Verse of Greek Comedy

THE VERSE OF GREEK COMEDY
MACMILLAN AND
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THE VERSE
OF
GREEK COMEDY
JOHN WILLIAMS WHITE

HONOEARY DOCTOR OF LETTERS, CAMBRIDGE DOCTOR OF PHILOSOPHY, HARVARD HONORARY DOCTOR OF LAWS, WESLEYAN AND OHIO WESLEYAN PROFESSOR OF GREEK EMERITUS IN HARVARD UNIVERSITY
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TO
THOMAS DWIGHT GOODELL

PROFESSOR IN TALE UNIVERSITY
IN
GRATEFUL ACKNOWLEDGMENT OF HIS CONTRIBUTIONS

TO METRICAL SCIENCE
INTRODUCTION
Greek poetry
a remote past.
inherited from
in the fifth century before
art.
developed and complex
Christ was a highly Greek poets had begun to sing in Their successors in the age of Aristophanes had
singers in
many
many
lands
the islands of the

of
Aegean and the Continent a great treasure rhythmical phrases that had gradually been developed and
the coast of Asia,
perfected during centuries of practice
among
a song-loving people,
admitted countless harmonious variations, just as the English heroic line, passing from Shakespeare to Milton and from Milton on to Tennyson, became under his magic touch a newinstrument of melody modulated to every theme. The poets of the
and that
still
later age,
guided by that intuitive apprehension and appreciation
of beauty of form
creative art,
which characterized their race in all ranges of combined these phrases into harmonious periods and symmetrical strophes with extraordinary skill, but they were
only vaguely conscious
of
historical
relations.
What
?
is
the
rhythm
of these phrases
and
their metrical constitution
What
?
are the laws
by which they are combined

?
in period
and strophe
Whence
did particular phrases come
We despair
of a complete
Many problems confront us answer to some of these questions. that in consequence of the loss of the music to which these Greek odes were sung do not, we must frankly confess, now admit of
but such knowledge as we may be able to get, by sure solution patient investigation, of the origin, nature, relation and development of the materials with which the poets wrought will con;
tribute to a juster understanding of their art

tion
of
their
skill.
and
a truer apprecia-
And
in
a fashion
we
are
better able to
some of these facts than the poets themselves would have been, had they been interested in formulating the rules of
ascertain
viii

Thus
also historical investigation
their craft.
and comparative
study have enabled modern scholars to determine the laws of the use of the Greek language as a means of expression with a fullness and precision that would not have been possible in the time
modern
who would doubtless have inspected these on Greek Syntax with austere surprise. Ancient rhythmic, of course, is a mggeder field, with hidden pitfalls, where we must proceed with extreme caution. I have endeavoured, within the range to which this book is
of
Demosthenes,
treatises
and complex subject in a direct and simple manner, and I have derived the principles on which its scientific study must proceed in the main from the writings
restricted, to treat this difficult
of ancient
teachers,
chiefly
Aristoxenus, Aristides, Heliodorus,
It is only a hundred years since Bockh first and Hephaestion. saw the profound importance of Aristoxenus, a younger conFrom temporary of Aristotle, in the investigation of rhythm.
long way, but the journey
Aristoxenus to Aristides, a rhythmician of inferior authority, is a The statements of is worth making.
Hephaestion in his manual on metric must be weighed with care his treatises on poetic composition have particular and unique The doctrine of his master, Heliodorus, embodied in his value.
;
analyses of the structure of certain of the plays of Aristophanes, is of great moment to the student of comedy, but has not hitherto
been systematically
as
utilized.
sufficient justification
for
This fact will perhaps be regarded the reconstitution of the text of

unfortunately
these
remains,
in
which
the
last
are
meagre,
and
their
publication
chapter of this book.
Where
ancient
authority
silent, and this happens only too often, I have is turned to the poets themselves and there sought the laws which they unconsciously but unerringly obeyed, and I have submitted
the
validity
of
all
conclusions
to the practical test
of their
applicability to the poets themselves.
Their application to the
comic poets
is
recorded in the second and fourteenth chapters
inclusive of this book.
The fifteenth There is one exception to these statements. chapter treats of the origin of the forms of Greek poetry, and the
conclusions there submitted for consideration have undoubtedly determined the point of view from which my investigation and treatment of the manifold rhythms of Greek poetry have pro-
ceeded but here our ancient authorities give

:
little direct
testimony,
INTRODUCTION
ix
Still these views are not and the poets naturally are silent. mere speculations, they are supported by parallel manifestations in languages closely akin to Greek. The significance of Westphal's comparison, over fifty years ago, of Avestan and Vedic with Greek dimeters and trimeters has been amply confirmed by subsequent investigations made by Professor Arnold and other
The fundamental concept is a primitive phrase, longer which the various forms of poetic rhythm were gradually evolved and differentiated by regulated arrangement The dimeter and trimeter thus of long and short syllables. developed are precisely the greater or compound foot of Aristoxenus, and for that matter also of Aristophanes, the true source from which the metre and simple foot were gradually derived.^ The final test of the probability of the views advanced in this chapter must be the extent to which they are judged to explain consistently and satisfactorily the numerous and, when viewed independently of one another, perplexing metrical phenomena of
scholars.
or shorter, from
Greek
subject.
verse.
I for
Logaoedic rhythm, for example,
is
befogging
one confess that I did not clearly apprehend its historical significance, its unquestionable relation to the four
common rhythms with which we
are familiar in ancient and modern poetry, and the limitations of its use, until I saw how these rhythms had all gradually been evolved from the primitive dimeter and trimeter.^ Non-melic verse in Greek comprises the spoken trimeter and recitative and melodramatic tetrameters, hypermeters and trimeters, and constitutes the greater part of each comedy of Recitative and melodramatic rhythms are an Aristophanes. element foreign to the modern drama, and the Greek mode of rendering them would doubtless seem singular to us, but it was a great advantage to the comic poets to have them at their command as a vehicle of dialogue, and they used them with
I hope that the importance of nonmelic verse will be thought to justify the attention I have given I have used the statistical method in its treatment from to it.
excellent discrimination.
the conviction that an accurate
and precise knowledge of the
laws of our poet's usage can best be acquired in this manner, and that such knowledge is the only means that we moderns can
safely
employ
1
in attempting to differentiate his style

^
from that
See 664.
See375flF., 603
flF.
X
of other poets.
THE VEKSE OF GKEEK COMEDY
His spoken trimeter is not the trimeter of the The ignorance or disregard Menander. of the usages of individual Greek poets exhibited by many of their emenders and by many modern composers of Greek verse
tragic poets nor that of
in
results
The application of the a particular manner is incredible. obtained by bald statistics may prove to be a salutary
corrective, as I may have shown in a recent monograph, in which proposed emendations and restorations of the text of the
four newly-discovered plays of

test of his
Menander
are submitted to the
actual practice.
It would, perhaps, be indecorous to
summon
the emenders of Aristophanes hither to trial at the bar

is
of his usage, but the process

for the entertainment of
legal
and may be recommended

attention
an
idle hour.
Notwithstanding
non-melic verse,
its
the
considerable
is
here given to
I
investigation
by no means complete.
have discussed caesura and diaeresis with particular care, but lack of space has precluded the study at any length of our poet's The trimeters different manners in each sort of non-melic verse. in one play, for example, differ in interesting particulars from
those in another, and Aristophanes modulates his spoken verse skilfully to varying themes, although the range of emotion and
sentiment is not so great in comedy as in tragedy. The determination of the structure of the Greek melic strophe is a problem that has been repeatedly essayed, but no system of strophic analysis has yet been proposed that has been Two scholars have lived to reject, with a generally accepted.
certain degree of scorn, the systems that they had themselves others declare that the problem is insoluble. Professor fathered
;
Schroder has recently given a brief account of the views that have been successively put forward only to be combated or He has an alluring theory of his own, which he abandoned.^
defends and illustrates in an article that comes
write.'
to
hand
as I
This
warily.
is
treacherous ground, on which

attention
it
Sufficient
has
not
always
is
behooves one to walk been paid by

ultimately a question
to
investigators to the fact that the problem

of melodic correspondence.
If the
music
which the odes of
See his Vorarbeiten, 136 ff. See Classical Philology, vii. (1912), 158 ff. See also his editions of the text
^
of Pindar and of the odes of the Greek dramatic poets.
INTRODUCTION
xi
the Greek poets were sung had been preserved with the text, the question would not come up since it is lost, the metrical
;
form of the text
is
the sole means to an answer.
The metrical
correspondence of antistrophe with strophe is generally close in Greek odes,^ and it is agreed that the melody to which a strophe
was sung was repeated

within a strophe
final
?
in the singing of its
antistrophe.
"What
similar correspondences
are
there between subordinate periods
With few
exceptions, the last metre of the

is
colon of a subordinate period
catalectic
or ends in a
is
variable syllable or hiatus."
The
effect of
each phenomenon
the same, a pause in singing that marks the close of a period, I observed, in studying the metrical commentary, that the
inference that the Greek dramatic poets probably arranged the subordinate elements that compose a strophe in the same ways in which they combined whole strophes in the parode
natural
and other great divisions of their plays,^ was confirmed in a startling but conclusive manner by the testimony of Heliodorus.* His practice, furthermore, establishes another important fact,
that a long strophe
is
apt to be divided into intermediate melodic
groups similarly arranged.^
On
the legitimate assumption that
two subordinate periods that have the same metrical form were, like strophe and antistrophe, sung to the same melody, analysis now a simple process.^ The groups are generally triads, is
tetrads, or
Hephaestiou
pentads successively derived, the larger from the smaller. testifies to the same groupings of strophes in the
of the drama,
main
divisions
the correctness of his statements.
and the plays themselves confirm I have applied the principles
outlined above to the comedies of Aristophanes in the eighteenth
chapter of this book with results that seem to

evidence of their truth.
me
to
constitute
The two rhythms treated in the eleventh and twelfth chapters have been the subject of vigorous discussion during the past I shall probably be thought to have said quite fifteen years. Aeolic Verse is on a different footing enough about the former.'
1 If it is not, the change in form is After the mauuSee 51. deliberate. script of this book had been sent to the printers, I received from Professor von Wilamowitz a copy of his recent monograph on the Vespae, in which I am gratified to find that the conelusions which I have stated in 51 are
confirmed by his high authority, ^ gge Bbckh's Pindari Opera, 308 tf. ' See chapter xvii. See 722 ff. = See 728. ^ See the illustrations in 729 ff. See 475 ff., 630 ff., 812 ff.
*
'
I.
ii.
xii

less
and requires
importance.
formal treatment, although it is of profound very considerable part of Greek melic poetry is
its
issue
The question of composed in it. and demands reconsideration,

is
constitution
is
a serious
for the theory of its
rhythm
is,
that
now
generally accepted in England and America
believe,
without ancient warrant, is due to misconceptions, and is I must beg for indulgence if I write at demonstrably wrong. length in venturing to offer a chapter in continuation of Mr.
Caxton's great work on The History of Human Error. Our ancient authorities all regard the four completely
developed feet of Aeolic verse as simple and as tetrasyllable, to each of the four syllables of each foot its normal Their statements are poetic value of long or short unreduced. Hephaestion devotes two chapters of his Manual to an explicit.
and they give
exposition of the uses of the choriamb and antispast, and in subsequent chapters discusses certain related cola and periods.^
His predecessor Heliodorus exemplifies ancient opinion on the constitution of this form of verse in his analysis of such odes as are found in the first parabasis and first stasimon of the Knights.
Aristides analyzes each of the four completely developed feet of Aeolic verse into thesis and arsis, designating the feet by the
earlier
names that were
in use in the time of Aristoxenus,
and
in a following chapter he gives an account of choriambic and Aristoxenus, whose authority is not to be antispastic periods.'^
questioned, states that simple feet

four syllables but not of
may
consist of two, three, or
more than four, classifies tetrasyllable feet as isomeric or diplasic, and in a fragment of his Principles of Rhythm, recently discovered in Oxyrhynchus, names and discusses three of the four tetrasyllable feet of Aeohc verse and
quotes passages from the poets in illustration of their use. defer for the present detailed consideration of this evidence.
respectable
I
This united testimony would seem to give Aeolic rhythm a standing, but most modern metricians who have written on Greek and Latin verse during the last century have
banished this rhythm, in its ancient constitution, from their Procedure so drastic as this rouses curiosity possibly it books. In my twelfth chapter I have outjustifies a stronger emotion. lined the structure of Aeolic verse and analyzed the Aeolic odes
;
SeeHeph. 29
f.
ff.,
ff.
See Aristides, 39
M.,
26.
20
J.,
43 ff. 54 f. M., 34. 33
fif.
J.

INTRODUCTION
last part of the fifteenth chapter
xiii
of Aristophanes in conformity with ancient doctrine, and in the

^
have stated what
believe
to be a credible theory of its origin from the primitive dimeter
and
trimeter.
It
now remains
to recall the history of the astonish-
ing break with ancient tradition which began about a hundred years ago and to re-examine the grounds of belief,
Gottfried
Hermann
is
the founder of the modern science of
ancient verse.
1796
able,
and
wrote three books on this subject between 1816, and has powerfully influenced opinion.
first of
He
Elmsley, writing in 1811, calls the

that
his books incomparof
and deprecates the severity of the criticisms

enliven
;
Hermann
of the
Person's celebrated preface to his
edition
Hecuba
still
'
but those were stirring days when the classics were generally thought to be of vital concern, when a metrical
law
'
might provoke the
applause of Europe, and

if
when two
literary antagonists, to use a
phrase of Elmsley's, were doomed
to
become personal enemies,
these two scholars.
Hermann was
they were of the temperament of only twenty-four years of

in his
age
when he wrote his first book on metric, but even he was intolerant of criticism.
youth
He was
at
this
a metrician, and his notions of rhythm, in his early
period, were crude.
He
seems not to have known Aristoxenus

Morelli
time, although
had published
his
edition
of
He did not hesitate, of Rhythm in 1785. however, to express opinions on such matters as the relative timethe
Frinciples
values of successive feet and the difference between Greek and
modern music. He held, in brief, that a long syllable was never more nor less than long, and that a short syllable was always short, and that these were the only syllabic values with which Greek poets operated. Any line, therefore, that combined dactyls, trochees and spondees was an agglomeration of isomeric and diplasic feet promiscuously mingled. Greek music was rude and passionate. These views provoked lively remonstrance, and Hermann's Tactlosigkeit in the scientific sense of that term became a by-word among those learned in these matters. Voss, the celebrated translator of Homer, and Apel, the former in 1802 and the latter in 1806, took issue squarely with Hermann and insisted that successive feet in the same colon, in Greek poetry and music as in modern, were all of equal length,
'
'
See 651 S.
xiv

rhythmical,
as has just
triple
since they were

line
been mentioned in
Voss rendered such a logaoedic common time throughout,
It was the latter who came upon the which has had great vogue. He aimed to formulate a system of universal rhythm, and ominously announces in the preface of his big book that he intends to pay no attention to grammarians and philologians in his attempt to re-establish
Apel in
'
time.
cyclic
'
dactyl,
'
the true
rhythm
poets,
of verse,
he
'
will derive his conclusions directly
from the
adequate.
fancy.'
with
whom
in fact
his
acquaintance was in'
as an ephemeral Bockh, writing in 1808, at first welcomed them, but soon afterwards, while maintaining firmly the theory of the
Hermann
stigmatized his views
temporal equality of
within the
foot.
feet,
rejected
Apel's cyclic
dactyl and in
general his a priori conclusions as to the distribution of times
In his great edition of Pindar Bockh turned from the metricians to the rhythmicians and was the first modern to utilize Aristoxenus in the study of Greek rhythm, but his sturdy maintenance of the doctrine of the exact equality of feet brought him more than once into conflict with his chief authority, as in his
conclusions in regard to the irrational metre and the logaoedic
dactyl.-^
Eossbach
in
published
the
first
edition
of
his
Greek
1854, the first modern book that treated the subject separately and as a whole and aimed to set forth the ancient system of rhythm completely, a task of great difficulty because the early ancient sources of information are scant. Eossbach gratefully acknowledges his indebtedness to Bockh. His opinion of Apel is contemptuous a fact to be noted, since a distinguished scholar, in a lively and entertaining criticism of the new metric but why the new metric ? has recently announced himself as the defender of the principles of Apel as developed by Eossbach, Schmidt and Christ.' It would be hard to find in any field of philological controversy a more scathing arraignment of another man's views than Eossbach makes of Apel's. Point after
Bhythmic
'
'
'
point
is
made with deadly
precision in proof of Apel's ignorance
and
folly.
Eeferring to Apel's cyclic dactyl, Eossbach says that
he has by the grace of God hit the mark just once

tion to ancient tradition,
1
this, too, is
the only time that, contrary to his principles, he has paid atten-
but this single gain disappears in a

See 16 and 390.
INTRODUCTION
welter of hariolations and hypotheses.
xv
in fine, " die bliude
Henne, die ein
giites
Apel is, Koru gefunden hat."

:
Even the gentle
Bockh, after a statement of reasons, says " inde profectus universam Apelii doctrinam, ut desperatam prorsus, coepi relinquere." Hermann had no quarrel with the choriamb in itself, on the
contrary he artificially extended
its
use.
it
Nor did he absolutely
because it was rough and harsh, as he thought, and he dispossessed it of its rightful place among the eight prototypes by the very process by which He had fallen into diffihe enlarged the use of the choriamb. culties with the undeveloped syllables which begin the Glyconic, whose origin and significance are now, after investigations that He gave have extended over a century, clearly apprehended.^ these syllables the name basis and discussed them at length in He held that they were a sort of praeludium his first book.'' et tentameutum of the feet that followed, but were themselves unrhythmical, that they consisted of two theses, and that they The etfect of the were to be treated as a separate element.
reject the antispast, although he disliked
'
' ' '
application of this theory
is
wholesale production of choriambs.
The greater Asclepiadean, for example, is made to furnish three Hermann treated these Aeolic verses choriambs by this process.'^ The acatalectic lesser Asclepiadean, like the inconsequentially.
greater Asclepiadean,
is
choriambic, but the Phalaecean
is
log-
aoedic, as also the Glyconic*
He
does not state
why
he thus
discriminates.
it
This classification was
made
in his first book,^
and
should be noted that he thus advanced the theory of logaoedic scansion of certain Aeolic cola before any of his successors in the
same field had written on this subject. Hermann's theory of the nature and use of these undeveloped syllables was at first thought to be new learning and they still Hermann's basis,' but this doctrine crops out pass current as among the Latin derivationists,' who on demand will furnish
'
'
almost
allowed
anything
it
that
is
desired.
They, however,
made
'basis,'
the
Phalaecean choriambic.*^
follows, regarding
1
Bockh accepted Hermann's
but
only one thesis and completely severed it from what of only two or at the it, although it consists
See506ii., 652f.
- ^ - v^|- ^
|
c;
^ |-^^ -^ |
See
De
î=L\-^^-\-^^-\-^^-^^^Mj_^^_i_>^^-\^-; ^x|_^^|
Metris (1796), 21
ff.
518
^
^'
ii.
and
De
511. Metris, 216.
See532.
4
-sd\-^'^-\-^-^-ff.
See Caesius
Bassus, 258
K.
xvi

three syllables, as a
' '
monopodic colon. The basis was a and the trochee and but might be irrational ( ), These irrational colon might be resolved (^ ^ ^ and w ^ - ). were its only forms in Pindar, who did not admit the pyrrhic
most
trochee,
'
'
it
{^ ^) or the dactyl. When the iamb occurred (as it does in Pindar) was not to be considered as a basis but as an iambic colon
' '
prefixed to a following trochaic or dactylic colon with an effect
Eossbach and comparable with syncopation in modern music.^ Westphal protested vigorously against the separation of the
syllables grouped in the
'
basis
'
from the following

a
feet, alleging
that these
syllables
constituted
triseme
foot
in
descending
rhythm, characterized by great freedom of form, and as closely connected as possible with what followed." We need not follow these troublesome syllables farther. It is obvious that the original segregation and prolonged discussion of this unruly combination would strongly individualize it and give it that sort of general recognition which comes from possession of But its recognition as a separate element, whether as the field. It beheads prelude or colon or foot, goes much deeper than that. aU antispastic cola, and no victim survives that fatal process. The antispast disappears, and the remainder of the colon must now be analyzed as either choriambic or logaoedic. No other
To what extent is existing prejudice against general, due to the unfortunate accident of Hermann's misconception of the origin and nature of the unThese syllables formed syllables that begin many Aeolic cola ? disturbed the Latin metricians also, but their trouble was that The pure antispast was they contaminated the antispast.
method
is possible.
the antispast, which
is
unobjectionable.^
that, if
Is it pertinent
(or impertinent
?)
to
surmise
^
modem
metricians had had from the beginning of the

as
discussion as clear a conception of the polyschematist dimeter
we now
have, thanks to the intuition of Professor von Wila-
mowitz,^ and had seen that the unformed initial syllables of the Glyconic were only a minor manifestation of the same pheno-
menon,^ they might never have raised their turbulent outcry They would, to be sure, have needed also ? to rid themselves of the obsession of an ictus, that Old Man of
against the antispast
the Sea.^
^
2 2
See Find. Op. i. ii. 6.5, 80 cf. 149. See Spec. Metrik," 554 ff. See Marius Victorinus, 88. 3 ff. K.
;
^
^
See 506 f. See his Choriavibische Dimeter. See 653. See p. xxiii
'^
f.
INTRODUCTION
xvii
basis,'
When Hermann
as choriambic or as their books
had established
his
'
but had
left
the
question open, whether the following feet were to be regarded
Voss and Apel, both predisposed rhythms of modern poetry and music, promptly decided for logaoedic scansion, and Bockh adopted the same view. Rossbach states the fact from precisely this point There was now general of view and in precisely this way.^ disagreement arose when agreement that the choriamb must go another deadly process into the it came to dismembering it Apel's two diplasic feet required by logaoedic scansion.^ extended exposition of his theory of rhythm^ had undoubtedly It was his ignorance or neglect of principles influenced opinion. of Greek rhythm transmitted in ancient sources of information The extant that involved him in fantastic conclusions. still mere conception that the complex but authentic tetrasyllable rhythms of Greek poetry can be stated in terms of the simple dissyllabic and trisyllabic rhythms of modern poetry is alluring,
logaoedic,^
to the
show
but
if it is consistently applied, the consequences are appalling. Eossbach and Westphal were unable to face them and left the Other scholars, such two ionic tetrasyllable feet untouched. as the late Professor von Christ in Germany and Professor Shorey in America, sustained by the courage of their convictions, consistently sacrifice the ionics along with the antispast and Von Christ even choriamb and give them logaoedic scansion.^
feels
doubt about the pentaseme

of
feet of
Greek
heniiolic rhythm,"^
but halts abashed before the repeated testimony of Aristoxenus
and the paeonic odes
Aristophanes.
is
Historic evidence of
logaoedic scansion of Aeolic verse
Eossbach and Westphal confess that it is entirely without the support of ancient authority, Greek or Latin, early or late." It is neverthewholly lacking.
less,
they allege, the true theory, the theory of the poets of the
classical period,
but
choriambic theory devised by two
Alexandrian period, on metric* This

^
and was replaced by an ionicunknown grammarians of the whose doctrine was adopted by Latin writers
it
was
lost
is
startling
5
statement.
See
shall
shortly
f.,
'
XV. - Spec. Metrik,^ 521. On the first of these two feet, the cyclic dactyl, see 390.
p.
'^
'
See
Von
is
jjjs
^^
6
'
Christ, Metrik,- 71 rendered as
where
J.
J*'.
ggg
Metrik," 64.
Metrik,'^
"~"
^2
See
Spec.
521.
my
His two volumes occupy over twelve hundred pages. He announced a third volume, but died before it was written.
'Logaoedic' Metre in Greek 31 jf. s ^^^^^ Metrik,^ 518 ff
Comedy,
xviii

evidence
that
advance
fourth
has
convinced
me
at
least
that
the
logaoedic theory of Aeolic verse cannot have prevailed in the
century before Christ, when Aristoxenus, a man of profound intelligence, with the wealth of the poetry and music of the preceding century at his command, undertook to formulate the principles of rhythm which the great poets had unconsciously
obeyed.
had extraordinary had the honour of making the outlines of Schmidt's general system known to English and American scholars w^ho had not become acquainted with it in the original by the publication in 1878 of a trans-
The
'
logaoedic theory
'
of Aeolic verse has

it.^
vogue.
J.
H. H. Schmidt adopted
lation
of
his
summary statement
of
it.
logaoedicos vae, Misit Temptavit in dulci iuventa Fervor et in The present book, therefore, is a palinode, if so fine furentem.
Me
quoque pectoris
word may be applied
to a performance
so pedestrian.
The
logaoedic theory has been adopted in
many
editions of the poets
and has been repeatedly presented in books and monographs, notably by Professor von Christ, an ardent and eloquent Two American scholars have recently come forward advocate.^ in its support, Professor Goodell in a cautious and judicial
reconsideration of the ancient evidence, strictly confined to Aeolic forms,^ and Professor Shorey with a vivacious monograph in which the author's views are expressed with ardour and the
main argument
It
is
enlivened by practical suggestions, discussion
of pedagogical methods, and piquant criticisms.^
challenged.
must not be supposed that the new theory has gone unProfessor Henri Weil condemned it and repeatedly Professor controverted what he affirmed was false doctrine.^
disappear. ... If the Greek accents are ignored, there is no consciousness of any difference between Greek and English metre. Both are rhythmically stressed, and both, if we regard the practice of the better English poets, are quantitative though English is less exquisitely so. It is possible with the schemes of Rossbach, Schmidt, and others, to teach students to read with appreciation the choruses of tragedy and the odes of Pindar. The aesthetic effect obtained, the pleasure received, is precisely analogous to that enjoyed by appreciative readers of Shelley and Swinburne, ^ First in the iVews Jahrhucher fiir
1 In his Kunstformen der griecMschen Poesie, a vohiminous work of considerable originality. 2 In his Meirik see also his 'Grund;
in
fragendermelischenMetrikderGriechen' the Transactions of the Bavarian ^ca(ê??/, XXII. ii. (1902), 213 ff. 2 See his Greek Metric, 212 ff. He In his Choviambic Dimeter.
his general position at the beginning of his monograph in the following and similar tenets : In prowe study any foreign portion as
outlines
system
of
verse
alleged
differences to which
between
we
are
fundamental its rhythm and that accustomed tend to
INTRODUCTION
Susemihl declared against
attention to Aeolic
verse,
it.^
six
The publication of Professor von

interest in
Wilainowitz's Isyllos and HeraUcs powerfully stimulated renewed
and
the subject became
general on the Continent
when
Dr.
Kenyon published
the British
Museum
papyrus of Bacchylides.
Professor Blass in his edition
of the text of Bacchylides
in the treatment of the Aeolic odes
(1898) abandoned the logaoedic theory among the newly discovered
Professor Schroder's poems, and monographs began to appear. Pindar was published in 1900, and was followed by his metrical
editions of the
his master, Weil,
Greek dramatists. Professor Masqueray followed and Professor Hugo Gleditsch went over to
the enemy.^
very strong on the Continent

volume.
scrutiny
The reaction against the logaoedic theory of Aeolic verse is its waves have hardly as yet reached the shores of England and America. It has gradually gathered
;
Scholars have subjected the fundamental principle,
first
affirmed by Apel, on which this theory rests to severe but judicial
and found
it
untenable
they
have observed
with
surprise the disposition of extreme advocates of this theory to
minimize plain differences between Greek and modern languages and to establish equivalences that do not exist they have reexamined the ancient evidence and found it, though meagre, convincing they have successfully submitted the ancient theory to
;
the practical test of

feet in
its
application to the poets.

tetrasyllable simple
The new doctrine denies the existence of

Greek poetry.
In justification of
theory of universal
Apel affirmed a rhythm which, developed a priori, would satisfy all the demands of ancient and modern verse. Submitted to this test Ionic and Aeolic Greek rhythms were doomed to disappear, for they are not found in modern poetry. But Apel neglected certain elementary but fundamental principles. The sense of rhythm is universal poets have been singing since the world began, and a mere child is charmed by the rhythm of motion. Ehythm has various media of expression. Language is only one of them and it is the stubbornest of all. Even in Greek
this,
;
650
vi.
Philologie for 1862, 346 tf., aud 1865, Later in the Fievue Critique, ff. (1872) 49 ff., and in tlae Bulletin de Correspondance Hellenique, xix. (1895) His views are summarized in 399, 411. his tudes de Rhythmique in two papers with expressive titles Les Prelendus
:
Logaedes (181
fiF.)
and Za Vraie Mesure
dcs faux logatdes {203 ff.). ^ Jahrbiicher fiir classische Philologie, 1873, 294 fi'.
-
See the Bibliography, pp. 459-464
of this book,
" ;
XX

make
it
not only the order but also the length of syllables had to be
regulated to
an instrument
difficult
of
rhythmical expression.
English
give
is
still
more
us by their delicate
it
medium, and our great poets charm but sure control of the means by which they
spoken verse, their
is
rhythmical
effect in their
skilful sub-
stitution of natural stress for the quantity that
inherent in
Greek, and their facile use of hold and pause in marshalling the
almost colourless and very uncertain syllables of English speech so

that they march in time.
But
vs^hile
the sense of
rhythm
is
universal possession, the forms of

various,
its
expression in language are
of the
and the degree medium. There
of variation is conditioned
is
by the nature
nothing improbable in the supposition

like
that a strictly quantitative language like Greek developed forms

of
rhythm of which a modern language
English
is
incapable
on the contrary probable, since as Aristoxenus says rhythm is an ordering of times. It is, of course, a mere rhetorical pleasantry to deny the existence of a fact because it does not come within the range of one's own experience, but if this were said seriously, in the attempt to dispossess tetrasyllable feet of their rightful place as indivisible measures of rhythm in Greek, it would be an ineffective argument. Modern poetry cannot manage these longer rhythmical elements with ease, but one of the facts that deterred Professor von Christ from dismembering the paeon was Brambach's discovery of modern melodies in fiveeight time,^ and Westphal quotes an aria from Mozart's Bon Juan that is in ionic rhythm.'-^ That is, modern music with its greater resources can compass rhythms that are not found in modern
it is
poetry.
We may
go farther.
The English poets have developed three

a fourth.^
simple rhythms, and perhaps
These are
the only
rhythms natural
ambics
is
to this particular
essayed others successfully.

'
medium, but our poets have The charm of Swinburne's Chori'
undeniable
Large red lilies of love, sceptral and tall, lovely for eyes to see Thornless blossom of love, full of tte sun, fruits that were reared for thee.
;
See Rhein.
ff.
Museum, xxxv.
(1880),
242
-
See Hhythmik,^ 195 ff. * Swinburne in a note prefixed to his spirited rendering of the parabasis of Aristophanes's Birds speaks of English as "a language to which all variations
and combinations of anapaestic, iambic, or trochaic metre are as natural and pliable as all dactylic and spondaic forms of verse are unnatural and abhorrent. The battle over the hexameter that began in the sixteenth century still
rages.

INTRODUCTION
This
is
xxi
Horace's
Tu ne
quaesieris, scire nefas, qiiem mihi, quern tibi
the greater Asclepiadean.^
have nothing
theory'
of
to
do,
it
should be
this
verse.
Swinburne, a good Grecian, would logaoedic noted, with the He has followed Hermann, perhaps
'
Horace, in separating the first two syllables of each verse from His technical the choriambs that then flow on to its iambic close. skill was unrivalled, and is here seen in his delicate attention to
natural length of syllables and in his use of stress, both reinforced by caesura, to secure just the effects he wished. Professor
Gilbert Murray, another good poet and Grecian, has kindly sent me verses composed in the same rhythm, but in what he I am
happy
to
know
believes
was Sappho's
manner.'-^
An He
old eagle, a blind eagle, who waits hungry and cold and still he stands lone on a lonely hill. seeks nothing, he fears nothing
:
Here we
see the
same
is
skilful
use of natural length,

effect.
stress,
and
caesura to produce the desired
These are tours de
force, it
may
be
said.
That
precisely their value in this discussion.
rhythms have not been used by modern poets because modern languages are constitutionally inadequate to sustain these longer rhythms easily, not, as has been alleged, because these rhythms are impossible in any language. Apel's system of universal rhythm not only put authentic Greek rhythms into a strait-waistcoat, but it has also gradually The effect of its adoption was altered the cut of that garment. real differences between the as inevitable as it is deplorable
Greek
tetrasyllable
ancient and the modern language are minimized, alleged equivaOne's sense of the significance of features lences are multiplied.
that are sharply characteristic

language,
is
now
of one,
now
of the
other
Thus the distinction between melic and spoken verse is broken down, and Greek dramatic choruses that were rendered by a dozen or fifteen performers in song, and were often accompanied by a dance, are treated precisely as modern verse that is read or recited by a single person. Stress, which is the vital feature of modern poetry and is there combined with the word-accent, is imposed upon Greek poetry
blurred and deadened.
1
See 532.
xxii

to
is
and alleged
whereas there
be an indispensable element of Greek rhythm, no evidence for an ictus in Greek poetry, and
many
scholars
modern invention.
rhythms
with
consequently believe that ictus in Greek is a Quantity, inherent in the language and fixed
is
in almost all syllables,

their
the solid foundation on which Greek

orderings
of
'
varied
times
'
are
based,
whereas in modern poetry one school of metrists practically denies that it exists, another affirms that it has a function comparable with that in the ancient languages, and meanwhile the shows that whatever the true arbitrators practice of the poets
role
it
plays
is
entirely secondary to that of accent.
Finally, the
pause and the hold are indispensable in rhythmizing the uncertain syllables of modern speech, but in Greek the quantity inherent in syllables requires no support, and the use of pause
and hold while

Iambic
in Greek.
is
strictly defined is purely artistic.
the only
rhythm that was used

and
in
in
spoken verse
are
Iambic, anapaestic, trochaic

recitative
dactylic
the
rhythms that were used

an
actor's
rendering, but recitative

of
does not signify in the least what

reciting his lines.^
we mean when we speak
These are the four rhythms that modern poetry has developed. Both Greek and English, therefore, employ only simple dissyllabic and trisyllabic rhythms in nonmelic verse.
The Greeks, however, developed other rhythms,
paeonic, ionic, dochmiac, prosodiac-enoplic, Aeolic.

exceptions, these
With
rare
The choruses rhythms were exclusively melic. Only a highly imaginative mind can grasp of tragedy were sung. The word lyrical has the idea of reading dochmiac verse. now a connotation far removed from its original Greek sense, and Bacchylides and Swinburne are not, in fact, poets of the same genre. If now the rhythms just named were not used in spoken verse in Greek, how credible and convincing is the allegation that the metrical structure of Aeolic verse must have
'
'
of the simple trochaic a bastard form, at best been a form and dactylic rhythms that the Greek poets did employ in nonmelic rendering, because we moderns cannot read Aeolic verse
in
to
Eegret that we cannot teach our pupils ? render the odes of Pindar as Greeks rendered them is an amiable sentiment, the resolution to read them even at the cost of reading them in the wrong fashion is prompted no doubt by
any other manner
See 59.
INTKODUCTION
determination of
xxiii
a generous impulse, but neither has the least significance in the

scientific
facts.
The more ardent advocates of the logaoedic theory of Aeolic To verse assume stress in Greek poetry and make much of it. English-speaking men stress seems a natural and necessary manifestation, since, whatever its precise nature may be, and about that modern prosodists are at loggerheads, and however
perplexing
verse
particular Hues,
is
reasons its determination may be in remains true that the great body of English composed in simple feet of which one part is distinguished
for
various
it
from the other part or parts by what we

this coincides with the word-accent.
call
But
in
stress/ and that Greek there is no

'
evidence for any such phenomenon, no historic proof that the Greek poets distinguished the thesis from the arsis by variation
of stress.^
Two
The ancient authors have been searched in vain. passages have recently been brought into the discussion, but
both refuse to give the testimony for which they were summoned. Louginus in his prolegomena to Hephaestion's manual ^ says that
a passage
Â/j,(biaa7)
in one of the orations of Demosthenes, tov

iroXefxov,
hi
yap
iv
ov et? 'EXaretay rjXde îXcTnro^,
may
be rendered as heroic verse, as it can, but that this was not observed because the orator declaimed it in the prose manner.
The inference from
this
cannot be that Greek verse was distin-
guished from prose by a foot-stress,

that verse was stressed,
and
therefore
generally
because Longinus himself
tells
us what
So important is it in interpretation he means, and it is not that. He has just been saying that to pay attention to the context. it is the ear which determines whether or not a given combination of words constitutes a verse, but that the voice must In order to get previously shape and regulate the syllables.
rhythmical
detection.''
effect
the sounds
is
must
so
first
be given proper length,
otherwise the combination
much
prose and the verse escapes
This doctrine that syllables in their natural state
vary in length, not all longs being of the same length nor all shorts, is older than Aristoxenus, and Dionysius in his treatise on literary composition gives it due attention.^
1
^ *
See 28. See Consbrueh's Hephaestion, S2.
De corona, 143. The argument of Longinus
Hephaestion with some change of See Consbruch, 178. phraseology. ^ See the second paragraph on next
page,
is
found
also in
Choeroboscus's commentary on
xxiv

The second passage is in Aristides.^ He believed that simple in antithetic rhythm might be combined even in the same
feet
colon,
a doctrine
now
exploded,
for instance
that a dactylic
metre might be joined with an anapaestic metre, as in dvBpe'i an illustration from oirXtrat Siara^dfievot, to furnish him
he assumes.
that the
'
Aristophanes (Vesp. 360) that has just the metrical constitution But in a preceding chapter (xxiv.) he has stated
dactyl ^ and spondee are proper feet in anapaestic rhythm, and he therefore recognizes that his assumed dimeter
'
may
be
purely
anapaestic.
He
regards
either
solution
as
legitimate, but
doubt which the poet intended, and until he can determine that fact he does not know how to beat This particular combination of long the time of this dimeter. and short syllables, he says, is ambiguous, SvaBcaKpirov Troiet Tr}v l3d<7Lv, and it is clear that the ambiguity remains for him, There is nothing in this whether we assume or deny stress. passage from the De musica to show that Aris tides would have stressed the theses of his assumed colon when he had determined
he
is
in
its
rhythm.
There
is
time with hand or

intensive
genial protest
^
foot,
plenty of evidence that the Greeks beat none that they accompanied this with
utterance on the
is
down
il
beat,
and M.
Kawczynski's
avec
le
just
"
Or
la
me
parait inadmissible de faire

qu'ils faisaient
executer aux anciens par

pied."
bouche ce
Quantity in Greek
a syllable.
;
is
the relative time occupied in uttering
Greek vowels are by nature long or short, diphthongs are long a syllable that contains a long vowel or diphthong is long, one that contains a short vowel is short, but syllabic length Time is is increased by conjunction of vowels and consonants.
the conception underlying these elementary principles, quantity
is
innate in the
Greek language.
all
Greek
all
rhythmicians
early
noted the fact just intimated that

of precisely the
long syllables were not
same length, nor
short syllables equally short,
that the length of a naturally long or naturally short vowel was
The speculations of increased by the addition of consonants.'* Aristoxenus some rhythmicians on this subject were fantastic.
apprehended the element
of truth in them, a certain slight varia-
tion in the length of syllables,

1
and therefore made the primary

^ *
57 M., 36. 36 See 11.
ff.
J.
See his VOrigine, 56. See Dionysius De coinp.
verb.
chap. xv.
INTRODUCTION
xxv
The time, not the syllable, the unit of measure in rhythm.^ time of the syllables of speech required regulation in order that This regulation they might become proper measures of rhythm.
was
effected just as soon as
men began
to sing.
It
that unconsciously established the simple laws of poetic
was the poets rhythm
in Greek poetry all short syllables are normally of the same length, all long syllables are normally of the same length, and the time-ratio of the former to the latter These simple rules are beautifully illustrated by is one to two. pure anapaestic and pure dactylic verse in comedy, which admit
that prevail in Greek
no exceptions.
But verse and melody limited to syllables and tones of only two durations, long and short, would have been monotonous, and variations of these two times arose in the most natural manner in the development of certain rhythms from the primitive cola.
These
variations
include
irrational
arses,
displaying
long long
syllable shorter than the
normal long and short syllables shorter

;
than the normal short

syllable longer than the
protracted
theses,
displaying a
normal long, in trisemes and tetrasemes ;^ and in iambic and trochaic verse a short longer than the normal short."* Variety was further secured by resolution,^ by the
pause in melic verse that occurs at the close of most subordinate periods, by this pause and an additional rhetorical pause at the
close
of
most spoken, melodramatic, and
recitative lines,
and by
caesura and diaeresis in non-melic verse, which were in no sense comparable with the hold that is so frequently necessary in
pauses that interrupted the flow of the rhythm.*^

the
"
English verse in order to secure rhythmical length, but were true So little do
new
the
metrists," as Professor
Shorey
insists
on calling them,
shorts.
merit
charge
of
simply
juggling
with
faith,
longs and
Defenders rather are they of the true

to
who
piously rejoice
and triseme theses

struggling.
have themselves escaped from the welter of irrational arses in which they see their apostate brethren
Professor Goodell declares that the theory of English metric This cannot be due to lack chaos.^
See 11. See under Pause, Diaeresis in the Index.
^
is
as yet little better than

1
See 1, 2. See under Irrationality in the General Index. See under Protraction in the Index. ^ See 228.
'
Caesura,
and
'
Greek Metric, 20.
xxvi
of attention to the subject.
vast
number
of books
and mono-
graphs on English prosody has been written, and every possible Since the time of Spenser view has been advocated and denied.
theorists in plenty have been ready to instruct the poets in their
art.
Theories
on
English quantity
range
all
the
way from
the
dogmatic doctrine of the

to
classicists,
who
in
the sixteenth
century attempted to saddle Latin rules of quantity upon English

to the view that all English The same time for utterance. conceit that English verse may be written in the classical manner It is attractive, and the malady recrudesces from time to time.
syllables,
those
who
incline
syllables take practically
the
broke out violently soon after the middle of the

'
last
century
when Matthew Arnold delivered his lectures On Translating Homer' at Oxford and Professor Munro declared in Cambridge that modern speech had lost all sense of syllabic quantity.
Specimen English
hexameters done
in
the Virgilian
manner,
all
quantitative hexameters that sadly disregarded the accent of the
English words, even rules of English quantity were

coming.
forth-
Tennyson satirized these hybrid hexameters in kind. Spenser had humorously said three hundred years earlier that the middle syllable of the word carpenter (which the classicists had made long by position ') " seemeth like a lame gosling that draweth one leg after her." But our great poets are endowed with too sensitive and delicate powers of perception not to feel Tennyson that English syllables are not all of the same length. once said that he believed he knew the quantity of every word
' '
'
in
the
English
language
if
except
perhaps
'
scissors.'
It
is
important to discover,
what he meant by that. He seems to be laughing behind his mask in his hendecasyllabics, and he himself said of his " Boadicea," of which the metre is " an echo of the metre in the Atys of Catullus," ^ that " he wished that
you
can, just
'
'
it
'
were musically annotated so that it might be read with proper quantity and force." This can only mean that he regarded the quantity of English syllables as in itself so unobvious that a
'
musical score was required to indicate

four simple rhythms of English poetry.^
^ The common form of this catalectic v^ ionic tetrameter in the Attis is y^^^, "Fear not, isle of blowing woodland, isle of silvery
it
in
any except
the
_^
w^
^^ ^^
"
!
parapets
- Elsewhere in the Life his son records: " He gloried in his new English metre, but he feared that no one could read it except himself, and wanted some one to annotate it musically so that
'
INTEODUCTION
It
is
xxvii
confidently
hard to make one's way in the ruck of opinions expressed by contending prosodists about stress,
like
quantity, hold, pause and the
in
English poetry,
it is
but so
not
that
much may
fundamental,
safely
be
said about quantity, that
the
it
inevitable
is
element
it
in
English
a
poetry
unquestionably
in Greek,
is
not
structural
necessity.
neglect or consciously disregard the difference between quantity in Greek and in English breeds lamentable confusion.
To
This difference
may
be summarily stated as follows.

is
In Greek
poetry the quantity of syllables

stress,
fixed
and
is
they are long or short, and variety

processes that
are
independent of secured by modifying

is
them by
regular in operation and perfectly
determinable.
In English poetry the role of syllables in prois
ducing rhythm
degree
of
secondary
when they
varies
'
differ
in
length, the
difference
constantly
and no rules
' ;
can
be
formulated, the most of
them
are
common
they are fitted

all
into the rhythmical scheme,
which in the poetry of
languages
demands that feet in the same series shall be of equal length, Chief among these are pause, hold, and by a variety of devices. Time and stress are intimately related. The skilful stress. use of pause and hold, the indispensable means by which the
rhythmical units
of hold
temporally imperfect elements of English speech are grouped in is the highest art, but this particular function
and pause
of
is
unknown
in Greek.
Neglect
real
differences
and assumption
of
false
re-
semblances between Greek and modern languages confuse the investigation of a subject that is in itself difficult, and obscure
the
individual
charm
of
each
of
language,
but
they
feet
do
not
ultimately invalidate the fact

poetry.
tetrasyllable
in
Greek
These are established by the testimony of Aristoxenus.
An
important part of this testimony has been recently acquired.
In discussing the principles of rhythm Aristoxenus states

that a simple foot
or foot-times, that
may
is
consist of two, or of three, or of four parts
syllables in
poetry,
presently state
why
these parts are never
and adds that he will more than the four
which the
fulfilment
foot has in virtue of its
own
special character}
The
of this
promise
is
unfortunately no longer
can read her except myself? ^ See 290 M., 18 W.
"
extant.
people could understand the rhythm.' "
Again
lish
"
:
her
Boadicea,' no, I cannot pubyet, perhaps never, for who

'
' ;
xxviii
with In a subsequent passage, in which he is considering feet and reference to the number of primary times that they contain arsis and thesis, he says: into times these of distribution the Feet of this "Hexaseme feet constitute the fourth class. magnitude admit two divisions into arsis and thesis, the iambic For of the three ratios that six primary and the dactylic'
'
'
times admit, namely the isomeric (i.e. 3 3), the diplasic (i.e. 2:4 = 1:2), and the pentaplasic (i.e. 1 5), the first belongs to but the the dactylic class of rhythms, the second to the iambic, This classification covers the two last is not rhythmical."^
: :
ionics in diplasic
rhythm, and the choriamb, antispast, diiamb Aristoxenus does not name and ditrochee in isomeric rhythm. them here, but the earlier names of the four-part isomeric feet, with which we are now particularly concerned, are given, and
of these feet are briefly characterized by Aristides in a passage "The source: original the is Aristoxenus agreed is it which
KprirtKO'i
(i.e.
- ^ ;
a trochee
as arsis
^), which consists of a trochee as thesis and the SaKrvXo^ kut cafiôv (i.e. ^ - ^ -),
thesis
which
is
composed of an iamb as
and an iamb
(i.e.
;
as
arsis
the BdKTv\o<; Kara âKxecov rov airo rpoxalov which has a trochee as thesis and an iamb as arsis
- ^ ^ -),
the BaKTvXo^ Kara âKx^lov rov airo Idîôv (i.e. ^ - - ^), which has the same constitution as the foot just named but with iamb and
Aristides designates the parts of trochee in converse order." " these feet by names (iamb, trochee) with which all his readers would be familiar; but he here treats the feet all as simple
feet, TToSe?
to
be considered, which
davvderot,^ as does Aristoxenus in the evidence still we owe to the energetic and learned
discoverers of the treasures found in Oxyrhynchus. This important document is a fragment of the same
work
that I have twice cited above, Aristoxenus's Frinciples of Rhythm, and treats of protraction in the ditrochee, diiamb, and choriamb, and of other special cases of rhythmization. Elsewhere in this
book I have gratefully availed myself
of the
Oxyrhynchus
frag-
ment
fragment as in the passage in Aristides the ditrochee is called KprjriKo^;, the diiamb BaKrvXo'i Kara cafxjSov, the choriamb briefly âKxeio^, and each
in discussing iambic catalexis.^
In
this
is
1
regarded and treated as a simple isomeric

2
foot.
The diiamb
is
See 302 M., 34 W. See 49 f. M., 26. 20 ff. J.
'
*
See Caesar, Grundziige, 223. See 780.
INTRODUCTION
consists of four foot-times, or syllables, of
xxix
incidentally described in the last part of the fragment as a foot that
which the
from
first is short.
Each
of these feet
may
be used continuously and each

quotes
freely
may
be
in
protracted.
illustration
Aristoxenus
of both facts.
the
poets
The bare metrical form of the proIn re-establishing, tracted measure in all three alike is - w -. in the apparently defective feet, the length demanded by the rhythm, this becomes - v^ l_ in the ditrochaic series and i- ^ -
One might feel doubt which form the choriamb Aristoxenus tells us and states the reason. would assume. The rhythmical value of the protracted form of the choriamb because triseme protraction is more suitable to the is L_ ^ trochaic movement with which the choriamb begins than to the iamb with which it closes. Aristoxenus characterizes and describes the choriamb in this
in the iambic.
,
It is congener of the it is a single, simple foot diiamb and the ditrochee it is consisting of two long and two hexaseme it is tetrasyllable, short syllables, and each syllable has its natural poetic length of long or short it is isomeric, and each half consists of the same metrical elements, but these are arranged in reversed rhythmical
;
fragment with unmistakable precision.
order.
'
Yet the
'
logaoedists
'
declare
this
that the
is
choriamb
is
catalectic dactylic dipody,'
and
dipody
the corner-stone
of their theory.
Harvard University,
Jj)ril 1912.
METEICAL CHAEACTERS AND EXPLANATIONS OF USAGE

The references
are to sections.
For
V.
(/),
(I),
(r),
(J),
I- (J.),uj (^),
(P-),
m
23
(J^J), gee
n.
3.
For A For
A,
AA, see 33, 35, 572

,
For N^, the equivalent of w ^

,
see
n.
in place of a lacking short or long syllable, see 31.
For
^'j in iambic
(
and trochaic rhythm,

),
see 228.
For the cmy/xTj
placed over
w and
see 51 n.
in the thesis, see 8 n.
For ~, indicating correspondence,

Brunch's lining
is
followed in referring to the plays of Aristophanes,
Kock'a numbering in referring to the fragments of comedy.
Hypermetrical periods (47) are analyzed into cola in both strophe and
antistrophe.
See 89, 93, 94,
etc.
Indentation of cola signifies the continuation of a subordinate period

or hypermeter.
See 82, 83, 84,
etc.
In the text of antistrophes arranged in subordinate periods, a heavyface letter signifies the beginning of a colon within the period.
See 82,
83, 85, etc.
The
close
of
colon within a
word, in strophe or antistrophe,
is
indicated by a
hyphen (') placed

line.
after the metrical analysis of the colon,

etc.
above the level of the
See 84, 85, 86,
The numerals that follow the metrical analysis of a strophe signify the number of metres that each preceding subordinate period or hypermeter
contains.
See 80, 82, 83,
etc.
When
is
minus sign
is
added, the final

etc.
colon
is
brachycatalectic or hypercatalectic.
See 301, 303, 344,
"When
is
added, the preceding period
dochmiac.
See 465, 467, 468,
etc.
The small
capital letters attached to these numerals, above the level of
the line (^^^), signify respectively catalexis, variable syllable, hiatus.

80, 82, 83, 88, etc.
See
The lower-case
indicate
letters
abcde, in the analysis of the structure of odes,

;
subordinate periods or hypermeters

;
the
small capitals abcde,
intermediate periods
46, 48.
the capitals
ABCDE,
XXX
systematic periods.
See 41,
CHAPTER
FUNDAMENTAL PEINCIPLES
1.
Poetry
is
distinguished from prose by
its
measured move-
ment, or rhythm, and was inseparably associated by the Greeks
^stêJ^ts
with the kindred rhythmical arts of song and dance.^ "^^^ Greek comic poets were poets in a threefold
sense, 'makers' not only of verse but also of melodies^
and dances. Aristophanes composed the music to which his odes were set, and, when these were rendered with a dance, devised the rhythmical bodily movements by which they were accompanied. Melic poetry, among the Greeks, preceded in order of development verse that was simply recited or spoken (59). 2. Greek poetry differs from modern poetry in an essential particular the language in which it is written is strictly quantitative. Greek accent, as the name, irpocrwîa, implies, signifies pitch, variation in tone. In Greek songs OuriîtaUvJ the distinctions of tone indicated by the written accents, an Alexandrian invention, were lost in the ampler tones of the melody. Length of regulated syllables, not accent nor stress (28), was the basis of rhythm in Greek poetry, as length of tones was its basis in melody, and length of time of bodily movements its basis in the dance. Aristoxenus defines rhythm as y^povoav ra^t? (Walz, Rhet. Graec. v, 454) and calls the fundamental unit of measurement of rhythm, whether in poetry, melody or dance, the primary time,' 7rp(t)T0v9/xi^6fieva
rpia-
Xfîs,
M^Xoj,
Klvr)ais
awiiariKT),
Aristox.
f.
278
il.
- Agathon 'composing' in the is prologue of the Thesmophoriazusac (39-
M., 9
21. 15
W.
f.
pv6fj.itîTaL v fiovaiKy
Kivriffis
175),
(99).
"/ieXoioetv
yap irapaaKevdêrai"
<Tw/j.aTos, fj.\iii5ia, Xefts,
Aristid. 31
Cf.
49
ff.
J.
syllables of speech are not in themselves proper 3. The These measures of rhythm, since their values are not constant.^ values are regulated in poetry, and we may for ^ convenience, in dealing with the forms of poetry, ^^s^ê^^ch regard a short syllable in rhythmical measurement
primary time, equivalent to an eighth-note The long syllable has then the value of two primary times, or of a quarter-note ( J). Aristoxenus names this rhythmical doubled-time 'x^povo^ Sl(T7]/j,o<i, and in agreement
as the '^p6vo<; Trpeoro?,
(J") in
modern music.
with this we may, with convenience, speak of a
'
diseme
syllable.'
But
as
in
reTpdo-jj/xo'i
rhythm there is also a and & ^povo'i Trevrdar] /j,o<i
')(^p6vo<;
TpLar]/MO'?,
a ^povo'i
{Avistox.
280
M., 10 W.),
so a long syllable or five times,
may be and may be
protracted to the value of three, four
designated as a triseme, tetraseme or
The metrical signs of the length of syllables pentaseme syllable. are ^ short, - long, l_ triseme, l_i tetraseme, lu pentaseme.^
On
rules of quantity in
comedy
see 790
ff.
time,' %/3oiô9, is here applied solely to the 4. The word measurement of rhythm, and is not to be confused with the word time signifying the tempo (dycojrj, Aristid. 42 M., empo. 2^^ 29 ff. J.) in which a strophe as a whole was The tempo of Greek songs varied, as in modern music, rendered. but it was probably consistently maintained throughout a single strophe in most of the simple songs of comedy.
*
' '
THE FOOT
5.
Syllables are
foot, 7rov<i, as that
Aristoxenus defines the combined into feet. by which we apprehend the rhythm and make
others.^
this
perceptible to
In poetry, the foot

of the verse."*
^
is
sort
of
rhythmical
1 t;
common measure
xP^''v
-^^
A
rrj
simple
foot, 7rov<i
5^
(rvWa^ri
^jpeixtl:
Tivbs
ixirpov
fJ-^y^Gv
odcra ovk
fjikv
Kara rbv
^'^
yap xp^^^"
ai
avTo. Karexovfrg. ap. Psel. 1
xpo'''"')
MO** iroLoOnev
(TLv
crvWapal, Aristox.
76 W.). Bellermann, Anon, de Mus. 1, 83 See also, for triseme syllables, (p. 18). Aristoxenus in the first volume of the Oxyrhyyichus PaiJyri and the inscription of Seikelos, both quoted in 780, 781.
(p.
2
t6v pvd/j.6v Kai yvwpiaicrdrjaei. trovs eaTiv eh t) Aristox. 288 M., 16 W. With this definition, of which the exact meaning is disputed, cf. Aristid. 34 M.,
(^
(7r)/j.aiv&fj.e6a
TrXeious
iv6s,
22.
26
f.
J.
ttoi/s
ixh oZv
iaTi.
fxipos
toO
**
iravrbs pvd/xoO
8i'
oS rbv 8\ov Kara-
Xoyii/Sdvo/iec.
Goodell, Metric, 132.
, '
FUNDAMENTAL PRINCIPLES
one that cannot be divided into smaller
normally consists (Aristox. 288 M.,
least
3
feet.
d(Tvv9eTo<;, is
It
17 W.) of at
in
two parts (^povoL

v/
ttoBckol),
or syllables
poetry, as the iamb,
it
may
consist of three, as the anapaest,

,
(11)
w V and
;
or of four, as the ionic,
^ ^
but only by resolution
rarely of
more than
four.
6.
feet.
The
Promiscuous combinations of syllables do not constitute possible combinations of a short and a long syllable
(two units) number four in two places, eight in
^^^^ places, sixteen
in four
places,
feet'
Rhythmical
and ancient
iii.),
metricians
name
all
these
'
(Heph. ch.
'
but some of them were avoided by the poets as arrhythmical, as named by the metricians first epitrite N^ and
v./ ,
and
'
fourth epitrite.'
Such arrhythmical conjunctions of syllables and long
occur of course in prose, but not in poetry of developed forms.

