ; 
 Aeolic dimeters, 547, 549, 541 ; tetrameters, 529, 534, 536, 539, 554, 559, 569 
 
 Philemon : trochaic tetrameters, 259 
 
 Philetaerus : trochaic tetrameters, 259 
 
 Philonides : anapaestic tetrameters, 320 
 
 Philyllius : iambic tetrameters, 188 ; anapaestic tetrameters, 320 ; Aeolic dimeters, 
 552 
 
 Phrynichus : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic tetra- 
 meters, 320 ; ionic tetrameter, 423 ; paeonic fragment, 439 
 
 Pindar : his use of the resolved Glyconic, 512 ; structure of his odes, 688, 716, 728 ; 
 colometrical edition of his odes, 831 ; parodied, 426, 493, 585 ; quoted or cited 
 in illustration of prosodiac-enoplic verse, 482, 484, 486, 633, 635, 637, 639, 
 640, 644, 646, 648, 654, 814 f., 821 ff. 
 
 Planudes: 697 
 
 Plato : iambic tetrameters, 188 ; trochaic tetrameters, 259 ; anapaestic tetrameters, 
 320 ; dactylic hexameters, 356, 366 ; Eupolideans, 529
 
 476 THE VERSE OF GREEK COMEDY 
 
 Plutarch : 59, 398 n. 
 
 irviyos or paKpbv : 57, 321, 668 
 
 Poliochus : trochaic tetrameters, 259 
 
 Polyschematist : see Aeolic Verse 
 
 Polyzelus : iambic tetrameters, 188 
 
 TTotfs : see Foot 
 
 Priapean : 531 
 
 Primary : see Time 
 
 Proceleusmatic : occurs chiefly in anapaestic verse, 11, 271, 273, 282, 307, 330, 394 ; 
 rarely in dactylic, 11, 125, 334 
 
 Prologue : 61, 666, 684, 687 
 
 Proodic: grouping of systematic periods, 694, 717; triadic, tetradic, etc., 54, 740, 
 745 ; proodic grouping of subordinate periods and hypermeters, 736 ; triadic, 
 738 ; tetradic, 741, 745 ff., 750 ; pentadic, 752 ff. ; summary, 764 
 
 Prosodiac-enoplic Verse : 475 ff., 812 ff. ; the prosodiac and the enoplius, 475 ff. ; 
 the iambic and the trochaic dimeter, 478 ff. ; the six trimeters, 481 ff., 485, 
 636 ; iambelegus, 481 n. ; encomiologicum, 483 n. ; a prosodiac and an enoplic 
 tetrameter of fixed form, 486 ; the twelve constituent cola, 489, 819 ; prosodiac 
 cola in ascending, enoplic in descending rhythm, 475 ; catalexis in enoplic cola, 
 33, 477, 484, 486 f. ; in iambic and trochaic, 479, 485 ; hypercatalexis in 
 prosodiac cola, 476, 482 ; in iambic, 480 ; the nature of hypercatalexis, 488, 
 631, 638, 642 ; irrationality in iambic and trochaic cola, 478, 650 ; protraction, 
 480 ; variant forms of cola, 491, 818 ff. ; prosodiac and enoplic subordinate 
 periods, 489 ff. , 495 f. , 502 ; choerileum, 490 n. ; prosodiac and enoplic periods 
 combined with periods in other rhythms, 492 ; character of this verse, 650 ; 
 its origin and constitution, 503 ff., 630 ff., 633 ff., 643 ff., 647 f. ; other views, 
 812, 813 ff. 
 
 Trp6<r0efft.$ : 31 
 
 Protraction, rov-f) : 31 f., 34 ; in iambic verse, 72 ff., 614, 780 f. ; trochaic, 207 ff. ; 
 logaoedic, 379 f., 383 f., 393, 395; ionic, 424 ; prosodiac-enoplic, 480; Aeolic, 
 20, 516 f., 518 f., 572, 659 
 
 Quantity : 3 ; rules, 790 ff. 
 Quintilian : on the dochmius, 624 
 
 p : makes position, 796 
 
 Recitative : rendering, 59 ; iambic verse, 77, 168 ff., 186 f., 189, 191, 712, 804, 805 ; 
 trochaic, 211, 245 ff., 226, 806, 807, 260 ff., 267, 713, 808 ; anapaestic, 280, 
 282, 810, 305 ff., 321 ff., 711 ; dactylic, 341, 356 ff., 365 ; Aeolic, 527, 541, 805 
 
