GREEK AND ROMAN METRES THE METRES GREEKS AND ROMANS A MANUAL FOR SCHOOLS AND PRIVATE STUDY. TRANSLATED FROM THE GERMAN OF EDWARD MUNK. BV CHARLES BECK AND C. C. FELTON, PROFESSORS IN HARVARD UNIVERSITY. BOSTON: JAMES MUNROE AND COMPANY 1844. Entered according to Act of Congress, in the year 1844, by JAMES MUNROE fc CO. in the Clerk's Office of the District Court of Massachusetts. AN DOVER: ALLEN) MORRILL AND PRINTERS. PREFACE. THE Translators of the following work have long felt the necessity of a treatise on the Greek and Roman Metres, as a general book of reference, to accompany the text books used in colleges in teaching the ancient languages. No manual suited to supply the deficiency has appeared in English. The great work of Hermann has been abridged and translated by Seager ; but the distinguished German is so much attached to certain philosophical views of Kant, on which his theory of metre is founded, that great as are the merits of the Elementa in a scientific point of view, it is not found to answer very well the purpose of a practical manual. The treatise of Dr. Munk has been most favorably received wherever it is known ; his theory of metre is essentially the same as that which Bb'ckh unfolded in his essay " de Metris Pindari," which, says the author of the present work, "recommends itself not only by the historical grounds on which it is constructed, but also by its truth and intelligibleness." The work of Dr. Murik, here presented in English, it is be- lieved, will be found to contain a very accurate and thorough account of the metrical systems of the Greeks and Romans ; and as complete an elucidation of all the details of those sys- tems, as can now be given. The introduction condenses in- to a few pages the facts in the historical development of the ancient metres which are elsewhere scattered over many vol- umes. The theory of metre is not dwelt upon at too great length, but is handled with a due regard to the amount of A* ^50383 VI PREFACE. knowledge actually existing. The impossibility of establishing the precise mode in which the ancients applied their metrical principles, in several cases, such, for example, as the method by which the Greeks reconciled the metrical with the rhetori- cal accent, in reading or delivering verse, is duly acknowledged. The subject, it is believed, is laid out and discussed with scien- tific precision; the divisions are clear and obvious, and the proportions just. Every point is sufficiently illustrated by ex- amples, taken mostly from the purest Greek and Latin writers. The translators have had a difficulty in determining the proper technical terms in some instances; the subject has been so imperfectly handled in English, that the metrical nomenclature was not fully adequate to the exigencies of the case. Very few new terms, however, have been coined, and those the classical reader will at once comprehend from their etymology. The references of the author to the Greek and Latin poets, have been retained. In the citations from the Greek drama- tists, Dindorf's Poetae Scenici Graeci (Lips. 1830) has been used by him; in those from Pindar, Dissen's edition (Goth, et Erf. 1830). For the convenience of reference, an Index has been added by the translators. Cambridge, Mass., August, 1844. CONTENTS. INTRODUCTION. DEFINITION, DIVISION, UTILITY, HISTORY AND LITERATURE OF THE METRICAL SCIENCE . . Page 1 PART I. THE DOCTRINE OF RHYTHM. CHAPTER I. Definition of Rhythm. Arsis. Thesis . . 8 CHAPTER II. Definition of Metre. Long. Short ... 9 CHAPTER III. Union of Rhythm and Metre. Kinds of Rhythms 11 CHAPTER IV. Irrationality, Middle Time . . . .17 CHAPTER V. Movement. Resolution of Longs. Contraction of Shorts 20 CHAPTER VI . The Mode in which the Ancients adapted Rhythm and Metre to Words 21 CHAPTER VII. Series. Stop. Pause. Acatalexis. Catalex- is. Syllaba anceps .25 CHAPTER VIII. Combination of Series. Definition of Verse. Hiatus 28 CHAPTER IX. Of the Combination of Series and Verses into greater rhythmical Masses ....... 33 CHAPTER X. Of the Substitution of one Rhythm for another . 36 CHAPTER XI. Caesura. Diaeresis . . . . . .38 PART II. THE APPLICATION OF THE LAWS OF RHYTHM TO POETRY BY THE GREEKS AND ROMANS. Introduction. Brief Survey of the History of Greek and Roman Poetry with particular reference to the Metrical Form . 42 Vlll CONTENTS. SECTION I. SIMPLE RHYTHMS. CHAPTER I. Rhythms the Fundamental Foot of which is triple-timed. The double or Trochaic-iambic Class . . 59 A. Falling, Trochaic Rhythms 59 1. The Monopody. Monopodia trochaica . . . .61 2. The Dipody. Dipodia trochaica 64 a. The Monometer. Monometer trochaicus . . .64 b. The Dimeter. Dimeter trochaicus . . . .65 c. The Trimeter. Trimeter trochaicus . . . .67 d. The Tetrameter. Tetrameter trochaicus . . .68 e. The Pentameter. Pentameter trochaicus . . .69 3. The Tripody. Tripodia trochaica 69 4. The Tetrapody. Tetrapodia trochaica . . . .71 5. The Pentapody. Pentapodia trochaica . . . .72 6. The Hexapody. Hexapodia trochaica . . . .72 B. Rising, Iambic Rhythms 73 1. The Monopody. Monopodia iambica . . . .74 2. The Dipody. Dipodia iambica . . . .75 a. The Monometer. Monometer iambicus . . .75 b. The Dimeter. Dimeter iambicus . . . .75 c. The Trimeter. Trimeter iambicus . . . .76 d. The Tetrameter. Tetrameter iambicus . . .77 3. The Tripody. Tripodia iambica ..... 78 4. The Tetrapody. Tetrapodia iambica . . . .79 5. The Pentapody. Pentapodia iambica . . . .80 6. The Hexapody. Hexapodia iambica . . . .80 CHAPTER II. Rhythms the Ground Foot of which is four- timed. The equal or Dactylic-anapaestic kind . . .81 A. Falling, Dactylic Rhythms 81 a. Rational Dactyls ........ 81 1. The Monopody, or the Monometer . . . .83 2. The Dipody, or the Dimeter 83 3. The Tripody, or the Trimeter 84 4. The Tetrapody, or the Tetrameter .... 86 5. The Pentapody, or the Pentameter . . . .86 6. The Hexapody, or the Hexameter . . . .87 b. Irrational Dactyls. Logaoedic Series . . . .88 CONTENTS. IX Aeolian Verses. 1. Trimeter acat 89 2. Trimeter cat. in disyll 89 3. Tetrameter acat 89 4. Tetrameter cat. in disyll 89 5. Pentameter cat. in disyll .89 Logaoedic Dactyls. 1. Logaoedic Dactyls with a simple dactyl . . .90 a. Dactylicus simplex simplic. trochaicus ... 90 b. Dactylicus simplex duplic. trochaicus ... 90 c. Dactylicus simplex triplic. trochaicus ... 93 d. Dactylicus simplex quadruplic. trochaicus . . 95 2. Logaoedic Series with a double dactyl ... 95 a. Dactylicus duplex simplic. trochaicus . . .95 b. Dactylicus duplex duplic. trochaicus . . . 95 c. Dactylicus duplex triplic. trochaicus . . . % d. Dactylicus duplex quadruplic. trochaicus . . 96 3. Logaoedic Series with a triple dactyl 97 a. Dactylicus triplex simplic. trochaicus ... 97 b. Dactylicus triplex duplic. trochaicus ... 97 4. Logaoedic Series with a quadruple dactyl . . .97 B. Rising, Anapaestic Rhythms ... . .98 a. Rational Anapaests 98 1. The Monopody. Monopodia anapaestica ... 99 2. The Dipody. Dipodia anapaestica . . .99 a. The Monomeler. Monometer anapaesticus . . 99 b. The Dimeter. Dimeter anapaesticus . . . 100 c. The Trimeter. Trimeter anapaesticus . . . 101 d. The Tetrameter. Tetrameter anapaesticus . . 101 3. The Tripody. Tripodia anapaestica .... 101 4. The Tetrapody. Tetrapodia anapaestica . . . 101 5. The Pentapody. Pentapodia anapaestica . . . 102 G. The Hexapody. Hexapodia anapaestica . . . 102 b. Irrational Anapaests. Logaoedic Series . . . 102 Cyclic Anapaests ...... 102 Logaoedic Anapaests . . . . . . .103 1. Logaoedic Series with a simple anapaest . . . 104 a. Anapaesticus simplex simplic. iarnbicus . . . 104 b. Anapaesticus simplex duplic. iambicus . . . 104 c. Anapaesticus simplex triplic iambicus . . . 104 d. Anapaesticus simplex quadruplic. iambicus . . 105 X CONTENTS. 2. Logaoedic Series with double anapaest , . .105 a. Anapaesticus duplex simplic. iambicus . . . 105 b. Anapaesticus duplex duplic. iambicus . . . 105 c. Anapaesticus duplex triplic. iambicus . . . 106 d. Anapaesticus duplex quadruple, iambicus . . 106 3. Logaoedic Series with triple anapaest . . . 106 a. Anapaesticus triplex simplic. iambicus . . . 106 b. Anapaesticus triplex duplic. iambicus . . . 107 4. Logaoedic Series with quadruple anapaest . . 107 a. Anapaesticus quadruplex simplic. iambicus . . 107 b. Anapaesticus quadruplex duplic. iambicus . . 107 CHAPTER III. Rhythms whose Ground Foot is five-timed. The one and a half or Paeonic kind 108 A. Falling, Cretic Rhythms 108 a. Cretics with rational thesis 108 1. The Monopody, or the Monometer .... 109 2. The Dipody, or the Dimeter Ill 3. The Tripody, or the Trimeter 133 4. The Tetrapody, or the Tetrameter .... 114 5. The Pentapody, or the Pentameter .... 115 6. The Hexapody, or the Hexameter . . . .115 b. Cretics with the irrational thesis. Dochmius . .116 B. Bacchic Rhythms 125 1. The Dipody, or the Dimeter 127 2. The Tetrapody, or the Tetrameter . . . .128 CHAPTER IV. Rhythms the Ground Foot of which is six- timed. The Choriambic- ionic kind 129 A. Falling Rhythms 129 a. Choriambs 129 1. The Monopody, or the Monometer . . . . J31 2. The Dipody, or the Dimeter 141 3. The Tripody, or the Trimeter 143 4. The Tetrapody, or the Tetrameter .... 145 5. The Pentapody, or the Pentameter . . . .145 6. The Hexapody, or the Hexameter . . . .146 b. lonici a majore . . . , . . . .146 1. The Dipody, or the Dimeter 147 2. The Tripody, or the Trimeter 147 3. The Tetrapody, or the Tetrameter .... 148 CONTENTS. XI B. Rising Rhythms. lonici a minore 148 1. The Monopody, or the Monometer .... 149 2. The Dipody, or the Dimeter 150 3. The Tripody, or the Trimeter 151 4. The Tetrapody, or the Tetrameter . . . .152 SECTION II. THE COMBINATION Or SIMPLE RHYTHMS IN LONGER RHYTHMICAL PORTIONS. CHAPTER I. Composition by the line; Stichic Composition 153 i. Stichic Verses of the Trochaic-iambic kind . . . 154 A. Trochaic Verses . . 154 1. Dimet. troch. with a dimet. cret 154 2. Dimet. troch. with an ithyphallic .... 154 3. Tetram. troch. acat. Versus octonarius . . . 155 4. Tetram. troch. cat. Versus septenarius or quadratus 156 5. Tetram. troch. claudus, or Hipponacteus, or quadratus seazon 159 6. Pentam. troch. cat., vntQ^er^ov 159 7. Two Ithyphallics 159 8. Versus Saturnius 159 B. Iambic Rhythms . 161 1. Dimet. acat 161 2. Dimet. acat. with an ithyphallic . . . . 162 3. Dimet. acat. with a tetrapod. troch. cat. . . . 162 4. Trimet. acat 162 a. The Trimeter of the lambographers . . . 167 b. The Trimeter of the Greek dramatists . . .167 a. The tragic trimeter 167 P. The satyric trimeter ...... 171 y. The comic trimeter 171 d. The trimeter of the Roman dramatists . . 173 5. The lame Trimeter. Trimeter claudus, seazon, Hip- ponacteus, Choliambus, Mimiambus . . . 175 6. Tetrameter acatalectus. Versus Boiscius . . . 176 7. Tetrameter catalecticus. Versus septenarius . . 177 8. Tetrapodia catalectica 180 9. Two tetrapodiae catalecticae 181 Xll CONTENTS. II. Verses of the Dactylic-anapaestic kind, used by the line 181 A. Dactylic Verses 181 a. Rational Dactyls ....... 181 1. Dimeter cat. in disyll. Versus Adonius . . 181 2. Metrum Encomiologicum 182 3. Metrum prosodiacum 182 4. Metrum Choerileurn ...... 183 5. Tetr. cat. in disyll 183 6. Tetr. cat. in disyll. with an ithyphallic . . . 183 7. Versus heroicus 183 8. Hexameter /neiovQO? 195 b. Aeolic and logaoedic verses 196 1. Trim. cat. in disyll 397 2. Trim, acat 197 3. Tetratn. cat. in disyll 197 4. Tetram. acat 197 5. Pentam. cat. in disyll. "Enog Aiohxov . . . 198 6. Phalaeceus hcndecasyllabus 198 7. Dactyl, log. simpl. duplic. troch. cat. with a basis, and the same acat. with a cretic .... 199 B. Anapaestic Verses 200 a. Rational Anapaests ....... 200 1. Dimet. cat. in syll. Paroemiacus .... 200 2. Trim. cat. in syll. *E(J,{iaTijQioVf Messenicum . . 200 3. Tetram. cat. in syll. Versus Laconicus. Versus Aristophaneus ....... 201 4. Tetram. acat 203 b. Irrational, logaoedic Anapaests . . . . . 204 Versus Archebuleus 204 III. Verses of the one and a half kind, used by the line . 204 A. Cretic Rhythms 204 1. Tetram. acat 204 2. Tetram. cat 206 B. Bacchic Rhythms 206 Tetram. acat 206 IV. Verses of the Choriambic-ioriic kind, used by the line . 207 A. Choriambic Rhythms 207 a. Choriambic series without the anacrusis and basis, with logaoedic terminations 207 1. Trim, choriamb. ....... 207 2. Tetram. choriamb. . . 207 CONTENTS. Xlll 3. Pentam. choriamb. .>> "f. . ' ; . -. . 207 b. Choriambic series with the anacrusis and logaoedic ter- minations 208 1. Monomet. choriamb 208; 2. Diuiet. choriamb 208' 3. Trim, choriamb. . . . v . .; .*:.,- . 208 c. Choriambic series with the basis and logaoedic termi- nations . . '., . . ; .* . 208> 1. Monom. choriamb. Sapphicum enneasyllabum . 208i 2. Dimet. choriamb. Asclepiadeum I. ,i. ,ii ; . 208; 3. Trimet. choriamb. . . j - ' -.. ... > 4 '-< '.','. . 209 4. Trimet. choriamb. Asclepiadeum II. . . . ; .1' . 209 5. Trimet. choriamb. . . ... V . . . .; . 210 6. Tetram. choriamb. . . . " . - ;. '. . *. 210 Choriambic verses erroneously called polyschematisfc . 210 1. Epionicum polyschematistum . .?.' ' ., - ; - . 210 2. Metrum Eupolideum . ^ -.1 ?.-.'-' ff,-v;. . . 211 3. Metrum Cratineum . . . - . . . 211 4. Choriambicum polyschematistmm ..-,.. . 212 5. Versus Priapeus . . . . . . . 212 B. lonici a majore ........ 214 1. Trim. cat. in trisyll. Versus Cleomacheus . . 214 2. Tetram. cat. in disy 11. Versus Sotadeus . . v / . 214 C. lonici a minore . . . . . . A .. . 216 1. Dimet. acat. Versus Anacreonteus . v - : . . 216 2. Dimet. cat. . . " .-; . :. .' . n .., ^ .' ;. 219 3. Trimet. acat ; .- v . . 219 4. Trimet. cat ' .. , *, '- . . 220 5. Tetram. cat. Galliarnbus . . -. . .; .- '.' . 220 CHAPTER II. Distich Composition 222 I. Of the double kind . . ./ . > .V. r ., r > > S 23 A. Trochaic Rhythms .. ,.. ., .: . . ; , /; . . 223 1. Trochaicum. Metrum Hipponacteum . -, v. . 223 B. Iambic Rhythms . . . . \ ,.. ,.,,..,,, S 23 1. Trim. iamb, acat; ithy phallic . . . ._,; .; , .; y-, 1 ,, .. 223 2. lambicum senarium quaternarium . , . ,. , . 224 3. Trim. iamb. acat. ; trim. dact. cat. in syll. . . 225 4. Trim. iamb, acat.; trim. dact. cat. in syll. with dim. iamb. acat. Archilochium tertium % . \ K . ,. 225 5. Trim. iamb, acat.; dact. log. dupl. duplic. troch. acat. 226 B. XIV CONTENTS. 6. Trim. iamb. acat. ; versus Phalaeceus . . . 226 7. Trim. iamb, claudus ; dim. iamb. acat. . . . 227 Tetram. troch. cat. ; Adonius with the anacrusis . 227 Trim. iamb. acat. ; Adonius with the anacrusis . . 227 II. Of the equal kind . . . .... .228 Dactylic Rhythms 228 1. Hex. her. 2. Hex. her. mum dim. iamb. acat. Pythiambicum primum trim. dact. cat. in syll; Archilochium pri- 228 228 3. Hex. her. Arch dim. iamb. acat. and trim. dact. cat. in syll. lochium secundum 229 4. Hex. her. 5. Hex. her. 6. Hex. her. 7. Hex. her. trim. iamb. acat. Pythiambicum secundum tetram. dact. cat. in disyll. Alcmanium . pentam. elegiac. Distichon elegiacum . hex. tifiovoos 229 230 230 233 8. Tetram. dact. acat. and ithyphallic; monom. troch. with the anacrusis and ithyphallic. Archilochium quartum . . 233 9. Tetram. dact. acat. and ithyphallic ; monom. troch. with the anacrusis and dact. log. dupl. duplic. troch. acat 234 10. Tetram. dact. acat. and ithyphallic ; Versus Phalaeceus 235 11. Versus Phalaeceus ; tetram. dact. acat. and ithyphallic 235 12. Two ithyphallics with an anacrusis; tetram. dact. acat. and ithyphallic 235 13. Dact. log. simpl. duplic. troch. acat. ; monom. troch. acat. ; a choriamb, and a dact. log. simpl. duplic. troch. acat. Sapphicum majus .... 236 14. Dact. log. simpl. triplic. troch. cat. and dact. eimpl. duplic. troch. cat. ; dact. log. simpl. triplic. troch. cat. and dact. dupl. duplic. troch. cat. . . . 236 III. Of the Choriambic-ionic kind 237 1. Asclepiadeum secundum 237 2. Glyconic ; trimet. choriamb, with basis and logaoed. termination 238 Composition xard r^lartyov 238 Polymetric Rhythms 239 CHAPTER III. Systematic Composition 240 I. Systems of the double kind 241 A. Trochaic Systems 241 CONTENTS. XV B. Iambic Systems 243 II. Systems of the equal kind 244 A. Dactylic Systems 244 a. Systems of the lyric poets 244 b. Systems of the dramatists ...... 245 B. Anapaestic Systems 246 Strict Systems 246 Freer Systems 250 III. Systems of the Paeonian kind 253 A. Cretic Systems 253 B. Dochmiac Systems . 255 C. Bacchic Systems 257 IV. Systems of the Choriambic-ionic kind .... 257 A. Choriambic Systems . 257 B. Glyconic Systems 258 a. Pure Glyconic Systems . . . . ' . . 258 b. Polyschematist Glyconic Systems . _ ; -V, _''' . . 263 C. Ionic Systems 267 a. Pure Ionic Systems .... ' . - ''. . 267 b. Polyschematist Ionic Systems . . . . . 268 CHAPTER IV. Strophic Composition 270 I. Strophes of the double kind .; \.\* < r \.- \\ . 271 A. Trochaic Strophes . , ;,. ' ... . .271 1. Dim. acat. 3 t.; dim. cat 271 2. Dim. acat. 5 t. ; dim. cat. ...... 271 B. Iambic Strophes 272 II. Strophes of the equal kind ... . 274 Dactylic Strophes ........ 274 1. Strophe Sapphica 274 2. Dact. log. simpl. triplic. troch. cat. ; dact. log. simpl. duplic. troch. acat.; dact. log. dupl. duplic. troch. cat. ; dact. log. simpl. triplic. troch. cat. . . 279 3. Strophe Alcaica . . . . '. .. .... . . 279 4. Phalaecean verse. Anap. log. simpl. simplic. iamb. acat. and a choriamb ; 2 dact. log. simpl. duplic. troch. cat 282 5. Dact. log. dupl. duplic. troch. acat. with a basis; dact. log. dupl. duplic. troch. acat. with a basis ; dact. log. dupl. duplic. troch. acat.; anap. log. simpl. triplic. iamb. acat. 284 III. Strophes of the Choriambic-ionic kind .... 234 XVI CONTENTS. A. Choriambic Strophes . . . ?: ....'< *; ~ ; . . 284 1. Asclepiadeum tertium . . :_ ---. ."' '-. . - ' . . 284 2. Asclepiadeum quartum . . . . ' * , . 285 B. Ionic Strophes . .;>: '..* ; ,^ , i; ' ?-." ; '..> . . 286 CHAPTER V. Choral Composition . 'i VtV\'-A, ::.*/ 288 A. Antistrophic Composition ' . ' ; ' . . t ;..-x ''*,,"'' . 288 I. Antistrophic Songs of the Dorian lyric poets . . . 299 Alcman . . ..>... . . 4 , , , r v' t ,-- .: 299 Stesichorus / . . . . ,.-"*, ','-* 'r > 300 Pindar ,... V '. ''^ .'-.*." . 300 Dorian Strophes ; f.^...^, . 300 Aeolian Strophes ; . '' . . :\.. .', .'^. s '. 305 Lydian Strophes , ; . . "^ >../..- ''.. '*.'. /.;- .^f . 310 II. Antistrophic Songs of the dramatists . y '. V ' r *. > 't ^^ I. Trochaic-iambic Choral Songs . ,, ' V . 314 a. Strophes of a trochaic principal rhythm .. . , . 314 b. Strophes of an iambic principal rhythm .x- ^ T - . 316 II. Dactylic-anapaestic Choral Songs - ? ..- '-4 '^' 320 a. Strophes of a dactylic principal rhythm f..'v,^v! ' 320 a. Rational Dactyls . . .... 320 p. Logaoedic Dactyls . '. ;, v y"; . ; ' . 320 b. Strophes of an anapaestic principal rhythm . . 322 III. Cretic Choral Songs . . . . ,v . 323 Dochmii . . . ' ' . '*', * ' ', '^ 324 IV. Choriambic-ionic Choral Songs . . ^ :* " . 325 a. Strophes of a choriambic principal rhythm . . 325 Gly conies ; ^ '" ; '"- 326 Original Form . . . r ?t'v^y'.-r 326 Polyschematist Form . .' \ .-' ; * : - - ' c "' . 327 b. Strophes of an ionic principal rhythm . % '-; i ' ; . 329 Monodies ; N . ';>* . . . r ' ; *. ) " 333 Kofifioi and xofiftctTixd . . . ,- : \i - 333 Parabasis ."",-''. . ' l .'.' . ^ . 336 B. Free Choral Songs . \v ^ K^ v i v*.,/;-).^ ;Vi . 333 INDEX 343 INTRODUCTION. DEFINITION, DIVISION, UTILITY, HISTORY AND- LITERATURE OF THE METRICAL SCIENCE. EVERY work of art contains a subject and a form. The idea constitutes the subject ; the form is the manner in which the idea is revealed to the senses. The material is the substance perceptible by the senses by means of which the artist embodies the idea. A material is to be apprehended with reference either to space or to time, That which receives a form in space is called figure ; that which receives it in time is called rhythm. Although a material as such has by nature a form, yet this form is in most cases of no use for the purpose of the artist, and has, therefore, to be modified by him according to his purpose. He converts the natural into an artistic form. The chief quality of every work of art being beauty, the ar- tistic figure as well as the artistic rhythm must be beautiful. In this case we say the artistic figure has symmetry, and the artistic rhythm has eurhythmy. The transformation of the rough material, therefore, into an artistic form takes place according to certain general and necessary laws, all of which must be derived from the idea of beauty. In a poetical work of art the substance is the poetical idea, but the/brm in which the poetical idea is embodied, the par- ticular kind of poetic composition. The material is the lan- guage, and its form the rhythm, because the perception of language falls in time. The rhythm adapted according to art to the words, is called metre. The metrical science there- fore, is the doctrine of artistic rhythm and of its application to poetry. The metrical science accordingly consists of two parts, a general which treats of the idea and laws of rhythm, and a 1 2 INTRODUCTION. particular which contains the application which the Greeks and Romans, with whose metrical art we have here to do, made of these laws. The study of the metrical art of the ancients has a two-fold value. 1. An aesthetic both for the poet who is to derive from the contemplation of the finished form of classical poems the same benefit that the plastic artist derives from the contem- plation of ancient works of art, and for the reader of Greek and Roman poets who wishes to understand and judge them correctly with reference also to metrical form. This study has, 2, an historical value to the antiquarian, since the me- trical art as a production of antiquity bears on itself the pe- culiar stamp of its origin. To this is to be added, that a knowledge of the metres is of essential service to the critic, in settling the text of ancient poets. Rhythm as a part of music was first treated scientifically by the Pythagoreans. We possess single notices only and fragments of their doctrine in the writings of Plato and Aris- totle. Most important are the fragments of the Elements of Harmony and Rhythm by Aristoxcnus the Tarentine, (in Meibom. antiquae musicae auctores VII. Tom. I, and in Aristidis Orat. adv. Leptin. ed. Jac. Morellius Venet. 1785). Various information is found also in Meibom's Antiquae mu- sicae auctores septem, Amstel. 1(552. 2 Tomi 4 ; in Aristi- des Quintilianus de musica (Meibom. a. m. auct. Tom. II.) in Cicero (Orat. c. 50 sqq.), in Quintilian (Instit. orat. IX. 4), in Dionysius of Italic arnassus (de compositione verbo- rum), in Plutarch (de musica), in Augustinus (de musica), Martianus Capella, and others. It was not until the Alexandrine age that the metrical sci- ence seems to have been treated of separately from music. The grammarians confined themselves generally to a careful observance of the poetical usage. Aristophanes of Byzan- tium, who was the first to divide the lyric poets into xco^. and introduce broken lines, Apollonins o sldoyQacpog, and others deserve credit for their metrical labors. The metrical ma- nual of Jfephaestion (fftyaiGTiwvos tyxeiQi'diov TIZQI (AZTQKIV y,al nonjpdzwv ed. I. C. de Pauw Traj. ad Rhen. 1726, 4 ; ed. Thorn. Gaisford Oxon. 1810, 8 ; Lips. 1882, 8.), LonginuJs Prolegomena to the manual of Hcpharstion (Hephaest. ed. Gaisford, p. 137, ed. Lips. p. 140), and Draco's work on me- tres (Draconis Stratonicei de rnetris poet, et I. Tzetzae Exeg. in Homer. Iliad, pr. ed. God. Hermann Lips. 1812, 8), belong INTRODUCTION. to a later age. The metrical writings of Manuel Mosc liopu- lus (Opuscula grammat. Mobchopuli ed. F. N. Titze Prag. 1822, 8), of Tricha, Elias Charax and Hcrodianus (Appen- dix ad Dracon. Strat. libr. de metr. : compl. Trichae, Eliae Mon. et Herodiani tract, de metris graece ex codd. Mscr. ed. Fr. de Furia Lips. 1814, 8), are unimportant. Finally the metrical Scholiasts are to be mentioned, and among them especially Demetrius Triclinius. Among the Romans, also, the grammarians occupied them- selves much with metrical science. We still possess a poem of Tercntius Maurus on prosody and metre (in Putsch Gram- matt, vett. Lat. p. 2383 sqq. ; Terent. Mauri de litteris, syl- labis, pedibus et metris ex recensione et cum notis Laur. San- tenii absolvit D. I. v. Lennep, Traj. ad Rhen. 1825, 4). Be- sides him are to be mentioned Servius Maurus Honoratus (Centimetrum in Putsch, p. 1815 sqq. ed. L. v. Santen Lugd. Bat. 1788, 8 ; ed. F. N. Klein, Conrl. 1824, 4), Flavins Mal- lins Theodoras (de metris, emend. I. F. Heusinger, Guelferb. 1755, 4, auct. Lugd. Bat. 1766, 8), Marius Ptotius (de me- tris liber in Putsch, p. 2623, sqq.), Atilius Fortunatianus (de metris Horatianis in Putsch, p. 2671, sqq.), Maximus Victorinus (libelli tres de re gramrnatica, de carmine heroico et de ratione metrorum in Lindern. Corp. Grammat. Lat. p. 267, sqq.), Marius Victorinus (in Putsch, p. 245, sqq.), Di- umedes (in Putsch, p. 270, sqq.) and others. Richard Bentley was the first of modern philologists to make investigations of his own concerning the metrical art of the ancients, particularly in his Schediasma de metris Teren- tianis (Terentii Comoedia rec. R. Bentley, 1726, 4, Lips. 1791, 8, likewise in Plauti Rudens ed. Fr, Vol. Reiz, Lips. 1789, 8), and applied them with great success in criticism. Fr. Woifg. Reiz followed him as regards the metres of the Romans. The labors of Benjamin Heath, Rich. Brunck and particularly Rich. Parson (especially in the preface to his second edition of his Hecuba of Euripides, Lond. 1797, Lips. 1824, 8), concerning the metres of the Greek tragedi- ans, are meritorious. Corn, de Pauw and Thorn. Gaisford, also, in their editions of Hephaestion, have done something for metrical science. Gottfried Hermann was the first to bring forward a scien- tific theory of metres, founded upon Kant's doctrine of the Categories (de metris Graecorum et Romanorum poetarum, Lips. 1796; Handbuch der Metrik, Manual of metrical sci- 4 INTRODUCTION. ence, Leips. 1799 ; Elementa doctrinae metricae, Lips. 1816; Epitome doctrinae metricae, Lips. 1818. Numerous obser- vations are scattered in his editions of Greek and Roman po- ets, and in his other philological writings. Concerning the theory of Hermann compare Apel's Metrik, part I. 44 52, C. Freese, de Hermanni metrica ratione, Hal. 1829). J. H. Voss,in his work: Zeitmessung der deutschen Sprache, Me- trical system of the German language, Koenigsb. 1802, ad- vanced a different theory. He reduces the doctrine of rhythm to the doctrine of time in modern music. Aug. Apcl in his Metrik, Leipz. 1814, 2 vol. 8, and Aug. Bocckh, in his disser- tation : On the metres of Pindar, Berl. 1809, adopted the theory of Voss. The latter however, formed afterwards a theory of his own, founded upon the ancient musicians and philosophers, in his dissertation : de metris Pindari in Tom. I. Pars II. of his edition of Pindar : Pindari opera quae su- persunt recens. A. Boeckhius, Lips. 1811 1822, 2 Vol. in 3 Part. Besides these many others have written partly on rhythmi- cal and metrical science in general, as Cleaver: de rhythmo Graecorum, Oxon. 1789, L. I. Docring : Entwurf der reinen Rhythmik, Plan of a pure rhythmical science, Meissen, 1807, G. F. Mueller : Ueber den Rhythmus, on rhythm, Coeln, 1810, W. Lange, Fundamental-Metrik, Fundamental Metri- cal Science, 1819, 8, K. Besseldt : Beitraege zur Prosodie und Metrik der deutschen und griechischen Sprache, Contri- butions to the prosody and metrical science of the German and Greek languages, Halle, 1813, F. A. Gotthuld : An- fangsgruende der griechischen, roemischen und deutschen Verskunst, Elements of the metrical art of the Greek, Latin, and German languages, Koenigsb. 1820 ; partly on single branches of the science, as A, Seidler : de versibus dochmia- cis tragicorum Graec. Lips. 1811, 1812, 2 torn., Karl Lack- mann : de choricis systematis tragicorum Graec. libr. IV. Be- rol. 1819, Franz Spitzner : de versu Graecorum heroico. Accedit dissertatio de media syllaba pentametri Graeci ele- giaci auct. FT. Traug. Friedmann, Lips. 1816, 8, C. Bur- ney : Tentamen de metris ab Aeschylo in choricis cantibus adhibitis, Cantabr. 1810, 8. Besides the above named works, much is to be found part- ly in separate dissertations, partly in the different editions of Greek and Roman poets. A collection of the most common rhythms and metres is contained in E. Munk's Tabular view INTRODUCTION. 5 of the Metres of the Greeks and Romans, Glogau and Lissa, 1828. F. Lindemann : Uebungsbuch zur Fertigung grie- chischer Verse, Book of exercises for making Greek verses, Dresd. 1825, and F. T. Fricdmann : Anleitung zur Kentniss und Verfertigung lateinischer Verse, Guide to the knowledge and making of Latin verses, 3d ed. Braunschw. 1832, are deserving of recommendation for writing Greek and Latin verses. PART I. THE DOCTRINE OF RHYTHM CHAPTER I. Definition of Rfmjthm. Arsis. Thesis. RHYTHM, (numerus) as the artistic form of the material considered with respect to time, is perceptible either in the movement of the body in the dance, or in musical tone in mu- sic, or in the articulate sound of speech in poetry. It presents itself to us in a succession of small portions or divisions of time, which must be so constituted that they may be appre- hended by the ear. If they follow too rapidly, they run to- gether, and the sense cannot adequately distinguish them from each other ; if they follow too slowly, they escape the percep- tion, because a division of time, the beginning and end of which we cannot seize, is the same as infinite to the hearing. Time, and portions of it appreciable by the senses, are con- ditions of every Rhythm, even that of nature, as we hear it, for example, in the rolling of the thunder, or the murmuring of the brook, or the whispering of the leaves. The rhythm of art must manifest itself as a whole as the definite form of a definite substance ; not only its parts must be limited but it must itself have a beginning and an end. Beginning and end, here, also, must not follow too closely upon each other, nor stand too wide apart ; in the former case, the rhythm as a whole would not satisfy the ear ; in the latter the hearing would not be able to grasp the rhythm as a whole. A rhythm of art, moreover, as the form of the material whereby a poeti- cal work of art is presented to the senses, must be beautiful, that is, various in its parts, but in such a manner that this variety of the parts may be formed into a unity, a whole. Without variety of the parts the rhythm would be monoto- nous, and therefore not beautiful : without unity of the parts, RHYTHM. ARSIS, THESIS. it would be an aggregate of parts, each of which would be a whole by itself. Therefore rhythm in general is a succession of portions of time perceptible to the senses ; the rhythm of art, is a beauti- ful whole, consisting of portions of time, variously following each other, perceptible to the senses, to be apprehended by the hearing. In order to produce a rhythm, there must exist a force which divides the uninterrupted flow of time into portions of time. This force may operate sometimes more strongly, at other times more weakly. The stronger operation of force is called the ictus or beat, and the portion of time which is pro- duced by such an operation offeree is called arsis; the por- tion of time on the other hand, which is the product of the weaker operation of force, is the thesis. The sign of the arsis is ' ; the thesis is not marked. By the constant interchange of arsis and thesis, variety of rhythm is produced. If thesis follows upon thesis, or arsis upon arsis, the variety of the rhythm is interrupted, and instead of eurhythmy, arrhythmy is produced. Arrhythmy also the poet may frequently employ with propriety, as the musician uses discords. The succes- sion of arses and arses, or theses and theses, is often only apparent. A rhythm which begins with the arsis, and descends to the thesis, is called falling or sinking ; that which begins with the thesis and ascends to the arsis, is called rising. The former is calmer and more relaxed; the latter, livelier and more forcible. A thesis with which a rhythm begins is called anacrusis or an upward beat. Arsis and thesis stand in a mutual relation to each other, since the one determines the other. This mutual relation renders it possible to comprehend the various parts as a whole. That is, the arsis must stand to the thesis in a defi- nite and appreciable relation ; and this relation in Greek rhythms is either equal, 1:1; or two to one, 2:1, or one and a half to one, 1: 1, 3:2. The mutual relation of arsis and thesis extends not only to the simplest component parts of the rhythm but also to all combinations. Thus arises a whole system of relations, which are subordinate to each other. It is not always necessary that the relation of arsis and thesis of the simple component parts, should be similar to the relations of the combinations; METRE. LONG, SHORT. but with regard to the ascending and de&cending, the latter conform themselves to the former. Where this does not take place, there occurs an arrhythmy. CHAPTER II. Definition of Metre. Long, Short. THE expression of force which, by its stronger or weaker intensity, produces arsis or thesis, and separates the single portions of time from one another and thereby defines them, determines by its extension the duration also of the portions of time, and gives them thereby their measure, [ASTQOV, me- trum. In metre, a long- signifies that portion of time which, by that expression of force, is extended longer than another which is called a short, in the same manner as in rhythm arsis signifies that portion of time on which there is a great- er stress than another which is called thesis. The sign for a long is , for a short w . As we found rhythm to be a definite succession of arses and theses, so metre is a definite succession of longs and shorts. Different metres may be adapted to a particular rhythm : and, the reverse, different rhythms to a particular metre : The constituent parts of the metre, the long and short, stand in a relation to each other, similar to that of arsis and thesis in rhythm ; the one is measured by the other. If we set down the short, being the smallest measure of time (%QOTO$, aijfjiEiov, mora) = 1, the long is = 2. Both measures, long and short, may be variously combin- ed, whence metres arise. The simplest combinations of both measures are called feet (nodeg, pedes). The following are the names of the most common feet : 1. Feet of two times, dfygovoi, diGtffWi* * ~ Pyrrhichius, Pyrrhich. * The names of the feet are thus explained : Pyrrhich, from TTVOQI- yr], a war-dance : Tribrach, from TQi'jl()a%vSj three shorts ; Trochee, 10 METRE. - LONG, SHORT. 2. Feet of three times, rQifyovot; tgfaqpoi. v ~ ~ Tribrachys, Tribrach. -- Trochaeus, Trochee. ~ Iambus, Iamb. 3. Feet of four times, TSTQa%Qoroi, w v, ^ w Proceleusmaticus, Proceleusmatic. Dactylus, Dactyl. ~ Amphibrachys, A mphybrach. ^ w Anapaestus, Anapaest. -- Spondeus, Spondee. 4. Feet of five times, n^vrdy^ovoi, fiEvrda^fioi,. - - Bacchius. - ~ - Amphirnacer. - - Palim-bacchius, or Anti-bacchius. _ ~ First Paeon. - - - - Second Paeon. - - - - Third Paeon. v. v, ~ _ Fourth Paeon. 5. Feet of six times, 8%d%Qovoi., gjatr^oe. -- Sinking lonicus, (lonicus a majore). w w -- Rising lonicus, (lonicus a minore). ~ Choriambus. w -- ~ Antispastus, Antispast. - - - Ditrochaeus, Ditrochee. - - Diiambus, Diiamb. - Molossus. 6. Feet of seven times, sTtra^Qov - --- First Epitritus, Epitrite. - - Second Epitritus. from TQO^CUOCJ running 1 , swift ; Iambus, perhaps from idrrro), to assail or satirize, being used originally in satire ; Proceleusmatic, from TTQO- xthvo{ia.Tiy.6?, urging or^ cheering on ; Dactylc, from SaxrvhoS, rin- ger ; Amphibrach, from o.(Ufi^a.yv9 t short at both ends ; Anapaest, from dvdnaiGTO?, struck back, that is contrary to the dactyle ; Spon- dee, from onovSttosy used on solemn occasions, tv TOUS onov^al? ; Bacchius, from Ray.yeio?, used in Dithyrambic hymns in the festivals of Bacchus ; PalimliacxJdus or Antibacchius, Bacchius reversed ; Amphimaccr, from ajLKpi'fiaxQOSj long at both ends ; Paeon, from 710.1- ojVj a song of praise or triumph ; Ionic, from liavtxo?, Ionian, being used especially by the lonians ; Choriam.bvs, composed of a choree (trochee) and an iambus ; rfntispast, from avTioTraoToc, drawn con- trary ; Molossus, from Mohoooo?, a Molossian ; Epitrit, from fVt- TQITO?) three long syllables, and one short in addition, UTTI', Doch- mius, from 6yjuog, oblique. TRS. KINDS OF RHYTHMS. 11 - Third Epitritus. Fourth Epitritus. 7. Feet of eight times, 6xrd%Qovoi, - Dochmius. Dispondeus, Dispondee. These feet might also be arranged according to the num- ber of syllables, into feet of two, three, four, etc. syllables. All these feet are a definite system of times, in which the rhythm is undetermined. CHAPTER III. Union of Rhythm and Metre. Kinds of Rhythms. IN Rhythm we have a mutual relation of arsis and thesis, and in metre a similar one of long and short. If we would bring rhythm and metre into harmony, the equality of the two relations will be a principal requisite. The rhythmical relation of equality, 1 : 1, 2 : 2, 4 : 4 per- mits the substitution of the following metrical forms : 11 22 22 2244 Falling Rhythms. / ~ Pyrrhich. Spondee. w Proceleusmatic. / - ~ Dactyle. Rising Rhythms. / w w Pyrrich. / Spondee. - ~ Proceleusmatic. / * w - Anapaest. Spondeus major. J (?) Spondeus major. This substitution forms the equal kind, ywos "aov, genus par. It is called also the Dactylic, because the Dactyle be- longs here as the principal foot. The character of the equal kind is uniformity, repose and dignity. The relation of thesis and arsis may also be that of the dou- 12 KINDS OF RHYTHMS. ble : 1 : 2, 2 : 4, 4 : 8. Corresponding to this is the relation of the double in metre : 112 1 2 4 8 2 1 2 1 8 Falling Rhythms. Rising Rhythms. * * Tribrachys ab arsi - vw Tribrachys a thesi. / / - Trochee - Iamb. / / Trochee semantus. Orthius. This substitution gives the double kind, ylvos dinhaGtov, genus duplex, or the Iambic. f\ / In the rising rhythm *-, the first portion of time is in thesi, the other two are in arsi. The two portions of time of the arsis, considered by themselves, have again a relation of intensity, and indeed that of equality, because the relation of extension also is that of equality, and because the principal relation of the whole rhythm is rising, this subordinate one is also rising. The arsis falls therefore on the second portion of time in the second principal division : t. a. t. a. W I ^ V, Of these three portions of time, accordingly, the third will have the greatest intensity, because a part of the ictus of the chief arsis, and a subordinate arsis are united in it. By this strong intension of one portion of time the equilibrium be- tween arsis and thesis, towards which every rhythm tends, is to a certain extent restored, for what is wanting to this divi- sion in extension, is made up, though not completely, by in- tensity. At the same time a gradual ascent from the weaker to the stronger ~ ~ ~ is hereby effected ; the first division of time is, both in reference to the whole rhythm, and in refe- rence to the second division in thesi ; the second division of time is stronger, because in relation to the first it is in arsi, but the third is the strongest, in relation to which the second stands in thesi. In a similar manner, in the falling rhythm, the first part KINDS OF RHYTHMS. 13 will have the strongest intension, because in it a part of the principal arsis is united with the subordinate. a. t. a. t. /// and here also there is an effort after equality, and a gradual sinking from the stronger to the weaker. In the reading of such rhythms this must be carefully observed. For example, if homine stands for an iambus, it is an error to raise the se- cond syllable by the strongest ictus, a3 is commonly done ; the first syllable, on the contrary, receives the least stress, the second somewhat more, the third the most, and the reverse, where homine stands for a trochee. The inequality of the times, and the arsis with the greater stress, give to the double kind, the character of animation and mobility. From the equal and double kinds, two different species have again been composed, in which either the double is adopted as the leading relation of intensity and extension, and the equal, as the subordinate ; or the equal as the leading re- lation, and the double as the subordinate. To the first species belong the Ionic Rhythms. Falling Rhythms. Rising Rhythms. a:4 == t:2 = a:2 Io' nicus a majore. nicus a mmore. To the second the choriambic and antispastic : Falling Rhythms. Rising Rhythms. a: 3 = t:3 t:3 = a:3 a:2 = t:l lt:l = a: Chori- = a:2 a:2 = Anti- ambus, spastus. In the Ionic a majore the spondee is in arsi, the pyrrhich in thesi. In the spondee, the first long is in arsi, the se- cond in thesi, and in the pyrrhic the first short in arsi, the second in thesi ; consequently the first long of the Ionic, has the strongest intension : * . In the ionic a minore the 2 14 KINDS OF RHYTHMS. relation is the reverse. In order to restore the rhythmical equipoise, in the ionic a majore, the first, in the ionic a mi- nore the second long, have to supply by their intension an extension of two shorts; but since this is not possible, both rhythms are deficient in rhythmical completeness. Also, the choriamb and the antispast, are arrhythmic, be- cause the subordinate relations are opposed to the princi- pal relations : yet, in the antispast there is effected a forcible arrhythmy by the concurrence of two arses, which is often very well applied. No verses however have been composed of the antispast, but it has only been used singly, and the cho- riamb is frequently dactylic, and then entirely rhythmical. A third kind of rhythms is produced by the relation of one and a half to one between the arsis and thesis : 1 : 1, 3: 2. 3 2 Falling Rhythms. a : 3 = t : 2 33 323 Rising Rhythms. t:2 = a:3 a: ?r t ; 1 a:l=t:l Creticus w ow Creticus a:3 = a majore. = t:2 ~ a minore. t:2 = a:3 t:l=a:2 all=:t:l Bac- chius. 7:1=1:1 aT2^t:l - Palim- bacchius. This kind is called the three half, j'tVo? TjfAiohov, genus ses- quialterum, or paeonic. In the falling cretic, the first arsis, in the rising, which cannot be found, the second arsis, has the strongest intensity. The rhythmical equipoise is restored by the iambic intension of the first long, which makes up for the one short, which is wanting to the extension. The middle syllable is in thesi, with respect to the first long ; the second long is in thesi with respect to the trochee, but in arsi with respect to the short. The ictus of this long bears the same relation to that of the first, as the dactylic to the trochaic. On account of the inequality of the times and the falling and rising of the rhythm, the cretic is of a light and lively charac- ter. The bacchius is arrhythmic on account of the opposition of the rising and falling in the principal and subordinate re- KINDS OF RHYTHMS. 