Feet, then, consist only of such combinations of short
syllables as were felt to be rhythmical (Aristox. 274,
276
M.,
and their number is limited. 7. The parts of a foot are divided between the upward beat, TO avo), and the downward beat, to kuto) (Aristox. 286 M., The general practice, following Aris 17 W.). tides (31 M., 21. 10 f. J.), now designates the r^l^^ part or parts of the foot that were sung to the upward beat as the arsis, apac<;, the remainder of the foot as the
8 W.),
thesis, 0cn<;.
FEET IN IONIAN VERSE

8.
The simple
are
feet
that
occur
in Ionian
to
Verse (603
the
fF.)
classified,
with reference
ShnpSreet
of six times.
i.
P^'i^^^y times that
number of each contains (Aristox. 302 M.,

four, of five,
31
ff.
W.), as feet of three, of

iamb,
and
TToSe?
TpLCTTj/jLot.
^\-
,'^
ii.
irohe'i TTpdcn)[jboi:
anapaest, v^v^j and |
and trochee, -\^. and

,
dactyl,
v^
v^
and - 1
iii.
TToSe? TrevTaaTj/jLOL
1
first
paeon,
v^
v^
cretic,
o
[
and bacchius, o - ^
The
hair-liiie
here marks the division

thesis.
between
arsis
and
The
thesis
indicated by the (TTiynT) {),&% in the inscription of Seikelos (781).

is
4
iv.
THE VEESE OF GREEK COMEDY

TToSe?
^dcr7]/jbOL
:
minor
ionic,
^ v^|- -,and major
ionic,
The
thesis
of a simple foot never contains fewer primary

arsis,
times than the
and generally
it
has more.
to
The
principle
prevails that short syllables stand in the arsis, long in the thesis.
9.
Feet, classified with
reference
the ratio of primary
times in the arsis to those in the thesis, called their

Rhythmical
-^^^yg^
7roSio9, fall into three classes, pv0fj,tKa yevij
(Aristox.
i,
300 M.,
30 W.)
7eVo9 taov, in which

jevo<; StirXdaiov, in
the ratio
,
is
equal, isomeric
class,
including anapaest, ^ ^
ii.
- and - - and
,
dactyl,
:
- ^
v^
v^
and - -
including iamb,
major
iii.
ionic,
^ - ^
v./
trochee,
which the ratio is 1 2, - v^ minor ionic,

ratio is
diplasic class,
...
- -
and
761/0? rjfitoXLov, in
which the
including the feet of five times, - o -, and bacchius, o - -.

10.
first
paeon,
2:3, hemiolic class, - ^ ^ -^ cretic,

,
The
arsis of the
anapaest and dactyl
is
v./
The
is
form of each foot, In the one times called spondee.

dissyllabic
^ or - (607). is some,
case,
the foot
'
the
'
spondaic anapaest,'
- -
in the
other,
the
spondaic
dactyl,'
- -
11.
long thesis
is
in the iamb,
w o o
is
and
trochee,
sometimes resolved into two shorts, as This trisyllabic form o o v^

.
called tribrach.
The
thesis of the anapaest

,
may
likewise be resolved, giving

celeusmatic,
anapaest,'
,
by resolution of ^ ^ by resolution of - - (' spondaic anapaest with resolved The thesis of the trisyllabic, but not of the spondaic, thesis). This gives o o ^ v^, by dactyl may likewise be resolved. resolution of - ^ w, but it is rare.
' , '
^ ^ o o called prodactylic and - o o
On
12.
The bacchius
the probable relation of the cretic to the See 447 f. rarely occurs in comedy.
first
paeon, see 620.
Simple
ee
.
ou
e-
feet of three or four primary times are combined, by doubling, into a higher rhythmical unit called by the syzygy, av^vyia, or BiTToSia, j^p^^jy^
metricians
iambic dipody,
v^
anapaestic dipody, =^
- o - =^
1
1
trochaic dipody,
dactylic dipody,
- o - v^ - ^\-^
|
16
first
two dipodies consist each of six, the second two each of eight primary times, and all four are isomeric, with thesis and arsis equal. 13. Each of these dipodies will hereafter in this book be called a metre, in accordance with the ancient practice by which an iambic, trochaic or anapaestic tetrapody was
The
called a dimeter.
This grouping prevailed in melic
and anapaestic verse. rhythms conThe sisted of a dimeter, four simple feet combined in pairs. term metre may be applied in the same sense to all simple feet Thus -<.^^\-o^îsa paeonic dimeter, of five or six times. ^^^^l^^-:--!. an ionic dimeter.
dactylic as well as in melic iambic, trochaic
The fundamental colon (22)
in each of these four
compare the phraseology of metre 14. For the dactylic SaKrvXtKo. SLfj-erpa. See KwXa fS Heliodorus in Schol. Eq. 328 f also Aristid. 52 M., 33. 29 f. J. ftatvova-t 8e rtve? avTo Kal Kara
'
'
.
TTOLOvvTes TTpa[j,rpa KarakrjKTLKa, and Schol. Heph. 112. and 132. 14 f. But the heroic, non-melic verse in which the Homeric poems are written was called a hexameter,' and this name, iv eTreai which appears first in Herodotus (ev lâ/xer/aw tovm i. 47 vii. kâjxkTpouTi 220), implies monopodic division of this verse.
(TV^vyiav
15
f.
'
See
333.
15. The normal forms of iambic and trochaic metres are ^ _ o - and - o - w and in both the ratio of arsis to thesis But in each, the ratio of the parts that constitute the is 3:3. arsis to those that constitute the thesis may be irrational, and Thus o this arsis may appear as ^ This variability in the form of and -^ o - MetiS^^ these metres is commonly expressed by writing - and - ^ - ^ The time of the long syllable them o ,
v../
that
may
thus be substituted for the short
is
irrational, aXoyo'i
20 W.), that is, it is not an exact multiple of the primary time, as is the normal long, but while greater
(Aristox.
292
M.,
than
the
'^6vo<;
irpcoro'i
is
less
than
this
the
'^p6vo<;
Sicr7]fxo<i.
The
general
rhythmical
effect
of
metrical
variation
is
retardation.
16.
Modern
eflTect
metricians differ
in
opinion as to the rhythmical
value and
gives
it
of this irrational syllable.
Voss {Zeitmessung, 184

,
fF.)
the value of a normal long syllable and measures the irrational for metre in dactylic or isomeric time, the trochaic metre, - ^
17
example, as J. J*J J.^ Apel (Metrik^, i. 372 flf.) holds that the irrational syllable has the time of a short syllable, but is rendered with special force, 'sforzando.' Bockh (Find. Op. I. ii. 107), believing that the irrational half of the metre retains its original value of three primary times, makes the ratio of the normal long to the irrational long ^^ to f, instead of V- to -f (2:1), thereby shortening the time of the normal long and lengthening that of the short syllable represented by the irrational long. Westphal {Ehythmik ^, 131 ff. ; Aristoxenus von Tarent, i. 25 f.) gives the irrational half of the metre the value of three and one half primary times, and makes the ratio between normal long and irrational long 2 1 1, with actual lengthening of the primary time represented by the irrational syllable. Goodell {Metric, 112) regards the ratio as indeterminate, but somewhere between 2 1 and 2 2. These differences of opinion result from the uncertainty of the meaning of the expressions ixka-ov and {Mera^v as used by Aristoxenus in the passage cited above (292 M., 20 W.).
: : :
long syllable in
.
.
by resolution of the normally becomes v^ v^ - for ^^ \^ .. irrational trochaic metre becomes by similar resolu Besolution m Irrational tion -w|^v^- for -w] The forms w e res. ^c ^ (j^ctyl,' i.e. resolved irrational iamb) and (' anapaest,' i.e. resolved irrational The trochee) are legitimate. long syllable in each is irrational, and it is never resolved. regarded 18. The irrational metres o - v^ - and - ^ - ^^ from the point of view of the probable origin of iambic and trochaic verse (606, 608), are simply metres in which two of
17.
An
irrational iambic metre,

its
arsis,
v..
>
"^
v,-
v./
the three forms of the primitive variable arsis of Ionian verse

are interchangeably retained in fixed places.
FEET IN AEOLIC VERSE
The feet that occur in Aeolic Verse (651 f.) are the choriamb ^^ the antispast v^ - - ^ the diiamb ^ - v/ - yj, all simple feet of six primary times, and the ditrochee TToSe? ^dcrr)fMOL. These are likewise all isomeric, the ratio between the parts being 3:3, and belong to the 7eVo<? ta-ov. Each may
19.
v./
1
.^
with convenience be called a metre.
On the probable origin of these feet see 600 ff., 651 ff. On the undeveloped metre that begins the polyschematist dimeter, and on the semi-developed metre that begins the Glyconic, see 506.
^ This view was ardently maintained by Karl Lehrs as part of his general doctrine that all Greek feet, including
ionics, were in even time Kleine Schriften, 449, 462.
See his
23
20.
The diiamb and the ditrochee are identical in form with the iambic metre and the trochaic metre of Ionian verse. These Aeolic metres, which were originally of a fixed number of times and syllables, v^ - w - and - v^ - v^ under the influence of the iambic metre and trochaic metre gradually admitted ^ ^^^ "^y resolution and irrationality but even pro^^tvles traction (31). It is probable that the diiamb and the ditrochee were not differentiated from the iambic and the
,
trochaic metre by poets of the fifth century.
See 659.
COMPOUND FEET OR COLA

21,
The
feet thus far considered contain
from three to eight
primary times.
in
The most
of
them
are simple (5), but four are
dipodies (12).
All these, in turn, were combined
^TeeT"^
and
they
larger rhythmical units that
were
also feet, in
the exactest sense, with balanced arsis and thesis,

(rvvOerot
To these KoiKa, cola, membra,' was specially applied by Greek metricians (cf. Heph. 68. 18,
*
named feet by Greek 296 M., 22. 4 W. longer compound feet the name
were
(Aristox.
rhythmicians,
;
-n-oSe?
298 M.,
26 W.).
63. 2), since they are constituent parts of a higher rhythmical

unit,
the
period.
The prevailing
is
cola
in
Greek comedy are

of
the dimeter and the trimeter.

22,
colon
rhythmical unit capable
continuous
control by the voice, and therefore of limited extent, the parts

of which are unified by modulation. Its length .*= ^ vanes accordmg to the nature oi its division into arsis and thesis, and the normal ratios that determine this division are those that govern simple feet, namely, the isomeric ratio, the diplasic, the hemiolic. According to the doctrine of Aristoxenus,^ isomeric compound feet may extend to a length of sixteen primary times, diplasic to eighteen, and hemiolic to
,
The
Colon.
-^
twenty-five,
23, The simplest cola, within these limitations, are those composed of feet that may be continuously rhythmized (Aristox. 300 M., ^30 W.). The following occur in comedy
:
Frg. ap. Psel. 12

ff.
(p.
85 W.).
See also
frg. Paris., p. 93.
15
flf.
W., and Aristid.
35 M., 23. 7
J.
2
:

Isomeric Cola
Dimeters.
24
paeonic
5 6 6
thesis
arsis
:
arsis
iambic
trochaic
thesis
:
thesis
arsis
arsis
:
arsis
minor
ionic 6 8
thesis thesis
:
anapaestic
dactylic
thesis
arsis
Diplasic Cola
Trimeters.
paeonic
5
6
12
thesis
arsis
:
arsis
iambic
trochaic
1
thesis
:
6
12
thesis
arsis
:
arsis
minor
ionic 6
thesis
- w v^ - ^ ^ - ^ - ^ - w ^ -^
1
1
v.
v.
On
see 276
the anapaestic metre and the dactyHc metre developed as cola,
and
337.
24.
A
^
liemiolic paeonic colon
- ^
^25.
^-
v^/v^j-
tions of length set
of twenty-five primary times, ^ s^ ^, might occur under the limitaby the rhythmicians, but it is rejected by
^-
Heliodorus.
See 435. Cola of more complicated structure also occur in comedy.
These
Mixed
Cola.
are
composed
of
different
feet
and,
like
those consisting continuously of the same foot, are
dimeters and trimeters.
For logaoedic cola, in which iambs are combined with anapaests and trochees with dactyls, see 375 For Aeolic cola, in which the choriamb, antispast, diiamb and ditrochee are variously combined, see 506 ff. For cola in prosodiac and enoplic rhythm see 475 ff., and
flf.
for the dochmius, 458
ff.
26.
Tripodies and pentapodies, consisting of simple feet of
three or four primary times, might occur within the limits of
length allowed in
rare in
compound
feet (22),
but they are extremely
comedy
Pentapodies (hemiolic).
68,
Tripodies (diplasic).
iambic
^ - ^ - ^ - ^ - ^ - ^ trochaic anapaestic ^ - ^ - ^ -
dactylic
^
^_^_^_^_^_ _^_^_^_^_^ ^_^_^_ ^ ______ __________

to indicate that
393
203, 395
277, 394
338,
396
The sign ua has exactly the value of v./v-', which are given this form simply
v^ and are convertible
in certain simple feet.
28
It seems probable, from the point of view of the origin of Ionian Verse, that these cohi, evolved in the process of phrase-building, are to be regarded, when they occur, as protracted (31) catalectic dimeters and trimeters, or as brachycatalectic (35) dimeters and trimeters. They will be separately considered, as they hereafter occur, under
each form of verse.

27.
The
thesis
of a
arsis,
shorter
than the
^^^^^
generally
simple foot in Ionian verse is never It seems longer (8). it is
probable that
the^Thelif
it was rarely reduced,^ whereas the ^^^ variously affected it might be shortened
:
(388,
(15).
389), or omitted (31
f.),
or
made
irrational
The
thesis of a foot, therefore, is its
more constant and

the
prominent
Greek.^
part;
it
is
the
thesis
that
gives stability to
foot in the processes,
sometimes complex, of rhythmization in

part
28. The thesis, then, of a simple foot, that marks and fixes its rhythm, is metrically as well as The distinguished in Ionian verse from the arsis. of the thesis and the instability of the arsis are
distinctions.
which
functionally
permanence fundamental
This clearly appears in the gradual evolution, through logaoedic forms, of iambic and anapaestic cola from the Was the thesis otherwise disprimitive dimeter (603 ff.). In the Germanic languages it is tinguished from the arsis ?
marked by heavier
generally assumed that the Greek were similarly marked But this assumption of an intensive utterance. G?e'ek pl)Vtry. ^J ictus in Greek poetry is unsupported by ancient evidence. Aristoxenus and Aristides recognize the division of the foot into arsis and thesis, accompanied respectively by upstress,
and
it
is
theses of simple feet in
beat and down-beat of hand or foot, but neither of them, nor any other ancient authority, even intimates that the thesis was stressed. Yet Aristoxenus (296 ff. M., 22-29 W.), followed
1 The only instances recognized in this book are iambic and trochaic metres vû-w (75, of the form û-w- and
228), but it is to be observed that the thesis of the simple foot that is shortened in each of these metres is a part of the Some scholars hold arsis of the metre. that the thesis of a simple foot may
These views dactyl recorded in 390. are considered in 391. - "The series of 0e<xis was in the whole rhythmic design a sort of central beside and tliread, a firmer pattern along which are grouped the more varied dpcreis. It is the latter chiefly that
provide the needful relief from monotony, from an arithmetical precision that would be machine-like and repellent," Goodell,
Metric, 174.
See Bbckh's be shortened on occasion. theory of the irrational metre stated in 16, and various views on the 'cyclic'
10
THE VERSE OF GEEEK COMEDY

Aristides (34 M., 22.
particularity
definitions
29
by
great
seven
of
ancient
28 ff. J.^), ways in rhythm and
specifies
which
foot
and defines with differ, and The are numerous.

feet
inference seems inevitable, whatever our prepossessions
may
be,
that in Greek verse the thesis was not distinguished from the
arsis
by variation
of stress,^
Cola in which the arsis precedes the thesis, and the voice of the singer advances from the less to the more important iambic and anapaestic verse, P^-"-^ ^ ^^^ ^*^*^^' ^^ ^^
29.
Ad'
were the first to take form in the development of j^^^.j^^ rhythms (604 ff.). These cola, to adopt a convenient modern form of statement, are in ascending or those in which this relation is reversed, as in rising rhythm trochaic and dactylic verse, in descending or falling rhythm In Greek, it must be noted, these terms do not carry (608 ff.). The distinction of ascending the connotation of stress and pitch.
Descending
Rhythm.
and descending rhythm is important and is an essential part of Greek rhythmical theory. Aristoxenus makes it (298, 300 M., antithetic relation of feet composed 22, 29 W.) in noting the of the same primary times, but with arsis and thesis reversed, Aristides (34 M., 23. 4 f. J.), noting the as iamb and trochee. same relation, speaks of thesis and arsis as the greater and
' '
the
'
less
'
foot-time
orav Svo
iroSoov Xafiâvofiivrnv 6
fjuev
eyrj
Tov fieiôva ypovov Kadr)<yovfMvov, eirofxevov Se tov iXarrova, o oe The same distinction is marked in the names of the evavTla)<;.
two
art,
ionics,
airo
fX6iôvo<;
it,
i(oviK6<i,
avr'
e\daaovo<i lwviko^.
Modern poetry maintains

had
it
to
abandon
it,
but modern music, a highly developed and rigidly begins each bar with a stressed
thesis.
but
This was inevitable, to prevent intolerable complications, is unfortunate that Hermann should have followed the
practice
of modern music in treating Greek and Latin verse. His theory of anacrusis,' applied to periods in ascending rhythm,
'
obscures real differences.

30.
1
It
seems probable that the conception of thesis and

Grundzuge der Ehythmik,
of a stress-ictus in very general, but it has
.
arsis
See
ff.
Ca.es3ir,
L'Origine,
53
ff.
Bennett
and
105
2
The assumption
Greek poetry is Protest against not gone unchallenged. it was made long ago by Capperonnier and Madvig, and it has recently been vigorously discussed. See Kawczynski,
Hendrickson in the American Journal of Philology, xix. 361 ff., xx. 198 ff., 412 ff. ; Schultz, Beitrage, 314 ff. ; See also Goodell, Metric, 155 ff.
Westphal, Rhythmik^, 102 ff. discussion has been spirited, but not lacked humour.
The
it
has
.:
32
'x^povo';
11
and iXda-acov ')^p6vo<; did not originally exist which could combine feet as diverse 'as the diiamb and ditrochee in the same colon, as - ^ - ^ ^ - ^ - and in which the often in the Glyconic thesis and arsis of the other two feet exactly but antithetically - w v^ - and - - ^ balance one another within each foot Here the distinction of ascending and descending rhythm, it would
as fiei^cov in Aeolic verse,
:
, :
->/
seem, must originally have been excluded by the perfect balance that characterized the verse, but with the general elimination of
original differences
between Ionian and Aeolic rhythm, due to
the partial
lonianizing of Aeolic cola (20), it seems probable that the rhythm of Aeolic verse ultimately came to be regarded This is indicated by the great preponderance of as ascending.
diiambs over ditrochees in the

31.
fifth
century, well illustrated in the
odes, for example, of Aristophanes.^
colon
Some cola are metrically defective. In melic poetry a may lack one or more syllables necessary to satisfy the rhythm. - ^ Thus we meet such iambic and trochaic cola as - v^ - w the dot indicating the lack- ^ - and - v^ v.^
. . ,
ing syllable that 27.
is
demanded by the rhythm.
Aristides (40
f.
M.,
tf.
J.)
xp vos
Kvo<;
Kvos.
a time unrepresented in the words of the song, but necessary to complete the rhythm, void. j^ .^^ ^^ ^^^^^ ^ 'Xp6vo9 Kv6^ {' inane tempus ')
calls
fiev
ovv
iarL
y^p6vo<i
avev
(pdoyjov
'irpo'^
avairXyjpcocrcv
Tov pvdfiov,
Xetyciyua
8e ev pvdfifp )(p6vo<t
Kevo^;
ekd-x^KTro^;, nrpoo--
The Xelfifta Be 'vp6vo<; fxaKpo<i ekayicTTov hiirXaa'iwv. 6e<Ti<i This had the value of one primary time, the 7rp6(rdeai<i of two. unrepresented rhythmical time was made effective in two ways. The
protraction,' the first is seen in the process called tov^, The time, in protraction, second in catalexis and acephalization. was taken up by the long syllable adjacent to it in
'
This long syllable was ^^^^ ^^^^ simple foot. By thereby lengthened to a triseme or tetraseme syllable (3). this process the 'Xp6vo<; K6v6<i became a factor in the melody.
32.
^.
-
ro rac ion.
Protraction occurs chiefly in iambic (72

.
ff.)
and trochaic
.
Chiefly in
cola (207 ^
ff.), '
occasionally in logaoedic cola (380,

, , ,
Iambic and Trochaic Cola.

foot
384).
^^ ^^^^
In
or
these the xPvo^ '^^ô'? ^^ ^"^ ^^^^ Either simple simple foot, a primary time.
all
of an
iambic
^
trochaic
'
metre
'
may
be protracted, but
ff.
See the Editor's
Logaoedic
Metre, 34
12

is
33
protraction
mucli more frequent in the

(12), the
arsis
of
.
the metre
than in
its
.
thesis
common forms
^
^-
being
- ^ - and
w
see
75,
- ^ -
On
the
metres
^ -
and
v^
227 f., 620. Protraction does not occur in melic anapaestic and dactylic verse in comedy, nor in paeonic, dochmiac, or prosodiac and enoplic. In minor ionic verse, the 'Xp6vo<; kv6<;
is
the last half of the thesis, a diseme time (3).
On
protraccola, see
tion in Aeolic verse, chiefly in diiambic
and ditrochaic
516
f.
33.
If the '^p6vo<; Kev6<i that occurs in
the last simple foot
of the final
Catalexis.
colon of a
syllable
"^
*
period
, ,
is
not taken up by the long

it
adjacent
,
to
in
suppressed, the colon

TiKov,
'
that
,
foot
^
(31)
.
but
is
is
called catalectic, KaraXrjK-
iambic dimeter,
Thus ^ - ^ - ^ - ^ is a catalectic - ^ - ^ - ^ ^ catalectic trochaic dimeter. The corresponding complete dimeters, ^ - ^ - y^ - y^ - and
incomplete.'
a,
-v^-vy -^-v^,
6
ff.)
are
called
cola
acatalectic.
Hephaestion
e-êi
(13.
defines
catalectic
as
oaa
fxe/xeco/juevov
rov
reXevraiov iroBa, Aristides (50 M., 32. 27

d(f)aipel
J.) as
6aa crvWa/Srjv
Tov TeXevraiov ttoSo?

is
aefx,v6Tr)T0<}
eveKev t^? /j,aKpoTpa<i
assumed in catalexis normal at the close of an acatalectic colon iamb ^ - trocliee - v^ anapaest dactyl minor ionic v^ enoplius paeon - ^ - choriamb - ^ v^ A final pause that normally is equal to the ^p6vo<i Kev6<; of the rhythm in which the colon is composed follows the catalectic metre and completes the rhythm of the period before . _ Final Pause. ^, ^tthe singing or the next period begins, its purpose was to ease the strain upon the voices of the singers. Four pauses are recorded and each has its own sign. A pause of one time is indicated by a one of two times by tt of three by "a, of four by r (Bellermann, Anon, de mus. 102). The first of these is the initial letter of the word \elfjbfia, the second, third and fourth are the same character with the signs respectively of the long, triseme and tetraseme syllable incumbent (3). Since
KaTaXi]êco<;.
The form of the simple

,
foot
is
that which
,
v-/
v./
v./
...
the final long syllable short

at
of a
period or verse
may
be long or
pleasure (43), the length of the pause may vary in two equal cola in the same rhythm, conformably to the actual
length of the final syllable
35
^ - ^ ^ _ ^ _ ^-^^ - ^ ^ _ ^ _ ^ - ^ ( A or ^ - ^ ( TT or v ) 272
A
13
iambic
anapaestic
66,
67
minor
ionic
^^
- ^ - ^
^w
- ^ ^
^.^^(TTorA") 418
201,
trochaic
_^_^ -^-v. -^^(AorA)

dactylic
202
paeonic
enoplic
..
^^
- ^ ^ - ^ (a
TT
or a
335
or^) 437
polyschematist
Glyconic
34.
_^^_ v^^^(AorA) 477 0000 -w-(AorA') 508 00-^ ^-^(Aor^) 511
of the normal pause is easily determined in most In iambic and trochaic rhythm and in the Glyconic, it is that of a primary time ; in anapaestic, dactylic, enoplic and minor The evidence for determining the ionic rhythm, that of a diseme. facts is not abundant in case of the choriamb ( - ^ v^ - ) and paeonic ( w ). Hephaestion (29. 7 ft'.) states that the proper catalectic In the fragment of the form of the choriamb is - ^ ^^ or - v^ rhythmical treatise found in Oxyrhynchus and edited by Grenfell and Hunt {Oxyr. Papyri, i. 16, col. iii.) Aristoxenus vouches for the form ^ - (l_ w - ) in protracted choriambic verse, that is, the xpoi-os The legitimate Kevos in this verse has the value of a primary time. conclusion from these facts is that the choriamb in catalexis becomes The catalectic form of the paeon, which rarely occurs, -_. The two examples of catalectic paeonic is determined analogously. (for - ^ - ). periods quoted by Hephaestion (42. 15 ft".) end in The only instance of a catalectic paeonic colon in Aristophanes {Av. We may 247), the chief exemplar of this sort of verse, ends in fairly conclude that the xpovos K-eros in paeonic verse had the value of a primary time and that the paeon in catalexis became The final syllable, then, is long in catalectic cola in all rhythms. The following pause is lengthened one primary time, if a short syllable is substituted for this normal long syllable. On the current theory of iambic and anapaestic catalexis, see 779 ff.
The length
rhythms.
'
'
v./
^.^
35.
The
final
colon of a
period
may
lack not simply the
Xpovo'i Kev6<i of its final simple foot but the
It is then said to be brachycatalectic.^
whole of that foot. The pause
length.
1
which completes the rhythm is of corresponding Thus in apparent tripodies and pentapodies
The Ithyphallic
is a protracted, not a brachycatalectic dimeter. See 203.
Heph.
J.
29
principle
13. 18 ff. ; Arist. 50 M., 32. Hephaestion's application of the (19. 5 ff.) needs correction.
'
14

anapaestic
logaoedic
36
^ - ^^ - ^^ (a
.^--w^
or
^-^(TT
a ^ ^
277
_^-
^^
or
(a or r) 379
dactylic
-^-^ -^
is
A a) 338
On iambic and trocliaic cola that in form apparently are tripodies and pentapodies, see 68, 203. On a form of the choriamb in Aeolic
verse that probably 36.
brachycatalectic, see 509.
The length
a
of
brachycatalectic
cola
may
in
turn be
reduced,
successively
shortened dimeter finally becoming a Greek metricians regarded such a penthemimer,

^.^^^^
Hypercatalexis.
^^^^ ^^^
^^-^j. ^^
^-^^ ^f ^^^ following form

'
and spoke of
its final syllable
as a syllable in excess, but Aristides
clearly recognizes the true relation of such a colon to the brachycatalectic form that precedes.^
catalectic is established
hypercatalectic
The term hyper-
by usage and should be retained, but it should not be allowed to obscure the real process that it designates. diminished 37. The relation of the various successively ('incomplete') forms of the dimeter may be illustrated by a
trochaic series
acatalectic dimeter
catalectic dimeter
brachycatalectic dimeter hypercatalectic monometer acatalectic monometer
^ ^ ^ ^ ^
^ w ^ ^ ^
- ^ - ^ complete - w ^ deficient normally A a ~ .^ "a ^

7:
Acatalectic dimeters are the rhythms, and, with a few exceptions, all It is Brachycatalectic dimeters are relatively rare. catalexis. the possible that in given instances they were rhythmized by but as tripodies. poet, in setting his song to music, not as dimeters important to hypercatalectic cola, which are extremely rare, the
prevailing cola
Greek these dimeters admit

in all
As
fact to note is
that they sustain catalectic relation to the ante-
cedent brachycatalectic forms.
They may have been rhythmized
sometimes as tripodies, at other times, with a longer final pause, We are unfortunately left uninformed on this point. as dimeters. No satisfactory proof can be adduced that they were in some manner compressed in rhythmization so that their rhythmical
value was that of the succeeding form.
1
See 488.
ff.
Aristid. 50 M., 32. 29
ff.
J.
See also Heph. 14, 4
41
FUNDAMENTAL rRINCIPLES
15
The reduced dimeters and trimeters will be separately considered under each rhythm in the following chapters.
38.
Syllables
may
be suppressed not only at the close but
also
at
the
beginning of a rhythmical period, with the same

purpose of easing the strain upon the voices of the
singers.
This process
is
called acephalization.
The
times necessary to complete the rhythm are ^pozôt Kevoi (31). Acephalization is rare in the simple lyrics of Aristophanes, but
it
often occurs in songs of
more elaborate structure

PERIODS
in other poets.^
39.
ordinate period.
Subordinate
Two, three or four cola may be combined to form a subThe bond of union is the rhythm, which is so
regulated that the combination of cola
^
is felt to be with beginning and close or beginning, middle and close, as the name, 'jrepioho'i, implies. This harmonious union of phrases is easily rendered by the singer and easily apprehended as a whole by the hearer.^ A single colon may, with special effect, constitute a subordinate period, It is assumed in this book that the but this is not common.
whole,
greatest length of the subordinate period

40.
is
eight metres.
Combinations occur of more than four closely connected To these the convenient melic cola, all in the same rhythm. name hypermeter has been given. The melic hypermeter is, in fact, an extended subordinate period, a series of cola continuously combined that is so long as
to entail
some
loss
of
the
sense
of
harmonious union that
characterizes the subordinate period.

are of great length.
Some melic hypermeters Cf Ach. 266-78 (90), Av. 209-22 (285).

all
Melic hypermeters occur in Aristophanes in nearly
the varied
rhythms of comedy, iambic, paeonic and Aeolic.

41.
trochaic,
anapaestic, dactylic, ionic,
Subordinate periods and melic hypermeters are designated
in this book by the lower-case letters abcde.
On
subordinate periods and melic hypermeters certified by Helio-
dorus, see 698.

^ See the Editor's Origin and Form of Aeolic Verse, 300 ff. See also 608. ^ Compare the instructive statements
of Aristotle in his Rhetoric (in. ix. 3-7) ou the rhetorical period.
16

limitation
of
42
the length of the subordinate period to 42. The eif'ht metres arranged in three or four cola is adopted in this book as Trustworthy ancient evidence on the limit of a working hypothesis. The fact, indeed, may length of the subordinate period is lacking.
been consciously determined, the subordinate period For example, the decameter gradually merging into the hypermeter. of five cola that constitutes Putn. 384-8 (89) may have been felt to possess the essential unity of a period.
never have
43.
The
final colon
of a subordinate period or melic hyper-
meter
'
is
generally indicated by one of the forms of catalexis (33, The 35, 36), but it may be signified in other ways.
'
Variable
^^^ holds in Greek poetry that a short syllable
may
be substituted for a final long syllable in the last The result colon of a subordinate period or melic hypermeter.^ of this substitution is a pause of the value of a primary time that This pause serves as one is necessary to complete the rhythm.
of the
^ ^
^'
marks
of the
close
of the subordinate period or melic
hypermeter, especially in paeonic verse, which avoids catalexis, and it is sometimes accompanied in the odes of Aristophanes by
change of rhythm or speaker, or of both, in the following period. Hiatus also, caused by the concurrence of a vowel sound at the end of a word with a vowel sound at the beginning of the
following word,
Hiatus.
may mark
the close of a subordinate period or

is
melic hypermeter, and the phenomenon

^^ ^^^^ nature of that just described.
precisely
long vowel
or diphthong, at the
rhythm demands a long
end of a period or hypermeter, where the syllable, is shortened before a vowel or
diphthong at the beginning of the following period, with a conseHiatus is frequent quent pause of the value of a primary time. in paeonic verse, and it may be accompanied in comedy by
change
of
rhythm
or
speaker,
or
of both.
The
close of
subordinate period
may
be indicated also simply by change of
rhythm
44.
(735).
periods and melic hypermeters lack the mentioned (775), a period following in the same rhythm without an intervening pause. But no period or hyperTheir constituent cola, on the other meter ends within a word.
Some subordinate
indications
Heph.
(14, 15
ff.)
defines the avWa^r)
aSid<popoi ('syilaba anceps') broadly, and his bald statement of facts has someIt should times been misinterpreted. be observed that no proof can be adduced
that a long syllable was ever substituted in Greek for a normal short in this position. The long syllable that may close an acatalectic trochaic colon is the
irrational syllable.
51
in
this
17
hand, frequently end
manner, indicated by hyphena-
tion in writing.
The
close connexion of the
cola
that constitute a subordinate period or hypermeter

is
called avvdcpeta, si/7iapliea.

45.
Two
or
more subordinate
intermediate
periods, or one or
more subbut
ordinate periods and a hypermeter,
may
be combined to constitute
an
Intermediate
period.
This
sometimes,
rarely, consists of a single hypermeter.
Its close is
generally
pause,
marked
in
in Aristophanes
by a rhetorical
See 728.
which
is
is
indicated
the
text by punctuation (734).
Heliodorus
46.
authority for
the intermediate period.
Its recognition is important in analysis.
Intermediate periods are indicated in this book by the
small capital letters abode.

47.
Subordinate periods and hypermeters

This
of
is
may
be united to
form a systematic period.
generally simple in
comedy
and
Systematic
j^^
consists
j^^^^y
limited
of
number
a
single
If
is
of
elements.
even
is
consist
subordinate
period or hypermeter (773).
the structure of
the systematic period
complex, the period
broken up into
intermediate periods.
systematic period that contains a hyper-
meter
may
with convenience be called a hypermetrical period.
48.
Systematic periods are indicated in this book by the
capital letters
ABCDEF.
On
systematic periods certified by Heliodorus see 695.
49. Heliodorus designates all the periods that have been mentioned, including hypermeters, simply as TreptoSoi, leaving it to his reader to
differentiate them.
50.
Au
intermediate or systematic period

consist
solely
may
be
stichic,
and
of
melic
tetrameters
or
trimeters.
of verse
may
the
be combined in the same stichic period.

of
In Aristophanes, not more than two different sorts See 778.

systematic
On
51.
structure
and intermediate
flF.
periods,
an
important but
difficult subject, see 720
The music
only
to
be repeated with a
new
which a systematic period was sung might stanza of the same metrical form, with
variations
of
such
as
resulted
from
allowed
Ssteophe
correspondences
variant
syllables.
The
first
stanza was then called the strophe and the second
the antistrophe, and the two taken together a monostrophic dyad.

c
18
52
Three such stanzas constituted a monostrophic triad, four a tetrad, This subject is fully treated in 701. six a hexad, eight an octad.
The correspondence of strophe and antistrophe is generally close. Sometimes, however, the poet deliberately changes the rhythm and
melody of a subordinate period in the antistrophe. Cf. Av. 333-5 -349-51 ^ (473), a dochmiac pentameter in correspondence with a paeonic decameter; Pax 950-3- 1033-6 (583), a diiambic octameter Sometimes two in correspondence with a diiambo-Glyconic octameter. subordinate periods, although in the same rhythm, are not of the same We must infer in these cases, not a lacuna, but a lack of length. correspondence that was deliberate, with change in the structure of the systematic or intermediate period of which the subordinate period Thus Ach. 937-9 - 948-51 is a part, and slight change of melody. iambic heptameter - iambic octameter; Ban. 897-994 (214), (86), Ban. 536-8-592 f. (217), trochaic trochaic trimeter ~ dimeter hexameter - pentameter.
;
52.
Two
systematic periods of variant metrical constitution
may
be united to form a pericope,
irepLKoirri,
AB.
A
53.
pericope
may
be repeated and the two double-
stanzas stand in antistrophic relation,
AB = AB.
See 705.
systematic period
may
stand alone without equivalent.
Some of these non-antistrophic periods were melic, Non-^tistrophic Q^j^gj^g ^^^.g rendered melodramatically or in reof which The order of arrangetwo are metrically equal. Triadic Groups. -jt^ t a t^-o a t> a ment may be AAB, epodic, ABB, proodic, or ABA, mesodic. See 715 ff.
54.
,
See 706 ff. citative (59). Three systematic periods may be combined,
NON-MELIC VERSES AND HYPERMETERS

55.
Certain tetrameters, trimeters and hypermeters occur in

ff.)
the melic periods described in the preceding sections (39
that
were found
to
be suitable in
melic rendering.
movement for continuous nonThese gradually (59) came to be employed
not only in song, but also as recitative, melodramatic and spoken
Thus the 'heroic line' in dactylic rhythm came into use, and anapaestic tetrameters, the iambic trimeter, and especially in the drama iambic, trochaic and anapaestic
verse.
ianibic, trochaic
hypermeters.
^
The sign ~
indicates correspondence, as
indicates equivalence.
58
'
19
56. The dactylic hexameter/ the tetrameters and the trimeter occupied each the space of a line in writing and were named
(xri-xoL,
verses.
Hephaestion (62. 16
it
f.),
defining
the length of the arlxo'i, says that

less
contains not
than three nor more than four syzygies or dipodies.

'
The
the
longest
shortest
line
'
in
comedy
is
the
anapaestic
tetrameter,
The iambic trimeter does not exceed the limit of length allowed the colon in diplasic rhythm the other verses mentioned are all dicolic, but each was (22)
is
the iambic trimeter.
felt to
was regarded
anapaestic
be a well-defined whole, and the spoken iambic trimeter verse,' no less than iambic, trochaic and as a
'
tetrameters
and
the
dactylic
hexameter.'
To
facilitate rendering, a slight
pause marked by the end of a word
might be introduced within the verse. If this pause is coincident with the close of a colon, as regularly in tetrameters, the
Diaeresis
dividing of the verse and diaeresis, if 8ia{,p6(n^

;
at
it
this
point
is
named
falls
within a colon, as
generally in the iambic trimeter and in the dactylic

'
hexameter,' the division

57.
is
called caesura,
to/xj].
The non-melic hypermeter ^ is a combination of closely connected monorrhythmic dimeters and trimeters in iambic and trochaic rhythm, of dimeters and monometers in
Hypermeter!" anapaestic
for
rhythm.
it is
Its
cola
are
rhythmically
of
connected, and
in fact a single line, overlong
comfortable
rendering.
The
'
trochaic
hypermeters
(668).
the
parabasis were, therefore, called
chokers
'
Each dimeter,
;
trimeter and
these cola were connected
monometer had its own modulation as a colon but by synaphea (44), and there can have been no appreciable pause between them. They were united, therefore, exactly after the manner of the cola composing the
subordinate period or melic hypermeter.
In this particular the
recitative
or melodramatic hypermeter
was in marked contrast

final
with the
a-Tiô(?, which was rendered not only with a but also with one or more interior pauses.
pause
58. Heliodorus designates Pax 974 ff. (974-92, 993-101.5) as 'two periods,' applying the same name he uses for the melic hypermeter (698) to each of these recitative trochaic hypermeters. Cf.
^
The won!
is
used by Hephaestion
exceeds the limit of length he allows the

(ttLxos (66).
(18, 19), who applies the epithet vir^pfiiTpov to the trochaic pentameter, which
20
Schol.
59
Pax 974. He uses the name TrepioBos also in application to a non-melic anapaestic hypermeter, whatever its length, that continues See Schol. Uq. 824-35, Pax 82-101, without catalexis to its close.
154-72, 1320-8.
On
non-melic hypermeters in Aristophanes see 710
ff.
MODES OF EENDEEING
59.
There were probably four

:
modes of rendering Greek
comic verse
^* by a
"
the melic, the recitative, the melodramatic, and the In the earliest times Greek poetry was spoken.
sung
to the
single voice or
accompaniment of lyre or flute, either Thus also in comedy, some by a chorus.
From songs are monodies, duos or trios, others are choruses. The singing song other modes of rendering verse originated.
voice
eci
was
^^
modified,
but
this
still
ive.
^^^^
^^^
verse
are
was
modulated accompanied
recita-
by
accustomed to designate this In further development towards simple mode as recitative. speech Archilochus, on the authority of Plutarch ama ic. ^^^ ^^^ 1141), invented melodramatic rendering, irapaKaraXoyrj, in which it was the speaking voice that was
musical
instrument.
sustained by the tones of the instrument.
We
Finally
comes plain speech, verse without accompaniment.

'
yîkr)
Xeâ, declamation of
identify
rendering is denied by some scholars, who with recitative and regard it as the sole See Christ's variation in passing from song to simple declamation.
60. Melodramatic
TrapaKaTaXoyi)
Parakataloge, 166
ff.
Zielinski in his Gliedermig,
313
f.,
differentiates
n-apaKaraXoyt]
as
recitative
with accompaniment
from
KaraXoyi],
He recognizes also, 305 f., recitative withmelodramatic rendering. out accompaniment, secco-recitative. For a discussion of the modes in which the different parts of a comedy were rendered, see 803 ff.
STRUCTURE OF COMEDY
61.
A
in
comedy
of Aristophanes, like a tragedy of the
same
period,
begins
with
a prologue and ends with an exode.
parode,
prologue.
which the chorus enters, immediately follows the Here strict resemblance between comedy and
61
tragedy ends.
ara
asis.
About the middle
of a
21
comedy occurs
a division
implies,
called the parabasis in which, as the
name
He ^^^ ^^^^ comes on and addresses the audience. does not appear in person, but is represented by the leaders of parabasis, when complete, consists of the two half-choruses.
seven
parts.
The poet may come on a second time
in
an
additional parabasis found in the second half of the play. singular and interesting division, called the debate,
is
some
of them, indeed, have two.
found in most of the comedies of Aristophanes Two actors appear in this and
discuss, as in a court of law, the
main theme
of the play.
The
The debate occurs chorus presides and renders the verdict. regularly in the first half of the play and when complete consists
of nine parts.
Another division which,

is
like
the parabasis and

regularly of four
the debate,
wholly peculiar to comedy is the syzygy,

it
^^^'
balanced
thus
parts,
named because
song
consists
and a spoken part united with a A syzygy may occur second song and a second spoken part. The action of the play is at a standin either half of the play. still during the debate and the parabasis, and a division, called scene, was gradually developed, the purpose of which was chiefly to adjust these larger divisions It is normally a spoken part and generally to the action. The occurs, as would be expected, in the first half of the play. action of the second half of the play is carried forward mainly in a division consisting of episode and stasimon, which in their
a
form and function resemble the corresponding parts of tragedy.

This subject is treated at length in 665 ff., and an outline of the structure of each of the eleven plays will be found in the " Table of Structure and Rhythms," at the end of this book.
::
CHAPTER
II
IAMBIC VERSE
62. The fundamental colon of iambic verse is a dimeter composed of two metres that consist each of two simple feet
(12,13):
Ttves TTod' otSe Kol TToOev
;
-^
v^
v^
Av. 408
An
iambic dimeter normally consists of twelve primary times and

All iambic verse
is
eight syllables.
63.
in ascending rhythm.
The
arsis of
each metre
may
be irrational
y^
Kol Kafiaôiv aTraAAayei's

oOevTrep ets eKKXyja-Lav
A-i]fjL7^Tep
dyi/wv opyiwv
^ ^ ^ ^
^ ^ ^
Ach. 270
Ec.
490
Ran. 384
Irrational metres are extremely
common
in all forms of iambic
verse in
64.
comedy (186 f.). The thesis of each iamb may be resolved

^ ^^ ^ ^ ^ ^^ ^
y^ ^ Ach, 850 ^ '^ PZ. 311 wv^^-- PL 293 w^ Th. 970
6 7rpi7rov;/oos 'Apreiiiov
Aa/3ovr
I'TTO
cfuXrjBias
j3Xy]X(i>iJ.V0i
re irpofiaTiwv
fiiXTTovcra
Kol t^v Toôcfyopoi'

jxoyepos yoj
vv
ws^^v^
(TTuyepos eyw.
w-/^^
Ach. 1208
65.
If the normally long syllable in the arsis of an irrational

resolved, the arsis
o Se
metre
is
becomes a
'
dactyl
v^ v^
'
(17)
fji,aiv6p.vos
XWov
(SaXeiv
l3ovX6p.vos ev CTKOTW XdfSoi
v^v^<^ s^v^
v^ v^
Ach. 1168
f.
66.
The dimeter, by suppression of the

catalectic (33)
22
arsis of its final iamb,
becomes
69
Sc' 6(rT(i)v
IAMBIC VERSE
oSvfyTo.
23
v^
ai)T<j)
Sta/vovetrai
ix^raftifidêi
^ ^ ^
ts
ayaâ
-^ ^^
w ^ ^
Ach. 1226
-^ch.
101
<
Pax 947
The
its
fiual metre, if catalectic, is never irrational, nor is either of long syllables ever resolved, but its last syllable may be short
(33).
It 67. The second colon of iambic verse is the trimeter. normally consists of eighteen times and twelve syllables, and its metres admit the varieties of form found in tlie dimeter, but the
thesis of its final
iamb
is
never resolved
a.(f)p(i)v
TTidov TTidov XoyoLO-L,
fJ-TjB'
^_^_ ^_^_
^_
^ -
ykvQ
^ - ^ ^ - ^ -
Vexp.
729
8'
do-TTts
eV
TW
cf)(il/dXoy
KpefiTqcrcTai
Ach. 279
<f)iXi']craT6v
fie
fxaXOaKio'i
a)
xpvcrtco
^_^_
^ - ^
^ -
Ach.
1200
TrpolôXo'S /xos,
o-WTTyp
8d/xots,
^_^_ __^_
rdXaî tyoj
ix^P^'-'^ fSXafSi)
- - ^ - Nub. 1161
^ - ^ Ach. 1191
CTTvyepd rdSe ye Kpvepa irddeo.-
(OS
TOVS KpLrds
fJi
(j)pT'
TTOV 'cTTtV 6 /SaO-iXeVS
^^^^ ^_w^ ^_ ^^^;
v^^w^
Ach.
1224
Ktti
yap yap
irapal3Xe\{/a<; ti fxeipaKia-Ki^s
^
(TV KaT(T\i(r(>i
^ -
Ran. 409
piv
tTrt
yeAwrt
^_^_ ^-^^ ^-^
Ran. 403
"laKX^
TroAvTi/tryre,
p.kXo'i
eoprrj'i
^_^_
^^
i?an.
398
The trimeter is much rarer in melic verse than the dimeter. iambic tripody {^ - ^ - ^ -) and pentapody 68. The Certain do not occur in comedy (26).
(^_^_^_^_^_)
is
apparent tripodies found in simplified logaoedic verse, are protracted (74) catalectic dimeters, the single pentapody that occurs
a protracted catalectic trimeter (393). 69. The equivalents of the iamb in the
first
half of the iambic
metre are
^^, - is
the equivalent
and -^ (11, 15, 17); in the second half w..^. These forms, in their respective places,
and also full and protracted (72 S.) metres, are interchangeable with one another in strophe and antistrophe and in two
corresponding subordinate periods.
24
70.

The logaoedic metres
of ascending rhythm, ^^
70
- ^ - and
^ _
^_
(376), occasionally occur in melic iambic verse, generally
Cf. Ach. 1040 = 1011 (83); This anapaest is simply Vesp. 886 = 869 (470). r^. 988'' (589) a manifestation of the variability of the arsis of the simple
as the first metre of the colon.

;
foot that characterized
the primitive Ionian dimeter (603), and
the periods in which
it
occurs should not be
'
emended.'
This
On the normal in logaoedic verse (375 f.). logaoedic anapaest (389) in spoken and melodramatic iambic
manifestation
is
verse see 113

71.
ff.,
177.
A choriamb,
- ^ ^ -, apparently
Cf. TJiesni.
in place of an iambic metre.
occurs in a few instances 1016, 1020 (374) Ban.

;
This is not the and Pax 663, a spoken trimeter. true choriamb that is the fundamental foot in Aeolic verse (651) the form is here due to interior anaclasis, - ^ for ^ -. 72. By suppression of the first syllable in the arsis of an iambic metre, the metre assumes cretic form
213
(373),
'
'
ofJLOppoOoj, a-vvdeXu)
(TviJ.TrapaLvi(ra<i
e)(^b)
^^
.
^ ^
^ ^ _ ^ _
.
Av. 851
f.
This
verse.
is
the most frequent form of protraction (31
f.)
in iambic
The
thesis
:
of the second
iamb
in this protracted metre
may
J)
be resolved
Ziv Ti TTore
)(^pq(r6fX0a
roto-Se tolctlv kvwSolXols
^
73.
v^
Lys.
476
The
first
syllable in the thesis of an iambic metre

'
may
be suppressed and the metre then assumes

this is less
iTravy^rjcras
bacchiac
'
form, but
common
Se
tois crots Aoyois
^ .
._^_
_4t).
t)28
This protracted metre
may
even be irrational
<f>ev (f)v Trjs
^paii
Tov KaXXovs
Av. 1723
74.
metre assumes
Both syllables are sometimes suppressed and then the spondaic form
' '
:
vyyou 5e y'
wS' atiTos
_
'
Th.
987
Similarly a catalectic colon
may have
w ^
'
spondaic
close
KaAet Tts dvdpwTTiov
Av. 1314
78
IAMBIC VERSE
25
75. The long syllable in the arsis of an iambic metre is sometimes shortened, so that the metre appears not as ^^ - ^ On the analogy of a not infrequent correspondbut as v^ w
>^
.
ing manifestation in trochaic verse {- ^
^-
for
- ^ ~
v^
^^
see
223
S.), this
iambic metre
is
probably to be regarded as
v^
it
the second syllable in the arsis .of the metre being slightly protracted,
but not to the value of the normal long syllable

Cf.
represents.
the recitative verse

kvxvovs
airifiiv
d7ro<r/?0-avTe5 rovs
oiKaS' avToi
^_^_
^_ ^^.^_
Vesp.
255
Cf. in
melic verse
TTLVwy pvTTWv CLTrapaTiXro's, e^ erwv aXovros
^ - ^ TrT(pO(f>6p'
(ttI
^v..^-
w-v^. ^
^
v^
Liis.
279
f.
TreSov
Aius Kat A)(os ya/xv/Atov
^^w^^ ^ v^
76.
Av. 1757
f.
The subordinate period that occurs

is
oftenest
in
melic
the catalectic tetrameter, formed by the union of This is the only period an acatalectic and a catalectic dimeter.
iambic verse
The used in stichic (50) systematic and intermediate periods. catalectic trimeter, when employed as a subordinate period, is
confined
to
ff.
imitations of primitive forms of the strophe.

(82).
Cf.
Ban. 398
The
catalectic dimeter also
may
be used as
a subordinate period, and pentameters, hexameters, heptameters and octameters, compounded of dimetrical and trimetrical cola,
occasionally occur.
The
chief constituent of the melic iambic
hypermeter
to
On the combinathe dimeter; trimeters are rare. tion of subordinate periods, hypermeters and intermediate periods
is
form systematic periods, see 720 ff. 77. The acatalectic iambic trimeter became the set verse of Spoken and melic trimeters are the dialogue of comedy (95 ff.). The distinguished by marked differences of form (126 ff.). non-melic tetrameter also has large use in comedy, and was effectively employed by Aristophanes as both recitative and
melodramatic verse (167 ff.). These tetrameters may be followed On caesura and diaeresis in iambic by hypermeters (190 ff.).
verse see
78.
130 ff., 166, 179 ff. Iambic has special affinity for anapaestic and dochrniac rhythm, and iambic cola may be combined with anapaestic and
26

cola,
79
dochmiac
79.
and occasionally with cola

origin, stands
in other rhythms, in
the same systematic period.
Iambic rhythm, in
in close relation with
the primitive cola of Ionian verse (605 f, 613).

of the parode of the
in
In comedy
it
has varied use in song, ranging from the primitive processionals
Ranae
to the festive
duos of the Acharnians,

Aristotle
which
it
approaches in use the trimeter of dialogue.

iv.
says (Foet.
14) that nature herself discovered the trimeter as

:
the verse appropriate to dialogue

(f)V(Ti^
\eêo)
7rpo<i aX\7]\ov<{,
yap lafiêla and elsewhere also

r;
{Rhet. iii. 8. 4) he remarks speech of everyday life 6 S'

:
how iambic rhythm pervades the twv iafiô<; avTrj ianv r) Xe^t?
tmv
fxerpcov
la/x/Seia
iroWcov
\eyovre<i.
8i6 /jLaXicTTa ttuvtcov
<p6eyyovTai
Melic Iambic Verse

80.
Ran. 416-39 (Parode).

Strophe
I.
'H/x.
f3ovXe(r9c 8yJTa Koivrj

crKCoiJ/oiixev 'Ap)(ê8r]fj.ov,
>=i
417
^ ^ ^ w ^^ w ^
2*^
2*^^
OS 7rTTrjs
wv ovK
e(f>v(r
(^parepas
Strophe II.
'H/x. fi'
vvvl Se S>;/xaywyei
V Tois
420
avw
veKpoi(rt
Kacrrlv to. Trpwra tv}s cKet fxo^dripia'i.
Strophe
'Hyu,.
IIL
a/couw
Tov KXeto-êvovs
S'
423
Iv Tats Ta(fial(rL TrpojKTov
TiAXetv eavTov Kal cnrapaTTiLV ras yvddovs.
Strophe IV.
'Up.
j3'
KOLKOTTTer
eyKCKv^ws
426 KUKkae
KOLKeKpciyei.
e'cTTiv
"Zepivov ocTTis
ava</)Auo-Tios.
82
IAMBIC VERSE
Strophe V.
*H/x.
27
KoX KaA-Aiav yk
<âcrt
429 TovTov rhv
'Ittttoîvov
kviîijxkvov.
KVcrOov XeovT-Jjv vav/iaxeiv
Strophe VI.
At.
e)(ÔLT
av ovv (fipdaaL vwv

OTTOV 'v6d8' oIki
eo-/xv
;
432 IIAovTwv' ^vo) yap
dpTiios d(f>iyf/.evw.
Strophe
'Up..
VII.
^'
pL-q?>\v
paKpdv
avdL<i
i(t6'
eTT
direkOij^;
435
/X7y8'
eirai'epy pe,
dA/V
avry]V ri]v dvpav dc^ty/txevos.
Strophe VIII.
At.
a'lpoc
dv avOa &
-qv
irai.
Ha-
TOVTt Ti
i)
TO irpdypa
439 dXA'
418 ^pdrepas Dindorf
Albs KopivBos kv roh a-TpMpacriv

<pp6.ropa.s
427 di'a^Xyo-Ttos Porson
avaipXvuTioi
The
eight strophes constitute a monostrophic octad (701).