 Refrain: 774 
 
 Reizianum : colon, 570, 742 
 
 Resolution : 11, 17, 614 ; in iambic verse, 64 f., 67, 72 ; trochaic, 199 f., 202 f., 
 207 ; anapaestic, 11, 271 ; dactylic, 11, 334 ; logaoedic, 380, 384, 393, 395 ; 
 ionic, 436 ; dochmiac, 459, 626 ; prosodiac-enoplic, 478, 815 ; Aeolic, 20, 510, 
 512, 515, 517, 519, 529, 659 
 
 Rhythm : defiued, 1, 2 (xpfouv rdts) ; T& pv6/j.i&/j.eva, 1 n. 1 ; the rhythmical value 
 of the syllable in poetry, 3 ; of the foot, 5 ; all feet rhythmical, 6 ; their 
 rhythmical classification, 9, 19 ; the colon a larger rhythmical unit, 21 f. ; 
 rhythmical classification of cola, 23, 25 ; ascending and descending rhythm, 
 29 ; the former the rhythm of the primitive dimeter in Ionian verse, 603 ff. ; 
 development of descending rhythm, 608 ff. ; verse in ascending rhythm, iambic, 
 62, 79; anapaestic, 270, 284; logaoedic, 376, 378 f., 392, 401; minor ionic,
 
 GENERAL INDEX 477 
 
 416, 425 ; prosodiac, 475, 478, 481, 485, 486, 489, 631, 650 ; verse in descend- 
 ing rhythm, trochaic, 197, 213 ; dactylic, 333, 343 ; logaoedic, 377 f., 383, 
 392, 401 ; paeonic, 431, 446 ; bacchiac, 8, 447 ; enoplic, 475, 478, 483, 485 f, 
 489, 643, 650 ; the rhythm of Aeolic verse, 30 ; the satisfaction of the rhythm 
 by means of lengthening in protraction, 31 ; by means of a pause in catalexis 
 and acephalization, 33, 38 ; change of rhythm may indicate the close of a 
 subordinate period, 43, 735 ; the combination of cola in ascending and 
 descending rhythm in an iambo-trochaic systematic period, 367 ; in a simplified 
 logaoedic period, 404 ; in a prosodiac-enoplic period, 491 ; intentional disturb- 
 ance of the rhythm in prosodiac-enoplic verse, 491, 818 ff., 829 ; the choriamb 
 a similar manifestation in iambic and trochaic verse, 71, 206, 826 
 
 : 532 
 
 Sappho : quoted, 615, 617, cf. 617 n., 654 
 Scene : 61, 666, 679 ff., 687 
 Scholia in Aeschylum : on the dochmius, 624 
 Scholia in Aristophanem : metrical, pp. 397-421 ; general, on Av. 851 ff., 93 ; on 
 
 the trochaic tetrameter, 213 ; on Av. 209 ff., 285 ; on Ran. 1264 ff., 349 ; 
 
 on Thesm. 1015 ff., 374 ; on Fesp. 291 ff., 426 ; on the choerileum, 490 n. ; on 
 
 Eq. 1264 ff., 493 ; on Pax 775 ff., 497 ; on Aves 904 ff., 585 ; on Ban. 1309 ff., 
 
 586 ; on Ach. 1190 ff., 598 ; on Ran. 678, 709 
 Scholia in Hephaestionem : on the dactylic metre, 14 ; on the cretic ( w ^ ), 
 
 355 n. ; on the term 'logaoedic,' 375 n. ; on anaclasis, 419 ; on the prosodiac, 
 
 630 n. 2. See Choeroboscus 
 Scholia in Pindarum : 585 ; metrical, 648 
 Scolium, <ric6\iov : 532, 567, 775, 568, 618 
 Seikelos : 3 n. 2, 8 n., 781, 785 
 Semeiosis : 831, 846 ff. See Kopuvts, irapdypa<j>os 
 Shortening : quantitative, of long vowel or diphthong, 797 ff., 801 f. 
 Simonides : cribbed by Aristophanes, 451 
 Sophocles: metrical usages, 95 n., 96 n., 98 n., 108 n.; parodied, 496, 709 ; quoted 
 
 or cited, 654, 657, 659, 662, 716 ; his use of the spondaic Glyconic, 511 
 Spondee : 10 ; spondaic anapaest, 10, 271, 277, 311 ; spondaic dimeter in melic 
 