15 lations. It is therefore not used, except in a few passages of the tragedians. The elder Roman dramatists used it more frequently. The palirnbacchius is equally arrhythmic, and occurs neither in the Greek nor Roman poets. Besides these three kinds of rhythms, there is still another, but which was early rejected by the ancients, namely, the ywo$ sniTQWOVj or genus sesquitertium, or the epitrite kind in which the relation of intension and extension was 1J : 1, 4 : 3, 8 : 6. 343 4 3 443 4 3 4 3 " ww wvww , > * j > > Falling Rhythms. Rising Rhythms. a:4 = t: 3 t:3 = = a : 4 ^~2^7-~2 / zr2- ~~j tTLrra:^ tT2=r ^ a:2 -- - Epitritus w w^ w o. Epitritus IV. I. a:4 = t: 3 t:3 r = a : 4 t:2=a:2 t:l=a:2 a:2=t:.l / A > a : 2=t : 2 wv wv - - Epitritus - V, - - - Epitritus III. II. In poetry this kind is no more to be found. We may also divide the different rhythms according to the number of times, of which its fundamental foot consists. I. Rhythms whose fundamental foot consists of three times. a) falling, trochaic ; b) rising, iambic. II. Rhythms whose fundamental foot consists of four times; a) falling, dactylic ; b) rising, anapaestic. III. Rhythms whose fundamental foot consists of five times; a) falling, cretic bacchiac. IV. Rhythms whose fundamental foot consists of six times : a) falling choriambic, ionici a majore ; b) rising, ionici a minore. A foot in which a rhythm is established, is called a metre. A series of equal metres is called a simple rhythmical se- ries (ordo rhythmicus simplex). The metres also stand in the relation of arsis and thesis. In the double kind, two feet (Si7Toia,Gvt,vyia') always form a metre. The reason of this lies in the tendency towards the 16 KINDS OF RHYTHMS. relation of equality. There is produced by this an equal principal relation of arsis and thesis. a:3:=t:3 t : 3 = a : 3 In the trochaic dipody, the first arsis will have in relation to the second a stronger intensity, because a part of the prin- cipal arsis is united in it with a subordinate one. For the same reason, in the iambic dipody the second arsis has the stronger intensity. This must be carefully observed in read- ing such series. According to the analogy of the equal kind, two anapaests may also be united in a metre or a dipody. In all the other measures, each foot forms a metre by itself. A rhythmical series may consist either of one metre, a mo- nometer ; of two metres, a dimeter ; of three, a trimeter ; of four, a tetrameter ; of five, a pentameter ; of six, a hexameter. Longer rhythmical series do not occur. Trochees, iambs, and anapaests are not to be always mea- sured according to dipodies, or metres. The feet are often arranged singly. A series of one foot is called a monopody ; of two feet, a dipody ; of three, a tripody ; of four, a tetrapo- dy ; of five, a pentapody ; of six, a hexapody. The iambic, trochaic, and anapaestic tetrapodies and hex- apodies, are distinguished from dimeters and trimeters by the beat. _'^_-_-_- Tetrap. troch. -_'-_-_-_ Tetrap. iamb. J~_~|_'-_- Dimet. troch. - _' - _ | - _' - _ Dimet. iamb. _'v_~_~_~_-_- Hex. troch. ------------ Hex. iamb. _'-_- |_'._- | _'-_-Tri. troch. -_'--|--'-_ --'--Tri.iarn. If we assume the short at beat, the iambic and trochaic tetrapody is J /, the trochaic and iambic dimeter = f beat, the trochaic and iambic hexapody = */, the trochaic and iambic trimeter f beat. Likewise the trochaic pentameter and hexameter have f beat ; the trochaic and iambic tripody |- ; the pentapody ^ beat. If also we assume in the dactylic kind, the short at J beat, then the dactyle and anapaest, as metre, correspond to our 2 beat ; the anapaestic dipody, to our |- beat. The cretic is similar to our f beat; the ionic and choriambic rhythms, to the J beat. IRRATIONALITY, MIDDLE TIME. 17 CHAPTER IV. Irrationality, Middle Time. A relation which is measurable by the unit, is a rational one (i)i]Tov). But there is also an irrational (a'koyov) rela- tion which cannot be measured by the unit. The irrational time in rhythm stands between the arsis and thesis, in metre between the long and the short. If we set down the thesis = 1, the arsis = 2, the irrational time is = 1|. In like manner in metre, where the short is = 1, the long = 2, the middle time is = Is. The middle time, when standing for the short of the thesis, is marked ~ . Irrationality takes place in the double kind in the thesis, in the equal in the arsis. Thus from a trochee -' * a %OQ8io$ so called, - arises, and by the solution of the /~ / arsis w - the trochoidic anapaest ; and from an iamb the / iJG * , and by the solution of the long of the ars i s - - the iamboidic dactyl. In all these feet the arsis has two times, and the thesis one and a half. In consequence of the increased extension of the thesis and the diminished intensity of the arsis, the irrational trochee and iamb approach the anapaestic and dactylic rhythm. If in the dactyl and anapaest the arsis is shortened by a !J A A 1 * half time, * w , w -- , we obtain what is called the light or irrational dactyl and anapaest. What the arsis has lost by extension, is to be made up by an increased intensity, in order to restore the equilibrium between arsis and thesis. Thus the rhythm of irrational dactyles and anapaests ap- proaches the trochaic and iambic rhythm. With regard to the application of irrational feet, the follow- ing is to be observed. The last foot of a trochaic andtliejirst of an iambic series may become irrational. The middle time, therefore, can take place in a trochaic dipody only in the second foot, and in an iambic in the first : 2* 18 IRRATIONALITY, MIDDLE TIME. In the first trochaic dipody the first foot is in arsi, the se- cond in thesi. The arsis of the first foot receives from the principal arsis a part of its force, and is, therefore, stronger than the arsis of the second foot. This intensity would be impaired, if the thesis were increased by the irrational mea- sure ; but it is heightened when the second arsis is weakened by the increase of its thesis. In the iambic dipody the se- cond iamb is in arsi, and its arsis has, therefore, the strong- est intensity, which would be weakened by strengthening its thesis ; it is increased by the arsis of the first iamb being thrown into the back ground by the increase of its thesis. Hence follows the law that in trochaic series, which are to be measured by dipodies, the middle time occurs in the even places (in sedibus paribus : 2, 4, 6, 8), in iambic series in the odd places (in sedibus imparibus : 1, 3, 5, 7). In the trochaic tripody : the first two feet are in arsi, the third in thesi. The first foot has the strongest arsis, the second a weaker one, because with reference to the first it is in thesi, and the third the weak- est, with reference to which the second is in arsi, and in or- der to mark this weaker arsis the middle time may be ad- mitted in the thesis. The same is the case in trochaic series, to be measured by feet, which consist of more than three feet. In the iambic tripody : the first foot is in thesi with reference to the following two ; hence it requires the feeblest arsis, and its thesis may, there- fore, admit the middle time. The second foot is with refe- rence to the first in arsi, and its arsis is, therefore, not to be weakened, and still less the arsis of the third foot, with refe- rence to which the second is in thesi. In a similar manner in longer iambic series, which are to be measured by feet, the middle time is admissible in the first foot only. IRRATIONALITY, MIDDLE TIME. 19 The irrational time, unless it be admitted at the commence- ment or end of a series only, enables us to distinguish the rhythms composed by dipodies or metres from those compos- ed of feet. On the other hand we cannot infer from the ab- sence of the irrational time that the rhythm should be mea- sured by feet and not by dipodies. w_w_w_wi sa trochaic dimeter ; - ~ * " may be a dimeter as well as a tetrapo- dy ; some other criteria are to be found in order to decide for the one or the other. For the poet may, according to his pleasure, admit or not admit the irrational time. By the ad- mission of the middle time, trochaic and iambic series be- come slower. The dramatic poets of the Romans, previous to Augustus, admitted the middle time in every foot of iambic and trochaic series, with this exception, that they preserved pure the last thesis of every series, after which one more arsis followed. The iambic anacrusis of one syllable may, according to the analogy of the iambic thesis, become irrational : and equally so the monosyllabic concluding thesis of each series, according to the analogy of the last short of a trochaic series : It is also, with certain limitations, allowed to put in tro- chaic series in all places, the irrational dactyl for the trochee, and in iambic series, the irrational anapaest for the iamb. Irrational dactyles are distinguished from rational by a quicker movement, similar to trochees. They unite readily with trochees, and are then called logaoedic dactyls. The two shorts of an irrational dactyl are but rarely contracted. The irrational light or cyclic anapaests resemble, by their quicker movement the iambs, with which they are therefore frequently united, and are called logaoedic anapaests. The shorts of such anapaests are never contracted. There is a singular license which sometimes occurs in the final dactyl of a dactylic series, a long being used in the place of the second short -v-v"--v_ww i That such a time cannot be irrational is apparent from the following remarks : 20 MOVEMENT, RESOLUTION, CONTRACTION. 1) according to what has been said above, irrationality in dactyls takes place in the arsis only ; 2) by the same right, the first short of the first anapaest in anapaestic series, which are inverted dactylic series, and according to the same analo- gy the first short of the anacrusis of two times might be irra- tional, which, however, is not the case ; 3) as in iambic and trochaic series the irrational time may occur at the com- mencement or end of each dipody, so the same ought to take place in dactylic series at the end of each foot, which like- wise is not the case. We see, therefore, that the admission of the long in the final dactyl is nothing but a license, which as such requires no explanation ; moreover it is not very fre- quent. CHAPTER V. Movement, Resolution of Longs, Contraction of Shorts. BY movement (aywyri, duct us) we understand the absolute duration which is given to the parts of time. Rhythmical series can be delivered in different movements. The con- tents determine the delivery. Indications of the movement lie partly in the rhythm, partly in the metre. In general the equal kind requires a slower, the double a quicker movement. Series which are to be measured by dipodics should be deliv- ered more slowly than those measured by feet. In metre resolved longs indicate greater quickness ; con- tracted shorts a slower movement. With regard to resolution and contraction the following rules are to be observed : Every long- of two times can be re- solved into two shorts An irrational long, therefore, of one short and an half is incapable of resolution. The older Ro- man poets make an exception in this respect, by sometimes resolving even an irrational long. In the dactyl the long is not resolved, with the exception, in lyric poets, of a few proper names. The dignity and com- posure of the dactyl would suffer by the rapidity of four / n I ~ shorts, - - - - or the violence of an anapaestic form, * ~ - . For the same reason in anapaests of certain kinds the long of the ADAPTATION OF RHYTHM AND METRE. 21 arsis is not resolved ; the dramatic poets, however, allow f\ / n / themselves the resolutions, - v w , In a similar manner the cretic receives by means of the /r\ resolution of the first long, a more lively impulse w w ^- (Pae- on quartus), by the resolution of the second arsis a comic fall - w (Paeon primus), and by the resolution of both, the high- est degree of rapidity, ---. So in other rhythms. The contraction of two shorts into one long is allowed only when the shorts belong to one relation of intensity and exten- sion, because otherwise the rhythm would be destroyed, it being impossible to mark in one and the same syllable the end of one and the commencement of another relation. Thus it is allowed to contract a t at at into - , but not into - ; in the same manner, a t a t into w , but not into v - ; and t a t into v -' , but not into - w . CHAPTER VI. The mode in which the Ancients adapted Rhythm and Metre to THE words are the material of the poetic work of art, in which rhythm, as the form, is to become perceptible. With the exception of some small words, which in the connection 22 ADAPTATION OF RHYTHM AND METRE. of speech are either subordinate as an anacrusis to a follow- ing arsis (atona), or follow as a thesis a preceding arsis, (en- cliticae), every word has its own natural rhythm which is made known by its accentuation. That is to say, the ac- cented syllable stands in arsi, the toneless in thesi. Each syllable, also, of a word, has its definite metre, its quantity, which depends sometimes on the vowel and sometimes on the consonant that follows the vowel. The doctrine of word- rhythm, or the doctrine of accents, and the doctrine of word- metre or the doctrine of quantity or prosody, is presumed to be known from the grammar. The word-rhythm, being the metrical rhythm, is given to the poet with the word itself. The rhythm of verse or the rhythm of art, he forms for himself, and adapts the words to it. Now either the verse-rhythm may be brought into har- mony with the word-rhythm, so that an arsis of the verse- rhythm falls upon the arsis of the word-rhythm, that is on an accented syllable, and thesis in like manner upon thesis, or both rhythms go along independently beside each other. The former, as the more natural and easy, is found in the rhyth- mical compositions of almost all nations of modern times. This harmony of both rhythmical systems is even necessary in languages, where, as in German and English, the quantity of syllables for the most part depends on the accent. A more artistical management of the verse-rhythm, induced the Greeks to neglect the coincidence of the two systems. The mode in which the Greeks adapt the words to the verse- rhythm, is as follows. The natural rhythm of the words they leave entirely out of view ; on the other hand, the relation of extension in the word-rhythm they bring into harmony with the relation of extension in the verse-rhythm. Where the metre requires a long, they place a long syllable, or accord- ing to preceding conditions, two shorts ; where a short, a short syllable. Two shorts can, in the cases above specified, be represented by a long syllable. A middle time of an irra- tional trochee or iamb, may be marked by a long or short syllable at pleasure ; a middle time of an irrational dactyl or anapaest, only by a long syllable. The poets, especially the Epic, allowed themselves many licenses in prosody ; particularly proper names, and those words for which others could not be substituted, must have made claim to a greater indulgence. (Comp. Matthiae's Gr. Gr. 711). ADAPTATION OF RHYTHM AND METRE. 23 The word-accent is not destroyed by the accent of the verse-rhythm. But the mode by which the Greeks rendered the former audible along with the latter we cannot settle with certainty. In the Latin language, the verse-rhythm depended origi- nally upon the word-rhythm. The Romans afterwards adopt- ed the doctrine of quantity from the Greeks, and so gave to their language the power of departing from the word-accent in versification. But they could not wholly withdraw them- selves from the dominion of accent until the Augustan age. In the earlier poets, especially in Plautus and Terence, the influence of accent is not to be mistaken. Of the skill with which individual poets availed themselves of rhythm for poetical delineations, examples will be given in the second part. It was not however rhythm only which served this purpose, but the element of melody in speech, the sound of single tones, syllables and words. Under this head we reckon alliteration, annomination, rhyme and assonance. Used moderately and without forcing, these are often of no small effect ; for example, when Homer paints the rending of the sails by the tempest, Odyss. IX. 71. re xa rerQa%a iG%i6ev i$ or Lucretius the sound of drums, cymbals and horns, II. 619. Tympana tenta tenant palmeis et cymbala circum Concava, raucisonoque minantur cornua cantu ; and in like manner Virgil, the braying of trumpets, Aen. IX. 503. At tuba terribilem sonitum procul acre canoro ; or Ovid the croaking of the frogs, Met. VI. 376. Quamvis sint sub aqua, sub aqua maledicere tentant. Plautus is especially fond of alliteration and annomination. In Ennius, this poetical painting sometimes degenerated into conceit; e. g. At Tite, tute, Tati, tibi tanta, tyranne, tulisti. Multarura veterum legum divumque hominumque. The ancients were not acquainted with the use of rhyme and assonance, as we find them in modern poets. Where 24 ADAPTATION OF RHYTHM AND METRE. rhymed verses or hemistichs are found, the rhyme for the most part is accidental ; e. g. Aesch. Pr. 866, 867. GVVSVVOV, ' Svoiv ds &dteQov Hor. Ep. I. 12, 25. Ne tamen ignores, quo sit Romana loco res. But perhaps Virg. EC. VIII. 80, is not wholly without design; Limus ut hie durescit, et haec ut cera liquescit, and the well known lines, quoted in the Life of Virgil ; Hos ego versiculos feci, tulit alter honores. Sic vos non vobis fertis aratra boves. Sic vos non vobis vellera fertis oves. Sic vos non vobis nidificatis aves. Sic vos non vobis niellificatis apes. The accumulation of words of like termination has often a decided effect, as Horn. II. XXIII. 116. UoAAa 5' dvavra, xatavTa, TiaQavra ts, do%[Ma T ififtov. Such verbal rhymes frequently produce a comic effect ; e. g. Aristoph. Nub. 709 sqq. g x rov OVtZS 01 rag Kal ify Kal tovg oQ%ig Q Kai rov TtQwxrov diOQv Kal IJL Pax. 339 sqq. Kcu flours y.ai z/// yoLQ t^sGta , pweiv, xivslv, xa&evdew, 'Jov lov SERIES, STOP, PAUSE. 25 Plaut. Amphit. V. I. 10. Strepitus, crepitus, sonitus, tonitrus, ut subito, ut propere, ut validc tonuit. The rhymed Latin verses, called Leonine, are an inven- tion of a later period. CHAPTER VII. Scries, Stop, Pause, Acatalexis, Catalexis, Syllaba anccps. A SIMPLE rhythmical series comprises, according to Chap. III., a number oflike metres or feet, which stand to one an- other in the relation of arsis and thesis. Series are separated from one another by the cessation of the voice. Such a ces- sation is called a stop. The stop is not absolutely necessary. Series may follow one another without the intervention of a stop. A stop is not proper in the course of a series. It is not in itself fixed how many feet or metres belong to a series, but if the series is to be perceptible by the sense, it should be limited to a moderate number, commonly not ex- ceeding six. A series, the number of whose feet is once for all times determined, cannot be either lengthened or shorten?- ed without ceasing to be the same series. But in rhythm, as in music, one or more times may be passed over in silence, which are, however, to be taken into account in counting the measure. Whenever this takes place, the voice must stop, and this stopping is called a pause. The pause differs in this respect from the stop, that the former is counted in the time, and is, therefore, an essential part of the rhythm ; but the latter lies without the time, and does not belong to the rhythm. In the course of a series a pause is not allowed. Moreover there cannot be a stop in the middle of a word, be- cause thereby the unity of the word would be destroyed ; hence the law : where there is a stop or a pause, there must be the end of a word. Rhythms apparently incomplete arise from pauses, because they seem to want one or more times ; and since pauses can occur at the end of a rhythm only, and are, therefore, the sign of the close (clausula > xar^|^ > ), such series, apparent- 3 SERIES, STOP, PAUSE, ACATALEXIS, 26 ly incomplete, are called QV&pol xaratyxrixoi, ordines cata- lectici, catalectic series; and the reverse, complete acatalectic series, QV&(IOI axotratyxTOi, ordines catalecti. In designating the catalexes, not the wanting, but the re- maining syllables of the last foot are considered. Thus a dactylic series, the end of which is shortened by one syllable : '-- -- - is called a catalectic series in disyllabum, and one that is shortened by two syllables : -'------, a cata- lectic series in syllabam. Acatalectic series are, therefore, those the number of whose syllables has not been diminished. The following iambic series - ~ _ - _ ~ ~ i s> therefore, to be considered acatalectic, although it is necessary to ob- serve a pause of one time. The brachycatalectic series, so called (QV\)(IOI ^Qay^v^a- tdtyxTOi, ordines brachycatalecti), in which the pause of an entire foot is to be observed, are an invention of grammarians who imagined that all trochaic, iambic, and anapaestic se- ries must be measured only by dipodies. They considered, for instance, ------ a dimeter trochaicus brachycatalectus, while the series is in fact a tripodia acatalecta as the second trochee, which is always rational, shows. The grammarians have called those which have one or several times too many, hypercatalectic series (QV&pol VTISQ- xarakrjXTOi, ordines hypercatalecti). Such series, apparent- ly too long, have arisen from the circumstance that the ana- crusis was prefixed to the rhythm; --------- is, there- fore, not an hypercatalectic iambic dimeter, but a trochaic dimeter with the anacrusis ; or that different series of a like kind were united ; - w w , - - - - - ? is not a dimeter trochai- cus hypercatalectus, but a trochaic monometer joined to a tro- chaic catalectic tripody. The catalexis serves to mark the close of a rhythm. When rhythms want a suitable close, it is effected by the omission of one or more times. But rhythmical series, which of them- selves have a close, receive, generally, the catalexis only, when the series is to be connected with another, and the close to be done away with. It is preferred to close the series more forcibly with the arsis ; the catalexis is, therefore, common in those rhythms which, if complete, commence with the arsis and close with CATALEXIS, SYLLABA ANCEPS. 27 the thesis ; it is more rare in those which commence with the thesis and terminate in the arsis. Trochaic series end with the thesis ; the catalexis (in syl- labam) is, therefore, common with them. The catalexis is more rare in iambic series, because they end with the arsis. The dactyls are altogether without a close, because they close with two times in thesi ; they occur, therefore, rarely acatalectic. The catalectic dactylic rhythm ends either with the short, catalecticus in disyllabum, or with the long, cata- lecticus in syllabam. The former close, because it termi- nates in a thesis, and is on that account less forcible, is called feminine, the latter masculine. Anapaests are generally aca- talectic, because they close with the arsis. The catalexis in disyllabum does not occur, because the rhythm would then be destitute of a close ; the catalexis in syllabam resembles that in disyllabum of the dactyl. The cretic ends mostly acatalectic ; the catalexis in disyl- larbum - ~ occurs, though rarely; the catalexis in sylla- bam, w ' usually transforms itself into a trochaic rhythm, - - v . In the choriamb the acatalexis is most common ; the catalexis in trisyllabum, ww '^ w is not usual on ac- count of the absence of a close ; the catalexis in disyllabum, _~~ ^ occurs, although rarely ; the catalexis in syllabam, / / / w w transforms itself into a dactylic rhythm, -----. In the ionic a majorc, the catalexis in disyllabum alone is used : / / / / / / / u -^ w w j m th e ionic a minore, the catalexis in trisyllabum : ww ~ ^ w - . Where at the close of a series a stop, or, with the catalexis, a pause is made, there it is allowed to put a short for a long, in which case, as the voice can stop, a pause equivalent to the wanting time is observed : On the other hand, in verses which consist of united series, the long at the end of a series which is not the concluding series of the verse, cannot be changed into a short, with the exception of the asynartete verses, of which hereafter. 28 COMBINATION, VERSE, HIATUS. According to Chap. IV, every monosyllabic closing thesis may, according to the analogy of the opening thesis or ana- crusis, be considered irrational, and the short may be ex- changed for a long. This liberty is used in the feminine ca- talectic terminations of dactylic, anapaestic, cretic, and cho- riambic rhythms. The transmutation of a short into a long is allowed not only at the end of the closing series in a verse consisting of several united series, but also at the end of each series, even in the middle of a word. Thus the last syllable of every unconnected series is unde- termined ; a long may be put for a short, as well as a short for a long. The final long syllable for which, according to what has been said above, a short may be put, is called syllaba anceps, Gvlkafir] ddiacpooog. The mark is _^_ . Where a syllaba anceps can take place, the long is not allowed to be resolved into two shorts, because it might then appear as if the two shorts stood for a long. The syllaba anceps is not to be confounded with the mid- dle time. A middle-timed short is longer by a half time than a rational short, and a middle-timed long is shorter by a half time, than a rational long ; hence where a short stands for a middle-timed thesis, a long which then is 1J times, may be put. The middle-time takes place at the commencement and end of every series, even the united series ; the anceps at the end of the closing series only. It is not necessary that the middle-time should be the end of a word ; the anceps can occur at the end of a word only. CHAPTER VIII. Combination of Scries. Definition oj Verse. Hiatus. SEVERAL series may be united together and formed into a whole, and they may be either of a like kind, for example three iambic monometers ^-^ -_-__ (iambic tri- meter) ; or dissimilar, for example a trochaic monorneter / / with a dactylic logaoedic series, -*-"-*"-"-" (Sapphic verse). COMBINATION, VERSE, HIATUS. 29 The principal requisite of beautiful rhythm we have stated to be the constant interchange of arsis and thesis ; hence, if series are combined, when the one ends with the thesis, the other must begin with arsis, and the reverse. But if, by the combination, arsis and arsis, or thesis and thesis, come together, an arrhythmy is the consequence, even though the series themselves may have the highest metrical perfec- tion. The ancient grammarians called such measures [AZTQO, XO.T dvTiad&siav (uxTa ; yet, misled by false measurements, they reckoned many such, which are not so. The concurrence of two arses produces a strong arrhyth- my, and is therefore often used with great effect for the rep- resentation of passion, of sorrow, of despair, in general of every state in which the harmony of the soul is disturbed ; for the imitation of discordant noises, and the like. The shortest form of such a composition consists of the antispast When two longs concur, there is not always, of necessity an arrhythmy. Often one long is in thesi : or even if both longs are in arsi, the thesis is often supplied by a pause falling between, as in the elegiac pentameter; If two theses come together, then also the variety of the rhythm is interrupted ; and as in this case a feeble arrhythm} ensues, such a composition is of an undignified character, and therefore more rarely used. The fundamental type of such a composition is the choriambus | * . A series, we have above defined to be a combination of equal feet or metres, which stand to each other in the rela- tion of arsis and thesis. The limit in the series is not essen- tial ; we may conceive a series to be lengthened by one or more feet, without its ceasing on that account to be a series. The alternation of the feet may even be extended to infinity ; then indeed the series would cease to be limited, but it would nevertheless continue a series. In the definition of a verse, on the other hand, a definite limitation is the essential point, and the verse may consist of a single series or of different series. Hence it follows, that verse (O(JP//), or precede as an introduction, proodc (ii TTQomdo^'), or intervene as a mid- dle song, mcsode (q fieacpdoe). It is evident that this third strophe must always stand to the other two in a certain rela- tion which manifests itself even in the measure, and that, in general, three such strophes must form an ideal whole. We call this kind of composition, because certain dancing move- ments are connected with it, the choral. It is peculiar to the higher lyric poetry, because the greater comprehensiveness and freedom of this form appears most appropriate for a lyric state of mind, which is not the effect of a momentary exter- nal impression, but the result of an inspiration deeply felt and proceeding from the heart. The Dorian lyric poets and the dramatists have in various ways and very artfully made seve- ral strophes to correspond with each other in the manner de- scribed above, partly in the antistrophic, partly in the choral form, which was connected with certain dancing movements. 36 SUBSTITUTION OP Moreover a number of different verses may succeed one another in such a manner that the same succession does not return. In the very great variety which is here permitted, the poet might easily incur the danger of losing sight of that unity which, notwithstanding the variety, should comprehend the whole. This freest rhythmical composition was most adapted for the unrestrained intoxicated enthusiast whom a god like Bacchus inflamed. It is, therefore, the form of di- thyrambs, paeans, and other wild songs. With this dithy- rarnbic composition (cvGryfia? a ct7io)*s).V[Ava) the highest grade of rhythmical form is attained, but at the same time the foundation is laid for deterioration, The perception of unity was lost ; artificial and ever varying forms became favorites, which soon degenerated into trifling, for the amusement not only of the ear, but of the eye also ; it is only necessary to call to mind the axes, altars, candlesticks and other figures of Alexandrian poets. CHAPTER X. Of the Substitution of one Rhythm for another. ONE rhythm cannot be substituted for another, because each has its peculiar character, and thereby produces an im- pression not to be produced by another rhythm. It is, there- fore, a peculiar phenomenon when, nevertheless, rhythms are interchanged with rhythms. But such an interchange is to be considered simply as a license which certain poets have allowed themselves. The substitution takes place in those classes of rhythms only which are composed of equal arid double kinds, i. e. the choriamb, ionic a majore, and a minore. For these, rhythms have been substituted which are equal to them, as to the num- ber of times, but eurhythmic, as to their composition. Thus for the choriamb the iambic dipody has been put, whence it may be inferred that the trochaic dipody must stand for the two ionics : ONE RHYTHM FOR ANOTHER. 37 In the same manner the. substitution of the trochaic dipody for the ionic a minore, and of the iambic dipody for the cho- riamb follows, if the trochaic dipody is substituted for the ionic a majore : and in like manner the substitution of the iambic dipody for the choriamb, and of the trochaic for the ionic a majore, if the trochaic dipody is substituted for the ionic a rninore : It is not essential that in these substitutions the feet are sometimes preserved pure, sometimes not. This depends upon the more or less elegant treatment of the rhythm ; hence even two separate trochees have been used in the ionic a ma- jore, and even the hiatus allowed between the two. The occasion of the above substitutions is to be found in the arrhythmy of the feet, which it was desired thereby to sof- ten. For example, the weak coincidence of the theses, to- gether with the forcible concussion of the arsis in -^~- -'---' produced an unpleasant effect, and an effort was made, by the substitution of the iambic dipody for the one or the other foot, to render the verse more eurhythmic. The want of a suitable conclusion causes this substitution to occur most frequently in the last foot. In the dimeter ionicus a minore w v - - w w -' - the last foot frequently assumes the form of a trochaic dipody ~ w - w and then, in order to avoid the corning together of three arses, the second long of the first ionic has likewise been changed into a short : ~~ w w . This alteration has been called refraction of the rhythm (dvaxkactg), and such a verse re- fracted ( avaxkwfjievoe). Greater variety was introduced, by the substitution, into the rhythms, and on account of the difference of the forms, Gx/jfiava, which they could assume, they were called poly- schematist, QvO'fjLOt nf)"kv<5^r^aii6iQi. The real choriamb is distinguished, by the substitution of the iambic dipody, from the dimeter dactylicus catalecticus 38 CAESURA, DIAERESIS. in syllabam. The choriamb, therefore, to which the iambic dipody corresponds, must not be considered dactylic ; but, on the other hand, the absence of the substitution does not prove the rhythm to be dactylic. The higher Dorian lyric poetry (Pindar) rejects this substi- tution as contrary to its dignity ; the tragic poets, however, use it, and in such a manner that different forms often cor- respond to each other in strophe and antistrophe. It is not a change of the rhythm, but of the measure, if the irrational time is put for the rational, or if a long is resolved into two shorts, or two shorts are contracted into one long. CHAPTER XT. Caesura, Diaeresis. THE verse-rhythm is united to words, elements which are themselves rhythmical. The intensity of force manifests itself in the verse as arsis and thesis; in the word, as more elevated and more depressed accent (acute, grave): the ex- tension in the verse as metre ; in the word as quantity. From a recurring succession of arses and theses, for which a cor- responding metre is substituted, arise rhythmical series; the smallest series, by the repetition of which, the larger are pro- duced, is the verse-foot. So also in the word-rhythm, the smallest rhythmical unit, is the word-foot ; and from the se- quence of word-feet, arise word-series. Verse we defined to be a limited whole consisting of one or more verse-series; to this, the sentence corresponds, which consists either of one or of several word-series (simple or complex sentence). To the composition by distichs, the period consisting of antece- dent and conclusion corresponds ; to the strophe, antistrophe and epode, the proposition, antithesis and conclusion. The question now arises whether the verse-rhythm wholly coincides with the word-rhythm ; that is, whether the arsis falls on the acute, the thesis on the grave, the long upon a long syllable, the short on a short syllable; whether a simple series embraces a simple sentence, and a verse, according as it consists of one or several series, includes a simple or com- plex proposition ; whether, finally, in the distich, a period con- CAESURA, DIAERESIS. 39 sisting of antecedent and conclusion, and in the strophe, an- tistrophe and epode, a period consisting of antecedent, anti- thesis arid conclusion must be completed. We have however already remarked (c. 6.) that in the ancient languages the word-accent does not coincide with the verse-accent, by which the rhythm gains in life and flexibili- ty. But metre and quantity are the point of union, where verse-rhythm and word-rhythm meet, as otherwise an absolute contradiction between the two would take place; for, in general, the feet of the word-rhythm, and of the verse-rhythm, and therefore the rhythmical series and sentences, coincide as little as the accents. The interweaving of the two produ- ces variety and power ; the coincidence, uniformity and fee- bleness ; but not in all rhythms to a like extent. In rhythms of the unequal kind, which are lively and flex- ible in their character, the interweaving of the word-feet and verse-feet is suitably applied, because the liveliness is thereby heightened. In falling rhythms, which are in their nature relaxed, the contradiction between the two feet obliterates the feeble thesis termination; the ending of the word, which usually takes place in the arsis, raises this and causes the thesis to be more lightly passed over. Hence, iambic, tro- chaic, and dactylic series delight in the interweaving of word- feet and verse-feet ; the anapaestic however, less so, because the forcible termination upon the arsis, if it should fall with- in a word, would not sound out so strongly. The same re- mark applies to the cretic, choriamb, and the rising ionic, These laws, however, are not so strict but that they allow various exceptions, which when a specific purpose is attained by them, are by no means faulty. The effort also to unite word-feet and verse-feet, ought not to be carried too far. Too great solicitude is as objectionable as too great negli- gence. With all the laws, which art prescribes to itself, freedom ought not to be destroyed ; for true art is that which moves freely within the laws. With respect to verse-series and word-series, they can be interblended, or the ends of both coincide. From the coincidence and disagreement of verse-series and word-series springs the idea of the diaeresis and cae- sura (diatQBttis and topi],) abscission and incision. The coincidence of both feet, is called the foot-diaeresis, the coincidence of both series is the principal diaeresis, and the disagreement of the two feet, is the foot-caesura, so that 40 CAESURA, DIAERESIS. the word-foot is divided by the verse-foot, hence the name ; and the disagreement of the two series, so that the verse- series ends before the word-series, is the principal caesura. Every principal diaeresis and principal caesura is at the same time a foot-diaeresis and a foot-ceasura. In writing, the end of a word-series is usually distinguished by a punc- tuation mark; hence the principal diaeresis and the princi- pal caesuras, fall in the punctuation, as pwxohxag, ATwcrca cpi'lai, C!Q^KT dot dag The verse has a principal caesura and a principal diaere- sis, and is accordingly divided into three series. The verse Integer vitae, scelerisque purus has a principal caesura, and therefore consists of two series. Feet of three syllables, as the dactyle, are capable of a two- fold foot caesura, either after the long ' | w " , which is called the masculine, because it is in the arsis ; or after the first short -' w | , xrrni rov rQo%uiov, which, as it occurs in the thesis, is less strong, and therefore is called the feminine. Caesura and diaeresis, have but one aim, namely the mark- ing of the terminations of the series; the poet, therefore, will be able to make use of them at his pleasure. But certain rhythms are more inclined to the diaeresis, others more to the caesura. In general those rhythms which delight in foot caesuras, will have principal caesuras; rhythms which are inclined to foot diaereses, will have principal diaereses. Tro- chaic, iambic and dactylic series therefore have mostly the caesura; anapaestic, choriambic, cretic and ionic, mostly the diaeresis; but the former do not entirely exclude the diaere- sis, nor the latter the caesura. Thus, for example, the tro- chaic catalectic tetrameter in the lyric poets has the caesura mostly after the arsis of the fifth foot ; in the dramatists on the contrary the diaeresis occurs after the dimeter ; CAESURA, DIAERESIS. 41 It is clear from what has thus far been said, that the cae- sura and the diaeresis belong to the essence neither of the verse-rhythm nor of the word-rhythm, but are only percepti- ble when the two are united; hence it follows that it is an error to stop in the caesura with the voice ; but in the diaere- sis a short stop is more readily allowed, because a series ends in it. This also is the reason that, when a pause must be made in the midst of a verse, a diaeresis also occurs, as in the elegiac pentameter : Nubila si fuerint nullus amicus erit. The question now arises, how the diaeresis and the caesura are marked by the voice. The beginning both of a verse- series and of a word-series commonly has a greater elevation or intensity of the voice, than the end. The diaeresis is therefore marked by a corresponding falling of the voice : the caesura, on the contrary, by a corresponding rising. The fact that a syllable short by itself, can be used for a long, if it stands in the caesura, is to be explained by this increased intensity. This lengthening, however, takes place only in dactylic rhythms, and then for the most part only in the epic poets. We have seen above that the coincidence of verse-series and word-series is purposely neglected in order to produce certain effects ; the same is the case with verse-periods and periods in language. A word in a period of language that runs into a following verse produces the same impression as the syllable that stands in the caesura, as Horn. II. I. 51, 52. ast ds TIVQCU %. i. A. The same also applies to strophes, which do not always close with grammatical propositions. See Find. Olymp. VI. 49, 50. Pyth. I. 32, 33. We have thus treated, in this First Part, the doctrine of the definition, of the general laws of rhythm, and of its repre- sentation to the senses by the means of speech. The consid- eration of the method by which the rhythm embodied in words was adapted to song and music lies beyond the limits of metrical science, and forms a part of the theory of the music of the ancients. 4* PART II. THE APPLICATION OF THE LAWS OF RHYTHM TO POETRY BY THE GREEKS AND ROMANS. INTRODUCTION. Brief Survey of the History of Greek and Roman Poetry, with particular reference to the Metrical Form. GREEK poetry is superior to that of all other nations both because it developed itself from the earliest and rudest begin- nings to the highest degrees of perfection naturally and inde- pendent of foreign influence, and we are able, notwithstand- ing the loss of many works, to follow exactly the course of its development, and because it shows itself in all its parts so harmoniously unfolded that it justly has been and will be a model to all nations for all time. The harmony reveals itself principally in the choice of the most suitable form to each subject, and so by a reversed process the perfection of the material, the really spiritual element of poetry can be traced from the perfect form. Since in a national poetry, as the Grecian was, the national character is necessarily reflected, and since, notwithstanding the unity of the Greek mind, still each tribe had its peculiarities, and maintained them in life as in poetry, and stamped them upon the material as upon the form, it is evident that the metrical science is not only to be considered, as is usually done, as an auxiliary science for the better understanding of the ancient poets, or as a direc tion how to imitate them in poetic attempts, but that as a sys- tem of artistical form of the poetic thought, it has a higher historical value. We look, therefore, upon the metrical sci- ence, as a production of antiquity which like any other of its productions, bears on itself the peculiar stamp of its origin. But as without a knowledge of the form the poetic material cannot exercise its full effect upon our mind, and can, there- HISTORICAL VIEW OF GREEK AND ROMAN METRES. 