3,
(704)
= aab,
81.
Ai.
2 2
epodic triad
two
catalectic dimeters with
an acatalectic
trimeter as epode.
See
737.
The preceding
S'
verses (414, 415) read:

v^
eyo)
del ttws <^tAaKoA.ovt/x.t
dos
Kol piT
avrrjS
^ v^
â. Kccyojye
-^ ^ ^
415 Trai^wv
;;(opi'etv
(iovXopai.
Trpos.
These are apparently a tetrameter and a trimeter, but Dobree's The verses suggestion that p.eT avrqs is a gloss is probably right. then become the ordinary trimeters of the dialogue, and are exactly The inclusion of the gloss in the adapted to the sentiment expressed. text may have been furthered by the form of ode in the following
lyric
(416
82.
flf.).
Ban. 398-402
= 403-8 = 409-13
I.
(Parode).
Strophe
'H/x. a
"laKxe irokvTiptjTe, pkXos
co/dttJs
^ - ^
399
TJSio-Tor vp<i)y,
Z^""'
Sevpo (TwaKokovd^t
^ - ^
3^'^
28

TTpOS TTjV diOV
83
KOI SelÔV
COS
^
w
\_i
i=i
^
\j
avev TTOvov ttoXXtjv 68ov
Tre/aatVets.
"IaK)( (fiiXo^^ôpevra
(rr)/i.7r/307re/i.7re
fie.
Strophe II.
'HjLi.
^'
(TV
yap
Kari(Txi(T(a fxkv iirl ye Aeon
404
408
KttTr'
eureAeia tov re cravSaXLO-Kov

K(x^r]vpe<s
Kol TO paKOS,
wa-T
d^vj/itovs Tratêiv re
fie.
Kal
x"/'^'^*'^*
"la/cxe <f>iXoxopevTa o-vixTrpoirefXTve
Strophe III.
'H/i, a' Kat
yap
Si)
TrapafSXeiJâs Ti fieipaKL(rKrjt,XoxopevTa a-vjirrpoTveinve
fie.
404
Toj/
re Bentley
rbvot rbv
(701).
The =
aabc,
three strophes constitute a monostrophic triad

3 3 5 3,
(704)
epodic
tetrad
catalectic
pentameter,
with
the
two catalectic trimeters and a same ephymnium, an acatalectic

See
742.
trimeter, as epode in each of the three strophes.
83.
Ach.
1008-17 = 1037-46 (Syzygy

LYRICAL DUO
Strophe.
III.).
Kop. a
(r]X(i)
(re
ttjs
ev/3ovXias
rrjs
1009
At.
fiaXXov 8e
avOpwire
Tt SrjT
etiw^tas
ttJs Trapovcntjs.
tTTCtSav TcLs
;
Ki)(Xas
70
oTTTWfievas iSrfTe
Ko/D.
w ^ ^ 6^ ^ ^ :^ ^ "C v^ vî=^ 5 ^ ^ w 4*^^
^_^_
olfiai ere
Kot tovt
ev Xeyeiv.
__^_
At.
TO TTvp VTroa-KaXeve.
iJKOVcras
^ ^
Kop. a
ws
fiayeLpiKU)<;
i=;_^_ k^ ^ 4*^^ i=i_v^_ ^ ^
Kopifw<; re Kal 8enrvi]TLKU}<;
avTW BiaKovelrat
10
w ^
v^
6^
Ko/o. f3' avrjp avrfvprfKev ti
Tais aToi'Satcriv
i^Su,
kov/c coikcv ovSevt p-era.8w(reiv.
85
Karaxei
/3'
/i^'
IAMBIC VERSE
(tv
rrj'i
29
At.
x^P^V'^
;
'^^
/xcAt,
Tas CDyTrias CTTadive.
Kop.
Ko/3.
I'JKOvaras
6pBia(Tii.a.Tiav
At.
oTTTare rayxikeia.
a-JTOKTiveh
At/iw
'/x^
'^'^'
ôvs
yeiVova?
Kviirrj
re.
koI
(JKuvr/
roiavTa
1017 auTv Bentley
:
\a<XK(x)V.
dvjjp
aun^ or (R) aiVa
1037
avrip
Elmsley
A = abba, 6 4 4 6, paliuodic tetrad a Monostrophic dyad. hexameter as proode, two tetrameters, and a second hexameter as See 746. epode that repeats the melody of the first period. Heliodorus See the metrical scholium on 1008 and the note. reduces the number of cola by thrice combining two dimeters in a tetraHis combinations destroy the meter, which he regards as a colon,' symmetry of the period, which clearly is palinodic.
:
'
84.
Pax 512-19 (Syzygy

aye vvv aye
Kal
[X7]v
II.).
Kop. a
'E/3.
Tra?.
43, 276,
VjS?;.
281
-^^
^^
ofjiov
Vrti'
Kop.
13'
firi
vvv dvoifiev dAA'

TeLvcafxev
eirev-
^ ^
v.^
5
2 ^ w w
515
'Ep.
avSpiKiiWepoi:
eKelvo.
-^Bt]
Vti tout
t3
Kop.
a'
&
ela vvv,
u)
ela ttu?,
^ ^
v^
e?a era ela vvv,

eta
w
^
eia-
em
e?a Tras.
e7aeta-
^ w
v./
wv^4
w
k^
2^^
^ v^
518 Richter: w era- eta519 Richter: w eta- eTa- ela-
era
eia iras-
R R
4 2
w
ci
eia eta eta eta eia eta

eia.
eta eta eta eto.
ttSj
Non-antistrophic.
A = abcbd, 12
6,
epodic pentad
a tetrad
composed of an anapaestic monometer, and two iambic dimeters that enclose an acatalectic iambic tetrameter, with an iambic hexameter
as epode.
See 762. See the metrical scholium on Pax 512 with the note.
85.
Eccl.
478-82 and 483-92 = 493-503

Proode.
(Epiparode).
Kop. a
efi(3a
x^p"-
43, 276,
281
>}-
v>
1"
479
Kop. B'
ap'
ecTTi
filv
Ttjv avSpiav Tts
^
4
oo"Tts 7raKoAov^t
v^>^^
a-avTi]V d(r<âAais,
(rTpe(f)OV (TKOTrei, (fivXarre
TToAAoi
yap
ot
avoupyot,
482
fJil]
TTOV TIS eK TOVTTLCrdeV u>v
TO (TX^/â KaTa<f)vXd^r].
^ y^ ^ ^^
^ ^
^
4
30

Strophe.
85
'Hu. a
dXA,'
o)s
fidkiara toiv ttoSoiv

êpot
kTTLKrvirwv /3aStê-
484 485
486
T^/xiv
8'
av
aio-;;(iJvryv
^ ^ ^ ^ y^ ^=^ w w4 v^ v^
v-^^^^^
TraxraKTi irapa rots avSpao-tv
TO irpayfj-a tout' lA.eyx^^*':r/3bs
5v:;
TauTa (ruo-TeAAov
Kol
(Ttav-
w w
v^
i=d_^_ w 06
i^^
v^ v^
Tr)v
Trepco-KOTTOv/iei'T;

4^^
TttKEtcre
Kai tuk Se^tas

07ra)S>
ft"!]
488
Kop. a
<(f>vXaTd'
^vfifftopa
i=i_^_ ^ y^
10
^_^_6
v^ V.
yevTjcreTat to Tpayfxa.
V.
dXX
kyKOvQip-iV tqv tottov

eo-/xev
7]8rj
yap eyyus
490
491
^pfiwfJied'
oOevirep ets KKX7]aiav

rjViK
rjp-i^v.
Tr)v 8'
oiKiav
17
'iêa-Q'
opdv
o vvv
oOevTrep
crTpaTr]yo?
evpovcr
^ - ^ ^ ^ ^ ^ 15^ w ^ v^
v^
^ - v^
i^
w-c;4
v^
^
^
w4
v-'
492
eo-^'
17
to
Trpay/i,'
eSoê ToTs TroAiVats.

Antistrophe.
'Hu.
/3'
wcTT
etKos i/juas /a^ fSpaSvyetv eaT

fir)
eTravayxevowas
TTwycovas k^t^pTrjixkva<i,
Ka'i Tts (.ÔTTicrOev
y xrip-MV
tcrws Kareiiry.
496 dXA' 499

Kop.
?a 8e?p'
ctti
q-kius eXôvo-a Trpbs to retxiôv -napafSXeTrovcra
darepo)
TrdXiv [Meraa-Kevaê cravTrju avOi?
fJir)
r]7rp
âOa.
/3' Kai;
f3pd8vv
ws
Tr/vSe Kat
6pu)[j.ev.
8^
Tr]v (rrpar-qyov '///xwv
Xwpouo-av e^ eKKXrjcrias
diracra Kai
p-Lcrei
dXX' eVetyou
craKov irpb? tou' yvddoiu e)(ovcra
XauTtti ya/3 i'jKOVcrtv TrdXai to <rxW'^ tout
ex^'"'^'-
487
y
TdKeio-e
:
Faber
6êd'
KOLKtlae
488 (puXard' Sirm Blaydes
495 i^bTncOtv
von Velsen
iifias
abcb,
= three strophes constitute a proodic triad, ABB (717). an anapaestic monometer as proode to 5 4, proodic tetrad two iambic tetrameters that enclose a pentameter. See 750. B = A probably = abba (776), 4 6 6 4, palinodic AB (483-8, 489-92). The
14
a tetrameter as proode, two hexameters, and a second See tetrameter as epode that repeats the melody of the first period. See 778. B a stichic period composed of four tetrameters. 746.
tetrad
87
86.
IAMBIC VERSE
Ach.
31
II.).
929-39 = 940-51
(Episode
LYRICAL TRIO
Strophe.
Kop, a
cvStô-ov
êi'ff) (5
/JeAriCTTe
tw
(fiepiov
930
Ka\(JtJ<;
T-qv e/x7roA^v
cii'
o
Kard^y.
ovTW<s OTTWS
firj
Ai.
ifiol
{xeXr'jO-et
rauT
eirei
934
Kop.
Ai.
a' Tt
XdXov TTVpoppayls KaAAw?

rot
Kttt ipoffjei
Tt Kat
o w 5 v^
^ ^
^ v^ ^ w
deolcTLv \dp6v.
^_^_ ^_^
w
kj
7CV
\pi](Tf.Ta'i ttot'
aiVw
c;
Tza.y\pri(Trov
ayyos eWai,
w ^
2 2^
Kparrjp kokwi', TpnrTrjp Sikwv,
w v^
v--
938
cf)aLViv
virevdvi'ov<;
Xvxvovxo<i Kal kvXl^
51
939
xa
Trpd.yfj.aT'
eyKVKdcrOai.
ioM_^_ __^_ __^_ 7^ w

^./
v^
Antistrophe.
Kop. ^'
TTois
S'
av
TTeTTOiOoir)
tis
dyyeuo toioutw Xpwp.vos

TocrdvS'
dei
Kar' OLKiav
xpo(f)ovvTL
ttot',
etirep
Ai.
tcrxupdv
t'oTtv
wyd^',
ojctt'
oi'k
av
/carayetTy
eV
TToSwV KCtTW Kapa KpefJLaLTO.
Kop. ^'
Bo.
7}8r;
K-aAws ex^'
<^<^^-
/AcAAw ye toi OepcSSeiv.

ottoi
Kop. ^' ttAA' w êi'wr /JeAricrTe o-uv0pt^ Kai toutov Xa/Swv irpdcr/?aAA'
jSovXet
cfieptov
irpos Travra crvKocjidi'Tijv.

Sttoi
943
ô-Tic
Princeps
eo-r'
950
Fritzsche
6'toi;
Monostrophic dyad. A = aabbc, 7 7 2 2 7 (8), proo lie pentad: a heptameter as proode that anticipates the melody of the first period of the following periodic tetrad, composed of a heptameter, two dimeters, and a heptameter in the strophe, but in the antistrophe an See 754. On the lack of correspondence in strophe and octameter.
antistrophe see 51. See the metrical scholia on 929, 946, 948, and the discussion
in 723.
87.
Fax 1305-10 = 1311-15 (Stasimon

Strophe.
I.).
'HfjL.
a vpdv TO AoiTTov pyov

Srj
7;-
v^
v^
40
'vTavda Twi/ pevovTiov
ii_v^_ ^
32

<^/\.av
88
1306
Tavra Travra Kal

111]
o-TToSetv
^
5
^ ^
w
i^
Kul
Kcvas irapekKeiv.
1307 aAX' dvSpiKws 6/xâAAeT

Kai
(rfx<j3\<iT
w w

^^v:72
dfX(f)Oiv
toiv
yvdOotv
i^_^ i=i_^_
v^
ouSev
yap w
TTOvrjpoi
1310 AeuKwv oSovTwi' epyov

)jv
/A7J
eor',
Ti Ktti fxaa-wvTai,.
Antistrophe.
'H/i.
^'
rifJitv
fieX-qcrei
TT/Do
ravTo.
y\
v irotets Se Kat crv (f>pd^(Dv.
1312 dAA' w
<i)S
Tov 7reivwvTS /ij3dXAcrê twi/ Aaywajf,
ov)(l rrdcrav t^fiepav

4'crTiv
irXaKOva-iv
evrvxîv trXavcofjLevoLS
?}
epn^p.oi'i.
1315
Trpos
Tavra ftpvKer
:
rdx'
I'/i'*'
^VH-'êrr'
/xeTa/xeAr;o-ii'.
^<rr2j'
1307 ifipdWere Portus
^n^dWeroy
1310
Bentley
or
:
^crriy
Monostrophic dyad. A = aabaa, 4 4 2 4 4, epodic pentad a tetrad composed of two tetrameters, a dimeter, and a third tetrameter, with a final tetrameter as epode that repeats the melody of the first, second, and fourth periods. See 760. See the metrical scholia on 1305 and 1307.
88.
P/m^.
290-5 = 296-301; 302-8 = 309-15;
316-21
(Parode).
I.
Strophe
Ka. Kat firfv eyw OpeTTaveku
l3ov\-Q<Top.o.t
rbi'
v-'
KuKAcoTra
^^
^
v./
291
UlflOV/AVOS Kol Tolv TToSolv

0)01
Tra/aevcraAei'wi'
^
5
-^
292
293
295
vp.ds ayeiv,
dAA' ela tckc-
^ -
a dap.iv' Travaf3owvT^
aTre^wAiy/iei'ot
8'
rpdyot
aKpaTLeicrOe.
^ - ^ v^
Antistrophe
'Hu.
a'
17/i.ets
I.
Se y'
aS
ere
^Tjrrô-o/iev
QperraveXo rov KvKAcoTra
BXyivwfJLevoi,
tovtovi ireivwvTa KaraXafSovTes,

t'
298
7rr;pav
e'xovTa
Adxavd
dypta Spocrepd, KpaiiraXQvTa

ttov,
nyovpLevov TOis 7r/3o/3aTtot5. eiKy St KaraSapôi/Ta
301 /Atyav Aa/ôvre?
r^jw/jievov
(T<firiKL(TK0V
eKTV(f>Xw<TaL.
89
IAMBIC VERSE
Strophe II.
33
Ka. iyw
Se tjjv KipKrjv ye ti^v
Toi
(^dpfxaK
ai/aKVKwo-av,
"J>iAa)-
303 304
?')
Tot's
kraipovi tou
viSou ttot' Iv Kopivdu>

eVeio-ev
ws oVras Kapirovs
fJupLayfievov (TKwp iaOUiv,
auTi) 8'
([xaTTiV avTois,
306
fxiixi](TOixai
TravTas T/aoTrovis"
w ^ ^ ^ ^ .^ ^ ^ 4*^^ w w 4^^ ^ v^ w 5w v^^=^ i:i_^_ o ^ w w ^ ^ 6^^ ^ ^

^
v^
v/xeis Se ypuAi{'ovTS
iVu
<fiiXr)8ta^
^^
v^
7^
^ ^
eVecrê IxrjTpl x^'po'-
10
Antistrophe II.
*H/i.
/3' ouKoiJi'
(re
Tî'
TîpKYiv ye
t^v ra (^dppaK
dvaKVKMO-av
310 Ktti fxayyavevovcrav ixoX.vvovcrdv re tovs 311 Xa/Sovres vtto <^6A7/Stas tov Aaprtov
Taipov<;
fxiixov/jLevoL
twv
o/D;â)v
Kpe/xwyuei'
313
fiivduxTOfxiv
6'
iocnrep
rpdyov
y-qv
piva,
epels,
crv
8'
'ApicrrvXXos
;(otpot.
vtto-
)(âcrK(av
irrea-de fJ-r}Tpl
Epode.
Ka. dXX!
eia vvv
twv
(rKw/j.fJi.dT(jJV
__^_ __^_
v^
d:raAAayevTes
r/Si^
vy
v^
4^
317
v/zets
e:r'
a A A' eiSos TpiTrea-9',

i(av
i]8ri
w
^ ^
5
v^
eyo) 8'
Xddpa
w w
v^
jSovX-qaofiac tou SecTTroTOU

Xa/Siov Tiv'
dpTOv KoX Kpeas
w ^
w
^
v^
321 /iacrwêvos rb Xoiiruv ov-
Tw Tw
KOTTO)
^wetj/at.
:
__^_ ^__4C
Karaoapd^vra
w <^
300 KaradapdovTa Porson
The
five
strophes constitute
an
of
epodic
five
pentad,
AABBC
of
:
(716).
which the fourth is acatalectic. B = aabe, 4 4 6 7, epodic tetrad two See 778. tetrameters and a hexameter, with a heptameter as epode. See 743. C probably = ab'a (776), 4 8 4, mesodic triad two tetrameters, with an octameter as mesode. See 739.
:
stichic
period
composed
tetrameters,
89.
iân.
384-8 = 389-93
Strophe.
(Parode).
Up.,
LS.i'jp,y]Tp
ayv-tuv
opytwv
385
dvacraa o-vpTrapaa-rdreL
34

Kal crwê tov
Ktti
/a'
90.
(ravTT^'i
x^pov
5
v^
v^
a.o-(f>aX.Qs
iravrjfi^pov
388
Tvala-ai t
Kal )(opev(raL.
^ ^
o
v^
v^

10
Antistrophe.
'Hyu,.
^' Kal TToAAa

7re6i/,
/xev
yeXoid
jx'
et-
390
ttoAAoL Se (r7roi;Sata, Kat

(Trj<i
T^s
koprrjs d^Loys
Traia-avTa Kal crKwipavTa vlKr](TavTa raiviov(r9at.
Monostrophic dyad. D (704) See posed of a single decameter.

90.
is
an indivisible hypermeter com-
773.
Ach.
263-279
(Scene
I.).
Monody
At.
of Dicaeopolis (593).
v^
âA)}s eraipe BaKXôv

^vyKiofxe vvKTOTrepnrkdvi]-
w
v./
^ ^
w^>w^^
265
re p-OLX^ TratSepacrra,
CKTO)
cr'
eVet TrpocrelTrov Is
rhv
Sr^fiov
eXOoiV acr/xevos,
^ w v^ ^
^ ^ 6^^ w w
v/^^^y
(TTTOvSas Troi7]crd[xevos e/xav-
Tw
270
7rpay/i,aT(uv re
Kat /xa^wv
Kat Aa/i,axwv aTraAAayets.
TToAAw yap
p6v6'
(r^'
Tr'^Stov
__^_ __^_
v^
^ w ^
w w w
v^
v^y
âA?}? 4>aA^S KAcTTTot'o-avev-lO

(optKr)v
vXi](f}6pov
^ ^
^ ^ ^
v.^
273
T'))v
^Tpv/JioSwpov
Oparrav
Ik
w
v^
Toi)
^cAAews
p.ka-y]v
XafiovT
dpavra KarafSaXovTa Karaytyaprt'cr'
w âXrjs
7)p.a;'
âXrjs-
277
cav p.^'
^vjnr'i.rj<i,
^ v^ ^.^ 15^ w ^ ^
^ ^ ^ ^ -^
v./
eK KpanrdXi]'i eutOev
P'qvy]';
el-
po(f>rjcrei
Tpv/iXiov,
cf)t\f/dX(i)
__^ ^_^_ __^_ __^^30

3,
279
17
8'
do-TTts
Tw
Kptiiyja-erai.
Non-antistrophic.
A = abc,
scholia
30
pericopic
triad
hexameter,
hypermeter
See
the
of thirty metres, trimeter.
See
771.
metrical
263-79 and 280-3
into a pericope,
Heliodorus combined on 263, 274. AB, but the latter is the beginning
.
In his edition 271-3 (ttoAAw See 234. of the second parode. TpvfBXiov) êAAews) were arranged as three trimeters, 277-8 (Idv
.
. . .
as two,
and 276 {âXTj^
âX'7]^) as a
monometer.
92
91.
IAMBIC VERSE
Eq.
35
IT.).
756-60 = 836-40 (Debate

Strophe.
fi.
36
93.

Av. 851-8 = 895-902 (Syzygy
Strophe.
I.).
93
'Hfi.
a ofioppoOw, (rvvOeXo),
(TVfXTrapaiveo-as e'x'^
v7
.
852
w ^
-^
^^
v^
^ ^
TTpoaoSia p.ydXa o-epiva

kvai deolcriv,
irpocri-
^
v^
-^
^^^^^^
v^v^wv~
aâ
8k irpoae-
w
w
Tt )(^dpLTo<i eVeKtt TrpofiaTLOV Ti dvetv.
857
ITO)
ITW 6TW 8e II V-
w
73
v^
v^ v^ v^
^tas /3oa ^w, o-wa- 69,

Serco Se
Xatpts wSav.
- ^ O ^^
v^ " - o 6^^
'H/LA. /3' etr'
avdi<i
av rdpa
SiVTepov
croi
yiteAos
Itti-
896
Set /i
XepvLJSb 6eocref3e^ 6(riov

fôav,
KaXeiv 8e paKapas
itirep
eva
Ttvot pLOVov,
iKavov eêr' 6\pov.
901
Tci
8ev
yap irapovTa dvpar ovaAAo TrXrjv yeveiov t'

Ka6 KepaTa.
857 trw trw Irw
:
o-Tt
856 -irpo^driov Bentley rcji 6ii^ deep Bentley

:
irphârov
all
MSS. except
Monostrophic dyad. See 770. hexameter.
A = ab,
11
6,
pericopic
dyad
hendecameter,
The metrical form of the lyric is 'tragic,' marked by preponderThe scholiast on 851 says SoôkAcovs ance of the rational metre. Cf. Ach. 1190 IF. iK IlTjAews, and again on 857 koI tovto Ik Ht/Acws. (599) and Aves 406 ff. (290).
94.
Lys.
256-65 = 271-80
Strophe.
(Parode).
Xo.
Fe/O.
rj
TToAA' aeATTx' ecrriv kv

T(x
69
^_ _^_
_ w _ ^ k^
. .
257
^ _ ^ v^^^v^ ^ _ ^ ^Tpvp.68(op' a.KOva-at 5 ^ ^ 260 ywaiKas as ejSocTKopev ^ ^ Kar' oiKOV /x(âves kukov ^vôs^ w Kara pev dy tov e'xeiv /3peTas, xy ^~^ ^ ^^ ^ Kara 8' aKpoTToXiv ep.dv XafSelv v 69, 94 f. w v^ pLoxXois 81 Kol KXyOpot10 =^w ^^ crtv Ta irpoTrvXaia iraKTovv 265
p.aKpw
/Sio)
(fiev,
4C
7rt
TtS av TTOt' tJXtTKt'

v^^.
w ^ ^ ^ w ^
4CV
y _
12*^^
95
IAMBIC VERSE
Antistrophc.
Xo. Tep. ov yap
fxa T'tjv AtjurjTp'
37
efxov
272
{'wvTOS
7rt
iyâvovvTaf
at'-
ov8e KAeoyuerr;?, 09
275
aTrrjXdev a.\pa.XaKTO<;,
O/XWS KaKlsiVlKOV
aW
7ri/tov
tw;(TO OcoTrXa irapaSovs efioi,j

ja-fMiKpov e'xwv Travu Tpij3u)VLov,J
TTtvaiv
pvirCiv dirapaTLX-
280
264 /uoxXo'J Brunck
:
Tos, ^ erwv aAovros.
The '111 vx^" ^'!ji"Xa is the reading of F. /uloxôIctlv and the reading in R, vxe^' S^Xa (vx^'^'i "ot^ VX^^') implies it. 277 thus becomes ^^^ - ^^, by resolution of the theses of but Aristophanes avoids the latter the simple feet in the logaoedic metre Bothe (376 ii.), and ^ ^ ^^ ^, although it occurs once elsewhere (563), is dubious. In the next colon (278), which has the same metrical proposes ^wttX' yx^ôform, Meineke proposes (TfUKpbv irdw rpiîbviov ^x'^"article is necessary, The first metre in
;
Monostrophic dyad. (704) = aab, 4 4 12, epodic triad: two See 737. tetrameters with a dudecameter as epode. The lyric is tragic,' that is, it has tragic form with comic intention. Only six of its metres are irrational as against twenty-two that are rational, whereas irrational metres outnumber rational on the average
in the melic iambic verse of Aristophanes (186).
indignant but unavailing complaint of sentiment, querulous old men in the strophe, and exultant but buffoon reminisHere, as in Av. 851 ff., metre cence of past glory in the antistrophe.
expresses the
is
The form admirably
made
the means of special comic
effect.
Non-Melic Iambic Vekse
95.
paratively rare.
Pure trimeters, which consist solely of iambs, are comOf 8835 non-melic trimeters in the eleven
extant plays of Aristophanes only 128 are pure, 1 in 69." Eleven occur in the Acharyiians 34, 150, 454, 472, 474, 500, The JSfubes has relatively the most, 513, 514, 588, 799, 1189.
:
The numerical statements and
tables
in-
main,
in this section are the
product of an
dependent investigation and frequently are not in agreement with those in Rumpel's Trimetrr des Aristophanes, but
the results of his investigation have often been quoted by editors, I it best to follow, in the thought have
since
the order and method of his presentation of the facts, in order to For melic trifacilitate comparison.
^ ;
meters see 126 ff. in Sophocles In Aeschylus 1 in 14 See in Euripides 1 in 22-5. 1 in 17

;
Rumpel's Trimeter, 601.
38
THE VEESE OF GEEEK COMEDY

1
96
18 in 758,
114-7.
96.
in
42
the Equites the fewest, 6 in place
688, 1 in
Irrational
and
trisyllabic feet, in
of the
normal
iamb, are very common, and verses are not rare in which no Cf. Av. 119, 192, 439, foot has iambic form except the last.
672,818,819, etc. There are 1 8 7 of these non-iambic trimeters, The Acharnians has relatively the most, 22 in 811 1 in 47'2.^
trimeters, 1 in 36-9, the Mibes the fewest, 11 in 758, 1 in 68-9. Of the 8835 trimeters 97. Irrational metres preponderate.
2299 (1583 with at least one trisyllabic foot and 716 that consist solely of dissyllabic 3857 (2586 + 1271) have feet) have one long arsis, 1 in 3-84 two, 1 in 2-29; 2199 (1328 + 871) have three, 1 in 4-02. The number of irrational metres is 16,610, over 62 per cent of The number of trimeters in which the total number of metres.
in Aristophanes,
somewhere
in the verse
one
or
more
metres
are
irrational
is
8355.
The
16,610
irrational feet are distributed as follows

i.''
%
54-4
5-2
iii.
%
58-6
9-6
y-
%
58-4
1-8
'Spondaic 'feet
'Dactylic 'feet
4804 459 5263
5174 849 6023
5162 162
Total irrational feet
59-6
'
68-2
5324
60-2
98. Eesolved feet, tribrach and dactyl,' occur in nearly every other trimeter, 1 in 2*14.^ 99.
on the average
The
distribution of the various forms of the foot that

is
are found in the trimeters of Aristophanes
as follows
Iambs
101
IAMBIC VERSE
tribrach
39
first
the
may
occur
in
any
of
the
five
feet.
The
following table exhibits the usage of Aristophanes

Play.
40
102
He allows it in iii. in maintain penthemimeral caesura (130). case of a tribrach that overlaps forward oftener than elsewhere
in
Cf.
iii.,
because this commonly produces hephthemimeral caesura.
Vesp.
1218,
in
iii.
1306, 1383, 1385,
1512.
The
trisyllabic
tends to produce medial caesura (137), which, as the poets of the Old Comedy felt, was rhythmically objectiontribrach
able.
Cf.
Ach. 733, Uq. 134, 670.

at the
Aristophanes eschews the

v.,
tribrach
contained in one word in
in order
to
avoid four
short syllables
syllable.
Cf.
end
of the
verse followed by a variable
Ach. 175 (proper name), 473, 748 (proper name),

facts are
812, 1097. 102. These
summarized
i.
in the following table
Trisyllables
Overlap forward Overlap back Overlap both ways

.
Totalin one word
117
384
32
304
20
857
103. Tribrachs composed of two or three words or parts of The following table shows the distribution words number 1797. of tribrachs thus composed
^ :
107
105.
IAMBIC VERSE
Eighty-five tribrachs are divided
v^ v/
1
41
,^
in trimeters
of
which
i.
the
text
is
generally
accepted,
and
these
may
be
classified as follows
The
first
word
is
compound
dissyllable of
which the
second part
Of. 6 n Xeyeif Av. 1382, (13 instances). OTL he Av. 181, airep cKel Vesp. 767, ore irep Av. 7l, OKa fiev Ach. 754. The first word is a dissyllable and the second a monosylii. labic enclitic, which loses its accent and its identity as an
is enclitic
Cf. e'/xe ye Av. 1670, ht ye JEc. 373, independent word (13). TToXv ye Ahib. 1335, e/xe re Uq. 1159, ^paxv ri TIi. 938, oaa 890. fjue Eq. 1336, <l>epe ae Lys. Cf. airo yap Nub. 792, ep,e in. The second word is yap (4).
yap
Ec.
iv.
714,
t<xa
The
first
yap Av. 1167. word is elided
(7).
Cf.
Trpoaer
aTrey^rjadpL-qv
Ran. 490, dirLr diro Eq. 728, irarep eXavuet^ Nub. 29, rafXTropt dvecpypêva Av. 1523. v. A preposition and its case constitute the tribrach (25). Cf. hua xpovov PI. 1055, eVt i/6ot7;to'? Vesp. 1199, Kara ae Ran. 500, irapa rov Th. 489, irepl yvvaiKO'^ Av. 1639, virep ifxou Nub. 839,
vi.
vTTo (})t\opvt0lae<i
diro
Afco.
diro Ach. 1023, Cf. iroOev ; 1159, A/a rov Nub. 817, raStKa Xiycov Nub.
884,
Tra^v Lys. 24,
daTriSa
Xa/Setv Lys.
52,
e'/io?
dvrjp
Lys. 102.
106. In most of these eighty-five cases the two words that Editors eliminate some form the tribrach are closely connected. 728, Nub. 817, Cf. Ach. 1023, of them by emendation. 884, Av. 181, 1575, 1639, Lys. 24, 102, Ec. 989, PL 838,
Twenty
second,
of the 85 instances occur in the first foot, 33 in the 29 in the fourth, but only two in the third {Ach. 71, It is noteworthy Av. 1588) and one in the fifth {Ach. 830). that 53 occur in the first metre.
107.
By
'
resolution
of
the
theses
of
irrational
feet
in a
tlie
trimeter a
1
dactyl
'
(resolved irrational iamb)

607,
see
may
occur in
Besides Rumpel's
ff.
Trimeter,
Bachmann's Zur Kritik der Komodien,
248
42
first,

third and fifth feet.
108
The following
table exhibits the usage
of Aristophanes
Play. Trim,
-^v^
i.
iii,
v.
Total.
Thes.
^112
IAMBIC VERSE
43
44
113.

The anapaest occurs
in
113
comedy without
restriction in
the
first five
places of the spoken trimeter,^ but, as
we have
seen
(70), it is
virtually excluded from melic iambic verse.
In the
spoken trimeter, which approached as closely as possible to the man in the street, it is simply a reversion to the earlier, less settled form of poetic expression that was marked by extreme variability of the arsis of the simple foot. See 389, 603. 114. The following table exhibits the usage of Aristophanes
speech of the
:
Play. Trim,
wv.y
i.
ii.
iii.
iv.
v.
Total.
Th. Lys.
Ra7i.
Ec.
Vesp.
Ach.
Paz
Av.
PI.
Nuh.
Eq.
757 711 839 895 752 811 695 925 1004 758 688
286 276 349 384 324 352 302 407 446 360 354
83+18 19+4 44+64 86+21 18+3 59+ 9 17+3 56+ 44 78+20 28+8 68+15 28+7 24+ 56 66+19 20+6 59+ 11 31 + 10
62+ 62+ 34+ 41+
495
70 71 61 65
46+ 49 71+ 13 35+ 52 71+19 49+ 73 75+ 42 42+ 58 109+ 31
8-r
11
56+
25
18
12+
15+
2
5
12+2 39+18 22+6

+ 10 10 + 10
51+
94+ 89+
928
38
13
+ 10
60+ 69+
91+34 22+9 82+ 98+28 16+7 71+

15
13 14 16
9
30 + 17 44 + 17 17 + 12
22 + 12
27+
193+ 179+ 201+ 263+ 224+ 258+ 200+ 259+ 301+ 236+ 248+
93 97 148 121 100 94 102 148 145 124 106
+ 663
+ 280
180 + 81 697 261
+ 166
262 + 88 2562 + 1278

350
8835 3840
1158
1208
863
3840
The anapaest is a conspicuous feature of the comic non-melic trimeter, which might with fitness be called the 'anapaestic trimeter,' and anapaests (3840) are nearly as common One anapaest as tribrachs and dactyls taken together (4124).
115.
occurs on the average in 2"30

of this form of foot that in
trimeters.
So natural
is
the use
352
is
instances,
90
in the first foot,
96
the
in the second,
fifth,
20
in the
third,
121
in the fourth,
and 25 in
jxev
anapaestic scansion
secured by position, the original

in Uq.
form being a tribrach, as

'Apyiov<; (fiiXovi
rifiiv
7rp6<f)a(7cv
466, irpoâcnv
iroiel.
Cf.
Eq.
53, Nuh.
62, Vesp. 196,
Pax
19, Av. 5, Ec. 766, 1110.

116. Anapaests contained in one
word (117) number 2562.
This In 919 of these, about one-third, the word is a trisyllable. form of the anapaest preponderates in the first foot, 279 in 495, Cf. Ach. 26, and is very common in the fourth, 270 in 698, Of the remaining 1643 31, 113, 134, Ran. 85, 91, 137, 156. anapaests contained in one word, 1027 begin a word which overlaps the following foot
846),
465 end
(cf. Ach. 160, Av. 439, Lys. 146, PL word which overlaps the preceding foot (cf. Th.
^ It occurs also as a vagary twice in the sixth foot, Ran. 1203 and 1231.
Here the anapaest points the metrical

jest.
Cf.
1197
ff.
120
IAMBIC VERSE
are contained in
45
words whicli overlap 65, 162, 214, 237), 151 both the following and the preceding foot (cf. Av. 125, 201, Aristoplianes uses the anapaest contained in one 1249, 1301).
word sparingly
dactyl
(109).
in
iii.,
as
This
is
he does the tribrach (101) and the due to the same desire to maintain
pentheminieral caesura.
He
allows
it
in
iii.
in
case of
an
anapaest overlapping forward oftener than in other cases, because this commonly produces hephthemimeral caesura. C Ach. 518,
The trisyllabic tribrach in iii. tends to produce 536, 624, V65. medial caesura, which was rhythmically objectionable. Cf Ach. 499, 526, 535, 922.
117. These facts are summarized in the following table
46
ii.

The word Ata
in
121
oaths
may
begin an anapaest in the
second and fourth feet, rarely in the third and fifth. 1239, Ran. 41, 164, 285, 288, 738, 863, 1433.
Cf Nul.
Any other word that consists of two short syllables may iii. begin an anapaest in any of the first five feet, if a pause in sense Such words are ore, on, Xva (Ach. 516, 535, Uq. 14); precedes.
(pepe,
\al3i,
e';ê,
dye,
Wi
(Ach.
519); and dissyllabic forms of
rt? {Fq.
584, 831, Av. 809, 935, Ban. Less 728, Fax 104).
;
common
Trdvv,
are oa-a, 66ev, oirep, iroQev, orav
afxa,
cnap, en,
ircikiv,
TToXv, Tayy, Tore.
Some
Cf.
exceptions to the restriction of
a pause in sense occur.
and
first
(dissyllabic enclitics) Ves'p. 9'il,Ban.

foot,
Av. 54, 134, Th. 922, Ban. 158, l70 {nve^ etc). In the
arsis
may
Cf.
be
separated from thesis by punctuation.
Cf.
is
Vesp.
816, Pax 926, 930,
û
22.
;
In other feet this licence

ttw?), Lys.
exceptional.
NuK 664
{<\>epe
731, Th. 219,
Ban. 483.
iv. The dissyllabic arsis of the anapaest may consist of the last two syllables of an unelided word of three or more syllables, but It appears examples of this anapaest are relatively rare.^ Cf. in the second foot chiefly in the second and fourth feet. Av. 1022, 1228, 1363, Lys. 124, 746, ^c. 1027, P/. 476; in The caesura the fourth Ach. 107, 1078, Th. 637, Ban. 754.
of the verse (130
ff.)
is
generally so disposed that the parts of
the anapaest are not separated, but in two cases in the fourth foot {Pax 233, Av. 1226) the arsis and thesis are separated
This anapaest rarely occurs in the third and fifth Nuh. 73, Pax 1195 (in both the vulgate has been corrected), PL 942. 121. Anapaests divided ^ ^ - or ^ ^ - may be classified
by a pause.
feet.
Cf.
as follows
i.
The monosyllabic forms of the
article
o,
t6v,
to,
to.
and
short monosyllabic prepositions
may begin
the anapaest.
Cf Ach.
a,
481, 498, Eq. 84, 120, 646, Nuh. 1188. The interrogatives rt?, rt, the forms ii.
relative,
09,
a-v,
6v,
6,
of the
in the
also
fie
and
ere
when
accented,
and
fjbd
formula â
precedes.
1
Ai',
may
begin the anapaest,

Vesp.
if
a pause in sense
90,
Cf Eq. 1046, Nuh. 22,

had
'
142, 158, Av.
This polysyllabic word always has dactylic close ( ww), and Hermann condemned the anapaest thus formed Bentley and Elmsley {Epitome, 154).
previously banned many of the examples, and subsequent editors have
emended them
'
freely.
121
IAMBIC VERSE
47
to the restriction of a
982, 1021, 1685, Ban. 47, 171, Ec 440, 550. Some exceptions Cf. Vesp. 815, Pax pause in sense occur. The formula ^la At" is a 930, Av. 20, 847, Lys. 131, Ran. 749.
notable exception
(cf. Ach. 88, 461, 966, Nuh. 694), and it may be separated by a strong pause from the final syllable of the
anapaest
arsis,
The two short syllables of the (cf. Pax 930, Ec. 551). - or ^ v^ - may not be separated whether the form be v by punctuation. The sole exception is found in the first foot of The second word in the anapaest, whether monoAch. 750. The only syllabic or dissyllabic, may not be an enclitic. ^ - and they are rare. The comexceptions have the form
v./
| |
v.^
bination
Tfc
TTOT (rt TToO') occurs
six times, as
;
in Eq.
finally
97, Nuh.
Se
rv, in
187
6 TL occurs twice, Ec.
998, PL 349
and
dialect, in ^j.
iii.
1225.
syllable of the arsis of the anapaest
The
first
may
be the
final
word of two or more syllables.^ Examples of this anapaest in iii. and v. are rare (cf. Eq. 26, 121, Nub. 1192, Av. 90, 93, Lys. 927), but its occurrence in ii. and iv.
syllable of
an
ujielided
cannot be said to be infrequent,

small relatively the total
first
iv.,
if
we
take into account
how
number
of anapaests divided after the
short syllable
is
in these positions,
discussion.
118
in
ii.
and 82 in
anapaest
has penthe-
including those
now under
When
this
occurs in the second foot, the trimeter generally
mimeral caesura as the primary pause within the verse {Ach. 6, Nub. 684, Pax 48, Av. 79, 843, Lys. 44, Th. 946, 1184, Ran. 847, 1393), sometimes hepthemimeral {Av. 114, 144, 1024, Th. 1198), twice {Nub. 1221, Vesp. 25) octahemimeral (137), Only two and the parts of the anapaest are not separated. exceptions occur {Ach. 178, Ran. 1462), on which see 138,
note.
When, on
its
the other hand, this anapaest occurs in the
is generally divided by hephtliemimeral caesura {Ach. 912, Eq. 208, Nub. 62, 214, Vcsp. 1369, Pax 187, 415, Av. 40, 1495, Ran. 1220, 1307, Ec. 146, 167, Less often the trimeter has penthemimeral caesura {Av. 428).
fourth foot,
dissyllabic arsis
^ The anapaests in this subdivision and the following subdivision have been vigorously discussed and many of them have been emended out of existence. See Bernhardi, De incisionibus, 246 If. Elmsley on Ach. 178 and 262 if. (Auctarium) Enger, Lysislrata, xviii. ff. Most of the verses that have been
' '
brought under discussion are here cited, Some of them are objectionable on otlier accounts than the suspected anapaest, the true reading of some others is now furnished by the manuscripts, but wholemerely because the sale correction, rhythm is supposed to be objectionable. is not to be countenanced.
48
122
441, 1614, Lys. 768, Ban. 652, 658), once {Lys. 838) triemimeral (138), and once {^Nvh. 70) octahemimeral (137). iv. In the same category with the preceding belong anapaests
of which the
first
syllable is a monosyllabic enclitic or Se, av or
'âp} since these monosyllables adhere closely to the preceding

Cf. in the second foot Nul. 876, Av. 1281, each with penthemimeral caesnra. In PZ. is hephthemimeral, in Bl. 664 medial (137), in mimeral (137). When this anapaest occurs in the caesura is generally penthemimeral {Av. Ban. 77, Ec. 998), once hephthemimeral, with
word.
847, Ban. 107, 1173 the pause

Th.
469
Th.
tetre-
the fourth foot

78,
173,
division of the
arsis
(Jjys.
760).
This
anapaest does not occur in the third
foot
and rarely in the
fifth.
Cf Av. 23,
Ec. 219.
122. It should be observed, finally, that the last remaining
remaining two syllables of elided polysyllabic words may freely begin an anapaest in the second or fourth foot, even with interior punctuation less freely in the third and fifth. Cf. in the second foot, Eq. 11, Niib. 849, Av. 442, 1026, 1222, 1638, Lys. 45, Ban. 1407, Bl. 1191 in the fourth, Ach.
syllable or last
; ;
^lZ,Nub. 66, 70,

in the third, Nuh.
Vesp.
3,
969, Th. 472, 926,i^fm. 118, ^c. 1011 630, 749, Bl. 1085 in the fifth, Bax 31,
; ;
Av. 956.
123. Eelatively few tribrachs, dactyls and anapaests are composed in comedy wholly or in part of proper names. There occur 196 such tribrachs, 100 dactyls and 340 anapaests. Of these 8 tribrachs, 4 dactyls and 54 anapaests are each a trisyllabic word.
124.
trimeter
frequently occur.
Combinations of two or three trisyllabic feet in a single Twelve hundred and sixty-nine of
2654
tribrachs,
723
of
1470
dactyls,
2025
of
3840
least
anapaests,
are found each in a trimeter that contains at

trisyllabic foot.
one other
The combinations
I.
of trisyllabic feet in Aristo-
phanes are
set forth in the following table,' in
which the columns

ii.
designate in order:
the feet that are combined;

;
the total
number
it
of times the combination occurs
iii.
the most frequent
arrangement in the combination, the

occurs being
feet of the trimeter in

i.,
which
named
in the order of
and
in
parenthesis the
See his Tri-
1 [jAv does not occur in this use in the trimeters of Aristophanes. ^ Rumpel's statement of facts has been
completed and corrected.

meter, 617
ff.
125
of times
it
IAMBIC VERSE
occurs
; ;
49
;
number
iv.
next in order of frequency

II.
vi.
an example an example.
v.
the arrangement
50
126
forbidden combinations which have been the subject of great dis-
Dawes first pronounced against them.^ See the on the following passages, which have all been brought into the discussion at one time or another. Many emendations by Bentley and his successors have subsequently been confirmed by authority of the manuscripts. For ^ ^ ^ ^ ^ - see Ach. 47, 68, 190, 867, 928; 32, 134; Nub. 663, 845; Vesp. 1169, 1356; Fax 246; Av. 108, 444, 1011, 1283, 1506,
cussion, since
editors
HJc.
1693; Lys. 923, 1002, 1148; Thesm. 100, 285, 730, 1203; 162,315; Plut. 179, 1011. For - ^ ^ w v. -,see^c^. 18, 144,615, 733; Vesp. 961; Pax 900; Lys. 20; Iia7i. 473, 551 Plut 145, 178, 204.
;
SPOKEN AND MELIC TRIMETERS COMPARED

126.
There are 76 melic iambic trimetrical cola in the extant
plays of Aristophanes," according to the analyses of his odes

this book.
cola.
made in
The count excludes
protracted, acephalous
arsis, 1 in 4*8
;
Sixteen have one long
and catalectic 32 have two, 1 in
2-4; 11 have three, 1 in 6*9.
metres
cola in
is
113, 49*6 per cent.

feet,
The total number of irrational The total number of trimetrical
irrational is 59. There are on the average one in 2-8 cola, but all but four of these are tribrachs which are distributed as follows
which one or more metres are
27 resolved
Cola.
wv./v>
i.
ii.
iii.
iv.
v.
Total.
76
23
0+10
of
|
1+3
1+6
;
4+19
Four
trisyllabic words two have the ^ The dactyl occurs three times (Vesp. 886, Ba7i. 266, He. 914); the anapaest but once (Vesp. Five cola contain each two trisyllabic feet, one has four 886).
tribrachs
v^
consist
division
four
v^
v>
{Ach. 1191).
127.
1
It is obvious that the virtual exclusion of the anapaest

;
HerDawes, Miscellanea, 253 ff. Reisig, Conmann, Elementa, 126 ff.

;
Dobree, Addenda to iectanea, 11 ff. Vovsons Notae in Aristophanem, III S.; Rossbach, Spec. Metrik? 227 ff., who seeks to establish the proceleusmatic as a legitimate foot in the comic trimeter. 2 Ach. 279, 364 f. 391 f. (2), (2), 492 f. (2), 1158, 1170, 1191-3 (2), 1199 f. (2), 1203, 1211, 1213 f. (2), 1216, 1218, 1220, 1222, 1224 ; Nub. 709 f. (2), 1156 f. (2), 1161, 1303, 1311,
;
1345, 1347, 1349, 1391, 1393, 1395 Vesp. 729, 731, 743, 745, 868 f. (2), 885 f. Av. 228 f. (2), 417, 430; Lys. 288, (2); 298, 1299, 1306; Th. 369, 679, 718, 958, 975, 983, 985; Ran. 266, 268, 402, 408, 413, 418, 421, 424, 427, 430, 433, 436, 439 Ec. 480, 914, 920 Plut. 307, 314. See Zielinski's differentiation of "lyric," "tragic" and "comic" trimeters in his Gliederung, 292 f. His method is not followed in this
; ; ;
book.
130
IAMBIC VERSE
51
from the melic trimeter is the most important mark of difiference The next signiticant between melic and spoken trimeters (113).
difference
is
the sparing use of the dactyl (108).
The
tribrach,
on the other hand, holds its place, one tribrach in 3-3 cola (100), Irrational metres also abound, as in the spoken trimeter (97). 128. But it happens that the percentage of irrational metres in these 76 cola is somewhat lower than in mehc iambic cola in A second, broader means of comparison is general in comedy. secured by grouping all the melic iambic cola found in the eleven
plays, excluding those that are protracted or acephalous.
cola,
These
including of course the 76 trimetrical cola that served as the basis of the first comparison, number 611, and they contain 1100 complete metres, roughly equivalent to 367 trimetrical cola.
The anapaest occurs only six times, once in the equivalent of 6 But the tribrach is trimeters; the dactyl 23 times, once in 16. found 122 times, on the average once in 3 trimeters, and there The perare 618 irrational metres in the 1100, or 56 per cent.
centage in spoken trimeters
129.
It
is
is
6 2 (97).
apparent that the irrational metre abounds in The poet, however, comic iambic verse, both sung and spoken. In the processional in skilfully varies its use in melic verse.
Ban. 384
ff.
(89) the
is
retarding effect of the irrational metres
(77 per cent)

ingly similar
marked.
at the
The metrical tone of
this
ode
is strikit.
to that
of the anapaestic lyric that precedes
Even
in the
Song
Bridge {Rail.
90)
416
ff.,80) irrational
metres
greatly preponderate (70 per cent).
Dicaeopolis {Ach.
263
ff.,
is
lighter
The tone of the monody of and the use of irrational
metres
is
come within the range

(93),
When we pass this limit we diminished (53 per cent). Cf. Av. 8 5 1 ff. of parody and paratragedy.
ff.
instructive to
It is (290), Ach. 1190 ff. (599, and see 598). compare the iambic lyrics of Aeschylus, composed almost wholly of rational and protracted metres, with those of Aristophanes, who uses protraction sparingly but, since he is a
405
comic poet, irrational metres in abundance.
CAESURA
130.
IN
THE TRIMETER
is
The spoken trimeter
a colon and can be rendered
continuously without difficulty (22), but it is in constant use in the drama, and a single mode of rendering it would have made
the dialogue of comedy, in particular, intolerably monotonous.
52

and
is
131
pause, therefore, was developed within the colon, such as

in the English heroic line
natural to
all
is found spoken verse,
which produced variety by introducing a double instead of a This pause followed a complete word, which cadence. might however be elided, and its place in the verse was determined with due attention to the thought. This fact, which is sometimes overlooked, is emphasized by the anonymous writer in Studemund's ^?iec(ôte Varia (215. 24 f.), in his discussion of the pauses of the dactylic hexameter TOfir] 8e rcov ari'xâv iarlv 6
single
' '
:
TOTroî 6 SecKvv<i iv
jxeaw rov eirovi Sidvoiav,
crri'yfjLTjv
i'7riT7]Seico<i
Xa/x^dvovaav.
Compare
his repeated use of the phrase to vorj/xa
in the passage quoted in 360.
Aristides (53 M., 34. 21
ff.
J.)
records two alternative pauses of the trimeter, the penthemimeral,

third simple foot, ^ - ^ hephthemimeral, which generally follows the arsis of the fourth foot, ^ - ^ - v^-v^|- ^ - ^ but sometimes divides it, v^-v^- ^ - ^\^ - ^-w-.
which
follows
the
arsis
of
the
v^j-w- ^ - ^ -
and the
131. These are the chief but not the only caesuras of the
trimeter, notwithstanding
the
reported
opinion of Hephaestion
The ancient actor, like the modern, studied and tested his poet's lines and determined the appropriate place -for the pause with due regard for thought and rhythm. He doubt(229. 15
ff.).
less often
rendered the trimeter without pause, when the logical connexion of its parts was close or involved, especially if the
sentiment justified rapid delivery.
On the other hand, two pauses sometimes occur, one generally stronger than the other, producing a triple cadence. It was possible to secure great variety of
effect in rendering the trimeter.^
132.
dramatic and recitative verse.

place within
Caesura and diaeresis (56) are peculiar to spoken, meloIt is obvious that a pause had no
a melic subordinate period, which in
comedy was
generally sung by twelve voices, often in accompaniment to a

dance.
Virtual equality in length of rhythmical elements was
necessarily observed in the melic period, but a pause that facilitated
rendering might be introduced into a verse that was spoken or

recited
by a single
voice,
without seriously disturbing
its
rhythm,
precisely as in English blank verse.
final pause,
furthermore,
caesura
of the
same nature
as
that which accompanied
and
diaeresis, followed the

^
nou-melic verse.
pause which had the

ff.
For tragedy, see Goodell's Bisected Trimeters, 148
133
IAMBIC VERSE
63
value of at least a primary time certainly followed tetrameters, which are all catalectic, but a pause must have occurred also
after the iambic trimeter
of
this
is
the
constant
and dactylic hexameter.' One evidence but wholly irregular occurrence of

'
the variable syllable and of
apparent hiatus at
the
close
of
the trimeter and hexameter, implying separation of the verses second proof is the fact itself that these non-melic generally.
Most somewhere within the verse

verses allow caesura.
trimeters, for example,

to facilitate rendering.
admit a pause The thought
expressed in
many
of these verses, that
end
in a syllable that is
not affected by hiatus and is long by nature, is brought to such a conclusion at the end of the verse as naturally to require a following pause, indicated in the modern printed text by punctuation.
It is not credible that the pause natural to such a close should have been ignored, while the pause within the verse was observed. The identity of the spoken trimeter, indeed, as a rhythmical unit
would have been lost in a succession of trimeters thus rendered. But a single trimeter may on occasion be followed by a pause that is very brief, or it may even directly overlap the following Compare verses that trimeter, just as some verses lack caesura. end with ore {Acli. 170, 189, 375, 502), o-rrm {Ach. 26, Hq. 211, Nuh. 887, 1107, 1181), eVet (Mth. 781, 1470, Vesp. 79, 1164, 1393), iva (Eq. 8, Nuh. 196, Vesp. 845), or some similar word. 133. This fact of a final pause bears upon the question of the
extent to w^hich logical relations should determine the position of
the caesura within a given trimeter or even effect its rejection. Sense and pause, whether inner or final, generally coincide, but a
pause
may occur that breaks the continuity of the thought. Every trochaic tetrameter, Tetrameters furnish evidence of this. for example, is followed by a pause due to catalexis, but such a tetrameter is sometimes closely connected in meaning with the
tetrameter that follows.
Cf.
Ach. 239, 311, 313, 329, 706,
The pause also that follows the melodramatic iambic tetrameter, which is intimately related to the trimeter in form (173) and mode of rendering, often separates words that are logically Cf. Bq. 354,432, 435, 844, 850, 852, 860, closely connected. The same separation is seen in tri861, 862, 868, 869, etc. The signifimeters. Cf Ach. 7, 13, 19, 21, 23, 28, 37, etc. The practical cance of these examples is not to be ignored. conclusion which they justify is that, while due regard is to be
714.
54
134
paid to the thought in determining caesuras in the trimeter, any separation of words logically connected that the poet permits at
the end of the verse
caesura.
is
to
be allowed within
it,
if
required by
134. Caesura consequently
may
divide not only sentences,
phrases
speech that are connected by coordinate conjunctions, as well as principal and subordinate sentences connected by subordinate conjunctions and relatives, but also verb and object, verb and subject, verb and dependent infinitive,
and parts
of
adverbial phrase, noun and adjective or dependent genitive, noun and appositive, noun or pronoun and Caesura is thus participle, subject and predicate, and the like. seen to be an independent and significant phenomenon of non-
verb and adverb or
melic verse.
Nevertheless,
its
place in the verse
is
not to be
determined by a merely mechanical observance of word-endings. A word ends with the arsis of the third simple foot in 71 of the first 100 verses of the Acharnians (excluding 43, 61, 100), with
the arsis of the fourth simple foot in 46 of these 100 verses, in Only eight verses, thereboth places in 25 of the 71 and 46.
fore,
close of a
occur in which neither the third nor the fourth arsis is the word (31, 37, 51, 71, 74, 78, 83, 96), but it does not
92 of these trimeters are best rendered with either a penthemimeral or a hephthemimeral pause.
follow that
135. It
is
to be noted, as a general rule,

he/ore
first,
that a pause
must not be made
an enclitic, or a recessive word, such as fxev, Be, yap, av, closely connected with what precedes and not admissible at the beginning of a trimeter secondly, that it must not be placed after a progressive word closely connected with
;
what
follows, such as
the article, a preposition

îrj
when
and
is
it
precedes
its case,
kul {and), ov (proclitic),
(progressive),
in general
any word that on account of

the close of the verse
;
its
progressive force
avoided at
thirdly, that it
must not be placed between
the two short syllables of the resolved thesis of the tribrach or Of the first 100 verses of the 'dactyl' in the trimeter.
12, 32, 55, 102 cannot be given the penthemimeral pause, nor 39, 80, 97 the hephthemimeral. 136. The penthemimeral is the prevailing pause in the trimeter only second to it in importance is the hephthemimeral
Acharnians, therefore,
but there are nine verses in the first 100 trimeters in the Acharnians that admit neither of these pauses, verse 1 2 in which
138
is
IAMBIC VERSE
55
the third arsis

singular;
followed by an enclitic, and the fourth ends
within a word, and the eight cited above (134).
These are not
59 such verses occur
in the first
Acharnians, about one-half of the total

the play.
400 trimeters in the number of trimeters in

is
The second metre

is
of
a verse of this class
either
wholly without division. 137. Trimeters that do not admit either the penthemimeral or the hephthemimeral pause may have medial caesura, the pause occurring at the middle of the verse, ^ - ^ - w-{v^- ^ - ^ -.
divided at the middle or
Or the caesura may Ach. 139, 170, 172, 409, 434, 499. be tetremimeral, ^ - ^ -\^ - ^ - ^ - ^ - the pause following
,
the
first
metre, so that the verse
is
divided into monometer and
diaieter, as in 47, 51, 7 1.
Cf
also
163, 382.
Cf.
Or the caesura
that the
may be octahemimeral,
dirision is into dimeter
v^-w- ^-^-\^-^-,so
and monometer.
The octahemimeral pause may Cf. 54, 105, penthemimeral caesura, if observed, is secondary. The tetremimeral pause like188, 254, 430, 451, 452, 473.
wist
465, 905, 1021. occur also in a verse in which
may
L38.
occur in a verse in which the hephthemimeral pause,

is
if
observed,
secondary.
Cf 48, 176, 437.

and
hephthemimeral
pauses
so
The penthemimeral
divice the trimeter
that the second
rhythmical phrase always
Much less frequent are the begias strongly with a thesis. medal, tetremimeral, and octahemimeral pauses, after which the folloAîng phrase, dimeter, hemistich, monometer, begins with an
arsis
Two
other pauses sometimes occur that are in the same
class
with penthemimeral and hephthemimeral pauses, since the caesira follows an arsis, the triemimeral following the second
arsis..
^ - ^\-
^-^-
^-v^-,asin
Ach.
24,
137,
145,
179, 257, 405, 461, 484, 485,^ and the freqvent, following the fifth arsis, ^-v..în A37i. 753, 771, 782, 815, 910,
cretic,
^-wWe
which is less v^|-v^-,as
1065.
even find verses
with a pause well defined by the sense after the first thesis, ^ _ ^ _ ^ - ^ _ V. - .. -, as in 4, 19, 110, 445, 450, 467,
or
bss
often
after
the
fifth,
^ - ^ first
^ - ^ -
^ -'
it
-^
as
is
in 134, 262,
dissyllabic
406.
!),
Even the
arsis,
or part of
if
it
(750
may
be separated from the remainder of the

Elmsley reads ô-r', but see the cases of similar division in the fourth foot cited in 121, iii.
In Ach. 178 the triemimeral pause
diviies the dissyllabic second arsis, tl 5' 1(774' ; iyCo fi^v 8vp6 croi <nrov8a.i (pepuv.
56
verse, as in

4i, 106, 108.
139
So ov in the thesis at the end of
the trimeter, as in 46, 421.

arsis
The pauses
after or within the first
and before a final thesis are secondary, and if appreciably observed must have been very brief. 139. Two pauses in one trimeter give it a triple cadence, but verses of this kind are comparatively rare in Aristophanes. Cf. Ach. 2, 402, 408, 410, 417, 470, 471, 473. Each of these has either penthemimeral or hephthemimeral caesura combined with one of the other pauses mentioned above. Other combinations are possible, but verses are very rare that have both penthemimeral and hephthemimeral caesura. Perhaps Ach. 53 should be thus rendered with a pause before and after the vocative, [n verses that might admit both, if mechanically divided, one pause is generally strongly demanded by the sense to the exclusion of the other, as the penthemimeral pause excludes the hephthemimeral in 13, 57, 86, 89, 93, the hephthemimeral the penthemimeral in 27, 34, 50, 75. The hephthemimeral caesura excludes the penthemimeral likewise in 16, 36, 82, if the logical connexion of words is regarded. Hephthemimeral caesun is excluded from 2, because the sense demands cretic ending, and probably also from 5, because all that here follows the peiithe-mimeral caesura is a single paratragedic combination of the
nature of a quotation. If the rendering of 11, 24, 9.^ is determined by logical relations, 11 and 24 have triemineral caesura and cretic ending, 98 triemimeral caesura and ianbic ending, but the last pause in each is secondary and may lave been ignored.
140. It
is
now
impossible to determine
how
freely the ictor
may have
used a triple cadence.
That most spoken trirmters
had each at least one caesura is not to be doubted. The penthemimeral and hephthemimeral pauses were so important that, as we have seen (133), they might break the continuiy of
the thought.
It is
possible that the logical relation of \ôrds
was, in general, a consideration so subordinate to the maintenince

of the flow of the
rhythm that a secondary pause required hy the
thought
may
a
often have been ignored.

active,
Two
opposite tendercies
would then be
disregard
one to establish a main pause, the other to subordinate pause, but both operating to effect
harmonious rendering.
of the secondary pause.
The
result
would be
to abridge the ise

tre
Trimeters with three interior pauses
143
very
is
IAMBIC VERSE
rare.
57
merely enumeratory, the rhythraical effect Perhaps Ach. 30, 31 should be thus rendered. When a Cf. 551, 554, 1090, 1092, and Plut. 190, 191, 192. verse is divided between two speakers into four parts the effect is so odd as to be in itself eminently comical, which is the
not displeasing.
Cf. Eq. 999, 1161, Niih. 219, Vesp. 48, Pax The only instance of this in 198, 268, Ran. 40, 56, 306, 312. tragedy is Soph. Phil. 753. Ehythm can hardly be affirmed of a verse such as Ach. 46, the only trimeter of its kind in Aristophanes. Cf. for 141. Pauses are observed without regard to elision. the penthemimeral pause, Ach. 155, 247, 403, 408, 460, 609 The for the hephthemimeral, 50, 165, 752, 761, 891, 1091.
When
poet's intention.
last
involves aspiration, as in Nub. 1270,

is
Pax 275.
The
dis-
regard of elision
a curious phenomenon, from the point of view
both of rhythm and of thought.^ 142. The trimeter of comic dialogue with
its
varied cadences,
which are comparable in spoken verse with melody in verse that It made serious was sung, cannot have been a monotonous line. but stimulating demand on the skill of the ancient actor.
143. It is certain that no two ancient actors would have rendered any considerable number of trimeters in just the same manner, much Nevertheless it is worth less are any two moderns likely to agree. while to attempt to apply the principles deduced in the foregoing discussion to a concrete case, and the first 100 verses of the
Acharnians
It will
indicate half-feet.
The figures in italic type the purpose. The odd numbers signify arses the even, theses. be remembered that the thesis of the tribrach and dactyl and
will
serve
the arsis of the anapaest in the trimeter are each dissyllabic. Thus 5 signifies that a verse has penthemimeral pause 4 <5> ^^^^ 1 signifies an alternative. it has tetremimeral and octahemimeral.
'
.'>:!,
3, 5, 6, 7,
8,
9?
10, 13, 14,
15,
17, 18,
29, 33,
72,
38?
39,
41, 42, 45, 49, 52, 57, 58, 59, 62, 63, 65, 66,
70?
34,
73, 77, 36,
80
84, 85, 86, 87, 88, 89, 93, 97,
98? 101, 103.