 anapaestic verse, 282 ; its effect in comedy, cf. 301, 455 ; its occurrence in 
 
 non-melic verse, 307, 330 ; spondaic dactyl, 10, 334, 358 f. ; in melic verse, 
 
 343, 394 ; ' spondaic ' protraction in iambic and trochaic verse, 74, 209 ; 
 
 spondaic Glyconic, 511 f. 
 Stasimon : 61, 666, 682, 687 
 Stesichorus : parodied, 497 
 ffrw/i : 8 n., 625, 781 
 ericas, ' line ' : 56 f. ; composition /caret ffrtxov, 688 ff. ; colometrical usage, 830 f. ; 
 
 indentation, 834 ff. ; spurious rrlxoi in the MSS., 195, 269, 322, 326 ; the 
 
 stichic period, 50, 778 
 
 Strattis : iambic tetrameters, 188 ; trochaic tetrameters, 259 
 Strophe and Antistrophe : 51. See Systematic Period under Period 
 Syllable : not in itself a proper measure of rhythm, 3 ; metrical signs of its regulated 
 
 length, 3 ; the element of the foot, 5 ; irrational, 15 f. ; never resolved, 17 ; 
 
 variable (syllaba anceps), 43, 735 ; quantity of syllables in comedy, 790 ff. 
 Symmachus : 832 
 Synaphea : 44 
 
 ffuff-ni/M : in Hephaestion, 696 
 Syzygy, <rvvyla. : in the sense of dipody, 12 ; tiripprifMTiirti avfvyla. of the parabasis,
 
 478 THE VERSE OF GREEK COMEDY 
 
 668, 852 ; as name of a main division of comedy, 61, 666, 677 f., 687. For a 
 special use of the term by Heliodorus, see p. 399 
 
 Teleclides : trochaic tetrameters, 259 ; anapaestic tetrameters, 320 ; dactylic 
 hexameter, 366 
 
 Telesilla : quoted, 573 
 
 Tempo : 4 
 
 Tetrad : monostrophic, 51, 701 ; tetradic grouping of mixed systematic periods, 
 719, 740 ; of intermediate periods, cf. 429 ; of subordinate periods and hyper- 
 meters, 741 ff., 764 
 
 Tetrameter : as a melic period, in iambic verse, 76 ; trochaic, 210 ; anapaestic, 
 279 ; dactylic, cf. 344, 347 ; logaoedic, cf. 387 ; simplified logaoedic, cf. 406, 
 408, 409, etc. ; ionic, 423 ; paeonic, 439 ; dochmiac, 464 ; prosodiac-enoplic, 
 489 ; Aeolic, 542, 527 if. For non-melic tetrameters, see Iambic Verse, Trochaic 
 Verse, Anapaestic Verse, Aeolic Verse 
 
 Tetraseme : time, syllable, 3, 31 ; foot, 8 
 
 Theophilus : trochaic tetrameters, 259 
 
 Theopompeum : 439 
 
 Theopompus: iambic tetrameters, 188 ; dactylic hexameters, 366 ; Theopompeum, 439 
 
 Thesis, 0<?(ns : defined, 7 ; of simple feet, 8, 9, 10 ; its relative length, 8, 29 f. ; 
 prefers the long syllable, 8 ; indicated by ffny^, 8 n. ; not stressed in Greek, 
 28 ; how affected by protraction, 31 ; rarely shortened, 27, 75, 227 f., 620 ; of 
 the metre, 12 ; of the compound foot, 21 ff. ; its stability, 27 f., 388, 391, 603. 
 See Resolution 
 
 Time, XP& VO * : primary, 2 ; diseme, triseme, tetraseme, pentaseme, 3 ; in the sense 
 of tempo, 4 ; of an irrational syllable, 15 f.; in paeonic-trochaic verse, 224 f., 
 228 f., 620 ; logaoedic, 388 ff. ; simplified logaoedic, 400 ; x/xfros Kevin, 31 f., 
 33 f., 38 ; xp6vos 7ro5i/c6s, 5 (= syllable), 29 ( = arsis, thesis) 
 
 Timocles : trochaic tetrameters, 259 
 
 rofj.^ : see Caesura 
 
 rovfi : see Protraction 
 
 Triad : monostrophic, 51, 701 ; monostrophic grouping of three subordinate periods, 
 768 ; triadic grouping of mixed systematic periods, 715 ff., 740 ; of intermediate 
 periods, cf. 580, 415 ; of subordinate periods and hypermeters, 737 ff. , 764 
 