43 fore, be understood in part only, so on the other hand, the knowledge of the form without that of the material, is some- thing empty, meaningless, a shell without a kernel. Hence it follows, that the knowledge of ancient poetry is a necessary preliminary to the study of metrical science. But that which we shall present here, is not so much a history of ancient poetry, completely carried out in all its parts, as a brief outline, in which the most important points are to be set forth with special reference to the metrical form. The origin of Greek poetry is enveloped in obscurity. This much may be inferred, by putting together the scattered no- tices, that it proceeded from the religious feeling, as with al- most every nation. Hymns to gods and heroes were the first poetic attempts. Since, however, there never existed among the Greeks a distinct order of priesthood, to whom wisdom and art belonged as a monopoly, this temple-poetry was at the same time popular, it stepped forth from the temple into life, and became national poetry, after the Greeks had, in the Trojan war, for the first time fought together. If previously the myths of single tribes and families, which singers or sages doidoi, Gogol, related, interested him only whom they imme- diately concerned ; the representation of that event, in which each tribe had taken part, had general interest, and became, therefore, the foundation of all succeeding poetry among each tribe. Even if Homer and his school were not the first poets and singers, they are still to be considered the fathers of Greek poetry, for this very reason, because, by the descrip- tion of that event which had united the Greeks for the first time, they had generally awakened and cherished the sense of art. They had borrowed the form from that temple-poet- ry ; for the heroic hexameter is older than Homer ; it is the sacred verse, in which from the earliest times men have spo- ken to the gods in prayer, and the gods to men by oracles. The homeric songs, notwithstanding the attraction which they possessed for all Greeks, did not belie their native coun- try, Ionia. The lonians were, among all the Grecian tribes, most inclined to a gladsome, cheerful enjoyment of life, whom therefore the entertaining character of the epos pleased more than the reflection of lyric poetry or the seriousness of tragedy. The poems of Htsiod (900?), (Theogony, Works and Days, and the Shield of Hercules), approached nearer to the temple-songs than the Homeric or later cyclic epics. The people received from the lips of experienced priests instruc 44 HISTORICAL VIEW OF tion on theorigin of the gods, heroes and men, rules concern ing household affairs, agriculture and the like. These epic-didactic poems form the transition from the epos to the gnomic and elegiac poetry. The form of govern- ment had been altered in most Grecian states after the Trojan war, and particularly after the great migration of the Dorians. Monarchies had become republics. Thus in the course of lime the interest in the myths was lost which for the most part exalted old reigning families which were either extinct, or had been expelled by the people. The political life, on the other hand, roused the mind of the people to reflections on country, laws, war, and other such subjects. This does not remain without influence upon poetry. Callinus (700), Tyrtaeus (680), Solon (590), Tkeognis (550 ?) inspire love of country, exhort to valor and virtue, and censure the faults of the citizens. Others, like Mimncrrnus, (630), sing in true Ioni- an manner the joys and instability of life, and in a kindly and melancholy mood invite to enjoyment. Simonides of Ceos (500), who lived for the most part at the courts of kings, im- parts to the elegy, instead of the political spirit, a more lyric melancholy character, which it has ever since retained. The form of the elegiac poetry originated from the epic. The elegy was not, like the epos, a continuous narration, but divided itself into single thoughts and sentences, yrcofiou, which, however, are united by a common tendency. The hexameter was shortened into the elegiac pentameter (pro- perly two trimetri dactylici catalectici in syllabam), and thus always a hexameter and a pentameter formed a whole, dis- tichon elegiacum, long enough for the expression of a single thought. At the same time it gave the first idea of the stro- phe, according to which the later lyric strophes were formed. The dialect used in the elegy, as in the epos, was the Ionian ; the musical accompaniment consisted of wind instruments alone. The flute-nomos is peculiar to the elegy. Where poetry once exists, the poetic aspect even of jest and satire is soon discovered. Satirical poems are even as- cribed to Homer (Margites, Batrachomyomachia). But it is under a free government alone that jest can find utterance, and thus Archilockus (700), likewise belonging to the Ionic stock, is the first political satirist of note. He chastises vice and vulgarity often under cover of a fable, often, too, not sparing the person. Simonides of Amorgos (500) is known to us by his satire upon women. Hipponax (540) was, GREEK AND ROMAN METRE. 45 throughout antiquity, notorious for his bitter sarcasms. The usual and original form of this jesting kind of lyric poetry was the iamb (trimeter iambicus acatalectus), whence the po- ets of this kind are called also Iambographers, The iamb is probably not much later than the hexameter ; at least it is formed in imitation of it ; for the former was originally, like the latter, measured by feet, and not by dipo- dies, as the generally pure iambs of the older iambographers prove. A contrast was thus formed between the iambic and dactylic rhythms. For as the language of every day life in- clines more to the iambic rhythm, so the iambic verse was the form for subjects taken from the present time, and later for the dialogue; the dactylic rhythm, on the other hand, be- ing more quiet and dignified, was better adapted for the re- presentation of the grander, more elevated past. The iambographers, however, did not exclusively use the iamb of six feet. They made use partly of longer iambic verses, as tetrameters, partly of the trochaic tetrameter, rela- ted to the latter, partly combined, after the manner of the ele- giac distich, two verses, so that a shorter verse preceded or followed a longer one. The verses themselves were partly simple, partly compounded of several series, sometimes asy- nartete. Archilochus is named as the inventor of the epodic composition. Hipponax provided iambic and trochaic verses (usually the trimeter iambicus acatalectus and the tetrameter trochaicus catalecticus), by the reversion of the last foot, with a peculiar close, which, by its striking arrhythmy, pro- duced a comical effect (Hipponactean or limping verses, sca- zons or choliambs). More harmless than these satirical poems were the mirthful songs of joy, wine, and love, which, from the most distin- guished master in this kind, Anacreon (520), were called Anacreontic. The dialect of these poems was the Ionian ; the form adapted to the softness of the subject, either the dimeter ionicus a minore, which in its unbroken form approaches the fall of the iambic rhythm ; hence its corruption to the hemi- amb or the glyconic, choriamb, ionic, and similar measures ; partly by the line, partly by systems. The Ionian lyric poetry is followed by the Aeolian, partak- ing of the passionateness and vehemence, the nd&QSt of the Aeolians. Sensual love, degenerating into mania, enthusi- asm for freedom and country, are the material of this kind of poetry. Alcaeus (600) and Sappho (612) are universally ac- 46 HISTORICAL VIEW OF knowledged by antiquity as its perfecters. The musical ac- companiment are string-instruments, especially the cithara ; the dialect Aeolian ; the metrical form, more varied than in the previously mentioned kinds. They either repeat single verses, generally compounded, especially the Aeolian, consist- ing of irrational dactyls with a preceding basis, dactylic-lo- gaoedic and choriarnbic, or make use of systems, especially the choriarnbic, glyconic, and ionic ; this form attains, final- ly, the highest degree of perfection in the Aeolian strophes, so called, which generally consist of four verses, the last of which forms the close (Sapphic, Alcaic, Asclepiadean strophe). The last step in the progress of lyric poetry to perfection, was taken in the Dorian lyric poetry. The Dorian tribe were distinguished above all other Greek tribes by their man- ly seriousness and deep thought, and their poetry bears the same stamp. Passionless composure, and equability, freedom of the mind, and perfect harmony of the understanding and imagination, in one word, that which the Greeks call rftog, rules in it. Alcman (660), Stesichorus (550), and Ibycus (550), were the first to cultivate this style ; but the grand and lofty Pindar (d. 442), the philosophical, reflecting Simonides, and the cheerful, graceful Bacchylidcs (450), brought it to perfection. The glory of the gods (hymns, paeans, dithy- rambs, prosodies, parthenics, hyporchemes) and of the victors in the sacred contests (epinicia, encomia, scolia) was the usual material of this lyric poetry. The form adapts itself to the substance ; the dialect is Doric, modified according to the language of the epos. In the place of the simple Aeolian strophe, the more com- plicated Doric was formed, which, because it was at the same time destined for the dance, was extended to the strophe, an- tistrophe and epode. The musical accompaniment was adapt- ed to the greater metrical perfection and the movement of the dance. The mood in which a Doric poem is composed, de- termines its subordinate character. We distinguish in the re- mains of Dorian lyric poetry chiefly three moods : the Doric, Lydian, and Aeolian ; and according to these three subordi- nate styles, all of which \vere distinguished from one another by subject, language, rhythm, singing, musical accompani- ment and dance. The Doric was serious and manly, the Ly- dian sweet and effeminate, the Aeolian bold and impassioned. A species of the Dorian lyric is the dithyrambic poetry, the inventor of which is supposed to be Arion (620), and which GREEK AND ROMAN METRE. 47 was afterwards cultivated in Athens so as to form an inde- pendent style. A bacchanal enthusiasm is the prominent characteristic of this kind, and the form corresponds to it. The metre, especially after Timotheus (400), consisted of ever varying rhythms, full of bold measures and rapid transitions : the greatest variety, in which unity is lost sight of, so that the effects of excessive art are evident. The music, too, in the Phrygian mood, with wind-instruments, and the dance per- formed by cyclic chorusses, had a wild, overpowering char- acter. A peculiar species of poetry developed itself, in Athens, from the lyric poetry, and indeed directly from the dithyram- bic, the drama. Dionysiac festivals were celebrated in Ath- ens, as in other cities, by songs to Dionysos. Between the single songs, one of the performers presented himself, who related and represented mimetically the exploits of the god. Of these lyric and epic elements, Thcspis (590) is said to have formed the first dramas, and exhibited them extemporaneous- ly. However imperfect they may have been, still they found imitators. The material was extended by giving up the ex- clusive relation to Bacchus, and treating, in its stead, of other myths of a less joyous character. Thus tragedy separated itself from the Satyrdrama. In the former, man appears in a struggle with fate, with the gods, and with his own passions. It is elevating to our feelings, that he ventures upon the contest with these powers, that his liberty, conscious of its own power, opposes necessity, that he falls like a man, when the inevitable destiny smites him. The Satyrdrama was intended as an afterpiece, to cheer the spectator put by the tragedy in a sad and serious mood. It moved in the same mythical world, and frequently was not without a relation to the tragedies just performed (tetralogy) ; but it placed its characters in circumstances less sad, made them extricate themselves from difficulties by some cunning trick, and especially entertained by the jokes of the chorus of Satyrs. As the dramatic material is divided into two principal parts, the epic part or dialogue, and the lyric or melic, so is the form. The iambic trimeter, rendered more weighty and dignified by the admission of the irrational measure, is the usual form of the dialogue ; in the Satyrdrama it moves more lightly in consequence of resolutions. The poets sometimes substitute the catalectic trochaic tetrameter. The anapaes- 48 HISTORICAL VIEW OF tic systems form the transition from the dialogue to the melic part. The melic part itself is in its metrical, orchestral, and musical form Doric. It consists of larger rhythmical masses, which assume sometimes a strophic, sometimes a choral, some- times a dithyrambic form, and upon this the dance and mu- sical accompaniment depended. The dialect of the drama is the Attic ; still the melic part especially is furnished with many epic and Doric forms. Aeschylus (d. 456), Sophocles (d. 406), and Euripides (d. 406), are considered the greatest masters of tragedy. In Aeschylus the lyric element is still predominant ; hence the chorus occupies a great portion of his plays ; he is elevated, forcible, bold, and of a rich imagination. In Sophocles, the most beautiful harmony between the lyric and epic prevails ; he is noble, delicate, religious ; his language unaffected and dignified ; plan and execution of the plot excellent. In him the drama attained the highest perfection. In Euripides, the lyric element, the chorus, is no longer an essential part of the drama ; on the contrary, it is frequently without any relation to the action. His tragedies are calculated for momentary effect and for exciting emotion. The influence of the soph- ists is particularly perceptible in the numerous moral maxims and rhetorical artifices which he makes his characters to ex- hibit. His language is for the most part natural and beau- tiful, sometimes affected. In the form, too, he is less correct than his two predecessors. Together with tragedy, comedy was formed as the con- trast to the other, from the same lyric and epic elements. Tragedy represents a mythical world ; it is, therefore, seri- ous and elevated. Comedy utters its opinion of the contem- porary world, of the constitution of the state, the life of the citizens, the national faith, of poetry, philosophy ; it is, therefore, caustic and satirical, especially at a time of uni- versal degeneracy. The principal conditions, on which alone this species can flourish and operate favorably, are po- litical liberty, which allows to speak publicly of the defects of the state, and a man who has a correct conception of the state of things, perceives the real defects, and knows the means to counteract them, who possesses a rich measure of wit, humor and imagination, in order to gain the hearing of the people, even for bitter truths, and who, finally, is coura- geous enough to direct public attention to the defects. All this is found united in Aristophanes (431) and his time. Be- GREEK AND ROMAN METRES. 49 sides him, Cratinus, Eupolis, Pherecrates, and Plato are mentioned as comic poets. The form of this species resembles, as to its essence, that of tragedy, with the exception, that it allows more liberties. The iambic trimeter is rendered lighter by frequent resolutions and the admission of the anapaest. The same applies to the trochaic tetrameter. Peculiar to comedy are the catalectic iambic tetrameter, the catalectic anapaestic tetrameter (ver- sus Aristopharieus), and several dactylic, glyconic, and cho- riambic measures (metrum Eupolideum, Cratineum, Platoni- cum, choriambicum polyschematistum, Priapeum and others),, which often occurred, particularly in the parabasis. The chorusses have more varying, more rapid, and less dignified measures than in tragedy. The cvarfyara 6[ioia)v are particular favorites. When, at a later period, the free con- stitution of Athens had passed away (410), and the impover- ished state could no longer maintain the comic chorus, the middle comedy, so called, sprung from the old comedy, which was almost entirely destitute of a political character. It rail- ed at the faults of individuals under feigned names and cir- cumstances. Of this kind we have a single piece of Aristo- phanes, the Plutus. Of the comedies of Antiphanes and Alexis, belonging to this kind, we have fragments only. Here, in fact, closes the history of the development of Greek poetry; what the Greeks did later is imitation, partly of earlier master-pieces, partly of foreign poetry. The de- velopment of the form too, is herewith terminated. For ma- terials not yet employed, the existing metrical forms were used, which, indeed, were peculiarly modified, and frequent- ly in such a manner as to degenerate into tasteless conceits and tricks. The causes of the sudden exhaustion of the creative power of the Greeks are to be found partly in external circumstan- ces brought on by Philip and Alexander, which destroyed the political life of the Greeks, together with which the peculiar national life and poetry died away. A distinct order of scho- lars is forming, especially in Alexandria, who alone know and imitate the earlier poetry ; the people have forgotten it, and remain strangers even to the imitations. Besides this, the more frequent intercourse with foreigners, the transplanting of intellectual activity from the old classic into a foreign soil, at Alexandria, Pergamus, and Rome, the constantly increas- ing decline of morals, the impoverishment of the people, the 5 50 HISTORICAL VIEW OF unquiet, warlike times operated unfavorably. But in part the cause of this decay lies in the nature of poetry itself. Po- etry had developed itself step by step until it arrived at the highest perfection ; it was now in danger of degenerating through excess of refinement, of which the later Dithyramb and Euripides exhibit no indistinct traces. This sudden dying out of original Greek poetry, therefore, is not a prema- ture death which we ought to lament, but a natural one, such as every literature must experience after having attained a certain completeness ; it is rather an advantage of Greek poetry that it has not out-lived itself like the Roman. Almost all kinds of poetry were imitated by those who were familiar with ancient Greek Literature. They were distinguished by copiousness of learning, beauty of language, and melody of rhythms. Among the epic writers the most famous is Apollonius of Rhodes (196), who described the Argon autic Expedition. Didactic poems were especial favor- ites. An attempt was made to unite science, which just at this period was greatly enlarged, with poetry. The distinguished writers in this species, are Aratus (275) in his Phaenomena and Diosemeia, and Nicanckr (160), author of the Theriaca and Alexipharmaca. In lyric poetry imitation extended espe- cially over the lighter Ionic and Aeolic species : the hymn, the elegy, the epigram, the Anacreontic song, Scolia. The most distinguished lyric poets are CaU'unachus (272) whom the Ro- mans frequently resorted to, and Cleanthes (260) known by his hymn to Jupiter. A large portion of such lyrical attempts from this and a later period have been handed down to us in the Anthology, of which the first collector was Meleager (100). Among the imitators of the drama, the best known are Lycophron, (274) by his Cassandra, Sositheus (275) by his Satyric dramas, and Rinthon (275) by his Parodies. A peculiar phenomenon of the Alexandrian age is Mysti- cism which originated in oriental ideas. It appeared poeti- cally through the imitation of those old Mystagogues, Or- pheus, Musaeus, Linus, Olenus, and others, and the use that was made of them : hence the Theogonies, Hymns, Epics, didactic and gnomic poems, which appeared under their names in this and a later period. The longer the time from the classical period, the rarer and poorer imitations became, but strictly speaking they did not wholly cease, until Constantinople, the last refuge of the ancient Greek Language and Literature had fallen (1453). GREEK AND ROMAN METRES. 51 Those of the later period who deserve to be mentioned as didactic poets are Oppianus (200, A. D.) author of the Cyne- getica and Halieutica, Dionysius Periegetes (200) author of a description of the earth ; as Epic poets Quintus Smyrnaeus (450?) on account of his mxQa^smofjisva 'OfitjQqjj Musaeus (430?) on account^of the epic of Hero and Leander, Nonnus (490?) on account of his Dionysiaca, Trypliiodorus (500), on account of his 'Ih'ov o&axnv, and Coluthus (500), on ac- count of the "Rape of Helen." Michael PseMos (860) was the first who set aside the ancient form. He is the father of the Political Verses, so called, in which the syllables only are counted, without regard to their prosodiacal value. A peculiar kind of popular poetry, which the Greeks often imitated, flourished in Sicily. The beginning of this, as well as of Italian poetry in general, was of a more dramatic char- acter : alternate songs of shepherds in the country, in which they sometimes renewed the recollections of former times, and represented mimetically the life and deeds of departed heroes and shepherds (Polyphemus, Daphnis, Comatas) and sometimes in turn jested with each other, and playfully allu- ded to known circumstances in their life. Thus, this poetry also had a serious side as it delineated former times, and a sportive one, when it touched upon the present. The natu- ral scenes, sometimes magnificent and sometimes enchanting, which Sicily presented, could not have failed to waken early a perception of nature among the shepherds ; hence that poetical painting is peculiar to them, which explains also the tendency to naturalness and to the faithful copying of reality, so that herein lies the characteristic difference between this and the poetry of Greece. The inhabitants of Sicily made no attempt to perpetuate their poetical achievements by writing ; they are therefore only known to us from the imitations of the Greeks. Epicharmus (486) was one of the first, who, having his attention called to the popular poetry of Sicily, attempted to reproduce it in Greek. He chiefly employed dramatically, the Sicilian and other similar myths, which were characterized by liveliness arid sentiment. Hence these bucolic dramas were called comedies, although they differed widely from the Attic come- dy. The reference to public life, as well as to the present in general, which was predominant in the latter, was wanting in the former, although they did not entirely exclude ridicule and satire. The pieces of Epicharmus appear not to have 52 HISTORICAL VIEW OF had a chorus. The dialect was the Sicilian Doric : the me- trical form, was that of the dialogue part of the Greek dramas. He appears to have been the inventor of the anapaestic tetrameter catalectic, or the verse called the Aristophanic. Sophron (430) made use of the materials taken from real life for the construction of a peculiar specjes of drama, which, on account of the imitation of existing reality was called ju/juo? 7iiime. His principal merit consisted in the acute and deli- cate observation and lively representation of the subject. There appears to have been no peculiar mode of treatment in the mimes, but scenes from common life rather were delin- eated. Moreover no poetical form was adapted to this wholly prosaic matter ; Sophron therefore wrote his mimes in Sicilian Doric prose. When at a later period, the last traces of a peculiar -buco- lic life had disappeared in Sicily, and this species had ceased to be the popular poetry, later poets attempted to reproduce the past in a more epic manner, and thus arose the bucolic Epos or Idyll. Theocritus (280) is the most distinguished master of this species. He is a felicitous imitator of Epi- charmus in the treatment of mythical materials, and of So- phron in mimetic representation ; he is a poet of delicate feelings, and a skillful observer. The form of his poems is epic, the heroic hexameter, but peculiarly modified by a fixed division (retQaTiodia |3ovxoP.. i x Or an iarnb may be prefixed ~ - (antispast), as Eur. Hec. 468. ^.Q- aval as iv XQOXSCO m-nln Find. Pyth. II. Epod. 8. x / Tov zvzQyztav ay avals dftoifiais lftoi%0[ASVovs x-x- The basis may also be repeated - . In this case the second basis is usually treated with less freedom than the first. Pindar doubles the trochaic basis alone, as Nem. IV. 6, 22, 70. x-x-/ / - Pijfia 5' ( Bxaxi. cpihot.Gi yao tyikos Ih&cav. 'vtig EvQomav TTOTI %QGOV tvT&a vaos- the dramatists also the iambic, see below. A double basi^ v X with the anacrusis ^- v --~ likewise occurs, as Pind. Pyth. VIII. Epod. 6. (v. 40, 60). x-x / - TROCHAIC RHYTHMS. 63 Tiovs OtjfiatG aivfearo naQfievovvcts MavTevfAUTwv T Icpdipavo avyyovoiai The basis is sometimes placed at the end of a verse, and is then called ccbasis (exfiacjig), as Aeschyl. Eum. 321, 322. / x- MUISQ, a p fzixTsg, co A vj ctt.aoitn xal dedoQxoaiv nowav. Pind. Olymp. IX. Epod. 4. XOU VUO VTlOTlTtQOV The ecbasis was even repeated, as Pind. Olymp. IX. Epod. 5. / x x tavrav. The basis has this in common with the anacrusis that both occur before such rhythms only as begin with the arsis; the basis stands, therefore, before trochaic, dactylic, cretic and choriambic rhythms. As to the measure of the basis, it appears to be longer than that of the common trochees, In general the basis may be as long as one metre of the following rhythm ; if the basis, therefore, stands before a trochaic rhythm which is to be measured by dipodies, it is to be drawn out as long as a trochaic dipody : 42 In certain lyrical kinds the measure of the basis and ec- basis seems to have been even quadrupled, so that the tro- chaic basis corresponds to the trochaeus semantus, the iam- bic to the orthius. Hence it was preferred to have the basis and ecbasis fall on weighty words (comp. K. O. Miiller: Aeschyl. Eum. p. 93, English translation, pp. 78, 79). 64 TROCHAIC RHYTHMS. (2) The Dipody. Dipodia trocliaica. (a) The Manometer. Monomctcr trochaicus. / - acatalectus / - w - catalecticus. Both verses and systems are composed of the acatalec- tic monometer. It is not used alone, but always connected with other rhythms, for example, with a logoaedic dactylic series : (versus Sapphicus) Integer vitae scelerisque purus. Find. Pyth. IV. 1. [4W %Q? 68 TtUQ Eur. Med. 977, 978. vvpya It is also found placed after, as Soph. Ant. 593. a ru dafidamdav ommv o< The catalectic monometer differs from the cretic by the pause only ; it is, therefore, not easy to determine whether, in certain cases, the form is cretic or trochaic. It seems to be trochaic when it occurs in strophes of Doric composition, especially at a close, as Find. Olymp. III. 2. TROCHAIC RHYTHMS. 65 and when in Roman comic poets it precedes iambic verses as a close, as Terent. Eun. II. 3, 1. Phorm. III. 2, 1. occidi, Neque virgo est usquam, neque ego, qui illam e conspectu amisi meo. Doric ! Audi, obsecro. non audio. pariimper. quin omitte me. The anacrusis is sometimes placed before the acatalectic mo- nometer : * - - ~ , a monometer iamb, hypercat. or tripodia iamb, catalect. (nev&ijfuiJieQeG iambicum). It oc'curs both singly, as Find. Pyth. VI. 7. and united to other rhythms, as Soph. Oed. Tyr. 1339. ET S67 axoveiv riSov ^-^--<-w-^- (hendecasyllabum Alcaicum). Odi profanum vulgus et arceo. Sometimes the acatalectic monometer is preceded by an / / iamb : ~ w - w 5 an apparent dochmius hypercatalectus, as Eur, Here. fur. 879. SVT' dvavkoig. The catalectic monometer with the iamb resembles complete- ly the dochmius, but the second short is never allowed to be- come irrational : w w - , as Pind. Pyth. V. 6. (b) The Dimeter. Dimeter trochaicus, _^_v_v,_v- acatalectus / / w _ v _ w _ w _ catalecticus. 6* 66 TROCHAIC RHYTHMS. Both are frequently used singly as well as in connection with other rhythms, as Eur. Med. 979. A^vivLi dvaravog arav. Find. Isthm. II. Epod. 3. 'la&piav innoiGi vixav. Find. Olymp. III. Epod. 1. '^2 nvi, xQaivwv Icperpdg 'Hqaxklog nqovsgag. The catalectic dimeter occurs especially as the concluding rhythm, as Find. Olymp. VIII. 7. T(ov ds jito/i^co^ dfinvodv. Olymp. III. Epod. 1. qG 'EM.avodlxa$ yfaydvGiv Airw'kog dv^Q vi and so likewise as a conclusion of trochaic systems. In the Roman comic poets it is frequently found as a close after longer rhythms which terminate in thesi, as after the tetrameter troch. acat. Terent. Andr. I. 5, 11. Adeon' hominem esse invenustum aut infelicem qu6mquam, ut ego sum . J Pro Deum atque hominum fidem. Sometimes it precedes, as Terent. Adelph. IV. 1, 8. Quod si abesset longius, Prius nox oppressisset illic, quam hue reverti posset iterum. The anacrusis may be prefixed to the acatalectic dimeter : / / ->'-, a dimeter iamb, hypercat., so called, as Soph. Electr. 482. Ov yaQ Tiot dfivaGTzi / o Find. Olymp. VI. 1. XQVGSCCG vnoGrdtiavi:^ ewzei%ei TTQO&VQCQ In the Alcaic strophe it forms the third verse : Audita Musarurn sacerdos. TROCHAIC RHYTHMS. 67 The catalectic dimeter with the anacrusis does not differ from / / " the dimeter iamb. acat. --------. Both can receive a basis also, as Find. Olymp. VI. 6. x / / / rs tav xlsivoiv ^vQaxoaaav riva KW cpvyoi vpvov. Eur. Iph. Aul. 241. HQVfivcug aijp JfytHe/ov GtQarov. If a trochaic tripody is attached to the acatalectic dimeter as a sort of epode, it makes what is called the tetrameter troch. brachycat. Ovd' Idpeityiav oqats ntw^ov ovi ' novtty xvfisQVGtV'Ztti {tout. The acatalectic trimeter with the anacrusis is the trimeter iamb, hypercat. so called : 68 TROCHAIC RHYTHMS. as Find. Nem. IX. 5. Hv&covos airteivaQ The catalectic with the anacrusis : does not differ from the trimet. iamb. acat. (cl) The, Tetrameter. Tetrameter trochaicus. --*---_ acatalectus. _^_v,_-_^_v,_^_^_ catalecticus. The acatalectic tetrameter is found in lyric and dramatic poets in chorusses, without a fixed caesura, as Find. Isthm. III. 1, 25. Ei rig dv$Qwv evvvfflGais ^ ovv evdo^oig #t't Toi utv wv O With the anacrusis it becomes the tetrameter iamb, hypercat., so called : as Find. Nem. V. 6. OVTTO) ytvvGi cpari'wv tSQSivav (jiaTSQ 3 olvdv&ag ofiw The Romans made frequent use of the catalectic tetrameter in the dialogue of the drama; versus octonarius. The catalectic tetrameter was used by lyric and dramatic poets in the dialogue as well as the melic part of the drama. As a lyric verse it has no fixed caesura, as Soph. Trach. 132. A' r f finoToTciv OVZE KiJQf Find. Isthm. III. Epod. 5. Kal As a verse of the dialogue it has usually the diaeresis in the middle. The Romans, who, likewise, use it frequently in the drama, call it versus septenarius. TROCHAIC RHYTHMS. 69 By the inversion of the last foot, the catalectic tetrameter becomes the tetrameter troch. claudus, or Hipponacteus (e) The Pentameter. Pentameter trockaicus. ^_w_w_v,_v,_v,_w_^_^ acatalectus. / / / / f v _~_~_~_-_w._~_~_^_v,_ catalecticus. The former does not appear to have been used, the latter is found as the closing rhythm in Pindar, Nem. VIII. Ep. 7. 2vv -&8CO yaQ rot, Isthm. III. Epod. 6. .Alwv ds KvhvdofiE f yai,s K^SQUIS ukl! a roi / pav Callimachus used this verse by the line ; the grammarians call it vnsQpsvQOv. If longer combinations of the tripody are found, they are to be considered as trochaic systems. (3) The Tripody. Tripodia trochaica. / acatalecta, Ithyphallicus. wv^ ww ww / w w v- catalectica. The acatalectic tripody has the name Ithyphallicus as a form of certain wanton songs, which were sung during the exhibition of the l&v(!paM.o$, at the Dionysiac festival. The verse was then used, joined as an epode with iambic trime- ters. The ithyphallic is particularly appropriate to the close of other rhythms, less to be used as an independent verse. Re- solutions frequently take place, more rarely in the last foot. Examples : Find. Olyrnp. V. 2, 3, 4, 5, where the ithyphallic closes each verse. Soph. Oed. Tyr. 472. 70 TROCHAIC RHYTHMS. Archilochus and other writers of epodes frequently use the ithyphallic in distich composition, and in asynartete verses as the closing rhythm. The ithyphallic occurs sometimes in the beginning, or mid- dle, as Find. Nem. III. 2. Tuv nolv^wav iv i Find. Olymp. II. 7. zt rtatSCov acazov ooOono)-iv. The ithyphallic with the anacrusis - , is the tetra- podia iamb, cat, If a second ithyphallic follows this rhythm, without an anacrusis, the scheme of the Saturnine verse en- sues : which the Romans used with great license. Sometimes the basis is prefixed to the ithyphallic, as Aesch. Agam. 367, 368. x- / - /tio^ nl.uyav fyovoiv UaQsazi TOVTO y i%i%evaai. or an iambic dipody : / / very frequently, as Aesch Agam. 192, 193. Tlvoai 8' d The catalectic tripody, called monometer trochaic, hyper- cat. also serves frequently as a conclusion of lyrical rhythms: as Eur. Elec. 865. TROCHAIC RHYTHMS. 71 With the anacrusis it is the tripodia iambica acat. * -----. Sometimes also it takes the basis, as Find. Pyth. VIII. 6. 13. TV yag TO naldaxbv SQ^OU ts %al naftsiv 6[i(ng. aicav i^SQS'd'i^wv. xsgdos ds cpi).rarov. (4) The Tctrapody. Tttrapodia trochaica. / _ - _ w --- ^ acatalecta. / w _ w _ v _ _ catalectica. The former in the lyric poets, as Find. Olymp. I. 7. ywva With the anacrusis it is the Pentapodia iamb. cat. The catalectic tetrapody is still more frequently found. It was called by the ancients l.tjXvOtov. It appears some- times singly, as Aeschyl. Agam. 1017. Nijanv colfcre^ vooov, sometimes several times repeated, as Aesch. Eum. 331. tyoom%Tog, avora sometimes connected with other rhythms, for example, with an iamb prefixed, Pind. Olymp. I. 11. with the basis Eur. Iph. Aul. 238. x / vavo With the anacrusis it is the Tctrapodia iamb. acat. 72 TROCHAIC RHYTHMS. (5) The Pentapody. Pentapodia trochaica. _w_w_^_o_w acatalecta. catalectica. Both more rare ; the former, for example, Aesch. Agam. 240. J txacrov -&vri]Q(ov an oupazos fls'let (pikowvcp. the latter, Find. Olymp. IV. Epod. 8. * xa vtoig v (6) The Herapody. Hcxapodia trochaica. _- v,_v._o_^ acatalecta. _w_ w _w_ catalectica. Both seldom occur ; the former, as Find. Olyrnp. I. 6. JIM.O &al.nv6tQOV Iv dfifgct cpasvvov UGTQQV d the latter, Find. Pyth. II. 1. IAMBIC RHYTHMS. 73 B. Rising, Iambic Rhythms. The iamb is the trochee reversed ; it is triple-timed, and ris- ~> ing, . The principal arsis falls upon the last two shorts, the last of which again has a stronger intensity (P. I. ch. 3. p. 12). Only the last two shorts can be contracted (P. I. ch. 5. p. 21). The iambic rhythm, as it belongs to the double kind, is less dignified than the anapaestic. It is more rapid and light- er on account of the livelier intensity of the arsis and the shorter extension of the thesis (P. I. ch. 3. p. 13), but more forcible than the trochaic rhythm on account of the termina- tion upon the arsis (P. I. ch. 1. p. 8). By various modifica- tions, however, it is made sometimes more forcible and grave, sometimes weaker and lighter. If the rhythm is arranged by dipodies, then, for reasons above given (P. I. ch. 4. p. 17), the first thesis of every dipo- dy, may be converted into the irrational measure ; hence in an iambic series to be measured by dipodies, the freer mea- / sure w is always allowed in the uneven places (in sedi- bus imparibus). By measuring with dipodies and the fre- quent admission of the irrational time, the rhythm approach- es the anapaestic measure, and hence becomes graver and more dignified ; by measuring with feet, and by the frequent resolution of the iamb, it becomes lighter and more rapid. A distinction, therefore, is made here, as in the trochaic rhythm, between light iambs, which are to be measured by feet, and which on account of their rapidity, were used by preference in lyric poems of the Aeolian style ; and the grave kind proceeding by dipodies, which on account of their greater dignity, harmonize better with the Dorian mood. The irrational anapaest may, under certain conditions, stand in every place for an iamb. The proceleusmatic, was entirely excluded by the Greeks, except in a few cases. The elder Roman dramatists permitted the licenses, allow- ed in the uneven places, in the even places also, with the exception of the last thesis, upon which another arsis follows, which they kept pure (P. I. ch. 4. p. 19). They also admit- ted the proceleusmatic, but more rarely, and usually in such a manner that it is concealed by the pronunciation : 74 IAMBIC RHYTHMS. . | . Iambic rhythms delight in principal and foot caesuras; longer verses, as the tetrameter, have ordinarily the diaeresis in the middle. The catalexis is only in syllabam, and as it comes upon the thesis, it is less frequent than in trochaic verses (P. I. ch. 7. p. 26). The most usual rhythms are the following : (1) The Monopody. Monopodia iambica. It serves, like the trochaic monopody, as the basis before longer rhythms, as Find. Olymp. I. 1. x / pev vdwQ, 6 ds XQVGOS al^o^vov nvQ. In Pindar it is found only in the form of the iamb, or the tribrach, and never doubled ; it is also never interchanged with the trochaic basis. In the Aeolian lyric poets and the dramatists, it appears also as a spondee, as Eur. Ion. 190, 201. Idov ravd Kai par vovtf or dactyle, as Aesch. Sept. c. Th. 222. \ da'i'cp. IAMBIC RHYTHMS. 75 They may also be interchanged with the trochaic, and double it, as Soph. Oed. R. 463466. Tig QVIIV a $ zvTQOCpos dpfQa. The catalectic monometer --- (amphibrachys), is nothing else than the trochaic basis with the anacrusis. (b) The Dimeter. Dimeter iambicus. -------- acatalectus. ------- catalecticus. 76 IAMBIC RHYTHMS. The former occurs frequently in the lyric and dramatic poets, partly as a single verse, as Soph. Oed. R. 1336. 'Hv tavtf o7TK>67iQ y.v,i ov (jp#?, partly in connection with other rhythms, as Find, Netn. V. 1. OVA, avQiav7onoiog eift , MGT D.ivvGnvra fi i avTag The acatalectic dimeter often occurs in the writers of epo- des as an epode, particularly after an iambic trimeter, or heroic hexameter. In Aristophanes it sometimes forms a close after trochaic tetrameters, as Vesp. 1266, 1269, 1270. g necpvxevai, Likewise it serves the Roman dramatists as a close, before and after longer iambic or trochaic verses, as Terent. Andr. III. 3, 5. Ausculta panels : et quid tc ego velim et quod tu quaeris scies. Ausculto, loquere, quid veils. The catalectic dimeter is commonly changed into the catalectic tetrapody ^ ^ w w , and so occurs as the close of the iambic systems. The Roman dramatists make use, though more rarely, of the catalectic dimeter as a close, as Terent. Hecyr. V. 1, 5. Aut no quid faciam plus, quod post me minus fecisse sutius sit, Aggrcdiar. Bacchis, sAlve. (c) The Trimeter. Trimeter iambicus. ------------ acatalectus. ----- ----- - catalecticus. The acatalectic trimeter is used partly with other rhythms in lyrical poems, partly by the line. As a lyric verse, it com- IAMBIC RHYTHMS. 77 monly occurs lightly constructed, and with many resolutions, as Pratin. in Athen. XIV. p. 617. C. Tig o 'O'OQv^os ode ; live*, tade TO, Eur. Helen. 1117, 1118. "Os iftohev spoke Ttsdia @aQ@a()G) "Os edQafis ()6&ia p&sa nQiapid but sometimes also without resolutions, and with the appli- cation of the middle time, as sometimes in Pindar, who other- wise avoids all the current line verses, Nem. V. 4, ddpTtavos vibg Jlvd-tag evQVG&evq$, The lyric poets appear not to have allowed the anapaest ; where it occurs, the verse must either be otherwise measu- red or it is corrupt (Comp. Hermann. Elem.). The Trim. iamb, claudus, or Hipponacteus is a trimeter with the last foot reversed : It occurs in satiric poetry only. As in the catalectic trimeter, so called, the first thesis of the third dipody never admits the middle time, it seems rather to be composed of a trochaic monom. with an anacrusis, and a following ithyphallic : As such it often occurs in the chorusses of the dramatists, as Soph. Ant. 592. xtai. So also it is used by Alcm. in Athen. III. p. 111. A. ai psv STira xui TOGCU *divcp re, Gct6a[ (d) The Tetrameter. Tetrameter iambicus. / / i / w ^--_-_-_w_^_ acatalectus. w_~_w_w_s, v_w catalecticus. 7* 78 IAMBIC RHYTHMS. The acatalectic tetrameter is employed by the dramatists as a lyric verse without a fixed caesura or diaeresis, often with many resolutions and lightly constructed, as Aesch. Suppl. 811. AvGiiia, [id%i[ia d' snide, 7tdr?Q, fiiata p] cpilei/ / wv,_ (Glycon. polysch.) da nok.iv Ipav (2) The Dipody, or the Dimeter. * --- ^ acatalectus. _ ~ catalecticus in disyllabum. - - ~ - catalecticus in syllabam. The acatalectic dimeter is found in systems only ; where / w it occurs singly, it is logaoedic ---. The dimeter catalect. in disyllabum is the versus Adonius so called. It is frequently found single, especially as a closing rhythm, as Soph. Aj. 409. XSIQI cpovevoi, and so it serves as epode in the Sapphic strophe. It is also repeated, as Find. Nem. II. 5. 3 Ev or joined with other rhythms, as Soph. Aj. 182. Ma%avaTg ITIOCCTO lafiav. It frequently receives the anacrusis : as Soph. Oed. R. 896. Ti dei pe %OQvew. 84 DACTYLIC RHYTHMS. X-/ - With the basis -- it is the Pherecratean, of which below. The dimeter catal. in syllabam resembles the choriamb, from which it is distinguished by the pause alone, and by the circumstance that the iambic dipody can never be placed in its stead. (3) The Tripody, or the Trimeter. _~v,_^_w~ acatalectus. / _~ v _wv,_~ catalecticus in disyllabum. ---- w _ catalecticus in syllabam. The acatalectic trimeter does not occur ; where it seems to occur, it is to be measured as logaoedic, ---------. The dimeter cat. in disyllabum is very frequent in lyric and dramatic poets, both singly, as Find. Olymp. X. Ep. 3. Soph. Trach. 96. and joined with other rhythms, as Eur. Med. 977. Sometimes it is repeated, as Soph. Trach. 112 and 122 : tt yao cacrr' dxduavrog ?/ NOTOV ^ BoQuot, *Qv sjniA8[Ji(pO[i8va d ddi-la [iiv, avria d o/rjoo. Find. Olymp. VIII. Epod. 5. cp r ov y.ura ?do$ ik apparently a dactylic hexameter ; the third foot, however, can never be a dactyl. The trimeter cat. in disyll. receives also the anacrusis : as Soph. Oed. R. 154. and the basis : x / DACTYLIC RHYTHMS. 85 Vjjte, z/A/, Ilaidv. as Aesch. Suppl. 