26, 27, 28,
32,
7: 16,
53, 55,
21, 22,
23,
25,
35,
44,
50,
56? 60? 67, 68, 69, 75, 79? 82, 90, 92, 94, 95, 99, 102. Nme:9 1 12? 37? 39? 60, 63? 70, 76, 79, 80, 83, 91, 103? ^: 37, 78, 96. 4: 20, 31? 47, 48, 51, 56, 71, 76? 8 : 9,12,40,54,74,81. 5: 11, 24, 98? ^:_4?19. 5 9 : 2, 30. 5:7 : 53 ? 3 5 : 4, 38. 64. o' ,9 : 1 1 ? 24 ? 3:10: 98. 4.: 8: 311 2:5:9: Z01 2:^:8: 31.
:
:
1 See Goodell's Bisected Trimeters, 150 226 (note on v. 1502).
f.,
and Jebb's
Sophocles,
The Electro, 201,
58

THE TRIMETER IN MENANDER
144. Pure
^
144
Only 18 of trimeters are comparatively rare. 728 trimeters now taken into account are pure, 1 in 40, but the number is relatively larger than in Aristophanes, 1 in
the
69
(95).
145. Irrational and trisyllabic feet are common, and verses There occur in which no foot has iambic form but the last. The are five such non-iambic trimeters in Menander, 1 in 146.
ratio in Aristophanes is 1 in 47*2 (96).
of Menander,
Of the 728 trimeters 199 (131 + 68) have one long arsis, 1 in 3-66; 327 (211 + 116) have two, 1 in 2-23; 149 (89 + 60) have The number of irrational metres is 1300, three, 1 in 4-89. The 59 per cent. The percentage in Aristophanes is 62 (97). number of trimeters in which one or more metres are irrational
146.
Irrational metres preponderate.
is
675.
147.
The 1300
irrational feet are distributed as follows
(of.
97):
i.
'
%
49-2
9-2
iii.
%
54-9
8-8
V.
%
51-6
4-8
Spondaic
Dactylic
'
'
feet
358
67
'
feet
400 64
464
376 35
411
+
+
Total irrational feet
425
58-4
63-7
56-45
148. Eesolved feet, tribrach and 'dactyl,' occur on the The average oftener than in every other trimeter, 1 in 1*88. ratio in Aristophanes is 1 in 2*14 (98). 149.
The distribution
of the various
is as
forms of the foot that

(cf.
are found in the
728
trimeters
follows
99)
153
150.
IAMBIC VERSE
59
By
resolution of the theses of iambs, the tribrach

first
may
occur in any of the

the usage of
Trim.
v^-v^v,.
five feet.
:
The following
table exhibits
Menander
i.
(cf 100)
ii.
iii.
iv.
v.
Total.
728
222
18 + 17
27
+ 50
77
8 + 20
12
+ 59
71
35
28
0+11 = 65 + 157 = 222 11
151. The ti'ibraclis in Menander, 1 in 3'28 trimeters, slightly outnumber proportionally those in Aristophanes, 1 in 3-33 (100). In The difference in distribution is marked in i., iv. and v. Menander the tribrachs in i. and v. outnumber those in
Aristophanes (the divisor^

iv.
is
12) in the ratio of 2
to 1,
but in
the
9.
number in Menander is relatively smaller, about 7 to The tendency in Menander to increase in the number
i.
of trisyllabic feet in
for the
relatively to those in Aristophanes holds
dactyl and anapaest as well as for the tribrach.
The
proportion of tribrachs contained in a single

greater in Aristophanes, 32-3
word
is
slightly
per cent (101), than in Menander,
29-3 per cent.

152.
in detail (cf
The following tables exhibit Menander's use of tribrachs 102 and 103)
:
i.
Trisyllables

.
Total in one word
In three words w In two, divided In two, divided ^
v^
|
v.^
v.^
|
v^
v.1
v v
.
Total divided tribrachs
17
50
of
20
59
11
157
feet
153.
By
'
resolution
of
the
theses
irrational
in
trimeter a
dactyl
'
may
i.
occur in any of the odd
feet.
:
The
following table exhibits the usage of

Trim,
-v.^^
iii.
Menander
v.
(cf 107)
Total.
728
166
23
+ 44
67
+ 57
64
+ 33 = 32+134
35
166
Menander.
Determined by the
ratio of tribrachs in Aristophanes to those in
65
62

Combinations of Tkisyllaeic Feet
16(142)
6
(59)
2, 4 (8)
3,
166
4 (3)
1,
5 (2)
2,
5 (2)
1,3(3)
1,
1, 2,
5 (3) 4 (5)
2, 1,
2,
18 (405)
4 (5)
5 (3) 4 (5)
5 (3)
1,
(2)
34 (549) 23 (245) 26 (225)

1
1,2(7)
1,
4, 1 (6)
2,
4 (4)
3 (6)
2,
1,
(3)
4, 1 (3) 3,
1,3(4)
1, 2, 1, 2,
4(4)
3, 1 (3)
2(3)^
(54) (26)
4 (1) 4 (2)
4
4
1
1,3,4(1)
1, 2,
2, 3,
1, 5,
4 (1)
(46)
(7)
1, 3, 4 (2) 1, 3,
1, 2,
3 (1)
2 (1)
5(1)
3 (1)
1, 2,
(32)
5 (1)
1,
4,
5 (1)
1,5,3
(1)^
(16)
(10)
(40)
(1) (5)
5,1,2(1)
1, 3,
5, 2, 4 (1)
1, 5,
1,
4 (1)
2 (1)
4(1)
3, 5,
2(1)
1, 2,
1, 3,
3(1)
5 (1)
4,
5(1)
3(1) 5,2, 1(1)
1, 2, 3, 4 (1)
165.
v^
v^
v^
The famous forbidden combinations, ^ ^^ ^ ^ ^ - and -, are found in the Cairo MS. of Menander, but the
trimeters in which they occur arouse suspicion because objection-
emended (cf 125). The penthemimeral and hephthemimeral pauses occur much less often in the trimeters of Menander than in those of Aristophanes (130 ff.), because Menander inclines strongly He makes great use of the medial to other forms of caesura. pause, in particular, which takes its place in the plays of the
able on other accounts, and have been
166.
younger poet as a regular form of division on an equality with Menander employs the tetremimeral and the hephthemimeral. octahemimeral pauses also more frequently, and is very free in His verse is characterized by great his use of the triple cadence.
variety of movement.
THE TETEAMETER
is used by Aristophanes both as a melic period (76) and also continuously by line in Its component recitative and melodramatic composition (77).
167.
The
catalectic iambic tetrameter
cola,
when
168.
it is
used by
line, are
generally separated by diaeresis
(179).
The
5,
recitative
(59) iambic tetrameter

2
is
used by line
;
Also
(3).
Also
2, 3,
5 (1)
2, 4,
5 (1)
3, 4, 1 (1).
173
in
IAMBIC VERSE
63
debates,' in other
the parode,^ in exhortations that precede hortatory parts of the play,^ and once in a verdict that closes a The verses were recited by the leaders of the halfdebate.'*
by an actor,^ but probably never by the The recitative tetrameter is characterized, in metrical structure, by sparing use of tribrach and dactyl and by complete disuse of the anapaest, and it is well adapted to the
choruses, occasionally
whole chorus.
vigorous
movement
of a chorus that
marches into the orchestra

Ves2}.
at steady pace but not with
undue
haste, as in
230-47.
Compare the counter-use

(245).
of
the recitative
trochaic tetrameter
169. Irrational metres abound in recitative tetrameters. Only two tetrameters in 155 have no long arsis and both are 70 have two, purely iambic; 32 have one long arsis, 1 in 4-84 Seventy per cent of the 51 have three, 1 in 3-04. 1 in 2-21
;
;
complete metres are irrational.

170.
See the table in 186.

times, once in
iv.
The tribrach occurs 7

i.
22 tetrameters:
vi. 1
Tetram. w^v^
ii.
iii.
v.
Total.
1
155
3
L^js.
0+1
0+1
+6
See
Vesp.
237, 246,
281, 373, 374, 539,
PL 274.
No
tribrach consists of a trisyllabic word, or of three words,

division
and the
171.
w v^jw does not occur. Four dactyls are found,

Tetram.
1 in
iii.
39
-^^^
4
i.
v.
Total.
155
0+1
+3
1+3
See Lys. 285, 357, Th. 381, PL 278. 172. The anapaest occurs but once, in an emended reading No verse has more than one that is fairly certain (He. 288).^
trisyllabic foot.
173.
The melodramatic
(59) tetrameter differs notably from
the recitative
It is found ouly in both in use and in form. debates," in which feeling runs high and the language is violent,
1 Vesp. 230-47. Lys. 254-5, 266-70281-5, 306-18, 350-81, Ec. 285-8, Fl. 253-89. 2 Sq. 333-4-407-8, 841-2, Nub. 1034-5, 1351-2-1397-8, Th. 531-2, Pan. 905-6. ^ Pax .508-11, Lys. 467-70-471-5, 539-40, Th. 381-2, 571-3.
Ilq.
457-60.
Cf.
= Notably in PL 253-89. Pax 508-11 and Ban. 905 f.
also
'JovXiov
in
Eq. 407
synizesis.
is
probably a
trisyllable,
bv
^ Eq. 335-66-409-40, 843-910, Nub. 1036-84, 1353-85- 1399-1445, 2%. 53370, Pan. 907-70.
"
64
174
often approaching Billingsgate.
resolved foot occurs, on the
average, oftener than in every other line, and the anapaest is The metrical form of this tetrameter admitted very freely.
differs in
no material respect from the trimeter of dialogue.
See
the table in 186.

174. In
362 melodramatic
45
;
tetrameters
eight
arsis,
are
purely
iambic,
in
four
'
others
'
have no
long
but some
Two non-iambic lines occur {Eq. 893, Th. 567). Seventy-five tetrameters have one metres abound. 104 have three, long arsis, 1 in 4-83 l7l have two, 1 in 2-12 Sixty-seven per cent of the complete metres are 1 in 3-48.
resolved feet.
Irrational
;
irrational.
175.
Tetram.
.362

i.
times, once in 3-4 tetrameters:

iv.
^^yv^
ii.
iii.
v.
vi.
Total.
107
12 + 23
+5
13
2 + 5
+ 35
25
+ 82
preceding
di%dsion
Eight of the 25 tribrachs that consist of one word overlap the Three of the Seven consist of trisyllabic words. foot.
82 that consist of two or three words or parts of words have the ^ ^| w, all in the sixth foot {Eq. 893, Nv.h. 1056, 1440). In the 18 tetrameters that have a tribrach in the fourth foot,
diaeresis (179) is neglected in 13.^
176. Tlie dactyl occurs

Tetram.
48
times, 1 in 7*5 tetrameters

iii-
--^^
i.
v.
Total.
362
48
10
3 + 18
11
+ 39
None
of the words constituting the 9 dactyls contained each in a single word are trisyllabic. In two instances {Nuh. 1052, 1372) the dactyl contained in one word overlaps both the preceding
occurs in two of and the following foot. The division - ^ the 39 dactyls formed of two or three words or parts of words, once in the first foot {Eq. 422) and once in the fifth {Ran. 952).
>.y
|
177. There are

in the first six feet
Tetram.
:
65 anapaests
(cf.
113), 1 in 5-6 tetrameters,
ww65
12
1.
ii.
iii.
iv.^
v.
vi.
Total.
362
+9
4+ 4
+8
+2
40 + 25
1 Eq. 435, 853, 893, Nub. 1083, 1361, Th. 565, 566, Ran. 921, to which must be added (180) Eq. 873, 880, Nub. 1039, Rossbach's statement 1067 Th. bA2. {Spec. Metrik,^ 237 f.), that the tribrach avoided in the fourth foot, needs is
- One also, in a proper name, in the seventh foot, Th. 547. * Rossbach's statement (S>cc. Metrik,'^ 237), that the anapaest is confined to the first three feet of the first colon and the first two of the second, needs
correction.
correction.
180
IAMBIC VEESE
65
Fourteen of the forty anapaests contained in one word consist of trisyllabic words; 11 overlap the preceding foot, one {Eq. 902)
overlaps both the preceding and the following foot.
Eight of
the 25 that consist of two or three words or parts of words have

the division ^\s. - (Th. 548, Ran. 919) or ^\^\- (Eq. 359, In the 8 tetrameters mib. 1066, Th. 555, 558, Ban. 918, 937). that have an anapaest in the fourth foot, diaeresis is neglected in two (Nub. 1359, Han. 937), but maintained in six (Nub. 1050,
1427, Th. 550, 560, Ban. 912, 932). 178. One hundred and fourteen tetrameters contain each one none has four. trisyllabic foot; 43 have two; 7 have three 179. The tetrameter is a compound verse consisting of two cola and was rendered with at least one pause within the verse. The chief pause is generally coincident with the close of the first colon (56). There may be a change of speaker at this point, as in ^^. 340, 870, Nub. 1052, 1379, 1444, Th. 552, 559, 567, Ban. 922, 926, 927, 930, 944, 952, although this change occurs at the beginning of the verse in most tetrameters that Aristophanes
;
uses in dialogue.
The pause
at diaeresis is oftener coincident
with a pause natural to the thought, without change of speaker,
by punctuation. Cf. Eq. 350, But the 354, 359, 366, 412, 415, 423, 433, 434, 440, etc. pause at diaeresis, just as the penthemimeral and hephthemimeral
a fact indicated in the printed text
pauses in the trimeter,

expressed in the
logically
may
break the continuity of the thought
tetrameter, and the

is
same separation of words

that
is
connected
See 134.
here
allowed
admitted in
is
the
trimeter.
180.
While the pause that

than
all
results from diaeresis
more
the
frequent
other pauses combined, variety of effect in

to be
rendering was
trimeter.
felt
desirable in the tetrameter, as
in
In 84 of the 362 melodramatic iambic tetrameters in Aristophanes, or in one in 4*3, tlie first colon ends within a word, and diaeresis is impossible. To these must be added a considerable number of verses in which the first dimeter ends with a progressive word, as in
Eq. 363, 365, 873, 880, Nub. 1039, 1046, 1067, 1372, 1406,
This was secured by means of caesura.
1410, etc., or the second begins with a recessive word, as in Eq. In tetra883, 904, Ntib. 1385, 1408, 1412, etc. See 135. meters which do not admit diaeresis, the main pause may fall after the arsis of the fifth simple foot, ^ - ^ ^ - ^ F
66
181
^|_ ^ _ ^ - -, as in Eq. 337, 865, Nuh. 1060, 1068, 1409, Ran. 916, 917, and (recessives) Nuh. 1385, 1408, or less often after the arsis of the fourth, ^ - ^ - ^ - ^\- vy-w- v^ as in Nub. 1080, Ban. 933, and (progressives) Nub. 1039,
,
1046, 1067, 1406.
Other caesuras occur.
Two
are
common,
one after the arsis of the sixth simple foot of the tetrameter,
^ - v^l- v^ - -, as in ^g. 351, 353, 860, 895, and the penthemimeral, v^-^- v^|-v^^ _ ^ _ ^ - -, as in A pause may fall 336, 854, 883. also after the arsis of the second simple foot, v^-v^|- v^-^^ _ ^ _ ^ as in ^^. 439, Nuh. 1047, but it is extremely
861,
871,
^ _ ^ _
^ _ ^ _
rare after the arsis of the
first
{Eq. 888) or seventh {Eq. 876).

after theses,
Pauses occur
second,
after
.^
also,
but
less
frequently,
after the
s^
-\.^
- ^ -
^ - ^ -
,asin-'2'. 344,
v^
,
853
the third,
^-v- w-|^-
v^-v^-
asin
Eq.
427, 436, 904; after the fifth, vy - -, as in Eq. 346, 850, 885, 890, 893
first
^-^;
v.-|v.less often after the
or the sixth.
181. Different pauses are variously combined, with agreeable
effect,
but their number
is
limited with rare exceptions to two,
producing three cadences.

at
diaeresis.
One
of the
are
two pauses
illustrated
is
generally
These
combinations
in
the next
paragraph.
182. The following analysis of 100 melodramatic tetrameters {Eq. 335-66, Nnb. 1036-69, Ban. 907-40) will serve to illustrate the foregoing statements. For the significance of the italic figures,
see 143.
single pause, at diaeresis, occurs in the
52 tetrameters not
cited below.
9 -.Eq. 337, 339, 343, 349; Nub. 1044, 1051, 1060, 1068; Ban. 7 -.Eq. 363, 365 Nub. 1039, 1046, 1049, 1057, 1067 916, 917. 11 :Eq. 353; Nub. 1043, 1058; Ban. 907, 923. Ban. 933, 936. 5 :Eq. 335, 336 Ban. 919, 921. G:Eq. 352; Nub. 1056. 10 :Eq. Jf.:Niib. 1041, 1048. 346 Nub. 1042, 1055, 1059. 3 9 ;Nub. 1064. 7 12 -.Ban. 937. 8: 11 -.Eq. 351 ; Ban. 915. 5 8 -.Bern. 914, 924. 3 8 :Nub. 1047 ; Ban. 918. 8 -.Eq. 344. 6 8 :Nub. 1062. 2: 8 -.Nub. 1063. 4; ; ;
;
. :
5:7: 10 :Eq.
183.
338.
The
recitative
iambic
tetrameter
is
somewhat more
restricted in its use of caesura than the melodramatic tetrameter,
186
IAMBIC VERSE
Diaeresis
is
67
especially in the second half of the verse.
neglected
in
20 times, once in 7"8 which two pauses occur

that has three pauses.
tetrameters.
is
relatively
The number of verses smaller. The varieties
of
combinations of two pauses also are fewer, and no verse occurs

184. The melic iambic tetrameter differs from tlie melodramatic in restricting the use of the dactyl and anapaest. There
are
86
melic
iambic tetrameters in Aristophanes.^
None
of
these are non-iambic.
One
;
is
purely iambic {Pax 1314) and
two others have no long

one long
1
arsis, 1 in
arsis {TJi.
312, 352).
1 in 2
;
Fourteen have
6'14
43 have two,
cent
of
26 have
three,
in
3-3.
Sixty-nine
per
the
complete metres are
irrational.
185. There are 19 tribrachs, 1 in 4*5

Tetram. ^^y^
i.
ii.
iii.
iv.
v.
vi.
Total.
86
19
+3
+ 2
16
Of the
three
tribrachs
contained each in one word
{TJi.
352,
^c. 493, P^. 292), one {Th.
352)
division ^
Lys.
w|w does not

PZ.
occur.
1318,
fifth.
in the
290, 296), 1 in Five anapaests are found in the manuscripts {Ach.
The Four dactyls occur {Vcsp. 538, 21-5, one in the first foot, three
consists of a trisyllable.
Fifteen tetraSee 70. 849, 1040, Paa; 948, TA. 312 f. bis). meters have each one trisyllabic foot, three have two, two have
three.
186.
figures in
The following
the
first
table
lines
:
will
further
comparison.
The
six
indicate verses, those in the last
line percentages of
metres
68
THE VEKSE OF GREEK COMEDY
187
187. It appears that the irrational metre preponderates in forms of iambic verse in comedy, that the dactyl and anapaest are much less frequent in melic than in spoken and melodramatic verse, and that the recitative tetrameter is the severest form
all
of this verse in its sparing use of trisyllabic feet.
of the
The iambic tetrameter had great vogue with the poets Old Comedy. See Cratinus 26, 43, 195, 196, 231, 300; Crates 14; Pherecrates 93, 105; Hermippus 4, 5, 6; Eupolis 13, 117, 118, 158, 190, 231, 232, 233, 351, 352, 354, 355; Phrynichus 69 Aristophanes 79, 107, 163, 216, 217, 218, 219, 220, 252, 363, 364, 569, 657, 658, 659; Plato 23, 69, 98, 113, 130; Archippus 24, 25; Strattis 30; Theopompus 55, 56 Philyllius 3 Polyzelus 3. See also Antiphanes 25, 300
188.
;
; ;
Anaxandrides 34; Anaxilas 39;

189.
.
frg. incert.
294, 766, 767.
The protracted iambic tetrameter, v./-^- ^-v^^ but also in ^ (72), is used not only in lyrical recitative parts of comedy,^ in which the verses were taken by Eecitative the leaders of the half -choruses or by an actor.
_ ^ _
protracted tetrameters are found only in the parode.
In the
25 tetrameters
in
Vesp.
248-72
irrational
outnumber rational
metres in the ratio of 34 to 16, and no trisyllabic foot occurs. On the metre v v./- ^ - in verse 255 see 75.^ The verse gains in lightness of movement by resolution of the thesis, as in Ban.
440 f. The anapaest never occurs. Diaeresis of the cola is almost invariable,* and in tetrameters thus divided the time of the suppressed arsis may have been represented by an actual
pause, \eififia (31), in recitation.
THE HYPEKMETER
190. Acatalectic iambic dimeters into hypermeters both in melic (76)
and trimeters are combined and in recitative and meloseries
dramatic verse
*^
(77).
See 712.
The
commonly ends
in a
and with one exception it follows recitative or melodramatic tetrameters. The connexion between the tetrameters and the following series of cola is so close that sometimes the speaker does not change (Uq.
catalectic dimeter, once in a catalectic
trimeter,^
Eq
757
f.
=837
f.
(91),
Pax 939
The exceptions
are Vesp. 252, 265.
(583), Lys.
2
258 f. = 273 f. and 271 f. (94). Ve^. 248-72, Man. 394-7 (2), 440-
* Eq. 939 ff. Cf. Heliodorus in the rpifiiTpov Karascholium on Eq. 911
:
7 (4) 3 Cf.
\tiktik6v.
Ean, 394
f.,
442
f.
Nub. 1089
ff.
194
ff.),
IAMBIC VERSE
69
440 K, Nuh. 1088

is
and even the grammatical construction

11'.,
continued {Nuh. 1385

191.
1445
ff.).
At the
close of the parode
of the Lysistrata
(382-6)
Aristophanes uses a series of six dimeters that were recited by Tliis hypermeter ends in the leaders of the two half-choruses.
a catalectic dimeter and follows thirty-two recitative tetrameters. All the dimeters in the hypermeter except the last are composed
exclusively of irrational metres, and they contain no trisyllabic
feet.
192.
but
in
is
found only in debates.^
The melodramatic hypermeter occurs more frequently, The closely connected cola are
joins,
made
the vehicle of abusive discussion in a dialogue of actors,
which one of the leaders of the chorus sometimes

is
and
the tone
often virulent.
193. The metrical form of the melodramatic hypermeter is Irrational outthat of the melodramatic tetrameter (173 ff.). number rational metres, and tribrach," dactyl and anapaest (see
If the 213 complete metres that occur 177) are freely used. the melodramatic iambic hypermeters found in Aristophanes are expressed in terms of the tetrameter, reckoning three comin
plete metres as the equivalent of a tetrameter, the ratios

as follows: tribrach, 1 in 3'38 in the tetrameter in the
1
are
and
1 in 7*88
hypermeter; dactyl, 1 in 7-54 and 1 in 8-87; anapaest, and 1 in 5"91 percentage of irrational metres, 67 In all four particulars the hypermeter is slightly less and 63. free than the tetrameter. 194. The dimeters and trimeters of which iambic hypermeters are composed are closely connected by synaphea (44),
in 5*56
;
and were therefore in danger of confusion in transmission. A hypermeter in which the number of metres is even may have been written by the poet solely in dimeters, without the variation in cadence which would have resulted from the introduction of trimeters, and it would seem, on the evidence of the two oldest manuscripts of Aristophanes, that Nuh. 1386 ff. and Ban. 971 ff.
were composed in
least
this
manner.
ff.,
On
the other hand,
K introduces
four trimeters in Eq.
441
one trimeter
is
At which consists of 32 metres. inevitable in hypermeters in which the

-
1 Eq. 367-81-441-56, 911-40, Nvh. 1089-1104, 1386-90 - 1446-51, Ran. 97-
Even
in the fourth foot:
Eq. 931,
Nub. 1386, 1388, 1389, Ran. 979.
191.
; ;
70
THE VERSE OF GKEEK COMEDY

f!'.,
195
911 ff., number of metres is uneven, as in Eq. 367 1089 ff., 1446 ff. The final colon in the first (E), second (EV), and third (EV) of these is a catalectic trimeter, and Heliodorus,
Nuh.
in the only note
now
in Aristophanes, confirms the trimeter in the second.
extant on a recitative iambic hypermeter See the
metrical scholium on Eq. 911.
In the fourth, the trimeter
is
the antepenultic colon (EV).

195. The two oldest manuscripts have certain characteristics common. Both resort to the familiar palaeographical device writing two dimeters continuously in a single cni')(o^, in order save space, and both occasionally end a colon within a metre.
:
in
of to
'
V often writes is one serious discrepancy in their practice a single metre as a colon, and Heliodorus recognizes an iambic monometer once in melic and once in recitative verse. See E, on the other the metrical scholia on Ach. 274 and Eq. 911.
There
'
hand, has this anomaly in only two verses, ^g-. 911 and Lys. 382, in which each hypermeter begins with a dimeter composed
The two exclamatory dipodies rendered by different speakers. 'monometer' affected by V is to be rejected, for the division of a trimeter into metre and dimeter or dimeter and metre is forbidden in iambic verse, in which the trimeter is a normal This mode colon (67), and this division lacks historical support. of writing iambic and trochaic trimeters is probably an imitation of the mode properly employed by the colometrists (831) in writing the anapaestic dimeter and monometer, which are both
of
true cola (276).

in
. .
On
the best tradition, the following iambic cola
hypermeters were probably trimeters: Eq. 380 f. (Ke-^rjvojo'i rerrapa^); 447, 448^ (tov 442 ((f)vî x^'^"'^9);
. .
Sopvcf)6pav)
.
. .
(TTpiê
448^ f. k6Xoi<;); 939

;
.
(ttolcov
f.
'Ittttlov)
. .
454
.
.
f.
(7a-
(ôv\6/jb6VO<;
ivairoTrvtjeir]^)
.
Nuh. 1096 (Kal
aKoirec);
.
1100, 1101^
(/cat
.
epeU)
1103
f.
(Ool/MaTLOv
vfid<;);
1449
(ovSev ae
i/x/SaXeiv).
ff.
E
is
needs correction only once.
The colon that begins Eq. 441
All other probably not a trimeter, as in E, but a dimeter. cola in iambic hypermeters in Aristophanes are probably dimeters. These hypermeters are all in dialogue except one (and this closes a dialogue, Nub. 1386 ff.), and the speaker sometimes changes
within the colon, as in the spoken trimeter. 196. The close connexion of the cola in non-melic iambic
hypermeters
is
seen not only in the quantity of the final syllable
196
colon,
in
IAMBIC VERSE
which
is
71
of the acatalectic
always long, as the rhythm

in
demands, but also
the
manner
which the cola are joined.
colon frequently ends within a word, as in Eq. 375, 378, 445, 912, 915, 927, 936, 937; it may close not only with the
otto)?
subordinate conjunctions
and otl (132),

it
as
in Eq.
917,
Nuh.
1386, but
also with
Kai (and), as in Eq. 453, and with

;
prepositions, as in Eq.
enclitic, as in
931, 935
may even
begin with an
Eq. 922, or with recessive av, as in Eq. 918.
CHAPTER
III
TEOCHAIC VEESE
197. The fundamental colon of trochaic verse is a dimeter composed of two metres that consist each of two simple feet
(12,13):
Se^LOV Trpbs dv8p6i (rTt
v--
v^
\y
Ran. 540
trochaic dimeter normally consists of twelve primary times

syllables.
and eight
198.
aAA,a
Tis
All trochaic verse
is
in descending rhythm.
The
fj.'
arsis of
each metre
may
be irrational
vo)X^^^ eToifjios
6
yap eaS'
ixv
ravrd
cr'
eipyoiv
^ w
v^
Tov
doTeidv tl Aeêtv
_^__ _^__
^ ^ w
Vesj).
341
Vesp.
Jian.
334
901
Irrational metres are extremely
common
in all forms of trochaic
verse in comedy.
See 247, 256, 261, 268. 199. The thesis of each trochee may be resolved
7r'
dyaOw
/lev rois iroXirai';
^

-^
dXX.' iTraTToBvwfj.eO'
&v8ps
-^
ovK OLKaipa,
ju.eya
(fypevas e'xoucra
v^
rh Trpdy/xa, ttoXv to veiKOS

8ovaK09,
oi'
^.^ y^
w v^ v^ ^ v^^ v^ ^^ ^ ^
^^
y~'
Ban. 1487
Lys.
2'h.
cVeKtt
vTroXvpiov
^^v^..^vy
615 462 Ran. 1099 ^^v^^^v^ Ran. 233
200. If the normally long syllable in the arsis of an irrational
metre
e'i
is
resolved, the arsis
becomes an
'
anapaest
'
(17)
\j
Tis dyaôi' /SovXerab 7rai/xol

-x^pi]
diLV Tl Trap'
KadevSeiv
^ ^
^^
^^
^ ^
Ec.
893
its
f.
201.
trochee,
The dimeter, by suppression becomes catalectic (33)

72
of
the arsis of
final
203
aAX'
v<ficr6e
TROCHAIC VERSE
rod rovov
-^
Ky
73
Veq).
^
v^
v^
Trepccâvws Sovvat SiK-qv

TToAAo, 7r;067r7rAevKOTOs
oil'
Aa^j;
iJLijKer'
aTroSw
^ w w
^ v^ v^ ^ ^^ w
337
Th.
465
1057
Ban. 535
Lys.
is
The
but
it is
final
it
may
long syllable of a catalectic metre be short instead of long (33).

of trochaic verse
It normally
its
never resolved,
202.
The second colon
is
the trimeter, but
not common.
consists of eighteen times
and
metres admit the varieties of form found in the dimeter, but the thesis of its final trochee is never
twelve syllables, and
resolved.
Tov^vdvfJLQv,
Ko\a(ojU(T6a, Kivrpov
Vesp.
406
1095
prjcriv
Aeêtv e/xtAAo/xev tot', oi'Se

Vesp.
uicnrep
oiKaS'
et's
eauTwv ytvvtKws,
w>j
Lys.
Tr]v
1070
529
iraXaidv
vtto
Xidu)
yap
Travri ttov xprj

Th.
K0/xi/'0T/30V
eV
i)
TO TTpoTepov
ava7re(f>r]vev
Th.
460
avaye St^xe Trdpaye irdpex^
TrepLTrerecrde
^^^^ _^^w ^ ^ w ^ ^
^
Av. 1720
Lys.
alfJLvXav dk<i)TrKU)v Travcraip.e6a

TTtt/od
v^^
1269
(ro(f)olv
dvSpolv aKOvcrai riva Aoycuv
^^
203.
_wv^
Ban. 896
trochaic colon of the form
v?
occurs in
Cf. Lys.
trochaic, simplified logaoedic
and enoplic
verse,
and occasionally
elsewhere in comedy, as the final colon of a period.
812, 813 (242); Ran. 1377 (218); Th. 319, 330^ (411); Ec. 953, 959, 961, 967 (415); Nub. 460 (500); Pax 111, This is not the trochaic 796, 799, 818 (497) Han. 884*^ (347). tripody, - ^ - v^ - v^ (26), since the final syllable is long, and
658^
(241),
the law of the variable syllable in Greek does not permit the The colon substitution of a long for a short (43, note).
_ ^ _ ^ _ ^ _ ^
:Eq.
iambic colon,
wherever ^ - ^ -
it
occurs, like the corresponding but rare
(393),
is
protracted dimeter,
Its
first
metre
may
be resolved,
,
TIi.
v^
v^
616^(231),
^^^w,
or
Th.
1055
(374),
Man. 1490
(219),
Fc.
1177 (354);
be
protracted,
-^-
326
(411),
74

.
204
^w,
Eq.
616
(231),
Its
'
L^js.
1264
is
(412); or
have
paeonic-trochaic form,
- ^^' ^,
Lys. 783, 788, 789, 790, 791,
792^ 814, 816
(242).
second metre
constant, except
that under the law

Eq.
of the variable
;
syllable
short
may
;
be
substituted for the final long

Cf.
but this variation rarely occurs.

;
683^-
= 616^- -
1499
= 1490
(219).
(231) Lys. 807 = 783 (242) Ran. This colon had great vogue and received
' '
the distinctive
name 'IdvâWtKov, Ithyphallic (Heph. 19. 5 ff.).-^ Like any other dimeter, it may be used independently as a
Similar to this in
all particulars is
subordinate period.
metrical colon
the
tri-
-v^-^ -^^-^
-.-
that occasionally occurs.
This
first
is not a pentapody (26), but a protracted trimeter. The two metres admit great variety of form, but the third is constant. Cf. Th. 955 (589), Zys. 666 f., 690 (241), 1260, 1261 (412). The penthemimer (36) is found in parody in Av. 945, 953 (585), and once in a hyporcheme, Lys. 1307 (413). 204. The equivalent of the trochee in the first half of the trochaic metre is v.^ v^ in the second half the equivalents are ^w - (11, 15, 17). These forms, in their respective places, and also full and protracted (207 ff.) metres, are interchangeable with one another in strophe and antistrophe and in two corresponding subordinate periods. 205. A logaoedic metre (377) occurs in Th. 461 (237) in an ode otherwise purely trochaic. Dobree wished to emend this. -^ Logaoedic metres in descending rhythm, - ^ - ^
,
- ^ - ^, occur not infrequently in recitative trochaic tetrameters and hypermeters. Here the dactyl (389) usurps the place of
the
first
or last simple foot in

Cf.
a dimeter,
which may be part
301, Av. 396, Ach. 318, Eq. 319, Vesp. 496,^?;. 373, 1113 (synizesis ?), EccL 1156. See 386. Editors have attempted to emend these passages, but the dactyl is here merely a manifestation of the variability of the arsis of the simple foot that prevailed in the primitive dimeter. Compare
Eq.
'
of a tetrameter.
'
the use of the logaoedic anapaest in iambic verse (70). manifestation is normal in logaoedic verse (375 ff.).
206.
This
choriamb, -
v^
v^
in place of a trochaic metre, as in Ec.

(408).
- apparently occurs in a few cases 898 f. (220), Lys. 1293

,
This
is
not the true choriamb (651)

anaclasis,
v^
the form
is
here
due to interior
^
for
v^
Cf. 71.
Hephaestion erroueously regards this colon as a brachycatalectic dimeter.
210
207.
TROCHAIC VERSE
By
form
75
suppression of the second syllable in the arsis of

'
a trochaic metre, the metre assumes

iKiricroL crov
cretic
.
'
to Tprjfxa
Xp;o"i/xov /xev oi'Sev,
uAfxkya
Aws re SetAov koI

eVêv â)v eycu
^ w w w ^ _
.
_ ^ _ ^ ^ ^ -^ ^^
.
Ec.
906
Av. 1476
Lys.
f.)
t.
625
in
This
is
the most frequent form of protraction (31
trochaic
verse.
The
thesis of the first trochee in this protracted

is
metre
may
e/xe
be resolved, but this form of the metre

re Movcrat
rare
yap ea-repâv evXvpot
^^
!roXvKoXv/jifSoi.a-L fieXecrLv
_^_^ -^
w
^^
Ea7i.
229
.^
Ran. 245
Cf.
(415).
343 (238), Th. 959 = 962 = 966 (589), ^c. 958 - ^ ^ (72). The corresponding form in iambic verse is 208. The second syllable in the thesis of a trochaic metre
Vesp. 342,
-
may
(
be suppressed and the metre then assumes
'
antibacchiac
'
form
vvv ap
a^tov iraa-LV
cipyacTfiev'
eW
CTreA[jlol
dois airavrd
crac^ws
aipead' av(a lai
^ ^ _ _ _ ^ _ ^ ^ ^ w _ _ ^ _ ^
. .
.
_ ^ _ _
.
Eq. 616
Eq. 618
Lys.
1292
Such protracted metres are rare. 209. Both syllables are sometimes suppressed and the metre then assumes spondaic form
' '
:
TavT ovv ovx

Cf. the
v/Spi'i
TO,
yj
Lys.
658
remarkable imitation of an ancient popular song in Lys. 781 ff. (242) and the hyporchematic ode in simplified logaoedic rhythm in Lys. 1247 ff. (412). Similarly a catalectic dimeter
or trimeter
may have
'
spondaic
'
close
auTov avTo.
X.rjpiv
^^
v^
^..>
w
.^
_
_
Sid rh (rwTos ehai
_ _
Han. 1377
Ean. 1490
These are Ithyphallics (203).
For the metre 210.
v.^
- v^, see 223 S.
The subordinate period that occurs

verse
is
oftenest in melic
trochaic
the
catalectic
tetrameter,
composed
is
of
an
acatalectic
and a
catalectic
dimeter.
This
tlie
subordinate
76

in
211
period
period employed
in
Vesp.
the long,
stichic
systematic
found
form of employed, but trimeters are rare. and octameters are not uncommon.
are rare.
The hexameter is also a favourite subordinate period, and the dimeter is constantly thus
(243).
415-29
Pentameters,
heptameters
trimeters
The
is
chief
constituent of
;
the melic trochaic hypermetrical period
the dimeter
On
the combination of subordinate periods, hypermeters
and intermediate periods to form systematic periods, see 720 fF. 211. The catalectic tetrameter is the trochaic verse chiefly used by the comic poets in recitative rendering (244 ff., 259, 260 ff.). These tetrameters may be followed by hypermeters
(267
ff.).
212. Trochaic
has special
affinity
for
paeonic
rhythm, of
probably the immediate source (619 ff.), and melic trochaic tetrameters frequently occur in systematic periods that See 442. It occurs also combined with are chiefly paeonic.
which
it
is
other rhythms.
213. Aristides (98 M., 60. 5
ff.
J.) characterizes
(9, ii.) as
the regular
:
iamb and trochee

rd')(0^
of diplasic
rhythm
ol
fjuev
follows
twv
S'
eV
BnrXaaiovL yLvofiivwv
re eTrtâivovai
cr'îcrei
airXol rpo-âloi koI cafMôt
Kai
elcn
depjxol
koI
op'X^rjaTticoL
is
The
ff.),
genetic relation of trochaic with iambic
rhythm
close (608
but on their distinct separation (610, 789) they were differentiated Iambic rhythm is lively and singularly adapted to in use. express the give and take of dialogue, whether in melic or
trochaic rhythm, as the name implies, spoken verse (79) became pre-eminently the rhythm of quick movement, whether Aristotle {Bhet. iii. 8. 4) includes trochaic of dance or march. among the rhythms that are not appropriate to rhythmical prose composition: 6 Se rpo-âlo^; KopZaKCKoirepo^' StjXol Se ra rerpafi;
fierpa,
ecrri
yap
rpo-êpo'i
the trochaic
stated
tetrameter
scholiast
The use of pvdpLo<i ra rerpd/jêTpa. by the dramatic poets is excellently

:
by the
on Ach. 204
evrevOev
rj
irdpoZo'i yiverat
Tov yopov ov crvfnrXrjpovaiv ol Ââpvei^' Trapdyovrai, Be avvkol p,Td ctttouSt}?, hidoKovre^ tov Â/jb(j}l6eov cr7rovBa<i t6v(i)<;
irocTjcrdfievov TT/ao? tov'? AaKeBatfioviov;.
yiypairraL he to fMerpov
TpovaiKov, irpocrôpov
Be
TToielv
Ttj
TOiv BicoKOVTaiv yepovTOiv airovBrj

Bpafjudrayv
irocrjTal
TavTa
eldiOaaiv ol
eTrecBav
tmv
koX TpayiKol Kot

Xva o X070?
kco/jukoI,
Bpo/xalco^;
eladycoaL tov<;
')(ôpov<i,
(Tvi^Tpi'Xj} Tc5 BpdfjbaTi.
(Codd. FE.)
^214
TROCHAIC VERSE
77
Memc
214.
Trochaic Verse
(Debate).
Ban. 895-904 = 992-1003

Strcplie.
'H/x.
a Kol fiyv
ry/ieTs tTTLdvfJLOviJieu
281 :=^
cî^__2
896 Trapa
(TO(i>olv
avBpolv aKovaai two. Aoyoji'
_^^_ _^__
v--
^^-s'^
v^v:;
3*^^
(fifjieXeiav cTrire Satav 68dv.
51
yAwcraa
/zei/
ya/a tjy piiDTac,
w ^^w v^ w ^ ^y
899
ATy/xa
S'
oi'k
aroX/iov
d[x<f)Oiv,
ov8' a.KLvqTOi ^pkves.
900 irpoaSoKav ovv

901
Tov
/xev
eiKos ecrrt
ttOTetdv
Xeêw
Kal KareppivqfJievov,
_ _
^ _ _ w ^ ^ _ _
_ _
^ ^ ^ ^ ^
6^^
^ ^ ^ gcv
902 TOV
dvao-TTwvT
avroTrpefj.voL';
10
-w
Tots koyoKTiv e/JLTreaovTa crvcTKiSav iroX-
Xas dXtv8i]6pas
CTTolv.
Antistrojjhe.
'H/i.
jS'raSe
(TV 8e
/u,ij
jJLev
AciVo-eis <âi8t// 'AxtAAeu*

<ê/3
993
Ti
Trpos
ravra Aeêts
/yidvov
ottcds
(T
o dvfJLOS apTTacras
995 KTos
OMTCi
Twv cAawv, Setva yap Karqyop-qKev

di'TtAeêts,
aXX
ottws
yevvaSa
998
p-y]
Trpbs
dpyi)v
dAAd
Kai
o-vcrretAas
aKpoicn
j^pw/xevos
T06S l(7TtOlS,
1001 eiVa pdXXov pdXXov
civets
^vAu^ctS,
lyvtV'
av
to
irvivpa
Aetov Ka6 KaOecTTijKos Xd/Sys.

993
Schol.
:
(Til
5^ ri
Bentley
cru
5?;
ti
A,
cri)
Stj
R,
(ti)
5i
St) t/
TOiS icTTloKXiv
RU,
rotffiv laTLOiaLu
VM,
roZa-ii'
ioriots
V A
1000
toTs io-xtou
A = AB (895-7, 898-904). a = abb, 2 3 3, Monostrophic dyad. an anapaestic dimeter as proode to two catalectic In the antistrophe A = abc, 2 3 2. See 738. trochaic trimeters. b = aab, 6 6 7, epodic triad two trochaic hexameters with See 771. See 737. Anapaestic rhythm and trochaic a heptameter as epode. are not concordant and the effect of the shift of rhythm at 896 is
proodic triad
:
:
marked
(281).
78
215.

Aves 1470-81
215
= 1482-93
Strophe.
(Stasimoii XL).
'H/i.
a TToAAa
jxda-T
Srj
koI Katvot koi dav-
1471
eTTCTTTO/xecrâ
kol
207
Seivo, TrpdyiJ-aT
lo-Tt
eiSofXiV.
7re<f)VK0^
yap SevSpov
CKTOTTOV Tl KupStttS d-
1475
TTwrepo) KXewuvp-os,
^prjcrijxov [xev ovSev,
dX-
AcDS Se SeiAov Kat //eya.
TOVTO <Tovy
/txev
^pos
del
802
{3Xa(rrdvi koI (rvKO(f)avTL,
1480
Tov Se
xetju.c3i'os
TraXiv ras
acTTTiSas
(fivXXoppoei.
_ ^ _ v^w6 ^ w v^ vy ^ wv76 ^ ^ v^ ^ ^ i ^ ^ ^ 10 w v^ ^ ^ ^ _îi8

^ ^ ^ ^ 5 w w ^
v--
^ ^
w
v--
'^H/x. 13' ecTTt
8'
av
X'^P^
T^pwcriv
'^P^'^
avTi3 T(p o-kotw Tr6ppu> Tts Iv
tj^
Aux"i>*'
1485 evOa
Tois
dvOpwiroL a-vvapi(TTM(rt,
Kal
^vveicn
ttXtjv
ttJs
IcTTrepas.
1488 TJjviKauTa 8' oukct 1490 ei yap evrvx'' îs
17
v da-<âAes ^m'Tuyxai'e'i'-
T/yotf)
twv jipoTwv vvKTwp

7rA>^yts
i'tt'
'Opio-Trj, yu/xvos
t^v
auroiJ Trcivra xaTrtSeîa.

(sic)
1478 <Tov>
/J-^"
Bentley
fiiv
ye
Vp2HC
:
A = aabc, 6 6 4 8, epodic tetrad two hexaMonostrophic dyad. See 743. meters and a tetrameter, with an octameter as epode. On the protraction in the second colon, see the second colon (hyphenated) in the following lyric, in which the same melody is
repeated with slight variations.
216.
Aves
1553-64 = 1694-1705 (Syzygy

Strophe.
III.).
'H/x.
a TTpos 8e Tois 2Kta7roo-tv AtaAovTos ov fivrf Tis ecTT

i/'^xaywyt' SwKpctTT^s"
v^
w
i^
v--
_^_^_v^_.
_ ^ _ ^
1555
evda KOi Heca-avSpos rjXde

Seop.evo'i
^vxqv
I8eiv
i]
5^w
^
zp^ ^^
^wvt' eKelvov TvpovXiire,

a-(f>dyi
e'xfov
Kdp.'qXov arjs
1560
/xvov Ttv,
(lio-irep
Xaifiovs re/j-wv
_^_^ _^_
^
w ^ 6'^ w o v^ v^ ^ 6*^^ ^^
>
4C
ov8v(T(Tevs diTTJXde,
ai;T(^
K^T dvTJXO'
KoiTwêv
10
..^
w v^
v./
217
TT/oos
TROCHAIC VERSE
t5 AatT/xa
r^ys
Kafi,ii')\ov
79
^ ^
'^KH.
j3' eo-Ti
S'
eV
'I'ai'ato-i
tt/jos
tj/
KXeij/vSpa
Travovpyov eyyAwTToyao-TO/)wv yi/os,
1697
ot
deptôvcTLv
re
kuI
cnreLpova-i
Kal
Tpvy(iJ<Ti
rats
yAwTxato-i
re*
crt'Kuôucrt
1700
f3dpj3apoL
Ka-n-b
8' i(rlv
yevos, ropyiai re Koi îXittttoi.

iravTa;(o{5 tv/s
ruJv
cyyAwTToyacrTopwv iKiivwv twv ^tAtTTTTWv

'Attikt}?
r}
Y'^^''"''"**
X'^P'^ Te/iverai.
1561 ovdvajeCis Bentley
'Odva-aevs
A = aabc, 6 6 4 8, epodic tetrad two Monostrophic dyad. See 743. hexameters and a tetrameter, with an octameter as epode. The eighth colon is catalectic in the strophe but ends full (proper Compare the corresponding colon in name) in the antistrophe (44).
:
the preceding lyric.
217.
Ban. 534-48
= 590-604
(Syzygy).
LYRICAL DUO
Stro2)he.
Kop. a Tavra
voi;;'
fiev
wpos avSpos eWt
côvTos koi ^pevas Kat
:roAAa TrepLireTrXiVKOTos 535 536 iMeraKyXivSeiv aiVbv del

TT/DOS
^ w w ^ c^ w 801 ^ ^
TOV V TT/OClTTOVTa TOIXOV

fj
5
51
>^
IxdXXov
yey pafjifievr]v
Xafiovd' iv
Se
538
etKov'
ecTTctvat,
a-)(^r]fJLa'
to
peTacrrpifjifcrdai
539 Trpos TO p.aX$aKi!)repov 540 Seîov Trpos dvBpos eo-Tt

Kai
Ai.
(fivcret
v^ vy ^ ^ ^^ ^ ^ ^ 10 w c;
w w w v^ 6*^^ w v^ w^ 6^^ ^ ^
v./
_^__
Qijpap.evovs.
'>]v,
w ^ 6^^^ v^ ^ ^ 4CV
ov yap av yeXocov
ei
Hav^tas
p.ev
SouAos wv
iv
MiArjo-iois (TTpwp.a(rLV MiAr/criois
543 dvarerpapp-kvos kwwv

\r](TTpi8'
op-
- V. - V. - v^ M 15.^^ ^ _^

^ ^ ^
6^^
^^
ctT
yTTjaev ap-ib ,e-
_^___v./C3^
yw
Tos
eibe,
8e Trpos
'
toCtov
/SXeiriDV
545 TovpefBivOov
S'
oit'
8paTT6p.7]V,
ov-
_^__
^ ^
v--
6'^'^
wv
aTJTos Travovpyos
ti;s
Kar eK
yva(7oi;
20
^ ^
^ ^ ^
548
TTV^ TraTaâs p.ov^Koij/
_^_^
v^
4^^
Tous X"P0^'5 Toi'S Trpoddiovs
80

Antistro'phe.
218
Yiop. (3'
vvv crov epyov
eW,
IttciS^
Tqv crToXrjv
iXr](fia<;
-qvinp
etx^s e^
592 avaveaêiv koI Âoteiv av^6S to Setvov, tov diov p,epviqiiivov 594 ^Trep etKaêts creavTOi'. ei Se TrapaXrjpMV aXuxreu KaK/JaAeis
juaAâKov,
Tt
596 av$LS
Hav.
01J
atp<r6ac
cr'
dvdyKQ 'arai
Trapaiveir,
-n-dXtv
ra
(TTpdyp-aTa.
KttKws
&v8pes
dAAd Kaurbs Tvyxavw
TaCr'
aprt
(rwvoou//.VOS.
599 on
/Afv
ow,
^v
xprjcrTuv
rj
ti, toi^t'
dffiaipetcrOai TraAiv ireipdcreTaC

/x'
eu otS' OTi,
601 dAA' o/iws eyw irapk^m 'âvTov dvSpeiov to
Xrj[j.a
Kal
Âotovt'
opiyavov.
604
542
/cai /SdXrjj
Setv S'
arpihiiacriv
eoLKev,
ws ukovw
:
7%
6vpa<; koI
8rj
^6<jyov.
:
Brunck
(rrpiifiacL
RAU,
xai (SdXXeis
M
:
595 KCLKâXeh Hermann 596 Vrai Dawes Vrt V, cm.