 Tribrach: defined, 11; in iambic verse, 64, 100 ff., 150 ff., 170, 175, 185 f., 193; 
 trochaic, 199, 248, 257 f., 262, 268 ; logaoedic, 380, 384, 393, 395 ; prosodiac- 
 enoplic, 478, 815 ; Aeolic, 20, 510, 512, 515, 517, 519 
 
 Triclinius: 833 
 
 Trimeter : a diplasic colon, 21 f., 23, 25 ; primitive, 600 ; its development in Ionian 
 verse, 611 ff. ; in Aeolic, 654 ff. : melic trimeter of iambic verse, 67, 76, 126 f., 
 186 f. ; trochaic, 202, 210 ; dactylic, 340 ; logaoedic, 379 f., 383 f., 389, 393, 
 394, 395, 396 ; ionic, 417 ; paeonic, 432 f. ; dochmiac, 464 ; prosodiac-enoplic, 
 481 ff., 489, 636 ; Aeolic, 518 f., 654 ff. ; used in stichic periods, 50, 778 ; non- 
 melic as constituent of the hypermeter, 57, 190 ff., 267 ff. ; spurious in the 
 MSS., 322. For the spoken trimeter, see Iambic Verse 
 
 Trio : lyrical, 59 ; examples, 86, 287, 500 
 
 Tripody : 26, 35 ; not in iambic verse, 68, cf. 393 ; nor in trochaic, 203, cf. 395 ; 
 in anapaestic, 277 ; dactylic, 338 
 
 Triseme : time, syllable, 3, 31 ; foot, 8 
 
 Trochaic Metre : 12 f. ; irrational, 15 ff., 198 ; resolved, 200 ; protracted, 32, 207 ff. ; 
 arsis shortened, 223 ff., 227 ff., 620 f. 
 
 Trochaic Verse: 197 ff.; the dimeter, 23, 197 ff, 210 ; the trimeter, 23, 202, 210 ;
 
 GENERAL INDEX 479 
 
 the tripody (Ithyphallic) and pentapody merely apparent, 26, 203, 209, 395 ; 
 the penthemimer, 36 f., 203 ; the trochaic element in simplified logaoedic 
 verse, 395; in enoplic verse, 645 f., 650; all trochaic verse in descending 
 rhythm, 197 ; trochaic catalexis, 33, 201 f. ; correspondence, 204 ; logaoedic 
 metres, 205 ; choriamb, 206 ; trochaic subordinate periods and hypermeters, 
 210 ; the melic tetrameter, 256 ff. ; paeonic-trochaic verse, 223 ff. ; trochaic 
 combined with other rhythms, 212, 442 ; nature and use of trochaic rhythm, 
 213; its origin, 608 ff., 613 f. Non-melic trochaic verse, 55 ff., 211, 226, 
 690, 244 ff. ; the tetrameter, 244 ff., 260 ff., 806 ; diaeresis and caesura, 253 ff., 
 266 ; its character, 246, 259 ; used (caret ortxo", 690 ; colometrical position, 
 835 ; comic fragments, 259 ; the hypermeter, 211, 267, 713, 808, 836 
 Trochee: 8, 9; resolved, 11, 199 
 
 Verse: fundamental principles, 1 ff. ; its source a primitive dimeter and trimeter, 
 600 ff., 611 f. ; their development by Ionian bards, 603 ff., 613 ff. ; iambic, 
 62 ff., 605 f., 613 f. ; trochaic, 197 ff., 608 ff., 613 f. ; anapaestic, 270 ff., 605, 
 607, 613 f. ; dactylic, 333 ff., 608 ff., 613 f. ; logaoedic, 375 ff., 604, 608 ff., 
 613 f.; ionic, 416 ff., 615 ff.; paeonic, 430 ff., 619 ff.; dochmiac, 458 ff., 623 ff; 
 prosodiac-enoplic, 475 ff., 630 ff. ; development of the primitive cola in Aeolis, 
 651 ff. ; Aeolic verse, 506 ff. ; melic verse (chiefly periodic), 691 ; non-melic 
 (chiefly stichic), 55 ff., 690; ffrlxoi, 'verses,' as distinguished from melic 
 periods, 56 ; the non-raelic hypermeter, 57 ; modes of rendering, 59 f., 803 ff. ; 
 spoken verse, 77, 95 ff., 126 ff, 144 ff, 186 f., 803. See tfXos, Melodramatic, 
 Recitative 
 
 Versus Archilochius : 398, 405 
 
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