85. El &eii /lio ev The trimeter cat. in syllab. (asv^fMfiSQSS dactylicum) oc- curs partly as a single verse, as Find. Olymp. VIII. 5. and the writers of epodes thus use it as an epode ; partly- joined with other rhythms, as iambelegus. f~\ ' s ' \ysuiv ovncwiciv. _ w ~-^ v,_^_ Platonicum. The comic poet Plato in Heph. , Tia'kaioyovwv dvdQwv ftearwr ty Choerilus made a peculiar use of this rhythm in the Satyr drama. But it occurs in other poets, also, as Aesch. Prom. 530. ftsovg OGICUS ftowaig The repetition of the cat. in syll. produces the elegiac pen- tameter so called : which with the hexameter forms the elegiac distich. This combination does not occur in Pindar, but in dramatists, as Aesch. Agam. 1022.. Oudt! rbv OQ&odafj rear cp&ifjtsvow dvdysiv. The trimet. cat. in syll. also receives the anacrusis, as Eur. Electr. 862. and the basis, as Aesch. Eum. 1033. 8 86 DACTYLIC RHYTHMS. X / / Nvxtos 71 aides anatdzg, vri sv&vq>QOVi (4) The Tctrapody, or the Tetrameter. / _^v,_v,w_ww_w V acatalectus. _w^_v,w_w_ catalecticus in disyllabum. / _~v,_^_v,o_ catalecticus in syllabam. The acatalectic tetrameter occurs in the Aeolian lyric po- ets and the dramatists, repeated by systems. It frequently occurs in dramatists singly, or joined with other rhythms, as Soph. Phil. 827. TTTV\ odvvag dSai]?, VTTVS 5' dtytwv ' in Latin, also, as Terent. Andr. IV. 1, 1. Hoccine credibile aut memorabile, after which cretics follow. The acatalectic tetrameter is also repeated, as Aesch. Pers. 852. 7 42 TiOTtoi, r\ (jiKydhag dya&ag ts Tzohcaovopnv fiiordg The tetramet. cat. in disyll. and in syll. occurs frequently in lyric and dramatic poets, as Soph. Oed. R. 175. v a.ty TiQogoig UTZSQ SVTTTZQOV Pind. Pyth. IV. 6. BUTTOV xaQnotyonov ^tifivag, IEQUV. Both can receive the anacrusis and basis. (5) The Pentapody, or the Pentameter. / _~w_s,~_ow_^_^ acatalectus. / _~_^w_,,v,_~v,_o catalect. in disyllab. _wv,_w_ws,_w w _ catalect. in syllab. DACTYLIC RHYTHMS. 87 It seems that the acatalectic pentameter does not occur. The pentameter cat. in disyll. occurs in dramatic and lyric poets, as Arist. Nub. 285. Opfjia JUQ ai-&SQOG dxapaTov Aesch. Again. 121. j4i"kwov, at'htvov eiTt e, TO 5' sv Soph. Phil. 837. KaiQOg TOL 7TUVTCOV ^VCO^LCiV The catal. in syll., too, is met with in lyric and dramatic poets, as Soph. Aj. 225. Twv {Jadhav /lavawv VTTO x with the anacrusis, Soph. Phil. 695. Ilct,Q cp GTOVOV dvvitvnov (6) The Hcxapocly, or the Hexameter. _WK^_WW_WW_ ww_w\- Q^ ataiectus. _^_^_o~_^_v, catalect. in disyll. _^_w^_v^_v,w_^ v _ catalect. in syll. The acatalectic hexameter is found in systems only. The hexameter cat. in disyllab. is the most common metre. The epic poets use it by the line, whence it is called versus heroicus, or the epic hexameter. The lyric and dramatic poets, too, make use of this verse, but singly among other rhythms. Sometimes several follow one another, as Soph. Trach. 10091013. Eurip. Troad. 590 599. Such a lyric hexameter usually has the caesura after the third arsis, as Soph. Oed. R. 159. . It is also repeated twice or thrice, as Aesch. Pers. 556 Eur. Here. fur. 359. II()03Tor pip dios akoo$ yQij (b) Dactylicus simplex duplicitcr trochaicus. / _ - --- w acatalectus. / w _ w _ w _ catalecticus. The former is very common in lyric and dramatic poets, especially as the closing rhythm, as Pind. Pyth. II. 8. tvag ayctvaiGiv iv %Q6l ttotxihaviovs IddpacGS ncolovg. Aesch. Prom. 906. DACTYLIC RHYTHMS. 91 Tav /liog yaQ ov% OQW pijrw orta (pvyoifi civ. It frequently receives the anacrusis, Soph. Trach. 957. or the basis, x- / a Glyconeus hypercatalectus, so called, as Aesch. Choeph. 793. 811. According to Hephaestion this rhythm was called Sapphi- cum enneasyllabum or Hipponacteum : K at xvLGGy tivcx, fiviiifoag. With the iambic or trochaic basis it is the Pindaricum hendecasyllabum, so called : / x - 'O Mov Gay stag ^ With a preceding trochaic dipody it is the Sapphic verse, versus Sapphicus hendecasyllabus, of which the sapphic stro- phe is composed : If to this rhythm the anacrusis is added, the Alcaicum dodecasyllabum is produced : c' dyva [4Sih%6(ieidi If a cretic follows this measure, the cpionicum tetramc- trum catalccticum, so called, is formed. Toiovxog /V Oi 9 DACTYLIC RHYTHMS. The catalectic is likewise very frequent, as Eur. Med. 847 *H TI Find. Olymp. II. Epod. 1. ty ytvti . TWV If a trochaic dipody with the anacrusis is prefixed, the Alcaicus hendecasyllabus is formed : J J%7zoM.ov, Ttca fieyd the principal verse of the Alcaic strophe. The catalectic frequently receives the anacrusis : Soph. Oed. R. 1186. Find. Pyth. VII. 6. '/to yevs AT r > aiovr With the basis it is the glyconic : x- / This dactylic form of the glyconic is the original and pure, as Dorian lyric poetry uses it exclusively. In Pindar the bases are not changed ; resolutions are frequent. Pyth. VIII. Epod. 5. / / x / edexro x~ / v. 1. x / v. 2. x-. / Pyth. VI. 3. v DACTYLIC RHYTHMS. 93 The dramatists, too, have this dactylic glyconic, partly singly among other similar measures, as Aesch. Agam. 152. JVeixtcov text ova partly in systems the close of which is formed by the Phere- cratean. The Ionian lyric poets, too, have such systems of pure glyconics, which close with a Pherecratean. Besides this dactylic glyconic there is yet another of choriambic rhythm which admits the middle time in the thesis of the closing iamb, x- / - in the basis allows bolder rhythms, and admits polyschematist forms. The dramatists use it both singly and in systems. The glyconic is frequently united with the Pherecratean in one verse, as Aesch. Suppl. 686. x / x - ' 6 j4vxeio$ ZGTCQ adaa vsokaia. If such a verse is used by the line, it is called a Priapean, versus Priapeus. Sometimes an anacrusis precedes the basis of the glyconic. -x- / as Soph. Electr. 474. Kal or an iambic monometer ; - / x- / " ^_v,w_^_ Alcmaicum dodecasyllabum. Koknqj a Ids^av-d" 3 ayval %d()i,T$ KQOVW. (c) Dactylicus simplex tripliciter trochaicus. / _^_v-.~_w acatalectus. / w _^_w_ v _ catalecticus. The former occurs singly, as Soph. Oed. Col. 130. Kai with the anacrusis. 94 DACTYLIC RHYTHMS. Find. Nem. II. 2. Sappho in Heph. niriQiig nw icpawetf a G&dva. Ai d' cog TTSQ} ficonbv iGrd^Gav. With the basis it is the Phalaccean verse, versus Phalae- ceus hendecasyllabus. x- / - which is used by the line, especially by Roman lyric poets. It occurs, however, singly, too, as Soph. Phil. 136, 151. J ^ QOVQEIV Ofl[l ETtl GCO fiaklGTCt, XCUQCp, and joined with other rhythms, as Find. Nem. VII. Epod. 5. x~ / x~ / - Jloyov 'OdvGGtos TI Tiu&ev dia, rov advent] ysrsfftf ^ If an anacrusis precedes the phalaeceari verse, the follow' ing metre is formed : -x / - which Hephaestion considers Ionic with the anaclasis. He quotes as an example : Tl 1U.V The catalectic, too, is very frequent, as Aesch. Suppl. 101. y yvwv. Anacreon uses it with an ithyphallic following : Tor kvQonoiov tjnopqv ^TQamv, el Sometimes it receives the anacrusis, as Eur. Ale. 443. or the basis, as Find. Nem. III. Epod. 2. DACTYLIC RHYTHMS. 95 vyitjQov 'iv ys fia&VTttftci) NS^EM to xakkinxov (j)SQ8i. (d) Dactylicus simplex quadrupliciter trochaicus. / -- v v acatalectus. / w _~,,_v,_~_~_ catalecticus. The former occurs seldom, as, with a double iambic basis, Soph. Oed. R. 463. Tig OVTIV a ftsGmxnEia /Jekcplg slits ntT^a, J^QQ^T 3 GtQQrjtGyV tskSGaWCt CpOlVlCilGl %8Q61V J The catalectic is more frequent, as Find. Isthm. VI. 2. $m%toqiaw pdhc^a ftviiov rsov. x / Epod. 1. Qtav s Qyos nmov. (2) Logaocdic series with a double dactyl. (a) Dactijlicus duplex simplicitcr trochaicus. Jw" acatalectus, _'wv,_^^_ catalecticus, do not diner from the trimeter dactyl, cat. in disyll. and in syllabam. (b) Dactylicus duplex duplicitcr trochaicus. _v_-w_v,_^ acatalectus. _v_v,~_w_ catalecticus. The former is the versus decasyllabus Alcaicus, so called, and occurs as the closing verse of the Alcaic strophe. i TIG In iGftttTicuGiv oixeig. Virginibus puerisque canto. 96 DACTYLIC RHYTHMS. Pindar does not use this rhythm, but it is found in the dramatists, as Eur, Rhes. 536. rfyvGicti) xt TI$ TIQO dopow ode y Iffrlv davqQ. With a preceding monometer troch. with an anacrusis : Simonides : dvcohol.v^av MGGOtyOQOig ITII As an example of the catalectic verse take Aesch. Prom. 165. Ftvvctv ' ovds !//! nQiv dv rj xoQs'ay xt(>. (c) Dactylicus duplex triplicitcr trochaicus. / _v, v _ V w__^_v, acatalectus. / w _v,^_^^_^_^_ catalecticus. The former, as Soph. Electr. 1413. 7 52 JTO/U, co ywta vukawa, vvv ce. Pind. Nem. V. 2. 'Ecraor. d),U Im 7zd$a$ ohxddog 'iv r dxdrqj, ylvxei' doidd, the latter, Soph. Electr. 1414. MOIQU, xa&afiSQKX, cp&ivsi, V ftvnlSwv x7.of Ifij&saotact, IlaQ&WE rav xscpal.av, ret d' svegd-e vvpcpa. Pindar does not use it, but it is found in the dramatists, as Soph. Ant. 134, 135. Jivrirvnct, 5' Im ya nscs IIvQqoQO?, og tore paivopwcc With the anacrusis it is the versus Archebuleus, which the Alexandrians used by the line : The dramatists and Pindar have the catalectic, as Aescru Agam. 145. / x GTQOV&UV. Find. Pyth. XL 1. Kddftov xoQai, ^ept'la pw 'Olv^iTtidd^v dyviang (4) Logaocdic scries with a quadruple dactyl. Of these the dactylicus quadruplex dupliciter troch. acat. alone seems to have been in use, as Aesch. Prom. 165. 9 98 ANAPAESTIC RHYTHMS. 'H aaldpa nvl rav dvffdlcorov thy rig with the basis Telestes in Athen. XIV. 617. F. xat anaid' daeveiue B. Rising, Anapaestic Rhythms. (1) National Anapaests. The anapaest is the reversed dactyl ww . Belonging to the equal kind it shares with the dactyl in the character of dignity and force, but being a rising rhythm, is more lively than the other (P. I. ch. 1. p. 8). But its character is changed according to the various modifications of which its measure is capable. The lyric poets commonly used the ana- paest in such a manner as to leave it its original form, and to avoid even the contraction into the spondee as far as possible. The Dorians made a peculiar use of the anapaes- tic rhythm. They used it for military marching songs (?^- pctTTJQia), in which they permitted the contraction of the thesis. The tragic poets treated the anapaest in systems with more freedom, admitting the dactyl for the anapaest rj - ww . The comic poets employed, though seldom, even the *v proceleusmatic The caesura which happens on the thesis, would weaken the rhythm ; on this account anapaestic series delight in the masculine diaeresis (P. I. ch. 11. p. 39). The catalexis is in syllabam alone --------_- (p. I. cn . 7. p. 27). The shortening of the long by the hiatus is permitted not only in the two shorts of the thesis, as Aesch. Pers. 39. Kal efaiofidrat vawv lye-rat, Aristoph. Nub. 352. AVY.QI but also, though more rarely, in the two shorts of the dactyl which stands for the anapaest, as Eur. Hec. 125. Aesch. Pers. 60. ANAPAESTIC RHYTHMS. 99 Anapaestic series . are measured partly by feet, partly by dipodies. The former are more rapid, and therefore rarely have the contraction of the thesis. (1) The Monopody. Monopodia anapacstica. It is frequently prefixed to other rhythms as an introduc- tion, as Find. Nem. VI. 5. Noov r]zoi (pvGiv d&ardroig. Eur. Here. fur. G80. / / x / ETI rav ffQaxheovg xakkivixov asicc*). If the anapaest stands for the trochaic basis, it is to be x~ measured as a trochee u ~ - , as Arist. Ran. 1322. x~ / ^^ w-^_ (Glyconeus.) co itxvov (2) The Dipody. Dipodia anapacstica. (a) The Manometer. Manometer anapaesticus. acatalectus. catalecticus. Of dipodies, sometimes verses, sometimes systems are com- posed. The monometer is either used singly among dimeters, basis anapacstica, or it occurs singly in the lyric and dra- matic poets, or in connection with other rhythms, as Find. Olymp. XL Epod. 6. 100 ANAPAESTIC RHYTHMS. Aeschyl. Pers. 72. ^ft apart id os Elizas, Tto^vyo^ov odiGpa L,vyov kwv av%svi noviov. The catalectic monometer - (Paeon tertius) is used be- fore other rhythms as an introduction ; a basis with an ana- paestic anacrusis, as Pind. Pyth. IX. 1. (b) The Dimeter. Dimeter anapacsticus. W v_v,w__s,v,_ww_ acatalectus. w ^w_- catalecticus. The former is the principal element of anapaestic systems. It occurs, however, singly also among other rhythms, as Soph. Oed. R. 469, 470. n avTov s o With the arses resolved, some metrical writers have called it after Hephaestion, Proceleusmaticum tetrametrum Aristo- phaneum. tad I The catalectic dimeter or the parocmiac is sometimes used by the line, sometimes serves as the close of anapaestic systems, and sometimes occurs singly among other rhythms, as Soph. Philoct. 1135. nokvpftdvov dvdgog fQf Pind. Pyth II. 4. ANAPAESTIC RHYTHM'S. 101 (c) The Trimeter. Trimeter anapaesticus. - acatalectus. s,w_ww_ww_w_,w_ catalecticus. Instances of the former cannot with certainty be pointed out ; the latter was used by the line, among the Spartans, as a marching rhythm, versus Mcssenicus. (d) The Tetrameter. Tetrameter anapaesticus. ww_vw_w_w_ww_wv,_vw_ww_ acatalectus. The acatalectic is found repeated by the line in the Ro- man comic writers. The Spartans used the catalectic by the line in marching songs, and the comedians, particularly Aristophanes, employed it very frequently. (3) The Tripody. Tripodia anapaestica. / / catalectica. Both appear in combination with other rhythms, as Find. Nem. VI. 4. ovQavog. dlkd 11 TiQoscpeQOfisv 8[t7iav Soph. Phil. 1178. o, cpia zavra Find. Olymp. XIII. 1. (4) The Tetrapody. Tctrapodia anapaestica. / ^_wv,_w_v-_ acatalecta, 9* 102 ANAPAESTIC RHYTHMS. / --.ww_v catalectica, are not distinguished from the acatalectic and catalectic dimeter. (5) The Pentapody. Pentapodia anapaestica. v< v/ v/s^ v^_v^_^^_ ;icatalecta ww_ww_,_,w_ catalectica. Very rare; for an example of the acatalectic take Arist. Acharn. 285. ^\ \ f -> f 7 \ 2- ^ catalecticus. The former is found but seldom, as Aristoph. Thesm. 312. y,al ANAPAESTIC RHYTHMS. 105 the latter more frequently, as Aesch. Agam. 691, 692. yyavvog Such a verse must not be confounded with an Anacreontic. (d) Anapaesticus simplex quadrupticiter iambicus. --- --- acatalectus. / w_v ------ catalecticus. The former seems not to occur; the latter is found, as Find. Olymp. IV. 9. txari tovde (2) Logaocdic scries with double anapaest. (a) Anapaesticus duplex siw,pliciter iambicus. / --- --- acatalectus. / ^ v _ w w _ v catalecticus. The former, as Find. Olymp. IX. 1. To [iev ^Q%i).6%ov [A&O$. Eur. Ion. 468. 'fxerevaate d\ co KOQCU. The latter is not distinguished from the Tripodia anap. cat. (b) Jlnapacsticus duplex dupliciter iambicus. / ^_v,w_v_v_ acatalectus. / w-w_w_- catalecticus. Eur. Electr. 586. Karskapyag, sdsi^ag ipcpavij. Aesch. Prom. 548. 'OhyodQaviav axmvv. Find. Pyth. X. 6. dvdotov xlvxav oTta. 106 ANAPAESTIC RHYTHMS. (c) rfnapaesticus duplex tripliciter iambicus. / ^ ^ w_^_^_ acatalectus. / ^_v,~_u_w_~ catalecticus. Eur. Ion. 1447. 2vvlxvQ6 adoxijTog qdova ; TIO&ZV. Find. Isthm. VI. 1. Tivi zwv TtaQog, co pdxciLiQa Qtjfia. (d) Jinapaesticus duplex quadrupliciter iambicus. / ^v,_s, w __^ --- ^_ acatalectus. - - catalecticus. The catalectic only appears to have been used, as Aesch. Prom. 546. Tig IcpapSQicov OQijj^tg ; ovd' ldt Find. Fragm. Hyporch. 2. "Os dfia^oqxjQjjzov dlxov ov ntnarai. (3) Logaoedic scries with triple anapaest. (a) Jlnapaesticus triplex simpLicitcr iambicus. acatalectus. ^v._wo_v,_^ catalecticus. Lucian used the acatalectic mingled with the catalectic, Tragopod. \. 87. sqq. Once, in a proper name, he has a spondee in the catalectic verse : ) roY ekovaev. Elsewhere the acatalectic verse is also found singly, as Arist. Thesm. 367. G' , ddtxovai re ity nohv. The catalectic verse is not distinguished from the tetram. anap. catal. ANAPAESTIC RHYTHMS. 107 (b) Anapaesticus triplex dupliciter iambicus. f ww_w_ww_ --- acatalectus. / ww_w_ww_w_ catalecticus. Arist. Av. 451. as py lafterco. The dramatists use the dochmius with irrational theses, which will be considered hereafter. CRETIC RHYTHMS. Ill (2) The Dipody or the Dimeter. Dimeter creticus. / / ** ------ acatalectus. / / w w catalecticus. The acatalectic dimeter is the principal element of cretic systems. But it also occurs singly, and in combination with other rhythms, as Arist. Pac. 1127. Ifdopcu y Soph. Trach. 205. ' Aesch. Acram. 238. Ufa %ahvtov r dvavdcp pevei. Find. Olymp. BE* 4. Find. Olymp. V. Epod. 2. x / dvt'&qxs, xal ov TiarsQ "AKQWV ixaQV^s xal rav V801XOV Bd^CiV. The Latin comic writers sometimes use a dimeter among tetrameters, as Plaut. Capt. II. 1, 17. Unum exorare vos sinite nos : quidnam id est? Ut sine his arbitris Atque a vobis nos detis loquendi locum. Trochaic closes are frequently appended to the dimeter : / / / Plaut. Most. III. 2. 1. Molius anno hoc mihi non fuit domi. Aeschyl. Agam. 224. ' d' ovv frvvriQ ywtG'&ai ftvyavQog yv~ 112 CRETIC RHYTHMS. The dimeter often receives the anacrusis : and therefore resembles a monometer iambicus with a cretic, as Aesch. Choeph. 436, 437. EXO.TI e apv Arist. Pac. 1128 sqq. KQCLVOVQ d TVQOV rs y,ai Ov yu() g)th]d With the iambic basis it is like the dochmius with a fol- lowing cretic : as Aesch. Agam. 1081. * dnoll.cav 16$. The catalectic dimeter is more unusual, as Find. Pyth. IX. 2. Aristoph. Lys. 783. It is sometimes also found with the anacrusis, as Soph. Elec. 504 sqq. Tlokvnovo? iTiTTeia, Tads yd. Arist. Lys. 787. 101$ OQ8GIV CRETIC RHYTHMS. 113 (3) The Tripody or the Trimeter. Trimeter creticus. r t f w - v w - acatalectus. catalecticus. The former is often found singly, as Aesch. Suppl. 428. Mq 11 t^s zctv w&iv siGideiv. also in the Roman dramatic poets, as Plaut. Rud. III. 4, 61. Heus, Palaestra ! obsecro, qui vocat ? Ampelisca, heus ! quis est, qui vocat ? It receives also the anacrusis : a manometer iambicus with a cretic dimeter, as Pind. Pyth. V. 9. "Exavi and the iambic basis : a dochmius with a cretic dimeter, as Aesch. Agam. 1118. Trochaic prolongations are likewise frequent, as Aesch. Eum. 323. . o AWIVVQ yaq Ivfe p atipov Aesch, Agam. 180. / / novog, xa nag axovzag The catalectic trimeter occurs more rarely, as Aesch. Agam. 1142. Nopov avopov, old tig %ov&d. If the verse takes an anacrusis, and the anacrusis appears as a long, there results an apparent trimeter palimbacchius : 01, f l>oi8s, Movcai re, G 10* 114 CRETIC RHYTHMS. The catalectic trimeter also sometimes occurs in the Ro- man comic writers, as Plaut. Rud. IV. 3. 10. Te mihi non fore infidum. (4) The Tetrapody or the Tetrameter. Tetrameter creticus. / / ft* - - " ~ - acatalectus. catalecticus. The acatalectic tetrameter was often used by the Greek comic poets, as Arist. Vesp. 419. KEI TIS cillog 7iQ086rr { xEv v^wv xo?.. Arist. Georg. in Hephaestion : 'V dyooa d' av nkdzavov ev Arist. Acharn. 976. ^vrofiara THJLVI dya&a rcpdt' ye The Roman tragic and comic poets also have the tetrame- ter very frequently, as Ennius in Cic. Tusc. Quaest. III. 19. Quid petam pracsidi aut exsequar? quove mine Auxilio exili adt fugae freta sim ? Arce et urbe orba sum, quo dccidam? quo dpplicem ? Plaut. Rud. I. 3. 31. Hoc quod induta sum, summae opes oppido. Ncc cibum, ncc locum tecta quo sim, scio. It occurs with the anacrusis in Pindar and the tragedians: a manometer iamb, with a cretic trimeter, Pind. Olymp. II. 5. Qr'iQwva. S& tKVQaoQiag i-vsxa Soph. Elec. 1419. with a preceding iamb, Pind. Olymp. II. 2. Two. \>oV, iiv recoct, rtva d' avdga The comic poets have likewise the catalectic, as Arist. Lys. 792. CRETIC RHYTHMS. 115 K.OVXBVI xar?jk& nakiv oixad' vno Plaut. Trin. II. 1. 17. Dd mihi hoc mel meum, si me amas, si audis. With the anacrusis it occurs in Find. Olymp. II. Epod. 4. ds Ttorpcp cvv zvdalfion ywwi civ (5) The Pcntapody or the Pentameter. Pentameter crcticus. / / / / / w - w w acatalectus. * * w w v catalecticus. WW ^W WW ViV W^> WW W WW WW The former is sometimes used by the line in the Alexan- drian writers, sometimes singly by the comic poets, as Arist. Ach. 972. Theopompus especially is said to have used it, hence versus Theopompcus, as, ndvT dya&a di] ysyovzv dvQa,Giv i^g dnb GWOVGIU?. Among the lyric poets Bacchylides used it by the line. The catalectic pentameter seems not to have been in use. (6) The Hcxapody or the Hexameter. Hexameter creticus. ~ w w ----- w - acatalectus. - w w w w w catalecticus. ww ^w w^y ww ww ww v/w ww ww v^w ww The former is said to have been used by Bacchylides, hence metrum Bacchylideum, but the verses cited by Dionys. Hal. seem rather to form a cretic system. See below. The comic poets have the hexameter, as Arist. Acharn. 210,211. , oi%evai ygovdog. oipoi rdl,ag rcov 116 CRETIC RHYTHMS. Qvx dv ITT ipjg ye, vsorqros, or 700 yt CfOQTlOV. It is found with the anacrusis, Arist. Aves 410. v*fji ds Ttoia xopi^ei nor avrco TIQOS o(wi&a$ I JBiov diairqg TS xai GOV ^vvoixelv TS GOI xcu TO nav. The catalectic hexameter, according to Hephaestion, was used by Alcman, hence Versus Alcmanius. [ttv ovx ecri, {lugyog Qcog, oa naig in av&q xafiaii'wvj a pj 101 &iy^ t(p (b) Crctics with the irrational thesis. The Greek tragedians, and after them the older comic writers, allowed themselves, particularly in those choral songs, in which the greatest distraction of feeling or the deepest sorrow prevails, certain licenses as to measure, which do not occur in the Dorian lyric poetry. With this less strict ob- servance of the lyrical laws (dv cobalt a) there probably was also connected a great freedom in the singing and the musi- cal accompaniment, and this delivery, like the modern reci- tative, is called by Aristotle (Prob. IX. 6.) naQuxaialoyrj. The inventor of it according to Plutarch (de Mus. 1141. A.) was Archilochus. The cretic, in this paracatalogc, might also take the middle time, especially in certain combinations : hence we will call it the irrational cretic. It most frequently appears with the iamb prefixed as a dochmius : In this measure, all the longs, except the two irrational ones, can be resolved. If the dochmius does not close the system or the rhythmical series, then two shorts may also be put for the last long; at the close, only the long or the short stands. The shortening of a long by the hiatus takes place in the dochmius, only in the two shorts, which stand for the first arsis, as, CRETIC RHYTHMS. 117 V06TCQV. The dochmius has thirty-two different forms, all of which, however, are not equally in use. og. Aesch. Sept. 79. v. Aesch. Sept. 79. 3. w_ww_ GV v w dioysvlg. Aesch. Sept. 128. /~ /^ - 4. wwv,v,w_ ay T p onrd%o$. Soph. Ant. 1323. / / ^ o. ~ cD/iot fjtoif rdd' ovx. Soph. Ant. 1317. /^ / w (}. _vw_^_ Sovhoavvag vTteg. Aesch. Sept. 112. / A-. w 7. v ^,w_ "Oyxa. TTQO nolsmg. Aesch. Sept. 164. . . o g < _ w _ ^ j ^oAv? o5s hems. Aesch. Sept. 80. / / w 9. t'w dvcravog. Soph. Ant. 850. / / w 10. ^ w dvoai'cov dvdQ- ^ d&d-varog dnQOtyaGiGTog. Eur. Bacch. 1003. 13. %# ^ 23. ----- ntig qifjg ; dqarov dya-rov. Eur. Ion. 782. 24. - ,---- r dg ndf)og in, xaQirog. Soph. Elec. 1266. 25. w w w 'OQt&rav Ttjhvys - rov. Eur. Iph. T. 827. /^ / ^ 26. ------- or T GVQiyytg s - xlay^av. Aesch. Sept. 205. 27. -I-^_,1 28. -------- ywog dvovov avvr/.a. Eur. Here. fur. 886. 29. so. - 31. _ 32. -------- The forms with the long thesis of the cretic occur most frequently in the commatic songs of tragedy. The most common are the forms 1,2,4,5,6,9, 10, 12, 14. The forms 11, 15, 27 and 31 were not in use. Of the forms 21, 29, 30 and 32, no certain examples can be pointed out. The dochmii were sometimes repeated as a system, some- times they occur in combination with other rhythms. As the dochmius begins with a thesis, those rhythms, properly speaking, can only precede it, which close with the arsis, as an iamb: CRETIC RHYTHMS. 119 Aesch. Sept. 78, 166. 7co Eur. Phoen. 1287, 1288. skeog Tsxea An iambic dimeter: Aesch. Agam. 1100. 7w Tionoi 11 aors \i m and longer iambic series, as Aesch. Eum. 778. If a dactyl precedes a dochmius, it is to be measured as an iamb, as Aesch. Sept. 222. In the same manner it is often preceded by one or several cretics, as Eur. Hipp. 366. Here. fur. 910. g IIVCL ps riva fiodv ; Aesch. Eum. 268. ivyg pjTQOcpovag dvag. Catalectic trochaic series, too, occur, as Eur. Orest. 140. a cTya, tenrov r/vog dyfivlrfi, finally, choriambic, anapaestic and catalectic dactylic rhythms. Series, which end with the thesis, can then only precede the dochmius, if the poet wishes on purpose to produce a soft arrhythmy. Those cases, however, are rare, and the verse usually appears, by another measurement, as eurhythmic, as Aesch. Sept. 235, 241. 120 CRETIC RHYTHMS. tetrapod. Iroch. cat. not wv,wv,_v__ dochmius with trochee preceding. Tig tads vs^SGis GTwysi. Tipior tdog ixopav. As little does in Aesch. Pers. 268, 274, an amphibrach precede a dochmius, if the verses are thus divided: GTQ. 'OTOTOTOI, ftdfuv ra avi. 'OTOTOTOI, ahi ^coftara nohvfiacpfj. The genus Alcmanium, so called, consisting of a doch- mius, preceded by a monometer troch. with an anacrusis, seems for the most part to rest upon an erroneous mea- surement, as Aesch. Agam. 238, not but -_v,__^___ trimet. cret. with anacr. so likewise Agam. 378. Aesch. Prom. 580, the poet seems to have purposely allowed the asynartetic coincidence of two theses : OtGTQ^aTco 8s dei'iian dEiluiav. Other rhythms also may follow the dochmius. Cretics are very frequently attached to it, as Eur. Bacch. 1153. or trochaic series, as Aesch. Sept. 566. The hypercatalectic dochmii, so called, are trochaic series, with a preceding iamb : CRETIC RHYTHMS. 121 - _ - Dipodia troch. acat. which very frequently forms the close of dochmiac systems. The second thesis is never allowed to be irrational. Eur.. Here. fur. 879. Aesch. Sept. 421. Suppl. 751. dvavhoig. ideaftcu. g wars, ficopwv dksyovzeg ovde'v.. w v - w - Tripodia troch. cat. Eur. Troad. 560. w - Tripodia troch. acat. Aesch. Pers. 575. Boaviv tahaivav ccvddv. ~ v Tetrapodia troch. cat. Aesch. Sept. 737. Ms^ap-TTa^fg aifAu cpowiov. Through such systems joined to, or mixed with, dochmii, the shorts can be explained, which often appear to precede or follow the dochmii. According to Hermann (Elem. p. 278 sqq., Epit. 268) the essence of paracataloge consisted in this. Of such shorts there are either two, as Eur. Phoen. 104. XSIQ U7to xhftctxojv - Ttodog - i%vog inavrflJimv. It seems here that TZodog should be connected with what follows, so that the short dochmiac system closes with two cretics, of which the latter is irrational : In like manner Eur. Hel. 690. Eur. Bacch. 1164, 1165. 11 122 CRETIC RHYTHMS. v a - Gid&vGav - %*QO. - TreQifiakew rt'xvov, which ought to be measured thus : Ka).bv dywv, Iv aipati Grd&vGav 2 dochmii. Xt'()a TieQifiafaw IMVOV. Dimet. cret. Or three shorts, which are to be considered as a resolved iamb. Or four shorts, as Eur. Orest. 171, 192. dva - TTodu GOV eiki^stg. d - Ttocpovov aifsa dovg. The passage, however, is thus to be divided : Dimeter troch. w . v v * dochm. / /^> / _s,_wv^_<-_ cretic. irrat., dochm. GtQ. OVK dy ?}[jwv, ovx dri oixow dvd Tioda GOV XTVTTOV ; dvr. 'E%K&VG' 6 ( I>oT@og i]^d^ dnocporov dovg naTQOCfovov Eur. Elec. 1149, 1157. TOTS per iv kovTQolg- eaeGev l- M&eov TIOGIV -%QOVIOV l-x6f4.ei>ov si*; ot'xovg It is better here to close with the dochmius: "Eaeaev lib one system, and begin with the irrational cretic : / L^gx&o?, Elg oi'xovg, a new system. The verses Soph. Oed. Col. 1447, 1462. s a zdds - VEO&EV tfi&e pot. "Ids fjLaka - [leya^ SQSiyrsfcu. are to be measured by iambs: CRETIC RHYTHMS. 123 ' in like manner Eur. Orest. 1253, 1254 ; 1273, 1274. Ti dk' fie rods /(>/o anvKigj "Evv7i poi, cp&a. (dochm.) , v ov The verses Aesch. Agam. 1407, 1426, where four shorts seem to stand between two dochmii : Ti xaxbv, oa yvvai, X&OVOTQ(p?g - IdavoV 1] 710TOV. el, i'cpQova - d' sl.axeg, wgneQ ovv. are thus to be measured as follows: Ti xaxbv, co yvvctt, x&ovovQecpsG Idavbv TTOTOV TzaGafisvct QVtoi$ 1% g e2, nsQityQwa. d' ovv (povohfisl vvya, Five shorts are a resolved cretic. The irrational cretic is sometimes preceded by an ana- paest, instead of an iamb, the shorts of which, however, are never allowed to be contracted ; a dochmius with a disyllabic anacrusis : as Soph. Oed. Col. 117; 149. Tig OLQ i\v ; TIOV vaiei ; Such a dochmius, however, is often so in appearance only, as Aesch. Sept. 122. 124 CRETIC RHYTHMS. ITtTTSlOOV , Eur. Here. fur. 878. Maviatctv AVGGVL?) where yevvcov is to be read as two syllables, and pavlaiGiv as three. The resolution of the middle time of the cretic is riot per- mitted ; hence rhythms, as Aesch. Suppl. 349, 361. '/$ (AS IVLV ixetiv, 2v $6 TTttQ 0\piyOVOV, are not to be considered dochrnii, but are thus to be mea- sured : / / ^ v, --- w_ iamb with choriamb. The irrational cretic sometimes occurs, without the pre- ceding iamb or anapaest, before or after dochmii, as Eur. Orest. 168 ; 189. v^aa efiafag 1% vnvov. OvSl yuQ noQov t^i fioQag. If an anacrusis, or a trochaic basis with the anacrusis, is prefixed to the irrational cretic, rhythms seemingly iambic are formed, in which the middle time is everywhere admissi- ble, the iambi ischiorrhogici, so called by Hermann: Soph. Elec. 1238, 1239; 1260, 1261. Abk 0V 1VLV Tav aitv < Tig ovv u.v d'Ztav JTs 60V 7l(f]IjVOTOg. The irrational cretic may also be repeated : a dochmius with the arsis, so called, as Eur. Phoen. 320,321. BACCHIC RHYTHMS. 125 Soph. Trach. 846848 ; 857859. "H TIOV oloa "H nov ddivav Tt'yyei daxQvco "A tors &oav Tavd Such a dimeter occurs also in the catalectic form, as, with the anacrusis : Soph. Elec. 510515. Ix aixiatg Ov Tl 71(0 "Elmw m rovd' oixov The Romans used the dochmius rarely or never. With them the bacchic rhythm supplied its place. Hermann thought he had found dochmii in Plautus, as Menaechm. V. 6,9. Verbera, compedes, Molac, magna lassitude, fames. B. Bacchic Rhythms. The bacchius, like the cretic, consists of five times, which are in the relation of 3:2. The subordinate relation of the principal arsis is iambic, rising therefore, while the principal relation is falling, and in this contrast lies the arrhythmy of the bacchius : t:l = a:2 11* 126 BACCHIC RHYTHMS. / / ^ ~ / The following forms, therefore, are possible : w - /*< / / /-> * w __ w_ > ,^ > j n tne c l os ing foot a short may stand for the last long. The Greeks rejected altogether, with the exception of a few passages in tragedy, the bacchic rhythm on account of its arrhythmy. Wherever it does occur, it is for the most part apparently only, as Find. Olymp. I. Epod. 4, which verse is not to be measured : " " v,_w__w_ww_ Dimet. bacch., anap., log. dactyl. log. / / / / but ------ w _ * --- w _ * Dochm., dact. log. acat., dact. log. acat. IIoGeidav, ITZEI viv xa&aQov fa'fitjros 5ie KIw&Kt. A single bacchius often seems to be prefixed to other rhythms as an introduction. Such a bacchius is the trochaic basis x with the anacrusis: ; see above, p. 61. The monometer occurs sometimes between iambic trime- ters, as Soph. Oed. R. 1468, 1471. 1475. Ti 11. Oed. Col. 318, 1271. In like manner the dimeter Arist. Ach. 735. These words are, however, to be considered as a kind of ucmxa, which are not bound by any definite rhythm. The following verses seem to be real bacchii; Rhes. 705 sqq. H. /loxzlg JMQ ; H. Ti [jirjv ov ; H. 0QC H. Tig H. The tetrameter is most frequent. Hephaestion quotes as an example: BACCHIC RHYTHMS. 127 '0 vuvQog 5' eoixsv uvQi^eiv tiv d()%dv, (I*&a,6avrog 5' ITT sQyois TiQomfirjGKTal viv. Similar is the verse in Aesch. Prom. 115. Tig #/oo, rig od{ia ftQ Aesch. Eum. 789. and the verse in Dion. Hal. de Comp. p. 132. Tiv dxvav, iiv v"kav dQapco ; nol The Romans made frequent use of the bacchius, both in tragedy and comedy. It supplies in some degree the place of the dochmius, which it resembles very much on account of its disharmonic character, with this difference, that although the dochmius is arrhythmic in its composition, it is altogether eurhythmic in its parts, while the bacchius is wholly ar- rhythmic. Thus it serves in tragedy, as the dochmius with the Greeks, for the expression of the highest passion, despair and grief, and in comedy it indicates, in a comical manner, sadness, haste, confusion. It occurs, however, in cantica alone, never in the dialogue. The poets have taken many liberties in the treatment of the bacchius. The arses are frequently resolved, and, there- by, the violent character of the rhythm is even heightened. The short is middle timed ; it can, therefore, be changed into a long, and this again, according to the license of the older Roman poets, be resolved into two shorts. Thus, the following form arises : rt / / w , at the end : Plautus sometimes treats the verse as asynartete. Bacchic verses, moreover, delight in diaereses. The tetrameter has usually a principal diaeresis, which, however, is frequently neglected. The catalexis is in disyllabum only. The following measures are in use : (1) The Dipody or the Dimeter. Dimeter bacchiacus. w w acatalectus. w _ catalecticus. 128 BACCHIC RHYTHMS. The acatalectic dimeter appears sometimes to be repeated by systems; but it commonly occurs intermingled with te- trameters, as Plaut. Capt. III. 2, 6. Rud. I. 5, 6. Lassum reddidcrunt. Puellae sed unde. The catalectic resembles the dochmius. It occurs singly among tetrameters and other rhythms, as Plaut. Capt. III. 3; I. 9, 10 (according to Hermann's emendation). Quid 6st suavius. Mihi syngraphdm, Datur mi, illicd. (2) The Tretrapody or the Tetrameter. Tetrameter bac- chiacus. / t // // // w * w acatalectus. - * v w - catalecticus. The former occurs very frequently, partly repeated several times, as Ennius Hect. Lustr. Quid hoc hie clamoris ? quid hoc hie tumulli est? Nornen qui usurpat meum ? quid in caslris strc-piti est? partly singly among cretic, iambic, trochaic and anapaestic rhythms. The catalectic occurs in Plautus joined with the acatalec- tic in distichs, Menaechm. V. 6. Spectamen bono servo id est, qui rem herilem Procurat, videt, collocat, cogitat, Ut absente hero suo rem heri diligenter Tutetur, quam si ipse assit, aut rectius. Tergum, quam guldm, crura, quam ventrem, oportet Potiora esse, quo! cor modeste situmst. CHORIAMBIC RHYTHMS. 129 CHAPTER IV. RHYTHMS THE GROUND FOOT OF WHICH IS SIX-TIMED. THE CHORIAMBI010NIC KIND. A. Falling Rhythms, (a) Choriambs. The choriamb consists of six times, of which three are in the arsis, and three in the thesis. The subordinate relation in the thesis is rising, and contrasts, therefore, with the prin- cipal relation (P. 1. ch. 3. p. 13). a:3 = t:3 The arrhythmy which hence arises is softened by trans- forming the choriamb either in a dimeter dactyl, cat. in syllab. or by substituting, according to a peculiar license, the iambic dipody (P. I. ch. 10. p. 37). The form - - - - is unquestionably choriambic when the iambic dipody corresponds to it as antistrophe, but dactylic when the single choriambs are strictly separated by the diae- resis. Thus Horace, who had the nicest sense for rhythmi- cal harmony, separates almost always by the diaeresis the single choriambs in the asclepiadean verses, so called : Maecenas atavis edite regibus. X / / / Nullam, Vare, sacra vite prius severis arborem. to indicate thereby that he took them as dactylic and supplied after each choriamb a pause of two shorts ; but Alcaeus and Catullus seem to have measured these originally choriambic verses by choriambs, because with them the diaeresis after the choriambs is not essential. The character of the choriamb is different according as 130 CHORIAMBIC RHYTHMS. its form is dactylic or choriambic. The soft arrhythmy which belongs to the choriamb, renders it particularly suita- ble for the Aeolian poetry. The comic and later tragic poets, too, use it frequently: Pindar and Aeschylus more rarely. The choriamb of dactylic rhythm partakes of the charac- ter of the dactylic kind. The usual form of the choriamb is that in which both arses are contracted: -'--. The first arsis, however, oc- curs sometimes resolved, as Arist. Av. 1372. %ov(pat$. Arist. Lysistr. 324, 325. Tno TE vo\L(v aa 'Tito TS compare also Find. Fragm. Dith. III. 10. The resolution of the second arsis is more rare, as Eur. Hel. 1489, 1506. x- / ---- --- (Glycon.) Bare Flfeiadag vno fit /IvGxfaiav d ano The resolution of both arses is still more rare. Hermann quotes as an example Eur. Bacch. 410, 425. (Glycon. polysch.) aye pe, BgofMS Kara qdog VVXTMS ts qiilag. The two shorts are not permitted to be contracted. Ca- tullus only and Seneca have taken the liberty of using in glyconic and pherecratean verses the molossus for the chori- amb. The choriamb is capable of one catalexis only, namely, / / in disyllabum : w w (P. I. ch. 7. p. 27). Choriambic rhythms were sometimes provided with lagaoe- dic terminations: CHORIAMBIC RHYTHMS. 131 By a kind of paracataloge the long is sometimes used for the short in the first iamb in these logaoedic verses, in Aeoli- an lyric and in the dramatic poets. The choriamb receives frequently the cretic as a kind of close. Choriambic rhythms can be preceded by anacrusis and basis, both trochaic and iambic. On account of its terminating with the arsis the choriam- bic rhythm is more inclined to the diaeresis than to the cae- sura (P. I.ch. 11. p. 39). The following measures are the most common : (1) The Monopody or the Manometer. Monometer choriambicus. It occurs often in connexion with other rhythms, as Find. Olymp. VI. 2. K-iova.$, cag ors fiaqrov i^yaoov. Soph. Oed. R. 1090=1102. Tav Tig <&vyaTqQ, ^lo^iov, TOJ. With a cretic following in Hephaestion : With the anacrusis and cretic close, as Find. Olymp. IV. 9. With a trochaic basis : Eur. Hec. 473. x / Tav Zsvg d 132 CHORIAMBIC RHYTHMS. With the iambic basis : Soph. Aj. 605, 606. XQOVOJ Kaxav ekftid t The choriamb frequently receives a logaoedic ending: the versus Adonius, see above. It receives also the anacru- sis, as Soph. Oed. R. 468=478. vyn TTo IleTQCtg are TOVQOG. With the basis it forms the Phcrccratcus : x- / - Of the dactylic pherecratean we have treated above. The choriambic ought, according to the analogy of the glyconics, to admit of a polyschematist form: - ~ - w ^ polyschematist pherecratean. It is to be doubted, however, whether the polyschematist form really exists ; for the few passages in which it appears to correspond to the original form, prove nothing, being corrupt. In the Prhpean verse alone the original form is sometimes exchanged for the polyschematist. Owing to the variations of the basis, the original form as- sumes the following shapes: ovd* oca Qt'ndog a vi x / - 3. --- w^_~ y>ai 8o J \ 4. "^ ^ ~ v T( not (jut 01 10 CHORIAMBIC RHYTHMS. 133 / / 5 _ ^ TTosiTioiA av 7. ~ v _ v see f orrn 3 x~ / g. _*w__w c^t 0jttf The feet of three syllables generally occur in comic writers only, and in the later tragedy. It is better to consider the eighth form, in most cases, as a logaoedic-dactylic series, be- cause it usually corresponds to itself alone. In the choriamb of the pherecratean the first arsis is some- times resolved, as Eur. Hel. 1486. The contraction of the two shorts occurs in Catull. LXI. 25. Nutriunt humore. If the choriamb receives an iamb for a logaoedic termina^ tion, the following form arises: The polyschematist would arise from the substitution of the choriamb for the diiamb : As forms of equal kinds alone seem to correspond, it is bet- / x / ter to consider -^-- as a logaoedic dactyl, and -----_ as a choriamb with the basis. The same is the case when this rhythm is preceded by an anacrusis: In Eur. Here. fur. 791, 808, the polyschematist seems, however, to correspond to the original form : -0" Efaxwvidcov don ^^ta "kinvnv VE 12 134 CHORIAMBIC RHYTHMS, Compare also Soph. Trach. 960, 969. IV rtQO dopwr taj'ovffw V.GTTETOV rt -0-avfict. Ti %Qi], ftavovTcx, viv, ?/ xatf VTTVOV ovza xqlvai ; If the basis is prefixed, the choriambic glyconic is formed: x- / which diners from the dactylic in this, that it admits the middle time in the closing iamb, and receives polyschematist forms. The first polyschematist form which was used by Aeolian lyric and dramatic poets, arises from the substitution of the choriamb for the diiamb: X X X / w _-_-__ fi rst polyschematist form. The second polyschematist form which occurs in Aeolian lyric poets alone (Corinna) and in the priapean verse, arises from the substitution of the diiamb for the choriamb: second polyschematist form. By the variation of the basis other forms arise, which ar- range themselves partly under the original, partly under the polyschematist form: ( a ) Original Form . 2. " w ------ ' pdxaQeg, 01 x / 3. ---- u --- &>$ t&V 71QOT8QOV X~ / 4. wv w_v_ jtfiaM? co rmvw CHORIAMBIC RHYTHMS. 135 X / 5. w wv/ --- i TIOGIV iov 6. ------ --- fiacifaxcov ftakdpccv r e?ev. x / 7. --- ^ ---- rag faexrQoyaeig avydg. 8. 9. - dycavoog ahoy cog ro rag. o/ / w 10. --------- see form 2. 11. see form 3. 12. --------- nuQ&wog evdoxtnow yd^v. f / ^ 13. " ftsag d^icpiTtohov xovqav. f\/ / ^ 14. ->----- see form 6. 15. w see form 7. 16. _^__ (b) Polyschcmatist Forms. X X / X X A 1. -----^-- cpwra fidvra x^ x / 2. --------- o fifyaff olfiog a r dyerd. x x^ / 3. ---^----- rlxva fii odvrag dv 2 flag. _ yvydda rtgodgofiov o X X / 5. ----- u - xai viv X^ X / 136 CHORIAMBIC RHYTHMS. X X~ / 7 o ^ v, w w f a X X / 9. --- >- _ w _ < " T ' f x~ x / 10. w --- ^_^^_ GvveTzoiijGa rep x x~ / 11. ~v,^_^v,_ X6Cf , 12. -^-v x x 13. 14. ^^ ----- ^vx_ oGtog d evvaiog x x- / lo. ^ w v/_ 16. / x / 25. ^ ----- ^ doidug ev ^/x / 26. ^~ --- - see form 6. / X / 17. w _ v w . 7zo\)ova ^QTSpw ).o%tar. x x / 18. -^w_v,_>.v,_ see f orm 2. 20. ----v.vw. gee form 4. / x / 21. --- ~_w~_ see form 9. -/x / 22. --------_ %{)cov tndvto Titffeis yvvai. /x^ / 23. wv_^w_ see form 11. /~ x- / 24. ^^^^- w^ CHORIAMBIC RHYTHMS. 137 28. /x / 29. ----- --- see form 13. 30. - w v --- ww - / ^x / 01 _ ww __ v, _ OA * / -x / 33. _M*V* v. 33. 34. "wv ww_ no"kvnovov i .-,/ / w 35. W_WWK,_VW_ see form 19. /<>// w 30. vwwv,^v,_^w_ see f orm 4. 37. * ww - ov navGoai rag 39. ------- see form 11. 40. ---------- gee form 24. 41. * * * - see form 25. 42. - - - - gee form 6. tovrov 44. vwv,_^_v,w_ JJaQig o fiovxokos av . / / / w 45. vv - see form 13. nf / f w - seeform30. 12* 138 CHORIAMBIC RHYTHMS. 47. --- w _ v, v _ yowiGGovaa 48. WV VW..W.W-. nornai a).6os 4' x / / The form - w ww - and all those derived from it, are not in use. Since in the dramatists this form, wherever it occurs, al- ways corresponds to itself only, the rhythm appears to be dactylic-logaoedic ; but in the Priapean verse it is choriambic, as, Q p,cd,d%as iitv lloQ(5v avanv&tav tf vdxiv&ov. In all the forms enumerated above, the difference lies in the basis. But both in the original and polyschematist forms the longs of the choriamb can be resolved, as Soph. Oed. Col. J86. TVQO<$V acpdov anoatvytiv. Arist. Thesm. 1136. ada xi^v (pdo%OQOV spot. Eur. Bacch. 410, 428. 'Exsia aye |U, BgofMS, ocpav d' ane^e nqanlda cpQs'va re. Also the resolution of the long of the concluding iamb in the original form is found in systems, as Iph. Taur. 1106. ^ Ttollal daxQvcav dii aaQtjtdots sis Ipoi even when the spondee stands for the iamb, as Eur. Ion. 205 sqq. CHORJAMBIC RHYTHMS. 139 TIavra 101 xoa Gxsijai xlovov I For the contraction of the shorts in the choriamb, there are no examples of critical certainty. Seneca, however, admitted the Molossus in his tragedies, as Oed. IV. 4. 