:
KOK/SctXiys
V,
RAUM
A=
aaab,
Monostrophic
dyad.
A = AA
(534-40,
541-8).
a hexameter as proode that anticipates the 6 6 6 4, periodic tetrad melody of the two hexameters that follow, and a tetrameter as epode.
See
747.
But
in the antistrophe
4.
592
f.
is
a pentameter and
there
abac, 6 5 6
See
748.
See also
51.
218.
Xo.
7rt7rovot
Ban. 1370-7 (Episode

y
oi
II.).
^^ y^
Seîoi.
-^
1371 ToSe yap erepov av repas

vcox/'ôv,
^ ^^
el
droTTias TrAewv,
o Tts av eTrevorjcrev
jxa
aAAos/
dv
tis
5
Tov
eyo) jxev ov8'
1375
e'Aeye fiot tojv

iTrL66p.rjv,
OTtTvxovTwv
Mop-rjV
dXX
dv
arrov aiira
X'qpelv.
203
Bentley
:
^ ^^ ^ v^v^v^^ -^ ^ ^ ^^ ^ -^ ^ ^ ^
^^
_^__
v./
w ^ ^ w
2^
2^^
2^
^^v^
^ ^ _ _ lo^
.
1376
^Tn66fn]i'
iweido/xriv
= aaab, 2 2 2 10, periodic tetrad: a dimeter Non-antistrophic. as proode that anticipates the melody of the two dimeters that follow, and a decameter as epode. See 747.
219.
The same melody, expanded by a

Fum. 1482-90
colon, occurs as the
second stasiraon.
= 1491-99
Strophe.
(Stasimon
II.).
^Hpi..
a p.aKdpi6% y
dvrjp
e^wv
^w
^^ ^^
^^
^Tjvecriv rjKpLl3(jjpîvr]v.
irdpa Se 7roAAoro"iv padeiv.
w -v^ ^ w ^ w
2^ 2^
2
221
TROCHAIC VERSE
yap
v cfypovetv SoK^cras
cLTreicrtv
81
1485 oSe
TrdXtv
eir
otKaS' avdfi,
Toi<;
204
ayadt^
fi\v
TroAirais,
ktr
dyado) Se rot? eavTov
^^^ w 5^^v^ \^ ^^ ^ c^^ ^

^^v^^ss?
.^
s^v^
^vyyeveart t Kat (jiiXois
1490
Sta Tu o-rrero? tu'at.
204 203
==
v^
^ >^ O ^ ^ w _v^ 12<^^ _

.
i:^
'H/i.
^' xapUv oSv
/ii)
SwKpaTCt
AaAeti',
1492 -apaKaO/jfievov
aTTofSaXovra
Tct
fj.ova-iKrjv
re fiiyca-Ta TrapaXnvovra
TTj?
1495
TpaywStKTjs
8'
eTTi
rexi'*;?.
TO
Kal
(TefJLVoiCTLV
XoyoiCTi
(rKapi,(fiy](r[xoiari
Xr^pinv
8LaTpif3->]v
dpyov
TTOieicrdaL
7rapa<fipovovvTO<; dvSpo^.
1496
(Te/xvo'icriv
Brunck
(refivolai
A = aaab, 2 2 2 12, periodic tetrad: a Monostrophic dyad. dimeter as proode that anticipates the melody of the two dimeters that See 747. follow, and a dodecameter as epode.
220.
F/aatis.
1
Ecd.
Tis
893-99
7ra-
(Episode
II.).
894
897
^n^ w v^ v/^-~ ^ v^ w y^ ^^ ^ ov yap v veats to (ro(f)OV ev ^ ecTTcv dXX 1' Tat'? TreTretpctS' w>^ ov8e Tts <TTpyLV dv edeXoc 5 ^
dyaôv /SovXerai
6eiv Ti, Trap' p.ol
XPV KaOevSeir.
'-y
pdXXov
dAA'
e<^'
i]
'yw Tuv
erepov
(filXov
cS-ep ^vvenjv,
206
a.v
_^___^^__^-
v^^^v^
ttctoito.
^ v^15
Non-antistrophic proode of a proodic combination of eleven strophes See See 773. is an indivisible period of fifteen metres. On the acatalectic close of this systematic period, cf. Ec. also 777.
(717).
938 (567), Ban. 323 if. (427), 372 ff. (301), 398 fF. (82), 416 ff. (80). This form of close is normal in periods that end in paeonic rhythm
flF.
(430
ff.).
221.
Kop.
/8'
Thesm.
8i)
659-666
XPV
(Syzygy).
em
TTpMTio-Ta p.\v
Kov(f>ov
lôpp-dv TToSa
660 Kal
Siaa-KOTreiv o-Lwirrj
p.ovoi'
7ravTaxj7,
8e
\pr]
^ ^ ^ ^ ^ ^
"^
_^^4^
^ ^
4^
82 661
[JLr]

PpaSvveLV, ws 6 Kaipds
IcTTi
ju,^
v^
222
5
XPW
v^
/AcAAeiv
eVi,
vy w w
4*^
662 aAAo,
'Hfi.
TT^v TTpwTrjv
iJSt;
rpexîv
kvkAo).
~^
w ^
-^
~^
v^ 4^ ^^ ^
ws Tax'O'T
(id vvv I'xveue Kal fxd-
reve
raxv
Travr,
ct
rt? ev tottois eSpato?
aAAos av
'H/x.. /3'
XiX.y]$ev wv.
oju/ia,
Tci
796
v^ v^
7ravTax2? S pii/'ov
Kttt
Tci
666
rfJSe
Kat
Seupo
TravT
dvatTKOTret
IJ-^vov
KaAws.
:
v^ w ^ w
fiovov 5e
:
^
v^ ^y
w yj
6
660b iravTaxVj Bentley xPV

:
di
XPV Kiister
piif/ov
xpV Travraxv
662 xPV"
665 5^
Hermann
didppi^pov
A = AB (659-62, 663-6). A: a Non-antistropHc. See 778. mediate period, composed of four tetrameters. See 770. heptameter, hexameter. pericopic dyad
:
stichic inter-
B=
ab, 7 6,
222.
Xo.
Thesm.
520-30
(Debate).
tovtI fievToi davfiaa-rov^

rjvpkdrj
281
w2^
^^w v^ w w %^
621 oTTodev
^ ^ ^ X'/Tts ^^pei/'e X^P'^ w rrjvBe ti]v dpacrelav outw. ^ TaSe yap etVetv rrjv iravovpyov 5^~w ^^v^^w ^ Kara to (pavepov SjS' dvaiSm 525 ^ ^ ^ ovK av (ôfxrjv ev r^fuv ^ v^v^l4 orSe ToXp.rj(raL ttot av. w v^ ^ dAA' dirav yevoiT dv rySr;* 10 ^ ^ w T'qv TrapoLjiiav 8' eTratvoi
to XP^ll^^
T'^v
TTaAaidv
SaKy
-utto
Xido)
yap
Travrt ttou
xP^
530
fJii]
prjTtap
ddpecv,
v.^
9"^
Non-antistrophic.
A = abc,
hypermeter
of fourteen metres,
2 14 9, pericopic triad: nonameter. See 771.
paroemiac,
Paeonic-Trochaic Verse
223. In
many
odes of Aristophanes metres that appear to
be paeons ( - v^ v^ v^ ) or cretics ( - v^ - ) and trochaic dipodies are freely mingled in the same subordinate period and even in the
same colon
dAA' aTTttAov dv
p.'
tSots
Kat ttoAv vewTepoi' d-iraAAayei'Ta 7rpayp.aTCov
Pax 351
ff.
(232)
225
TROCHAIC VERSE
fiovi]
83
iraaiv ottoctol yewpyiKov (iiov eTplfioîV
yap
ly/i-ds
ticêAei?
Pax 589
Cf. Li/s.
ir.
(233)
1046
ff.
(239),
1192
ff.
(240).
224.
The time
of the metres
in periods such as the pre-
The same necessity is even which there are many in these odes even in parts that it is agreed are trochaic, where the equivalence of - w - C7 with - v^ ^^ ^ and - w - is established by correspondence between strophe and antistrophe
ceding must have been equalized.
cases, of
more obvious in
oiiTcus
yv veaviaKos
MeAanwv
Tts,
o>j
(ftevywv ydfjLOV
K'dv
d<|>t/<r'
et's
kpi^p.iav
TOis opecrii' wKCt
TtytAWV
'//V
Tt9 dtSpi'TOS d.Po.rOL(TLV iV (TKioXoKTL TO. Trp6<T(x>~a TreplLpyfXiVOS
'KpLvvwv doppio^
_^-- -w^w -.oi)(êTat,
Lijs.
784
f.
= 808
f.
(242)
KVKVOV re TroXiwrepaL
Si]
=
- ^ - ^ Veqx 1064 = 1095
(235).
ff.
prjcriv
cu
Xkêtv kjieXXojxtv tot, orSe
-w-o
Cf. Lys.
-wv5^
789
(243).
=813
(242), Vesp.
342
f.
= 373
f.
(238),
412
468
'
ft".
Editors, with grave disregard of tradition, have
endeavoured, in order to secure exact metrical agreement, to
emend many
'
of these passages that are otherwise unobjection-
But these correspondences are not to be set aside in a manner so summary. 225. The problem in these cases is of the same nature as that in logaoedic and simplified logaoedic verse (388 f., 400). Within the limits of a subordinate period, at least, the time must have been approximately unified, there must have been a single prevailing rhythm. In the following analyses it is assumed that this was consistently trochaic, and that the time of the apparent paeons and cretics was in some manner equalized with that of the trochaic metres among which they occur. This is the natural conclusion. The cretic (- v^ -) is a familiar form that both iambic and trochaic metres with a suppressed arsis constantly assume in both tragedy and comedy. See 72 and 207. But the paeon is not to be separated from the cretic, i.e. protracted trochaic metre, in these odes. That they are metrically equivalent is proved by their correspondence in strophe and
able.
antistrophe.
Cf.
Vesp.
428 = 486
(243),
Pax 352 = 390, 354 =
84
226
Furthermore, the paeon occurs quite 392, 359 = 398 (232). independently among metres that it is agreed are trochaic
:
Kal KeXever
avTov
yjKeiv
ws
7r'
avSpa fiLcronoXiv
ovra KOLTToXovftevov,
on
<->
v^
\j
TovSe Xoyov dcrc^kpn.
www
v^ w w^v^ ^ ^ -^ ^ ^
.
_^__
Vesp.
410
ft".
226. The ease with which the paeon could be associated with trochaic metres is remarkably exemplified in the Lysistrata (10141035), where Aristophanes has used Kara arl'xôv a form of trochaic tetrameter in which the third metre is continuously
227.
is
It
'
seems probable that the

trochaic metre
'
paeon
'
in all these cases
'
light
and arose
in the dance.
The long
syllable in the arsis of the trochaic metre
the long in the thesis by shortening.
from Expressed in mechanical

differentiated
was
symbols,
syllables
(
- w - w became - w - ) is a later
-www.
The
cretic
of
three
substitute for
-www.
See 620,
where this interesting subject is considered from the point of view of the probable origin of paeonic verse.
228. It must not be forgotten, however, that the equalization
combined metres of different metrical constitution Greek verse was neither mathematical nor slavish. The equality of metres was not absolute even in Greek melic poetry. That conception of Greek rhythm is disproved once for all by The forms - w - w the existence of irrational metres (16).
of the time of
in
-w
metres
controlled
were felt to be different, but they were The mechanical devices for by a uniform rhythm.
one
another
are,
-www
expressing the metrical relations of the different forms of trochaic

to
unfortunately,
inadequate.
To
is
indicate these relations, so far as this can be done, the dot
used in this book to signify not only the loss of a syllable, with
measurable protraction of the adjacent long syllable (see 31 f.), but also the shortening of a simple thesis in the arsis of a
trochaic and an iambic (75) metre
(-www
for
-w-w,
and
In the rhythmization of an entire subordinate period, -w and - w are rhythmical equivalents, although not mathematically equal. The paeonic-trochaic metre, then, embodies the contrary phenomenon
for
,
w w w -
w - w -).
-w-w, -www
to that observed in
an
irrational metre.
One must accustom oneself
230
TROCHAIC VERSE
v^
85
to
- ^ w
229.
as
the rhythmical equivalent of

of the
- ^ this
v^
just as
-^
(
for
-v^-w
effect
has become a familiar substitution.

introduction
of
lighter
The
form
v^
vy
vy )
of the trochaic metre,
which
is
not found in tragedy,
unmistakable. Originally hyporchematic, these light metres quicken the movement perceptibly when they occur, and this is especially marked when they are brought into contrast with the
is
irrational
form
of the
metre with
(241),
its effect
of retardation.
Cf.
Lys.
et
664-6 with 667-71

230.
Lijs.
1192-4 with 1197-9

(Parabasis).
(240),
passim.
614-25 = 636-47
Strophe.
Xo. Vep. 0VK6T
epyov eyKaOevSeiv
eo"T
ooTis
eXevOepos,
615 dAA'
eTTaTToSvwfJLeO'
wvSpes
TOVTuyl
Tw
TrpdyfiaTi.
616 617
I'lSr]
yap
o(eiv raSl
367
ff.,
72
TrXei6i'(ov
Kal yxet^dvwv
[xol
Trpayp.dTwv
SoKei,
Trj<i
618 KOI
619 Kol
jxdXia-T 6(T^paivop.ai
'Imrtov Ti'pavviSos'
Trdvv 8eSotKa
fxrj
^ ^ _^_i^ ^ \^ w 4^^ v^^^c; _^ _ 4CV _ ^ _ _ _ ^ - ^ -' ^ _ ^ _ m _ ^ _ _ ^ _ _ ^ _ 6 ^ ^ ^ w v^ w 4*"^

v./
;;^
y_,
v.^
10
^^^^^-^^
.
_^_.
_ ^ ^ 4CV v^^.v^ _ ^ _ 4CV
-Twv AaKh)vo)V T^ves

8evpo a-vveXi^XvOoTe-i
dvSpes ts KAeto-êvovs
_ ^ _ ^ ^- ^ _ ^ _
.
623 Tas
deoLS
ixOpas ywat/cas
_^_i:i
_^_^
iâipw(rLU 86X10
15
))p.wv
v--
w
v^
4'-'
624 KaTaXa/Sdv rd
h'Oev
e'^'uv
)(p'/jfiaO'
tov
re.
pna-dov,
e'yoi.
_ ^ _
Antistrophe.
_ ^
5CV
Xo. Fvv.
ot'K
dp
etcrtovTa
c3
cr'
oiKaS'
1^
TCKouo-a yvwo-erat.
"vafiai.
rrj
637 aAAa
awfjiecrd'
</)tAat
ypdes TaSl irpCtTov
638 r/êis yap w Travres aaroi Ao'ywv KaTdpyôfxev 640 iKOTws, CTrei ÂiSwcrav dyAaws Wpexpk /xe. 641 eTTTo, /xev ctt; yeyaio"' ei'îis i)ppy)(f)6povv
ttoAci xp-qcripnov
643 eiT dAeT/ots 1; ScKerts ovcra rapXT^yeTt 645 KUT e'xoDcra tov k/doko>t6v S/oktos r] j3pavp<j)VLoi,<s 646 KaKavi-jiôpovv ttot oSo-a Trats koAt) ';ôi)o-' lO-^dScDV
6p[j.a66v.
fivSpes TBC, ivSponroi R 615 wi'Spes Meineke (i(n6vTa a' Bentley yap etV:6vTaj 645 k^t'
: :
636
?x<'<''*
oiJk 4p'
Dobree
:
oO
Bentley
FBC,
(caTaxeoucra
Karixovaa
'
86
231
= AB (614-18, 619-25). A = aaba, 4 4 6 4, Monostrophic dyad. two trochaic tetrameters and an iambic hexameter epodic tetrad with a third trochaic tetrameter as epode that repeats the melody of See 744. B = aabc, 4 4 4 5, epodic tetrad two the first two periods. paeonic-trochaic tetrameters and a trochaic tetrameter, with a penta: :
meter as epode.
231.
See
743.
Eq.
616-23
= 683-90
(Syzygy).
Strofhe.
'H/[z.
a vvv ap a^Lov
ecTTiv
TracriV
204, 208
oAoAvât.
203
617 618
S>
KaXa Xeyoiv ttoXv S' afjielvov Tt Twv Aoywv
w v/ V v V c^ ^^ ^ 4CV w>.--vy v^^-w wv^-v^ v^ 4*^

.
elpyaa-jjiv,
eW
iireXfioi
craffiW'i
v^^^v^
v./
dois
COS
avavrd
fJLOL
eyw
wcTT
TUTTe.
Sokw
irpos rdS'
621
Kttv
jxaKpav oSov SteA^ctv
_ ^ _ ^ w
.
^ v^
_^_.
4*"
aKovcraf
dapp-qcras
w
a-
(3eX-
_^_i=^
10
_^_m
w v^
C7
_ ^ _ w
Xey
d)s
623
7ravTS rjSofjLecrOd
croi.
v^ w v^
8^
Antisti'ojJhe.
'H/u,.
^' TTavTa rot TTiirpayas oia ^pv) tov evrvxôvvra-
684 Tjfipe 5' o Travovpyos eVepov ttoAv Travovpytais 685 p.etô(Tt KeKacrpevov koI 86Xoi(ri ttoikiXols 687 p-qpa(TLV 6' atfivXois. 688 dAA' OTTWS aywvtei (f>p6vTi(e rdiriXoLTr dpiarra
'
crvfJip,dxov^ 8'
ij/i/ia?
;ôjv
tVous cTTicTTOUTae TraAat.

687
ai/xi5\ots
618
elpyaa-fjiiv'
MSS.
Bentley proposed
epyaffd/jiev
Princeps
ai/ivXt'ots
A = abbcd, 4 4 4 2 8, epodic pentad a Monostrophic dyad. tetrad composed of a protracted trochaic tetrameter, two paeonic-trochaic tetrameters and a dimeter, with a trochaic octameter See 751. as epode. Heliodorus See the metrical scholium on Eq. 616 and 683. It should be noted that he employs arranged cola 8-10 as trimeters. There the term paeonic to designate both ^ v^ v^ and '^ is ancient testimony that he classified paeonic feet, at least in such See Choeroboscus's Commentary connexion as this, as k^da-ripôi.
:
'
periodic
'
'
'
(Heph. 247. 11
232.
AT.).
Pax 346-60 = 385-99 (Syzygy

Strophe.
I.).
'H/x.
ei
yap kKykvoir
T-qv
fj.k
tSeiv rav-
TTore
t^v
rj/xepav.
v^ ^ w ^ ^ ^ -
i^
232
347 TToXXa yap
TROCHAIC VERSE
rjviarxofxijv
87
.
206 w
b
t;
348
TrpdyfxaTa. re Kal crTi.f3a.8as,
a? f\a)(ê ôpjxiwv
349 KovKiT av
350
351
355
356 358
359
ovSe Tot'S rpoTTOvi ye S^ttov (TKkriphv oicnT(.p Kal Trpo tov, _ v^ =t v^ 10 dAA" airaXhy av fi lSocs w;^0 Kal TToXv vewrepov a^ ^ TraAAayevTtt itpay [xaTiav. v^^-v^ Kat ya/a tKOi/ov xpo^'o^' " wv^-v^ TToXXvpeda Kal Karare15 v^>^-v^ TpipiiiOa TrXaviop.ivOL ^ tS AvKLOV KiXK AvKeiOV w ^ ^VV Sopl ^VV aCTTTlSl. ^ ^- ^ dAA' o Tt pdXicTTa xapi oi'peda TTotorvre?, aye 802 v^^-v^
f2 vpot<s SiKaa-TTji'
SpLfMVV Ov8i SvCTKoXoV,
^ ^^ ^w w O ^ o w
_ ^ _ ^ w^..^/ ^ v^ 6*^
v^
w
v^
v^
4*"'^
v^^4*^
^ _ ^^;ô
.
w
w
w
v^
^
6^
wc^rO
w^^-v^
6^
^
^-
4*^^
v_,^.w
4>p(>-C^
'
o"^
y/> avTOKpdrop'
20-W--W -w
ctya^/y
ei'Aer
ns
>}/iti'
rvxi].
(ant.)
801
-^...^
-^-. -^-9^
Antistrophe.
'Hyu,. /8'
pr^SapoJs
SecnroO' 'Kpp.TJ,
p.r^Sap.oj'i,
/xrySajUOJS,
386 387
et
Tt
Ke)(apt(r/xevov
e-
)(04p68iov oi(r6a Trap

/xou ye KaTeSrjSoKws,
388 toCto
Tp.
oi'K
ju,i)
(fiavXov vofjLt^' ev
Tw8e Tw irpdyfiaTi.
uKovei? oia ^wTreuwi'a^ SeoTTora
;
oucrt cr
'Up..
(3'
pr]
(T
yevrj TraAty koto's
dvTtdôiio-tv
/ir)
'///.iv,
391
wcTTe T^vSe
Xa/Selv,
dAAa
x'^P'-^'
(fiiXav-
OpmoraTe Kal p,eyaXoSojpoTare 8atp,6vwv,
395
et
Tt TLei(rdv8pov /38eXvTTi
TOl"J
X6(fiOV<i
Kal TttS
te-
6<f)pv<i.
396
Kttt
oê
6vcriai(Tiv
Trpo(ro8oL'i
pala-i
re peyd-
88

Aaio-i Sta TravTos
<S
233
399
:
Seo-TTOT
:
dyaXov/JLev
Tj/xeis
aet.
:
avv 357 ^vv Ms Person 346 TTore ttjv Tj/iipav Dindorf rriv yj/xipav wori dvripoXovffiv, R reading 390 <t' dvTidôvffiv Ed. vofilûv 388 vofu^ Bentley 396 iepaiai. Trpoaodois Princeps hpah wpoabSoLai. RV TraXiyKorSs (sic) avTiôKovaiv
:
:
Monostrophic dyad.
:
A = abc
(346-9,
350-7,
358-60).
A=
two trochaic tetrameters with a paeonicaba, 4 6 4, mesodic triad b = abba, 4 6 6 4, palinodic See 739. trochaic hexameter as mesode. a trochaic tetrameter as proode, two paeonic- trochaic tetrad:
hexameters, and a second trochaic tetrameter c is See 746. the melody of the first period. See also 733. See 773. trochaic nonameter. and See the metrical scholia on Pax 346 233. The following ode in the second
flf.
as epode that repeats an indivisible paeonic-
385 fF. Parode
is
composed
on the general model of the foregoing, but the poet has omitted two cola and has otherwise varied the treatment of his theme.
Pa^ 582-600 (Parode

Xo.
X^'V^' X'^^P
o-w
II.).
4>tXTa6', ws
dcrfxevoLa-LV lyAês rj[XLi>-
yap
e8dfiri[j.ev
7r6$(o,
585
8ai/idvta fSovXofJLevot
els
800
^ ^ ^ ^ .^ ^ ^- ^
v^v^'v^
dypov dvepirvaaL.
^ ^ ^ ^ Ke/jSos w n-odovp.kvrj v^^-v^ 589 Trdcriv OTrdcrot yewpyi ^v^.v> KOV (3lOV iTpt./3oiMeV fJ.610 vq yap rjfxds oxftiXeis. ^ ^. ^ 692 TToXXd yap e7rao-)(o/i.V w^-w rrpiV TTOT 6776 (TOV yXvKia w^^-^ KdSd-Trava Kal (fiiXa. ^ 595 TOts dypoLKOKTiv yap rjaua
ria-Oa
yap
/AcyicrTov ly/xtv
v./
v^ 2 ^
^ ^' ^^ v^ 4 ^ v^ 4 w w w w
w
^ _
yj
6
.
^'
ww6
_^_v^
v.^ 4 ^ ^- ^^ ^ ^- ^ ^^ ^- ^
)î8pa Kal (TMT'qpla.
15 w
^ ^ y^
^'
WCTC
Kal
(re
Ta t
6'
djXTveXia
\j k^
TO.
vea crvKtSia
OTTOcr
ecrrt
^-
rdXXa
600
<jiVTa
^-
7r/30cryeXa<rTai
XafSovr
dcrfiiva.
583 ^\ee%7)ixiv Dindorf:
7,p2v
^Xdes
599
birba'
Bentley:
6<t'
R:
6<tc
V
abc,
Non-antistrophic.
2 4
4,
A = ABC
:
(582-6, 587-96, 597-600).
A=
pericopic triad
trochaic tetrameter.
trochaic dimeter, trochaic tetrameter, paeonicThe melody may have been abb, See 771.
4,
proodic triad,
b = abba, 4 6 6
palinodic tetrad
a trochaic tetra-
'
235
TROCHAIC VERSE
89
meter as proode, two paeonic-trochaic hexameters and a second trochaic tetrameter as epode that repeats the melody of the first period. See 746. See 773. C is an indivisible paeonic-trochaic nonameter. Heliodorus regards See the metrical scholium on Pax 571 ff.
571-600 as a pericope, of which the first period is 571-81, but probably this trochaic hypermeter, following tetrameters, was not In the text of Heliodorus the first colon (582) melic. See 808 f. was acatalectic. His analysis does not include the last eight cola.
234.
'H/i.
Ach.
oStos
280-3 (Parode
II.).
oiiTOS ai;Tos eVrtv,
fSdXXe ftdkXi /âAAe /âAAe.

'H/x. /3'
Trate Traie
tov ixiapoV
;
ov /âAeis
ov f3aXek
(717)
^ ^ ^ ^
^ - ^ -^
.
^ ^ ^ - ^ ^ ^- ^ ^ 8
is an indivisible trochaic octaNon-antistrophic proode (717). See 773. meter with paeonic-trochaic movement in the last two cola. Heliodorus regards See the metrical scholium on Ach. 263 flF. 263-83 as a pericope, of which the second period is 280-3, but the
chorus reappear at 280.
235.
Vesp.
1060-70
'<}/ietS
= 1091-1101
^ w v^ ^ ^ ^ ^ 5 ^cttw
(Parabasis).
Strophe.
'H/ii.
a w
TTctAai TTOT
6VtS
^ ^
w 4 w 2^ w^tw v^ 4'
akKLfioL fiev ev ôpots,
1061 uAki/xoi
8'
iv
fj.dxfJ-i-'S,
1062 Kal KaT avro tovto 1063

irpiv TTOT riv irplv
[xovov
avSpes fia\iiiix)TaTOi
Tavra, vvv
S'
St)
^^
-^-2*^
-wcrrv^ w ^ 5^^
otêTai,
KVKVov re TroAiwrepat
800
-w-^
w
-v.-^
1065
ai'6'
7ravôi'a-ii'
T/Di'xes.
dAAa KaK Twv Xenpdvwv

TwvSe
pu)fxr]v
Set
_^_
i=^^_^
w
vfaviKrjv crêtv
796
ws cyw
Tovfjibv
vop.i^(D
/}
10
V.
1069
yrjpas eivat kpÎttov
ttoA-
Awv
KiKtVvovs vcai'iwv Kol
a^rjfia KevpvTrpoiKTiav.
^ _^__ ^ ^ ^ w v^ 6
_^__
i=iQ
_^
Antistrophe.
'HjLi. /3'
apa Seivos
Ktti
7)
rd^' wo-re iravTa
jui)
SeSoiKei'at
1092
KaTe(rrp\p6.p.-qv
eKCtcre
Tovs evavTtoi's TrAfwv

ov
rais rpi'ijpeaLV
yap
-qv
rjplv
ottws
90 1095

prjaiv ev Aeêtv t/ieAAo/xev tot, ouSe auKO(âvT7yo-eiv Tiva
<^povTts,
ciAA'
ocTTts
kpf.Trj<;
236
1097
eVotT
ctpicTTOs.
Totya/Dovv
TroAXa?
TToAeis Mr^Scoi' lAovTes
aiTitoTaTOt
(jikpecrdaL
jov
(f>6pov
8evp
ecr/xev,
ov
kXtvtov(tiv
oi
vewTcpor.
1097
o(rris
Elmsley
Sorts a^
abc,
A = ABC (1060-2, 1063-5, 1066-70). A = Monostrophic dyad. trochaic tetrameter, paeonic- trochaic 4 2 4, pericopic triad The melody may have been aba, See 771. dimeter and tetrameter. B = ab, 2 5, pericopic dyad trochaic dimeter, paeonicmesodic triad. C probably = a'a, 6 6, monostrophic See 770. trochaic pentameter. two hexameters in correspondence. See 767. The ordinary type indications of the close of the first subordinate period in C (1066-8) are lacking, but Aristophanes affects the trochaic hexameter. See 776.
:
:
236.
Ban.
1099-1108 = 1109-18
Stro2)he.
(Debate).
'H/x. a' fjLeya to 7rpay/xa, ttoXv
to vetKO?,
=^v^
z^
^
.^
.^v^
aSpos 6 TToAe/xos epx^Tat.
^
^^
1100
x^'^fôi' o^'' epyov Siaipeiv,
^
c;
c; w 4*^ ^ ^
OTav 6
fiiv
Te'ivrj
^tacws
;^w
1102
6 8' iiravaa-rpecjieLv Svvrfrai KaTrepiiSecrOaL
5=^w
w
ropm.
eio't
v> vy .^
1103 aAAa 1104

1105
[XT]
'v
ravro} Kcidrjcrdov
_^_m _^_^
v-'
ctcr/?oAai
yap
TroAAat
"^ârepai (TO<fiL<T/xaTwv.
o Tt
7re/3
otjv
e'xeTov epiêiv,
AeyeTov otitov dvaSeperov
ra T6
TraAato. Kat to. Kaivd,
\^ _v^ ^ ^ v./ 6 10=^v^ o c^w ;^w;:zrv^ =^v^=^ ^^ ^ ^ x^ ^
1108
KOLTroKivSweverov AeTTTOV Tt Kat a-0(f>bv Aeyetv.
_^_m _^
v./
10
'
H/x.
^'
et
Se
jXTj
TovTO KaracfiofSeLcrOov,
Tts afxadia irpoa-y
9iii[X.kvOl(TlV,
yu.'^
1110
TOtS
WS
TO.
AcTTTa
yvwvat AeyovToii',
Tovd'
'
1112
fJiljSeV
6pp(t)8lT
ws
ovkW
1113 1114
1115
OVTO) TaVT* X^'-
icrrparevfjievot
yap
elcri,
(iifiXiov t' x<v cKao-TOS
pavOdvet, ra Seûdat
<ûo-ts
t'
aAAws
Kparirrrai,
238
TROCHAIC VERSE
vvv 8e Kal iraprjKovijVTai.
fiyjSev
91
ovv
Seccrr^Tov,
dXXa
1118
iravT' kwe^LTOV dârOfV y'

oi've;^'
(OS
oVtwi' (rocfxov.
= abed, 4 8 6 10, pericopic tetrad: tetraMonostrophic dyad. meter, octameter, hexameter, decameter containing a single paeonictrochaic metre.
See
772.
See also
Thes7n.
777.
237.
Xo.
459-65
(Scene
I.).
Tpov av re Ay/xa tovto

KO/JLiporepov
^/^..v^
^ ^
460
eV
r/
to TrpoTepoi'
dvaTrecjirjvei'.
oia KaTecTTMfivXaTO,
205
Ov8'
OVK aKaipa,
Kol
<^/3evas
e\ov(Ta
VOlJfJL,
TToAwAoKOV
da-vver'
dXXa
iriOava Trdvra.
r?]<5
^-^ ^ v^ 5 ^ ^- ^ s^ ^^ ^^
tov dvSpa
v^v^
.^
v^
v^
7*^^
^ ^ w ^^ ^^ ^
465
467
See
Se ravrrjs
vjSpews
I'ljuv
7repi(j>avo}S
8ovvai
SiKiji'.
w
dyad:
11
Non-antiatrophic.
A = ab,
11,
pericopic
hendecameter containing a single paeonic-trochaic metre.

238.
Vesp.
heptameter, See 770.

I.).
334-45 = 365-78 (Syzygy

LYRICAL DUO
Strophe.
ôv, TT/oos evvov<s yap (^pacrets. ^ 335 ^^v^ ov/ios vios, aAAa yu,^ ôî. 5 w OLTe' Kal yap Tvy^*^^^' 337 ovTOO-i irpocrOev KadevSwv. k^ ciAA' vcfiecrOe tov tovov. ^ Kop. a' Tou 8' 4'ê^tv ai fxdraLe ^ Tttwra 8pdv ere /SovXeruL
Kop. a
Tt's
yap kaO'
ravrd
cr'
ti'pycoi'
v>
KdiroKXyoiv ry 6vpa
Ae-
_^
m ^
v?
_^_v
w kj v^ v^ ^ ^ ^ ;^v^^ _^ v^ ^ _^ w ..^ ^ u^v^
^ ^
6^^
^
4*^^
^
^
v./
i^
y^
4^
2*^^
339 <Kat> Tiva

l.
Trp6<âcnv )(U)v;
atv8/3S
StKttêil/
10
wn./'v^
OTJK
/x'
orSe 8pdv ov8lv KttKoi',
341 dAAa
ecrr'
p.'
"
cuwxetv eTOip-os
eyo) 8'
^^w _ ^ _ ^
^^ ^ 15 ^ 207 w ^
i^
;=i
4*^^
^
4*^
ou /SovXopai.
6 utapos X*"
Kop. a' tout'
iroXp-rja-'
veiv 6
^rjpoXoyoKXewv 204,
'
92

343
344
oTi Aeyets ti Trepi Ttuv vewv a\i)d)v
OTTWS Ta^Lcrd
<3
t-
366
4>i.
yap
jx^Xlttiov.
8taT/oaye6i/ to6VI'v KpaTtcrrov

icTTl
fJLOl
TO SlKTVOV.
cruyyvw-
368
Kop.
/3'
ly
8e /aoi
/A1JV
AtKTWva
X06 ToO StKTVOU.

irpos dvSpos to'T
crwTrjpcav.
ravra piv
vovTOS
a-
ts
370
4>t.
aAA' 7ray t^v yvaôr.

8iariTpu)KTaL toGto y'
p,r]
dXXa
/xi)
fSoare prjBapio'i,
Ty]pwpecr6' ottws
372
Kop.
(B'
dXXa
pi]8ev
BSeAvKAewv
u>
alardrjaeTai.
rdv
SeStî,
prjSev
ypi'-
ws yw TouTov y', eav

^7]
Tt,
7rOl7yO-W
SttKClV T>)v
KapStaV
Kttt
Tov
petv,
Trept
î^X'y^
etS?^
Spopov 8pairarelv to.
tV
^t)
Totv deoLV
339
/cat
\pT]<f>Lcrpara.
^01;/
Bergk
378
to?;/
Cobet
rwv
êwj/ or rai;' êatj/
Monostrophic dyad.
6 4
738.
4,
proodic triad
(334-7, 338-41, 342-5). A = abb, See a hexameter as proode to two tetrameters.

:
A = abc
two tetrameters that enclose a dimeter, with a third tetrameter as epode that repeats the melody c is an indivisible hyperSee 749. of the first and third periods. See also 777. See 773. meter of thirteen metres.
2 4 4, epodic tetrad
B = abaa, 4
239.
Lys.
1043-57 = 1058-71 (Stasimon

Strophe.
IL).
Xop. Fep. ov wapaa-Kevaôpecrda

TCOV TToXlTWV OvSfv'
WvSpeS
cfiXavpov eiVeiv ovSe ev,
1045 aAAo. TToAv TovpiraXiv Trdvr' dyada kol Aeyeiv Kal Spav, iKava yap to. KaKa
_^__ ^ i^ ^ x^ 6^ ^ ^- ^ v^ o 2^ 5 v^^-v^ ^ ^ ^' ^^ v^s^-v

v_/
_^_m
i=i
_^_v^
240
Kol
dXX.'
Ttt
TROCHAIC VERSE
TrapaKiifiiva.
93-
cTrayyeAAeTw
dvy]p Kttt yi'vi^y
1050
TTtts
Tts dpyvpiSiov Set-
^ ^' ^ _ ^ _ _ ^ _ 10 v^ v^
. .
v^ w _ ^ _ _ ^ _ ^
Vru'
6*^^
2 2
Ta6 XajSelv /xvas
i)
Su'
7)
rpei'i,
to'i
TrAta
1054 1055
axop-ei'
KOiV TTOT
6(rTis
(SaWdvriaelpyjvj]
îcvy,
^ ^
nap
i//xwi',
^ v^ w ^
7^^
2'''^
dv vvvl
âvii(7t)TaL
av Aa/?jy fnjKer'
diroStj).
15
v^
c^w
5*^
Xop.
Ftiv. 0-T6av Se /xeAAo/xei'
êi/oi'S
rtra? KapvcrTtoi'S, avSpas KaAots re
Kcicmi' <t'> eVvos
Tf
Kat
Kttt toi;to
1061 SeA^ciKtov
yv
Ti
//,ot,
tcûx'j ^^"^^
i^P^'
eSecr^'
uTraAa
Kat KaXd.
1064
I'JKer'
ovi'
ei's
ipiov
TrifxepoV
Trpco
Se
^/ai)
1066 TovTo Spdv XeXov/xevovs

1069 dAAa X'^P^"' 1070 Monrep otKaS'
:
avjoi's re Kat
to
TratSt", err' eicrw /?aSiêtv,
fiT^S'
kpkcrdai
fxi-jîva,
avTiK/3VS
ets
eavroiv yevviKcos, w?
#(rw
^Secrd'
t|
^t'/Da
:
KSKXya-erai.
?r'
1053 TrXâ Burges b-6\X' 1062 wo-re Kp^' Reisig
1054 Exofiev Burges K&xo/J-fv wcrxe rd /cpâ ^êcr^' RF, ws Reisig

:
1060
to.
Kpia
yivead'
C dyad.
:
Monostrophic
paeonic-trochaic
:
A = AB
(1043-48,
1049-57).
A = abc,
6 2 6, pericopic triad
trochaic hexameter, paeonic-trochaic dimeter,
See 771. B = aabcd, 2 2 7 2 5, epodic hexameter. a tetrad composed of two paeonic - trochaic dimeters, a pentad See 759. heptameter and a dimeter, with a pentameter as epode.
240.
The mebdy and
dance of the preceding
ode
were
doubtless repeated in the third stasimon.

Lys.
1189-1202 = 1203-15
Strophe.
8e TrotKi'Awv
(Stasimon
III.}.
ôp.
Fe/D. (Trpwp.dT(DV
Kat
i(Aavt8toji'
\pV(Tl,<JiV,
Kat ^vo"Tt5(ui' Kat

OCr'
i(TTt
/jlol
jXOl,
1191 ov
(fidovos evea-Tt
TTacrt
Trapex^'-v cfyepeiv TOt-j
7raio-tv,
oTTOTav re dvydKavri<f)oprj.
T1JP
Tivt
^ ^ ^ ;^^ v/ \j ^ w 6 w>^'^ w 2*^ vî^^ 5 ^^ -^^ ^ ^ ^- ^^ ^ ^. ^ ^ ^' ^^ ^ 6*^
94

1195
TtacTiv
241
vfiiv
Xeyio
Xa^jiavtiv rdv e/xwv

^prjixdriov vvv evSoêv,
lj.7]8ev
Kai
_ ^ _ _ ^ _ 2 ^ 2 _ ^ 10 v^ ^
.
.
ouTws
ev crea-r][xdv6at, to
f/.7]
onx^
Tovs pvTTOvs avacnraaaL,
1200
x^"^"^'
<^''>
8'
evSov
7^
(f>opeLv.
^ ^ w w
/a'>j
\j
v^
oiI/eraL
ovSev o-kottwv,
rts vjxoiv
6gVTpOV
efJbOV
/ÂeTTEl.
15 v^=^w
v^
Antistrophe.
Xop. Tvv.
el
Se
Tw
Trap'
/x^
crtTos
t'/xwr
eo-rt,
PocTKit
S'
ocKeras Kat afiLKpa
TToXXd
7rat8ta,
1205 1209
1211
ecTTt
t/AoG
Aa/Jeiv
TTvpi8ia XeiTTo. p.kv, o 8' apros aTTO x''^^'<^'^ 'S^'v

ocTTis
âAa
veavias.
oSv /ôTjAerat
ât
TW|/ TreVTJTCUV ITW

CIS
/AOu
craKKODS
e'xwi'
KwpvKovs,
S'
ws
Ai/i/'crat
7ri;poi's,
Mav/)s
ovfios
avToh
e/x/JaAei.
1213
Trpos ye /xevrot ti)v
^t'pav
W;!' ep^v,
TTpoa-ayopevw p,^
1190 ^(tt/ MO' Elmsley ai^rols ovfibs avTois Bentley
: :
âS%iv
e>oi
dAA' evXafSela-daL
a.-
ttjv Kvva.
^ffri^
1200
Elmsley
1212
oi>,xcs
R
lyric.
See the analysis of the preceding 241.

J^ys.
658-71 = 682-95
Strophe.
(Parabasis).
Xo.Tep. ravr' ovv oix vfipa ra

Trpdyp-a.T
(rTi
ttoXX'/j ;
659
KaTTtStucretv /aoi SoKet
to
209 209 ^ ^ ^
- ^ - ^ _ 4 _ v^ ^7
.
Xp-I^pa
paAAoF, dAA'
tt/xwreoi' to ivpayii
0(t-
Tts 7'
evopx'^s
o"'''
dvr;p.
^ ^ 5 w
w w ^^7
4CV
v^
662
dAAa
Tr;v
i^wfiiS' k8v-
wpe^'
0)5
Tov av8pa
eijî's,
8et
663
dvSpbs oêtv
dAA' ovk
^vredpcwaOaL
Trpe-nrei.
664
dAA' dyeTC AeuKOTroSes,

oiTrep 7ri Ki\pv8piov
7]X6ofiev ot' T^/xev eVt, vGi'
10 Set -
v.
v.
ic
vv.
^
^.
667
vvv dvT]Py]a-aL irdXiv KdvaTnepMcrai
242
TROCHAIC VERSE
Trav to <rw/ia KaTTOcrdija-
95
c;
.
670
(rdai TO yrjpay,
Kal
rrjfxepov
tovs
SrjfJLOTas
(3o)(TTpeLv a-'
lyw
TrcKTOv/zevov.
686
688
692
dXXa
ws
vvr
at-
X^/^^'5
o^w/i.v
e/x'
w ywaiKC? OaTTov
tTw
tis,
e/cSvco/xeâ,
yuvaiKajv auToSa^ wpyKT/xevoiv.

iVa
p.^;
7r/30S
ttotc <ây7/ o-KopoSa, fi-qSe Kvdfiov^
[MeXava^-
ws
el
Kai /xoroi' KaKtos epeis, vTrepxoXw yap, alerui' rcKTOVTa Kdvdap6<;

(re
fiaLevKTOfJiai.
664 XevKoTToSes
Hermann
XvKonodes
Monostrophic dyad.
pericopic
dyad
7,
aabc, 4 4 7
= AB (658-61, 662-71). A = ab, 4 7, See 770. B= protracted tetrameter, heptameter. two trochaic tetrameters and a paeoiiicepodic tetrad
: :
trochaic heptametei-, with a heptameter as epode.
See
743.
I.).
242.
Lys.
781-804 = 805-28
Strophe.
(Stasimon
Xo. Tep. [xvdov /SovXojJiaL Xeâi Tiv'

V/XLV,
209
209
OV TTOT yKovcr
wv.
783
avTos ere
Trats
ovTios rjv veavio-Kos
^ - ^ ^- ^ _ _

- ^ ^ e^^ m _ ^
.
"
-=i
iî.
MeAavtwv
tis,
os <êi;ywv yajxov d-
96

802
Tpaxv's evrevOev
fjieXajxirv-
243
yds re tois tÔpoi^
aTracriv,
804
S>s
Se
Koi ôp/XLOiV.
^ ^ ~ _ ^ _
.
_^_^
_ ^ _
g^
Antistrophe.
Xo. Tvv. Kayoi /Sovkofiui
Oov riv'
vfjitv
fiv-
avTiXkâi
807
T^ McXaviwvi.
Iifiwv ^v Tis atSpvTO<; dftaToicnv ev <TK(oXoi(n to,
tt/oo-
811
o-WTra Trepietpy/xevos, 'E-
pLvvoiV diroppu)^.
OVTOS ovv 6 TlfHOV

W^ê^' VTTO
fJiL(TOV<S
815
TToAAo, KaTapa(rdfjLevo<i
dv8pdo-L TTOvrjpois.
OVTd) 'xetVOS VfMWV
dvrejua-ei tovs jrovi-jpov'i
dvSpas
del,
rjv
Talari.
Se
yv-
820
Vvv.
Yep.
vat^tv
TTjv
(^lAraros.
fSor'Xei
yvdOov
devu)
)U,7ySa/xa!s
eSeicrd ye.
Tvv.
Tep.
dWd
Toi'
Kpova-io tc5 orKeAei;

K<f>avis.
a-dKavSpov
o/icos
civ
Tvv.
dAA'
ot'K
tSots
826
828
:
KaiTrep ovcrrjs
y pah's
ttAA'
ovt' avaTTCl/'l-
TOV
KOp,7]T7]V,
Aw/xevov T(p Av^vwXaKrla-ai.

:
to (tk^Xos 799 XaKTiaai Bentley 824 cydKavopof Suidas irpbawirov
810 rd
Trpocruwa.
Hermann
rb
aa.Kavdp'
Monostrophic dyad.
(plus
A = ab
2)
4,
pericopic
triad
(781-92, 793-804). A = abc, 6 9 refrain hexameter, (771) with

:
nonameter (with three dimeters in refrain), tetrameter, all in paeonicB = abbbba, 8 2 2 2 2 8, palinodic hexad See 774. trochaic rhythm.
:
The antistrophe lacks See 758. octameter, four dimeters, octameter. See 51, one dimeter in the refrain, corresponding to colon 9.
243.
Vesp.
403-29 = 461-87 (Syzygy

Strophe
I.
II.).
Ko/3. a' eiTTC fioi Ti ixeXXo/Mev
ki-
veiv iKetVTjv rrjv )(oXr)v
404
rjvn-ep
rivW dv
Tts
17/i.wv
;
^ ^^ ^
^^
^
^
^
^=^
^
v./
i=i
4.cv
'^
opyta-rj
ttjv cr(f>r)Kidv
i^^_i^_^x
4CV
243
vvv eKelvo vvv
Tov^vOvfiov
TROCHAIC VEESE
c/cetvo
(^
97
'H/x. a!
5 w o
KevTpov
v^
KoXa(pfie.(Tda
408 ttAAa
409
410
412
414
^ ^- w ^ ^ w 0)5 Ta;(icrTa TratSia 10 v^ ^ îTC K-at /Joare /cat KAe_ ^ _ wvt Taiir' dyyeAXfTe, v^ ^ Kul KeAei'er' auTov >JKtv ^ -^ ws ctt' avSpa fJucroTroXiv v^^^w OVTtt KaTToAoi'/XeVOV, OTt 51 15 ^ ^' k^ To'vSe Adyov d(T(f>epeL, _ v^ _ St/caêiv StKas.
evTerarat dêws.
800
Oal/xdrta jSaXovTi'i
;:^w
<--
i:i
w 7^^^ v^ ^ w 4*^^ ^ ^ _ ^ ^ 4CV w v^wv^ v^>:^v^
_^bi^V
_ ^
i:^
yuii)
10*^^
Strophe II.
BS.
(Syaôt TO irpayfi' dKOVcrar'
aAAa
Kop.
/xt)
KeKpayare.
BS.
a' vr) At,' ts Toi' oi'pai/di/ y'.
TOvS' eyw ou
'H/;i. a'
iie6i]croixai.
TttVTa
S'Jjt'
ov
Seivo,
Kat
;
Tt>-
^ y^ w v^ w ws 20 w ^ _v_/
v--
^y ^>
c/
4^^
w w 4^ w ^
pavvis ia-Tiv
efX(f)avqs
cf.
Av. 1560
(216)
-^-v^ -v^-^4^
.
_ ^ _ _ ^ _ pov 6eoL(r)(^dpLa, 25 ^ 419 Ket Tis aAAos Trpoe_ ^ _ crTr]KV rjfxwv Ko'Aa^. ^ 'Hpa/cAets Kat K^vrp' exovaiv Ha. v^^^ Becrwora ; oijx op?^5 v^ v^ B8. oi<s y' oLTTwXea-av <J>iAt777rov 30 ^ V SiKr; Tou Fopyiov.
418
(S
TToAts Kai
0ew-
'i*
_ _ _
^ _ 4CV ^ ^ ^ _ 4C w o wv^ 4^^ w ^

.
i=i
Kop.
a' Kat
as
y'
ttTJTOis
eôXov/xeV
_^__ _^_o _^_^
4^
dAAa
etV'
Tras iTicrTpecfye
423 Seupo Kaêipas to Kivrpov

ctt'
auTOV
I'ecro,
424 ûcTTaAets cvTaKTOs

425
Ha.
(I)S
opyrjs
Kai /X6V0VS p,7rA7yêvos,

di/
v elSy
rh AotTrov
o-fiTjVOS
olov oipytcrev.
rjS/^
^ ^ ^ ^ 4*^^ ^ ^ w w ^^^^4'' 35 v^ ^ _v^ ^ v^v^4 _ ^_ii v^ ^ ^ o 4*^^
_^__
ToiJTO fiiVTOi Setvov
_v^__
40 ^ w
_^__
v^ At",
fiaxovpeOa'
Se-
v^^4^ v^v74
427 ws
eytoy'
avTwv opwv
Tots
_^^__ _,j_^
SotKa
eyKei'TptSas.
_^
i^

'H^. a
243
dAA' d^tet tov av8p'

>(eAwvas fiaKapi-
429
Tcts
tv (re
Tou
Sep/ittTos.
Antistrophe
BS.
I.
dXAa
eiTrep
/?'
/i,a
At" ou paStws outws dv auroi;? Sie^vye?,
462
'H^.
'^tvôv
Srjr'
twv
jxiXiov
twv lAoKAeovs
Trevrycriv,
r}
/Se/SpwKores.
dpa
t
ot5k
arrd SijAa to??

Trovqpe
kolI
xvpavvts ws Xadpa y'

/xe,
ekavdav' VTTiovo-d
466
(TV
y'
(3
TTOvo)
KOfii^rapLVVLa
r)
Toiv vofiuyv rjfxas aTreipyeLs Siv eOrjKev
ttoAis,
468 ovTC
Tiv'
e^cuv
TrpocjioXTtv
ovre
Aoyov cvrpdireXov,
avrh'i
apyoiv
;
juovos
Antistrophe II.
B^.
cr^'
OTTWS dvev fidxV^
'^"^''
"^V^
Karoêtas
/3o7ys
472
eis
Aoyovs eXOoi/xev dAA^Xotcrt Kai StaAAayds
'ilfi.f3' (Tovs
Aoyovs 5
fiKToS-que
koI fiovapx^âs epacrrd
475 Kat ^Dvwv

(TTefxixdriiiv
ByDao-t8^ Kat (f)Opu)V KpacrireSa

ry)v
virr^v-qv
aKovpov rpee^wv
BS.
i'^
At"
r} i^
fioi
KpeiTTov eKO-TrjvaL to Trapdirav tou TraTpbs

6o-7//i.epat.
e'v
479 /aSAAov
Kop.
/3'
KUKOis TocrovTOiS vavfj.axeiv

orS' v o-eAtvw
o-otjottii/
owSe
p.'^v
oijS'
Trr^ydvo)'
481 tovto ydp
TrapefifSaXovfJiev
/AV
twv TpixoivcKdH'
7rwv.
dAAa vuv
BS.
ap' dv
))
ovSev dAyets, dAA' oTav iivv/yopos
TauTO, TttUTa (TOV KaravrXyj Kat î;vwp,0Tas KaXy.
Trpb?
p,oi
twv
êwj/
vjjieis
dTraAAa^^êtTe pou
485
'Hp.
/3'
SeSoKTai
Zkpecrdai Kat Sepeiv St' i}p,pas;

Ti juou Aoittov
>/,
ovScTTOTe y',
OCTTtS 1]p.WV
:
o^x ws av
eTTt
Tl'paVVtS' <(SS'> (TTdXrfS.