5, 6. Vela, ne pressae gravi Spiritu antennae tremant. The above forms do not all occur with equal frequency. The more ancient tragedy (Aeschylus and in part Sophocles), has not the trisyllabic feet in the basis; the Aeolian lyric poets, on the contrary, the later tragedians, especially Euri- pides, arid the comic poets, frequently allow themselves to employ the trisyllabic feet. But it must be remarked that form 12 and form 16 of the original form usually correspond only to themselves, and then in most cases they are rather a dactylic rhythm. In the first poly- schematist form, the second basis is generally retained with greater purity than the first ; hence trisyllabic feet are more rare in it; the anapaest, it seems, must be wholly excluded, except perhaps in Priapeian and Eupolidean verse ; where it apparently occurs, the first basis is to be taken as a tribrach or dactyl, as Eur. Orest. 814, 826. Iph. Aul. 1041. ua. TvvdaQts id%?j vtmog $ TIOTS ?.jj|e nolvnl.ayx'twv ITSWV dQiftpog ; With a trochaic dipody following, the trimeter is used among trochaic tetrameters by Terent. Adelph. IV. 4. 3, 4. Membra metu clebilia sunt: animus prae timore Obstipuit, pectore consistere nil consili quit. The prolongation of the last syllable of the word debilia is here to be noted. The cretic also follows the trimeter: A"i, Kv&SQEiag minvtii ogyia Isvxalt'vov. The catalectic trimeter is more rare, as Arist. Lysistr. 323, where the diiamb stands for the first choriamb : Ts xal KQiwHav nsQicpv afoot). With the basis, it is found in Soph. Phil. 706, 707. Ant. 951. Ov (pOQftciv lenag ycig GTIOQOV, ov% jv venoftsG'Q' KVEQSS ahtyi . a AOlldlCt Tl-S dvVKGlS 8si/VK. CHORIAMBIC RHYTHMS. 145 (4) The Tdrapony or the Tetrameter. Tetrameter cho- riambicus. acatalectus. - w * wv --- v w catalecticus. The former is frequent in the dramatists, as Soph. Oed. RY 483 sq. /Isiva nlv ovv, deiva raQafitfei. vocpog oicovo'&Evas, OVTS doxovvr, OVT tt7ioyd(jxovtf, OTL ta'co d' U It receives also logaoedic endings: Soph. Antig. 153. Uavw^loig ndvrag ene^oofjieV) 6 Q?$ag With the basis the Aeolic lyric poets used this rhythm by the line. Soph. Phil. 1161. IVJfyxm pjdwbg XQavvvcov oca 7i8(A7tei ^(.odcoQog aia. With the basis the Aeolic lyric poets used it by the line. The catalectic tetrameter occurs more rarely, as, with the basis, Soph. Phil. 681. OVTIV 'iywy oidcc, xhvcov, ovd' SGldov (5) The Pcntapody or the Pentameter. Pentameter cho- riambicus. acatalectus. _ww w^ w catalecticus. Both are rare; the former is used, as Pind. Dithyr. Fragm, III. 10, with the resolution of the first arsis of the second, third and fourth choriambs, and with a cretic following : 13 146 IONIC RHYTHMS. Tov JBgopiov rov 'EQifioav re xafa'ofiev. yovov vaawv [4W TIKTZQCOV (iskytspsv. With a logaoedic ending: Philicus and Simrnias used it by the line. The catalectic pentameter is found, as Soph. Trach. 850, with the anacrusis: 'A d' eQ%oiwva poiQa nQocpatvei doktav xJ i^ynkav arav. (6) The Hcxapody or the Hexameter. Hexameter cho- riambicus. * - acatalectus. - - w - ^ w ~~ ^^ - catalecticus. The former is very seldom used ; with an iambic basis and logaoedic ending it occurs in Eur. Iph. Aul. 172. lTTOQOVS T^lOt'cvV, OV HTll TQOKX.V The catalectic hexameter seems not to occur. (b) lonici a mtijorc. The Ionic a majore consists of six times, four of which are in the arsis and two in the thesis. The subordinate relations are of the equal kind ; that of the arsis 2 : '2, that of the thesis 1 : 1. The principal arsis is accordingly the first "(P. 1. ch. 3. p. 13). It has a heavy and coarse character, and hence was called by Aristides Quintilianus Q IONIC RHYTHMS. 147 The more elevated lyric poetry rejected it almost wholly. It was used chiefly for satirical and obscene poems (^oytoyof, xwcudokoyoi) ; it was, moreover, never sung, but recited with ludicrous gestures. Hence are explained the many licenses which were permitted in its use. According to P. 1. ch. 10. p. 37, the ditrochee may be substituted for it; this takes place most frequently at the end. In the pure ionic, the long often stands for the last short " v , according to the analogy of the second short in the thesis of the dactyl. Sometimes also the shorts of the thesis are contracted; finally, the short seems also to have been put sometimes for the first long ; but the passages where this occurs are not of critical certainty. Resolutions of the long, as well in the pure ionic as in the ditrochee, are frequent. The ionic is susceptible of only one catalexis: // // // i in disyllaburn : ^ ^ w - * (P. 1. ch. 7. p. 27), with the single exception of the Cleoma- chean verse, which is a dimet. cat. in trisyll. The acatalectic rhythms never terminate with a pure ionic, on account of its want of a close, but always with a trochaic dipody. (1) The catalcctic Dipody or the catalectic Dimeter. t / / / - - - ~ - - - Dimeter cat. in trisyllabum. The versus Clcomacheus : (2) The Tripody or the Trimeter. Trimeter ionicus. f i / / / ~ w ww_v_w acatalectus. w - *- catal. in disyll. According to Hephaestion, Sappho used the former, KQtjffGai vv notf oo5' l^e^ec IQOSVTO, 148 IONIC RHYTHMS. unless this rhythm, like most of those cited by Hephaestion as ionic, is choriambic; at least, so it seems according to the other fragment, which Hephaestion cites, which, because it begins with a short, must be thus measured : Tloag Otherwise, the short would have to be explained as a license. The calalectic occurs, according to Hermann, Plaut. Amph. I. 1, 1418. Cogit me qui hoc noctis a portu. (3) The Tetrapody or the Tetrameter. Tetrameter ionicus. / i / / / / --- w~_~ catal. in disyll. The Versus Sotadeus or Sotadic verse, used by Sotades and many others, also by the Romans, as Ennius, Plautus, Martial. Of the various licenses of the verse, see below. B. Rising Rhythms. lonici a minore. The ionic a minore is the ionic a majore reversed. It also consists of six times, two of which are in the thesis, four in the arsis : t:l = a:l t:2 = a:2 The second arsis has accordingly the strongest intensity / // * . In itself the rhythm is arrhythmic, but the ar- rhythmy is softened by certain means. As the groundfoot ends in the arsis, the rising ionic rhythm delights in the diaeresis, and it is possible to supply by the pause so much as is necessary to restore the rhythmical equilibrium, as, Miserarum est neque amori dare ludum neque dulci. The arrhythmy is further softened by the substitution of the trochaic dipody and by the peculiar break or a.vd'/,1a.Gig that takes place here (P. 1. ch. 10. p. 37). IONIC RHYTHMS. 149 The arses of the ionic are, in a less rigid use, resolved ; the thesis is but seldom contracted. The ionic a minore has the character of discord and wild enthusiasm ; hence it was mostly used for the Phrygian mood, with the accompaniment of cymbals and other noisy instruments. It was especially used for Dionysiac and erotic poems and for phrenzied songs to Cybele. It is un- known to the Dorian lyric poetry; the dramatists, on the other hand, use the ionic frequently in choruses, whose subject is sometimes imploring, sometimes bacchic. It was also used in mourning songs. The ionic is capable of only one catalexis, namely, in tri- / / / syllaburn ww ww -. On account of the termination on the arsis, the diaeresis predominates. Sometimes the ionic rhythm receives, at the end, one tro- chee more, as a logaoedic prolongation ; the preceding long of the ionic in that case appears as a short. Such a rhythm might also be regarded as a catalectic. ( 1 ) The Monopody or the Monometer. Monometer ionicus a minore. does not occur ; though it seems often to stand before other rhythms, it is in those cases not an ionic, but a dimeter ana- / paest. cat. *-, as pj n d. Pyth. IX. 1. X&sdexvo 13* 150 IONIC RHYTHMS. (2) The Dipody or the Dimeter. Dimeter ionicus a minore. ~~ v acatalectus. / / / w catalecticus. The acatalectic has three forms : * v -" the pure ; ww ~-~ the polyschematist ; / / v,-_~_~_- the broken. In the pure form it was used according to Hephaestion by Alcman : Exarov [tw AIQ vloi Tddz The ionic systems, of which below, are mostly arranged by dimeters, but in such a manner that a monometer some- times remains. As the Anacreontic verse, versus Anacre- onteus, it appears mostly in the broken form, but sometimes the pure or polyschematist form occurs with the broken. In antistrophic poems, the polyschematist or broken form may correspond to the original form. The Anacreontic verse is used sometimes by the line, sometimes by systems. It also occurs singly, as Aeschyl. Again. 746, 747. The dimeter sometimes takes a trochee as a logaoedic ending : with which often a system closes, as Eur. Bacch. 537, 555. "En GOI rov BQOfuov oviov d' drdo A remarkable logaoedic ending is found in the closing verse of the Anacreontic system, in Eur, Cycl. 510. IONIC RHYTHMS. 151 dos pot. According to Hephaestion, the catalectic dimeter was used by Timocreon : rav Q scpct. (3) The Tripody or the Trimeter. Trimeter ionicus a minore. acatalectus. ^* , --- -_ catalecticus. The acatalectic trimeter seems to have been much used particularly by the Aeolic lyric poets. Hephaestion cites from Sappho : Ti [is Uavdiovig coQava %s).id(or. / / / / further : Anacreon : / / / / fioi davziv ytvoix '. ov ya,Q av ' i'4 novKiv ywoiT , ovdafia twvds. Witli a logaoedic prolongation : Anacreon in Hephaestion : yvts j' %8i[t8Qiy According to Hephaestion Anacreon used the catalectic dimeter : 152 IONIC RHYTHMS. (4) The Tetrapody or the Tetrameter. Tetrameter ionicus a minore. acatalectus. ^__wv__w__w_ catalecticus. The former often apparently occurs in the pure form ; it is then a part of a system. It is used singly, as Aeschyl. Agam. 745, 758. s ypov 8 akkcov AOVOfOlV BlMj TO Anacreon in Hephaestion : UaQa d' rfire nv&opavdQOV xarsdw tQcoza The catalectic tetrameter is the versus Galliambus, which occurs sometimes pure, sometimes polyschematist. Accord- ing to Hephaestion, the tragic poets Phrynichus also used the catalectic tetrameter, as, To y8 \M '01.8GCU, and the comic Phrynichus : *A d' drdyxa 'cri>' ISQSVGW xa&aQevsiv STICHIC COMPOSITION. 153 SECTION II. THE COMBINATION OF SIMPLE RHYTHMS IN LARGER RHYTHMICAL PORTIONS. CHAPTER I. COMPOSITION BY THE LINE (sTICHIC COMPOSITION). The composition xata GTI%OV is the constant repetition of one and the same verse (P. 1. ch. 9. p. 33). It is appropri- ated to those poems in which composure and equability of feeling prevail, as in the Epos, in the dialogue of the drama (Diverbiurn) and in certain lower classes of lyric poetry, especially in witty and satirical poems. The verse itself, which is thus repeated, forms a rhythmical whole; it must therefore manifest itself as such by its rhythm. The rhythm is either simple, that is, consisting of equal series, or com- pounded of different series. Both the simple and compounded can only satisfy the ear as a whole, when they have a fixed beginning, a fixed middle, and a fixed conclusion. The middle forms the principal mass, and to this the beginning and the end must stand in an appropriate relation. In a rhythm which is too small, as the Adonian or ithyphallic, these parts cannot be distinguished ; hence such rhythms are less adapted to repetition by the line. Diaereses and caesuras mark the different parts of the verse. The dis- tinguishing marks of the close are the end of a word, the anceps and the hiatus, and in certain verses the catalexis also. In a freer use, many poets have allowed themselves the anceps and the hiatus within a verse, at the end of a series; asynartcte verses. As it regards the rhythms themselves, which are used in verses to be repeated by the line, they must be so constituted as to allow variety of measure, because otherwise they would be wearisome by uniformity. The most complete of all such verses, and at the same time the most ancient, is the heroic hexameter, which, with all its unity of rhythm, appears under an infinite variety of forms, which are brought about 154 TROCHAIC STICHIC VERSES. partly by the different caesuras and diaereses, partly by the alternation of the spondee with the dactyl ; hence poems of the greatest compass like the Iliad and Odyssey, were written in the hexameter ; every other verse would have wearied the ear. On the other hand, the smaller the compass of the poem, the simpler also may be the verse. In verses composed of different series, one series forms the principal series, the others are attached to it as an intro- duction or a close. We shall always consider such verses under the head to which the principal series belongs. It is impossible here to cite all the verses which were used by the ancients by the line ; we shall, therefore, limit ourselves to the more important, and those of which considerable remains have come down to us. I. VERSES USED BY THE LINE OF THE TROCHAIC-IAMBIC KIND. A. Trochaic Verses. (i) ---- ----------- The verse consists of a dimet. troch. acat. with a dimeter creticus following, in which the first cretic always appears as a first paeon. This verse is used, Arist. Lysistr. 1014 1035. OvStv SGTI &YIQIOV yvvaixog Ovdn nvQ, ovd' 00$' draidfjg ovdepia Tavra [iwvoi GV %VVULIS sha TrolefisTg spot, 'E%bv, w novice, Goi jtefiaiov tp fyew (fi^r t v &S lyttj [UGCOV yvvalxag ovdlrtntB The verse has commonly the diaeresis after the trochaic dimeter, but it is seven times neglected ; in verses 1014, 1017, 1021, 1022, 1026, 1033, 1035. A dimeter troch. with ithyphallic following. Hephaestion erroneously classes this verse with the asynartete. An ex- ample is cited by Hephaestion, probably from Sappho : TROCHAIC STICHIC VERSES. 155 naig fyoura poQcpav, Ktyi's a ' rag lyw ovdt- ^dvdiav naaav, ovd' (3) Tetrameter trochaicus acatalectus. Versus octonarius. It was probably used by the line by the Greek lyric poets ; Hephaestion mentions an example from Anacreon, in which the diaeresis after the second dipody is neglected : Kkv&i [*v, ytQQVTo? eve&eiQCt ^nvGonml,?. XOVQIJ. The Greek dramatists do not use this verse; but it occurs very frequently in the Roman writers, both in tragedy and in comedy. They allow the known licenses in the uneven places, and resolve even the last arsis. The principal cae- sura is after the second dipody ; but the diaeresis is also sometimes neglected. This rhythm is commonly used in those passages, in which a passionate excitement occurs. Take as an example Terent. Eun. IV. 6. 1 8. Credo equidem ilium jam adfuturum, ut illam a me eripiat ; sine veniat. Atqui si illam digito attire rit, oculi illi ilico effodientur. Usque adeo illius ferre possum ineptiam et rnagnifica verba, Verba dum sint, verum si ad rem conferentur, vapulabit. Thais, ego jam diidum hie adsum. O mi Chremes, te ipsum cxpeto Sein' tu turbam hanc propter te esse fuclam ? et adeo ad te ad- tinere hanc Omnem rem? ad me? qui quaeso, istuc ? quia dum tibi so- rorem studeo Reddere ac restituere, haec atque huiusmodi sum multa passa. Plautus sometimes makes the verse asynartete, inasmuch as he allows himself the hiatus in the diaeresis, as Bacch. IV. 3. 1. Petulans, protervo, iracundo-animo indomito, incogitato. 156 TROCHAIC STICHIC VERSES. Tetrameter trochaicus catalecticus. Versus septenarius or quadratus. This verse was used both by the lyric poets (lambogra- phers), and by the dramatists ; by the latter in those passages of the dialogue, in which a stronger excitement of the feelings is to be marked. The iambographers strictly observed the diaeresis after the second dipody, and among the trisyllabic feet wholly excluded the dactyl, except in proper names. The tragedians observed the diaeresis with equal strictness : it is found neglected only twice, Aesch. Pers. 165. Tavia 1*01 dml.rj [jteQi-fiy acpQCtGtos lariv iv cpQSGiv, and Soph. Phil. 140^. El doxef, 6r8i%K)[i8v. co yEvvalov siQqxwg snog. In the latter passage, it is excused by the change of persons. The comic poets did not always observe the diaeresis, as Arist. Nub. 580. tj svi vv vm, toi // novfMfisv // Resolutions of the longs are more frequent in the first foot of the dipodies than in the second. In general, trisyllabic feet are more common in the later tragic writers (after Ol. 89) than in the earlier. The last arsis but one is for the most part only resolved when the preceding foot is a trochee, as Eur. Phoen. 609. Ttsyvxag. dlJ? ov narnidog, cog comp. also Ion. 1254. Arist. Equit. 319. A'/} z//' xa/^f TOUT' tdoace laviov, acre x Comp. also Av. 281. The examples in which the spondee precedes the seventh foot resolved, are very rare: Arist. Vesp. 461. l<4).).u jw Ai ov Qndtag ovrug av avrovg diecpwyeg. The tragedians avoid terminating the third dipody in a spondee, if this forms the end of a polysyllabic word. The comic writers do not observe this, Arist. Nub. 577, 581. TROCHAIC STICIIIC VERSES. 157 TD.tT(77(t yuo \>f(Si> andvzwv wcfzl.nuGaig T^-V noh-v. JUia T.OV &t(H(jir fl' The tragedians, and for the most part the comic writers,. excluded the dactyl. Still it was permitted in proper names:. Eur. Orest. 1535. Iph. Aul. &>5. JEvyynvov x l[U>v Tlvl.ddrjV TE TOV idds kvvdnwvTCX, fioi,. Xd.t'wv aQ%(av riotanov 78 ntdiov ^iTzhi'fiv.g doQOg, Comp. Plut. Polit. praec. p. 811. F. MqTio%os pt-'V ;'^(> G-TQ&TijysT, MqTio%o ds tag odov^', Mt]7io%o]<,', nolJkcx, d' Ix '/,^-Q^ov xaxa , o fjtaoGcov fiiOTOG i\v ra- As an example of the tetrameter in the comic writers, Arist. Av. 302 sqq. KizTa, rm'j'cor, xoQvdos, t^at,', vno&vfjis, 7zeoiG7Qa ) Oiu TiiftTTi&VGi y.al TQt%ovai diaxsxQayo7.es. !//(/ dae&ovGW /fc von' ; ofyoi, xe%fjvaGiv yt TOI, Kai j&movaw ti* at XKIM. Tovco plv xduol doxst. The Romans also used this verse frequently. As a lyrical verse it occurs in the Pervigilium Veneris, which, at least the greater part of it, belongs to a later time; hence the remarkable irregularities, as the spondee or anapaest in the uneven places, in verses 25, 91, 62, 55. Totus est. in a r m i s idem, quando nudus est Amor. Perdidi Musam tacendo, ncc me Phoebus respicit. 14 158 TROCHAIC STICHIC VERSES. Unde foetus mixtus omnes ale ret magno corpore. Jussit omnes adsidere p ue r i mater alitis. The verse is very frequent in the dramatists. They allow the known licenses, only they preserve the last trochee pure. The diaeresis is often neglected, as Plaut. Mil. glor. II. 2.38. Domi habet animum fulsiloquum, falsificum, falsijurium. Plautus has the hiatus often in the diaeresis, as Amph. V. I. 42. Manibus puris, cupite operto. Ibi continue contonat, and sometimes also after the first or third dipody, as Asinar. II. 2. 26. Edepol hominem infelicern, qui patronam comprimat. Poen. III. 1. 35. Quidquid est pauxillulum illuc : nostrum id omne intus est. For an example of the catalectic tetrameter, as used by the Roman dramatists, take Ennius in Cic. de Orat. III. 58. Multimodis sum circurnventus, morbo, exilio atque inopia; Tum pavor sapicntiam mi omnem exanimato expc'ctorat; Alter terribilem minitatur vitae cruciatum et necem, Quae nemo est tarn firmo ingenio et tiinta confidentia, Quin refugiat timido sanguen atque exalbescut metu. Terent. Eun. II. 2. 1722. Est genus hominum, qui esse primos omnium rerum volunt, Nee sunt; hos consector ; hisce ego non paro me ut rideant, Sc>d eis ultro adrideo, et eorum ingenia admiror simul : Quidquid dicunt, laudo, id rursum si negant, laudo id quoque : Negat quis? nego ; ait? tijo, postremo imperavi egomet mihi Omnia adsentari. Is quaestus nunc est multo uberrimus. (5) Tetrameter trochaicus daiidus or Hipponactcus or quadratus scazon. A satirical verse, which was formed by reversing the clos- ing iamb of the catalectic tetrameter. The arrhythrny re- sulting from this produces a comic effect. The diaeresis, after the second dipody, is also the principal caesura. Re- TROCHAIC STICHIC VERSES. 159 solutions seem frequently to have been admitted, especially in the first part of the verse. It was not well possible for the last foot to assume the form of a tribrach. The frag- ment of Ananius in Athen. VII. p. 282. B, may serve as an example : (X,Ql [.II- V Tear xaJMv d oilm> aQiGTOV xctQtg ex GVXSIJG Ifdv T Iff-O'lSlV %l-[MZIQ1f$ (f'd'WQTTCOQIGfMJ) XQSlClGi /4e%.Qrj xai haycov xa *0'io avtf, orav Eira d' EGTIV f'x \)a7*a6Gi t &VVVOG ov xaxov llovg dt niav&siQ doxzco ^v xcu (6) __._._._._. Pentameter trocliaicus catal. Callirnachus in Hephaestion and Bentley, ad fragm. Cal- lim. CXV. 7io"kvg fisv Alyaiov diaifiq^ag an oivrjQijs Xiov vg, 7to)*vg ds A&ajtirig acorov vixruQ oivdv&qg ciycov. (7) ._..-_. Hephaestion erroneously numbers this verse, consisting of two ithyphallics, among the asynartete. He quotes as an example from Sappho: , SKV-ZE Moiaai, %QVGSOI> haoiacu. Versus Saturnius. This verse consists of two ithyphallics, the first of which is preceded by the anacrusis. It is originally an Italian metre, and occurs, therefore, in the oldest monuments of 160 TROCHAIC STICIIIC VERSES. the Latin language, in epitaphs and religious songs (Carmen saliare). As the doctrine of quantity gained entrance into the Latin language from the imitation of Greek models only, it is evident that in this oldest metre originally little or no regard was paid to quantity, but that the rhythm of the verse was indicated by the word-accent.* When at a later period Livius Andronicus translated the Odyssey, in Saturnian me- tre, into Latin, and Naevius wrote the Punic war in the same metre, the verse seems to have been governed more by the rhythmical laws of the Greeks by adopting the above scheme, but allowing the same liberties with which the older Roman dramatists treated the trochaic tetrameter and the iambic trimeter. We may. therefore, assume two epochs for the Saturnian verse. In the first epoch, until Livius and Naevius, its measure is yet very unsettled ; the rhythm is, however, evi- dently trochaic. It usually corresponds to two ithyphallics, sometimes with, sometimes without an anacrusis before the first ithyphallic. Sometimes the last syllable or even the last foot seems to have been wanting to the second ithyphal- lic; nay, it is said that there were hypercatalectic verses, as the grammarians, at least, for example Atilius Fortunat. p. 2679, affirm. It is not to be denied, however, that the grammarians, by applying the metrical laws of the later Latin poets to the Saturnian verse, considered many a verse as anomalous which in fact was not. The song of the Arvalian fraternity may serve as an ex- ample of Saturnian verses of the first epoch: Ennos, Lases, juvate, INcve luervcni, MArmar, sins incurrere in plcores, Satur furore, Mars, Ihnen sails sta bcrber. Semunis alternei - advocapit conctos. Eimos, Marmor, juv/tto. Triuinpe, triumpe. It is to be observed that plcores (flores) should be read as two syllables ; moreover, the lengthening of the a in satur (as in quatuor), the omission of the diaeresis in the third verse, and the hiatus in the diaeresis of the fourth verse, are to be noticed. * Carmina saturnio metro compta ad rhythmum solum componere vulgares consuerunt. Serv. ad Virg. Georg. II. 385. IAMBIC STICHIC RHYTHMS. 161 The older among the epitaphs of the Scipios are evidently of a similar Saturnian rhythm, which Naevius likewise em- ployed in his own epitaph. They can easily be arranged as verses if we do not everywhere insist upon the Saturnian verse properly so called. We select the following epitaph as an example : Cornelius Lucius Scipio Barbatus. Gnaivod patre prognatus, fortis vir sapiensque, Quoius forma virtutei parisuma fuvit, Cdnsol, censor, aedilis quei fuvit apud vos, Taurasia, Cisauna, Samnid [que] cepit, Subicit omne Lucania obsidesque abdoucit. The ground rhythm of the later Saturnian verse was: The resolution of the longs, the middle time for every short, the anapaest for the iamb, and even the resolution of the middle time were everywhere allowed. The diaeresis was frequently neglected, and the hiatus sometimes admitted in it. The grammarians quote as examples : Dabunt malum Metelli Naevio poetae. Magnum numerum triumphal hdstibus devictus. Ferunt pulcras creterras, aureas lepistas. Duello magno dirirnendo, rogibus subigendis. Fundit, fugat, prosternit m.'iximas legiones. Summas opes qui regum regias refregit. We quote finally the epitaph of Naevius in Gellius, 1. 24. Mortalis immortalis flere si foret fas, Flerent divae Camoenae Naevium poetam. Itaque postquam est Orcino tniditus thesauro, Obliti sunt Romae loquier Latina lingua. B. Iambic Rhythms. / / (i) Dimeter acatalectus. It was sometimes used by the Romans, for example, by the emperor Hadrian : 14* 162 IAMBIC STICHIC RHYTHMS. Animula vagula, blandula, Hospes comesque corporis, Quae nunc abibis in loca Pallidula, rigida, nudula, Nee, ut soles, dabis jocos. Seneca, too, has such verses in his choruses, as Agam. III. 2. Instant sorores squalidae, Sanguinea jactant verbera, Fert laeva seinustas faces, etc. and also Auson. Epigr. XXIX, XCIV, CXXXVIII. (2) - --- A dimeter with an ithyphallic following, as Callim. Fragm. CXVI. "EVZGT 'AnoM.toV Tty %OQCQ, TtJG kl Kal TWV 'EQCOTGJV yoOopjv, sari K Aristoph. Vesp. 248272. CO 7TU.TZQ 7TUTEO, TOVfOVl q ] v g %a[Aci-0'sv vvv hafiwv TOV 7*v~/vo Ovx, akka vcpdi IJLOI 5oxoo TOV \vyvov The diaeresis after the dimeter is always observed, except v. 252 and 265. Kai tavTCt TOV).(UOV GTiavi^ovTog, covotjte. v avxoTg. Hephaestion erroneously numbers this verse among the asyn- artete. / / / (3) ---- - ---- ._ _ A dimeter with a tetrapodia troch. cat. following. Ar- chilochus in Hephaestion : (4);-- ------- Trimeter acatalcctus. It underwent various modifications, according to the va- IAMBIC STICHIC RHYTHMS. 163 rious kinds of poetry to which it was applied. We distin- guish two principal kinds of the trimeter used by the line, that of the iatnbographers and the dramatists; the latter, ac- cording to the kinds -of the drama, is again divided into the tragic, satyric and comic. The doctrine of the caesuras and diaereses is common to all, which we, therefore, premise. The feet of the iambic trimeter may be arranged accord- ing to the double relation. As it has six feet in all, two feet or one dipody belong to the thesis, and four feet or two di- podies to the arsis : t : 6 = a : 12. On account of the even numbers of feet, the trimeter might also be arranged according to the equal relation, so that the thesis would have three feet and the arsis three : From this double arrangement of the rhythm follows the variety of the caesuras and diaereses. It has two principal diaereses and two principal caesuras: - first principal diaeresis. "- first principal caesura. - second principal diaeresis. w w second principal caesura. The first principal caesura is called caesura on account of the five half feet which it separates; the se- cond ItpOijiuutyijt.;, on account of the seven haif feet which it cuts off. The first caesura is by far more frequent, because it runs parallel to the division into dipodies, and at the same time corresponds to the iambic relation ; the second is more rare, because it separates the feet of the second dipody. The same observation applies to the two principal diaereses. Since the character of the iambic rhythm is rapidity and flexibility, it prefers the connection of the series by the caesura to their separation by the diaeresis; the caesuras, therefore, are more frequent than the diaereses. 164 IAMBIC STICHIC RHYTHMS. Besides the principal diaereses and caesuras there are also secondary diaereses and caesuras. "---*-|---l secondary diaereses. secondary caesuras. The first principal diaeresis is frequently found, as Soph. Ant. 745. Ov yaQ Gffteig, rifiag ye rag &<$v TTCITOJV. The first principal caesura, the caesura nsv&^ifieQtjs, is the usual caesura of iambic trimeters. An apostrophized word does not destroy it. The caesura, in this case, occurs after a short or Jong syllable, as Soph. Aj. 12. *ET tQyov IGTW, ivvlmiv d' orov %ci()iv. Aesch. Choeph. 888. Z/oP.o/t,' ohovfizO'', CQ6718Q ovv Aesch. Suppl. 438. K ai di] TTtqQaGfiai ' dti'QO d Aesch. Suppl. 195. ,tvovg a[Aetfis6& , cog s The second principal diaeresis divides the verse into two equal parts, and renders it similar to our Alexandrines. The ancients, however, avoid such verses, and we find them, therefore, seldom without some softening modifications, as Arist. Av. 200. Less striking is the diaeresis when an apostrophized word requires a rapid connection of the two parts, as Soph. Oed. R. 328. yc,Q ov cpQoveit, yco or when a foot caesura immediately precedes or follows, so that either the third arsis or fourth thesis falls upon a mono- syllabic word, as Soph. Phil. 1040. Aesch. Sept. 1046. w TtarQCpa pi, soi r noitiioi. .' ov Tiohg GTvi-i, GV IAMBIC STICIIIC RHYTHMS. 165 even if the first word becomes monosyllabic by elision, as Aesch. Prom. 374. Soph. Elec. 1038. ' Of-avTor doo, ono^g i' yuo tv q^or^', rod' jffjjGtu 6v vow. Frequently both take place, us Soph. Phil. 15. UUJ tyyov /;#// c>ov, ru P.otqp' vnijgezsTv. We must here, as everywhere, be cautious not to take a foot diaeresis for a principal diaeresis, and thus unnecessarily increase the number of verses resembling the Alexandrines, as Soph. Elec. 15. I\''VV OVV 'OQSGtKf XCU 6V Cpl)*TCtT8 $VO)V, has the first principal caesura, not the second principal di- aeresis. The second and third foot is, in tragic poets, rarely con- tained in one word. Where this is the case, the subject requires the grave rhythm of such a verse, as Aesch. Pers. 465, 509. SQt*qg d* dvcpuw&v xaxwv oomv OQtjxijV 7iQcx,6avzeg (Aoyis TtolJ.o) The second principal caesura, or caesura Bff&^fMfieQ^Sy is, next to the first, the most common, as Soph. Ant. 385. Ty-yd* eikopev -OdmovGav dkha Ttov KQECQV ; The apostrophe does not destroy the caesura, as Soph. Elec. 1110. Ovx oida Ttr 6i Sometimes a verse has neither of the principal caesuras or diaereses, but a secondary caesura or diaeresis. They make usual!) little impression, and often serve only to emphasize a word. The first secondary diaeresis usually effects this in addresses, as Soph. Ant. 162, 223. uv , QW {itv ov% oTioog Ta^ovg vno. The second secondary diaeresis has almost no effect what- ever, on which account it does not often occur, as Soph. Elec. 410. g rOV WiCtSQOVf 166 IAMBIC STICHIC RHYTHMS. in like manner the third secondary diaeresis, as Aesch. Prom. 830. Tr^v alnvvwrov r dpcpl dwdwvqv, iva. Neither is the first secondary caesura of much effect, ex- cept that it serves sometimes to emphasize, an important word, as Soph. Oed. R. 1040. Ovx ' aM~u TIOI f^^v dlJ.og IxStdwGL poi. The second and third secondary caesuras are likewise with- out effect, as Soph. Aj. 895. Oed. R. 449. Tty,[i)jOL TOV avdya TOVTOV, ov ndl.ai. The fourth secondary caesura is very rare arid the word next to it usually belongs so closely to what follows that in consequence of this connexion the caesura is less striking, as Soph. Oed. Col. 573. .f2(7r' sett fioi TO l.omov ovdsv E In uv a %QHG). All these caesuras and diaereses divide the verse into two parts; there are, however, sometimes trimeters which have a double caesura, or a caesura and a diaeresis. Such systems consist, therefore, of three series, as Soph. Oed. R. 927, 1064. ^Teyai [Atv aide ' xavtos wdov, w '. Oficog niQov (AOL, luGGopai, [*t] dQa vade. In connexion with this if should be mentioned that the dipodies are separated by the diaeresis which occurs some- times in comic poets, as Arist. Nub. 686. Thus the poem of Castorion to Pan was, according to Athen. X. p. 454. F., written in trimeters in which the single dipodies were separated by the diaeresis. Naiovtf tdog, {ttjQovope Tlav %-Q-ov rf/5' ^V crogijj adyxfait mr\ voyvKHjia [it] Gocpotg xkveiv, MovGOTiole &y t xq(>6%vtov og jislh'fjL his. IAMBIC STICHIC RHYTHMS. 167 The comic poets, moreover, were allowed to separate each foot by the diaeresis, whereby the verse became very bur- lesque, as Arist. Vesp. 979. Katdfia, xavdfia, xardfia, xardfia, xaraflfoopai, where especially the anapaests seem to require the diaeresis. Wherever such verses occur in tragic poets, the diaereses are foot diaereses only, as Eur. Hec. 228. T(ov Gwv. aocpov rot xdv xaxoig, d dei, cpQovew. Finally, trimeters occur frequently which have foot caesuras and diaereses only. (a) The Trimeter of the lambogr ciphers. The iambographers, among these Archilochns, use the trimeter commonly in such a manner as to preserve the iambs pure, as riarsn duxapfia, nolov f'qpoacjoo Tod?.. The tribrach and dactyl occur sometimes, as Archil, in Athen. XII. 523 D. E. Oud' IQCITOS, oiog dpcpl iQiog oodg. They did not admit the anapaest. The Roman lyric poets, too, employed trimeters by the line, as Catullus IV, XX, which poems consisted altogether of pure iambs; Carm. XXIX, in which in v. 21 alone a spondee occurs in the beginning; and Carm. L1I, where the spondee occurs in the first two dipodies. Horace used the iambic trimeter but once by the line, Epod. XVII; with him spondees usually alternate with iambs ; he has also the tribrach and dactyl, as v. 12, 65, 74. Alitibus atque canibus homicidam Hectorem. Optat quietein Pelopis infidus pater. Vectabor humeris tune ego inimicis eques. Of the same kind are the iambs of Martial. (b) The Trimeter of the Greek Dramatists. (u) The Tragic Trimeter. Dignity which is the distinguishing character of tragedy, requires that the spondee be frequently admitted in the odd places and that trisyllabic feet be more rarely used. The subject, however, requires frequently a greater rapidity, and 168 IAMBIC STICHIC RHYTHMS. in that case it is usual to preserve the iarnbs pure and employ more frequently resolved feet. According to Porson's observation (praef. ad Eur. Hec. p. 30 sqq.) the spondee does not occur in the fifth place, if the caesura severs it : w _ _ ^ _ ^ __ 1 _ ^ _ The spondee, however, is not offensive : (1) When the subject requires so grave a rhythm, as Eur. Ion. 1. s %a/.y.tot(ji (2) When the second syllable of the spondee is an enclitic or a particle like yy.n, (AII>, dV, ur, \vliich belongs closely to what goes before. The verse has, in that case, usually another principal caesura, commonly the second, or, although more rarely, the second principal diaeresis, as Eur. Iph. Taur. 94:2. Aesch. Prom. 107. Soph. Elec. 413. Olo-v i n 1'A fWI kk'y Similar is the case when a preposition belongs closely to what follows, as Soph. Oed. Col. (304. (3) The spondee is only apparent when the words ?////> and vfuv help to form the fifth foot, followed by a word which begins with a vowel. For then it should be written t}[iir arid tV/i-, as Soph. Elec. 1328. Oed. Col. 25. ,\ rr ~, f .> // rOlS' tl'ZGTlV OUTl* VIUV JIu*; '/dy ?(^ ifvda TOVIO / (4) The spondee is allowed when an apostrophized word requires a connexion with the following word, as Soph. Aj. 1101. Philoct. 22. "E^SGT' dvaGGeiv, wv 08' ifikii oi%oO"sv. IUC/JV tiz l*. Of the same class may be considered the case, when the particle dv precedes an apostrophized word. (5) When the word ovdeig, ovdsv is divided between the IAMBIC STICHIC RHYTHMS. 169 fourth and fifth foot, it is to be written ovd' tig, ovd' tv, as Soph. Oed. Col. 1022. Ear. Ale. 671. Eid syxQttteTG cpzvyovGiv, ovS 8v dti novntv. 'Hv $' Hyyv? sAibj ftavavog, ovd' 8ig ^ov).s7ai. (6) Position before a double consonant serves as an ex- cuse, as Eur. Ilec. 729. Anclrom. 346. Iph. A. 530. Hpsis (.itv our sodfiKV, ovds ipavopev. ( I>vyet, TO tavT)] GWtyQOV, aM.cc ifjsvasrai. Kafi cog vstsavrp ft-upa, HUTU tyevdopai. (7) Proper names furnish an excuse, as Aesch. Pers. 321. Nwfiojv, o r laO'^og slQtouaQdog ^aQdsGiv. The few verses which remain without coming under one of these cases, originate either from a negligent treatment or from corruption. The tribrach can stand in every place. The older tragic poets, however, (before Olyrnp. 89) have it more rarely. The tribrach is allowed in the fifth place then only, when after its first short a caesura, though it be even a foot cae- sura, occurs, or if an i or a > precedes a short vowel, as Aesch. Prom. 52. Pers. 501. Eum. 580. dia noQOv. tv idd IGIIV apicpoTeQCt (jisvsiv. The dactyl occurs in the first and third places, as Soph. Aj. 846. Aesch. Suppl. 987. f/ Hfas, TiaTQCpw ttjv fyqv otav %&6va, Kal [tyr d&TiTcog doQtxavei poQcp ftavtov it is excluded from the fifth. The anapaest is properly allowed in the first place alone, and in the older tragic writers so that it forms one word, as Aesch. Prom. 89. v re m-flo, TTOVTICOV 78 Euripides sometimes admits a foot caesura in the anapaest, as Orest. 898. 'Em vcpde d' T^OQEVS. /jftopjdijg ava%. In other places it is excused by such a proper name only as 15 170 IAMBIC STICHIC RHYTHMS. otherwise could not be introduced into the verse, as Soph. Ant. 11. 3 Efj,ol n*v ovdelg pv&og, Jt In proper names it was also admitted even where, by a transposition of the words, it might have been avoided, as Soph. Phil. 794. slyd[A[Avov, w Mevshas, Ttaig dv QLVT Ipov. The anapaest is often only apparent, as Eur. Orest. 459. Soph. Oed. Coi. 13G1. vvSc/.Qtmg o8e. 60V tyOVSWg [l8[JV1][AVOg, where Tvvddoecog per synizesin is to be read as trisyllabic, and cpovsws as dissyllabic. It is not necessary that the trimeter should always close with a complete sentence, but verses ending with a word which belongs closely to the following, as an article, prepo- sition, conjunction, interjection, are rare, as Soph. Ant. 409. mviv oavTeg, y xm/ rov Nettvv, fivdcjv te cw^a yvpywaavzES i-v. Aesch. Eum. 238. kuv rjdr], nQogTSTQimii-vov 78 noog owois x An apostrophized word stands as rarely at the end of a verse. This license occurs first in Soph. Oed. R. 29. Tqp ov xevovrai dwpa KadpsTov, [ishag 5' X. T. P.. As an example of the tragic tfimeter take Soph. Oed. R. 1 sqq. Q tsxra, Kddpov tov nakai vsa Tivag no\f t-'doag rdgds \K Tlohg d' Ofwv per &vpia[*dTcav yipKi, O/AOV ds Tiaidvwv re xai GTEra^'^drcov L^j'oj dixaiwv pi] TIUQ ayyskwv, rtxvu,, dxovsiv aviog c65' D. IAMBIC STICHIC RHYTHMS. 171 7TUGI xhsiVOS OldlTTOVg JllX, 00 ysQaif, (pQa\ Ine nqncav scpvg U()o roovde cpavsw, rtn rQonm xa&SGvars, fftSQ^avtsg ; &>g ftzkovrog av HQOgctQxeiv Ttav . dvaakyytog JO.Q dv E'IT^V loidvde /^// ov xazoixvsiQwv edgav. (,-9) The Satyric Trimeter. As the Satyrdrama stood between tragedy and comedy, so the satyric trimeter stood between the tragic and comic. The seriousness of tragedy is softened by more frequent resolutions and the admission of the anapaest in every place, though not frequent. In general the verse is altogether reg- ulated by the subject ; it is more tragic in grave passages, and more comic in humorous ones. Take as an example Eur. Cycl. 1 sqq. ^ fiQOfUE, did 6S [AVQlOVg /fx> TtOVOV? Nvv #ooY iv jj|jfl rovpbv SVG&WZI i]viy. Efjifjiavijs HQ&G vno g OQeias Ixhnwv %ov d' dpcpl yqyevij 3 Ev$E f ios (rep nodi Irtav I/LBG^V ftevwv doQi t. cpQ idea, TQVX idcov OVUQ Ov -d /Ji 7tEi xal ( y ) The Comic Trimeter. The greater flexibility and liveliness which characterize comedy, are indicated in the trimeter by frequent resolutions and by the admission of the anapaest. The tribrach is exclud- ed from the sixth place alone. The dactyl is permitted in the first, third, and fifth places, though in the last more rare- ly, as Arist. Av. 27. Ov dewbv ovv dyv iavlv fyas deopevovs. The same rule which was stated above with regard to the tribrach in the tragic trimeter, applies to the tribrach and dac- tyl in the fifth place. Exceptions, however, occur, as Arist. Equit. 946. 172 IAMBIC STICHIC RHYTHMS. This anomaly was to be excused especially in proper names, as Arist. Pac. 1046. Acharn. 175. Mdv-ng tig laviv. ov pa Ai , clMJ ' Ak\ t'A. daxsdaipovos yaQ ^[Afpi-frsog odi. The anapaest is admitted in every place, except the sixth, as Arist. Vesp. 979. Katdpa, y.ardpa, xaidfia, xardfiu, '/.arafiijcoftai,. The fifth foot may be a spondee even if severed by the cae- sura, as Arist. Nub. 738. Jtxrjxoag pVQidxis /w fiovhofjiai. The comic poets seem to have admitted, by a peculiar license even the proceleusmatic in the first two dipodies, although rarely, as Arist. Plut. 1011. A'^zrdoiov uv y.ai fpuTTiov VTISXOQI'&TO Plat, in Schol. ad Eur. Ilec. 838. Ovzog Tig 6?; Ifc/fi ia%v. ii oiyug ; ovx fysig ; perhaps also Arist. Thesm. 285. To nonuvov, oTiwg ludovca frvaw talv &ECUV. An anapaest follows a tribrach then only, when the two feet are separated by the diaeresis, as Arist. Ach. 47. Nub. 663. o yaQ Kara ravro xai xov aoosva. An anapaest is not allowed to follow a dactyl, because according to trochaic measurement the rhythm would contain a proceleusmatic, which is not allowed in trochees : Finally, if the fourth foot is an anapaest, a foot caesura is avoided in its first short, because the verse in that case would be divided into two rhythms joined arrhythmically : The caesura is, however, less offensive : (1) When the first syllable of the anapaest is a monosylla- ble closely belonging to the following word, as Arist. Eccl. 104. IAMBIC STICHIC RHYTHMS. 173 7(4, (2) If an apostrophe occurs after the first syllable of the anapaest, as Arist. Nub. 70. "QaasQ Meyaxksqs, QvGvitf e/ow lyw d' styqv, (3) If a caesura, usually the aev&rjfMfjieQ'qs, precedes, as Arist. Ran. 658. Ti TO TiQayiia. rovri ; devQO ndhv fiadiGTtnv. (4) At a change of persons, as Arist. Vesp. 1369. Tdov %v[A7TOT(Dv xAf'i/j tf.vz ; 0. Ttoiav avfyrQida ; (5) If the anapaest is preceded by another anapaest, as Arist. Pac. 415. Kal rov xvx'kov TtaQsrQwyov v<$ aQfiarcoMas. As an example of the comic trimeter take Arist. Nub. 1 sqq. ^ 7 Q Zev fiaffdev, ro XQW a t^ vvxvmv OGOV JlnsQavrov. ovdinotf rftiKQU, yevfosrai ; Kal [U]v ndl.ai y dle%7Qv6vo$ ijxovd eyw. Oi 5' oixstai QtyxovGiv ' akX ovx av TIQO rov. a) ?7oP.ja, TTO^MV OVVKXCI, ovds xokdc e%86ri poi tovg oixtrag. ? ovd' 6 Qq6tog ovroal vsanag g vvxrbe, 'Ev (cT) The Trimeter of the Roman Dramatists. The older Roman dramatists and the fable- writer Phae- drus treated the trimeter, which they called senarius after the number of its feet, with as great freedom as the trochaic rhythms, mentioned above. They allowed the licenses, per- mitted by the Greeks in the odd places only, in the even places also, with the exception of the sixth. They have also, though seldom, the proceleusmatic, and- so indeed that it was concealed by the pronunciation, as Terent. Eun. I. 2, 27. V. 2. 32. Sarnia mihi mater fuit, ea habitabat Rhodi. Ut solidum parerem hoc mi beneficium, Chaerea. The pure iarnb, the tribrach and dactyl are rare in the fifth foot. 15* 174 IAMBIC STICHIC RHYTHMS. The caesuras are frequently neglected. The hiatus occurs frequently in Plautus in the tfs, as Mil. IV. 3. 42. Nam quos videre exoptabam miixime. It is not rare after the short of the fifth foot, as Asin. IV. 1. 15, 46. In foribus scribat, occupatam esse se. Tollum. quidni ? audi reliqua. loquere audio. Finally Plautus allows himself the hiatus in other places : when the persons change, as Cure. I. 1. 41. Obloquere. FA. fiat maxime. PH. etiain taces ? after a strong punctuation, as Cure. I. 1. 46. Earn volt rneretricem fiicere : ea me deperit ; or in an exclamation, as Aul. II. 8. 22. Merc, II. 2. 13. Perii, hercle ! aurum rapitur, aula quacritur. Salve ! o quid agis ? quid fit ! quod miscrrimus ; and perhaps in proper names, as Asin. IV. 1. 59. Ancillam ferre Veneri aut Cupidini. It is to be mentioned as a peculiarity of the older Roman poets that, because they endeavored as far as possible to adapt the verse-accent to the word, they often passed lightly over long syllables of those words which in meaning are subordinate to others, or over syllables long by position, or over syllables naturally long and following a short, as if they were short, and this they did particularly at the beginning of words, as Terent. Andr. I. 1. 16. Sod hoc mi hi molestuinst : nam istacc commemoratio. Andr. II. 6. 8. Propter hospital hnjusce consuetudinem. Eun. III. 1. 40. Dolet dictum imprudent! adulescenti et libero. Plaut. Mil. II. I. 53. Dedi mercatori, qui ad ilium deferat. As an example of the tragic trimeter among the Romans take the beginning of the Medea of Ennius : Utinam ne in nemore Polio securibus Caesa accidisset abiegna ad terrain trabes, Neve inde navis inchoandae exordium Cepisset, quae nunc nominatur nomine IAMBIC STICIIIC RHYTHMS. 175 Argo, qua vecti Argivi delecti viri Fetebant illam pellem inauratam arietis Colchis, imperio regis Feliae, per dolum; Nam nunquanvhera errans mea domo efferrct pedem Medea, animo aegra, amore saevo saucia. As an example of the comic trimeter take Plaut. Mil. I. 1. 1 sqq. Curate, ut splendor meo sit clupeo clarior, Quam solis radii esse olim, quum sudumst, solent; Ut, ubi iisus veniat, contra conserta manu Fraestringat oculorum aciem in acie-hostibus. Nam ego hanc machaeram mihi consolari volo, Ne lamentetur neve animum despondeat, Quia se jampridem fcriatam gestitem, Quae misere gestit farctum facere ex hostibus. The trimeters of Seneca are formed after the model of the Greek; he is fond, however, of the anapaest, especially in the first and fifth places. The lame Trimeter. Trimeter daudus, scazon, Hipponac- tcus, Choliambus, Mimiambus. The lame trimeter is a satiric verse, which among the Greeks was used especially by Hipponax, Ananius, Babrius, Theocritus (Epigr. XXI), and by the comic poet Eupolis; among the Romans by Catullus and Martial. It differs from the common trimeter by the inversion of the last foot. Reso- lutions are rare. The fifth and sixth were probably never resolved, although Prise, de metr. Comic, p. 1327, quotes a verse of Hipponax, in which the fourth and fifth feet are dactyls. 'EQ8o> yuQ oi^rco, Kvhtyvis Maiccdog EQ^. The fourth foot was very rarely resolved, as Phoenix Coloph. in Athen. XII. p. 530. E. Ov TTUQU [idyoMjt. nvQ ISQOV (ivtaniGsv. Babrius allowed the anapaest in the first place only, and among the Romans Martial, as I. 67. 2, 13. Fieri poetarn posse qui putas tanti. Aliena quisquis recitat et quaerit famarn. 176 IAMBIC STICHIC RHYTHMS. The spondee is rare in the fifth foot, because it makes the verse awkward : Catullus, who uses this measure eight times in his poems (Carm. VIII, XXII, XXXI, XXXVII, XXXIX, XLIV, LIX, LX.) has it not, Martial sometimes. In Catul- lus only four resolutions of Jongs occur XXII, 19. XXXVII, 5, 11. LIX, 3. Quern non in aliqua re videre Suffenum. Confutuere et putare ceteros hircos. Puella nam, me quae meo sinu fugit. Vidistis ipso rapere de rogo coenam. The caesuras are those common in the trimeter. As ex- amples take Hippon. in Stob. LXVIII. p. 279 ed. Grot. Av fysQcu yvvautbg eialv tjdicrai, "Orav yapfj rig, xdxysQy te&vqxviav. Hippon. in Stob. p. 519. Gesn. or Anan. in Athen. III. p. 78. F. Ei rig xa&siQ^e %QVGOV Iv dopoig Kai Gvy.a fiaia, Y.O.I du* // rqeig d rvoit} % oda) ra GVY.O. rov %QVGOV Mart. Epigr. II. 65. Cur tristiorem eernimus Salejanum ? An causa levis est ? extuli, inquis, uxorem. O grande fati crimen ! o gravem casum ! Ilia, ilia dives mortua est Secundilla, Centena decies quae tibi dedit dotis ? Nollem accidisset hoc tibi, Salejane. (6) Tetrameter acatalcctus. Versus Boiscius, octonarins. According to Mar. Victor, p. 2528, Boiscus of Cyzicus invented it: BOIGXQS o (LTio KvQxov, narrow yQaqjevg ftoirjfiaros, Tor oxraaovv SVQWV Gtfyov ( I>oifio) ii$i]<5i SCOQOV. The Romans used it in the drama by the line with the usual liberties. The spondee and the trisyllabic feet are every where allowed ; the last iamb alone is preserved pure. IAMBIC STICIIIC RHYTHMS. 177 The verse has either the diaeresis after the second dipody, and Plautus uses it commonly so, often allowing himself the hiatus and anceps in the diaeresis, as Bacch. IV. 9. 9. Poen. IV. 1. 3. O Trdja, o patria, o Pergamum o Priame periisti senex. Is me autem porro verberat incursat pugnis calcibus ; or the caesura after the first thesis of the third dipody, as usually in Terence, as Andr. III. 4. 22. Nihil cst preci loci relictum ; jam perturbavi omnia. If the verse has the diaeresis, the second foot of the second dipody is commonly pure. As an example of this measure take Terent. Eun. II. 3. 26. Neque virgo est usquam, neque ego, qui illam e conspectu amisi meo. Ubi quacrarn, ubi investigem, quern percenter, qua insistam via, Inccrtus sum. una haec spes est, ubi ubi est, diu celari non potest. O fiiciera pulchrara : dcleo omnis dehinc ex animo mulieres ; Taedet cotidianarum harurn formarum. Ecce autem alterum. Tetrameter iambicus catalecticus. Versus septcnarius. As the first thesis in the fourth dipody never admits a long, the verse appears to be not so much an iambic tetrameter, as an iambic dimeter with a catalectic tetrapody. As a lyric verse it occurs in the flower-song, preserved by Athenaeus, in which the second iamb appears always as tribrach : TIov [wi, 7a ('a ; nov {101 ra r>6da ; TTOV [ioi ra xaka Tadi vd t'a ' vadl ta Qoda ' Tadl TCI xaka slkivct,. Catullus among the Romans has used this verse, Carm. XXV. He observes strictly the diaeresis after the dimeter, and admits the spondee in the first and fifth foot only. The comic poets used this verse most frequently. The principal diaeresis is after the dimeter, which, however, is frequently neglected, as Arist. Nub. 1353. Kal [itjv oOcV j'e TIOMTOV )}(>^djA8(jO-a koidoQeTG'&ai,. The tribrach is everywhere allowed except in the seventh foot ; it is more rare in the fourth foot, as Arist. Nub. 1063. 178 IAMBIC STICHIC RHYTHMS. TIolloTg ' o I'ovv Ur^fvg shafts dia rovro rrjv [id%atQav. The dactyl occurs in the first, third and fifth feet, as Arist. Equit. 894,900,857. Kal TIQOZEQOV lirefiovhsvGS GOL TOV xav"kov OIG&' sxsivov. Ov yao ro& vutig ftdeo^isroL dfaov 'ytvefid'E TIVQQOI. Tag BiG@olct$ TCOJ> ahcpfccov av xazakdfioiw r^^v. The anapaest is everywhere allowed ; in the fourth and seventh feet, however, principally in proper names only, as Arist. Ran. 912. Thesmoph. 547. Ill' totjV, TO Mskavmnag noiwv (DaidQag TE UijveJiOTiqv re. As an example of the catalectic tetrameter take Arist. Nub. 1036 sqq. Kai pjv nakai y miyvQ\irp> ra ^4navra IUVT ivavriats yvoopa Eyw yaQ ^rrMv \ihv hoyog di, avio tovr 'Ev roiai, ygovtiGtaiGiv, on 7iQt]6i kovaftai nocorov ovx sdaeiv. Kaixoi rtva yvcopqv &yjK>v ibfysig ra ^SQ^a l.ovTQci ; The Roman dramatists, also, used the catalectic tetrame- ter very frequently; the Atellan poets in particular are said to have delighted in it. They observe the diaeresis after the dimeter more strictly than the Greeks. Plautus treats the verse as asynartete, allowing himself in the diaeresis the hia- tus and anceps, as Plant. Asin. III. 3. 61, 62. Sod si tibi viginti ininae-argcnti proferuntur, Quo nos vocabis nomine ? libcrtos, non patronos. Some few examples occur in Terence, too, as Hecyr. V. 1. 15 ; 3. 32. Est mugna ecastor gratia de istric re quam tibi habeam. Eum cognovit Myrrhina in digito modo me habcntem. According to the usual licenses the Romans put the spon- IAMBIC STICHIC RHYTHMS. 179 dee in the even places, too ; it is, however, less frequent in the fourth foot, and is usually concealed by the pronuncia- tion. The spondee may stand even here, if the verse have not the diaeresis. The same observation applies to the ana- paest which in the fourth place is harsh, if the verse has the diaeresis, yet occurs also softened, Asin. III. 2. 36. Nimis acgre risum continui ubi hospitem inclamuvit. The dactyl is rare in the fourth foot, as Plaut. Cure. IV. 2. 7. Terent. Hec. V. 3. 34. Et mine idem dico. Et commeminisse hacc ego volam te. Philumenam esse compressam ab eo, et filium inde hunc natum. In the seventh foot, besides the iamb, there may stand, (1) The spondee, as Terent. Eun. II. 2. 31. Ut sibi liceret discere id de me, sectari jussi ; (2) The tribrach, as Ter. Eun. II. 2. 41. Nurnquidnam hie quod nolis vides? te credo, at numquid aliud ? (3) The dactyl, as Eun. II. 2. 49. Detineo te, fortasse tu profectus alio fueras; (4) The anapaest, in such a way that there is no foot caesura in the first syllable, as Terent. Heaut. IV. 4. 17. Adelph. IV. 5. 78. Quid? transeundum nunc tibi ad Menedemum est et tua pompa; Sed cesso ire intro, no morae meis nuptiis egomct sim; (5) The proceleusmatic, which however is more rare, as Plaut. Most. I. 3. 18. Ergo hoc ob verbum te, Scapha, donabo ego profecto hcdie aliqui. As an example take Plaut. Rud. II. 1. 1 sqq. Omnibus modis, qui pauperes sunt homines, miseri vivunt, Praescrtim quibus nee quaestus est, nee didicerunt artem ullam. Necessitate, quidquid est domi, id sat est habendum. Nos, jam de ornatu propemodum, ut locupletes simus, scitis. Hice hami atque haece harundines sunt nobis quaestu et cultu. Cotidie ex urbe ad mare hue prodimus pabulatum. Pro exercitu gymnastico et palaestrico, hoc habemus, Echinos, lepadas, ostreas, balanos captamus, conchas, Marinam urticarn, musculos, placusias striatas. Post id piscatum hamatilem et saxatilem aggredimur, 180 IAMBIC STICHIC RHYTHMS. Cibum captamus c mart. Sin eventus non venit, Ncque quidquam captum est piscium, salsi lautique pure Domum redimus clanculum, dormimus incoenati. Atque ut nunc valide fliictuat mare, nulla nobis spes est. Nisi quid concharum capsimus, coenati sumus profecto. Nunc Vc'-nerem hanc veneremur bonam, ut nos lepide adjurit hodie. (S) ------- Tetrapodia iambica catalcctica. Many of the Anacreontic poems, so called, seem to be of this rhythm, since in them the anacrusis appears only as monosyllabic. The greater part of them may be arranged in strophes, as Carm. IX (18' Mehlh.), X (/,'), XV ('), XVII (/), XX (x,/), XXIII ().#), XXXI (//), XXXIII (xt-'), LV (xc't), LXV('); others are composed only by the line, I (x/), II (xQoi, which have a syllable too much at the end, as Horn. Odyss. V. 231. ^ieTiTov xal %aQiev, TIEQI d^ ^vr^v fidkET* i%w, the 7tQOXOi),ioi, which have a syllable or a time too much in the middle, as Horn. II. II. 544. I. 17. Qr^Eiv dr^'mv d^cpl TE Y.U.I rest on a misapprehension of the grammarians, who trans- ferred their doctrines of prosody to the ancients. As at the end of a hexameter as well as at the end of every other verse, a pause occurs, it must also close with a com- plete word, and this is always the case, with few exceptions, which are excusable only when the poet has a special object ; comp. above, pp. 31 , 32. Hence in order to close the hexam- eter with a complete word, Homer shortened some words, as xm#?7, dwfta into XQI and dw and probably also Ztjra into Ztiv (II. VIII. 206. XIV. 265. XXIV. 331). In Virgil, however, versus hyperrnetri sometimes occur, as Georg. I. 295. Aut dulcis musti Vulcano decoquit humorem Et foliis etc. Georg. II. 69. Inseritur vero et fetu nucis arbutus horrida Et steriles platani etc. Georg. II. 344. III. 242. 449. Aen. IV. 558. The grammarians mention several other names of different DACTYLIC STICHIC VERSES. 195 forms of the hexameter, all of which, however, are of no practical use, as the hexameter v.a.'t ivvnkiQv, which resem- bles a double trimeter : Mijmv <2adfi, flea, hexameter loyost.dijg or nohnxos, because its rhythm ap- proaches prose : ds ^av&ag &Y.CX.IQV %ai Hexametri Priapei, which resemble the different forms of the Priapeus. Optat ephippiabos piger, optat arare caballus. Cui non dictus Hylas puer et Latonia Delos. Aut Ararim Parthus bibet aut Germania Tigrim. Among all the ancient measures, the hexameter maintain- ed itself longest in the works of the poets in the Latin lan- guage. It is probable that as early as the seventh century, rhymes passed over from the popular poetry of the German tribes into the hexameter and pentameter, and indeed rhymes were usually distributed between the middle of the verse (aevfhflUfieQqs) and the end, as Case us et pan is sunt optima fercula sanis. Tempore felici multi numerantur amici . Such rhymed verses are called leonine. Other trifles are omitted. Hexameter According to Terent. Maur. p. 2425, Livius Andronicus used this verse by distichs with the heroic hexameter ; the fragment, however, which he quotes is hardly from Livius Andronicus. The verse is used by the line in Luc. Trago- dop. v. 312 sqq. The grammarians consider this verse as a pentameter dactyl, acat. with an iamb following. It seems 196 DACTYLIC STICHIC VERSES. in fact to be formed from the heroic hexameter by the inver- sion of the last foot, as the trimeter iamb, scazon, from the acatalectic trimeter ; but it receives thereby a soft arrhythmy ; hence it could be used appropriately in satirical poetry only. According to Hermann (Elem. p. 356) the verse, on ac- count of Luc. Traor. v. 323. O Kovyov, D.acpQov, adQipv, jtQci%vftt.a($$, dvadwov, consists of a tetramet. dactyl, acat. with an iambic dipody following, the first foot of which commonly appears as a spon- dee or dactyl : According to others the verse consists of a pentameter cat. in syllab. with a cretic following, which commonly takes the form of a fourth paeon : The caesura is commonly the ytsv'&yjfii^SQ^Sj as Livius illo votus Grajo cognomine suae, or after the third trochee : J41 tfravs ipokoevta "Hmov, oo ndvdyfts, cpSQOis atyqpa, The fifth foot appears for the most part as a dactyl, and perhaps only in proper names as a spondee, as Luc. Tragod. v. 314, 321. Ovy. IQIGCIS fyftQtj ( J)oifi($ (b) Aeolic and logaocdic verses. The Aeolic verses, which were often used by the Aeolic lyric poets, particularly by Alcaeus and Sappho, consist of light dactyls to which a basis is prefixed. The spondee could not be put for the dactyl. The verses are sometimes acatalectic, sometimes catalectic. In the former case a long can be put for the last short of the closing dactyl (comp. p. 82) ; but it is doubtful whether such verses should not rather DACTYLIC STICHIC VERSES. 197 be measured as logaoedic. The basis appears either as a spondee, trochee, iamb, or pyrrhich, and is never, as it seems, of three syllables. The following verses, according to Hephaestion were in use : x- / Trimeter cat. in disyUabum. OVQWQCI) nodes s Td ds Gapfia ds dtx lno x- (2)- Trimeter acat. or perhaps logaoedic : Sappho: EQOS d avrs [A, o , cot ffiS'Sf IJLBV 7il 3' ^[vdQOfizdav norrj. x- / - Tetrameter cat. in disyllabum. qj d, oo cptls Tetrameter acat To Zanyix x- / or perhaps logaoedic : - v 17* 108 DACTYLIC STICHIC VERSES. Sappho frequently used this measure; Hephaestion quotes as an example : IfQupav (JLI-V fy'co GtO'Sv, Av&i, ndhai TZOXM. Theocritus likewise used it (Idyll. XXIX). In v. 33 and 39 the spondee is only apparent, as we should read dvdQSi and ccvheiais. x- / (5)--- Pentameter cat. in disyllabum. "Enog AiokiKw. If the basis is a spondee, the verse is wholly similar to the heroic hexameter ; hence the name mos Aiokmw. n ovaGtv spot. Of the logaoedio dactyls the following were used by the line. x- / (6)- Plialaeccus hcndecasyllabus. This logaoedic verse was used among the Greeks by Pha- laecus, Theocritus (Epigr. XX.) and others, and among the Romans very often by Catullus, Martial, Statius, Ausonius and others. Among the Romans the basis appears as spon- daic; Catullus only, following the Greek model, allows him- self the trochee also, as Carm. I. 9. Qualecunque, quod o patrona Virgo, the iamb, as Carm. I. 4. Meas esse aliquid putare nugas, and once the tribrach, as LV. 10. Camerium milii, pessimae puellae. He has not the pyrrhich. The shorts of the dactyl are not contracted. An exception, however, is found, Cat. Carm. LV, where the spondee stands fourteen times for the dactyl, as Oramus, si forte non molestum est. In XL. 1. Catullus has even a versus hypermeter : DACTYLIC STICHIC VERSES. 199 Quaenam te mala mens, miselle Ravide, Agit praccipitem in meos iambos. The Phalaecean has no fixed caesura. The caesura after the long of the dactyl is most suitable, as Cat. Carm. V. I. Vivamus, mea Lesbia, atque amemus, or after the arsis of the first trochee, as Auson. Epist. IV. 85. Istos composuit Phalaecus olim, Qui penthemimerin habent priorem, Et post semipedem duos iambos. The verse is bad, if a word ends with every verse foot, as Cat. II. 9. Tecum ludere, sicut ipsa, possem. As an example take Cat. Carm. II. Passer, deliciae meae puellae, Quicum ludere, quern in sinu tenere, Cui primum digitum dare adpetenti, Et acres solet incitare morsus : Cum desiderio meo nitenti Carurn nescio quid lubet jocari, (Ut solatiolum sui doloris, Credo, ut turn gravis acquiescat ardor) : Tecum ludere, sicut ipsa, possem, Et tristis animi levare curas ! Tam gratum mihi, quam ferunt puellae Pernici aureolum fuisse malum, Quod zonam soluit diu ligatam. X- / X- - / This verse, used by Alcaeus, consists of two dactylic- logaoedic series with the basis, of which the first is catalec- tic, the second acatalectic. A cretic forms the close. Al- caeus in Athen. XIV. p. 627. A. B. ds pfyas dopog %a}.x($ ' Ttaaa, $' "A^ xexo- XWECUGI, %ar tap l.evxol I koqioi Nevovaw, 200 ANAPAESTIC STICHIC VERSES. . r. L B. Anapaestic Verses. (a) Rational Anapaests. (i) ------ - Dimeter cat. in syllabam. Paroemiacus. This verse repeated by the line is used for marching-songs (lufiaTTjQta). The spondee was preferred in the third foot, and diaereses after each foot. Tyrtaeus used it thus in Dion. Chrys. II. 57. (Brunck. Anal. I. p. 53). slyer co ^TidQiag evdrdgov KOVQOI Tiart'Qcov nohrjrou AdLlft JV 11VV My (peidopsvoi rag Ov ya.Q ndrQiov rag The comic poets, too, appear sometimes to have used this verse; thus Cratinus in Hephaestion: Kai navra \QJQV rd^a dxi] TiarQig I dfl 'OdvGGti -&8lCp. Trimeter cat. in syllab. Efj-fiarriQiov, Messenicum. Likewise a marching-rhythm according to Mar. Viet p. 2522. He quotes as an example : Superat montes pater Idaeos nemorumque. Simmias, according to Hephaestion, composed an entire poem in this metre : dyvd, an Iv^eirojv [tGa zot%cor. ANAPAESTIC STICHIC VERSES. 201 (3) "-- '"-" |- Tetrameter cat. in syllab. Versus Laconicus. Versus Aristophancus. This verse was used partly as a marching-rhythm, partly in comedy. The Spartans used it frequently as a marching- rhythm, whence it is called versus Laconicus. It had then the spondee in the seventh foot, as, XOVQOI, nov TO.V QE,og mvaaiv. It was early used as a comic verse, as by Aristoxenus, Epicharrnus, who is said to have composed two entire come- dies in this verse, and Cratinus. Aristophanes, too, used it frequently, and he usually makes one or more anapaestic sys- tems follow after such verses. The principal diaeresis is after the fourth foot, so that by it the dimeter is separated from the paroemiac. A word which belongs closely to the following, as a preposition or the ar- ticle, cannot stand before the diaeresis ; hence Arist. Ran. 1026, is not to be read : Eha didd^ug lovg IllgGag perd TOVT but: Eira didd^ag USQGCIS pevd TOV'T and Nub. 372, not : Nil rov [dttoJ&oo, rovzo ys toi top vvvl Ao'/cp sv but: Ny TOV 'Artolla), TOVTO jl toi St} 7(p vvv I6yc$ w The diaeresis is very rarely neglected, as Arist. Av. 600. Tav aQyvQiCQV. ovvoi yaq IGUGI. htyovai ds TOI tdde TidvtEg. Besides this principal diaeresis a foot diaeresis usually oc- curs between the first and second dipody, which is, however, frequently neglected. The paroemiac has no fixed diaeresis or caesura. As regards the measure, the proceleusmatic is everywhere excluded, and where it occurred it has been properly removed by the editors, as Vesp. 1015, where nQogfysn- has been rightly changed into 7TQO(j%ere. The dactyl can everywhere be placed for the anapaest, 202 ANAPAESTIC STICHIC VERSES. except in the seventh foot. It is very rare in the fourth foot ; Person is inclined to exclude it altogether. Arist. Nub. 326. &g ov xa&OQco. TictQa Ti]v eiaodor. ijSr] vvvl [lohig ovTcog. An anapaest is not allowed to follow a dactyl. An excep- tion, though very rare, is when the fourth foot is a dactyl, as Arist. Vesp. 397. AVTOV dtjaag. w [uaQuraTE, TI noieig ; ov pq xaTafiqaei ; If the second foot is a dactyl and the third a spondee, the last syllable of the dactyl is not allowed to be the first syllable of a word which is an iamb or bacchius: as Arist. Eel. 518, not: but : AVfiftovhoiGiv 7ia.6a.is v\tiv. Aristophanes excluded the spondee from the seventh foot, and this is the reason why with him the sixth foot is never a dactyl ; Cratinus, however, had the spondee, as, 'Qg dv pdlkov Toig TTrjdaMoig y vavg I]^JLWV and Aristoxenus: Tig ctt.aoviav nfaiGtav 7taQt%i twv av&Qwnwv ; With regard to the prosody, it is to be observed, that a long syllable in the anapaest and dactyl can be shortened by a hiatus, as Arist. Plut. 528. Nub. 977. Ovr Ir ddniGiv rig yaQ vyaiveiv l&ekqaei %QVGIOV ovrog ; d* av rw^akov ovdiig naig vntveQ&w TOT civ The prolongation by a mute with a liquid is very rarely allowed, and generally then only when another poet is paro- died, as Homer in Arist. Nub. 401. Vesp. 652. a, TOV avTov ye VEMV fidU.ei xal 2ovnov axQov '^ t. Tlavaai xal or a dithyramb, as Nub. 335. TO.VT V.Q inoiovv vyqav Nscps^av GiQSrtta.iy'l.oiv ddi'ov Finally, a proper name excuses the prolongation, as Av. 553. Lys. 551. ANAPAESTIC STICIIIC VERSES. 203 xou IJoQyvQicor, cog apeQdaltov ro ykvxv&vfuos "Egcog %q Kvnqoywsi As an example of the Aristophanic verse take Arist. Av. 693 sqq. Xctog t]v xui Nv% "EQefiog T pskav TZQWTOV xal d' ovd' dqQ ovd* ovQavog r^v. 'EQs'fiovg d* iv r\ ov TtSQirekhofievctis otQcue ef&ctG'rev "EQCOS o VMTOP mzQvyoiv XQVGUIV, /xco? drsftcoxsai dlvatg. Ovxog 8s Xdei fireyoevTi pyelg w%icp xara TaQTctQov 'EveoTvevGSv yt'vog ^IETSQOV, xal TTQWTOV dviqyayw ig Among the Romans, Plautus uses this verse, as Mil. glor. IV. 2. 21 102. He admits the proceleusmatic, as v. 20. Erit, et tibi exoptatum obt'mget. bonum habe dnimum, ne form! da ; he has in the seventh foot the spondee, as v. 31. Quid ? ego hie astabo tantisper cum hac forma et factis? sic, sic ; he resolves the last arsis, as v. 32. Frustror ? patere atquo as to. ; tibi ego hanc do open'im. pro- perando excrucior ; he neglects the diaeresis after the dimeter, as v. 30. Brevin' an longinquo sermone ? tribus verbis. jam ad te redeo, and, finally, treats the verse as asynartete by admitting the hiatus and ariceps in the middle, as v. 24, 43. Turn pol ego, quod celo, haud celo. imo ctiam, sed non colas. Quia tis egeat, quia to careat. ob earn rem hue ad te missa est. Tetrameter anapaest, acat. The. tetrameter anapaest, acat. seems to have been used by the Roman comic poets in as peculiar a manner as the tetram. iamb. acat. Terence, however, has neither ; Plautus uses it sometimes, as Aulul. IV. 9. Cusin. II. 3. Bacch. V. 1, 2. Such acatalectic tetrameters are usually followed by 204 CRETIC STICHIC VERSES. catalectic (Bacch. IV. 10, in distich combination) or by iambic octonarii and septenarii. The same liberties take place in this verse as in the preceding, as the anceps after the dimeter, Bacch. V. 1. 7. Oinnia me mala consectantur omnibus exitiis interii, the hiatus, Casin. II. 3. 10. Myropolas omnes sollicito ubicunque est lepidum unguentum, ungor. The diaeresis is frequently neglected after the dimeter, as Aul. IV. 9. 3. Nequeo cum animo certum investigare : obsecro vos ego, mi auxilio. The proceleusmatic occurs, as Casin. II. 3. 8. Hanc ego de me conjecturam d o m i f a c i o magis quam ex auditis. (b) Irrational, logaocdic Anapaests. Anapaestic, quadruple? duplicitcr iamb. cat. Versus Archobiileus. According to Hephaestion, the first foot might also be a spondee or iamb; in that case, the verse would rather be a fogaoedic-dactylic rhythm with the anacrusis, which might be sometimes monosyllabic, sometimes dissyllabic. Hephaes- tion mentions as an example from Callimachus: G, ov yaQ f^oo di%a J\'i>[ACpa. GV i-itv aGTEQiav vcp' a/Aaav qdq. ( I*ikcQTi:Qa u()Ti yaQ a ^/xfcP.oj [Atv "Evva. Compare Diog. vit. Cam. IV. 65. III. VERSES or THE ONE AND A HALF KIND USED BY THE LINE. A. Cretic Rhythms. Tetramet. crct. acat. This verse was frequently used by the Greek comic writ- ers, as by Cratinus in Hephaestion : ANAPAESTIC STICHIC VERSES. 205 dq, Movffa ' voovict [itv qxeig, opcag 5' , ov TiQiv j'f di-Tr, KJ&I Gacptg. dhU Aristoph. Vesp. 1275 sqq. ,f- [taxaoi dvTOfJ-svEG, ojg GS flaidag tcpvzevGag OTI HQUTCL fiev anaoi cpihov tivdQa is Tor xi'&aQaotdovaTOV, co %doig I Tor d' vnoxQVzqv ITSQOV, d.Qyal.ov wg Gocpov * Elx ^QKpQadqv, nokv 11 fivpoGocp "OvTivd nor co ( ao(7 pa&ovTa nand *A"kX dno Gotprjs cpvG0$ avro^aro Simmias likewise has it, as, co noxvia, id.v&i,, ^v^cpdr a XVUOXTVTttoV ^Q The same has, in one poem, resolved all the arses, except the last, as, Jte' TZOTS /Iwg dvd nvfiara vsaQ? XOQS ve^QO^iTdov, With others, the first three feet are fourth paeons : Qv{i&r/,av i&t, fidxaQ, q)i%,o/ Uoo QQ%VV& ana7.oi^ dpcp' ZQoevTa Hephaestion considers this verse as an ionic a majore. ' / / (8) .. - Trimeter choriamb. Sappho : Ev^oQ^ortQa, MvaG&Ma rag cu 'AGaQQttQag, ovddfi 'in co \)dvva, Gt&ev rv%oi6a. Hephaestion considers this verse also as an ionic a majore. (c) Choriumbic scries icith the basis and logaoedic terminations. X- / (1) - Manometer choriamb. Sapphicum enneasyllabum. Sappho : Kai xviGGfl TIVCX, x / / (2) _.-^-|-^-~- Dimeter choriamb. Asclepiadeum I. This verse was used by Horace Carm. I. 1. III. 30. IV. 8. The basis is with him always the spondee, and the diaeresis after the first choriamb is carefully observed. The elision does not destroy the diaeresis, as III. 30. 1, 7, 12. CHORIAMBIC STICHIC VERSES. 209 Exegi monumentuin acre perennius. Vitabit Libitinam. usque ego postera. Regnavit populorum ex humili potens. Once only the diaeresis is neglected, and that in a proper name, IV. 8. 17. Non incendia Carthaginis impiae. Bentley considers the verse spurious. As an example take Carm. III. 30. Exegi monumentum acre perennius, Regalique situ Pyramidum altius, Quod non imber edax, non Aquilo impotens Possit diruere, aut innumerabilis Annorujn series, et fuga temporum. Non omnis moriar, multaque pars mei Vitabit Libitinam. usque ego postera Crescam laude recens, dum Capitolium Scandet cum tacita virgine pontifex etc. X / / / Trimeter choriamb. , Kv&egif, dfigos *A8cQms m ri %e x- / / / (4) ---------------- Trimeter choriambicus. Asclepiadeum II. The Greek lyric poets, Sappho, Alcaeus, Stesichorus, have this verse, as it seems, without a fixed diaeresis, as Alcaeus : Mqdev aHo cpvrsvGrjs TTQOTEQOV ds'vdgeov dpnekco. Sappho : 8s xa'd?/. 'ovdsaoxa (wapoavva os&ev ' ovdznox sis VGTBQOV ' ov ya.Q TisdsftEig godcov ly, TIieQias ' ZA acpavqg MJV aidcc dopoig ig, Tttd' dpavQav vexvav IxTtSTtorapwa. Sappho has the pyrrhich as a basis : 'PodoTtfywg ayvca XaQirsg dsvrs dibg XOQCU. Catullus, Carm. XXX, followed the Greeks, but he has everywhere the spondee as a basis. 18* 210 CHORIAMBIC STICHIC VERSES. Horace has this verse, Carm. 1. 11; 18. IV. 10. The basis is always a spondee; the diaeresis occurs constantly after the first and second choriamb; once only it is neglected in the second choriamb in a compound word, I. 18. 16. Arcanique fides prodiga perlucidior vitro. As an example take Hor. Carm. I. Jl. Tu ne quaesieris, scire nefas, quern mihi, quern tibi Finem di dederint, Leuconoe, nee Babylonios Tentaris numeros ; ut melius quidquid erit pati, Seu plures hiemes, seu tribuit Jupiter ultimam, Quae nunc oppositis debilitat pumicibus mare Tyrrhenurn ! sapias, vina liques, et spatio brevi Spem longam reseces : dum loquimur, fugerit invida Aetas. Carpe diem, quam minimum crethila postero. X / / / Trimeter choriamb. Tor crvyvov Mehavinnov yovov at aaTQOcpovwv x- / / / / (6) ______ ----------- Tctramct. choriamb. , tov There are some verses of the choriambic rhythm which were used by Greek comic and lyric poets, and were, for the greatest part erroneously, numbered by grammarians among the polyschematist verses. Epionicum polyschematistum. It consists of two choriambs of which the first has a basis and anacrusis, and the second a double basis. Eupolis used it according to Hephaestion : Q xakkiGzq noki naawv ocag K"ktK>v Qovv vn ovx d^JOS wv ' ravr ovv V^JLIV g cocpoig, wv ovvsx tyw ravr , - , x-X -/ (3)-" ------------- Metrum Cratineum. It consists of a dimet. choriamb., the second choriamb of which always appears as an iambic dipody, and a cretic with a double basis. The diaeresis was frequently neglected. 212 CHORIAMBIC STICHIC VERSES. It was employed by the comic poets Cratinus and Eupolis. Hephaestion quotes as examples : Ems, Udvra TD*r}v AEVIOV vofioici HCLI %owiG)VO, co and of Eupolis : JlrdQsg ITCCIQOI, devQO dq tr^v y reaper El dvrarbr, %cu py n p^ov nQarrovGa rvy%dvei. (4) ---- ._. C/wriambicum polyschcmatistum. This verse consists of a dimeter choriamb., the second cho- riamb of which appears as an iambic dipody, and a choriamb with a logaoedic termination. Besides the comic poets (Eupo- lis) Anacreon also used it: ^ipa.'kov sWov Iv %OQO) m^rid' t%ovza xakqv. Eupolis : dimrav, r^v fyova' ol xoAaxf?, TTQOS vpag. v ' etH' axovaatf, w$ iapsv drtavra xopipol ' OTOIGI TTQWTa flfV 7tCU UXol.OV&OS 86TIV, TO. TioD.a, (UXQOV ds zi y.dpov avrov. The diaeresis after the dimeter was frequently neglected. X- / X- Versus Priapeus. The Priapean is the only really polyschematist verse among those mentioned by the grammarians as such. It consists of a Glyconic and Pherecratean ; the former admits of two polyschematist forms: the latter of one: / Anacreon used it in its original form : CIIORIAMBIC STICHIC VERSES. 213 fv ITQIOV fanrov IIMQOV dnoxkdg, Otfov d' s^sftiov xddov vvv $' d^Qcog IQOBGGCLV l l f d).t,m nyxtida ill (pily %copdcov yial'dl dfiQrj. and Catullus Carm. XVII, XVIII, XIX, as Carm. XVIII. Hunc lucum tibi dedico consecroque, Priape, Qua domus tua Lampsaci est, quaque silva, Priape ; Nam te praecipue in suis urbibus colit ora Plellespontia, ceteris ostreosior oris. The comic poets seem to have used all forms indiscrimi- nately. Examples of the polyschematist forms are : x- / / - cov Eipaxa, KVLI x-x- / x- / _w_^_wv,_|_^_^w_^ Ov fitfirfas, co rental rov vsov /Jiovvaov. x-x- / / *Tri dvadevdQddcov dnakag dGTtakd&ovs narwv rig. Kcu pehkwnvov halmv KOU Qoda The last form resembles altogether the choriambicum polyschematistum. Besides the trochee and spondee, the iamb can be used in the bases, as, r&wv d' innoG&iva Y.OLI xocpoGavdcda fiaivwv. 'Odevav nfoovGtaxor xvscpaiog naya tekpa. the tribrach : *Tri dvaSevdQadcov dncddg aGTtald&ovg rtarwv rig. and, although rarely, the dactyl, as, "Av yzQopev naQa zyg ftsov, dv Malb'aGaTO ri]va. The diaeresis after the dactyl is strictly observed. The elision does not destroy it, as Cat. XVII. 24. Si pote stolidum repente excitare veternum. 214 IONIC STICHIC VERSES. The verse is sometimes asynartete ; hence the hiatus and anceps in the diaeresis, as, "Av (psQOfisv naQa, rtjs &eov, ar Ixakecffa Catull. XIX. 4. Nutrivi magis et magis, ut beata quotannis. B. loni c i a maj or e. Dimeter catal. in trisyllab. Versus Cleomacheus. Tl$ Vl]V vdQltjV VflWV f'roa Tii'vatv. (9)--""------ Tetrameter catalect. in disyllab. Versus Sotadeus. It was used by Sotades and other poets in ethical and sa- tirical poetry; and was, according to Aristides Quintilianus, never sung, but only recited. Among the Romans, Ennius had Sotadics in his satires and in the Asotus, Plautus in Amph. I. 1. 14 sqq. Aulul. II. 1. 30 sqq. III. 2. Stich. I. 1. 1 sqq. and Martial Epigr. IIL 29. The verse was treated with great freedom. All the arses except the last, and in Plautus even this, could be resolved and the theses contracted ; but with the Greeks this contraction is allowed in the second foot only. A long could be put for the second thesis of the ionic, especially in the second foot, more rarely in the first and third. Finally, the ditrochee could everywhere be substituted for the ionic, which was often done, particularly in the third foot. The first long of the ditrochee could be resolved; in Plautus the second also; finally, it was allowed to put the fourth epitrite for the ditro- chee, in Plautus even the dispondee. The diaeresis is after the second foot, but it is often neglected. The pure form : IONIC STICHIC VERSES. 215 , TOVTO and the polyschematist : xal TtlovQiog nkiov G%MV, are rare. Usually ionics alternate with ditrochees. The following form is most frequent : Eig ov% otfiqv VQVfjtahqv TO XWTQOV Mart. Epigr. III. 29. Has cum geniina compede dedicat catenas, Saturne, tibi Zoilus, annulos priores. Resolutions are particularly frequent in the first foot : Nopog 8Y), LIII (rf, vtf), LIV (va). The pure form occurs exclusively in a fragment of Ana- creon in Athen. XV. p. 671. E. and 673. D. IONIC STICIIIC VERSES. 21 '0 MeyiGMi$ o cpilocpocov ES, insidri i is hvycp xcu and in Alcman, also, according to Hephaestion : 'Exatov per /liog viol Tads Mcoacu xQoxo7t7tl.oi. But these fragments may just as well be parts of ionic systems. The anacrusis of the first ionic appears rarely as a long : in the pure form, as V. 2. Ml^COflEr /Jl.OVVGOJ, in the polyschematist, as XXXVI. 11. Ttjv ipv%rjv fiov y.aQ in the broken, as VI. 14, 1G. Kal rfjg In the broken form the arsis occurs but rarely resolved, as XLIII. 8. Zv ds yihog si yEcoQyojv. The resolution of the second arsis is more frequent, as V. 5. VI. 3. XXXVII. 6. "Jde, Ttaig y^avog odevi-i,. The third foot is never permitted to be a spondee, in the broken form ; hence verses like XXV. 9. 2vv rep ds mvBiv q are spurious or corrupt. The verse has, on account of its shortness, no fixed diae- resis. The pure form, however, delights in a diaeresis after the first ionic. . A peculiar kind of Anacreontic is the form with the iambic basis : - / - It might be derived from the above forms, if we were to assume that in the broken form the dissyllabic anacrusis is 19 218 IONIC STICHIC VERSES. contracted into a long, and then to use the liberty of putting a short in its place. But since most poems, which have this rhythm, consist of pure iambs, and do riot allow either the dissyllabic anacrusis or the pure form with the monosyllabic anacrusis,* / / / / the verse seems to be rather a tetrapodia iamb, catal. ; com- pare above. There are remaining several more Anacreontic poems, which can be arranged under neither of the above men- tioned forms. These are either poems of a very late period in political verses, as XVIII (tf), XXIV (P.//), or they must be otherwise measured, as XXV (p/). OlULV 7ll(O TOV OIVOV, EvdovGiv al [AtQifivai. Ti [A.OI TIOVMV, 11 f'oi yomv, ii pot p&).ei. (jL QaveTv ^ del, XVLV p) th'Aw 11 iov fiiov OVV 70V Tor lov xalov s/valov, The last two verses : 2vv ity fit Tttveiv Evdovaiv al appear to have been added by a later writer. The following poems may serve as examples : Carm. XLVIII (ft) Z/OT //O/ * Carm. XXX (itf), the metre of which is apparently a dirnel. ionic. with a monsyllabic anacrusis, consists in fact of Pherecrateans with a spondaic basis : !.:.._: AiMovatu TOV " Carm. XXIII (^') 16: rcfaiv rdv '^(pgoStrav, like the foregoing, is not genuine. Carm. XXVI (/*?'), orav o Bdx%o? fistk&y Hermann changes into orav Bdxxo? tctjJ&rj. The whole poem, nwevj^r, is a cento of Anacreontic and other verses, belonging to a later time. IONIC STIC11IC VERSES. Msra jLaQftitwv aet'Soov, To TiaQOi'viov fJofoco. /JOTS [AOl ^VQ^V '0[M]QOV Carra. XXXVII (' g Qoda J$QVOVGIV ' 'Ids "Ids nag vfi ' r Jds 7ib) y&QC&VQS odsvst. 5' zkapipe Tirav ' t dovovvtcti. GtQaysv TO Kara yvllov vara / / / 219 Dimeter catalccticus. According to Hephaestion, Timocreon wrote an entire poem in this metre : Ilorl ICLV Trimeter acatalectus. . According to Hephaestion, used by Sappho: Ti 220 IONIC STICHIC VERSES. (4) - Trimeter catalecticus. Anacreon: diovvGOV Gavlat, (5) ~ ~ ~ - - pure form. / / / / / / w " w | w ~ * - polyschematist form. broken form. Tetrameter catalecticus. Galliambus. This verse was used by the Greeks and Romans, particu- larly in poems to Cybele. The pure form is not rare among the Greeks, as, Iloocpuvwg TOVTO didutixcav, aTiodvGr] fiioTTjV. The anacrusis of the first ionic was sometimes contracted : Fal.lcM, [MJ7QOS OQSiijy cpdo&VQGoi dQOf^ccdsg. In the broken form the first half verse always closes with the long, as, (I*uGig ovx ed&xe poG%cp kakov "dmfti cropa. The second foot is very often resolved in both half-verses : The diaeresis after the second ionic is strictly observed. Amorijr the Romans, Varro, in his satires, and, according to Atil. Fortunat. p. 2677, Maecenas also (Anthol. Lat. I. p. 53) used this verse. Catullus (Carrn. LXIII.) has also Galliambs. He always uses the broken form, with the ex- ception of V. 54, where the first dimeter retains the pure form : Et carum omnia adirem furibunda latibula, and V. 60, where the second half verse appears pure: Abero foro, palaestra, stadio et gymnasiis. IONIC STICHIC VERSES. 221 The first arsis appears three times resolved, V. 23, 48, 70. Ubi capita Maenades vi jaciunt hederigerae. Jbi rnaria vasta visens lacrirnantibus oculis. Ego viridis algida Idae nive amicta loca colam ; the second arsis more frequently, as V. 27. Simul haec comitibus Atys cecinit notha mulier. The first and second arses are seldom resolved, V. 63. Ego mulier, ego adolescens, ego ephebus, ego puer. The anacrusis of the first ionic is found contracted nine times (V. 5, 15, 17, 26, 40, 67, 73, 77, 86), and then all the resolutions of the arses of the first half verse disappear, as, Devolvit ilia acuto sibi pondera silice. Sectam meam exsecutae, duce me, mihi comites. An exception is made in V. 77, in which the second arsis is resolved : Laevumque pecoris hostem stimulans, ita loquitur. The final syllable of the first half verse is throughout long. In the second half verse, the anacrusis of the first foot is sometimes contracted (V. 18, 22, 34, 73, 83, 86) : Hilarate herae excitatis erroribus animum. Tibiceri ubi canit Phryx curvo grave calamo. The second arsis appears almost always resolved, with the exception of V. 35, 73, 76. Itaque, ut domum Cybebes tetigere lassulae. Jam jam dolet, quod egi, jam jamque poenitet. Ibi juncta juga resolvens Cybele leonibus. Catullus observed the diaeresis strictly. In V. 37 an elision falls upon it : Piger his labantes languore oculos sapor operit. As an example take the passage in Terentianus Maurus, in which he describes this measure : Sonat hoc subinde metro Cybeleium nemus, Nomenque Galliarnbis memoratur hinc datum, Tremulos quod esse Gallis habiles putant modos, Adeo ut frequenter ilium prope ab ultimo pedem, Mage quo sonus vibretur studeant dare tribrachyn. 19* 222 DISTICH COMPOSITION. CHAPTER II. DISTICH COMPOSITION. Distich composition consists in the combination of a longer and a shorter verse into one whole (P. 1. c. 9. p. 34). The shorter verse either precedes the other as an introduction, proode, or follows it as a conclusion, epode. As the lat- ter is more frequently the case, this kind of composition is called also the epodic. As among the verses used by the line the hexameter is the model for all later compositions, so here is the elegiac distich. Several verses used in distichs were treated as asynartete. The distich kind of composition was chiefly used by the gnomic and elegiac poets, the Ionian lyric poets (Archilochus, and after him Horace, especially in the Epodes), the satir- ists and the epigrammatists. Traces of the same are also found in the dramatists, as Aesch. Agam. 1343 1346. A, ".Q/io/, nenhjyitcu xaiQiav ntyyijv &TCO. H. Ziya. - iig nhffyv O.VTEI xaiQiws ovtaopfaos '> A. "Qpoi fidX av&tg, devrtQav H. TovQyov KiQyaG'Q-ai doxsi pot Terent. Andr. II. 1. 1,2. Quid ais, Byrria? daturne ilia Pamphilo hodie nuptum ? sic est. Qui scis ? apud forum mode e Davo audivi vae misero mihi. v. 5 8. Quaeso edepol, Charine, quando non pot-st id fieri quod vis, Id velis, quod possit nil volo aliud nisi Philumenam. Ah Quanto satiust te id dare operam, qui istum amorem ex corde ejicias ; Quam id loqui, quo magis lubido frustra incendatur tua. Compare Plaut. Menaechm. V. 6. 1 6, where acatalectic and catalectic bacchic tetrameters are combined with each other by distichs, and Plaut. Bacch. IV. 10. 1 9, where acatalectic and catalectic anapaestic tetrameters alternate with each other. The most important combinations by distichs, which we arrange according to the rhythm of the principal verse, are the following : TROCHAIC DISTICH RHYTHMS. IAMBIC. 223 I. OF THE DOUBLE KIND. A. Trochaic Rhythms. (i) Trochaicum. Metrum Hipponacteum. The proode consists of a tetrapodia trochaica catalect., the principal verse of a monometer troch. cum anacrusi with an ithyphallic following. Horace uses the distich, Carm. II. 18. Non ebur neque aureum Mea renidet in domo lacunar, Non trabes Hymettiae Premunt columnas ultima recisas Africa, neque Attali Ignotus haeres regiam occupavi etc. The anacrusis in the second verse, excepting V. 6 and V. 34, is always short. A resolved arsis is found only once, V. 34. Regumque pueris, nee satelles Orci. The diaeresis before the ithyphallic is always observed. B. Iambic Rhythms. (1) ::.:.'..:_',_ The principal verse is a trimeter iamb, acat., the epode an ithyphallic. Simonides : Oiov rod' iftuv ignerbv Zw'iov xa cv yer s Tea $" q 6 -Osug OQ&OS s (JISGOV 224 IAMBIC DISTICH RHYTHMS. (2) lambicum scnarium quaternarium. The principal verse is a trimeter iamb, acat., the epode a dimet. iamb. acat. Archilochus : yxtt^a, noiov IcpQaGco rods ; Tig G Horace used this distich in the first ten Epodes. As an example take Epod. II. 1 8. Beatus ille, qui procul negotiis, Ut prisca gens mortalium, Paterna rura bubus exercet suis, Solutus omni foenore, Neque excitatur classico miles truci, Neque horret iratum mare, Forumque vitat et superba civium Potentiorum limina. Feet of three syllables, tribrachs, dactyls, anapaests, some- times occur in the trimeter, as Epod. I. 27. II. 35. V. 15. 49. Pecusvc Calabris ante sidus fervidum. Pavidumque leporem et advenam laqueo gruem. Canidia brevibus implicata viperis. Quid dixit? aut quid tacuit? o rebus meis ; in the dimeter more rarely, indeed only three times in all the ten Epodes : II. 62. III. 8. V. 48. Vide re properanles domum. Canidia tractavit dapes. Canidia rodens pollicem. The hiatus Epod. V. 100, is to be noted : Et Esquilinae alites. The trimeter has the usual caesura, the dimeter no fixed caesura. IAMBIC DISTICH RHYTHMS. 225 (3) A trimet. dact. cat. in syllabam follows the iambic trime- ter as an epode. Archilochus : xiv V(JLIV cuvov, o> Tco d' aQ Ilvxvbv fyovca voov. (4) Archilochium tertium. An iambic trimeter is followed by a verse composed, in the asynartete mode, of a trimeter dact. cat. in syllab. and dimet. iamb. acat. Horace has this distich, Epod. XI. Pecti, nihil me sicut antea juvat Scribere versiculos amore perculsum gravi, Amore, qui me praeter omnes expetit Mollibus in pueris aut in puellis urere. Hie tertins December, ex quo destiti Inachia furere, sylvis honorem decutitetc. The trimeter sometimes has feet of three syllables, V. 23 and 28. Nunc gloriantis quamlibet mulierculam. Sed alius ardor aut puellae candidae. In the dimeter the arses are nowhere resolved. In the second verse, at the junction of the series, the short stands three times for the long, V. 6, 10, 26. Inachia furere, sylvis honorem decutit. Arguit et latere petitus imo spiritus. Libera consilia nee conturneliae graves. 