:
TOi'S'
416 414 /xtj Princeps tbs x/^ M^? evriTar <5fi) 407 ivTirarai 6îws Ed. debs ix^pia RY 418 deoicyexdpia Bentley Person: rix-S' R, roi'Se 7' crol 480 /j-tjv 473 <70!;s Hirschig aCris R, out^j V 422 ai^Tots Holden 487 <l!5' Hermann Hirschig fi^v 7'
:
The two
A = aab, 4 4 7, 408-14). See heptameter as epode.

strophe), epodic triad
:
= AB (403-7, strophes constitute a pericope, AB (705). epodic triad: two tetrameters with a B = aab, 4 4 10 (4 4 6 in the anti737.
two tetrameters, with a decameter as epode hexameter in the antistrophe).
in the strophe (two tetrameters with a
See See
737.
51.
Two cola (perhaps 12, 13) are lacking in the antistrophe. B is a stichic period composed of fifteen tetrameters. See 778.
247
TROCHAIC VERSE
Non-Melic Trochaic Verse
the tetrameter in aristophanes
99
244. The catalectic trochaic tetrameter is used by Aristophanes both as a melic period (210) and also continuously by When it is used by line, its two cola are line in recitative (59).
very generally separated by diaeresis (253 ff.). 245. The recitative tetrameter is used in all the comedies of
Aristophanes except the Plutus, but oftener in the earlier than in The verse is adapted to rapid movement and is the later plays.
employed when the chorus enters in haste in sometimes on the run, or when it retires from It is used the immediate scene of action in the second parode." also in the parode, and once in a syzygy, when, after a musical
therefore frequently
the parode
(213),
number, the leaders of the chorus and personages of the scene engage in a dialogue in recitative to the accompaniment of a In many of these scenes the speakers are excited, and tlute.^ sympathy with their emotion was doubtless expressed by the
chorus in mimetic dance-movements.*
246.
The chief use

is
of the recitative tetrameter, however, in
Aristophanes
the parabasis.^
found in the epirrhemata and antepirrhemata of The tone is in general sceptic. Aristotle, speak-
ing of the early drama,

language, says {Poet.
when
14)
it
:
was
to
still
iv.
fiev
satyric in content and yap irpwrov Terpa/xeTpco
-)(pMVTO Sia TO auTvpLKTjV Kol op'^rjCTTLKoyTepav eluaL ttjv TTOirjatv.
recited
The epirrhema and antepirrhema of the parabasis were probably by the first and second leaders respectively, and the recitation was accompanied by the chorus with mimetic movements.
Eecitative trochaic tetrameters occur sparingly also in
other parts of comedy than parode and parabasis.**

247. Thirty-nine of the
;
779
;
recitative
tetrameters in the
;
1 Ach. 234-6 ~ 238-40 Eq. 242-83 Paa-299-338 Av. 268-309, 313, 317-18,
;
320-6.
Poa; 553-70 - 601-50. ^c;t.303-34, Vesp. 430-60-488-525 ^r. 336-42-352-86. ^ See Haigh's Attic Theatre,^ 312 ff., and the Editor's Unrecognized Actor, 122
2
(syzvs^y),
Fesp. 26 (20 = 20) Nub. 1115-30 (669) 1071-90 = 1102-21 (20 = 20) Pax 114055 = 1172-87 (16 = 16); Av. 753-68 = 785-800 (16 = 16); Av. 1072-87 = 110217(16 = 16); Lys. 626-35 = 648-57(10 = Th. 10) and 672-81 = 696-705 (10=10) 830-45 (669) Han. 686-705 = 718-37
; ; ;
(20
6
= 20).
g
; ;
ff.
Ach. 676-91 =703-18 (16 = 16) JEq. 565-80 = 595-610 (16 = 16) ^. 1274-89 = 1300-15 (16 = 16) Nub. 575-94 = 6075
: ;
;
Pax 383-4 ~ 314-21 ~ 391-6 428-30 Lys. 1036-42 Th. 6878-726-7, 702-6 Ec. 1155-62.
426-7
; ;
;
100

ai-e
248
extant plays of Aristophanes

87.
1 in
purely trochaic, 1 in 20, and 9
others have all arses short but one or
more theses
resolved, 1 in
arsis,
One hundred and sixty-one tetrameters have one long 4-84 357 have two, 1 in 2-18 213 have three, 1 in
;
3-66.
Sixty-five per cent of the complete metres are irrational.
248.
The
tribrach occurs
161
iv.^
times, once in
4-84
tetra-
meters
Tetram.
v-v^v
i.
ii.
iii.
v.
vi.
vii.
Total.
779
161
28-h32 4 + 6 13 + 4
38
11
4+13
94
+ 67
Five of the 94 tribrachs contained in one word overlap the preceding foot. These are all in the fifth or sixth foot (Vesp. 505,
Sixty-three begin with the word 510, Av. 290, 791, 1072). and overlap forward. The word containing the tribrach consists of three syllables in 26 instances. The five tribrachs in the seventh foot are contained each in a tetrasyllable word (^ ^ ^ ^) which comprises the seventh and eighth feet. These are Uq. 319, JVub. 575, 581, Av. 276, 281. Two of these are composed of proper names (iVw&. 581, Av. 281), and the other three have been Only 6 of the 67 tribrachs composed of two or three emended. words or parts of words consist of three words or parts of words, five in the first foot (Ach. 685, Pax 322, Av. 280, 358, 380) and one in the third (Fax 615). The natural division of the tribrach when it consists of two words is ^ ^ (for - v^ ) in trochaic verse, but numerous exceptions ( ^ ^ v^ ) occur in the tetrameter,
v.^
|
|
7 in the
Cf.
first foot,
1 in
the second, 1 in the third, 5 in the
fifth.
Ach. 689, Eq. 245, Vesp. 504, Hq. 281, Vesp. 451, 492.
'
249. The anapaest,' a form in trochaic verse which results from the resolution of an irrational foot (17, 200), occurs 44
times, once in 1 8 tetrameters
Tetram.
:
yj^
ii.
iv.
vi.
Total.
779
44
11
+8
+3
+ 12
21+23
Only two anapaests (Vesp. 497, Pax 553) of 21 contained in one word overlap the preceding foot, 12 overlap forward, 7 consist No anapaest consists of three words each of a trisyllabic word. or parts of words, and the division of the 23 that consist of two is
always
250.
v^
v^|-.
The dactyl occurs
six
times,
once in
the
first
foot
(Eq. 319), three times in the fourth (Av. 373,

1
1113, Ec. 1156),
Av. 341, 353
285 (emended).
254
fifth
TROCHAIC VERSE
(Ach. 318, Vesp. 496).
101
and twice in the

the
first
In each
case, it is
or last simple foot of a dimeter.
See 205.
251. The tetrameters, numbering 391, found in the epirrhemata and antepirrhemata of the parabases are less free in the use of tribrach, anapaest and dactyl than those, numbering 388, The ratios for the two sorts of found elsewhere in the plays. anatetrameters respectively are tribrach, 1 in 6 and 1 in 4 dactyl, 1 in 391 and 1 in 78. paest, 1 in 20 and 1 in 16 252. One hundred and fifty-three of the 181 tetrameters that contain trisyllabic feet have one trisyllabic foot, 26 have two, Fifteen tetrameters contain each two triand 2 have three. brachs in 8 combinations, of which 1, 5 occurs three times (Ach. The collocation ^ ^ ^ ^ ^ ^ occurs QSO, Bq. 262, Av. 34:0).
: ; ;
twice, in
5, 6
{Vesp. 498, Th. 838).
One tetrameter contains

one
three tribrachs (Av. 1116).
Nine contain one tribrach and anapaest in 6 combinations, of which 1, 6 (Bq. 600, 1308) One contains 5, 2 (Eq. 280, Av. 303) each occur twice. cribrachs and an anapaest, involving the combination ^ Two contain one tribrach and (Av. 302). v^ ^ - v^ ^ v^
253.
^.^
and two ^
one
is
dactyl (Ach. 318, Uq. 319).
The trochaic
tetrameter, in its observance of diaeresis,
closer to the recitative than to the
melodramatic iambic tetra-
meter (183).
the iambic
Diaeresis
is
neglected
tetrameters, once in 7*1 verses.
tetrameter
(180),
which do not admit diaeresis the end of the first dimeter, as in ^^. 283, 571, 1281, 1283, Nuh. 622, 623, 1128, Vesjx 506, 514, etc., or of a reqessive word at the beginning of the second, as in Eq. 268, Vesp. 488, Eossbach's assumption (Spec. 491, Fax 306, 334, 559, etc. Mctrik^ 188) that diaeresis is neglected oftener in trochaic tetrameters found in the epirrhemata and antepirrhemata of parabases than in those
that occur
110 times in 779 trochaic To these must be added, as in a considerable number of verses because of a progressive word at
elsewhere in
recitative
comedy
is
not
in in
supported by
facts.
There are 391
tetrameters
parabases and 55 neglect diaeresis; there are
388 elsewhere
comedy, and, as it happens, 55 of these neglect diaeresis. 254. Caesura is allowed after the second arsis, - v^ - v^ -W-, as in Ach. 322, 324, Eq. 244, -w-v.
|
-^-^
Vesp.
257, 269,
457,
_^_^
-^:-v.
-^-v.
1075, Pax 305, 558; after the third, - ^ -, as in ^7. 572, 576, 600,
102

1277,
255
1276,
1281,
Vesp.
after
1283,
Nub.
_^_^ _^_^
1307, 1309,
occurs
also
_ ^|_ ^
theses,
-^-,
583, 615; after the Ach. 239, as in

after
fifth,
Eq.
It
503, 506, 510, Pax 302, 324, 426.

not
infrequently
the
second,
_ ^ -, as in Ach. 237, 240, 328, 435, 442, 498, 524; sometimes _|^-^ - ^ - ^ -.^-, asin Ach. after the third, - ^ - ^ 331, 333, 708, Eq. 266, 395, 603, Nuh. 580, 614, 1122, When diaeresis is not possible, a pause may occur after 1125. the fourth thesis, - ^^ - ^ - ^ -\^ - ^ - ^ -v^-,as in
Eq.
_ ^ _|^
^ - ^
258,
283, 1315,
Vesp.
Ach. 235, Nub. 620, 623, 624, 625,

often
in
after
Vesp. 444, 1110; less - ^ - ^ - ^ - ^ -|v^-^ - ^ - as Pauses are rare elseEq. 282, 1311, Pax 630, iys. 631.
the
fifth,
where in the verse than in the places named, but occasionally one occurs after the sixth thesis, -v^-w -^-v^ -v^-|v^
- ^ -, as in Ach. 714, Eq. 1315, Nib. 584, Pax 317, 384, Illustrations Verses occur with two pauses, rarely with three.
follow.
255. The following analysis of 100 recitative trochaic tetrameters found elsewhere than in parabases (Ach. 303-34, Fesp. 430-60, and Av. 268-304) and 100 that occur in parabases (Ach. 676-91, 703-18, Vesp. 1071-90, 1102-17, Av. 753-68, 785-800) Avill serve to illustrate The odd numbers signify theses, the even the foregoing statements. It will be remembered that the thesis of the tribrach and of arses.
the
'
anapaest
'
may
be dissyllabic.
is found in the 58 non-parabatic and 68 parabatic (P.) tetrameters which are not cited below. 6:Ach. 332; Fesp. 443; Av. 4.:Av. 273. F. Ach. 681. P. Ach. 684; Fesp. 1082, 1087, 1114, 1115; Av. 785. 281, 285. 20: Ach. 308; Fesp 432; Av. 268, 279, 284, 286, 291. P. Ach. 682, 715; Fesp. 1073, 1112; Av. 754, 758, 768, 788, 791, 793,
single pause, at diaeresis,
794, 798.
Vesp. 445. S -.Ach. 316, 331, 333; Av. 272, 297. P. 7 -. Fesp. 434, 438, 444, 456, 459; Av. Fesp. 1083. ^c^. 708 P. Fesp. 1072, 1077, 1084, 1088. 270, 283, 294, 298. 8 -.Ach. 313, 324 Fesp. 457. 4 10:Ach. 322. 6:10: 4. 6:11: P. Fesp 1111. 8:10: Av. 277. P. Av. 799. Av. 269. 3:10: Ach. 328; Av. 282. 8 12 :Av. 299. P. Av. 759. 3:8:
;
:
3:
Fesp. 435, 442.
P. Av. 1^1.
3:11:Av. 295. 5:8: Av. P. Ach. 714. 5:7: Av. 301. 3:7:10: Fesp 458.
274.
7:13 : P.
1 :S :F. Ach. 685. Fesp. 1110.
8:11:
259
256.
TROCHAIC VEESE
The melic trochaic tetrameter
in
is
103
the
recitative
exchiding the
dactyl
somewhat severer than and in some minor
particulars.
There are 116 melic tetrameters in Aristophanes.^ Eleven of these are purely trochaic, 1 in 10'5, and four others Thirtyhave all arses short, but one or more feet resolved. 43 have two, 1 in 2-7 three have one long arsis, 1 in 3*5 Fifty-six per cent of the complete 25 have three, 1 in 4-6. metres are irrational.
;
257.
Tetram.

i.
times, 1 in 5
v.
vi.
^^^
23
2
ii.
iii-
iv.
vii.
Total.
114
+3
0+1
3 +
1+0
12 + 11
A single
preceding foot.
(Lj/s. 1285) contained in one word overlaps the The word is a trisyllable in 3 instances. The single tribrach in the seventh foot {Vesp. 461) is contained in a No melic tribrach consists of three tetrasyllable ( ^ ^ ^ - ). The division ^ ^ w does not occur. words or parts of words.
tribrach
The anapaest occurs six times, 1 in 21, three times in the second foot {Vesp. 461, 462, Lys. 615), three in the sixth {Vesp. 478, Pax 346, 583). The dactyl is not used. 258. Of the 1 6 tetrameters that contain trisyllabic feet, 9 Three have one trisyllabic foot, 5 have two, 2 have four or more. tetrameters contain two tribrachs {Pax 733, Ran. 1109, Ec.
1165),
The combination
461, 462).
259.
one has four {Ran. 1099), one has six {Lys. 1285). of anapaest and tribrach occurs twice {Vesp.
The trochaic tetrameter, which preceded the iambic
tri-
meter as the stock verse of tragedy (Aristot. Rhet. in. i. 9, Poet. iv. 14), remained in favour with all the comic poets for just the reasons that made it a means less fit than the trimeter to express In the language the exalted sentiments of developed tragedy.
of
Aristotle
it
was
KopSaKtKcorepov,
op^TjcmKcorepov.
in
The
remonstrance Socrates addresses to
Strepsiades
the Niibes
(641
f)
was evidently a
live
question in our poet's

;
own day
1 Ach. 204-7 (4), 219-22 (4), 284, 286, 293 296 335, 337, 341, 343, 985, 999 En '312 f. (2), 326 f. (2), 330, 389 f. (2), Vesp. 336 f. (2), 338, 400 f. (2), 404 340 f. (2), 367 f. (2), 369, 371 f. (2), 403 f. (2), 403 f. (2), 415-417 (3), 420427 (8). 461 f. (2), 466 f. (2), 471 f. (2), 478-485 (8), 1060, 1091, 1093, 1267,
;
;
1283, 1291 Pax 346, 349 f. (2), 356, 389, Lys. 291, 294, 395, 583, 587, 595, 733 301, 304, 614 f. (2), 618, 623, 636 f. (2), Th. 640, 645, 662 f. (2), 686 f. (2), 1285 Ran. 263, 265, 659-662 (4), 674, 714 540, 548, 596, 604, 1099, 1109; Ec.
; ;
1164
f.
(2).
104

epcoTM a, aXX" 6 re KoXkcarov fxerpov
rj
7)<yel'
|
260
ov TOVT
irorepa
TO rpi/jbTpov
TO TeTpoLfxeTpov
(see
The trochaic tetrameter was the

fragments
the
metrum Epicharniium
in Kaibel's Fragcomic poets. Fragments are extant that begin with Magnes and extend to Poliochus. Magnes 6; Ecphantides 1; Cratinus 25, 36, 52, 97, Of. 122-5, 164, 197, 198, 298, 301-5; Crates 20, 29, 32,
the
all
menta) and was affected by
41; Pherecrates 10, 22, 78, 83, 143, 182; Teleclides 41; Hermippus 29, 37, 43, 44, 70, 71, 81 Eupolis 76, 268, 357 Phrynichus 15, 38; Aristophanes 108, 221, 306, 411, 433, 496, 550-2, 671-3; Plato 24 Ameipsias 13; Callias 1, 3, 4;
; ;
Strattis 5 7 Apollophanes 6 Antiphanes 40, 45, 49, 52, 71, 97, 117, 142, 171, 174 (in part), 179, 181, 204, 205, 301; Anaxandrides 6; Eubulus 49 Nicostratus 24 Philetaerus 9 Amphis 7, 8 Anaxilas Cratinus iunior 2 Aristophon 4, 14 22 Euphanes 1 Alexis 79, 98, 115, 117, 156, 164, 165, 212, 301, 302; Eriphus 4 Mnesimachus 2 Axionichus 8 Timocles 1 6 Diphilus 20 Theophilus4; Philemon 213 Menander 23-6, 100, 162, 205, 244, 352, 367, 379, 433, 442, 470, 494, 508, 923-5, 927, 929, 930, 1113; Dioxippus 3; Alexander 6; Evangelus 1 Poliochus 1 Erg. incert. 38, 295-7, 770-2, 7749
;
Lysippus
Metagenes
13
8,
1324-7.
THE TETRAMETER IN MENANDER
260. An especially trustworthy means of determining the form of the trochaic tetrameter in the period of the New Comedy MS. of Menander recently published. is found in the Cairo
There are ninety-eight trochaic tetrameters in the Periceiromene
and Samia that

script.-^
are, in
effect,
metrically intact in the
manu-
It appears to
from these verses, which are of

that
sufficient
number
justify broad comparisons,
Menander
uses tri-
syllabic feet in the trochaic tetrameter
much more
freely
than
Aristophanes.
261. Five of the 98 tetrameters are purely trochaic, 1 in 20,
as in Aristophanes (247), while five others
1
have
all
arses short
Periceiromene [Samia in the Prin:
ceps)
348-52 (5), 354, 360, 375-84 (10), 386-8 (3), 394-9 (6), 401, 412-15 (4), 417 f. (2), 427, 433 f. (2). Samia 202-8 (7), 211-32 (22), 236-42 (7), 245-54(10),
:
256-64 (9), 269 f. (2), 325 f. (2), 330, 332 f. (2). There are also 51 mutilated
trochaic tetrameters in the Perifeiro7?i7ie
and 24
iu the
Samia.
266
TROCHAIC VERSE
105
with one or more theses resolved, 1 in 20 in Menander, but only Twenty-six have one long arsis, 1 in 1 in 87 in Aristophanes. Fifty3-8; 41 have two, 1 in 2*4; 21 have three, 1 in 4-7. In Aristoeight per cent of the complete metres are irrational.
phanes the per cent

262.
is
sixty-five (247).

iii.
times, once in 2-23 tetrameters,

:
but in Aristophanes once in 4"84 (248)

Tetram.
^^^
i.
ii.
iv-
v.
vi.
vii. 1 1
Total.
1
98
1+0
13 + 6
27
17
Compare the table in 248. Aristouse the tribrach sparingly in the second and fourth feet. phanes avoids it in vii., but Menander has it twice in vii. in whole
verses {S. 257,
Both Aristophanes and Menander
262) and three times in broken lines (P. 407, Of the 27 tribrachs contained in one word in Menander 6 are trisyllables, 1 overlaps back but 20 overlap Of the 1 7 contained in two or three words or parts of forward. v^ words, 2 have the division ^\^\^ o y^\^ ^ and 12
422, 426).
, ,
v.^
v./
263.
The anapaest occurs 17

18
times, once in 5-8

:
tetrameters,
but in Aristophanes once in

Tetram.
wv./ii.
(249)
iv.
vi.
Total.
98
17
+3
10
+7
Compare the
in
vi.,
For other examples of the anapaest table in 249. Four 341. broken verses, see P. 419, 425, 428, of the ten anapaests contained in one word overlap back, 3 Of the 7 contained in two or three forward, 3 are trisyllables. words or parts of words, 1 has the division v^|-^|-, 2 have
in
*S'.
v.^
I
vy
264.
- and 4 ^ The dactyl occurs but

,
v./
once, in the fifth foot of a broken
verse (P. 421).
have one
Of the 47 tetrameters that contain trisyllabic feet, 34 trisyllabic foot, 12 have two, 1 has three. 266. The first dimeter ends in a complete word in each of these 98 tetrameters, and this word is a progressive only twice; but nevertheless many of the 96 remaining tetrameters are not
265.
to be rendered
When Aristophanes with a pause at diaeresis. employs trochaic tetrameters in dialogue, the change of speaker
generally occurs at the beginning of the tetrameter Menander is The strongly disposed to change the speaker within the verse.
;
speaker thus changes in Aristophanes on the average only once
106

and in 7 5 per cent
;
267
in 1 1 tetrameters,
of the instances the
occurs at diaeresis
in
Menander
this
change change occurs in nearly

occurs at diaeresis in
every other verse on the average, but
it
only 30 per cent of the cases.
Finally,
Menander changes the
speaker twice within a single tetrameter six times as often as Aristophanes. The general result is much greater variety in
rendering and more frequent interruption
of the
flow
of the
Menander than in Aristophanes. On the basis of a comparison of the 98 tetrameters now under consideration with the 100 tetrameters in dialogue that are analyzed above, which include the liveliest recitative trochaic number in Aristophanes (Av. 268 ff.), the peculiarities of Menander's metrical style in
rhythm
in
this
form
of verse are seen
to
be as follows.
He
introduces a
pause at diaeresis
less frequently, relatively to his total
number
of
of pauses, although 9 6 of his tetrameters admit diaeresis, but only
7 3 of those in Aristophanes.
different places in the verse.
He
introduces a greater
number
pauses absolutely and admits pauses into a greater number of

Finally, the
modes
in
which he
are
arranges two or
more pauses
within a single tetrameter
twice as numerous as those in Aristophanes.
THE HYPERMETER
267. Acatalectic cola, dimeters and trimeters, are combined
into hypermeters in
citative verse.
See 713.
Aristophanes in both melic (210) and reThe hypermeter ends in a catalectic
dimeter, only once (Fax
344
f.)
in a catalectic trimeter (in both
the oldest MSS.),
and without exception it follows recitative tetrameters. The connexion between the tetrameters and the following series of cola is so close that sometimes the speaker does not change (Fax 650 ff.) and even the grammatical construction is continued (Fax 338 ff., Av. 386 ff.). In a single instance two corresponding hypermeters conclude the epirrhema and antepirrhema of a parabasis (Fax 1156-8 ~ 118890). In all other cases the hypermeter is part of a parode and concludes
a dialogue (Hq.
284-302; Fax 339-45, 571-81, 651-6; Av.
387-99).
268.
Eecitative hypermeters are found in none of the later
plays of Aristophanes.
The metrical form
of these
hypermeters
(Uq.
is
freer than
that of the recitative tetrameters in the use of trisyllabic feet.
These number: 28
tribrachs, 3
anapaests
299, Av. 388,
i;
269
TROCHAIC VERSE
107
If the 115 complete 394), 2 dactyls {Eq. 301, ^v. 396). metres in the hypermeters are expressed in terms of the tetrameter, reckoning three complete metres as the equivalent of a tribrach, 1 in 4-84 in the tetrameter, the ratios are as follows
:
tetrameter and 1 in 1 "4 in the hypermeter
anapaest, 1
1 in
in
18
and
1 in
13
dactyl (see 205), 1 in
130 and
19
irrational
metre, 65 per cent and 67 percent.

ever, that these
It should
be noted, howthemselves.
hypermeters
differ structurally
among
Only 3 19 cola
is
28 cola in the Pax, but 18 in The tribrach in the Equites and 12 in 13 in the Aves. a natural form to employ in the expression of excited feeling
trisyllabic feet occur in
or of lively sentiment.
269. The dimeters and trimeters of which trochaic hypermeters are composed are closely connected by synaphea, and were
liable to the
same danger
ff.
;
of confusion in transmission
which the
corresponding iambic cola suftered (194).

cola in ^57.
Heliodorus records 19
meter'; 10 in Pax 571
Pax 339 ff., making 344 a 'monomaking 579 a monometer and 580 f. a tetrameter; 5 in Pax 651 ff, making 655 f a tetraSee the meter and 3 each in Pax 1156 ff. and 1188 ff. Pax 344 f. constitute metrical scholia on these hypermeters. Pax 578^ is a monometer in EV, the a trimeter in EV
284
7 in
If.,
'
'
following colon a dimeter.

of
Both manuscripts resort to the device combining two dimeters into a false tetrameter, but V only twice. The preposition at the end of Pax 577 may be thought to be an indication, reinforced by the sense, that 577, 578^ originally constituted
a trimeter.
colon ends within a word in Eq.
301, Pax 339.
CHAPTER
IV
ANAPAESTIC VERSE
270. The fundamental colon of anapaestic verse is a dimeter composed of two metres that consist each of two simple feet
(12, 13)
ToXffqo'ov ava^ âpLcracrOal. [loi Trddos OLKTipas,
r/

-^
<^
^^

^^
fie
Kepavv(3
.^
SiarivdaXeoi o-TrdSicrov Ta;(eoJS,

KaTretr'
eis
^ ^^
^^
5
^^
Vesp.
aveXwv
fj,'
a7ro(^v(rr;o-as
^^
6^d\fir]v {if3aX depfju^v
^
of
327
ff.
An
anapaestic
271. Melic
dimeter
is
consists
sixteen
primary
times.
All anapaestic verse
in ascending rhythm.
anapaestic
verse
has
varied
constitution,
owing
only
(11).
to the
number
of forms the simple foot

(8,
may
assume, not
v^
- and
dimeter
10)
but
also
^^
^ ^ ^
'
and
as
- ^ ^
in
'
may
consist
solely of or
anapaests,
the
or
third
colon just quoted,

:
or spondees,
even of
dactyls
proceleusmatics
ovKOvv
e'A/cw
KaâpTOJ/xai
Pax 470
KdvaTTi'dM/xeda TOvcrSe riVes Trore
^^
^^
..^
^^^
Av. 403
Lys.
KarkXafiov,
ecfi
o ri re /xeyaAoTrreôv dfiarov
^^^^
^.^-^^
481
f.
or proceleusmatics are Dimeters consisting solely of dactyls found only in melic verse. 272. The dimeter by suppression of the arsis of its final anapaest becomes catalectic (33)
'
Tov crepLVOTaTov
Koi'TTO)
8c
OXvpirov
Kapirovs
^^
^^w
Th.
1069
p-evTot
8'
ye TTeiravpaL
Th.
709
(Tw^w
evdaXelî
Av. 1062
108
277
273.
ANAPAESTIC VERSE
The
catalectic dimeter
is
109
Its
final
called paroemiac.'^
It rejects the probe short instead of long (43). celeusmatic, allows the dactyl only in the first simple foot, and admits the spondee as the third simple foot only in melic verse.
syllable
may
'
'
274. The paroemiac is used in the recitative verse of comedy only as the final colon of a tetrameter, pentameter, heptameter, In melic verse, it may be used as a octameter, or hypermeter.
component part of an ode in any position. Cratinus {frag. 144) employs it continuously
criyav vvv OTras iyê (nydv,
In
:
his
Odysseus,
Kol iravra Aoyov rdxo- Treva-ef

qfiiv 8'
'WaKT] Trarpis
8'
afjL
icrriv,
.^^
wXeofiev
'OSvcrcret 6euo
^^ -^
^~ ^^
-^ ^~
v.~ ^^^
v^
See Heph. 27. 1 ff. and Ban. 372 ff. (301).
cf.
Aristophanes frag. 503, 504, and
Such continuous cola were probably rhythmized as full dimeters, On this supposition, the conjunction with a pause after each colon. of vowels at the end of the second colon and beginning of the third (43) in the fragment quoted from Cratinus has no metrical significance.
275. Every melic anapaestic colon in Aristophanes ends in The first metre also of the melic acatalectic
a complete word.
dimeter generally ends thus, but the first metre of the melic paroemiac, in fully one-third of the instances of its occurrence, For the corresponding facts in the ends within the word.
recitative tetrameter
and hypermeter, see 315, 329, 330. The anapaestic trimeter was not employed as a colon, since a trimeter composed of true anapaests in normal isomeric rhythm (9, i.) would have exceeded the limit of length allowed diplasic compound feet (22), but the monometer was thus used,
276.
generally
in
combination
with
dimeters.
On
the
probable
origin of this use of the
monometer
as a colon see 613.
277. Anapaestic
tripodies
(26)
occasionally
occur
in
Aristophanes
ToSe
(TOi
TO Trddos fur
e/xoG
303
^^
^^
^
^^
Lys.
479
aKpoTToXiv Upuv Te/xevos

1
^^^^^^
Lijs.
483
Hephaestion
(26. 17
word from
wapoifxla,
ff.) derives the proverb, maxim
Rossbach {Sf-iec. Mctrik,''' 131 f.), regarding TrapoL/xLaKOi as of equivalent meaning
with TrpotroSiavos, suggests oi/xo^ ( = d56s), Clirist {Metrik,'^ 254) march-rhytlim proposes OLfj.rj, song ('lay'),
'
'
110

'
278
These are true brachycatalectic cola (35) and have the mensuraThey may end in the spondaic anapaest tion of dimeters.
'
(f)OViav,
TTTepvyd re Travra
re KUKAwcrat
473, 303
v^
^~ -^
kiriPaXf. irepL
Ai//.wva)v
-^^^-^^^
301
Av. 345
f.
iyKpovwv
Ban. 374.
The pentapody
ere
also occurs, but only twice

fxkv
ovv KaraXeva-oiiev
^^-^This
is
____ __
fiiapa KecâA^
Ach. 285
= 336
(452).
probably
brachycatalectic
is
trimeter
also
in
logaoedic
The penthemimer (36) time (389). with the mensuration of a dimeter.

1318, 1319
278.
of (406).
occasionally found,
Cf.
Av. 455, 458 (409);
Protraction (31) does not occur in the anapaestic verse
comedy. 279. Melic anapaestic verse prefers hypermetrical structure, and hypermeters occur in the odes of Aristophanes that range
in length from nine to twenty-seven metres.
subordinate
periods
are
the
is
catalectic
tetrameter
The commonest and the
paroemiac, but the hexameter
not rare.
On
the combination
of subordinate periods, hypermeters and intermediate periods to
form systematic periods, see 720

280.
S.
is
The
catalectic
tetrameter
the
anapaestic
verse
chiefly used
fif.,
by the poets of the Old Comedy in recitative rendering These tetrameters are often immediately followed 320). (305 by hypermeters, which may also be used independently (321 ff.). 281. Anapaestic cola may be combined with cola in other rhythms, but especially with iambic, dochmiac and paeonic cola, Compare, for example, the in the same systematic period. combination of anapaestic and iambic cola in Zys. 476 ff. (303), Such anapaests probably keep their true Av. 400 ff. (290). Generally they constitute a isomeric time in most cases.
considerable part of the systematic period in a series of connected
cola, as in the
odes just cited and in Av.

ff.
328
ff.
(473),
1058
ff.
(455),
Th.
667
(472),
Vesp.
317
f.
ff.
(577).
Introductory
anapaestic cola also were probably sung in even time, as in
Fax
512
(84), c.
478
(214),
(85),
JVuh.
510
(561).
When
is
they thus
introduce a trochaic ode, the rhythmical contrast

in Ban.
marked, as
895
Th.
520
(222).
The same
effect of contrast
284
result from
ANAPAESTIC VERSE
singing
1 1
would
time,
anapaestic cola in parodies in even

for just
and here the poet probably sought

(374),
such
eftect, as
in
Th.
1051
f.,
1332
ff,
1351
f.
(592), as also
when he combined
various different rhythms in the same period, as in N2ib. 1160,
1165
cola
triple
1168
(474), Av.
254
ff.
(595).
composed exclusively
of anapaests
On the other hand, were probably sung in
rhythm
time when constituent parts of odes in simplified logaoedic Other examples of logaoedic anapaests (389) are (394).
occasionally found combined with subordinate periods in other
rhythms.
282.
It
These will be noted as they occur. is sometimes difficult to distinguish melic
from
(i.)
recitative anapaestic verse.
The
of
;
positive
is
metrical evidence in
comedy that a
'
series
of anapaestic cola
;
melic
a
is
the use
solely
of the proceleusmatic
(ii.)
a dimeter
(iv.)
composed
of
dactyls
'
(iii.)
of a
tripody
of
paroemiac
at
the
in succession
beginning of a series or within a short series or of two paroemiacs (v.) of a paroemiac with spondaic close (vi.) of an
; ;
acatalectic dimeter at the
end of a series (vii.) of subordinate or hypermetrical periods in other rhythms in proode or epode, or even within the same systematic period. Less certain indications that the anapaests were sung are the frequent use of spondaic dimeters and the division of a systematic period into many
;
subordinate periods.^
283. But some anapaestic hypermeters are melic although they are severe in form and exhibit none of the peculiarities just enumerated. The play itself in this case furnishes evidence
as to their nature.
Compare,
ff (588).
for
example, Av. 209

J.)
:
ff.
(285),
1726
of
ff
and 1743
284. Aristides(97 M., 59. 19

parts
in isomeric
Bt"
f.
notes the pleasing balance
rhythms
that
(9)
Kal
ol fxev
iv
law Xoyw
balance
Teray/LLevoi
o/xoXoTTjra
thesis
'xâpiiaTepoc.
It
is
this
of
from iamb, in which the ratio of the primary times in arsis and thesis is unequal. The iambic dimeter and the anapaestic dimeter were derived from the same primitive element, but gradually, through the mediation of logaoedic cola, they were completely differentiated, and anapaests with their equal division were found to be the measure adapted to the march (607). Little remains
anapaest
in
arsis
and
distinguishes
comedy
of this
1
embateric
use of the
anapaest,
f.
so familiar
See Smyth's A7iapaests of Aisckylos, 142
112
in

tragedy
(306,
285
the
the
321), in
but
the
actual
is
range of
use
of
anapaestic
paestic
rhythm
of
comedy
its
:
extensive,
and
anatetra-
verse
Aristophanes,
including
his recitative
meters, admirably illustrates

(^De
characterization
ae/xvoTrjra
S'
t)
by Dionysius
comp. verb. xvii.

[xe>ye6o<i
108
E.)
eêt TroWrjV, kol

7rd0o<i 67rtT?;Seio9
J.)
evOa hel
ia-ri
nrepideivai
toU
Trpdjfjbaacv
irapaXafji^dveadaL.
effect
the special
secured
by variation
of
23 ff. form in
notes
isomeric
rhythm
fiovayv
rwv S' eV taa Xd<ya) ol fiev Bia ^pa'êtwv <yLvo/jLevoi, TayiaToi koL Oepfiorepoi, ol Se Sia jxaKpwv jxovwv l3paSel^ KoX Kare(na\[xevoL, ol S' dvapX^ enTiKoivov.
:
Melic Anapaestic Veese

285.
Av.
209-22
Monody.
(Prologue).
'Ett.
aye
(rvvvop.k
fjioi
irava-ai fikv vttvov,
v^
210
Xva-ov 8e vo/tons tepwv i5/avwv,
^^ v^ -^
-^
.^
ovs Sta Oiiov CTTO/xaTos Oprjvets
^^
TOV ipOV KoX
AeAi{'o/xevr/s S'
215
220
^^ '.^ 5^^ >^^ ^^ v^ ^^ -.^ yevvos ôv6rjotôs aKOVoiv Tots o-ois eAeyoi? 10 ^^ .y^ dvri^dXXoyv tAecâvToSerov ^^ .^ (fioppiyya dedv 'i,(Trr](ri xopov'i Sea S' dOai'drbiv aTopdrMV X^P^^ ^95 ^ ^ ^ ^^ ^Vp(f)U)VO'i O/iOV .^ v^ 6eta paKapwv oXoXnyy].
(TOV
TToXvSaKpVV "ItW
'^
lepots
peXeatv
27
213
eXeXtfo/i^x'r/s 5'
lepoh
Meineke
eXeXifoyaeV?; dupols
Non-antistrophic.
metres.
icrrlv
is
an indivisible hypermeter on 209

:
of twenty-seven
See
773.
Compare the
hypermeter
286.
is
scholiast
jueAtKws 8e dpxerai, to 81 perpov
dKardX-qKrov
melic
dvaTrauTTLKOv Siperpov.
is
The statement that the put beyond question by peXwêiv av in 226.

Thes7n.
776-84
^^ 43
(Scene
III.).
3Ionody.
Mv. & x^^P^^

eyXîpe.iv
^/^"'
-^
XPV^
^Py^t^
Troptpo).
^^2
;;
287
ay
Srj
ANAPAESTIC VERSE
irivaKiov êo-rwi/ SiXroi
113
.^
^^
^4*^
SeâarOe (rni\7]S oXkovs
780 K-qpvKas ejuwv
ii6-)(duiv'
oifJLOi
.^
^
4^^'
TOVTt rh pa> fJLOxdijpov

;^w/0t
\ii>pt.
TToiav aiiXaKa
^^
(ia,(TKT
eireiyeTe irdcra's Kad' 68ovs
XPV
^^
^^
__^^_
^~
6^
KCtva xavT^
Taêtos XPV'
777 XPV" Bentley
:
Non
antistrophic.
A = abccd, 12
*
'
4 4
6,
proodic
pentad
monometer as proode to a periodic tetrad composed two tetrameters and a hexameter. See 752.
of a dimeter,
Two
in the
of the subordinate periods
have spondaic
close.
The song
is
paratragedic, in imitation of the melic laments of tragedy
composed
same rhythm.
Xys.
oifjiOL
287.
Kt.
ri TrdOu)
;
954-79
/?iv7yo"w
(Episode
II.).
rtVa
^^
v.^
955
TT^S
KaXXicrrrj'S 7ra(rwv
i/'ercrêt's ;
TTws ravT-qvl TraiSoT/DO^vyorcu

TTOv
.^
KvvaXwTrr]^ ;
fxoL
tltOtjv.
5
.^
9*^
ixicrdiiicrov
ryv
Ko/O.
v Setvo) y'
SvcrTrjve
KaKio
960
reipei ^v^v^v iâTrarrfOel'S
TTOtos
Kaywy olKTipo) cr' aiat. yap av yj V(f>povs,
TTOios 8'
____ ____
.^^
__ __
9*^
965
Kt.
KaTaretvo/xevos
Kal
[xrj
j3iVMV TOV<s opOpovs

dvTto-7ra(r/jt.ti)v.
(t
w Zeu Setvwv
969
7)
Kop. a
Tai'Tt [xkvTOL vvvi
kiroirjcr
802
15
TrapfSSeXvpa kol Traixfxvo-apd.
Ko/3. /3'
fid Ai'
aAAtt
(jiiXr]
;
Kal trayyXvKepd.
KojO. a'
TTOta
yXvKipd
fiiapd p-iapd.
<5
Ki.
<.p,iapdy 8rJT
w Zev
Zeu*
20
>^ ^^ .^ >^ ^^ __
^^
_^^ v^ v.^
>^ ^^
___]2^

iW
975
avTTjv wcTTrep tovs 6oip,ovs

Trprja-Trjpi,
/zeyaAw tvc^w Kat
^va-rpeipas Kal ^xryyoyyvAas

ot;(Oto
7)
y^]v,
<f)poiv,
LTa
p.edtr]<;,
81
<j)epoLT
av irdXiv
is
t?)v
..^ v./>^ ^^ ,^
>^
:
K^tx'
âi(f)vqs
T7)v
:
25
TrepifSaii].
^>^
TTfpt
yp(iiXr\v
13^
noioi
Slv
956
Ta.vTyjvl Reisiff
TavTT)v
rC
972
/juapa Elrasley
964 ttojos 5' schol. 975 û77077uXa5 Cobet
voios
:
5'
ay
RB,
^vyyoyyvXlaav
I
114
288
a abacd, 9 6 9 12 13, epodic pentad: Non-antistrophic. tetrad composed of a nonameter, a hexameter, a second nonameter and a dodecameter, with a hypermeter of thirteen metres as epode.
A=
See
761.
Four
spondaic
of
the
close,
paratragedic.
five subordinate periods and hypermeters have and there are besides six spondaic cola. The lyric is Compare the monody in 286.
288.
Th.
1065-97
(Episode
43
II.).
Mv, W VV^ Upd, 1066 ws fiaKpov

ao"Te/Doet8ea
^

5
vy
l'^
iTTrevfxa StwKcts
^
^^
>^
~^
vwra
8L<f)pivov(r
^^
aidepos Upas
^^^^
1069
TOU O-C/XVOTttTOU
8t
'OXvfJLTTOV,
The beginning of the Echo Scene, a parody of the similar situation The anapaestic cola (1065-97) are in the Andromeda of Euripides. probably all melic, but this quality is marked by the form only at The 'dactyl' and anapaest in the fourth colon the beginning. the constitute the only example of this combination in this order in
On its occurrence in recitative melic anapaestic verse of comedy. verse see 307, 330, and in the spoken trimeter, 125.
289.
2t.
ûh.
707-22
38 447
f.
(Syzygy).
aTTarat aTTarai.
TratrxciS
;
^
w
v.^
w
2
Kop. a Tt
2t.
ri Kct/xveis
diroXXvixai SeiXaios'
K rov (TKi/tTroSos
710
BaKvova-i
p.'
eê/37rovTS ol
KopivO toi.
Kot ras TrAcupas SapSaTrrova-tv 5
Kal Trjv ^vx)]v eKTrivovcriv

Kol TOUS
OpXÎ-'i
îXKOV(riV
Kol TOV TT/DCOKTOV
715
Kop. a'
2t,
8iOpVTTOV(TLV,
Kal
jX
aTToAoTJcriv,
p.rj
vvv Papers aXyet Xiav. 10

TTCOS ;
^
v^
XP^'-'^y
Kol
OTC flOV
(f>pov8r]
(f>pov8a TO, xp^/*a'''j
<f>pov8r]
^vxrj, (f)pov8r]
8'
pf3d<i-
720
Kal Trpos tovtocs eVt TOtcrt
KaKoU
290
^povpas
oAtyov
^8ii)V
ANAPAESTIC VERSE
15
yiykviip-ai.
<fipov8o<i
115
^ ^^
,
21
Non-antistrophic.
A = abed,
dimeter,
2 2 6 21
pericopic tetrad
protracted
iambic
bacchiac
dimeter,
iambic
acephalous hexameter,
See 772, 777. anapaestic hypermeter of twenty-one metres. The anapaestic hypermeter contains four spondaic dimeters. 290.
Ko/3.
Av.
ei's
400-33
ei?
(Parode).
dvay
raîv TraAtv
xavToi',
^
^^
401
Koi Tov dvfibv Karddov KV\pas

Traparfjv opyrjv axnrep oTrXiTrjS'
KoivairvdwfJLida TovarSe rtves ttotc
^ ^
w^
.^ >^ v~ ^~
10^
404 406
'Ett.
to*
Kttt
TToOev tfJioXov
eirl
rtva t
tTrivotav.
802
(TTOip cr
-^^w ^^^^
^ v^ ^ w _ _ v^ _
v^
.
TOt /caAw.
;
KaAeis Se tou kAuciv OeXd^v

TivfS TTO^'
êvcu
oi'Se
a.<fj'
v^ ^
v./
Kop. a
'Ett.
Kai tto^cv
(TO(jir]<;
'EAAaSos.
w w
w ^ _ ^ _
v^ w v^ ^ ^y ^ ^
Kop.a 411
TVXT] 8e TToia ko/xiêt
72
e/iws
10
TTOT
avrijj
Trpos op'Ett.
vtâs iXdelv;
/3tov StatVrjs re
Kai
O-OU ^VVOlKeiV T (TOt
414
Kop. a
Koi ^vvelvaL rh 7rav.

Tt
15
_ ^
v^
v^
<^ys;
St)
415
'Ett.
Kop.
/3'
418
420
'Ett.
425
^^ ^ ^ w w w 6p^ Ti KipSos IvOa?)' aîov p-ovrj^, v^ w v^ w w w v^ v^ w OTO) TTtiroid' e/xot ^wwv ^ v^ 20 rhv e'x^pov Kpareiv av ^ ^ ^ </)tAoto-tv cjcjiiXelv exîv; v^ w v^ w Aeyei p-kyav tlv oAôv oijv^ w v^ w re XeKrhv ovTe ttuttoV ws >^ v^ era yap <Ta> Travra raura, Kai ^j \y 25v^ >-/ v^ '^ TO T7j8e Kat TO K?cre Kat v./ w v^ 43 TO Sevpo, TTpoa-fSifSq. Aeywv.
Aeyet Bk
riVas Aoyoi;?;
kXiulv.
aTTto-ra koi irepa
v^
t]
t)
v./
v--
y-'
v./
Kop. a TTOTepa patvdp.evos

Kop. P'
evL cro(f)6v Tt
'Ett.
a.(f)aTov
w?
<f)povip.os-
464
^pivl ;
'Ett.
..^-v^^w.^-v^.
TrvKVOTaTOv KivaSos,
430
cr6(f}i(rp.a
Kvpfia rplpp-a TratTrdAi^p,'
oAov,
'
116
Ko/3. a'

Alyciv Aeyetv KeXtvi
[jloi.
291
30
kXvwv yap
S)v
crv
jxoi,
Aeyets
Aoycov dveTTTepfoixai.
409 ^^yw Dindorf
:
v^ w v^ w v^
v^
:
v^_^_
v^ v^ w 9^
êbu
423 7ap
Kock
iriwoidi
fioi
415 X^yet Dindorf \iyov<n ret Trd^ra toOto Meineke
418 irinoiB' iixol ravra y^Lp St; irdvTa
HVp2C, yap ravra
Trdvra cett.
= abed, 10 4349, pericopic tetrad: anadecameter, iambic hypermeter of forty-three metres broken only by the exclamatory question in 414 b, dochmiac tetrameter, iambic nonameter. See 772, 777. The metrical constitution of the fourth and lifth cola proves that the anapaestic hypermeter is melic. None of the iambic metres is irrational. This use of rational metres
Non-antistrophic.
paestic
Cf. Av. 851 ff. (93), Lys. 256 IF. (94). Furthermore, dochmiacs in comedy (cola 27, 28) always indicate burlesque of tragic tone.
is
characteristic of tragic style.

129.
See
291.
Xo.
Th.
1227-31
/3aStêiv
(Exode).
aAAa
TreTratCTTat yLierpiaJS rjfiiv
t!)(T$'
iopa
8-q
'cTTL
____
^^ ^^
^^
^^
^v.-
4C
oiKaS' eKacrTy.
tw
0a-po(f)6poi 6'
^^
5*^
1230
rjfiLv
dya6'r]v
rovTOJV Xo-piv dvTaTToBoLTrjv.

1227 iriwaKTTai Biset
:
-^
w^
:
irivvarai
1231 dvTanoSolrrjv Bentley
avrabotrov
Non-antistrophic. meter. See 770.
A = ab,
5,
pericopic
dyad
tetrameter, penta-
292. The final verses of all the plays except the which perhaps is defective, were probably rendered with the
singing voice.
See 810.
With
the
preceding
cf.
Nuh. 1510
and PL 1208-9.
All these periods are embateric.
293. Anapaestic hypermeters
and tetrameters are used in
the Ko^Mfidrcov that introduces the parabasis (668).

part was probably melic, and
it
This short seems likely that it was sung by the leader of the first half-chorus. The opening cola are addressed to the actors as they retire from the scene, the cola
that follow are a prelude to the poet's address to the audience,
the
'
parabasis
'
proper.
Compare
294.
% 498-506
7r/>aêias
(Parabasis).
Commation.
Ko/o.
a aAA" Wl âtpcov, Kal
499
Kara vovv tov
e/xov
Kat
ere
(^vKdrrot
296
Zeus dyopatos"
ANAPAESTIC VERSE
Kal VLKrjaas
i^/xas
117
avOis (KiWev TrdXiv ws
^^ ^^

>^
10*^^
4'Aôis CTTfcâvots KaraTrao-TO?.

V/ieiS
S'
IJjxlv
x^ v^ ^
^^^^
TrpO(Tk-)(T
TOV
I'OUl'
271
Tots avairalcTTOLS,
eavTovs.
^^
505
(J
TTavToias
^/St;
Mouo-;s
Treipa$VTe<i KaO'
____
10
pericopic
^^__7
decameter,
note.
Non-antistrophic. 7, heptameter. Sec 770. See the metrical scholium on Eq.

ab,
dyad:
498
fF.
and the
See
also 854.
is possible that the first five cola, addressed to the hero of the were rendered in recdtative (810) but the last four, addressed to the audience, must have been sung, as the form of the sixth colon
It
play,
shows.
295.
Pax 729-33
(Parabasis).
Commatio7i.
Ko/O.
a a AA' Wl âtpwv
TaSe Ta
)}/ie6S
8e Ttws
^^
v~
^^
4^^
(TKevi]
Trapa86vTS
^^ v^
^^^
w
v^
730
TOis aKoAouôts Sw/xev o-wêtv,

(is
5 >^
elwOacTL fidXicTTa
Tols CTKJyvas
4*^^
wepl
TrAetcrTot
KkeTTTCL
KDTTTaêtv Kal /caKOTroieZv.
^^
4^^'
aAAa ^vAaTTT ravT

r]fj.i<s
dvSpeiuyi
212
10
.^
^^
^^
4*^
8'
av
Tola-i
êarai?
ct-
733
7')v
iX^H-^^ ^"^'
TrwpLev ocra re
ôywv
vou? ^X*'*
^^
^^
^^
\^
y^
^ v./
4^
Non-antistrophic.
A
first
is
a stichic period composed of five tetra-
meters, of which four are anapaestic, one trochaic.
See
778.
See the metrical scholium on Pax 729
ff.
The
leader of the
half-chorus recognizes in succession Trygaeus,
who
is
just leaving the scene, the attendants present,
and
finally the
spectators of the play.
296.
Ach.
626-27
(Parabasis).
Comynation.
Kop. a
dvr]p
viko. toicti
Xoyotcriv
Kal Thv SrJ/xov fiiTaTreiOii.
___
-^
627
irepl
twv
otttovSwv.
aAA' aTroSvvres
^^ ^^__4<^ -^
>.~ v./4^
of
TOts dvaTraicrrois lirMfx^v.
^^
Non-antistrophic.
paestic tetrameters.
A
See
is
stichic period
composed
two ana-
778.
118

See the metrical scholium on Ach. 626
ff.
297
The form
of these verses gives
no indication that they were sung,
and they may have been simply

297.
Vesp.
recited.
1009-15
(Parabasis).
Commatioji.
Ko/o.
dXA.'
1010
vfieis Se
he xaipovTes T6WS w
jxtj
ottoi
fSovXecrd',
-^
-^
fjivpLaSes

^ ^
^^
wvv^4
dvapidfi-qTOi vvv to. /xeXXovT

v
^~v^
Xcyeadai
Trka-Q
<t>av-
207
>^
Aws 1013
X-y-^C ^vXafieia-Oe' TovTO yap crKaiwv dearCjv

ea-Ti
v./
^
10
TTourxctv,
kov jrpos v/awv'
^ ^
^ ^
1015 vvv aSxf Aew TrpocrexeTe rhv vovv, 271 eiTre/D Kadapov Tt ^lActre,
1011
;'{;'
^ ^^
v^ .^
w4
Burges
vvv fxev
:
A aba, 4 10 4, mesodic triad two anapaestic Non-antistrophic. See 739. tetrameters with a trochaic decameter as mesode. The form of the last subordinate period precludes its inclusion
with the following parabasis, which was rendered in
recitative.
298. For another example of a commation in which anapaests
The are combined with other rhythms, see Nub. 510-17 (561). only commation that shows no trace of anapaestic metre is found
in the Avcs (546).
299. Two other anapaestic odes belong to this class, although The first begins a stasimon and takes not parts of parabases. cocrnizance, exactly as in the commation, of the actors as they leave the scene at the end of the episode.
Ach.
Ko/).
1143-49
IttI
(Stasimon III).
iTC
By)
xaipovTi<i
(TTpartdv.
796
^^
^ -^

.^
(I)S
dvofxoLav epxô'dov
o8oV
1145
to"
crot
piv
Se
TTtVciv (rTe(f)av(Da-apevui,
ptydv koX
KaOevBeiv
it pOfîvXaTTiiv,
^^ .^ ^
Tco 8e
/xcTot
TraiStcr Kr^^
5 ^^
^^
uipaiOTaTrjS,
dvaTpiftop-evw T to 8dva.
^
^^
13
See 717 and This period is the proode of a proodic triad, ABB. is an Non-antistrophic. the metrical scholium on Ach. 1143 fiF. See 773. indivisible hypermeter of thirteen metres.
302
300.
ANAPAESTIC VERSE
119
Parallel to this in all particulars, except that the actors
Vesp. 863-67, a hypermeter of nine is metres that serves as proode (A) to the following strophe and
do not leave the scene,

antistrophe (717).
301.
The three odes that follow are

Ban. 372-7
antistrophic.
= 378-81
Strophe.
(Parode).
'H/j.
X^P^'- ^^^
et's
'''"^
dv8peL0}<s
282
277
2-
2 2^
3' 3
Tors evavdets koAttovs
Xeifiu)vwv IjKpovuiV
KaTTtcr/cwTrTwv
_ _ _
^
Koi Trai^wv Kal x^^'"^^^^' y)pi(TTr)Tat 8' eâpKOVVTOJS.
^^
282
Antistrophe.
'Up.. /3'
dXX'
p,f3a
XWTTWS dpeis
TTjV "Swreipav yevvatcus
379 Tg
rj
(f)0)vy
poXwd^wv
o-<i'{êiv
<f>i^(r
TYjV
^w/aav
eis
Tas lopas,
381 Kuv OoipvKLiov

72 vw Bentley
:
pi]
fSovXrjTai.
:
Stj
vw
378
dpels Scaliger
atpeis
R, aipêts
V
:
C (704) = aabcd, 2 2 2-32, epodic pentad a Mnostrophic dyad. tetradcomposed of two paroemiacs, a brachycatalectic dimeter and a See 759. trimetr, with an acatalectic dimeter as epode. Tb continuous use of spondaic periods would appropriately Cf. Av. 1058 (455) for a still more express solemn and exalted feehng.
strikin-
illustration
of
their
effective
perversion
to
the
uses
of
corned}
301
Pa.r
45 9-7 2
= 4 8 6-9 9
Strophe.
Heph. Heph.
11. 14 11. QO
(Syzygy
II.).
'E/3.
eia.
*a
'
Kop. a
'E/J,
pdXa.
em.
p,dXa.
d)
Ko/3.
a en
(
See Schol.
'Ep.
ita,
ela.
Tp.
0.X'
ovx
tXKOva-'
;
avSpes o/notws.
51
^ v^ w ^^ z^ y^ ^^ ^ kj ^^
v./
v--
465
'Ep.
ov ^vXXrjxpecrd'
olpioî(r6'
.
oV oyKvXXecrO'6
ol
BotwTOi.
vvv.
; ;
120
Tp.
Ko/).

(la
S).
303
10
cr(})w.
^^
v^
^^
ayTov vvv e'AKere koI OVKOVV

e'AKO)
^^
2^
Up.
KOLâpTM/JLai
____ __
;
471
Ko/j.
KaTre/XTTiTTTCo
Kal (nrovSdô)
TTws ovv ov X'^P^^
Tovpyov
______^
gcv
Antistrophe.
Ep.
T/j.
S
w
?
/3'
e'a.
ta [xaXa.
efa.
vt)
'Ep.
Tp.
Ata.
Kop.
Tp,
fiLKpov ye Kivovfiev
ouKOw
eta
Sctvov Tovs /XEV TetVeiv Toiis S' dyTto-Trai/
irAT^yas X-qxIû-O'
wpyeioi.
'Ep.
vvi'.
Tp.
eia w.
/?'
Kop.
Tp.
KaKovoi TLvei etViv ev

v/j.is fxkv
r//i,tv.
y ovv
01 KiTTwi'Tes
T^s
elprjvrjs
<nraT dvSpeiws.
etor'
Kop
/?'
dAA'
462
ela
01
K(DXvOV(TtV.
:
Heliodorus (and B)
: :
cm.
RV
vOy ?\/ceTe Meineke 497 7' oC;' Bentley
^vvi\KeToi> R, ^wav^XKerov odv 498 dz'Speiws Bentley
464 dvSpes Dindorf dvdpa V 496 KO/c6rot Ed. olis

:
469
kkovoi.
avdpiKus
Monostrophic dyad. A probably = AB (459-66, 467-72). See Further analysis is impossible, since the metrical value gi-en to the exhortations in cola 1-5 and 9, 10 as the basis of melody J now indeterminable, but the tune to which the subordinate period ir4646 was sung may have been repeated with 470-2. Cola 6-8 n the antistrophe constitute a pentameter (51). See the metrical scholia on Pax 459 fF., with the notes, nd on
725.
486
ff.
I
303.
Lys.
476-83 = 541-8
Strophe.
(Debate).
Xo. Fep. w Zed ti Trore
\pT](T6fjLeda
72
tol(t8 ToicTLV KvwSaAois All 478 ov yap Ictt' ave/cra raSe y\
38
dAAa
479 ToSe
481
(TOL
fSaa-avia-reov
TO Trddos
p-er'
kp.ov
277
o Tt /SovXopevai ttotc rrfv K.pavaav
^ ^^ ^^ ^^' _ ^ _ _, _ 4 ^ w ^^^ ^ ^ -^ ^ k^ i^ ^^ -^ -^ 2-^ ^^ .^
KariXafSov,
<}>'
rt
re peyaXoirerpov dfârov
483
oKpoTToAiv tepov
re/i.ei'os.
277
^-^^^^^^
^^^ v,6-^^'
305
ANAPAESTIC VERSE
Antistrophe.
121
Xo. Vvv. eycoye yap <av> ovTor
Kajioi/i,'
av opxovfievf),
kottos.
542
ovS' ip.ov TO.
ydvara
Trdi'
Ka/xaTrjpo'i <av> eA,ot
WkX(ji S'
Itti
tevat
f'^'*
544
jXiTo.
TwvS*, apexes fVex'j

evt 8e <Tb>
'^vi
(f>va-i,s,
ivi X*^/"î
^'^^
^P'^^-os,
o"0</)0i',
ei'i
<j)tAd7roAts
dperq
cftpovtixos.
acottos
541 ^7^76 70/)

yuov Kafiar-qpds
Sj'
Enger
e7w 7ap
RF
542 Ed.
ov8i ri 76j'aTa
e\et
547 t6
Hermann
since there would were made a dimeter. with a following pause,
e'/xov,
The fifth colon (479) must end with /êr' n), if be conjunction of vowel sounds (ep-ov
it
The
colon
is,
in fact, brachycatalectic (277),

(43)
Cf. has here no metrical significance. has no metrical significance at the end of the second colon (541), since the following colon is acephalous (38). = aabc, 4 4 2- 6-, epodic tetrad two Monostrophic dyad. protracted iambic tetrameters and a brachycatalectic anapaestic dimeter, with a brachycatalectic anapaestic hexameter as epode.
and conjunction of vowels Av. 345 f. (473). Similarly
it
See
737.
304.
With
the
proceleusmatics
in
the
ff.)
last
period
cf.
the
dimeter quoted by Hephaestion (27. 22

Tis opea
(3a6vKopa rdS'
e-n-icrvTo
(SpOTwv
^^^^ ^^^
Aristoph. frag.
698
Cf. also the first period in Aristoph. /ra^.
506, quoted in 442.
Non-Melic Anapaestic Verse

the tetrameter
305. Hephaestion
(25.
ff.)
records
that
the
catalectic
anapaestic
tetrameter
was
called
to
it,
Âpcarocfjdveiov,
because
our poet made distinguished use of
he naively adds, because he discovered it. Aristophanes employs the tetrameter 1235 times with recitative rendering in the extant plays, and it is found in each of them. It has great variety of use, but occurs
not,
oftenest in debates,
778
times.
Here
debate
it
is
used in the distich
in which a leader of one of the half-choruses exhorts a debater

to begin his argument,^ in the
1 Eq. 761 f., Nub. 959 f., Vesp. 546 f. -648 f., Av. 460 f.~548 f., Lys. 484 f.549 {.,Ean. 1004 f., Ec. 581 f., PL 487 f. 2 Eq. 763-823, Nub. 961-1008, Fesp.
itself,^
and occasionally
in
Lys.
548-620-650-718, ^v. 462-522-550-610, 486-531-551-597, Jian. 1006-77,
Ec. 583-688,
PL
489-597.
122

verdict.-^
first
306
rendering the
the
is
In three plays it is employed only in half of the debate. The argument for the affirmative
in
stated
anapaestic
tetrameters, that for
the
negative
in
iambic tetrameters (671). In three other plays the debate is not complete (673). The anapaestic tetrameter is used also
in other hortatory
also in
'
parabases
finally
'
(676),
and
and introductory parts of comedy,^ notably * (668), and once at great length in a parode once in a syzygy^ in place of the ordinary
trimeter.
306. The embateria sung by Spartan infantry both on the march and when joining battle were composed in anapaestic rhythm. Hephaestion (25. 21 ff.), quoting a single verse from a Spartan war -song anonymously, states that the embateric tetrameter of which it was composed was called AaKwviKov. This was metrically distinguished from the ordinary anapaestic tetrameter by the spondaic form of its last metre, but it was Cf. Cratin. not eschewed by the earlier poets of the Old Comedy. 139 and Crates 17. 4, The recitative tetrameter of comedy was not a march-verse, but its employment in the debate is in felicitous accord with its military use, and the pair of tetrameters
with which
to battle.
this strife
of tongues begins
may
be a reminiscence
his
of the exhortation with
which the leader once incited

that
men
307.
The form
it,
of the acatalectic dimeter

is
constitutes
the
first
half of the tetrameter
freer
than that of the paroemiac
that ends
but there are limitations.

first
The proceleusmatic occurs

it is
but once, in the

justified
simple foot of Av. 688, where

of the
to
perhaps
by the melic quality

Bentley
opening verses of this

the
reading.
parabasis.
wished
emend
The
succession also of four short syllables resulting from collocation
dactyl and anapaest (-v^v^v^v./-) was avoided, and occurs Porson objected to this but once in a tetrameter (Vesp. 397). dactyl, independently of its collocation with a following anapaest,
of
' '
because
it
is
that prevails in the tetrameter

J
The foot found in the fourth simple foot (308). There are 112 is the spondee.
^ ^^h. 1016-50,
Fesp. 725-8 (672), Jv. 626-7 (672).
628-58,
Eq.
2 JVub. 476 f., Fesp. 346 f.~379 f., 875-8, 1516 f.. Pax 1316-9, Av. 6367, 658-60, Lys. 1072 f., 1108-11, Th. Note in 655-8, Ran. 382 f., Ec. 514-9. particularly. 1316-34 and-fiaw. 354-71.
Pax 734-64, ^.786-813.

*
^
Fesp. 507-46, Av. 685-722,
Nub. 263-74-291-7, 314-438.

Fesp. 348-57-381-402.
309
ANAPAESTIC VERSE
spondaic dimeters
Vcsp.
123
instances of purely
in the first half of the {Eq.
tetrameter, such as koX XvSl^cov koI
-yjrrjvi^cov
523).
Cf.
Eq. 517, 778, Nul. 294,
380, Av. 576, Man. 1042, etc. The spondee, indeed, is so effective an element in the anapaestic metre that 5 7 tetrameters occur that contain each six spondees,
that are possible.
Cf.
et?
all
aXKri\a<; efnTLirTovaat prjyvvvrac

Cf.
Kal irarayovaip {Nuh.

Ec. 518, 581,
378).
Eq. 522,
is
Pax 734, Av. 580,

the chief measure
Cf.
that lightens
PL 502, etc. The anapaest the movement of the verse.

Se iroptfivplaiv
6
Av. 707
jxev
oprvya
Bov<i
Se
^(fjv
Se
Uepa-cKov opvtv.
This is the only instance of a purely anapaestic verse, but the Cf. tetrameter opens with four anapaests in 16 other instances. Ninety-one tetrameters Vesp. 398, 652, 659, 1033, 1044, etc.
contain each five anapaests.
Cf Ach. 628, 630, 638, 647,
516,
etc.
'
'
308. The dactyl (11) is less common than either spondee or anapaest and was virtually avoided in the second and fourth It occurs 234 times in the first foot, 20 in the second, places.
220
was
in the third,
felt to
and 3 in the
fourth.
Evidently the dactyl

first
be inharmonious at the close of the
dimeter, and
Person {Praef. in Hecuh. 1. ff.) wished to emend the tetrameters in which it occurs {Nub. 326, Vesp. 350, 397); but it should be noted that these dimeters have their parallel in dimeters Thirteen that end in a dactyl in recitative hypermeters (330).
of the dactyls in the second foot follow a dactyl in the
first
is
that establishes the

to be
movement
none of the twenty verses
emended on account of the dactyl in the second place Eq. 805, 1327, Nuh. 353, 400, Vesp. 389, 551, 671, 1027, Lys. 500, :7%. 790, 794, Ran. 1055, ^c. 629, and Eq. 524, Nuh.
351, 409,
Vcsp.
673, 708, Ec. 659, 676.
monosyllable
is
occurs at the end of the dimeter

objectionable
;
70 times and generally
not
progressive words are rare.
Monosyllables result-
ing from elision stand at the end of the dimeter in a few cases {Nuh. 319, Vesp. 356, Ran. 1026, Ec. 684, PI. 532, 582, 591).
309. The paroemiac that ends the tetrameter is simple in form and generally has the cadence of the second half of the dactylic 'hexameter' that follows the penthemimeral caesura The only variation on this that is (361)
:
^-^-^-^.
is
allowed
dactyl
for
anapaest
or
spondee in the
first
foot.
The form
of the paroemiac is then invariably
-^
1>^-^.
: :
124

dactyl
occurs
310
This
68
times,
once,
on
the
average,
in
18
tetrameters.
the tetrameters in the EqvAtes,
The following comparative statistical statement covers 122 in number.^ 311. The spondees in these 122 verses number 445, on the
310.
average 3 '6 in one tetrameter:

Tetram.
i.
ii.
iii.
iv.
v.
vi.
Total.
122
445 28
+ 44
63
17 28
+ 29 76 + 6 38 + 43 41+32 274 +
in one
171
The 274 spondees contained each

as follows
i.
word are distributed

iv.
ii.
iii.
v.
vi.
Total.
Dissyllables
16 12
27
1
16 10
2
35
41
22 16
22
2
138
41
35
14
3
92
3
Total in one word
28
63
28
76
38
41
274
Among
the
122
tetrameters, 7
contain each six
spondees and
15 others each five. See 314. 312. The anapaests number 353, on the average 2-9 in one
tetrameter
Tetram.
:
wv^
353
7
i.
ii.
iii.
iv.
v.
vi.
vii.
Total.
122
+ 19
14
+ 25
22
+ 20
26
+ 14
12
+ 23
24
+ 25
70
+ 52
175
+ 178
The 175 anapaests contained each

as follows
Trisyllables
.
in one
word
v.
vi.
are distributed
Total.
.498728
i.
ii.
iii.
iv.
vii.
40
87 47
1
Overlap forward 3 Overlap back Overlap both ways ....

.
11
62
6
4
1
19
14
Total in one word
14
22
26
in
12
24
70
175
The 178 anapaests contained each

ii.
two or more
words or
parts of words are distributed as follows

i.
iii.
iv.
v.
vi.
vii.
Total,
In three words, ^\^\In two, divided V. w In two, divided ^ v^ I
4 9 6
3 4 18
14
8
10
10
14
2 18 5
4 18
16
30
52
75 87
178
remainder
Total divided anapaests 19

1
25
20
23
25
Eq. 507-46 (Parabasis), 761-823 These are (Debate), 1316-34 (Exode).
a trustworthy type of the that occur in Aristophanes.
315
the
ANAPAESTIC VERSE
122
tetrameters,
125
six
Among
{Eq.
one
contains
five
(of.
anapaests
791) and 14 others contain each

etc.).
Eq, 516, 527,
539, 546, 781,

313.
The dactyls number 56, on the average

^w
56
3
i.
1 in
v.
2*18 verses
Total.
Tetram.
ii.
iii.
iv.
122
21
18
13
+ 43
The 13 dactyls contained each

follows
:
in one
word
ii.
are distributed as
Total.
Trisyllables
Overlap forward Overlap back
.30301 .00301 .02000

i.
iii.
iv.
v.
4 2
Totalin one word
13
No
dactyl occurs in the sixth or seventh foot (309), and none,
either in these
122
verses or in the remaining tetrameters in
Aristophanes, overlaps both ways.
contained each in
See 315. The 43 dactyls two or three words or parts of words are
:
distributed as follows
i.
In three words, In two, divided In two, divided
^ - v^ ^ - ^ ^^
^-'
| | |
Total divided dactyls
21
18
43
314. It should be noted that the final metre of the tetrameter

is
always
v^
in Aristophanes
(cf.
Heph. 25. 21
ff.),
and
that the sixth simple foot

is
may
be a spondee or an anapaest but

of the parts of the anapaest,
never a dactyl.
315.
The pleasing balance
with
arsis
and
thesis equal (284), distinguishes also, in
unusual degree,
the anapaestic tetrameter as a whole.

of
is
The component dimeters
nine tetrameters in ten are separated by diaeresis, and this

frequently coincident with a pause
first
demanded by the
sense.
Furthermore, the metres of the

are separated
dimeter in 1040^ tetrameters

tetrameters
in
by
caesura.
Caesura separates the metres also of

in
the following paroemiac
479
263
of the
admitted
1 In 111 of the remaining 195 tetrameters the first metre ends within a in 84 caesura is precluded by a' Tetreprogressive or recessive word.
mimeral caesura,
therefore, is
word
in 84 per cent of the anapaestic tetrameters in Aristophanes,
126

it
316
remainder
simple
metre.^
separates the arsis
and
first
is
thesis
of
the
preceding
foot, in
314
it
follows the
short syllable of the last
Thus
^
the
tetrameter
broken
by
caesura
and
diaeresis into four parts,
v^v/-v^v^-|v^v^-vv^-|^v^-^|-|
^ ^
I
Furthermore,
the most of which are exactly equal one to the other.^ in fully 75 per cent of these tetrameters, the
brought, within the compass of the verse, to a complete
thought
or
catalexis
is
partial
close that demands a final pause, which fortifies Commonly and leaves a strong sense of completeness.
gathers volume as
beginning with a monosyllable or a dissyllable, the tetrameter it advances and generally ends massively in a word of three or more syllables. The cadenced roll of the verse
is
impressive and its dignity befits the serious tone that often pervades the debate and the poet's address in the parabasis. Compare Dionysius's characterization, quoted in 284.
so
constant
Diaeresis is 316. Its pauses merit detailed consideration. that Person {Praef. in Hecuh. xlvii.) wished to
'emend' the tetrameters in which it is disregarded, but he The justification of overlooked some important considerations. his proposal, if the Procrustean method in criticism can ever be justified, would be found in the fact that by his proposed changes
every anapaestic tetrameter without exception could be rendered
But in certain tetrameters the first with a pause at diaeresis. dimeter ends with a progressive word or phrase, as with airo, Ach. 636;^ S^, Ach. 655; 09, IJq. 526; tva m, Eq. 785; r)
Nub. 273; t5, Nul. 372;^ (oa-irep, Vesp. 395,^^.486; kuI, The regularity with which these words occur at the Av. 462. beginning of the second dimeter demonstrates that they must Cf. for prepositions, not be rendered with a pause after them. Vesp. 700, Av. 485, Ach. 630, 632, Uq. 514, 524, 802, 808, etc.; for to?, Nuh. 971, Vesp. 348, 1023, Av. 553, PL 593; for h, Eq. 796, 803, 1317, Nub. 264, 968, Vesp. 588, etc.; for
Progressive and recessive words are precluding as Into account caesura in these three enumerations. 2 See Porson, Praef. in Ifeaib. xlvi. : "Metra sive dipodiae turn maxime numerosos versus efficiunt, cum in integras voces desinunt." ^ Porson {Praef. in Hecuh. xlviii.) wished to emend these two verses on the ground that diaeresis must not follow prepositions and the article in This is true anapaestic tetrameters.
1
also of the other progressive words
and
taken
The remedy, phrases here enumerated. however, is not emendation but an arrangement of pauses different from This is a necessity conthe ordinary. stantly imposed by progressive and recessive words in the comic trochaic The pauses in Ach. tetrameter (253). The 636 and Nxcb. 372 are at 4:11. reading of the MSS. in Ach. 636 may be objected to for a different reason
(308).
317
ANAPAESTIC VERSE
;
127
ha firj, Nub. 996, Av. 560, 712, Lys. 503, Ban. 1007 for 77, Nub. 967, 969, Ban. 355, 362, PL 513, 514, 541; for the article, Ach. 638, 643, 644, 647, Fq. 763, 778, 780, 790, etc.; iov wairep, Nub. 978, Vesp. 351, Lys. 574, 583, Ban. 1015; for Ka\, Ach. 631, 653, Eq. 522, 523, 527, 532, 541, 543, etc. The second dimeter, moreover, in certain tetrameters, begins with
a recessive word, av Vesp. 565
(?), fxev
PI.
iartv Vesp. 356, before which a pause cannot be made.
540, iafiev Av. 722, Further-
more, there are tetrameters in which a strong pause is demanded by the sense both before and after the middle of the verse, as
after
the second and fifth theses in Uq. 1324, Vesp. 397, 612, In these and similar cases, it hardly 617, Pax 758, Ec. 591. seems possible that a third pause not required by the sense
was introduced at diaeresis. 317. The doctrine, therefore, that all anapaestic tetrameters were recited with a pause between the dimeters is tenable only on a purely mechanical theory of rendering that ignores the Three of the objectionable verses that Porson and thought. others have wished to emend belong together, Av. 600, Vesp, A word ends in these within the arsis of the 568, Nub. 987. fifth simple foot, as tmv apyvpttov ovrot, <yap taaai Xeyovat No objection can be made, in 8e rot rdhe 7rdvre<; (Av. 600).^ anapaestic or dactylic verse, to a cadence that ends within an This is the cadence regularly produced by trochaic caesura arsis. hexameters in recitative dactylic (361), and examples of it For this caesura are numerous in the anapaestic tetrameter. in the second simple foot see Nub. 974, Av. 710, ^c. 640; in the third, Vesp. 565, Av. 468, He. 639; in the fourth, Nub. 355, ^v. 567 in the sixth, Vesp. 569, ^c. 687 in the seventh. Nub. 295, 351, Vesp. 594, Av. 501, 604, Lys. 529, 579, Ban. 1062, Be. 646, 663, 682, PL 532. One may reasonably ask why this cadence should be excluded from the fifth simple foot. The three discredited tetrameters must have been rendered in virtually the same manner as Ach. 656, Av. 520, PL 542, in which the pause occurs after the second syllable of the dis'
'
'
'
syllabic arsis of the fifth simple foot.
Av. 722, furthermore,

tetrameters,
since
is
quite
iafiev
^
as
objectionable
as
these
three
v/jliv
must be treated
which
as one word, precluding diaeresis of the
Cf. PI. 540, in
i/j-ariov /liv
must be treated
as oue word.
Cf. also Vesp.
565.
128
verse.
It

must have
been
rendered
in
318
the
same way as
twenty-eight tetrameters in which a strong pause occurs after the thesis of the fifth simple foot. Cf, Nuh. 371,
most
of the
1000,
Vesp.
355, 551, 605, 667, 686,

fifth, oo-Tt9
etc.
fourth tetrameter
arsis of the fourth
that Porson
condemned has the pause within the
simple foot instead of the

elirelv
to,
TrapeKivSvvevaev Â6rjvaloL<i
hUaia {Ach. 645). This must have been rendered in the same manner as Av. 567, in which the two syllables of Entirely similar the arsis are separated by strong punctuation. are verses in which a strong pause precedes the whole of the arsis of the fourth simple foot. Cf. Eq. 785, 791, Nub. 1008, It is to be observed that the verses in which Lys. 582, etc. the first dimeter ends with a progressive word or phrase (316) belong in the same category with Ach. 645, since they are, in
fact, indivisible at
the middle of the verse.
318.
are
The exceptions, however, to the principle of diaeresis most anapaestic tetrameters were probably not numerous
;
rendered with a medial pause, these tetrameters observing diaeresis more strictly than iambic and trochaic tetrameters, especially
This pause may break melodramatic iambic tetrameters (180). the continuity of the thought, as in iambic and trochaic tetrameters.
See 179.
The long verse centres
at this medial pause

it
in the anapaestic tetrameter with great uniformity, but
may
have a secondary pause and a triple cadence. The commonest secondary pause follows the first metre, and verses such as Eq. 821, Nub. 326, 366, 426, Vesp. 348, 387, 389, etc., are not unusual. The pause after the first metre is more pronounced, although doubtless still secondary, in verses such as Eq. 775, The secondary 786, 792, Nub. 294, 297, 343, 369, 381, etc. pause in the first colon may follow the thesis of the first simple foot, as in Nub. 403, Lys. 559, Ec. 622, Eq. 764, Vesp. 381, PI. 512, or the arsis of the second, as in Eq. 823, Nuh. 328, Eq. 1326, Nub. 387, Ban. 1053, or the arsis of the third, as in Vesp. 556, Nub. 364, Av. 503, 516, 581. These and occasional similar combinations occur in verses in which caesura
of the metres of the first dimeter (315, first note) is impossible or
harsh.
The secondary pause
in the second dimeter, the paroemiac,
may
occur between the two metres, as in Nub. 325, Av. 463,
Lys. 504, Eq. 540, 802, Vesp. 611, or within the arsis of the
following simple foot, as in Av. 501, Nuh. 351, Vesp. 594, Lys.
320
ANAPAESTIC VERSE
129
arsis of the preceding simple foot, 347, 379, Vesp. 382, 396, Poj^ 736, Av. 597, The last combination gives the close 702, 714, Lys. 506, 514. of the tetrameter the cadence produced by bucolic diaeresis in the dactylic hexameter (360 f.)A secondary pause sometimes
579, Ban. 1062, or after the
as in Niib. 267,
fifth simple foot, as in Nul. 356, Two secondary pauses 684, Av. 572, Lys. 590. may be combined, often to the exclusion of the medial pause. See the combinations cited at the end of 316. Cf. also Eq. 524,
occurs after the thesis of the
380,
Vesp.
Av. 474, Lys. 567, Tli. 793, PL 586, in which a pause after the thesis of the second simple foot is combined with one after the arsis of the sixth. Verses occur in which even three pauses are required by the thought, but these are rare. Cf. Av. 721, Lys. 499, 503 Av. 597, Ec. 621 Nub. 324, Av. 658 Nvh. 367.
;
319. The following analysis of 200 anapaestic tetrameters {Eq. 507-46, 761-823, 1316-34, Nuh. 314-91) will serve to illustrate the foregoing statements. The odd numbers in italic type signify arses after which a pause falls, the even numbers theses. S A single pause, at diaeresis, occurs in the 145 tetrameters not cited below. 10: Eq. 776, 1332; Nuh. 357, 371. 6 -.Eq. 785, 791; Nuh. 337. 7 -.Eq. 526. J^:8:Eq. 513, 536, 775, 786, 792, 821, 1322; Nuh. 326, 332, 1 S -.Eq. 781. 2:8'. Eq. 764. 3:8: 343, 366, 369, 381. Eq. 774, 823, 1326; Nuh. 328, 387. 5:8: Nuh. 364. 7 ( - v. ) 8:Nuh. 355. 8:1:2: Eq. 540, 802; Nub. 325, 340. 8:13 {^\^):Nuh. 351. 8 11 :Nuh. 347, 379, 388. 8 10 :Nub. 356, 380. 4,:10:Eq. 534, 1324. 4:11: Eq. 514, 515, 524, 531, 784. 799, 801 ; Nub. 368, 377. 4:12: Eq. 769. 4:18:Nuh. 361. 4,6:8 :Nuh. 324. 3 8 12 :Nuh. 367.
320. Anapaestic
tetrameters
are found
among the extant
fragments of the Old Comedy, as follows: Cratinus
5, 45, 53-5, 73, 126, 138-41, 165, 206, 220, 232, 233, 259, 306, 307,
309,
94,
310;
120,
Crates
17,
24;
Pherecrates
1, 2,
11,
12,
23-5, 46,
130,
183-6;
Teleclides
42-4;
Hermippus
Philonides 5, 15; Eupolis 14, 36, 52, 119, 191; Phrynichus 3, 34; Aristophanes 80-2, 139, 166, 2224, 253-5, 379, 395, 412, 413, 415, 416, 498, 535, 536, 678, 679, 680, 682, 683, 912; Plato 37, 109, 124, 153, 164, 208; Aristonymus 2,3; Ameipsias 9, 19; Callias 5, K
30, 45, 53, 54;
130
321
20; Lysippus 4; Metagenes 2, 3, 7, 14, 16; Aristagoras 1; Nicophon 22; Philyllius 13 Frg. incert. 42, 44, 45.
;
THE HYPEKMETER
321. Eecitative
anapaestic
hypermetrical
periods
(280)
in
Aristophanes generally follow anapaestic tetrameters, just as the corresponding iambic (190) and trochaic (267) hypermetrical periods follow respectively iambic and trochaic tetrameters, and here also the connexion of the period with the preceding long
Cf. Eq. 546 ff., 823 ff., Vesp. sometimes very close. 522 ff., Lys. 531 ff. The largest use of ff., Av. anapaestic hypermetrical periods is found in debates,^ and the series of cola rendered continuously furnishes an appropriate
verses
is
357
ff.,
620
The anapaestic to the lively discussion that precedes. hypermetrical period constitutes also the third regular part of the parabasis,^ and from its rapid rendering was here named
close
TTvlyo'i
or jxaicpov.
See 668.
It follows tetrameters also in a

It
parode,^
syzygy,*
an exode,^ and a scene.^
appears in-
dependently, furthermore, in the prologue,^ in the exode,^ and in a long introduction to a debate,^ as well as at appropriate
In none of these instances is places elsewhere in the plays.^ The nearest approach to this use, so it distinctly embateric.
common
measure
in tragic parodes, occurs in an exode {Ban.

of the
1500-27).
a
livelier
The entrance
(245).
chorus
in
comedy demanded
322. The anapaestic hypermeter is composed of dimeters The monometer (276) is the inferior element, and monometers. On its probable origin see 613. It had but it is a true colon. its own modulation and gave the hypermeter variety, and is
comparable in this particular with the occasional trimeter found

in iambic (190)
But dimeters and trochaic (267) hypermeters. and monometers connected by synaphaea (44) were especially likely to be confused in transmission, and the danger of confusion was increased by the conscious attempt of scribes on the one
^ Eq 824-35 Nub. 1009-23, Vesp. 621-30'~ 719-24, Av. 523-38-611-25, Lys. 532-8-593-607, Futn. 1078-98, Ec. 689-709, Fl. 598-618. 2 Ach 659-64, Eq. 547-50, Vesp. 1051-9, Fax 765-74, Av. 723-36, Th.
Vesp. 358-64, without correspondent.
^
^
'
Pax 1320-8.
Fax
"
^"
879-84, a prayer. 82-101, 154-72, Th. 39-62. j^ggp^ 1482-95, Fan. 1500-27. Nub. 889-948.
Ves-p.
814-29.
3
Vesp.
736-42-749-59
(672),
Fax
mlb. 439-56.
974-1015, a prayer.
323
ANAPAESTIC VERSE
for
131
hand to save space, on the other to provide it comment. Not only monometers and dimeters but
trimeters
marginal
also apparent
and
tetrameters
are
found There
manuscripts of Aristophanes.
between cola in such

theless
a false
(jrixo<i,
hypermeters in the sometimes a small space Neverbut generally not.

in
is
the
authorities
on
which
any investigation
of
this
interesting question
must
rest,
the oldest manuscripts and the
metrical
scholia,
are
incidentally
to
furnish
found to be in practical agreement, and evidence of value in determining the
original constitution of these comic anapaestic hypermeters, which are numerous. Metrical scholia are extant on Ach. 659, This Eq. 824, Nub. 889, Pax 82, 154, 765, 974, 1320. commentary is unfortunately meagre, but in only two of the notes is there disagreement with the two oldest manuscripts, E and V. The commentary on Pax 974 makes 989^ the third
monometer, in
E
it
and
it
is
990.
is
On Nuh. 889
see 326.
In
the seven plays
contains,
in singular agreement with in general inferior.
when
it
differs, its
authority
is
Impossible
divisions, within a metre, occur in
both manuscripts, but oftener
in V, six instances in
761
metres, than in E, three instances
Both manuscripts, as has already been observed, may combine a monometer and dimeter or even two dimeters The apparent trimeter thus occurs in V into a single arl'xp'i. 24 times, in E 11 times; the tetrameter, 6 times in V, 3 times
in
923
metres.
in E.
into
and monometer sometimes remains in doubt. Often one manuscript corrects There are, however, only two instances of disagreethe other. ment between E and V that are essential. In Ban. 1089 ff. E makes 1097 the monometer, V 1089*; the remaining cola
or into dimeter
Whether the trimeter monometer and dimeter
in
these
cases
shall
be divided
Internal evidence demonstrates In PI. arrangement of these cola. 598 ff. E makes 599 a monometer, V 600^ 323. This remarkable agreement of authorities should not Modern editors do not agree in practice, be lightly regarded. in adopting and placing monometers, and the principles by which they are guided are not always obvious. They have
are dimeters in both manuscripts.
that
is
in
error in
its
apparently
introduced
order to avoid
ableness of this
elision at the
monometers into some hypermeters in end of a dimeter, but the reasonprocedure is called in question by the number
132
324
of elided dimeters that constitute the initial cola in tetrameters.

Cf.
Nub. 319, 321, 323, 368, 426, 969, Vesp. 356, 694, 712,
Pax 759, Av. 599, 707, 710, Lys. 519, 550, Th. 813, Fmu. To these must 1026, Ec. 627, 684, PL 532, 533, 582, 591.
be
added
574.
initial
dimeters
ending
in
an elided
monosyllabic
enclitic as in
PI.
Nuh. 388, Vesp. 556, ^v. 500,i2aw. 1074, ^c. 631, Both these forms of elision are found at the end of
cola in anapaestic hypermeters in
454^ /^vfivrp, 891 a, 926^ e\ Vesp. 629 h\ 1057 iTOLTje', Pax ^1 <t\ 994"^ a-rcofivWo/iee', Av. 618^ Editors have Ban. 1078 eVr', Ec. 697^ ava>9\ "Afji/xQ)v, eliminated some of these by shift in division of cola, but the majority of them cannot be relieved except by violent changes.
K\e'7rTov6\ Nuh.
It has already been observed (315) that diaeresis fails in relatively Few words likewise are few recitative anapaestic tetrameters. Vesp. divided at the end of the colon in recitative hypermeters 752 ay^rij)L-(TTO<i, Av. 611 ov-xh 732 yeXw-ra. The first of
:
% 828
or
or in both, as follows
these
is
not to be eliminated by any device.

Vesp.
Progressive words
occur at the end of cola in
1488
Kal,
Pax 979
al,
Av.
in
619
eV.
324. Nearly
one
half
of
the
anapaestic
hypermeters
Aristophanes consist of an odd number of metres.

scripts generally place
The manufinal
the odd
monometer just before the
paroemiac of the hypermeter, as in Eq. 549, Vesp. 723, 883, Av. 537, 735, Lys. 534, 537, 606, Pan. 1097, Ec. 708. 325. The principle is demonstrable, if the authority of the two
oldest manuscripts
is
accepted, that no change of speaker can occur
within a colon in anapaestic hypermeters in Greek comedy, unless the change irregularly occurs within a single metre, of which
there are only four instances in Aristophanes, JVub.
Th.
893^ 906^
which
45^ 45^
The proof
of
this
is
interesting
principle,
often necessitates monometers,

recitative hypermeters
found in the manner in which
composed in dialogue are written in the two oldest manuscripts. There are eleven of these hypermeters, and the principle is applied in all but one of them with surprisThus PL 598-618 is composed of 36 metres ing consistency. which might be divided into 18 dimeters, if the principle were In fact it is written in E in 21 cola, 15 dimeters not operative.
1
The
fact
is
familiar that the elided syllable
is
placed in the
MSS.
at the
beginning of the following colon.
326
6
ANAPAESTIC VEKSE
133
and
Pax 974monometers (599, 603, 605, 607, 609, 617). is composed of two hypermeters (974-92, 993-1015). The former is divided in EV into 16 dimeters and 3 monometers (975, 984, 990) the latter, which was recited by a single speaker, Thus also Th. 39-62 has 10 monometers (45^ into 23 dimeters.
1015
45^ 48^ 48^ 50^ 50^
Sl-^,
51^ 57^ 57^); Fax 82-101 has
one monometer (91), recorded as the tenth colon in the metrical scholium; Vesp. 1482-95 has six (1485, 1489^ 1489^ 1491, 1493^ 1493^); Vesp. 749<'-59 has two^ (749, 753). Only
two corrections are required in ten hypermetrical periods comvvv In Vesp. 1482 tf., Kara aavrov opa. yap iv apdpoL<i, at the end, is a dimeter in both E and V, whereas under the principle it should be a monometer and the beginning The scribe's error is probably due to of a following dimeter. In Tli. 3 9 ff. the general occurrence of parateleutic monometers.
posed in dialogue.
the scribe in excess of zeal has written 45'^
yXavKov
ôfi/Sd^, as
two cola, although the change of speaker occurs within a metre. The following monometer (45^^) is written correctly. 326. Jûh. 889 ff., the longest hypermeter in Aristophanes, furnishes unexpected confirmation of the principle under disHeliodorus records that this hypermeter contains 74 cussion.
cola.
See the metrical

single
scholium.
There
is
internal
evidence
that the original source of

are
45
There was thus written. speaking parts in the hypermeter, some short, others
and
long,
assigned
to
three
different
speakers.
This computation
reckons the monometer 893^ as a single part (325).
This colon
and 906* are the avûyiac ov reXeiac mentioned by Heliodorus. The division of the hypermeter in V into cola establishes 17 additional dimeters and monometers witJii/i these speakers' parts
890; 892; 901^ 902^ 905; 907; 918; 919; 921; 922; 923; 924; 931; 935^ 935^ 936^ 938; 947; 948." A
hypermeter, however, as extended as this promises to be, would have required an amount of space in writing which no scribe, much less his corrector,' could have viewed with equanimity.
'
We
find, therefore,
the scribes of
familiar
and E, or
their predecessors,
resorting
to
the
palaeographical
device
of
grouping
cola in single
aruxot.
ing occurs twice in
Thus a tetrametrical groupV, three times in E (e.g. 945, 946 as a

See 322.
^ 749^, iu) fMoi fiOL, is an anaphonema. Fourteen in R. whieh makes 938, 939^ a trimeter and 947, 948 a tetrameter.
134
single
(TTi')(ôs:)
;

a trimetrical
o-Tt%o<?);^
326
(e.g.
nine
times in V, ten in
E
of
897, 898^ as a
a dimetrical,
by which words
line,
two
speakers in the dialogue are joined in a single
ten times in
RV
(e.g. in 910), just as two speakers' parts may constitute an apparent trimeter (e.g. in 895^, 896). These dimetrical cases,
therefore, of apparent exception to the principle that the speaker
must not change within the
colon, quite certainly result in to
this
long hypermeter from the desire
economize space.
If the
monometers and dimeters thus combined, that are not already separated by the principle of change of speaker and by the
divisions
established
in
V, are restored as separate
cola,
ten
dimeters (894^
895^ 897^ 898^ 917; 928; 937; 941^ 942^ 942^ 943^ 943^ 944; 945 946) and two monometers
;
(927;
936^)^ are added to the 45 and 17 cola previously
determined.
Heliodorus,
The total furnishes the 74 42 dimeters and 32 monometers,

Kuh. 889-948.
cola
recorded
by
Brunck.
At.
X'^P^'-
8^^'ph Setôi/ cravTov
Tol(TL
êarais, Katirep Opa(Tvs wv.

XPi?C'^'5,
'AS.
OTTOL
TToXv yap iJ.aX.X6v
o"'
ev roi<; iroXXoicTi
Aeywv uttoXw.
5 wv.
RV RV RV RV
Ai.
aTToAets (Tv;
Ai.
o-e
ris wv;
t^'ttwv y'
889 890 891 892 [893*

{
'AS. Xoyos.
RV RV
10
'AS.
dAAa
Tov
vtKW,
KpeLTTO) (âcTKOvr' elvai.
J
|
SdS^ 894*
894'', 895*^
i/JLOv
At.
Ti (TO(f)ov TTOtwv;
895''
'AS. yvufxas Kaivas eêvpt'cTKwi'.

At.
RV RV RV
}
C
896
897*
897'',
TavTa yap dvOei

Sia TOVTOva-l rovs dvoTi]TOvs.
898*
*A8. ovK,
dXXa
o-e
cro({>ovs.
T
(
898''
At. aTToAw
KaKws.
15
899*
'AS.
At.
etTre
rt TTOtoiv
(899''
Tci
StK-ata
Xeywv.
'AS. aAA' dvaTpkxpdi
avr' avTiXeyuiV
cf>r]fxl
ovSe
At.
yap
yap
efvai Trdvv
(ftys ;
St/c?;v.
RV \ 900* RV 900'', 901* RV 901'', 902*

(
ovK elvat
<f)epe
902''
'AS.
ttov 'cttlv
20
meters)
RV
(903*
1 V, but not R, has trimetrical grouping four times, tetrametrical once, in
makes
in R. since this manuscript 938, 939!i a trimeter and 947,
PL
^
.598
If.
Thirteen dimeters (and two mono-
948 a tetrameter. The aggregate of cola in R is also 74 (45 -H4 -t- 15).
326
Ai.
ANAPAESTIC VERSE
135
136
327
330
ANAPAESTIC VEKSE
137
shifted.
How
are
Vesp.
752
, ^z;.
rendered otherwise than respectively as ^ ^

v^
I
611, 612 and 732 f. to be ^ ^^

|
v^
and
I
w[v.
^ ^
and
Cf.
^ ^
^^_^^_ ^1^-^^1484
f.,
^ ^
for
This prin1488, 148 9^ P/. 606 f. ciple serves to explain some divisions in E and V that at first seem odd. These manuscripts divide Nub. 920^-924, o-u Be 7' ev etc., a series of cola which begins with a change of speaker, into the last half of a dimeter, a dimeter, a dimeter, a monometer and a dimeter, where the natviral division would seem to be into four
'trimeters' Vesp.
dimeters.
The
close
connexion
of
923
Cf.
with
the
following
dimeter
may
explain the division.
Mib. 934-8, which in
EV
are dimeter, monometer, dimeter, trimeter,
and the beginning
of a trimeter, the equivalent of five dimeters.
The parts
of the
complete trimeter (936^ 937) are closely connected and the point of division of its double cadence may have shifted to
TralSevaLv.
328.
The dimeter and paroemiac

differ in metrical
do not essentially
329.
in the recitative hypermeter form from the acatalectic and

ff.).
catalectic dimeters that
compose the tetrameter (307

times,
The paroemiac occurs 38
30 times
as the final
colon of a systematic period that consists of a single hypermeter,
and eight times (F((x 992, Lys. 535, 602, Th. 42, Ban. 1088, 1505, 1514, 1523) to mark the close of a hypermeter within the systematic period. Cf. Schol. Fax 974-1015, which consists of two hypermeters {irepiohoi). The dactyl occurs once
{Vesp.
884), as the
first
simple foot of a paroemiac.

is
Caesura
Cf.
of the metres of the paroemiac
neglected 14 times.
Ach.
664, Eci 550, 835, Vesp. 759, 1059, Pax 172, 774, 1328, Av. It is 736, Lys. 538, Ban. 1098, 1505, 1523, Ec. 709. Cf. precluded by a progressive or recessive word seven times. Vesp. 630, 742, Pax 992, Av. 538, Lys. 535, 602, Th. 829.
See 315.
330. The proceleusmatic is found but once {Nut. 916), in a monometer of which the reading is doubtful. The collocation of dactyl and anapaest occurs 3 times {Pax 169, Th. 822, Ban.
1525).
In each case the combination constitutes the
first
metre
is
of an acatalectic dimeter.
The prevailing
foot in this dimeter
the spondee, and spondaic dimeters are
common.
The purely
anapaestic dimeter, likewise, occurs occasionally {Vesp. 757, Av.
138
331
The dactyl occurs 85 times in the first place, 535, Lys. 533). 6 in the second {Yes'p. 1055, 1490, Pax 82, 154, 1010, Ec. 690), 81 in the third, and 8 in the fourth {Ves'p. 624, 1054,
Fax 994, 1009, Th. 819, Ban. 1517, 1525, Ec. number of dactyls in the fourth place is unusually
following
colon, five
690).
The
large (308).
Three of these are followed by a dactyl at the beginning of the
by a spondee.
The
dactylic
dimeter
is
found but once {Ec. 690) in a recitative hypermeter, according This dimeter is a singular exception to to the division in E. The See 271. a rule that holds elsewhere in Aristophanes.
acatalectic dimeter neglects caesura of its metres
16 times in 380
^Drogressive
dimeters; in
recessive
14 others
Caesura
it
is
precluded by a
or
word.
is
barred, therefore, on
first
the
average,
it is
once in 12-7 dimeters.

forbidden in one in 6*3.
In the
half of the tetrameter
See 315,
first note.
331. Three acatalectic dimeters end within a word (323). This division corresponds to neglect of diaeresis in the tetrameter. No acatalectic dimeter ends in a short (' variable ') vowel, and hiatus occurs only once, and here it is accompanied by change of
speaker {Nul. 892).

332. It happens that hypermeters have been quoted from The Cf. Hermippus 46, 47. few poets of the Old Comedy. poets of the Middle Comedy furnish more considerable remains 132, 133, 172; Cf. Antiphaues form of verse. of this Anaxandrides 41 (71 cola); Eubulus 63; Ephippus 5, 12;
Anaxilas
18; Epicrates 11; Alexis 162; Mnesimachus 4. The fragments of Anaxandrides and Mnesimachus rival in length Niib. 889 ff., the longest hypermeter in Aristophanes. A single hypermeter of Menander is extant, 312.
CHAPTER V
DACTYLIC VEESE
333. Cultivated
men
in the
West have always been

;
familiar
with the poems of Homer, and the heroic line naturally overshadows all other forms of dactylic verse but Greek poets were
would be as erroneous hexameter in determining the forms of melic dactylic verse as from the set verse of the dialogue of the drama in formulating melic iambic metres. In dactylic, as in iambic, trochaic and anapaestic verse, the fundamental colon in melic poetry, as it appears in comedy and elsewhere, is a dimeter composed of two metres that consist each of two simple feet
singing long before Homer's time, and
to
it
proceed from the
'
'
(12,13):
TTarpos dir' 'Q,Keavov /Sapvaxô^
v\l/r]Xwv 6p(i)V
Kopv(fia.<i
776
^^ ^v^ KopaKas /âStet /xerayuwvtos / ei's ecrrt rt riovS' cti'/zw? ; eiTr' w irdrep ^^
dactylic
^^ vy^ v^ -^
^^ ^^ ^^ v^ Kuh. 278 ^^ ^<^ ^^ Pax 117

times.
f.
1.
dimeter
is
consists
of
sixteen
primary
All
dactylic verse
in descending rhythm.
334.
of the
(354).
thesis in
The dactyl assumes proceleusmatic form, by resolution - ^ ^, in Av. 1752 (588) and HccL 1168 ff. It never has anapaestic form by resolution of the
'
'
thesis in
See 11. 335. The dimeter by suppression of the

.
arsis
of its
final
dactyl becomes catalectic

prjfiara Kal Trapair pierp-aT
tTTwv
<^
^^
^^
Ran. 882
The
catalectic dimeter is rare.
336.
The melic
acatalectic dimeter differs

139
from the corre-
140
33V
sponding anapaestic colon (275) in frequently ending within a word. The two metres that constitute this dimeter are almost
invariably joined in this manner.
trimeter was not employed as a colon, composed of true dactyls in normal isomeric rhythm (9, i.) would have exceeded the limit of length allowed diplasic compound feet (22), but the monometer was thus used, 337.
dactylic
since a trimeter
The
in combination with dimeters.
On
the probable origin of this
use of the monometer as a colon see 613.

338. Dactylic tripodies (26) occasionally occur in Aristophanes
o[x/3po(fi6poL
d'
afjia
/SpovTai,^
ats ooe vvv xôi'ct (rciet
-^
~^
^^ .^
Av. 1750
f.
Cf Av. 1749, 1752

These
(588), Nuh.
286
309, 287
= 310
cola
(344).
(35),
seeming
tripodies
are
true
brachycatalectic
and, like the corresponding anapaestic tripodies (277), have the mensuration of dimeters. Pentapodies apparently occur in Ban.
816
= 820 = 824 = 828
(346).
Each
of these lines is
probably
a dicolic subordinate period consisting of a

brachycatalectic
occasionally
iVM&.
dimeter.
The
the
monometer and a penthemimer (36) is also
found,
with
275 = 298 (Z^4:), Av. 750 (498), 1344^ (592).
mensuration of a dimeter. Cf. = 782 (4:10), Ban. 674 = 706
339. Protraction (31) does not occur in the dactylic verse
For an apparent exception see 365. does not eschew the melic dactylic hypermeter, made familiar to the audience in the theatre by tragic poets. Aristophanes, indeed, introduces a hypermeter of nineteen metres into one of his most beautiful lyrics. Nub. 275 ff. (344), but generally the series is short and does not exceed the length allowed a subordinate period. The commonest subordinate period in melic dactylic verse is the acatalectic trimeter composed of dimeter and monometer. The latter invariably assumes the The close of this period is sometimes duly form - ^ ^ marked by hiatus or the variable syllable (43)
340.
of comedy.
Comedy
'
'
TTOV Setvbv
ept^pe/Atras X'^'^^v ev6oOev eêi

TrapLSrj
dy'jyovro'S
rjVLK
av o^vXaXov
oSovra. Ran.
814
f.
On
the significance of the conjunction of vowel sounds here see Lys. 479 and
(303).
the
comment
343
DACTYLIC VERSE
818
Cf.
141
But these indications are frequently

corresponding to those quoted {Ran.
See 775.
lacking, as in the periods

f.
= 822
f.
= 826
ff.
f.).
The trimeter
in
stichic
ff.
is
the melic period exclusively used in
comedy
(50)
composition.
Pax 119
(345),
Ban. 1528
(348).
:
Its constitution is
strongly influenced by
the heroic line
the two cola are
commonly
joined in the middle
of a word, in disregard of the original composition of the period,

fifth half-foot (360 combination of subordinate periods, hypermeters intermediate periods to form systematic periods see 720 ff.
and a word almost always ends with the
ff.).
On
the
antl
341. The heroic line, 'hexameter,' with exception of a single

verse (365),
is
the only form of dactylic verse used by Aristophanes
in recitative rendering.
See 356
f.
342.
or
A
in
dactylic lyric
may
ff.
close
with a subordinate period

the
catalectic
colon
another rhythm, such as
trochaic
ff.
dimeter, as in Ban.
(347),
814
(346), the ithyphallic.
the Pherecratean, Av.
1754
period
ff.
(588),
or,
Ban. 875 with shift
to
275 ff. (344). Consometimes a part of a systematic period composed in a different rhythm. In parodies and monodies such a period probably kept its true isomeric time, in order to point contrast in rhythms, as in Th. 1050, 1052 f. (374), Ban. 1338 ff. (592), Av. 250 fi: (595), and perhaps in the simulated duo in Tli. 126 ff. (429). On the other hand, cola composed exclusively of dactyls were probably sung in triple time when constituent parts of simplified logaoedic odes (392 fi".).
descending rhythm, the paroemiac, Nul.
is
versely, a dactylic subordinate
Such series of logaoedic dactyls (389) are occasionally found combined with periods in other rhythms. These will be noted
as they occur.
343.
arsis
The dactyl has the same pleasing balance

it
of thesis
and
that characterizes the anapaest, and

it
is
this equality of
from the trochee (cf. 284). Aristides the quickening effect of short syllables in isomeric rhythms, and the truth of his observation is admirably illustrated in Niib. 275 ff. (344), in which in strophe and antistrophe the ratio of spondees to dactyls is only one to seven in the complete metres. The lilt of the song is remarkable. In the dactylic lyrics of Aristophanes in general dactyls greatly preponderate, less than one quarter of the simple feet being spondees, whereas in his recitative hexameters the two
parts that distinguishes
(97
M.,
59.
23
ff.
J.)
notes
'
'
'
142
sorts of feet
skilful

are practically equal (357
of
f.)-
344
On
Aristophanes's
of
perversion
the
hexameter to the uses
comedy
see 356.
Melic Dactylic Vekse

344.
Nub.
275-90 = 298-313
Strophe.
(Parode).
'H^.a' akvaoi NecêAat,
338, 800
(ant.),
802
-^-^
-^
dp6wfj.ev (f)avpal Spocrepav (fivcnv
2-^
^^
-^
278
280
_ _ _ _ ^^ .^ '^Keavov fiapva)(ô? 794 Trarpos 5 ^^ c^ vxpijXwv opeuiv Kopv(f)ds 7rt ^^ ^^ SevSpoKOjUovs, iva TTjXecfiaveL'i o-kotticis d.<j>opd)p.e6a 800 (ant.) ^ ^ ^^ ^^ KapTCOvs T dpSofxevav 6' lepdv \d6va Kal TTorafiCiv âdkwv KeXaSt^/xara 800 (ant.) ;j^ >^
evdyqTov
cItt'
-^
.^
-^
^^
_^_^
^ô
_^^_^^
Ko.l
TTOVTOV KeXdSovTa f3apv/3popov
792, 800
(ant.)
10-^-^
^^ .^ - ^ - ^ - ^ 19-*^^' aKa/xarov creAayetTat 338, 795 2-*^ ,^ ^^ 338 287 p.app.apkai(TLV kv ai5yats. ^^ ^^ ^^ ^ dAA' a7ôcêlc^d/^va^ ve<ôs 6ix/3piov 15 -^ ^^ ^^ ^^4 795 dOavdras I8eas eTTiBw/xiOa
285
ofifJ-a
yap aWepo?
290
TijAeo-KOTTw o/x/xart yatav.
342, 792
(aut.),
800 -
-^-
w.
- -
2^
Antistrophe.
'H/-t. /S'
irapdevoi
iXd(iijX.v
6fj.(3po(f}6poL,
Xnrapdv \66va ITaAAaSos
ei'avSpov
yav
6\p6jx(.vai
301
KeKpoTTOS
TroXvrjpaTOV
ov cre/jas dpprjTwv lepwv, tVa
/xvaroSoKos So/AOS
fv TeAerats dyt'ais dvaSetKvi;Tai,
305
ovpavioLS re êots ^wp'i)p.aTa,
vuoi
6'
v\l/p(f)LS
Kol dydXfxaTa,
Kal 77p6(ToSoL fiaKdp(DV lepcoTarat,
eiVrecâvot re êtuv
dvcrlai
daXiai
re,
310
TravToSaTratcrtv ev iopafi,
'qpl
eTTfpxop-hoi B/30/xia X"P'?)
346
DACTYLIC VERSE
evKiXdSojv T xopwv
e'/oe^tcr/iaTa,
143
Kal [xovcra /SaprfSpo/xo? avkwv. 300 x^^^- Princeps

:
^s x^^^-
310
iTavTo5aTra'L(jiv
Princeps
iravToSa-rvoLs
Monostrophic dyad. A = abcde, 2-19-2-4 2, pericopic pentad: dactylic penthemimer, brachycatalectic hypermeter of nineteen metres, brachycatalectic dimeter, tetrameter, paroemiac. Both See 772, 777. aemot NeêAat (275) and Trapdevot ofi/SpocfiopoL (298) are used in address, and the long pause in singing that followed was most
appropriate
(338).
345.
Fax 114-23
w
irdrfp dp' eVv/nos ye
-IJKei,
(Prologue).
DUO
Ila.
w
lus
et's
Trdrep
43
^v^
115
Sw/iao-tv r]fiTepois (f>dTts

(TV jxer
opvidoiv tt/doAittwv
fxe
KOpaKas âStct [xerapnovLOS

ecTL Ti Twv8
t
>^ ^^
v^ w^
v^
^^2^
2^
2^'
>^
^^
v^
w^./
^^ ^^
^^
^ ^ ^^
118
T/3.
eTVfiws
/xe.
t7r'
Trarep,
___,.^
Tt
cîAets
ecrrt,
So^dcrai
KOpai, to
8'
er/j-vfiov
dydop-ai
vfxiVj
800 800
43
10
120
7}vtK'
av aiTi^rjr
8'
dprov diTxpaKas
Trav /x KaAoucrat,
v8ov
dpyvpiov
Trdfnrav.
fir]8i
y Trdvv
i^v
8'
fyo)
ev Trpaâs
dipct
eX^w
aAti',
800
eêr'
ev
..^ v^ 5^ v^ >^ ^^ v^ -~ 3 -^ __ --^ v^ 3^ ^^ ^^ ^ ^ 3^ ^-^ s^ 3

wv..
123 KoXXvpav pydXi]v Kal kovSvXqv

oi/zov
15
^^
:
^^
3
w^^
cV
ai'T^.
116 we Ed.
i/j.i
(114-18, 119-23). A = aaab, 2 2 2 5, periodic tetrad a dimeter as proode that anticipates the melody of the two dimeters that follow and a pentameter as epode. See 747. B is a stichic period composed of five acatalectic trimeters. See 778. See the metrical scholium on Pax 114 If. Heliodorus's analysis includes only the first four cola, which he regards as a period, ignoring the close of the fourth colon. If he had analyzed 118-23, he would doubtless have designated them all as e-iKoi Note his phraseology in Schol. Eq. 1067.
Non-antistrophic.
:
A = AB
346.
Ban. 814-17
= 818-21 = 822-5 = 826-9

(Stasimon
Strophe
I.).
I.
'H/i. a'
rj
TTOu
Seivbv epcftpep^Tas xoô*'

$a.,
cvSoêv
794 43
-^
3^^
>^
^^"
^-
144

rjVCK
347
815
av oî'AaAov
Trapi^rj
dq-
yovTOS oSovra
816 dvTiTiXôv Tore

8rj
338
212, 342
fiavias viro Setvv]?
817
ofifxaTa (npofti^cr^raL.
^^ ^^ >^ ^^ - ^
^^ ^ 3^
-^
-^ ^^ 3- ^ - ^ ^
2*^^
Strophe 11.
'
H/x.
fi'
ecTTai 8'
lTnrok6(fi(DV re
Aoyojv KopvQaioXa
veiKrj
819 (TXtvSaAa/xwv re Tvapaôvia crpCKevpaTa r

cfiWTos
epyuiv,
dixvvop.vov (ppevoreKTOVOs dvSpos

lTnrofidp.ova.
821
p-qp-aO'
Strophe III.
'
Hyu,.
<f)piâs
8'
avTOKop-ov Aoîas Xacriavxeva. ^(aLTav,

T/crei
823
8e^vbv kirurKVVLOV ^vvdyuiV fSpvywpevos
pqpara
825
yop<j)07rayrj TTtva/cr/oov d~ocnrojv
yT^yevet ^vo-rj/xaTt
,S'^?-op;ic
/F.
'
H/A. /3' cVêv
8r)
o-TO/xarou/sybs cttwi' /SacravicrTpLa Ato-(^7/
827
yAwcrcr' dvcAio-o-o/xevr; (^Bovepovs Ktvovcra ^^'^ti'ovs

pn'ipara 8aiopevrj
KaraAeTrToAoyvycrei
829
TrAeu/xovcoy 7roAt)v ttovov.
The
aabc,
3 3 3-2,
= four strophes constitute a monostrophic tetrad (701). two dactylic trimeters and a brachyepodic tetrad
:
catalectic trimeter,
shift of
rhythm
in the last colon
with a trochaic dimeter as epode. is noteworthy.

lian.
See
742.
The
347.
Xo.
(5
875-84
^weras
ets
(Scene
II.).
Albs evvea apOevoL dyval

MoScrat, AeTrroAoyoi'S
at
790, 800
(ppevas
w^
<^ ^^
876

5^
^^
-^
^^
KaOopdre
e/oiv
877 dv8pC}v yvw/xoTVTTwv, orav

o^vfx.ip'ip.voi'i
^^ -^^
w^
v^
-^
3
^^
-^
878
eA^tocrt cnpefiXolcn -iraXaia-paa-iv
790
^^
^v-
dvTtAoyoGv'Tes,
879 eXder
eiroxp6p.vaL 8vvap.iv
SeivoTciTOiv cTTopaTOiv TToplcraa-OaL
p-qpara kol TapairpLcrpaT
cttwv.
883 vvv yap dywv cro^tas

pel Trpbs cpyov
V/S?/.
6 /xeyas x*^"
203,
883
6
^^ ^ ^ ^^ ^^ 10 w^ >^ --.>^-^ v^ v^ 342
- >^ w ^.^ ^~. 4*^ w^ _ _ 4C

.
2*^'*
Hermann
doe
349
Non-antistrophic.
DACTYLIC VERSE
146
5 3
3,
proodic triad
879-84). A probably = ab'b, a pentameter as proode to two trimeters. See

pericopic triad
catalectic dactylic dimeter, tetrameter compounded of a dactylic See 771. Compare the final colon of the
:
A = ab(875-8,
738, 776.
B=
abc, 2 4 4,
catalectic dactylic tetrameter,
dimeter and an ithyphallie. preceding lyric.

348.
Xo.
Ban. 1528-33 (Exode).
; ;
146
350.
follows

The
the
in
fatal
350
cadence
is
that part of the heroic line that
penthemimeral
Aeschylus, Kvpio^;
caesura
elfit
-------
>^
,
for
ex-
ample,
This is with the paroemiac, and had a ring doubly familiar to the Aristophanes ransacked the plays of Aeschylus for audience.
avhpcov {Ran. 1276).
Kpdro^ atatov identical in form and movement

dpoelv oBiov
periods with this close that had odd beginnings.

variety of form of the
first
part of the period, the greater

It
be the monotony of the recurring cadence.
The greater the would was not without
malicious pleasure that he hit upon two lines from Aeschylus's Myrmidons (Fucji. 1264 f.) for the beginning of his travesty.
The form of the first The line is apparently

Cf.
of these
still
bothers modern metricians.
a combination of an iambic
with the close of the heroic verse:

Mail.
^-^
f.),
penthemimer , - --^
.
1264, 1284
f.
f.
= Agam. 108
TreXdOea
1291
dpcoydv,
f.
Cf.
also
Agam.
115
This was followed in

ir)
the Myrmidons by the
famous model
kottov
ov
eV
cadence follows the exclamation It], which, derisive in the rendering Euripides gave it.
351.
El'.
we may be
where the sure, was
^6lwt'
'AxcXXev,
tr)
rl
ttot'
oil
avSpoSatKTOv
TreAaêts
ctt'
aKOi'wv
1265
''Epfidv
/xiv
KOTTOi'
dpojydv
Xifivav.
TTpoyovov
Irj
rto/xev
ytvos
ot
irepl
Itt'
KOTTOV
ov
TTiXdOei?
dpoiydv
rovTio.
ival.
At.
El'.
8vo
vol
KOTTd)
Ala-^vXe
kvSktt'
'A;!(aia)i/
'Arpews TroXvKoipave pdvdavk pov

t'/)
1271
Ai.
El'.
KOTTOV
ov
TreXdOeis
crot
ctt'
dpwydv
outos.
T/DtTos
(icrxvXi
kottos
eij(â/xiTe
jxeXicro-ovopoL 8o/aov 'ApreixiSos TTeAas oiyetv.

a]
KOTTOV
ov TreXdOeis
ctt'
dpayydv
KvpLO'i
eifii
Opoeiv
")
oStov
KOTTOV
Kparos
OV
ato-toi/
Itt'
dvSpiov.
1277
TTeAaîs
dpwydv
354
DACTYLIC VERSE
147
352. In
further
proof of his
contention, Euripides
quotes
another batch of verses, which he says are citharodic.

also the
These
comic poet gathered indiscriminately from different plays of Aeschylus but all alike, Euripides insists, whether aulodic
;
or citharodic, have the
same monotonous cadence.

IV.).
i)/3as,
Ran. 1284-95 (Scene

1284 1286 1289
1291
oTTCus
'Aâtwi/ %iBpovov K/jaros, 'EA,Aa8os
Sî'yya 8v<Taêpia.v TrpvTavtv kvvo.

(Tvv
Tre/ATret,
Sopl Kal
\pl TrpaKTopt dovptos opvts,
Kvpeiv TTapacr^wv irayuats kvctIv depocôtVots,
353.
seriously.
Nobody in the audience, So much cannot be said

rhythm
is
of course, took
this jesting
of all
modern commentators.
least,
Aeschylus was not specially amenable to this particular criticism.
The
roll of dactylic
not heard, at
in
his
extant
plays,
which contain few choral dactylics,"^ no recitative hexameters, and no dactylic catenae such as are found in Euripides, Sophocles, and Aristophanes himself. It was the familiarity of
the
audience
with
the
Agamemnon
1163-81
the
that
gave
the
criticism
particular point.
354.
Uccl.
(Exode).
Aristophanes
closes
Ecdesiazusae
with
spectacular
in
dance
by
specialists.
He came upon
this
invention
is
the
Vespae (494).
'H/x. a'
(5
In the later play the performance

Sij,
elaborated.
oipa
(f)iX.aL
<c5>
yvvaiKes,
eiVre/D
IxeWofxev to \pijp.a 8pav,
^ v^ ^ ^
^^
1165
^
CTTt
TO SetTTVov
-UTravaKtveti'.
v/ ^ w 4*^ ^^w
Verse 1294, which has no pertinence to the matter in hand as regards either meaning or rhythm, is probably interpolated. See the scholiast. ^ They are found almost exclusively in the parode of the Agamemno-n (104159), from which Aristophanes secured
three of the nine verses here quoted, Mutilated anapaestic systems and dismembered dactylic octapodies must not be forced into service to furnish examples of the cadence over which the poet here makes merry.

148

Kp-qTLKMS OVV
Kttt
355
TW
TTOOe
y8'
vy
v^
CPU
Kivei.
'H/M.
Toijro Opw.
v-zv-/* ^ 2
[Here follows the dance of the second half-chorus.]