226 IAMBIC DISTICH RHYTHMS. and the hiatus occurs twice, V. 14, 24. Fervidiora mero-arcana promorat loco. Vincere mollitia-amor Lycisci me tenet. The diaeresis after the dactyl is always observed. (5) ~ An Alcaic verse (dactyl, logaoed. duplex, dupliciter troch. acat.) follows the iambic trimeter as an epode. Phaedimus : Totov [Atv, K> riyavrog wkeGag a&wog, f /6% filtfi 'X(>/ U.VU66WV. Ov 6oi (fUQfTQt] l.vf.rai l.vy. 5' 71 t]l&80t$ 01670V EQKITOG, To Oayaal.t-oi cpiloraTi XOVQK>V Ilvgos /wo dl.yj], xal Allv ode 7too[id%ovg dt^ei. MehcTicovog dog 7iaTQ(o'iov c (6)- X- A Phalaecean follows the iambic trimeter as an epode, Theocr. Epigr. XVI. Qaaai TOV dvdQidvra TOVTOV, co |Ve, xal X/y', mav 1$ OMOV sixov eidov iv 71Q06& 81TI, 718.Q1660V g ds %mn rots vt'oiciv is cttQSxecos olov tov a IAMBIC DISTJCH RHYTHMS. 227 The principal verse is a trimeter iamb, claudus, the epode a dirnet. iamb. acat. : Martial. Epigr. I. 62. Verona docti syllabas amat vatis, Marone felix Mantua est; Censetur Apona Livio suo tellus, Stellaque, nee Fiacco minus : Apollodoro plaudit, irnbrifer Nilus ; Nasone Peligni sonant etc. A peculiar construction occurs in Theocr. Epigr. XVII. It consist of five distichs, of which 1, 3, 5, are combined of a tetrameter troch. cat. and an Adonius with the anacrusis, which in V. 10, is also of two syllables, but 2, 4, are composed of a trimet. iamb. acat. and an Adonius with the anacrusis. "A T8 (pcova /IcoQiog ' %wvriQ, 6 Tav xo viv avr T/V cu5' av\}i]xav. Tol VQOMOGG(U$ In Ol' dvd()l TtO^lTft, avrco. 228 DACTYLIC DISTICH RHYTHMS. II. OF THE EQUAL KIND. Dactylic Rhythms. (i)- Pythiambicum primum. Horace uses this distich consisting of an heroic hexameter and a dimet. iamb, acat., Epod. XIV. and XV, as XV. Nox erat et coelo fulgebat luna sereno Inter rninora sideia, Cum tu, rnagnorum numen laesura deorum, In verba jurabas mea, Arctius atque hedcra procera adstringitur ilex Lcntio adhaerens brachiis ; Dum pecori lupus ct nautis infestus Orion Turbaret hibernum mare, Intonsosque agitarct Apollinis aura capillos, Fore hunc amorern mutuuin etc. The dimeter has a trisyllabic foot only once, XV. 24. Ast ego vicissirn risero. (2) A rchilochium primum. The hexameter as the principal verse is followed by a trimet. dact. cat. in syllabam, as an epode. Horace has this metre, Carm. IV. 7. DifFugere nives, redeunt jam gramina carnpis Arboribusque coniae : Mil tat terra vices, et clccrescentia ripas Flurnina praetereunt ; Gratia cum Nymphis gemiriisque sororibus audet Ducere nuda chores. DACTYLIC DISTICH RHYTHMS. 229 Immortalia ne speres monet annus, et almum Quae rapit hora diem etc. (3) - Archilochium sccundum. The epode consists of a dimet. iamb. neat, and a trimeter dactyl, cat. in syllab. Horace uses this distich Epod. XIII. Horrida tempestas coelum contraxit, et irnbres Nivesque deducunt Jovem ; nunc mare, nunc siluae Threicio Aquilone sonant; rapiamus amici Occasionem de die ; dumque virent genua, Et decet, obducta solvatur fronte senectus. Tu vina Torquato move consule pressa meo etc. The iambic series is connected in the asynartete way with the dactylic: hence in V. 8, 10, 14, the short also stands for the last long of the dimeter: Reducet in sedem vice, nunc et Achaemenio. Levare diris pectora solicitudinibus. Findunt Scamandri flumina, lubricus et Simois. The diaeresis after the iambic dimeter is always accurate- ly observed. Pythiambicum sccundum. The epode is a trimet. iamb. acat. Horace uses this measure Epod. XVI. Altera jam teritur bellis civilibus aetas, Suis et ipsa Roma viribus rait: Quam neque finitimi valuerunt perdere Marsi, Minacis aut Etrusca Porsenae manus, Aemula nee virtus Capuae, nee Spartacus acer, Novisque rebus infidelis Allobrox etc. 20 230 DACTYLIC DISTICH RHYTHMS. The iambic trimeter is preserved pure throughout, and a resolution is nowhere found. (5)- Alcmanium. The epode is a tetramet. dact. cat. in disyllabum. Ho- race uses this measure Carm. I. 7 and 28, and Epod. XII. as Laudabunt alii clararn Rhodon ant Mytilenen Aut Ephesurn, bimarisve Corintlii Moenia, vel Baccho Thebas vcl Apolline Delphos Insignes, aut Thessala Tempo ; Sunt quibus unum opus est, intactae Palladis urbem Carmine perpetuo celebraro etc. In Epod. XII, the second dactyl in the tetrameter is three times contracted into a spondee, V. 8, 14, 22. Crescit odor, cum pone soluto. Inacliia langues minus ac me. Cur properabantur ? tibi nempe. In Carm. I. 28, the tetrameter has frequently spondees, not only in the second, but also in the first, and V. 2, even in the third foot. Mensorem cohibent, Archyta. In V. 24, the hiatus is found in the third arsis: Ossibus et capiti inhumato. The tetrameter has no fixed caesura ; in Carm. I. 7, espe- cially from V. 15, probably the beginning of a new ode, the caesura after the second arsis prevails. (6)- ._ v^ wy _ */ w __ i _ w *- ^^ Distichon elcgiacum. The epode of the elegiac distich is the pentameter elcgia- cus, so called. It originated in the heroic hexameter, inas- DALTYLIC DISTICH RHYTHMS. 231 much as the thesis of the third and sixth foot is occupied by a pause ; hence the diaeresis after the third arsis is necessary. As it therefore consists of twice two arid a half dactylic feet, it was called the pentameter. According to the erroneous opinion of some grammarians, it is so called because it is composed of two dactyls, a spondee and two anapaests. The diaeresis after the first trimeter is always strictly ob- served; only once in Caliimachus it is neglected in a proper name : 7c() vvv SK /Jio< vno Simonides : Mr q GO [* ai, ov yaQ eotxsv dvwvvftov Iv&dd' avovGar ayhaav axoixiv, UsQtdvdQOV dnwyovov, ug notf Horace has this distich, Carm. I. 4. Solvitur acris hiems grata vice veris et Favoni, Trahuntque siccas raachinae carinas. Ac neque jam stabulis gaudet pecus, aut arator igni ; Nee prata canis a\hicant pruinis. The dactylic tetrameter has the caesura Tro^p^o^, and besides this, the ithyphallic is separated from it, and from the trochaic inonometer by the diaeresis. The fourth foot of the dactylic is never a spondee ; but the third is very frequently. (9) The principal verse is like that in (8) ; the epode is a mo- nomet. troch. cum anacr. with a following logaoedicus dac- tyl. duplex dupliciter troch. acat. Simonides : tm Al diovvaiddes, JJLITQOUGI de xal yodaiv dcovoig 2o($K>v doidwv EGxtaGctv kinagav E&siQav, O'l tovds rQiTtodd 6(pi6i udoTVQa Bax%i($v QqxavTo. nzivovg x. i. \. In the principal verse the diaeresis is once neglected in a compound word : V. 9. Twv IoTGev xvxkov DACTYLIC DISTICH RHYTHMS. 235 In the epode, the trochaic rhythm is always separated from the dactylic by a diaeresis. (10) X- The principal verse as in (8) ; the epode is a Phalaeceus hendecasyllabus. Callim. Epigr. XLTI. '/W 710TS, Y.OLI XCa pSTSTTElttt X / (11) The proode is a Palaeceus hendecasyllabus; the principal verse as in (8). Theocr. Epigr. XVIII. C jU/xxo rod' etzvZE ict OQMGGa to fivafi ini ta odw, xfafyQatys Kkeirag. a ywa dvrl (12) The proode consists of two ithyphallics with an anacrusis prefixed ; the principal verse as in (8). Callim. Epigr. XLI. 7% vaiy ii] tovrov ovx ov vtjbv iSeiparo, ravtf 6 N 236 DACTYLIC DISTICH RHYTHMS. (13) - 7 Sapphicum majus. The proode is a dactyl, logaoed. simplex dupliciter tro- chaicus acat. ; the principal verse consists of a monometer troch. acat., a choriamb, and a dactyl, logaoed. simplex du- plic. troch. acat. or a diniet. choriamb, with a logaoedic ending. Horace uses this distich, Carm. I. 8. Lydia, die per omnes Te dcos oro, Sybarin cur properas amando Perdere ? cur apricum Odcrit campum, patiens pulveris atque soils? Cur neque militaris Inter aequales equitat, Gallica nee lupatis Temporal ora frenis ? Cur timet flavum Tiberim tangere ? cur olivum Sanguine viperino Cautius vital? neque jam livida gestat armis Brachia, saepe disco, Saepe trans finein jaculo nobilis expedito? Quid latet, ut marinae Filium dicunt Thetidis sub lacrimosa Trojae Funera, ne virilis Cultus in caedem et Lycias proriperet catervas ? In the proode there is after the dactyl a diaeresis; in the principal verse, a caesura after the first arsis of the choriamb, and the diaeresis after the second arsis of the same. In the trochaic dipody the second foot is always a spondee. (14) The proode consists of two logaoedic series, namely, a dactyl, simplex tripliciter troch. cat. and a dactyl, simplex duplicitur troch. cat. ; the principal verse of a dactyl, simplex tripliciter troch. cat. and a dactyl, duplex dupliciter trochai- cus cat. CHORIAMBIC DISTICH RHYTHMS. 237 Scol. apud Ath. I. p. 23, and XL p. 503. Hal TshafuSvos Aluv aiwqru, Uyovci ce 'Eg TQoi'av UQIGZOV H.-&EIV davcuav ^x Tov Teka[ji(va TTOWTOV, AiavTa ds 'Eg TQO'IKV l.fyovaw thfttiv /lavacov ^T Scol. in Dion. Chrys. Or. II. p. 95. Ei-fre "kvQo. xA// yevoiiMp ikecpavnvy, Kai jwe xakol nalftss (pegoiw /Jiovvciov Ig %OQOV Eitf anvQov xal.ov yevofyajv p.eya %Qvaiov t jU XC^.A/ yVVI] tyOQofy XU'O'OIQOV &8pV1] VQQV. III. OF THE CHORIAMBIC-IONIC KIND. x- / (i) X- / Asclepiadeum secundum. The proode is a Glyconic; the principal verse an Ascle- piadean, a dimeter choriamb, with the basis and logaoedic ending. Horace uses this many times: Carm. I. 3; 13; 19; 36. III. 9; 15; 19; 24; 25; 28. IV. 1; 3, as, Sic te diva potens Cypri, Sic fratres Helenae, lucida sidera, Ventorumque regat pater, Obstrictis aliis praeter lapyga, Navis, quae tibi creditum Debes Virgilium, finibus Atticis Reddas incolumem, precor, Et serves animae dimidium meae. In both verses, the basis is always a spondee, the diaeresis in the second verse always after the first choriamb; the eli- sion does not remove it, as I. 3, 36. III. 24, 52. IV. 1, 22. Perrupit Acheronta Herculeus labor. Pravi sunt elernenta, et tenerae nimis. Duces tura, lyraeque et Berecyntiae. 238 TRISTICH RHYTHMS. Carm. I. 13, 6, a short in the diaeresis is used long Certa sede rnanet, humor et in genas. Carm. I. 3, 3(5, a short is prolonged by the arsis : Perrupit Acheronta Herculeus labor. Carm. IV. 2, 35, a versus hypermeter occurs : Cur facunda par urn decoro Inter verba cadit lingua silentio. In Carm. III. 9, every two distichs form a strophe. The proode is a Glyconic; the principal verse a trimeter choriamb, with the basis arid logaoedic termination. Anacreon : ^g&eis d* rjvr ano sievxd$o$ t'TQrfi, Is Tiohov xvpa xolvfjfjw [is&vwv The combination of three verses into a whole, the compo- sition xard TQIGTI/OV, was tried, though more rarely, by epigrammatists. We mention as examples : Simonides in Hephaestion : v,_v,v._v,v,_,,w_w hexameter heroicus. / w - pentameter elegiacus. / / / w w ^ ^ ^ w - trimeter iamb. acat. Ov Jikai&i VIM Theocr. Epigr. XIX. _,w_ww_ww_w_w_v,__ tetram. dact. acat. c. ithyph. - trimet. iamb. acat. ~ trimet. iamb. cat. POLYMETRIC RHYTHMS. 239 xai, (JTctfti y.au EiGlds tov n(x.)*cu Tioi^rav, 'I'OV 7WV ia^ufidjV, 0V TO [AVQIOV xP./O^ /Jifjkfte "/.r^ni VVXTU xal ngbs dco. Anacreon in Athen. XII. p. 533. E. _^ * v, _ f__ _! ;_ w _ twice. Tetram. choriamb. w - w - w -^- dimeter iambicus acat. Hqiv ply fycov Kal IjpMvws aGTQayakovs tv wcl, xal tt>i).bv nfQi Ntonhvtov xaxtg a V 77o/.P. fuv Iv dovQi lifting avys-va, nokku d' Iv a 8s vcoTC Nvv d sftifiatvsi Gartvtwv ^ovaf.a cpoQSwv IIuis o Kvurfi, KCU GM.adiffxqv ilecpavrivrjif rvvcuS.iv avTGj w - . Later poets went even farther, and combined longer and shorter verses, by which they formed various figures, as al- tars, axes, pipes, egijs, wings, etc. As an example take the poem Pasiphae, composed of all the verses used by Horace : Filia Soils Aestuat igne novo ; Et per prata juvcncuin Mentem perdita quaeritat. Non illam tlialaini puclor arcet, Non regalis honos, nee magni cura luariti. Optat in forinam bovis Convertier vullus suos Et Froetidas dicit beatas loque laudat, non quod Isis alia est, Sed quod javencae cornua in fronte erigit Siquando miserae copia suppetit Brachiis ambit fera colla Tauri 240 SYSTEMATIC COMPOSITION. Floresque vernos cornibus illigat Oraque jungere quaerit ori. Audaces animos efficiunt tela Cupidinis Illicitisque gaudet Corpus includi stabulis se faciens juvcncam Et amoris pudibundi malesuadis Obsequitur votis et procreat, heu nefas ! bimembrem, Cecropides juvenis quern perculit fractnm manu, Filo resolvens Gnossiae tristia tecta doinus. CHAPTER III. SYSTEMATIC COMPOSITION. We understand by ovarr^ia & opolwv the repetition of one and the same series. The series, which is repeated, is either a simple one, as in the anapaestic, or compound, as in the Glyconic systems. It is left to the poet, to repeat the same rhythms as often as he pleases; hence there are longer and shorter systems. The single series in a system are intimately connected, so that neither the hiatus nor the anceps is allowed ; some poets, however, especially lyric poets, seem to have treated the sys- tems also as asynartete. It is not necessary that a word should end with the series, unless it be the closing, series. The close of the system is rhythmically marked by the cata- lexis or a particular conclusion; metrically, by the admission of the anceps and hiatus. The systems are frequently di- vided into several parts, and such are called ovar^uara xard 7iEQK)oiGiinv$ avtffovs, to distinguish them from the dnsQiO" QIGTU, which run on, without interruption, to the end. Two or more systems often correspond as strophe and antistrophe: Gvarr^GLTa o/*o/W xaru <7%t(jtv. The correspondence of an- apaestic systems in the dramatists is often used with great art. 'The Ionian and Aeolian lyric poets were probably the first to use systems, and from these the dramatists borrowed them. The higher Dorian lyric poetry is unacquainted with the use of independent systems; in the artful strophes of Pindar, however, and of the dramatists, series systematically repeated frequently occur. TROCHAIC SYSTEMS. 241 I. SYSTEMS or THE DOUBLE KIND. A. Trochaic Systems. They were frequently used by the lyric and comic poets. They consist principally of dimeters, often, however, so that a monometer besides remains. The catalexis marks the close : Resolutions of the trochees are permitted. The dactyl is allowed in proper names only. The trochaic systems are, in comic poets, usually preceded or followed by trochaic verses. As an example take Aristoph. Vesp. 342 sqq. Tovr ezotyifG o fiiaqog %a- vsiv o /Jqpokoyoxl.eow od\ Ori keyets GV ri, TTSQI TCOV vs- KV otfa'Q'B$. ov M av GSV Mr} %vvcop6rrfi rig t^v. Pac. 571. wjis vys fialaias, Twv re nc/iJkaGiwv Ixeivcov, Twv re GVXKIV, iwv re Tr t g rQvyog re rtjg ylvxeiag, T'tjg Imvids re rtjg ngog TOJ ygeati, rwv r llaicov, 'Qv rro&ovftev dvrl rovrcov Tqvde vvvi Tqv &eov TZQOGei'ftare. The tragedians have not, indeed, independent trochaic systems, but sometimes they repeat systematically trochaic series as parts of strophes, as Soph. Oed. Col. 1220 1224 ; 1235 1239, where the ithyphallic forms the close. 21 242 TROCHAIC SYSTEMS. cr(>. Tov &&OVTOS ' o 'Icor&eGrog "^4idog, ore MolQ d Odvarog ?g r&svrdv. dvr. Kal cp&ovos TO re atytkov, Ivu TtQo Y.VLYMV VVOlXl. Compare also Eur. Orest. 1001 1004, where the close The tetrapodia troch. cat. repeated systematically occurs frequently, as Aesch. Bum. 508 516; 517525. GTQ. Myds rig xtxP.?7 rdd\ ov ti [is (Jivyydvsi, ovd' s&i'lca nQohasw rode, My ov rov Ipbv azova%eiv TiarsQ Tiav co5' co5' dkvs w, Alcu, dvr. Nymog og rav oi twv f.7i(ka&srai. fA.8 y GrovosGG dgaQW tV. ANAPAESTIC SYSTEMS. 249 Paroemiacs consisting of pure spondees occur in the freer anapaestic systems alone. The proceleusmatic instead of the anapaest is not found in the tragedians, but in comic poets, especially in the first place of the dimeter, as Arist. Nub. 916. /lia at ds (poirav. The dactyls can stand for the anapaest. Sometimes entire dimeters occur consisting of dactyls aione, as Aesch. Agam. 1553. KdnnsGS, xaT&avs, xai Eur. Hippol. 1361. TlQoacfOQa p aiQsre, GVVTOVCC d' Tov xaxoSainova xal xaTaQarov. The dimeter with tragedians, especially Sophocles, rarely closes with a dactyl, if no dactyl precedes it, as Aesch. Suppl. 6. X&ova 6vy%oQTov ^EvQia cpevyonev. An anapaest never follows a dactyl in the same dipody ; in comic poets, however, this occurs sometimes, as Arist. Pac. 169. -T7- \ f 3 ~ < V f jfVCCe; fAVQOV t/l(,^Elf j CUf IjV Tl yfG&QOV. The immediate succession of the two feet in different dipodies is rare in tragedians, as Eur. Elec. 1319. vcp^co. &aQG8i ' UaM.ddos %%eis n61.iv ' aD! dvfyov, The paroemiac admits the dactyl in the first foot only, and even then seldom, as Aesch. Choeph. 379. HCX.IGI ds fjici^ov yeysvijtcu. With the paroemiac a sentence usually closes; hence an interpunction falls after it; sometimes, however, the sentence runs over into the following system, as Aesch. Suppl. 5. Nefliov. diav It is not necessary that in antistrophic systems feet should correspond to feet, but series to series. As an example of an anapaestic system take Aesch. Prom. 1080 sqq. 259 ANAPAESTIC SYSTEMS. Kcu \ni]v eQyo) xovx en iiv f HQVW ^E'MQia d' dvzpcov TTvsv TCL61V uvriTivovv AWieTaQCtxtat d al&jn TTOVKO. Toidd' In Ipoi Qinij dio Teu%ov(ja yofiov avefyei c, to xoivov The freer systems differ from those just described in this that the paroemiac occurs not only at the end but also in the beginning and middle, and is several times repeated. The diaeresis of the dimeter is frequently neglected. The proce- leusmatic occurs frequently ; in like manner spondees are accumulated, especially in the paroemiac, which frequently consists of nothing but spondees. In the paroemiac, not only the second but often, at the same time, the first and second foot may be a dactyl, as Eur. Hec. 99. The anapaest may follow the dactyl in the same dipody, as Eur. Troad. 194. Tu,v TiaQa nqo&VQOis (pvkaxdv xarfyovc'. The close connection of the series is less strictly observed ; hence the hiatus and anceps occur frequently. Other rhythms often interrupt or close the system. In Euripides the tripo- dia anap. cat., occurs often, frequently in spondees, as Eur. Ion. 908, 909. 0$ y opcpuv As an example take Eur. Ion. 859 922. ANAPAESTIC SYSTEMS. 251 Ilcog ds ffxoriag d Evvdg, aidovg 862 880 are strictly anapaestic systems Q rag s Ki&d()ag Ivondv, at d KtQaGiv iv Movcdv vf 2Jol pouyav, co Aarovg nal, os TKvd avyav avdacco. sis fig O.VTQOV xoirag Kgavyav ro Osog opsvvstag ctyet; dvcadzfa (2 dochm.) %MQIV TtQacGcov (tripod, anap. cat.) d' d Svfftavos aoi tov fpQtxa Elg svvar akha) iav GUV, v<~co tav dvaravov. * Either a tripodia anapaest, acat. in which the anapaest has the form of the proceleusmatic : or a tetrapodia troch. acat. /~ Compare V. 900. 252 ANAPAESTIC SYSTEMS. Ol{lOl [AOi ' XOM VVV SQQSl nrarolg agnaG& TlaTg [Aoi xal cog jTAcc^oo^, Tlaiavag '&)}, tbv yiarovg avdw, "Og / opqsar xlijQoig ri(>og XQvatovg ftdxovg Kai yaiag Etg ovg avdav Kaxbg EwavwQ, zg oxovg oixiet$. '0 d' Ipbg ywKTag Kai cog y afia&ijg oicovolg s otxeia I 6 /la'kog xai EQVSCC (potvixa nag dfio Ev&a ),o%V{iara Gepv D. slatco /JloiGi GS The Roman dramatists, also, had anapaestic systems. The older tragedians followed pretty faithfully the Greek models, although they seem to have cared Jess for the con- nection of the series, whence the hiatus and anceps in the system. An anapaest could also follow a dactyl in the same dipody, as Attius Philoct. in Cic. Tusc. II. 7. Jam jam absumor, conficit animam. The diaeresis is not always observed. As an example take Enn. Nipt, in Cic. Tusc. II. 21. Retinete ! tenete, opprimit ulcus. Nudate ! heu miserum me, excrucior I Operite ! abscedite jam jam I CRETIC SYSTEMS. 253 Mittite ! riam attrectatu et quassu Saevum amplificatis dolorem ! Seneca, who frequently has anapaestic systems in his trage- dies, treats them as asynartete; whence the hiatus and anceps occur frequently at the end of the dimeter. He does not know the use of the paroemiac. The dimeters are frequently interrupted by a monometer. As example take Oed. V. 2. Fatis agimur, cedite fatis. Non sollicitae possunt curae Mutare rati stamina fusi. Quidquid patimur mortale genus, Quidquid facimus, venit ex alto, Servatque suae decreta colus Lachesis dura revoluta manu. Omnia certo tramite vadunt, etc. Plautus, among the comic poets, has frequently anapaes- tic systems which he treats very freely. Several paroemiacs often follow which he frequently forms with spondees. As example take Stich. II. 1. 37 sqq. Aperite atque approperate, fores Facite ut pateant ! removete moram ! Nimis haec res sine cura geritur. Vide, quam dudum hie asto et pulto ! Somnon' operam datis ? experiar Fores, an cubiti, an pedes plus valeant. Nimis vellern hae fores herum fugissent! Ea causa, ut haberent malum magnum. Defessus sum pultando, Hoc est postremum vobis. G. Ibo, atque hunc compellabo. Salvus sis ! D. Et tu salve. III. SYSTEMS OF THE PAEONIAJV KIND. A. Cretic Systems. The cretics are united into systems, the feet being usually joined two by two, although sometimes there is a monometer over. Such systems were frequently used by lyric (Bac- chylides) and dramatic poets. With the latter, especially the cornic poets, the cretic appears frequently as a first or 22 254 CRET1C SYSTEMS. fourth paeon, or altogether resolved into shorts. Cretic sys- tems have no fixed close. They occur usually in trochaic and iambic measures. It is not necessary in antistrophic poems that like feet should correspond. As examples take the following systems : Lyric poets. Bacchylides : ovd %QV- nat) Naov 1).- ftovrag a^Qov 11 dsl^ai ( Dramatists. Aesch. Suppl. 418422; 423427. 6TQ. ()6vTlG Kal yevov Tav Tav vr. M' tj tidQav Tlav Fva&i d' V@QW dvtQwv, Kal cvla^ai XOTOV. Arist. Equit. 303313 ; 382390. GZQ. Q [AiaQf y.a.i fidsl.vQS Kai xaTaxsxQaxra, tov TlaGa pw yr\ nlta, IlaGa d' Ixxtyata, Kal til^i xal yQay Kal dixaGTroi, to DOCHMIAC SYSTEMS. 255 "Ocrtg ifticav rag si&ijvag xxxoog)?/x Kdnb TWV TISTQWV dvco&sv TOV$ qxjQOvg avt. Hv CCQCC TIVQO^ y OsQ^ozeQa, xai 'Ev notei Tav dvaidwv dvai- dtGTSQOl X0t TO Hv CLQ ov cpavkov * * * v^H' em-fri Mqdsv otiyov Ttoiei. Nvv yaQ e%8Tai iit *Q$ lav vvm JLakd^r t s avrov iv lyw ya.Q rovg vgorrovs nmapat, B. Dochmiac Systems. The dochmiac systems are very frequent in the Greek dramatists. They are the form for the expression of the greatest excitement of the mind, disquiet, terror, anguish. Two doehmii are usually joined, and often there is one over. The doehrnii are all closely joined together, whence neither hiatus nor anceps is allowed in the middle of the systems. Both, however, occur under the following conditions: (1) In interjections: e e, ico t'w, tdov idov and the like. (2) In addresses, as Eur. Here. fur. 876. 2ov dv&og, Ttolig, 6 Awg s (3) In repeating a word, as Soph. Ant. 1322, 1319. J^'7fc' \i on 7d%og, dyers p Ixnodwr. Eyco yaQ d iyw sxavov, co pt'feog. (4) In the change of persons, as Eur. Hippol. 571. A. Tiva x>(>of Is avSdv ; tiva fioag "koyov ; B. "Evms iig cpo@8i GE (pfya, yvvai ; In many of these cases, where the hiatus or anceps occurs, 256 DUCHMIAC SYSTEMS. a system may also be closed ; and this must be done when in other cases a hiatus or anceps occurs, as Aesch. Choeph. 935 937; 946948. GTQ. "Efiole filv diva, TlQiafjiidais %QOV} fiagvdixog noivd, "Efioks d' Is dofiov tov 'sfyafitfAvovos. dvr. "Efiofa d* a [isfai xQVTTTadiov [id^ug, dokiocpQcov noivd. Like forms do not always correspond in antistrophic sys- tems. As an example of purely dochmiac systems take Aesch. Suppl. 392 396; 402406. GTQ. M'fj ri nor ovv ysvoi'pav vno%eiQtos aQGzvcov. VTiaGTQor ds rot ydfiov KQIV& at flag TO TTQO dvr. sv xaxois, oaia Tl TWvd' 1 1 IGOV yeit; TO dlxaiov Arist. Acharn. 358365 ; 385392. GTQ. Ti ovv ov l.t'yeig Ini^qvov l- "0 ri nor, co G^t'Ths, ro pfya TOVT s%ei$ ; Hdvv yliQ f/tf^fc no&og o ri avTos t?[v dfxt TOVTIL^VOV fy%GiQ8i Ti ravTa GtQfcpsi ZS^VK^SIS T xcu Qt'&is TQtfdg ; spov y t'rsxa nag FAT l%&.voiy& (i^avas fas ' piv dywv ovrog ovx BACCHIC SYSTEMS. CHORIAMBIC. 257 C. Bacchic Systems. Varro, TTSQ! Qaycoyijg, in Non, 336, seems to have re- peated bacchii by systems : Quaenam te esse dicam, fera qui manu cor- poris fervidos fortium aperis lacus san- guinis, teque vita levas ferreo ense? and perhaps also Plautus. IV. SYSTEMS OF THE CHORIAMBIC-IONIC KIND. A. Choriambic Systems. Choriambs in systems are repeated two by two : some- times, however, there is a monometer over. These systems occur in lyric and dramatic poets, often among other rhythms. Frequently the iambic dipody corresponds to the choriamb. Choriambic series with a logaoedic termination are used as a close. Resolutions occur sometimes in the choriamb, as in the iambic dipody. Examples : Find. Fragtn. Dithyr. TIL 10. Tov Bgofttov rov 'EQtfoav re xvd.ioiiw. yovov vnarmv Aesch. Sept. c. Theb. 918921 ; 930933. 67Q. /JcdocpQCQv, ov x cpQsvt;, a MOV [IWV&El ToTvde dvoiv dvdxrow. avz. Ilalda TOV avTag TZOGIV av- ra &[i8va roved zre%, ol d' vri ak- OflOGTlOQOlGlV. 22* 258 GLYCONIC SYSTEMS. Arist. Acharn. 11501155; 11611167. OIQ. *j4wipa%ov tov Tor Tov 'Qg per anc) oya) xaxco? ziw 6 Zw$ g y Ifjs lov ilr^ova Ar\- vcuu. avr. Tovro per avxty Y.OLV.QV kv ytvoixo. ya.Q otxad' 1 TIG av- Pindar repeats in Isthm. VII. ,5, the choriamb with the basis in the manner of a system : / X / X ./ X / X / X / X / oil XQOIIOS I^EVQE. icp */.(a tyco, xcu iAGvos &v[ior, aitsofjiou %QV6 Molaav. x Edl.cov ds aw&scov B. Glyconic Systems. The Glyconic systems were frequently used by the lyric and dramatic poets. We distinguish the Glyconic systems as pure and polyschematist. (a) Pure Glyconic Systems. In these the Glyconic always appears in the original form x-/ GLYCONIC SYSTEMS. 259 and the polyschematist is never used as the corresponding form. The closing iamb is always preserved pure. The Pherecratean forms the close of the systems : x- / - The basis is but seldom trisyllabic, never a pyrrhic. Such sy terns were employed by the Ionian lyric poets, as Anacreon : Ttat vvv sa oa aohv XaiQOvd ov Tiai naQ&wiov ^"k 68, GV 5' ov Ovx eidwg, ori r^ Commonly three or four Gly conies, with a Pherecratean as a close, form a strophe. So in Catullus Carm. XXXIV. Dianae sumus in fide Puellae et pueri integri : Dianam, pueri integri Puellaeque, canamus. and Carm. XLI. Collis o Heliconei C ul tor, Uraniae genus, Qui rapis tenerarn ad virum Virginem, o Hymenaee Hymen, Hymen o Hymenaee. In Carm. XXXIV, besides the trochee and spondee, he uses the iamb also for a basis ; in Carm. LXI, the trochee is for the most part the basis, more rarely the spondee, the iamb never. 260 GLYCONIC SYSTEMS. In V. 25, the two shorts in the Pherecratean are contracted : Nutriunt humore. Versus hypermetri sometimes occur as Carm. XXXIV. 11; 22. Saltuurnque reconditorum, Amniumque sonantum. Sancta nomine, Romulique Ancique, ut solita es, bona. Carm. LXI. 115, 135, 140, 184. Flammeum video venire. Ite, concinite in modum. Unguentate glabris marite Abstinere, sed abstine. Sola cognita; sed marito Ista non eadem licent. Jam licet venias, marite. Uxor in thalamo est tibi. V. 81 and 82 must be read : Flere desine, non tibi, Au- runculeja, periculum est. Once in Carm. LXI. the last syllable of the Glyconic is anceps, V. 46. Quis deus magis ah magis Est petendus amantibus? And once the hiatus occurs, V. 186. Uxor in thalamo est tibi Ore floridulo nitens. The Dorian lyric poets have indeed no independent Gly- conic systems, but sometimes Glyconics and Pherecrateans, combined systematically, form parts of strophes, as Pind. Nem. II. 4. X~ / X / X- / - Karafiol.av IEQC^V aywvwv vixacpOQiag dsdwuu rav GLYCONIC SYSTEMS. 261 The dramatists likewise have Glyconic systems, as Soph. Philoct. 169172 ; 180183. GTQ. OMTSIQ&) viv zytay , OTTO)?, Mtj rov xqdopevov ^Q Mr f ds Gvvr /Jvaravo? jiovog dsi. dvr. Ovros TTQcoroyovwv i Oi'xcov ovdevog VGTSQOS IJdvrcov appOQog Iv fii Keirai povvog an Arist. Equit. 973984 ; 985996. GTQ. "HSiarov ydog qptQag "E61UI TOlfil TtfiiQOVGt T Giv KUI toig *Hv Kk Kaitoi OLOJV a 'Ev '&$ EI pj 'ysvetf ovto? Iv Ty nokei pfyas, ovx dv %- axevrj dvo ovds dvr. ^Md xal rotf t'yco^fi &av- rrjg (> avrov o o vag- ' ovx l&shsw Kara tov 262 GLYCONIC SYSTEMS. 'OQyiG&wz ULnayuv xehev- siv, cog aQpoviav 6 naig Ovvog ov dvvatcu v [IT] Seneca in his tragedies combines Glyconics together in the asynartete way, and has often a rnolossus for a choriamb, as Oed. IV. Chor. 882. Fata si liceat mihi Fingere arbitrio meo, Temperem Zephyro levi Vela, ne pressae gravi Spiritu antennae tremant. The Pherecratean occurs indeed sometimes among Gly- conics, but does not form the closing rhythm. Also Pherecrateans sometimes are repeated by themselves systematically, as Anacr. Carm. XXX. (t#'). ^4i Movtiai Top Kal vvv r\ i ).VTQCC tig avrov, dovlevsiv dsdidaxrai. Aesch. Sept. c. Th. 295300; 312317. GTQ. Tot, [isv yaQ TIOTI ' ri TOL d' &ri d noliraig drr. UQOS rdd, w rtohov%oi Oeol, TOIGI ulv %a GLYCON1C SYSTEMS. 263 v dvdQohsreiQav Kal tav ionlov drav A kind of Glyconic is often found repeated, which has an anacrusis instead of the basis : As a close w - v is given to it, as Arist. Equit. 1111 1130; 11311150. y a.v- dsdictGt (J cad- 7lQ UVdQCX, TVQaVVOV. ei, rov rs tyovT at- fflvag * o vovg ds cov avt. Novg ov/, tvi tvTg xo TfiOJV, OT8 jU OV Tavr ih$idco. rs vU.wv ro xatf ^joa', is tva, Tovrov d\ orav y (b) Polysclicmatist Glyconic Systems. The polyschematist Glyconic systems have not only a greater variety of measure in the basis, but the closing iamb of the Glyconic also may be converted into a spondee: 264 GLYCONIC SYSTEMS. X- / - and the polyschematist form : x-x- / be exchanged with the original form. In antistrophic poems, the polyschematist sometimes corresponds to the original form, and the reverse. The Pherecratean does not always form the close, but frequently another rhythm. Frequently other rhythms, more or less like the Glyconic, longer or shorter, are intermingled. The Aeolian lyric poets appear to have employed such systems. Hephaestion cites some polyschematist forms, which were used by Corinna : Kaka ysQOia. elaapwa d' In the dramatists, either the polyschematist form occurs alone, or intermingled with the original, as Pherecrates in Photius : Tois ds T()iroTg ToTg vvvi XQIVOVGI M.TI 'moQxtiv, iu// 5 Kotvsiv, ?/, vi] TOP le^ec, no).v xov- 70V XaxqyOQlGVOTEQOV. Arist. Vesp. 14501461 ; 14621473. GTQ. Zr^M y& Ttjg evtvyjag Tor 7Q07TK)V > 'ErsQa ds vvv d ~"H GLYCONIC SYSTEMS. 265 TO TQVCfCOV '/.(JLl { Ta%a d av iffcog ovx To VUQ noGvvm v s%oi 7ig e, Kcavot TTokhoi ravz rovg TToU.ov d' inaivov nay itwl Kal 10161V V CpQOVOVGlV U7IE161V did T)jV %at '0 Tiais o ovrcag yavcp , ovds TQOTTOIS , ovd' i% sxewos Ov xQziT'Zcav i] Tov cpvaavra Ti Eur. Phoen. 202213 ; 214225. GTQ. TVQIOV oW^ia hnovo zfiav (1)* o^in (1) cf.no va$ov x- / t&otfltp Sovka (ishdfl'Qow ( - V7IO dsiQUGl VltyofiohoUS (1) loviov xciTa rtovrov Ikd- (1) tCt nfavGttGa TTfQIQOVTWV (1) xaQTriGTOW 7Z8IWV (2) g Zsqvoov nvoctis (1) The numeral 1 denotes the original form, 2 the polyschematist. 23 266 GLYCON1C SYSTEMS. ff, iv ovqavcp (1) avr. Ilokeog ixftgoxQi'd'&iG zpdg (I) vfeirt' (1) icov d epoXov ydv, Ts ITTI Ac/iiov (1) &Kig Iv&dds nv v- (1) j3o> luTQig ysvopav. (2) "En ds KaGT(X,7*iu$ vdcoQ (1) xo//t,' i^ag (1) av, (1) TIMQU nvQog (1) g VTitQ dxowv (1) I$OM%810W, dlOVVGOV 0'iva tf, d xci'd'ctfieQiov (2) s ieiGa fiorQvv, (2) Zd&td r' dvTQa dyaxovros, ov- (I) QSICU 78 GX07TIUI -Ql-WT (1) 6flok6v T OQO^ lEQOV, /- (1) 'O'sov (1) XOQOS yi-vo^av dcpoflog (2) f l j oi- (I) Arist. Ran. 13201328. s ydvos d^Titlov, (1) fl.wa navGinovov, (2) J , CO 78KVOV, CO^SVCtS- (1) 70V70V ; o^>ca. (2) IONIC SYSTEMS. 267 Ti ai ; zovrov OQKG ; OQG). (1) Toiavri jUiWot GV TTOIWV (2) To^ng ia^a fish] ilt&ysiv, (1) o. zo doadexa[M]%(zvQV (I) C. Ionic Systems. lonici a rninore are combined into systems. The ionic systems are divided into pure and polyschematist. (a) Pure Ionic Systems. They were used by the Aeolian lyric poets, and by the tragedians. Among the lyric poets, Alcaeus had such sys- tems. Hephaestion cites as an example : S dedav, eps TZC/CGCCV xaxotdrcav and remarks that every ten feet should have formed a strophe ; hence such a system is called a Decapodia Alcaica. Of this kind is also Horat. Carm. III. 12. It consists of four such systems, which form as many strophes : Miserarum est neque amori dare ludum neque dulci Mala vino lavere aut exanimari metuentes Patruae verbera linguae. Tibi qualum Cythereae puer ales, tibi telas Operosaeque Minervae studium aufert, Neobule, Liparaei nitor Hebri. Simul unctos Tiberinis humeros lavit in undis, Eques ipso melior Bellerophonte, neque pugno Neque segni pede victus ; Catus idem per apertum fugientes agitato Grege cervos jaculari, et celer alto latitantem Fruticeto excipere aprum. The Greek tragedians had similar systems, as Aesch. Pers. 6570; 7378. OTQ. Ilettegotxsv [itv 6 7tQ6^7T i ro7.(g tfdq flaG&eios $ fits' avTLTioQov ysirova %Q}()av ; 268 IONIC SYSTEMS. av7. nokvavdQOV 5' '^Giag fiovQiog ar>%wv ini X&ova TToipavoQtor fti-iov llavvei Si%6&i]r, ne- ov6[ioi$ tx re &ako!.GaT]$. Euripides sometimes resolves the arsis and contracts the thesis, as Eur. Bacch. 7882; 9599. GVQ. Td re parQO$ fieydkat; OQyia. Kvfi&as ts rivdoowv xfddfo TS avr. AQ-IOIS d' avTixa viv dt'^aro f)a).dpoi K^ovidag Z Kara ftf]Q(p dt y.cd.vW 'AQV71TGV dty (b) Pohjschematist Ionic Systems. In these systems pure forms alternate, with polyschematist and broken ones. Commonly two ionics belong together. In antistrophic poems, sometimes different forms correspond to each other. Such systems often begin or end with other rhythms. Many Anacreontic poems may be regarded as such systems. The dramatists also used these systems, as Aesch. Prometh. 397405 ; 406 414. n a naya? /(> rads Zsvg 'Jdtoig vo Toiai TiaQog 8elxw6iv afypdv. dvT. Fl()07iaGa d' rjdt] GTOVOEV Afc' 071QS7TJJ - . - - - GTWOVGI tdv Gav ^vvofjaipovaw re Tipav, 'OnoGOi T tnoixor dyvdg 'AGiag tdog v IONIC SYSTEMS. GOIGI Gvyy,di*vovGi Eur. Cyclop. 495502; 503510; 511518. GVQ. d Maxdgios og evid&i BOTQVWV 'Em xco "Em dspnoig re js e%cov .naQov 80- GTQV%OV, avSa ds, &VQOLV rig oi'^ei Q. ft Ilanana, nltcog per oivov, ds daiTog ^^^', okxag UOTI Gt'kfjia yaGTQog Tnaysi p, o %OQrog zvcpgcav Em Em fioi, %8ive, qpfc^' UGXOV OVj 'O rag [u-tfag tyavrag, Mara xQortav [itr cpdag. TtQnei xai Kai noC II. STROPHES OF THE EQUAL KIND. Dactylic Strophes. 1. Strophe Sapphica. This strophe, often used by Sappho, Catullus, Horace and others consists of three series, to which a shorter one is added as a close. The three longer series consist of a logaoedic-dac- tylic rhythm (dactyl, logaoed. simplex dupliciter troch. acat.) to which a monomet. troch. is prefixed as an introduction. The close is an Adonius. The poets regard the single parts of this strophe sometimes as systematically connected series, sometimes as single verses. This is particularly true of the close, which was regarded as an epode of the third verse, and in the manner of asynartete verses, sometimes connected with the preceding verse, sometimes separated from it. The Sapphic verse seems not to have had, among the Greeks, a fixed diaeresis or caesura. In Sappho there is com- monly a diaeresis after the trochaic monorneter, as, DACTYLIC STROPHES. 275 ct ivid' '&&\ ai' Tioxa sometimes also the caesura after the long of the dactyl, as, y? n , rira d ' avrs net-froa, or after the first short of the same ; In Horace the caesura is most usually after the long of the dactyl ; and next to this the caesura after the first short of the dactyl, most frequently occurs. Of Sappho, besides several fragments, two odes in this measure have been preserved : one by Dion. Halic. de comp. verb. c. 23, the other byLongin. TZSQI vipovg c. 10, the latter however is not entire. A portion of the latter was translated by Catullus, Carm. LI. The conclusion is sometimes joined to the preceding verse. .71 COQKVCO did //tWco. adv tiag She only allowed herself the hiatus, as it seems, between the first and second or between the second and third verses, between which, however, an elision also might take place. Catullus has this measure twice: Carm. XI. and LI. The trochaic monometer, in his poems, ends for the most part with the long, but sometimes also with the short, as XI. 6. 15 ; LI. 12. Seu Sacas sag-ittiferosque Parthos. Pauca nuntiate meae puellae. Otium, Catulle, tibi molestnm est. In XI. 12, the close is joined with the preceding verse, Gallicum Rhenum, horribiles et ulti- mosque Britannos. Versus hypermetri are found XI. 19 ; 22. Nullum amaus vere r sed ideritidein omnium Ilia rumj.ens. 276 DACTYLIC STROPHES. Qui illius culpa cecidit, velut prati Ultimi flos. Horace uses the Sapphic strophe in 25 odes (I. 2, 10, 12, 20, 22, 25, 30, 32, 38. II. 2, 4, 6, 8, 10, 16. III. 8, 11, 14, 18, 20, 22, 27. IV. 2, 6, 11) and in the Carmen secu- lare. He gave to his rhythm a greater vigor, suitable to the sub- ject of his odes, by ending the monometer troch. always with the long, and by letting the caesura after the long of the dac- tyls predominate ; but the caesura after the first short of the dactyls also occurs, especially in later poems. The elision does not remove the caesura as III. 27, 10. Imbrium divina avis imminentum. Once in the caesura, a short is used as long : II. 6, 14. Angulus ridet, ubi non HymeUo. A word of one syllable is used in the caesura only when another monosyllable precedes it: I. 2, 17. Iliae dum se nimium querenti. Sometimes Horace joins the close with the preceding verse, as I. 2, 19. 25, 11. II. 16, 7. III. 27, 59. Labitur ripa love non probante, u- xorius amnis. Thracio bacchante magis sub inter- lunia vento. Grosphe, nnn gominis neque purpura ve- nale neque auro. Pendulum zona bene te secuta e- lidere collurn. He also separates it by the hiatus, of which no example is found in the remains of Sappho. I. 2, 47. 12, 7. 22, 15. Neve te nostris vitiis iniquum Ocior aura. Unde vocalem temere insecutae Orphea sylvae. Nee Jubae tellus g-'rirnt, lennum Arida nutria. Versus hypermetri also occur, as IV. 2. 23. Carm. secul. 47. DACTYLIC STROPHES. 277 Aureos educit in astra nigroque Invidet Oreo. Romulae genti date remque prolemque Et decus ornne. further, II. 2, 18. 16, 34. IV. 2, 22. Dissidens plebi nurnero beatoruin Eximit virtus. Mugiunt vaccae, tibi tollit hinnitum Apta quadiigis equa. Florat et vires animumque moresque Aureos educit in astra. The first three verses also may close with a word, which is nearly connected with the following, for example, with a conjunction, a preposition, or pronoun, as II. 6. 1, 2. Septimi, Gades aditure mecum et Cantabrum indoctum juga ferre nostra et Barbaras Syrtes. IV. 11, 18. Pene natali proprio. quod ex hac Luce Maecenas. IV. 6, 11. Procidit late posuitque collum in Pulvere Teucro. The hiatus between the first and second and between the second and third verses is rare. Examples are found, I. 2, 6. 12, 6. 25, 18. 30, 6. II. 4, 6. 16, 5. III. 11, 29, 50. 27, 10. Among the later poets Statius, Sylv. IV. 7, and Ausonius have Sapphic strophes. Seneca also uses the Sapphic mea- sures in his tragedies and after a certain number of Snpphic verses, permits the Adonian to follow, as in Medea III. Chor.,. the first seven strophes consist of three Sapphic verses and the Adonian and then seven strophes of eight Sapphic verses and the Adonian. Only the last strophe but one closes with the second half of the Sapphic verse and the Adonian. 24 278 DACTYLIC STROPHES. Patrioque pendet Crirnine poenas. In other passages a long series of Sapphic verses closes with the Adonian, as Thyest. III. Chor. ; in others, Adoni- ans are mingled here and there with Sapphic verses, as Oed. I. Chor. ; in others, lastly, Sapphic verses are found without Adonians, as Here. fur. III. Chor, The Sapphic verses have generally the caesura after the long of the dactyl. As examples of Sapphic strophes, the following poems may serve : Sappho : tycuvstcu fioi xrjvog utOi {tsoioiv "E\i\if.v wvtjQ, oGTig IvavTiog rot 'iGddvsi, XVLI Ttkafifov adv Gag vnaxovu K.O.I yskouGciG lusoosv ' TO poi IXfc't, xft (AW yhwGGa mys, l.STtrov '07l7iaTt-(J6l d' OvdtV OQIftA , IftlQQOfl* fisvGi d axovai. CatulJus: Carm. LI. Ille mi par esse deo videtur, Ille, si fas est, superare divos, Qui sedens adversus identidem te Spectat et audit Dulce ridentem, misero quod omnis Eripit sensns rnihi ; nam sirnul te, Lesbia, adspexi, nihil est super mi [Quod loquar amens.] Lingua sed torpet ; tennis sub artus Flamma demanat, sonitu suopte Tintinant aures, gemina teguntur Lumina nncte, DACTYLIC STROPHES. 279 Horace : Carm. I. 30. O Venus, regina Cnidi Paphique, Sperne dilectam Cypron et vocantis Ture te multo Glyoerae decoram Transfer in aedem. Fervidus tecum puer et solutis Graliae zonis properentque Nymphae Et parum comis sine te Juventas Mercuriusque. (2) This strophe consists of dactylic logaoedic series. V. 1 and 4 are dactyl, logaoed. simplex tripl. troch. cat, V. 2 a dactyl, logaoed. simplex duplic. troch. acat. and V. 3 a dactyl, logaoed. duplex duplic. troch. cat. Anacreon uses this strophe. Carm. LXVI. (x'). ds ri fioi s rig Ta TQia tavra poi Kal Kai (3) 280 DACTYLIC STROPHES. Strophe Alcaica. The Alcaic strophe is of all Aeolian strophes the most per- fect on account of the beautiful proportion of its parts. The whole strophe is composed of two elements : / ~ ~ monometer troch. cum anacrusi. / _w~_ dactyl, logaoed. simplex dupl. troch. cat. In the first two verses both elements appear united ; in the third verse the trochaic theme is further developed : ----- dimeter troch. cum anacr. in the fourth the dactylic logaoedic: / _w_ww__w dactyl, log. dupl. dupl. troch. acat. and with this longer logaoedic series the strophe receives its satisfactory close. Alcaeus, Sappho and other lyric poets seem to have often used this strophe. The first two verses have usually a diae- resis after the trochaic monometer, as, Ov XQ}] xaxowiv 'O'Vfj.ov Tti *kv o Zsv$ r/, It is, however, frequently neglected, as, Xetpcav 7tma.ya.Giv d' vdarmv QQO.I. tbv Ei.o)v y Im The third and fourth verses were not so strictly separated as the first and second, because the third forms, as it were, the proode of the fourth; hence a word may undergo elision at the end of the third verse, as Sappho: .z ov XO,T%EV 071710,1 , j4."fck fhtyet; nzyi, TCO dixaico. Among the Romans Horace uses this strophe in 37 odes (I. 9, 16, 17, 26, 27, 29, 31, 34, 35, 37. II. 1, 3, 5, 7, 9, 11, 13, 14, 15, 17, 19, 20. III. 1, 2, 3, 4, 5, 6, 17, 21, 23, 26, 29. IV. 4, 9, 14, 15). He strictly observes in the first two verses the diaeresis after the trochaic monometer. Elision does not destroy it, as I. 34, 10. Quo Styx et invisi horrida Taenari. DACTYLIC STROPHES, 281 The diaeresis is several times neglected in compound words, I. 16, 21; 37, 5. II. 17,21. Hostile aratriim exercitus insolens. Antehac nefas depromere Caecubum, Utrumque nostrum incredibili modo. This takes place twice in a simple word: I. 37, 14. IV. 14, 17. Mentemque lymphatam Mareotico. Spectandus in certamine Martio. The hiatus is once admitted in a word derived from the Greek : II. 20, 13. Jam Daedaleo ocior Icaro. It is preferred to have the interpunction fall in the diaere- sis. The verse is less perfect, when a monosyllabic word, which belongs closely to the following and which is preceded by an interpunction, stands before the diaeresis, as III. 29, 57. IV. 4, 37, Non est meum, si mugiat Africis. Quid debeas, o Roma, Neronibus. The third and fourth verses have no fixed diaeresis or cae- sura. Once a short in the arsis is lengthened in the fourth verse ; II. 13, 16. Coeca tirnet aliunde fata. The anacrusis in the first three verses is usually long. The last thesis in the trochaic dipody of the first three verses, is always long. The only exception is III. 5, 17. Si non p e r i r e t immiserabilis, unless we change, with Glareanus, pcriret into perirent. Twice the fifth syllable of the first two verses is lengthen- ed by a synecphonesis: III. 4, 41 ; 6, 6. Vos lene consilium et datis et dato. Hinc omne principium, hue refer exitum. Although the hiatus is permitted between the single verses, it does not very frequently occur, especially between the third and fourth verses. Horace has twice, probably after a Greek model, united the third and fourth verses so that the third verse is a hyper- meter : II. 3, 27. III. 29, 35, 24* 282 DACTYLIC STROPHES. Sors exitura et nos in aeternurn Exsilium impositura cymbae. Curn pace delabentis Etruscum Jn mare, nunc lapides adesos. The union of the fourth verse with the first of the follow- ing strophe, in Carm. II. 13, 8. Hospitis : ille venena Colchica Et quidquid usquarn concipitur nefas, arises from an erroneous reading; instead of Colchica, Col- cha should be read. As examples of the Alcaic strophe, take the fragment of Alcaeus in Athen. X. p. 430, B. Ov yQr] xay.ol(5iv frvfAov IlQOxoiltopev yaQ ovStv Q Bvx%i' Otvov and Horat. Carm. I. 26. Musis arnicus tristitiam et metus Tradam protervis in mare Creticum Portare ventis, quis sub Arcto Rex gelidae metuatur orae, Quid Tiridatem terreat, unice Securus. O, quae fontibus integris Gaudes, apricos necte flores, Necte meo Lamiae coronam, Pimplea dulcis. Nil sine te mei Prosunt honores ; hunc fidibus novis, Hunc Lesbio sacrare plectro Teque tuasque decet sorores. (4) X- D4CTYLIC STROPHES. 283 This strophe which was often used by the Greeks partic- ularly for scolia, and by Aristophanes also (Eccles. 938 945), but not at all by the Romans, consists of two phalae- cean verses, of a verse which is composed of an anapaestic logaoedic series (anapaest, simpl. simpl. iamb, acat.) and a choriamb, and finally of a verse which is composed of two equal dactylic logaoedic series (dactyl, simpl. dupl. troch. cat). The basis in the first two verses, in the remains that have come down to us, have, for the most part, the forms of a spondee or trochee; in one scolion in Plat. Gorg. p. 451, E. de legg. I. p. 631, C. II. p. 661, A. the basis of the first verse is an anapaest : 'Tyiaivsiv net OLQIGVOV awtyi fivavcp. Several times an elision occurs at the end of the second verse : As an example take the scolion of Callistratus in Athen. XV. p. 695, A. 'Ev [IVQTOV y^adl to Zi XVQO.VVQV fwvg r l>4&qva$ E ov i nov W ftCMKQOW TIFQ 'Ev [AVQTOV xkadt TO %i'(pog r 'Q(J7lQ ^QfJLOdlOS X ^QlG "Oi Id&tjvatqs V Qvaitus GCpcpv xto^ 1 sGasTai xaz aiav, K 284 CIIORIAMBIC STROPHES. "Oil Tor iVQCtvvov g x X- / (5) --- X- / The first two verses consist of a dactyl, duplex duplic. troch. acat. with a basis ; the third verse is the same series without the basis ; the fourth an anapaest, simplex triplic. iamb. acat. Alcaeus uses this strophe inSchol. Find. Isthm. II. 117; Diog. Laert. I. 1, 7. Ev ^TiaQtu koyov ovx avrjQ' lohos ovds III. STROPHES OF THE CIIORIAMBIC-IONIC KIND. A. Choriambic Strophes. X / / (!) I X i Asclepiadeum tertium. The first three verses consist of an Asclepiadeus primus (a dimet. chor. with the basis and iambic termination) ; the close is a Glyconic. Horace uses this strophe nine times (I. 6, 15, 24, 33. II. 12. III. 10, 16. IV. 5, 12). The basis CHORIAMBIC STROPHES. 285 with him is always a spondee. The Asclepiadeans have a diaeresis after the first choriamb. Elision does not destroy the diaeresis, as I. 15, 18. Vitabis strepitumque et celerem sequi. In II. 12, 25, the diaeresis is neglected in a compound word : Duin flagrantia detorquet ad oscula. As an example take Carm. I. 33. Albi, ne doleas plus nimio memor Immitis Glycerae, neu miserabiles Decantes elegos, cur tibi junior Laesa praeniteat fide. Insignem tenui fronte Lycorida Cyri torret amor ; Cyrus in asperam Dcclinat I'holoen ; sed prius Appulis Jungentur capreae lupis, Quam turpi Pholoe peccet adultero. Sic visum Veneri, cui placet impares Formas atque animos sub juga aenea Saevo miltere cum joco. Ipsum me melior cum peteret Venus, Grata detinuit compede Myrtale Libertina, fretis acrior Adriae Curvantis Calabros sinus. X / / (2) X / Asclfpiadcum quartum, This strophe resembles the preceding, except that the third verse is a Pherecratean. Horace uses it seven times (I. 5, 14, 21, 23. III. 7, 13. IV. 13). Here, too, the basis is always a spondee, and the first two verses have the diaere- sis after the choriamb. 286 IONIC STROPHES. As an example take Carm.,1. 5. Quis multa gracilis te puer in rosa Perfusus liquidis urget odoribus Grato, Pyrrha, sub antro ? Cui flavam religas comam Simplex munditiis ? Heu quoties fidem Mutatosque deos flebit et aspera Nigris aequora ventis Emirabitur insolens, Qui nunc te fruitur credulus aurea: Qui semper vacuam, semper amabilem Sperat, nescius aurae Fallacis ! Miseri, quibus Intentata nites. Me tabula sacer Votiva paries indicat uvida Suspend isse potent! Vestimenta maris deo. B. Ionic Strophes. Many of the Anacreontic poems, so called, may be divi- ded into strophes. They have not, indeed, a fixed close ; nevertheless the strophic structure is readily recognized part- ly from a particular verse returning after a certain number of verses, partly from a pure dimeter ionic, appearing in a particular place, partly from the interpunction and the sense. Carm. XXXIX. (ptf) belongs to the first kind : "Or' ?/(0 7TIG3 TOV OIVOV, TOT l^fv IJTOQ lav&sv - w --- Movaas "Oi f'/w aim TOV oivov, f '0i fyw mm TOV olvov, TOTS Bdx%o$ IONIC STROPHES. 287 v \ v yavwaag, x. r. . Carm. XLII. (p) belongs to the second kind : W /llOVVGOV Sd) d ', OTTOTdV Mezd ' vaxlv&cav nvrwv. ty'&'QVOV OVX 0?d ' IflOV Tj aQiTCp %OQ8Vcov Biov In Carm. LIV. (va) the strophe consists of five verses the last of which is always the pure dimeter. The fragments of Anacreon in Stob. flor. p. 599. Ges. and Athen. X. p. 427, A. are strophes of six lines, in which the last verse but one always consists of the pure dimeter, as, i]\nv Tjdq ds otx IId(>a, fflQafaoi d D.vxtQov d ' oi'x In Bioiov To the third kind belong for example Carm. IV. (A'), V. , XXI. XXII. (/D, XLI. (V), and others. 288 CHORAL COMPOSITION. CHAPTER V. CHORAL COMPOSITION. The form of those poems which, upon certain solemn occa- sions, were delivered by an entire chorus, or single persons with the accompaniment of music, song and dance, we call choral composition. The religious songs at the festivals of the gods, especially of Bacchus, the festive and mournful songs in honor of distinguished persons, and the melic part of the dramas belong here. What distinguishes these poems above the others, is the greater variety and bolder structure of the rhythms. We divide them, according to their external form, into anti- strophic, avTiGTQoqtxa, and free choral songs, anok^kv^va, We call antistrophic choral songs those which are divided into single strophes, of which always two correspond, y.ctia G%GIV : A A ; B B ; povoGTQOcptxd, and which are frequent- ly preceded by a third, as TTQOtydog: BAA, nQocpdixd, or interrupted by a (jEGOidog : ABA, [i(jcndixd, or followed by an Inepdos : A A B, iacpdixd. Such an union of three strophes into a whole is called a rytug fn^idr/.i]. Four strophes, also, may form a whole: A A A B, IETQU^ tTiqidixrj; ABBA, 7rA/ro)#/x?7 ; A B B C, neoiepdixq. A whole of five strophes is called a nzvrag 7io)dr/.i]. The TQidg is the most common. In the free songs the rhythms changed, the same verses not returning in the same order. A. Antistrophic Composition. It was employed by the Dorian lyric, the tragic and older comic poets. In Pindar we find only examples of strophes and antistrophes, and of strophes, antistrophes and epodes ; and in the same poern the same strophic trias is repeated. It is probable that he follows in this the older Dorian lyric poets, Alcman and Stesichorus. The former is, however, said, according to Hephaestion, to have written poems which consisted of fourteen strophes, of which the last seven had a different measure from the first. But in the drama each strophe and antistrophe occurs but once, and if the choral song consists of several pairs of strophes, each has its own CHORAL COMPOSITION. 289 measure. (A A, B B, C C; D, A A, B B, C C; A A, B B, C C, D). Usually the antistrophe follows the strophe with- out the intervention of the dialogue; there are, however, ex- ceptions from this, as Aesch. Sept. 203 207, 211 215; 219222, 226229; 417421, 452456; 481485, 521525. Soph. Philoct. 391402; 507518. Arist. Av. 451 459, 539 547. The antistrophe is still more rarely entirely wanting, as Soph. Trach. 205 224. The rhythm of the choral songs is of course influenced by the subject of the poem, and the songs are as different with regard to their form, as the subject is various. The musical mood and the dance, too, were adapted to the subject and form. The Greeks had seven principal moods, the Dorian, Aeolian, Lydian, Mixolydian, Hypolydian, Phrygian and Ionian. These moods are very different in their character. We know them from the statements of the ancients only, who frequently describe their effect in a contradictory man- ner. Each mood had its appropriate rhythms. The Dorian mood had a serious manly character r whence it was used in poems in which equanimity and composure prevailed. Rational dactyls and grave trochaic and iambic dipodies (Epitrites) form the ground rhythm in poems of Dorian composition. The dactyls are mostly trimeters, more rarely dimeters, tetrameters and pentameters. They are all catalectic, and indeed in the middle of the verses com- monly in disyllabum ; at the end in syllabam also; whence, if a choriamb stands as the close, it is to be considered a dimet. dactyl, cat. in syllabam. The anacrusis is always monosyllabic and long. Cretics occur as closing rhythms, and are then to be considered as catalectic trochaic dipodies. Logaoedic series, anapaests, ionics, dochmii, are entirely excluded from purely Dorian poems. Bases and ecbases oc- cur, but usually in a spondaic form. Resolutions of the arses, and contractions of the theses are rare. At the end the short rarely stands for the long. Proper names, however, allowed many liberties. The Aeolian style was the opposite of the Dorian ; Heracl. Pont, in Athen. XIV. p. 624. D. mentions the 6'pco^ as its principal character. Its character is voluptuous fulness, pas- sionate quickness and the boldness of genius. This charac- ter shows itself rhythmically in the frequent use of irrational dactyls, logaoedic, iambic and trochaic series, which are not to be measured by metres but by feet (from the dipody to 25 290 CHORAL COMPOSITION. the hexapody). The Aeolion style delights particularly in the forcible collision of arses (antispnstic composition); whence dochmii occur prefixed to other rhythms. The verses commonly begin with a rising rhythm ; whence ana- cruses, iambic bases and anapaests frequently occur in the beginning. Resolutions of the arses are especially frequent. The Lydian composition stood between the Dorian and Aeolian. The chief character attributed to it is soft ef- feminacy and grace, which sometimes, however, degenerated into weakness. It is said to have been used in particular for songs of lamentation and supplication. The ground rhythms were short trochaic and iambic series (particularly ithyphal- lics and tetrapodies), Glyconics, Pherecrateans, longer dac- tylic and anapaestic logaoedic series, bases which were fre- quently repeated, choriambs, cretics. The arses occur re- solved not so frequently as in the Aeolian, but more fre- quently than in the Dorian style. The Mixolydian and Hypolydian were subordinate species of the Lydian. Plato mentions with regard to the Mixoly- dian that it was used for songs of lamentation. The Ionian, which Plato rejects as effeminate, but Hera- elides blames as harsh and rough, was frequently employed in tragedy. Ionic rhythms, especially in a pure form, and choriambs seem to have been the principal measures. The Phrygian mood was the expression of a bacchanal excitement, of the highest enthusiasm; usually, therefore, in dithyrambs and similar enthusiastic songs. The prevail- ing measures were cretics, especially in the form of paeons, dochmii in systematic succession, choriambs with frequent resolutions, ionic rhythms, especially in the broken form (galliarnbs), trochaic also and iambic series, bases and ec- bases. With all its variety of measure, a choral song, as a whole, must have an unity. This unity lies in the fundamental theme which is carried through the whole ; for rhythms ar- bitrarily strung together do not make a strophe. The begin- ning and close in particular, must be distinctly marked. In epodic poems, the close of the cpode must be stronger than that of the strophe or antistrophe. At the beginning, the rhythm delights in rising, exciting measures, as iambic and anapaestic anacruses, iambic bases, anapaests, dochmii ; at the close, calming rhythms, especially catalectic dactylic se- ries, logaoedics, ithyphallics. CHORAL COMPOSITION. 291 The more marked the character of a choral song is, the more complete is its composition. Pindar attained the highest perfection in the structure of strophes. The whole strophic system is to be seen in the tragic choral songs. It is not possible to give definite rules for the division of rhythms into strophes. A correct feeling, sharpened by care- ful exercise, must judge here. A strophe must have a satisfac- tory close ; where this is wanting, the strophe cannot possibly end. A strong interpunction occurs usually at the end of a strophe; yet there are exceptions; compare P. 1. ch. 11. p. 41. With regard to the division of the single verses in the strophe, it is most imporant to ascertain the verse-endings. The indications of the verse-end are found, partly in the rhythm, partly in the metre, and partly in the subject. The single verses of which a strophe is composed form either a single whole by themselves, and as such have their introduction, their principal rhythm and their close; or they arrange themselves as an introduction to a succeeding verse, or as a close to a preceding one. Such verses provided with their own introductions and closes for the most part occur in the more artful structure of the Aeolian and Lydian strophes; in the more simple Dorian strophe, sometimes the introduction is wanting, sometimes the close. The following verses may serve as examples : Find. Olymp. IV. 1. eparch. numer. primar. clausula. fioovTag d COQCU. Find. Olymp. VIII. 1. tea eparch. num. prim. claus. dt'&lcav Find. Pyth. II. Epod. 5. x- eparch. ep. n. p. cl. | claus. num. prim. d ' IcpETfJiciTs !//oj> (pavrl ravzcc 292 CHORAL COMPOSITION. The following rhythms particularly serve as introductions : (1) The anacrusis, as Find. Olymp. III. 2. ysgaiQ&v sv%0[icu. (2) The trochaic basis, as Aesch. Agam. 985. x / / $ xrag (3) The iambic basis, more exciting than the trochaic, as Eur. Hel. 1139. {laxQorarov ntQue WQSIV, og ra &ea>v laoQa, (4) The trochaic basis with the iambic anacrusis : - x- as Aesch. Suppl. 538. x / / - Ilalaibv d' t-i$ \'%vog peTearav fiart'Qog avftovopovt; (5) The trochaic basis with the disyllabic anacrusis : x- < -- v (dimeter anapaest, cat.) as Find. Olymp. IV. 1. 'FJ.aTt'iQ vneQrave ftgovrds dxapavTOTiodos Zev* rsai ya WQKl. (6) The trochaic basis repeated, as Find. Nem. IV. 6. x-x- / / - d' egyfidrcov XQOVIMTSQOV (7) The double trachaic basis with the anacrucis, as Find. Pyth. VIII. 20. x-x- / - *Tiov noia flanvaGi'di /JcoQiet re xcojucp. (8) The iambic and trochaic basis united : - / x- w v (antispast). CHORAL COMPOSITION* 293 as Aesch. Sept. 347. / x- (9) The anapaest, as Find. Pyth. VI. 4. / / / X&ovog dtvvaov aQo$oi%6[ievoi. (10) The anapaest with an iarnb following: / ww.w (Anap. logaoed. simplex simplic. iamb, ac.) as Find. Olymp. XIII. 5. / x / - U()6dvQOV (11) The cretic or the catalectic trochaic dipody, as Find. Olymp. VIII. 21. (12) The iambic dipody, as Eur. Med. 431, 2v d' ix iilv oixoav (13) The dochmius, as Find. Olymp. I. Ep. 4. IIo6iddv, litd viv xa&aQOv l^rjTog (14) The trochaic dipody, as Find. Olymp. VIII. 3. (15) The trochaic dipody with the anacrusis, as Find. Olymp. VIII. 2. g" wet pavneg (16) The catalectic trochaic tripody, as Eur. Andr. 123. didvftwv zmxoivov, 25* 294 CHORAL COMPOSITION. (17) The iambic tripody, as Find. Isthm. VII. 10. x FK Tavrdhov "kiftov TIUQU. iiq ETQSIJJEV (18) The trochaic tripody (ithyphallic), as Find. Olymp. I. Ep. 3. Tov (jieyaG&evijs iqa.GGa.io yaido%og. Besides these introductions (eparches) which occur most frequently, others are used, though more rarely. The usual closes are the following: (1) The catalexis, the monosyllabic which corresponds to the anacrusis, and the disyllabic which corresponds to the basis as an introduction. (2) Logaoedic closes : Examples : Find. Pyth. II. 2, x~ / x - / / ' ~> " Tspzvog *d()0$, dvdquijv ITTTIWV T OLdaQO'^aQ^dv daipo- Ib. Ep. 8. X / X Tov evsQyt'vav d Pyth. VIII. Ep. 4. og evpevei vocp. Nem. VII. Ep. 1, 5. CHORAL COMPOSITION. 295 Aoyov 'OdvGasoe q rtd&ev did rov advent] (3) Trochaic series : w trochee, ecbasis. - w - monom. troch. cat., cretic. - - - monom. troch. acat. - v - w - tripod, troch. cat. __^_w tripod, troch. acat., ithyph. _ w _ dimet. troch. cat. _ w -_~ dimet. troch. acat. Pind. Pyth. I. 2. / / / / x 2vvBmov Mousdv xreavov tag dxovei pev &d Olymp. V. 1. x / / / ay aQsrdv xai Gvecpavcov dwtov Olymp. XIII. Ep. 3. ' 'a %d()ireg Pyth. XI. Ep. 3. 'Ev ity Ogaovdaios ipvaasv ecriav. Olymp. V. 3. onodog v dTtrjvag dsxsv *I f av[u6s Nem. I. Ep. 3. *296 CHORAL COMPOSITION. Isthm. I. Ep. 4. Besides these, other closes occur, although less frequently. To the rhythmical indications, according to which each verse manifests itself as a whole or an essential part of a whole, must be added the metrical indications also, the hia- tus and anceps. Although the hiatus is a sure mark of the verse-end, yet those cases must be excepted in which the hiatus is permitted in the middle of the verse (P. I. ch. 8. p. 30). But if in longer strop hie poems, as those of Pindar, even the allowed hiatuses occur frequently in one and the same place, the probability that there is a verse-end becomes very great. A single hiatus is sufficient in the tragic and cornic poets to prove a verse-end, since they are more careful to avoid it than the lyric poets. In dactylic verses a short becomes sometimes long by the force of the arsis (P. II. ch. 2. p. 82); such a syllable, therefore, is not to be considered as an anceps. The hiatus and anceps were frequently by later gramma- rians removed by the / or T fulcrum ; when either occurs frequently in the same place, it is to be removed. Asynartete verses, which belong only to a lower structure of rhythm, are not to be admitted in choral songs; in lyric poets, however, although very rarely, the hiatus occurs at the juncture of the series, as Pind. Isthm. I. 16. H KaGTOQSicp TI 'lo).dov IvaQfAO^ai \iiv With every verse a word also must end, whence broken ver- ses cannot be admitted. Apparent exceptions occur in series systematically repeated which, for this very reason, are not to be considered as verses. The separation of a verse in the juncture of a compound word is equally wrong. Apostrophized words at the end of a verse, with few excep- tions, as Pind. Olymp. III. 25. z//} TOT Is yuluv aoQSvew Ov^og 'IGTQIO.V viv '/,. t. A. CHORAL COMPOSITION. 297 rest for the most part on incorrect readings. The elision, however, at the end of a series is not offensive in series sys- tematically repeated. It is not considered well to close a verse with a word that belongs closely to the following; whence articles, prepositions, conjunctions, interjections occur but seldom at the end of a verse, as Soph. Trach. 1009. .oVj roToroi. ^$' avtf HQTIEI. noftsv W, to Ehhavwv ddixcoTaroi CIVIQEG, ovg dq. Eur. Tro id. 315. ETTEI GV, [idtEQ, 7ti ddxQVGi uai rooiGi TOP {tavovra TtaTt'Qcc naTQida, vs. Soph. Phil. 184. , sr T odvvaig o Apparent exceptions occur in series systematically repeat- ed, as Soph. Oed. Col. 684. o rs ovd' av- nvoi XQyjvcu (UVV&OVGIV. Eur. Troad. 193. NFXVWV dpevqvov ayakp, ii} Tav TiaQa TZQO&VQOIS cpvkaxav xatfyovd, In the same manner a word belonging closely to the pre- ceding should not commence a verse ; here, too, single excep- tions occur, as Find. Isthm. VII. 10. znv VTtfQ x FE Tavrd^ov M&ov nayd Tig ezQstyev d[*[M Nem. IV. 64. Te duvoTdrcov G%dGcu<; o The interpunction, also, and in scenic poems, the change of persons are frequently indications of a verse-end. The 298 CHORAL COMPOSITION. poet, however, often places purposely one or several words of the sentence at the beginning of the verse, in order to em- phasize them more strongly ; compare P. I. ch. 11. p. 41. It is finally to be observed that in scenic poerns sometimes in the same place, especially at the beginning or end of a strophe, like or similarly formed words occur. This applies especially to interjections or phrases taking their place. As examples take Aesch. Prometh. 580 ; 600. *JE , oiGTQ^urq) ds del E e. GMQrqficivcav ds VIJGIIGIV Aesch. Agam. 1162, 1173. Ti Tods TOOOV ayuv efto$ Eyiofisva TiQotfQOiai tad Soph. Ant. 360, 370. In ovdw eo%evui. g, OTC>) TO If all the criteria of the verse-end fail, then the division of the verses remains, of course, doubtful. If the strophe has been divided into verses, it remains to determine the rhythms of the single verses. Here, too, no general rules can be given, but a correct feeling must de- cide. Often an entire verse or a part of it may be arranged in different ways. In this case that rhythm is to be se- lected which best suits the character of the whole poem ; and the adoption of unusual measures should be particularly avoided. Several consecutive shorts or longs cause great difficul- ty. Analogy is here the safest guide, as Soph. Aj. 1185. tc nors rj^et, TiovTiyxTwv Etswv Here the first six shorts may as well be a trochaic as an iambic dipody, a resolved choriamb, an iambic arid trochaic basis ; but it is clear from the following verse : Tav anavGTOv ailv Ifioi that they are to be measured by trochees. CHORAL COMPOSITION. 299 Soph. Elec. 153. Ovtoi col novvn, T may be arranged in different ways, either as a dactylic rhythm : tetramet. dactyl, cat. in syllab. or as an anapaestic rhythm : dimet. anapaest, cat. or as a dochmius with an iamb prefixed : or lastly as two irrational cretics with an anacrusis prefixed : The latter has the most probability, inasmuch as 160 and 161 have also the same rhythm without the anacrusis : I. AINTISTROPHIC SOIVGS OF THE DORIAN LYRIC POETS. The first Dorian lyric poets of note are Alcman, Ste- sichorus and Ibycus. Of their works we possess only frag- ments, in which the dactylic-anapaestic and trochaic-iambic rhythms prevail. For examples, we cite the following frag- ments : Alcm. in Apoll. Lex. Horn. p. 407. Toll. 300 CHORAL COMPOSITION. / X / EvdovGtv d' ootwv xoQvcpai re xal (pd( OGGO, rQtcpFi n&aiva. yaia, Kal xvcodaX sv fitv&ecjGi rtOQtyVQas alog. Evdovai d' oiwvwv (pvka Stesich. in Ath. XI. p. 469. E. ' 'TrtEQiovidas dtnag Ig Xyvaeov, ocpQa di ojs.zavoio risQaaaif dqtixyd'' leoag now jtevfi'sa, VVXTOS i Ilorl fiarega xovgidlav r alo%ov ^ IK (fikovg o d' Is aAdog 1 tficc TTOGGI Tiuig z/togv In Pindar's Epinicia, two principal styles may be distin- guished; the Dorian and Aeolian. The Lydian holds the middle place between the two, approaching sometimes the Dorian and sometimes the Aeolian. Among the undoubtedly Dorian strophes, Bockh classes Olyrnp. Ill; Pyth. I, III, IV, XII ; Nem. I, IX, XI; Isthm. I, II, III, IV, V. We take as an example Olymp. III. The elements of CHORAL COMPOSITION. 30 L these as of all the Dorian strophes are very simple. They consist here of grave trochaic measures and dactylic trime- ters. The simplest trochaic element is the iambic anacrusis, which, however, here always appears as a long, V. 2, 3, 4. Then the trochaic element increases in the following grada- tions up to the trimet. acat. : - w - monom. cat. : V. 2, 4. Ep. 3. monom. acat. : V. 1, 3. Epod. 2, 4. ~ - w dimet. cat. : Ep. 2. / / -~-^-^-^ dimet. acat.: Ep. 1. _~_~_~_~_~ trimet. acat. : V. 4, 5. Epod. 5. The long is everywhere used in the even places, except V. 14 and 26. The dactylic element consists of trimet. cat. in syll. : V. 1, 2. Ep. 1, 4. -- trimet. cat. in disyll. : V. 1,2, 3,4. Ep. 2, 3,4. The closing thesis of the latter appears always as long. The verses always end with the arsis, except the closing verse of the strophe and epode, which, on account of the close, ends with the thesis ; but this also appears everywhere as long. The theme of the whole lies in the first verse. Str. 26 302 CHORAL COMPOSITION. r t r v Epod. v . - v _ GTQ. TwduQidaig re cpdo^eivoig ddsiv %a).hnd.oxd[Acp #' '0).vfimonxuv vpvov OQ&waaiSj d acarov. Molffa d OVTCO rot naQtcta poi veo- Giyal.ov tVQO (pcavav Iv vi. TOVTO re noixikoyaQvv xal poav avlwv snewv re irijodixKS "Aptyi xopaiai pdty ylavxo%()oa xoapov ekatag rdv Ttore ano GXIUQU.V nayav evsixsv a TWV Ov),v t u7iia "/.ulJ.iGTOv d&'kwv. Bockh finds an approximation totheLydian in Olymp. VI, VII, VIII, X, XII ; Pyth. IX ; Nem. V, X. CHORAL COMPOSITION. 303 As an example of a strophe thus modified, take Olymp. X. The elements are almost the same as ahove. Trochaic Element. / - w - monom. cat. : Epod. 3. monom. acat. : V. 1, 2, 3. Epod. 1, 3, 8. / / _._-_,_ dimet, cat. : V. 5 ; Epod. 6, 7, 9. / / _~_v,_o_., dimet. acat.: V. 4, 6 ; Epod. 9. ----.--- trimet. cat. : Epod, 4, 5. In the even places, the short often stands, as V. 6; Epod. 4, 5, 6, 9. The trochaic arsis appears resolved Epod. 3. Dactylic Element. / -~~- dimet. cat. in syll. : V. 3. / -w-.w dimet. cat. in disyll. : Epod. 8. / _^-.w,_ trimet. cat. in syll. : V. 2,6. Epod. 3. trimet. cat. in disyll. : V. 1, 4. Epod. 1, 2, 7. Besides the closing verse of the epode, several others also end here with the thesis, which sometimes also presents itself as a short. The collision of the arses in Ep. 3 and 9, is also to be observed. The principal theme again is found in the first verse. 304 CHORAL COMPOSITION. Epocl. GTO. 'EGTIV dv&QMTioig dv^mv OTS TT g, i-GTIV 5' OVQaVlOOV El dz GUV TZOVOI rig tv TIQUGGOI, do^al loyav xal niGTOv OQXIOV fieydlaig a Ovrog r*k(a6 'Ex &8ov d' dvtjQ aoyaTs dvftsi tGael VVV, , redg, fflaape, nvypaftag tvexev Timd. KoGfjtov Im Grscpdvcp y^vGt'ag llaiag CHORAL COMPOSITION. 305 i'cov AOXQWV yevsdv dksycov. JEv&a My JAW, to Molaai, yvyo^wov ds xal afyparav d(pl$SG&ai TO '/O.Q pveg ovv ou&ow d).ca7iq% OVT zQi'pQopoi 'ktovTi-g diaHul~aivvo y&og. Bockh cites as undoubtedly Aeolic : Olymp. I, II; Pyth. II, V, VI, VII, VIII, XI ; Nem. VII. As an example take Olymp. I. The two principal ele- ments of which the strophe is composed are light trochaic- iambic rhythms and dactylic-anapaestic series. Trochaic-iambic Element. 4 Trochaic Rhythms. X - w monopod., basis : V. 1, 4. Ep. 2, 6. -"- dipod. cat., cretic: V. 2, 7, 9 (twice), 10; Epod. 3, 4, 6, 7. / --- -- tripod, cat. : V. 6, 10; Epod. 1 (twice), 2, 5, 6. / _ - _ _ w tripod, acat. : Epod. 3. _ - _ - _ ~ _ tetrapod. cat. : V. 3, 5, 11. / --.--*-. tetrapod. acat. : V. 7. f _-_.,_ ------ hexapod. acat. : V. 6. Iambic Rhythms. The iambic anacrusis : Epod 6. - - monop., iambic basis : V. 1, 2, 9, 10, 11 ; Epod. 1, 2, 4, 7. hexap.: V. 8. 26* 306 CHORAL COMPOSITION. Dactylic-anapaestic Element. Dactylic Rhythms. / -- dimet. cat. in syll.: choriamb: V. 6, 7; Ep. 2, 3, 5. / dimet. cat. in disyll. : V. 1, 4; Epod. 4. _w-_-w_,,o_o tetramet. cat. in disyll. : V. 2. _ w _ - _ dactyl, log. simpl. dupl. troch. cat: V. 1. Epod. 1, 6, 7. / _ w _ _ w dactyl, log. simp. dupl. troch. acat. : Epod. 4. Anapaestic Rhythms. / ' ~ - ~ dimet. cat. : Epod. 5. The more frequent resolutions of the trochaic and iambic arsis in V. 2, 6, 8, 9, 10, 11. Epod. 1, 2, 6, are to be rioted ; the strong collision of the arses in V. 1, 2, 6, 7, 9, 10, 11. Ep. 1, 2, 3, 4, 5, 6, 7. Str. CHORAL COMPOSITION. 307 / / Epod. --- / / X Ir t / / / / tv vdojQ, o ds %QVGog ai&ofAevov TIVQ i, vvvai [AeydvoQog t%o%a n'kovtov El 5' etf dltov cxo Iv d^t'oa (paevvbv aarQor g ywva "0&8V 6 ytohvcpaTOS Vftvog dfAcpifid KQOVOV nal8\ V dcpveav s latiav, dvr. OE[MG7iov os d(JKj)7isi cxa-mov iv Ttohvfidlc &V xoQvyas aQSvav dno xal 308 CHORAL COMPOSITION. MovGixdg iv dcoTCp, Ota Tiaiot Qf.g ucp . d)J*d te xa Noov vTio ylvxvrdraig fahpts cpgortiaiv, "Ore na. J^.pa> GVTO iv i ds ipd. 2vQaxo6iov iTtno^do^av fiaadija. Ev evavogi *dv8ov n^on Tov yL&yu.G'd'S.vrjS SQCiGGaio UoGSiSoiv, sn&t viv xa&aQOv fa FJ.tcpa.vTi cfUidifAOv (Ofiov H &av[iaztx no^ka, Y.U.I Ttov 11 y.ai tov ctku&ij )~6yov noix&ots Q o cpariv Of a mixed character are Olymp. IX, XI ; Nem. Ill, VI. Take as an example Nem. III. Trochaic-iambic Element. The iambic anacrusis : V. 1, 4, 5, 6; Ep. 2. x - - monop. troch., basis : V. 3, 4, 5 ; Ep. 2, 3, 4, / --- dipod. cat.: V. 1, 2, 4, 7; Ep. 2, 5. / - - - - dipod. acat. : V. 6, 7 ; Ep. L ----- tripod, cat. : V. 2, 3 ; Ep. 4. _ . _ . _ ^ tripod, acat. : V. 2, 5, 8 : Ep. 2. Dactylic-anapaestic Element. ---- dimet. cat. in syll. : V. 1, 5; Ep. 3, 4. Ep. CHORAL COMPOSITION. 309 dimet. cat. in disyll. : V. 6 ; Ep. 1, 3. - dact. log. simpl. dupl. iroch. cat. : V. 3, 4, 7. _v dact. log. simpl. dupl. troch. acat. : V. 1 ; Ep. 4. --- dact. log. simpl. tripl. troch. cat. : Ep. 2. ---- dact. log. dupl. dupl. troch. cat. : Ep. 5. - - _ - - _ v. tripod, anap. cat. : Ep. 5. / --------- anap. log. dupl. dupl. iamb, cat.: V. 8. Str. ----_------_-- x / X / X / 310 CHORAL COMPOSITION. / / X / / GTQ. Q TIOTVIO, MoiGa, [idTQ d[l8T8()a, Pw Tar nokv%va.v iv isgofUjvia J\ ffisdu, 7x60 /JcoQt'da vdcov Ai'yivav, vdari yu.Q MtvovT in '^4G(a7iica fishy agvoav TSXTO veanat, Gi'&ev ona ds ^ahar" dotdav dnezdv is de^icordruv onadov. avt. Tag acffioviav o7iaL,s [iijTi.os dpdg dno ' OVQCtVOV 7TokvV8(ft'ka XQbOVTl, vfsvov ' j ; o) de XMVMV TK fitv qa rs xowccGOficu. ^ctQisvza d t&i novov g dyatya, MvQfudovse UV, cov 7ia7,ai(paTov dy OVK l),ey%k'GGiv ^QiGToy.ksidag rear Efuavs V.U.T diGdv lv tn. Tla'/XQartov GTO^OJ ' xaparwdtcov tv j' (tafruntdcp N^ta TO Ei d Iwv y.al.o$ tQdcav T loixora s vnsQtwiais Intfia naTs '^fQiGToydvzi'S ' ov KtTl TtQOGCO a),a xiovcov viTtQ Hqay^og TZEQUV The Lydian, which occupies a middle place between the Aeolian and Dorian, sometimes approaches the latter, as Nem. VIII ; sometimes the former, as Olymp. IV, V, XIII, XIV. ; Pyth. X. Nem. II, IV. ; Isthm. VI, VII. Take as examples Nem. VIII. and Olymp. V. Nem. VIII. is composed of trochaic-iambic and dactylic- anapaestic elements. CHORAL COMPOSITION. 311 Trochaic-iambic Element. The iambic anacrusis, as a long: Ep. 1, 4. x- -- monop., basis: V. 1. --- monom. cat., cretic: V. 4; Ep. 3, 5. ---- monom. acat. : V. 1; Ep. 2, 3, 4, 5, 6 (twice). '- dimet. cat: V. 5. Ep. 1. - dimet. acat. : V. 5. ------ trimet. acat. : V. 2, 3. _ _ ~ _~_~ ~_v,_v,_~_ pentam. cat. : Epod. 6. / ----- tripod, cat. : Ep. 4. Dactylic-anapaestic Element. / - - - - dimet. cat. in syll. : V. 2 ; Ep. 6. / --- dimet. cat. in disyll. : V. L / ------- trimet. cat. in syll. : V. 3 ; Ep. 1 , 2, 5. / _-v_w_w trimet. cat. in disyll. : V. 1 , 4 ; Epod. 3, 6. / - - - monop. anap. : Ep. 3. / ^ - - - - tripod, anap. cat. : V. 4. x- / Str. --- 312 CHORAL COMPOSITION. Ep. / / GTQ. QQOL notvia, KUQV^ 'dcpQodizag d size na.Q&,vtjioig naiSwv x Icpt^oiGU Tov [iti 1 a^fQOis ui'Myxa* %QGi flocGTa⁢, I-TZQOV u, dt xaioov py TzhuvuOtvra nQog &nyov t Tcav USIOVWV ICDICOV STtixnaTEiv dv UVT. Oioi y.al diog Aiyivag rt IMTQOV noi^vsg d^qiSTio^ffav KvriQiag dcaQcov ifil.aGtw d' vius Olvwvag ftaaifavs XeiQt xal povhug aQiGtog. noM.n viv noMiol hzu- yctQ IJQGJWV aCOTOl T xswov j'fi ffsi'G'eG'9' 3 avaSiaig IxovTes, ix(pd. Otis xnavactig fV Id&avaiatv OQpofov GTQarov Oi ? dva ^LnaQTav UeXofirj'iddat. t f.'/.zag ^liaxou Gspvwv yoruTcov no).iog tf VTZSQ cpfi.ag JV i9' VTltQ TGtvd UTlTOflUI- CHORAL COMPOSITION. 313 Atimog SIGGKIV cradicov xal naTgo? Meya aya^a. vv &ecp yciQ rot (pwtev&slg o VCOTEQOS. Olymp. V. Trochaic Element. X -- monop., basis: V. 1, 2; Ep. I, 2. / dipod. cat., cret. : V. 1, 3; Ep. 2. / tripod, ac., ithyph. : V. 2, 3; Ep. t, 2. Dactylic-anapaestic Element. / - v ~- dimet. cat. in syll. : V. 1. / _v_v^_w.,_ tetram. cat. in syll.: V. 2; Ep. 2. / _ _w^_vw - tetr. ca t. j / _ww d act i g simpl. dupl. troch. cat.: V. 1. / ""-""-"- anap. log. dupl. simpl. iamb. ac. : V. 3. x / / / Str . ,____ __,_ X / X / X / / / / GTQ. tr Ttyifi.av aQerdv xal atscpdvcav aooTOV Twv OvkvpTiin, 'Qxsavov d'vya.TSQ, xaQdia yehavet x anrivag dwsv Wav^iog is 314 CHORAL COMPOSITION. avt. 0_g rav Gav nohv av^cov, KapaQiv Bwpovg $ didvfiovg lyeQagev soQzaig frewr ^iGzaig tf Tnb fiov&vGiaig ds&kow zs ns^niaii^ois dpiD-aig, "Innoig rftuovoig r fiorapTivxia re i\v de xvSos dvs&qxe, x ov xai rdv veoixov tdgav. II. ANTISTROPHIC SONGS OF THE DRAMATISTS. We distinguish in the dramatic songs, the GraGifia, which were sung after certain divisions or acts of the piece, by the whole chorus alone in the orchestra, and the songs of indi- viduals, which were delivered partly by the acting characters alone (fiovcpdicu, zd dno Gxyvijs), partly alternating between the persons on the stage and those of the chorus (xo^ot), partly by the chorus in single voices (xoppartxd). The Stasima, which may be sometimes longer, sometimes shorter, are antistrophic, and resemble more or less the choruses of the Dorian lyric poetry already considered. We will cite a few strophes as examples, and arrange them according to the rhythms which predominate in them. 1. Trochaic-iambic Choral Songs. (a) Strophes of a trochaic principal rhythm. Aesch. Eum. 490498; 499507. 508516; 517 525. / / G7Q. U. - - v -- . CHORAL COMPOSITION. 315 / GZQ* ft -w_w_ GZQ. a'. Nvv xazaczQoqxu vlwv El KQazqGEi Sixa ZE xcu Tovde [iqzQOxzovov. g ijdq rod ' egyov v%Q8in , [1870, avr. a. Ovre ycty pQoroGxoTtwv pawddcov Twvd' lysQipei xovog tig igyitdrow Ildvz Icpfoo) IJIOQOV. IIsvGEVai d ' dkkog akho&Ev, nQoywvwv za vwv ni- ka$ xaxd Arfew vnodoGtv zs ftdgfdw OVXE'Z' ov fisfiaia, zhdpcov ds {tdzav GZQ. ff. Mijds zig TOVZ E7ZOS 7 ^ dixa, 316 CHORAL COMPOSITION. ^ &QOVOI "T 'EQIVVOW Tavrd rig id% dv natrfQ veoaa&rjg GWTIGCUT, InSl- dq nixv&i d6[nos dixag. dvr. {?. "Eatf oTiov TO deivbv sv Kal cpQevav ImaxoTtov i xa&qpevov. attvei. Tig ds pjdsv Iv ydei H no^ig ^QOTog & ' Ojito/- ag ST av at'fioi dixav ; (b) Strophes of an iambic principal rhythm. Aeschyl. Choeph. 2231; 3241. 4253; 5465. ' 6683. ct. a. x / / X X X / CHORAL COMPOSITION. 317 / / / / / t / x / X X fr. 27' 318 CHORAL COMPOSITION. X / / / / / / X 67Q. a. Xodg TTQonofiaos o^v^Bigi GVV xrvncp. Tlqmu TiaQtjts cpomoig a. Ai aiwvog d i ^tivoy&oQoi 8' v jiaxifag sykadov vn a IlQOGTSQVOl avr. a. TOQOS ya.Q ffg&o&Qi% cpofiog, doflWV OVStQOfiaVTIG, 1% V71VOV XOTOV IIvscov, awQovvxrov d^^oa^cx, 6&v i&axE rtSQi cpoficp, iv dwpaGiv fiagvg mrrcov. ie iovg yag VKQ&W Toig xrarovGi x l erg. ft. Toiurds %CI,QIV ci%aQiv, aTtorqonov xaxwv, '/co yala paia, [icopwa p id CHORAL COMPOSITION. 319 yvvd. (pofiovpcu d' S7to$ 10$ I Ti y&Q "kvrQOv nsGovzog aiparos nedcp ; Too navoityg 8Gfia, 3 fco xcdvrtrovGi dopovg deGrtorwv ftavatoiGi. avr. ft'. 28$a.g d' a^ia^ov, add^iaroVj dnokefiov ro TZQW, Ai WTQJV cpQsvog rs dapias TisQaivor, Nvv dcpiGrarcu. cpofisivai ds rig. TO 5' Tod' iv PQOTOIS &os re xa 'Pony d' IniGxoTtei Sixag Ta%eTa, tolg per iv ydei, Ta d' EV iszaiic GXOTOV Al aipar sxTZo&svtf vno %&ovo? tQOCpov s BQO^IOV ^.e^a dvr. Oiav otav oa 332 CHORAL COMPOSITION. Ftvog exqivs re 8()dxovr6$ Uors nsv&evg, ov 'E%icov ' ' ~ rtQag, ov (pa- ra figoreiov, cpoviov d' (og- re yfyavv g p v QO%OIGI rav tov Boopiov rci%a ^vvdipUj Tor epov d' Irros fysi da dt] diaGwrav g XQVTITOV Iv 'Ev dfuMcuaiv dvayxag ; Mo).e XQVGwn Jlvu. &VQGOV xr' " oviov d' dvd()og V g UQO. rug QGoqjOQsig OiaGovg, co /4iovv6\ 0} v zoig GIV 'Olvfinov tfcddpoig, ev- &a nor MovGcug, JSsfietai G Eviog, Ts XOQEVGOOV dpa (iaGi, rov r CHORAL COMPOSITION. 333 oLV re rov evdatpovtas zQa re, TOV sxkvov EviTiTtov W The fiovcudiai or ra ano Gxqvijs occur most frequently in the later tragedy. They are generally antistrophic, as Aesch. Prom. 574588; 593608. Eur. Orest. 960970; 971 981; 982 1010. The xoppoi and xo/^itar/xce are likewise sometimes anti- strophic, sometimes not. The antistrophic commatic songs usually correspond with much art, and the single verses are equally divided between the persons and chorus. As an example take Aesch. Agam. 1072 sqq. I. Cassandra. GTQ. a. A. Chorus. 2 trim. iamb. I. Cassandra, avr. a'. A. Chorus. 2. trim. iamb. II. Cassandra. GTQ. ft'. B. Chorus. 2 trim. iamb. II. Cassandra, avr. ft. B. Chorus. 2 trim. iamb. III. Cassandra. GTQ. y. C. Chorus. 2 trim. iamb. III. Cassandra, avr. y . C. Chorus. 2 trim. iamb. IV. Cassandra. GIQ. d'. D. Chorus. 2 trim. iamb. IV. Cassandra, avr. $ '. D. Chorus. 2 trim. iamb. V. Cassandra. GTQ. e'. E. Chorus. 2 trim. iamb. F. flSGOGTQ. a. V. Cassandra, avr. e'. E. Chorus. 2 trim. iamb. F. [isGavr. a . VI. Cassandra. GTQ. g. G. Chorus. 334 CHORAL COMPOSITION. VI. Cassandra, dvr. g'. G. Chorus. fi8ffarr. ft. VII. Cassandra. GTQ. '. H. Chorus. [AZGOGTQ. y . VII, Cassandra, dvr. '* H. Chorus, fjisaavr. /. As an example of a commatic song between the persons of the play without the chorus take Eur. Androm. 592 544. I. Andromache. A. Molossus. ffTQ. II. Andromache. X / B. Molossus. III. Andromache. C. Molossus. x / 51 Menelaus. Anapaests. I. Andromache. A. Molossus. vt. a dvr. {?. CHORAL COMPOSITION. 335 II. Andromache. B. Molossus. III. Andromache. C. Molossus. 31. Menelaus. Anapaests. art. e '. As an example of a still more elaborate correspondence take Aesch. Choeph. 306478. I. Chorus. Anapaest. A. Orestes. GTQ. a. II. Chorus, at Q. ft . 21. Electra. avr. a'. III. Chorus. Anapaest. B. Orestes. GTQ. /. II. Chorus, avr. p . 23. Electra. avr. /. IV. Chorus. Anapaest. (t Electra. GTQ. d'. V. Chorus. (7TQ. E. C. Orestes, avr. d'. VI. Chorus. Anapaest. 2). Electra. GTQ. g . V. Chorus. U.VX- '. D. Orestes, avi. c'. VII. Chorus.* oro. -0-'. VIII. Chorus. ) > (WT. F. Orestes. ^. Electra. ^r. -0-' VIII. Chorus. IX. Chorus, crrp. /. IX. Chorus, avr. /'. X. Chorus. Anapaest, * According to Lachmann (dc chor. syst. p. 112), Electra Las commonly the QTQ. u' and avt. L,'. 336 CHORAL COMPOSITION. The whole system of the strophes is, therefore, the fol- lowing: anap. a ft a anap. / $ / anap. d' s d' anap. g f e' g' f rf if ' & v i i anap. The parabasis was a peculiarity of the ancient comedy. It was an insertion in the play which interrupted the atten- tion and in which the poet spoke through the chorus to the spectators. The parabasis was not a necessary part of com- edy; it might, therefore, be altogether wanting, as is the case in the Ecclesiazousae, Lysistrata, and Plutus of Aristo- phanes. On the other hand, a comedy might have more than one parabasis. A complete parabasis consisted of the fol- lowing parts : (1) of the xOjMjUcmoi', which comprised a few verses only, which sometimes were of the same kind as those of the fol- lowing part ; (2) of the TtaQaflaatg, in its stricter signification. It consists always of verses by the line, most frequently of anapaestic tetrameters, but never of iambic trimeters; (3) of the paxQov or nvTyog, usually a short anapaestic system which was recited quickly ; (4) of the strophe, tfrooqp^ or cpdq, of melic composition ; (5) of the iaiQnrjua, consisting of several verses repeated by the line, usually of trochaic tetrameters; (0) of the di>TiGTQO7()0(jp, so called, single exclamations and sentences, which, bound to no definite rhythm, some- times preceded or followed or interrupted the speeches or songs. To these belonged the iTtiyavrnmra, as qev, Ico, al, otpot, etc. ; the ecpvpvfa and [leavpna, as fjyia Tlaidr, co di- } and in Sappho : CHORAL COMPOSITION. 339 dq TO [A.&a&Qov ['Tjit^aoy], aEi'QUTS ttxTOVSS Lastly the Imqi'O'e'yiiaTiy.d, which often embraced whole sen- tences, as in Bacchylides : tf xakog QsoxQiTog, ov P.QVVOG a 2v d' tv %wwn IJLOVCO naga, rtjv cp&qv ywalxa The genuine free songs, which form an independent whole, are either of such a sort that they form a whole of one or more strophes (povoGVQOCpa : A ; szeQOGTQocpa : AB ; aKhoi- oGtQoya or no'kvmQOffa: ABCD . . .), or that the song is of itself an existing indivisible whole, which transcends the or- dinary measure of a strophe (aT^ra). The strophes of which a avGrqfJia dno^^viitvov is composed, are sometimes more, sometimes less like each other in rhythmical charac- ter (rta()0[iovov f/co k&at ftvofisvov fiovcaig ' 2v de TExva TQiyova TEXO^EVOS, o> 8cue, av cpdav ij tor ^4i8a %OQOV cpsv ' xefpera dvaravov, Evdovrog vnvov deivov Ixnodcov cpovov. i ds decpd xal 7iokvfi()o% dfiftaTow Qaxkeiov d^yi depots rdds dpcpl xioGtr oi'xwv. '0 d\ to? rig OQVI$ antBQOv xaTaGTs'rav TSXVCOV, jtQeafivs vGTtQcp nodi, diaixow vGiv. rtaSGtf ode. The first three divisions end with the ecbasis. Soph. Philoct. 11691217. 0. Hdkiv ndkiv Ttahcuov atyrjp v7i[jiraG(t$, w TMV TTQIV inonow, Ti ft wkeGag ; TI [i SIQ^CCGCU ; X. Ti TOVT e).E^a$ ; 0. El GV Tar Ifioi GTV^FQUV Tgcodda yaldv fi famGas d^Eir. X. Tods yaQ vow XQUTLGTOV. 0. J^TtO VVV jU folTlET 7/5^. X. 0/Aa juot, (ptia TavTa TtaQfyyedag, EXOVTI TS Nab? iv ri\uv TS CHORAL COMPOSITION. 341 (p. My, TiQog dgaiov dibs, &&%?, werevw. X. X. aa, ^roAwA' o rakag novg 7iovg> ri c v Q %i'voi, &&ST infovdes av&ig. X. Ti ge'<*ovTg aAAoxorQj Fvwpa rwv naQos, dtv 0. OVTOI VSIISGIJTOV, aJkvovza Avnct Y.OI fiaga vovv &QOKIV. X. B(i&i vvv, oo rdhav, co? G (P. OvdsTtor ovdeftov, ia&i rod' e Ovd' ei 7ivQ. IlaTSQa parevow X. TIol jag ; 0. 'Eg 29* 342 CHOR4L COMPOSITION. X. Ov ydq i Anapaest, trochoidic, 17. Annomination, 23. *AvT Tti'fjfafia, 336. Antiphanes, 49. Antibacchius, 10. Antispastus, antispast, 10, 29. Antistrophe, 35. * AvriGTQOipri, 35. Antistrophic composition in Do- rian lyric and tragic poetry, 288. Antistrophic choral songs, 288. y AvT^, 336. Apel's metric, 4. Apollonius t c sidoy()doqpiy, 35. *, 10. Equal kind of rhythm, 12. Erotic poems, 149. *.EKh>Antva, 36, 338. a xard ' fc * ' , 194. VC-t/iy/VCU/IA'kJ^) ***** Virgilius Maro, P., 56. Voss, J. H., 4. Voss, 190. 30 THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW AN INITIAL FINE OF 25 CENTS WILL BE ASSESSED FOR FAILURE TO RETURN THIS BOOK ON THE DATE DUE. 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