'Hyx.
/cat
<(ru> rao-Se
vvv Xayapas
206
v.^
1168
<Ta)(a XP^'"^ o/otrov t'7rayetv> TOtV a-K^X'uTKOlV TOV pvO/XOV.
wv^w
w
334
10 ^^
wv^
>>^vy v^s^ wv^6

1
Tax** ya/D eVeio-i
v^
[Here follows the dance of the
girls.]
Ao7ra8oT/i.a)(oo-eAa)(oyaAeo-
38
.^^^^^>^w^^.^
1170
KpaVlQXLXpaVoSpLfJLVTrOTpilXIJ.aTO-
^^
15
^~ ^^ v^ ^^ ^^ ^ ^
wv., wv..
^ ^^
(riA<îo77apao/xeA(,TOKaTaKexi'/êi'0-
KLyKXTriK0(r(TV(J30(fiaTT0Tpl(Trpa-
v.^>^.:/v^
v^^^.^..-^
XeKTpvovoTTTOKecfiaWLOKiyKXoTre-
^^
1174
XetoXayioo(TipaLof3acf)r]TpayavoTTTepi'ytov*
cri'
Se
ranT
aKpoacrape-
vos Tttxv Kai Tttxews XafSe rpvfSXiov

iTa KOVLO-at XafSwv
206
ttou.
wv^ .^ v^ ^^ ^^ ^ .^ ^ ^ 16 ^ 2
^/>^
1177 XcklOov,
'H/7..
I'v'
eTTtSeiTTvr/s"
203 20-^v^v^v-/
_._2
-v^
2
^' dA,Aa XaifxaTTOva-i

a'tpe(T6'
avo),
tat
ei'ot
evat.
eijat,
1180
SetTTvrô-o/xev,
erai,
W?
771
VLKYj
cvai,
uat,
crai,
tvat.
1167^ rdxa xopeias 6paop i-TrdTeti' 1172 -KiyKXetri-refxaxoffffeXaxo1173 -o7rro/ce0a\Xto-KoiravKoPrinceps followed strictly been has in R Meineke -oTrreyKecpaWLO: The lining of 1167 restored by a line above. The colon that obviously is lacking in 1167 f. is here colon. Cf. missing the that, of course, purports no more than to give the sense of The parts are here ascribed to the half-choruses as in R Th. 956.
1163
iD
Ed.
1167 <rv Ed. Dindorf 1169 -Tefiaxo<r\axo- Princeps

-Kotro-i^ô-
Kiister:
-Kii'KXe-iri.-
ft',
355. After the address to the judges, delivered by the first leader in recitative trochaic tetrameters (1154-1162), the first half-chorus sings briefly in trochaic rhythm and at the close
exhorts the second half-chorus to dance KprjTiKw'i ovv rw irohe The second half-chorus accordingly dances Kot (TV KLvec.
:
to the accompaniment of an auletic melody in rhythm {KpvTL/cm)} The music was purely instrumental On the conclusion of this moveand the dance hyporchematic. ment the first half-chorus bids Blepyrus bring forward the dancing
(rovTo Bpw),
trochaic
girls
1
who
'
are
'
with him.
He
is
i.
an important figure on the

15, col.
ii.
of Aristoxemis, -v^-v^. See Grenfell and Hunt's Oxyr. Papijri,
The
cretic
7.
26.
20
f.
J.
and Schol. Heph.
See also Aristid. 39 M., 302. 18 fi.
357
close
DACTYLIC VERSE
of the of the
is
149
scene to the
play, but has

fie{paKe<;
(of.
nothing to say after

special
1150.^
The dance
feature of the exode, and
1138) is the accompanied by the singing
of the
remarkable compound in dactylic metre that shows our poet's The dance probably began one rioting invention at its best.
foot before the singing (1169).
The dactyls
is
in seven instances
are resolved (334).
Trochaic metre
first
resumed in 1176.
last four cola
The
metrical form of the
and of the
the
last
cannot
the
now
be determined with approach to certainty.

probably joined
in
The
first
half-chorus
singing
four
cola
as
whole
company
retired from the orchestra.
Non-Melic Dactylic Verse

the hexameter
356. Aristophanes uses the hexameter in mock-oracles - and in mock-heroics/ appropriating the " stateliest and weightiest of
' '
verses " (Aristot. Poet. xxiv. 5) to the uses of comedy.

this
But
in
he was simply the imitator of Homer,
who was
not only
preeminent as a poet in the serious style, but was also the first to outline the forms of comedy by dramatizing the ridiculous Aristophanes mingles trimeters with his (Aristot. Poet. iv. 9). heroic lines, for example in Av. 959-91, just as iambic verses were mingled with hexameters in the Mai^gites (Heph. 60. 2 f., 65. 10 f.), although in Aristotle's judgment these two styles
are
as
different
as
possible
(Aristot.
Rhet.
in.
viii.
4).
But
Aristophanes out-Homers Homer.
He
1
takes the final step, and

jSTothing could illustrate
with keen appreciation of the incongruity of form and content

uses the heroic line in ordinary dialogue
better our poet's delicate perception of the metrical resources of
the comic
art.
Cf Eq. 1014-97, Pax 1265-1304.
For com-
binations of trimeters with hexameters in other comic poets see
Cratinus 199, Plato 173, Antiphanes 194, 196, Eubulus 107. 357. There are 142 recitative hexameters in the extant plays of Aristophanes. The dactyls number 428, on the
average 3 '01 in one hexameter:
1
The
'
close of this play is discussed,

'
Pax 1063-1114, Av.
from
Editor's
point of view, in the Stage in Aristophanes, 168-70. 2 Eq. 1015-20, 197-201, 1030-4, 1051-60, 1067-9, 1080-95 1037-40,
another
967-8, 971-3, 975, 977-9, 983-5, 987-8, Lys. 770-6. ^ p^^y. 1270-83, 1286-7, 1292-3, 130001.
150
Hexam. 142

w"-"
428
23
i.
Total.
358
ii.
iii.
iv.
v.
vi.
+ 55
17
+ 42
+ 83
29
+ 36
30
+ 112
100
+ 328
The 100 dactyls contained each

as follows
i.
in one
word are distributed
Trisyllables

.
Total in one word
.23
17
in
29
or
30
100
or
The
328
dactyls contained each
two
:
three words
parts of words are distributed as follows

i.
ii.
iii.
iv.
v.
Total.
In three words, In two, divided In two, divided
- v^ - w - ^
1 1
v.
|
v^
I
27
32
5
.^
.21
15 29 39
4 26
6
22 59 31
53 173 102
361
DACTYLIC VERSE
151
or trochaic.
two pauses, in fact, may come in this foot, the penthemimeral Another occurs after the thesis of the fourth foot, the hephthemimeral, and another between the fourth and fifth These pauses are clearly defined by the feet, bucolic diaeresis. anonymous writer in Studemund's Anecdota (215. 25 fif.)
of
Sia(f)opa<i
rjixLixeprj
Se
eêt
T6(Taapa<;
rj
to/jli]
e^drjfiifjiepi]
re koI irevO/3ovKo\iK7]v.
7r6Ba<i
Kal
rpirov
fiev
rpoâlov
to/jLtj
Kal
i]Ti<i
reTcipryjv
(JLera
e(f)9rjfjbi/jbep7]ii
KaXelrat
e'^êi
rpet<i
Kal
avWa^rjv
rjri<;
reketov
to
voTjfia.
TrevdrjfML/xepr]!;
8e
icmv
jwrjfxa.
fiera
8e
Bvo
TroSa?
Kal
icrrcv
a-vWa/Syjv
t)
riXetov
e;êt
ro
rplro<i
rpoyalo^;
eôvaa rov iroha

he
inrdp'êi
tov Tpirov
/BovkoXiktj
eh
rj
rpo-âlov auvaTToXrjyovTa.
e'Xôvaa
rerdprrj
to
vorjfia
et?
TeTapTov iroha
irdvTw^ iiTrapTcôfievov
irotrjfiaTa
TavTrj
ft)?
Be TTj TOfifj Traz/re? ol to,
ôvKoXiKa
<ypd-âvTe<;
eVl
?;
TO
TrXetcTTOv
'^(^priad/jLevoi
(âivovTat'
o6ev
Kal
ttjv
KXrjcnv
rjyopiav
TOfMri
Tavrr]}' eSeâTO, diro TOiV ^prjaa/juevcov Tr}v Trpocrfi'.
Xa/Sovaa. See also Aristid. 51 f. M., 33. 18 J. The penthemimeral caesura is sometimes called masculine, the trochaic feminmc. - ^ - ^ -|^-^ - -^ 361. Penthemimeral caesura, is possible 90 times, 22 times alone, 27 combined with hephthemimeral caesura, 30 with bucolic diaeresis, 11 with both. These 9 instances include six in which a short progressive monosyllable follows the thesis and precludes the supposition that the Cf. Eq. 1018, 1058, Pax 1109, 1279, Lys. caesura is trochaic.
^
772,
is
774.
Trochaic
caesura,
-^-^
_^|^_;^ __
50 times, 16 times alone, 8 times combined with hephthemimeral caesura, 18 times with bucolic diaeresis, and 8 with both. These 50 instances include 11 in which a monosyllabic or an ehded dissyllabic enclitic or recessive fiev, Be, ydp, Ai constitutes the first syllable of the dissyllabic arsis and
possible
precludes the supposition that the caesura

Eq. 199, 200, 1020, 1037, 1051,
is
penthemimeral.
Cf.
Pax 1070, 1087, 1096, 1099,
-^-|=^ Hephthemimeral caesura, 54 times, only once alone, in Eq. 1033. Its other occurrences have just been noted. Verses are excluded from the count in which the thesis of the fourth foot is the whole or the final syllable of a progressive word (Eq. 1016, 1018, 1031, 1032, 1034"^ 1088, 1094, Pax 1072, 1084, 1102, 1109, 1110, 1283, 1300) or is followed by an enclitic (Eq. 1056,
1274,
1276.
,
-^-^
-^
is
possible
152
362
Bucolic diaeresis, which divides the verse 1083, Pax 1076*'). is dimeter and monometer, possible 68 times, only once alone, in Pax 1111, where the Its other occurrences enclitic precludes penthemimeral caesura. Verses are excluded in which the fiftli have just been noted. simple foot is preceded by a progressive word {Eq. 1086, Pax 1082, 1086, 1092, 1114, 1211, Av. 973) or begins with an
into
-^-^ -^-^|-^
enclitic or Se (^j.
1095, Po,^ 1097, 1101).
362. Every recitative hexameter has at least one of these four pauses, since the verse is too long to be rendered as a
single
diplasic
colon
(22).
;
Certain
of
the
four
pauses
are
and hephthemimeral cannot both occur in the same verse, nor the trochaic and This is hephthemimeral, nor the hephthemimeral and bucolic. When due in each case to the contiguity of the two pauses.
exclusive of one another
the penthemimeral
both are possible, by word-endings, one pause excludes the other. No hexameter, therefore, has normally more than two pauses.
When
penthemimeral or trochaic caesura
occurs in the same
verse with bucolic diaeresis, the pause at the diaeresis the chief pause or secondary, or, as often happens, it
left
may may
be
be
unobserved.
363. According to the following analysis, the penthemimeral the chief pause 76 times, the trochaic (T) 40, the heph-
(P)
is
The analysis themimeral (H) 10, and bucolic diaeresis (B) 16. When two pauses occur indicates all the pauses that are possible.
in the
same
verse, opinions will differ as to their relative weight.
(P) Eq. 1031, 1034, 1053, -1^-=^ 1054, 1084, 1088, 1094, 1095, Pax 1072, 1077, 1079, 1080, 1084, 1101, 1102, 1109, 1110, 1293, 1300, î\ 984, (PH) Pq. 1038, 1068, 1086, 1093, Pax Lys. 114:, 11&. 1066, 1071, 1081, 1086, 1094, 1100, 1103, 1107, 1114,
-^-^
____:
1270, 1277, Av. 971, 972, 988, Zys. 11B. -|__c^j-.^- (PB) Eq. 197, 1018, 1030, 1052, 1060, 1081, 1082, 1083, 1087, 1090, 1091, 1092, Pax 1069, 1073, 1074, 1083, 1098, 1105, 1108, 1275, 1278, (PHB) Eq. 1017, 1019, 1279, Av. 975, 979, 987, Lys. 772. 1058, Pax 1076, 1095, 1112. 1113, 1271, 1272. The bucolic pause probably should be left unobserved in some of
-^-^
these verses.
_^_^ _î_^
-_--:(T)^2.
1016, 1020, 1051,
366
DACTYLIC VEESE
153
1056, 1059, Pax 1067, 1078, 1087, 1090, 1091, 1097, 1273, 1276, 1283, 1301, Lys. 771. (TH) i:q. 1037, 1055, Pax 1075, 1106, 1281, 1287, At. 967. _ ^1^ _^|___ _ (TB) Eq. 198, 199, 1032, 1057, 1069, 1080, Pao^ 1076^ 1085, 1088, 1274, Av. 968. (THB) Eq. 200, Pax 1064, 1070, 1093, 1099, Îv. 977. The bucolic pause probably should be left unobserved in some
-^-^
of these verses.
_^_^ ___|^ ___
^jj^
^^
-LQ33^
^YLV)
Eq.
1040, 1089, Pax 1065,
1082, 1089, 1092, Av.

(B)
Pa.a^
973, 985.
(HT) Av. 983.
_^_^ -__^j-_- _ -^-^ _|__^|____.

:
Pax 1063.
_^|^_^|____. (BT) ^^. 1039, Pa.^ 1096, 1286, 1292, Av. 978, Z3/S. 770, 775. (BHT) Pax 1280, 1282. 364. In a few verses certain other well-defined pauses occur, sometimes accompanied by change of speaker, as a triemimeral in combination with the penthemimeral or trochaic in Eq. 1037, 1051, 1088, Pax 1066. Cf. also Pax 1110, 1275, where the
pause
falls
_^_^
(BP) (BPH) Eq. 1015, P5c 1068.
1111.
201,
1067,
1085,
after the first arsis,
and the unusual
close
of
Pax
1270.
365. Aristophanes has the elegiac distich, composed of an
acatalectic
and a protracted
catalectic hexameter, but once, in
verses quoted from Archilochus {fray. 6 B.)

tt(77rt8i
\i\v
2aiwv
Tis dyaAAerai,
1)1/
Trapa
ddf/.vio
f.
evTo? uixiofxqTov KaXXtTrov ovk e6e\o)v.
Pax 1298
The
Kpivct)
')(^p6vo<i
Kv6<;
(31)
of
the
second
verse
:
was
probably
iyo)
represented
by
a pause.
Trj<;
Cf Antiphanes 149
'Tyieia^;
irlveiv
tovtov
^leravLTrrpiha
^wporepw
-^pfo/jievov
olvo'Ôfp.
366. Hexameters are found among the comic fragments, but they are quoted chiefly from poets of the Old Comedy. Cf. Cratinus 6-8, 67, 87, 128, 129, 142, 143, 153, 154, 171.
207-9,
235-7,
260,
Pherecrates
152, 153,
313-17, 458, 459; Crates 30; 190; Teleclides 45; Hermippus 63
154
366
(23 verses), 82; Eupolis 235, 289, 360; Aristophanes 9, 29, 84, 257, 693, 694, 914; Plato 3; Metagenes 4, 17, 18; Aristagoras 2; Theopompus 30; Anaxandrides 50; Eubulus
Alexis Cratinus iunior 8; (cf. 35, 139); 28, 108 Menander 443 Frg. incert. 51, 52. Diphilus 126
; ;
22;
CHAPTER
VI
lAMBO-TEOCHAIC VEESE
367. Aristophanes occasionally combines iambic and trochaic
subordinate
shift
periods
as
constituent
elements of an ode.
The
from ascending to descending rhythm (29), or the reverse, Thus, in the parode of produces the desired effect of variety.
the Lysistrata, the purely iambic strophe and antistrophe
(256-
65
= 271-80)
that the half-chorus of elderly
men
sing as they
strophe
enter the orchestra (94) are followed by a strophe and an anti(370) composed, in order, of three iambic and five
trochaic subordinate periods, of
which the
last is
an ephymnium.
Vespae (371) Philocleou's drunken song begins with an intermediate period that consists
Likewise in the third episode of the

of eleven trochaic metres,
tion of three spoken
and
this
is
followed, after an interrup-
by a second intermediate period See that is composed of eight iambic and six trochaic metres. These are simple but effective modes also Av. 628 ff. (372).
trimeters,
of composition.
368. Euripides
was the
first
to
give
iambo-trochaic verse
a highly developed form.
He
uses
it,
in his later tragedies, in
monodies to express grief and passion in situations where the Its form in Euripides older tragedy employs the dochmius. was affected by the music to which it was set the metres are seldom irrational, and the trochaic cola abound in resolutions. 369. Two lyrics of Aristophanes illustrate the artistic development of this verse, an elaborate parody in the Thesmophoriazusac of a monody in the Andromeda (374) and the Song The latter is composed in of the Frogs in the Banae (373).
:
the
comic poet's own manner, but pays Euripides the tribute

155
of imitation.
156 370.

Zy5.
370
286-95 = 296-305
Strophe.
(Parode).
Xo. Vep.
aXX
TO
avTO yap
[xol
rrjs
oSov
XoLTTOV 0"Tt \WplOV

TT/Obs
^ ^
.
__vj
^_^_4
'
TToXlV to
<TL[x6v,
Ot
(T0v8')]V
\(j)
XWTTWS TTOT
eâ/xTTpeiVo/xev
v^
^ w
290
291 ws
ToijT'
avei)
Kavdi^Xtov.
43
5- w

^ ^ ^ ^ - ^ ^
v^
ww4^

w ^ w ^ w ^
e/iou
(5/y.ov
ye rw ^vAw tov
i^LTTUiKaTOV
f3aî(rrkov,
(jiva-YjTeov,
^
w ^
v^
4^"^
2*^^'
292 aA/V
o/x(us
Ka6 TO TTvp
2^^
294
295
fx-j fi
airocrjica-Olv XdOrj Trpo? 10

rrj? 68ov.
Ty reXevry
(fiv
w
.
4CV
(f>v
lov lov TOV Kairvov.
_^_.
^'
_^_,_3
Antistrophe.
Xo. Tep.
COS
Seivov
wva^ 'HpotKAets
ir/JOO-Treo-cSj'
ck t/}s x^''''P^^
298 iknrep
301 ou yap
kvojv XvTxiocra TdxftdaXfxti) SctKvet*

tttj/)
Kaa-Tiv ye A'^/nviov to
<ai'> tto^'
tovto
ttuo-j^
py\avfj.
S8' oSa^ 'i^pvKi. Ta? Avy/xas e/xou.

ttoAiv
(TTreuSe Trpocrdev
/cat
r)
et's
/SorjOeL ttj
aiJTjy
êw.
i)
ttot'
fxaXXov
vvv w Aax>?? apqôjxev
305 Û Û
301
oi)
tov lOV TOU

:
KaTTVOU.
7dp Sv Brunck
ovdk -yap
304
-^
ttot'
Bothe
ei'
ttot'
B (704) = ab (286-90, 291-5). A = a'b'a, Monostrophic dyad. two protracted acatalectic iambic tetrameters 4 3 4, mesodic triad B = abbac, 4 2 2 4 3, See 739, 776. with an iambic trimeter as mesode. epodic pentad a palinodic tetrad composed of a trochaic tetrameter, two trochaic dimeters and a second trochaic tetrameter with an
:
ephymnium
consisting
is
of
This See 756. Aristophanes.
the
a catalectic trochaic trimeter as epode. only antistrophic iambo- trochaic ode in
371.
<l*i.
Vesp.
Tra.pe')(
'
1326-40
(Episode IL).
civeê
KXavxreTai tis tcuv ovrio-dev
1328
eVaKoAouôwTcov
ofov,
et
jxr]
ifMor
ifxas
^
5
'ppqcreO',
1330 1331
(3
TTOvi^poi,
ravryl ry
5a8i (ftpvKTOvs (TKivdcrw.
^ w ^
^-5*^ ^ ^ v^ 6^^
373
lAMBO-TROCHAIC VERSE
Three Trimeters
Ir]
157
'ZvfjL.
^t.
Uv, Ka\ovjJLi'ot.
urd'
43
^ w
v^
v^
2"
1336 apxala y vfiwv apd y

0)5
ovS' ttK-oi'wv avkxpixai

LaijSoL,
w w
^ ^ lOw^w w ^
>^v^
StKWv;
TaSe
[X
alfSoi.
kij/iovs.
__._o
^ w
apk(TKLa.77L(TL
;
;
fSdWe
1340
OVK
TTOV '(TTtV
CK/ToSwi'.
l)XLa(TT1]S
_^__ _^_gC
a=
ab,
Non-antistrophic.
pericopic dyad
:
(1326-31, 1335-41). trochaic pentameter and hexameter.

:
A = ab
5 6,
abe, 2 6 6, pericopic triad
See 770. B= iambic dimeter, iambic hexameter, trochaic

is
hexameter. See 771. The pause that completes colon 1 1 looks about him in drunken bewilderment.
372.
Xo.
e7ravxii](Ta';
intentional.
Philocleon
Av.
Se
628-35
73
(Debate).
ToTs croTs Aoyots
V.-. ^ ^ ^^ ^ w v^
.
- ^ ^
^^
629
e7rri7rei\i]a-a
Kal Karw/xoo-a,
._^_
^^
.-^-3
^ ^ ^
'
3'^'
qv
(TV Trap' epe
depevos 6p6(^po-
va? Aoyovs 8iKaio<s aSoAos

oo-tos eTrl
deovs %S,
5^^w^-^>vy
ipol <f>povwv
^wwSa,
rdpa
pi]
TToXvu \p6vov Oeovs eVt

a-KiJTTTpa
rplxpeLv.
^ ^ w v^ _ ^ _
.
^.^^v^ ^ 6'^ ^ ^ w w g*^ ^

633
6,
iV;s
631
f.
SiKaios dSoXos ocnos
Bergk
SiKaiovs ddSXovs ocriovs
Brunck
Tots
epodic tetrad two protracted iambic trimeters and a trochaic hexameter, with an iambic hexameter as epode. See 743, 776.
:
Non-antistrophic.
probably
= a'abc,
3 3 6
373.
Ba.
Ban. 209-68 (Prologue).
/SpeKSKeKe^ kou.^ koo.^,
210 (SpeKeKeKe^ Kod^ Kod^.

Xipvala KprjvQv TiKva
Î'vavAoi' vpvoiv /Soolv
^^
^vw w ^ ^^ w w v^
v./
^
.
2^
_^_2^
^ _ ^ _ ww
.
(jidey^wped',
evyqpvv
kp.dv
71
aotSav, Kod^ Kod^,
73
^_^_
.
215
i^v
dp(f)l
Nt'o-7yiov
ei*
Aios Aiwvvcrov
^_^_._^_
475
10
AipvaLCTLV laî'](Tapiv,
217
i)i'ix
KpanrakoKiDpos
ToTs lepoi(Ti Xvr/joto-t
ww^ v^wl4^ vy^ v^v.^- v/^ v^w w4
158
Xwpet KaT

^fjiov
373
re/xevos
Aawv
o'xAos.
481 220 (3pKeKeKe^ Koa^ Kod^.

Ai.
e-yo)
--ww^v^v.-^
15
y dAyetv apxofiai Tov oppov w Koa^ ivoa^

8e
8'
tcrcos
Ba.
At.
l3pKKeK^ Koa^ Kod^.

vfiiv
oijSei'
^ ^ w w w v^ ^^^
^
v^
/xeAci.
^
'^
Ba.
Ai.
f3pKeKeKk^ Koa^ Kod^.
^
rj
dAA' lôAoto-^' auTw Kod^.

ovZkv ydp
kcTT
^ ^
k^
w w w 2 w ^ 2
^
^ ^
i
227
Ba.
dXX
Kod^. 20
eiKOTWs
ju,
TToAAa y yap eWepâv

<t>
Trpdrriov,
evkvpot. re jMoi-crat
207
230
232
w^^-- -v^-..
Kat KepofBdras Ildv 6 KaXap.6(i>doyya TraiôjV
Trpoo-eTrirepTreraL 8'
6 ôpp.iKTds 'AttoAAwi',
ev/ca SovaKOS,
ov iiTroAi'ptov
rp^cfuo.
eVvSpov V Xifivats
25^^v^>^w v^^^v^v^ w 15 ^^w
At.
235 /3peKKKe^ Kod^ Kod^. lyw 8e (fiXvKTaivas y
e'x^
XW
Ba.
Ai.
TrpWKTOS iSUi
TTttAat,
^^-w -^-2 ^ >^ __^ ^_v^_

v-'
KOT arrtV iyKvxpas

/3pKeKeK^ Kod^ Kod^.
epei
/xev
30
w
.^^
v^
v^
dAA'
S)
^tAwSov yevos
Ba. p.dXXoi'
Trava-acrOe.
cfidy^6p.ecr9' ,
ovv
Sq ttot
u-
242
-//Atots
1'
afxepauTiV
r]Xdficr6a 5td KVireipov
Ka6 Âeo), -xâLpovres mStjs
245
TToAvKoAvjLijSotcrt /AeAecriv,
^ Atos (êuyovres
ofxfipov
fvuSpov ev Pvdoi xopdav
aioAav ((fidey^dixecrda
249
At.
Trofj,cjioXvyo-n-a(f)Xdcrp.aa-iv
/JpcKe/ceKe^
TO-uTt Trap
Kod^ Kod^.
v/awv Xafx/Bdvo).
Tretcro/xeaâ.
8'
^ v^ 4 _ ^ _ ^^ 35 w ^ w -^ ^ .^ ^ ^ ^ ^w v^ v^ ^ ^y w ^ -w AO ^ ^ - ^ ^ ^ v^s^w v^^lS -^v>-x^ -v^-2*^

^
--
251
Ba.
At.
w-2
w w ^ ^ w 2 ^ ^
v^
8etvd
rdpa
45 w ^
^ ^ ^^ ^ ^ ^v^ v^
^
oeti'orepa
et
eywy
eXavvojv
255
Ba.
At.
(>iappay'r](Top.ai.
fipf.Ki.KK(.^
Kod^ Kod^.
p.oi
olfiwler-
ov ydp
p,eAet.
43
Ba.
dAAd
firjv
KKpa^6[xe(Tdd
50-w-w -v^-w

374
OTToaov
rj
lAMBO-TROCHAIC YEESE
cf)dpv^
Sl'
159
av
t'j/xwv
-^
260
At.
)(âv8dvrj
lyûepas
^ ^ w v^
v^
_^__

w
v^
6^ 2^
/3pKKeK^ Koa^ Kod^.

TOVTio
w^
yap ov
i^ynas
viK7^(rTe, 0"V
__^_ __^^2'
[>o
v^
Ba.
At.
ov8e
fx-t]v
avTWS.
y'
e/xe
oi'Se
p)i^
i'/xts
oi'SeTTore"
KeKpdôjxaL yap
5t'
Kav 8ey
rj/xipas,
266 ws av
v/xcuf
CTrtK/aaTTjo-w
tw
koci^,
/?/3eKKeK^
Koa^ Koa^.
Trai'creiv
60
tto^'
^ ^^ ^ ^^ ^ w w w ^~ v^ w
_^__
^ w w
-i*^^
v^ v^^^ w 2*^
l*^
v^
268 e/xeXXov dpa
r/xas
tov Koa^.
0^3
215 Atwj'woi' Hermann Aiowcroi' Cobet /xe 5g RV, /xe 5e?; A

: :
243
-/jXafxeada Princeiis
rjXdixeda
265
Non-antistrophic.
relations of
It
is
hazardous
to
attempt to determine
melody in so singular a composition as this, yet certain If we assume that the correspondences seem to be unmistakable. an imitation rendering of fSpeKeKCKs^ Kod^ Kod^ was always the same and that this phrase is not to be taken into account of frogs' croaking
in correlating the melody, the lyric naturally falls into five intermediate periods, abode (209-20"', 221-35, 236-51," 252-62, 263-S), arranged
iambic hyperSee B = abac, 42 4 15, epodic tetrad: two iambic tetrameters that 771. enclose an iambic dimeter, with a trochaic hypermeter of fifteen See 748. C = abed, 6 4 18 2, pericopic tetrad metres as epode. iambic hexameter, iambic tetrameter, trochaic hypermeter of eighteen D = abac, 6 2 6 2, epodic tetrad See 772. metres, iambic dimeter. two trochaic hexameters that enclose an iambic dimeter, with an E = aabc, 4 4 3 3, epodic tetrad See 748. iambic dimeter as epode. two trochaic tetrameters and an iambic trimeter, with an iambic trimeter, See 743. that was probably rendered Avith the speaking voice, as epode.
as a pericopic pentad.
abc,
3,
A=
14 4
pericopic triad
meter
of fourteen metres, enoplic tetrameter, prosodiac trimeter.
374. In the following lyric Aristophanes parodies a famous
scene in
the
Andromeda
Tlicsm.
of Euripides.
See the
scholiast
on
1015
ff.
1015-55
73
71
Kal
;
(Episode
.
II.).
Mv.
^^<j>iXai.
TrapdkvoL <^tA.at,"
1016
TTWS av eTreXdoLfj-L
^ ^ ^
^_^_
. ^ ^ ^ 6''^ _ ^ _
.
TOV ^KvdrfV Xadoip-L

"kAt'cis;
ere
(S
irpos atSovs
di'-pois,
v^
-^
.
_
cLs
rdv ev
KaTdvivcrov, eacrov "
71 1021
T>)v
5^-w- -w^- ^-^,
yvvaiKa
p.'
(XBelv.
_ ^ _
^ _ _
yc
160

" avotKTOs OS
//.'
374
e8r](T
tov
TToXvTTOVMTaTOV
fxokis Se
f3pOT())V."
ypatav aTrocûywv
10
1025
a-airpav airoiXofiriv o/xcos*
oSe
yap
6 Ski'î^s <f>vXa^
v^ \^ \^ 2 w >/v^w v^ v^ v^ ^ ^ ^^ v^ vy 4 v^ \^ v^ 2 v/>/v^ w
v^
TraAat <f>e(rTm oAobv a<f>iXov

eKpe/xacrev
Kopa^L
Selirvov.
" op^s
Vcfi'
ov xopola-iv ov8'
rjXiKWV vavtB<uv
ixovcr',
1031
Ktîxov ecTTrjK
dXX'
ev TTVKVOLS 8e(rfJiol<TLV
Ki^ret (3opa
TreTrXey/xivy]
TXavKiTr] TvpoKupâi.
1034
yafxrjX'na
7rata)v^
piv ov ^vv
oe
y^w^^v^ >^w vy \^ v^4 ^ ^ ^ 15v^ ^^ v^ w _ ^ _ _ ^ _ v^ v/ ejxv^ w ^ 12 _ ^ _ ,^ w v^2 20

800 ^^^^
. . . .
w-^
v^
decrpLK^
p,
v^
v^
v^z
yoacTPe
(is
w y watKS.
OS,
piXea pev Trkirovda pkXiw TttA-as eyw raAas,
1039 "
aTTO Se cruyyovtuv
aAA'
25
avop.a TrdOea," <f)WTa XiTop.e-
\^2 ^^ ^ v^ v^v^ w v^ v^ v^ _ >^ ^ v^ _ ^^v^s^^ v^>^\^

v--
v^
. .
vav TToXvSaKpvTOV 'Ai8a yoov (f)Xiyov(rav,
aiat,
atai,
dTTi^vp-qa-i.
1043
OS OS
e'/i,'
tt/doItov
_ _ w^w
v^
_ _ ^
.
v-/
e/A
KpoKoev To8'
ivk^vQ-ev,
771
8 TOtO-8e ToS'
dv(.TrpipeV
1046
t/)bv,
Lbi
evâ ywaiKes.
511
poi p-oipas areyKTe Saipiav.
1048 w KarapaTos lyw,

Tts
e/ibi'
477
30^^wv-. ^v^->^ s^w-v-- ^wv^ v^l5 .^v^ ^ ^ ^2 ^ ^ ^ -.^v^- vyv^-2

.
ovK
iTTOxJ/eTai
Trddos dpkyapTov
35^v^-v^ -v^-v^v^^-v^
cTTi
KaKwv
Trapova-LO.
1050
etê
/x.e
Trvpcfiopos
aWepos
dcrrrip
^^
sj
-^
342
Tov (3dpl3apov eôXeo-etev. 281 ov yap eV ddavdrav 4>X6ya Xevcrcreiv
-^
^__--2
--^
v^
2^^
795
1053
ecTTtv epol
(f)t,Xov,
^__-_
4
. . .
ws eKpepd(r6ip',
40-^--- -^
_ _ _ ^ _
.
XaipoTpi^r' dxn]
Sai/iovo^r
aioAav
1055
vcKVO-iv erl Tropeiav.
203
^^
v^ -v.
_ ^ _ ^ _ _ _ 6*^
. .
374
1016
îrdXdoiiui
lAMBO-TROCHAIC VERSE
Brunck
:
:
161
:
rpbi
1028
&X\'
1042 1047 dreyKTe Zanetti
1017 Xddoifn Bninck XAôi/lli 1019 aidoOs ae ra.v Seidler TrpocraLOovcraat. ras 1027 erpearCos i\Ieineke e<pâ-Tr]K' iKpifxacrev Meiiieke eKp^/uaae 1031 Kijuiv Hermann \f/rj(pov K-rj/xby 1039 dvo/jia Scaliger dWctj' &vo/j.a 1041 <pX4yov<rav Musgrave (pevyovaaf aial alai Dindoif ai al at ai e i 1044 KpoKdev r65' Bergk KpoKbevr'
dTre\0oi/j.i
: : :
dveriKre
The metrical form indicates but few repetitions This constant shift of melody and the introduction of periods in other rhythms, especially in the last part of the lyric, are well adapted to express Andromeda's agitation and anguish. The song falls into six intermediate periods, abcdef (1016-21, 1022-8, 1029-36, 1037-46, 1047-9, 1050-5), arranged as a pericopic hexad. A = ab, 6 7, pericopic dyad iambic hexameter and heptameter. See 770. B = abcbd, 2 2 4 2 4, epodic pentad an iambic dimeter and two trochaic dimeters that enclose an iambic tetrameter, with a trochaic tetrameter as epode. See 762. c = abb + 12 2 2 ( + 2), proodic an iambic dodecameter as proode to two iambic triad with refrain dimeters with refrain. See 738, 774. D = abc, 4 15 2, pericopic triad iambic tetrameter, trochaic hypermeter of fifteen metres, Pherecratcan. E = abc, 3 2 5, pericopic triad protracted catalectic iambic See 771. trimeter, enoplic dimeter, trochaic pentameter. See 771. F = abed, 2 2 4 6, pericopic tetrad dactylic dimeter, paroemiac, dactylic tetrameter, heavily protracted trochaic hexameter. See 772. The lyric is tragic not only in sentiment but also in form. Few of its metres, either iambic or trochaic, are irrational, and many of its cola are protracted. In the first particular it differs remarkably from the song that precedes it (373). See 129.
Non-antistrophic.
(777),
of
melody
'
'
'
'
CHAPTER
VII
LOGAOEDIC VERSE
375.
trimeters are regular in structure.
Iambic, anapaestic, trochaic and dactylic dimeters and The quantity of the arsis of
is
the simple foot in each of these
strictly defined,
and admits no
fixed
variation except irrationality in

places.
iambs
and
trochees in
which Greek metricians designated as logaoedic^ belongs to an earlier stage of the development of Logaoedic dimeters and trimeters, as they primitive forms. occur in Greek poetry, are marked by extreme variability of the
The
verse
arsis of the
simple
or
it
foot.
This arsis
may be
short or long, or
two
itself
shorts,
may
be omitted.
colon thus constituted
if it is in ascending rhythm (29), to combine within iambs and anapaests or, if it is in descending rhythm, The apparent mixture of feet in these trochees and dactyls. clauses is, in fact, simply a trace of the primitive variability of the arsis that prevailed in Ionian rhythm before the development
seems,
'
'
of
purely
trochaic
iambic and anapaestic cola and the corresponding See 600-614, and in particular and dactylic forms.
603-610, 613.
376. The arses of the simple feet that constitute dimeters in ascending rhythm were originally unregulated in Ionian poetry or or - or ^ The arsis might be The m,etre, therefore, might assume nine forms, disomitted.
0-0-0-0-.
The term
v./
v./
regarding for the

1
(
moment
')
the omission of the arsis

defined 8 ff.
:
'prose- poetic
is
as follows in
Srt 6
SchoL Heph.
130.
ScLKTvXos doiSoh /xdWov ivLTT]oetos, o 5^ Tpoxo.1o% Xoyoypdipois, XoyaoidiKbp KaXdrai to fxirpov, doidiKoi' fiev did tov
nh
Logaoedic verse is briefly tov Tpoxa-lov. treated both by Hephaestion (28. 9 ff., 24. 1 ff.) and by Aristides (34. 5 ff., 33. Neither was in position to 30 ff. ). appreciate its historical importance.
ddKTvXov,
i-jreidT]
fSpvdpLos, XoyiKoi' 5i 5td
162
379
LOGAOEDIC VERSE
,
163
,
111.
,
v^
vii.
w v^ ^ v^ w ^^
,
IV.
viii.
Some
of these are identical with metres that were later specially
(i., iv.) and anapaestic rhythm and poets of the fifth century doubtless felt them to be iambic and anapaestic, whatever their connexion. One of them, however, is very rare in logaoedic rhythm in comedy, another was avoided as although in form anapaestic (ii.) It was the two that remain, v^ v^ - w - (vi.) arrhythmical (v.). and ^ - ^ ^ - (vii.), that gave logaoedic verse in ascending rhythm its distinctive character, and these may with propriety be spoken of as logaoedic metres.' 377. The primitive Ionian dimeter by acephalization became
appropriated by iambic rhythm

(ii., iii., viii., ix.),
'
(608), or
when given
full
length
-o-o-o-o
and these were the sources of dimetrical cola in descending rhythm. The metre in descending rhythm, by a logaoedic development similar to that described above, might also assume
(610),
nine forms
i.
-^
w
w
,
ii.
iii.
,
V.
vi.
^y
vy
vii.
ww v^w,iv. v^ ^ ^ ^ viii. ^ ^
,
ix.
w
be
v^
Two
(ii.,
of these were
iii.,
felt
to
trochaic
(i.,
iv.),
four dactylic
in as
viii.,
ix.).
One
of
them,
however,
;
heavy a measure (ii.) arrhythmical (v.). The remaining forms

as
comedy
too
was rejected another was avoided

(vi.,
vii.)
are
the
distinctively
'
logaoedic metres
'
of descending rhythm.
378. The development of these metres in the primitive dimeter and trimeter produced logaoedic cola. These consist, in ascending rhythm, of logaoedic metres combined with logaoedic, iambic or anapaestic 7netres and of iambic with anapaestic in
;
descending rhythm, of logaoedic combined with logaoedic, trochaic

dactylic metres and trochaic with dactylic. The order of arrangement of metres was not prescribed, but certain preferences are manifest. Notwithstanding this limitation, the metrical form of logaoedic cola is extremely varied. Illustrations from Aristophanes follow. Cola marked with the star are found in
or
parodies.
379. Logaoedic Cola in Ascending Pihythm
164
Ta
S'

apiarO' ocrais Trpocrv^KCi
379
Th.
355 560 592
_-
^ -
^ _ ^ - - * ^ v^ ^ ^
7rpo(TXov(r'
ervxov
e/xavrr}?
Ban. 1346''
^- ^^
^^
f.
tjs
"E-dprav
v[j.vL(Dixei
Lys.
1305 413
ê\6[i(T9a Koi diMv yevos

XiTop-icrOa TtttcrS'
lir
evâts Th. 312
411
irarkpiav KaKip',
ot
5^-v^-^--
TaaSe
rots
Av. 541
TToOo? OS
/x
StaKvaiVas
STOiiJiOS
o8' ecrriv
409 957 415 aivavTa Spav Nub. 807

e'xct
jEc.
__^___^__^_--^f.
562
a-v B'
w Atos
SiTTv'povs
avexo^'-
v.->^-^ ^ w .^ ^-^
10^^^--
1361
f.
(Ta
Aa/XTTciSas o^vToiTas
Trapd<f)r]vov els
xepoiv
^^
s^
'EKara
TXvk-i]S Ran.
592
(f)peT(D
^-^Cf.
..-V.-*
KciXadov ra^^' Tts TrrepoiV Av. 1325
406
Trapd-eiiTre to
_-___-^n.
iloS
Xip6jj.aKTpov Ar. /rar/.
502
7rda-a5 S' tSeas l^^^racrei/

t
T/i.
436''414
T7i.
^- -
w^ w
Kai irpoTepov ttot
ctd/kow
1157
15
387
(jiikov,
^- ^-
dXM
5'
ev Tu
(Tu
fiovXojj.aL Ec.
963
415
dKX(.-i]'i
^
^-..-
_-v.-
â
o-TToAas
cirei'
xirwvos Av. 944
vojidSecrcri
yap
ev
v^^.w585, 75 -Kuâis aAarai SrpdTwv ^v. 941

585
w-w*
.-v^-*
^-^943
v^-wf.
âêwv
lepwi'
opwvvfjLe,
80s
e/i.ti'
-ep Av. 927
585
OS {>(âvToSov7poi' ecrôs
oi'
^-^-v.-^^..^^-*
>^
irkivaraL Av.
585
dyaOov
Sevp'
Troptcras,
20^-^^- v^-v^J.r.
tovto kolvov
e'crrai
459
409
Si
v^-^- .-v.1271
^ - -
Wl
Kol
8vp\
w Kvvayi
cTTi
Trapaeve Lys.
412
eTTi/S-qOi.
.6/i.as
.-^_
v^-v^^
'iXd'
repxpiv dotSas
498
SoAepov
/X6V
_-^-^-^- .-^-
iian.
675
di
Kara. irdvTa
81)
rpoTroi'
383
7r<f)VKev
LOGAOEDIC VERSE
avOpuTTOs'
165 451
f.
av
B'
ofxwi Aeye yuot Av,
409
380.
25^-w---^->^:
The following
is
limitations are worthy of note
i.
The
iambic metre
'
practically excluded from the first place in the
colon, but is preferred in the second
and
logaoedic metres,' ^ ^
y^
iii.
is
preferred to ^ -\^ ^ -.
latter never ends a colon,
If
v./
colon, they are grouped together, iv. Eesolution of the thesis is allowed in iambs, v. Protraction of iambs is allowed, but but not in anapaests,
or
in the
same metre with
two or ^ - ) occur in a
Of the two The more anapaests ( ^ v^ third,

ii.
not of anapaests.
form,
v^
,
vi.
Catalexis in these cola assumes iambic
- ^ to the complete exclusion of logaoedic or anapaestic catalexis, ^ ^ - - from ^ ^^ - ^ - or v^w 381. The last two examples in 379 are brachycatalectic trimeters and had the mensuration of trimeters. See 26, 35. ^ ^ - ^ - and ^^ - ^ ^ - sometimes 382. The metres appear sporadically in melic iambic verse. See 70, 185. They
,
.
are here simply traces of primitive formation that lasted into
the classical period. The logaoedic anapaest (389) remained an important constituent element of the spoken trimeter and melodramatic tetrameter and hypermeter. See 113, 177, 193.
383. Logaoedic Cola in Descending
ovBl SeivoTepov AeyoucrTys Th.
TTTflpots
Ehythm
^
435 414
v./ v^
KpeKOVTiS
LaK)(ôv
'AttoAAw Av. 772
410 1149 Of. 1155, .-ic. 930 w -^ - ^ ^ 387, 585 387 ^^ v^ ^^ Kj Q(T[J.0<f)6pU> TToXvTTOTvia Th. 1156 TrdvTa S' eâcrrao-e (fipevl TruKVws re Tit. 437 414 5 - ^ - .^ ^ V. - w rj TToAti' I'jp.erepav e'x^' Of. 1137, 1?/?. 1288, 1290 ^^'- H'iO
TTOTViat,
_^______
dXcros S vfieTepov
TJi.
387, 408
_
Cf. 1154
_ ^ _ -
IlaAAaSa
t>)i'
cîAdôpov ipol Th. 1136
387
irapdevov a^vya Kovpi-jV Th. 1139
^-_ _^
387
Kol TToXvMvvpe 6y]po(})6ve
Aa-
Of. Lys. isoi
412
Tovs XPô^'^^'-ôs epvos Th. 320
f.
__-__._ ^-w^-"
^
.
Cf. 1142, 1147
411, 387 10
166
Brjfi6<;

TOi
ere
384
KaAet yvvatfioi
Th.
s^
_ ^ _
1145 f. Cf. 1141, 1148 _ ^ _ ^ _ 387 v^ Kvpa-avLOis w Mvaiiova Lys. 1248 412 _ _ rat 8e Ko/xai creiovrat Lys. 1312 413 -i^Xderov, vvv a(jiLKe(r6ov Th. 1159
Kwi"
exovcra 8e
/jloXols
^ ^
v^
387
Kvirpi Tb
IX
15
965
-^_v^
f.
eK[xacvL<i
eirl
ravrrj
Ec.
'415
Movcra ToSe Sw/aov Sex^rai Av. 937 585
A'Âoi' OS eêts tepav 77i.
^w-- -^- w^ ^ ^- ^
*
-^
316
411
OS /êra fxaivdcrt â.K\LOS ofifxaa-t
SaUrau Lys. 1283

poTvas Vesp.
408
dvTperj/eis ert
_________^_
1234
f.
rav
ttoAii'*
8'
e';(eTai
Cf. 1232
f.
dAt/zeSov
TT poXiTTOiv
p.v\uv IxOvoevTa Th. 323
411
^v^-^-^^
AWepa
ov
Bi]
a-epvoTarov jiiodpip-pova iravroyv Nub. 570
558
dvSpdcriv ov Oepirov eicropdv Th.
_
1150
f.
__._
-^^-^
387,586
d
6'
v7ro)p6(f)LOL
-^-^
^
Av. 939
../>./v/
-^-
Kara
yoji'tas
Ban. 1313
586
592, 589
25
_^-____^_*
Cf. T/i. 994
SepKopevov, /xeyaAous ovv^âs eôvra; Ban. 1337
^^^
^ *
KXycrov w ^pvcrd^poi'e rdi' rpoptpdv Kpvepdv Av. 950
585
Ti
_^___^_^___*
f.
Se TCtt ^pevt /;iaê IlivSapetov eVos
585
vuv
Si)
^^
^ ^
jEc.
^ww* - -
Sei o" TTUKViyv (ftpeva koi
^tA(xro<ôv eyetpetv
571
501
384.
^ ~^-^ ^^
worthy of note
is
:
The following
is
limitations are
first
i.
The
trochaic metre
avoided in the
place in the colon and also

preferred in the last
it
v-.
in the second place in the trimeter, but
place of both dimeter and trimeter, where

lectic.
ii.
generally
is
cata-
Of the two logaoedic

' ,
metres,'
v^
v^
is
preferred
to
- ^
yj
(
dactyls
- ^ but - v^ ^ or
,
it
never ends a colon,

in the
iv.
iii.
If
two or more
v..
same metre with v.
^ )
occur in
of the
is
is
colon,
is
they
are
grouped together.
trochees.
Eesolution
thesis
allowed in
Protraction
of trochees
allowed,
but not of dactyls.

vi.
The paeonic- trochaic metre
admitted,
Catalexis in these cola generally assumes trochaic
387
LOGAOEDIC VEESE
167
form, - ^ -, but logaoedic or dactylic catalexis occurs, - ^^ ^ ^ from v^v^ vôr v^^ 385. The hypercatalectic (36) dimeter (colon 24) was probably followed by a pause that made it the equivalent of a trimeter. - -^ ^ - ^ - ^ ^ some386. The metres - ^ - ^ ^ times occur in recitative trochaic tetrameters and hypermeters.
. ' '
,
These metres are here simply traces 250, 268. primitive formation that lasted into the classical period.
See 205,
of
Xo
387. Eelatively few logaoedic cola are found in Greek comedy. The following is the ode is composed of them exclusively.
nearest approach to this

Thes.
1136-59 (Stasimon
Strophe
I.
IL).
'H/^c.a'
ITaAAaSa
Ti)i'
<^tAo;(o/DOV e/xot
1'dju.os
Seupo KaXf.lv
ets
\op6v,
Trapdivov o.^vya Kovpr]V,
^^ ^^ ~^
.^
.^w
_
v^
.
2^
2*^^
v^
^
^^
2^
Antistrophe
'Kfx.
/3'
))
I.
TToXiv r]HTepav eêt

(fiavepov p-ovt]
.^
v--
1141 Kat KpaTos
K\rj6ov\6<; re KaAeTrat.
^^
^ w _ _
.
2^
2*^
2^
Strophe II.
Xo.
(fidvyÔ'
(5
Tvpdvvovs
coa-irep
448
v^
^
\^
a-Tvyova'
eiKOS.
^
-^
1145
8t]jx6s
Tot
o-e
KaAet ywat-
Kiov
l/37JVJJV
exovcra 8e uot /xdAow

(f)L\eOpTOl'.
10
III
^^
w -^
.^w

Strophe
w ^^ 4p v^ 2

i^KCT
ev<^/30ves
t'Aaoi,
oTVtat,
1150 o?
Si)
aXa-os es vp-STepov,
800
v^ ^
s^ ^^
^ -^ >^
2^
2^^
dvdpd(TLV ov OepiTov eia-opdv
800
1152 opyia a-eavd Oeoa;
<fiaiVTOV
-^-^-^^-^-^-3"^
15
tva Xap.7rda-L
392
dflftpOTOV OlpLV.
s^ ^^
.-^
__ 4*^
Strojjhe
IV.
1155 yuoAerov
eA^cToi',
ai'To/iC^'
w -~
wv^
v^
^^^
2*^
Qe(TpO(l)6pO} TToAl'TTOTn'a,
^.^v^
168
t

Kol Trporepov iror
îr-qKow
^^ k^
388
^~
1158
rjXOeTOVy vvv d4)iK(rdov

lKeTevo[J.v iv6d8'
ijfxiv.
20
^^
Kbp-qv
^^
^ ^
kj
2^
2
^
2^
1139
Koip-qv
Hermann:
1152
êoiv
Meineke
6ealv
The stasimon constitutes an epodic pentad (1136-9 = 1140-2, A = aab, 2 2 2, epodic triad: See 716. 1143-7, 1148-54, 1155-9). two catalectic dimeters, with a protracted catalectic dimeter as epode. B = abe, 4 4 2, pericopic triad bacchiac tetrameter, cataSee 737.
:
lectic
logaoedic tetrameter, protracted catalectic logaoedic dimeter. See 771. C - aabc, 2 2 3 4, epodic tetrad two dimeters and a trimeter, = aabcd, 2 2 2 2 2, epodic See 743. with a tetrameter as epode.
:
pentad a tetrad composed of two dimeters in descending rhythm, a dimeter in ascending rhythm, and a protracted dimeter in descending See 759. rhythm, with a dimeter in ascending rhythm as epode. With the exception of the seventh, eighth, and fifteenth cola, the rhythm is probably exclusively logaoedic, though certain cola (5, 6, 9, 10, 11, 12) admit scansion as Glyconics and Pherecrateans (511). Their close connexion, however, with undoubted logaoedic cola makes it very unlikely that they are in Aeolic rhythm.
:
388. Since isomeric and diplasic simple feet (9 i., ii.) were combined in logaoedic verse within the same colon, anapaests with iambs and dactyls with trochees, their time must have been It was possible to effect this, at least approximately unified. assuming that the process was mathematically exact, either by increasing the value of the iambs and trochees from three primary times to four or by decreasing that of the anapaests and dactyls The connexion in which these cola from four times to three. were used by the Greek poets strongly indicates that the metres of which they were composed contained, if exact values must be predicated, six primary times rather than eight, and this opinion But the process by is now held by most modern metricians. which the time of the component anapaests and dactyls was
It reduced was probably neither exact nor uniformly the same. was a process of approximation rather than of equalization and cannot have differed essentially from the naode of reducing the
'
time of the irrational half of iambic and trochaic metres (15,

16).
The
theses
of the
component simple
feet
in
logaoedic
clauses remained constant, but the time of the two short syllables or of the one long syllable constituting the arsis was reduced.
The general rhythmical effect of this upon the colon as a whole was retardation, since the time of the two short syllables, or of
390
LOGAOEDIC VERSE
equivalent long syllable,
169
the
was
still
greater
than a single
primary time.
389.
Thus we come upon simple

'
feet in
may
conveniently be called
logaoedic anapaests
Greek poetry that and logaoedic

' '
dactyls/ namely anapaests and dactyls that are
not isomeric in
Entire
rhythm but approximately

that were rendered not in
cola
diplasic, or, to
use a modern phrase,
common
but in triple time.
may
be composed of such anapaests or dactyls in simplified
verse (392 ff.), and such anapaestic and dactylic cola occur elsewhere in heterometric combinations of cola in which the
simple feet are probably

It is
all
approximately in diplasic rhythm.

in
now
impossible, of course, to determine whether the poet in
his
music gave the anapaests and dactyls
some
of these
it
combinations their normal isomeric rhythm or reduced
to
approximately diplasic rhythm.

aftects the
This uncertainty, furthermore,

logaoedic
time,
determination of the length of these cola, since a series

' '
of six dactyls, for example, if these are in
is
trimeter, but if the dactyls are isomeric the series constitutes a
dimeter and a monometer. The logaoedic anapaest See 337. and dactyl are more commonly designated as cyclic,' a misleading name supposed to have behind it the authority of Dionysius. See the next two paragraphs.
'
390. Voss {Zeitmessung, 187
ff.)
in logaoedic verse have the value of four times

.
concludes that the diplasic feet and that the ratio of
the long to the short syllable is 3:1 (J J*). Such feet, of course, do not admit isomeric measiu-ement, as do the anapaest and dactyl with which they are here closely associated. Apel {Metril:^, i. 121 f.) reduces the time of the first two syllables of the dactyl, so that the
is 1^ ^ 1 (J J*) instead of 2 1 1. Apel's diplasic valuation (1| + | 1) of the 'cyclic dactyl is strongly supported by Bellerraann (Hymnen, 58 ff.) and has been generally
.
'
relation of the parts of this foot

:
Bockh (Find. Op. i. ii. 107) assumes reduction of the time of each syllable of the dactyl, with the division l-f- ^- -? ( = 3). Westphal (System der antiken Bhythmik, 181) at first proposed 1^ + 1 as a substitute for Apel's division, but he confessed that practically there was little difference. This preserved Apel's diplasic ratio of 2 1 between the first two syllables and the last syllable of the dactyl. Finally, following the suggestion of Caesar {Grundzdge der Rhythmih, 151 ff), Westphal {Allj. Mdrik^, 365 ff.), maintaining that according to Aristoxenus every long syllable in melic verse has t\vice the value of a short, and that the Xoyos ttoSikos of the dactyl is unchangeable, assumes for melic verse a Sa/v-rAos Tpi(Ti][ios with
accepted.
: :
170
dactylic division

: .
391
This valuation, like Bockh's, aifects the 1 1 | f time-length of each syllable of the dactyl its long and shorts were sung more rapidly than the long and short of the trochee. Thus, if we assume a value of twelve units for each simple foot, the timerelation of the syllables in the Alcaic dimeter, - ^ ^ - y^ ^ -v^-^y, This view is adopted by Gleditsch {Mefrik ^, is 6 3 3, 6 3 3, 8 4, 8 4. Kossbach finally concludes {Spec. 176) and Masqueray {Traiti, 327).
;
Metrik^, 11) that it is better not to attempt to determine ratios of value with arithmetical precision, but to be content with the view
and dactyl approximate iamb This variety of opinion sufficiently indicates the difficulty of the problem.
of ancient rhythmicians that anapaest
in value.
and trochee
391. It should be observed,
however,
that
the
modes of
equalization proposed by Apel, Bockh, and Westphal (390) all
assume a reduction of the time of the

authority for this
xvii.,
is
thesis of
the dactyl.
The
108
f.
E.),
'
Dionysius of Halicarnassus (De comp. verb. who, quoting a verse from Homer {Od. ix.
{oKoyof;'),
39), states that
the rhythmicians' held that the long syllable of
the dactyl was irrational

long.
being shorter than the normal

(See Aristox.
This
is
a very different aXojia from that of Aristoxenus.

syllable
is
His
irrational
always in the
arsis.
No explanation of the reduction of the time' M., 20 W.) of the anapaest and dactyl in logaoedic cola is admissible that is
292
not consistent with the explanation of the reduction of the time
of the irrational half of iambic
and trochaic metres.
But Apel
of this
and Westphal
(16) leave the theses of the irrational iambic
trochaic metre intact.
Bockh saw the inconsistency

upon the
rationality
and and
parted company with Aristoxenus in both processes.

(Metric,
173
f) rightly insists
say the inviolability

cola {Metric,
Goodell
one might
of
the thesis.
He
rhythmizes logaoedic
on the assumption that two impulses acted One impulse in a certain degree of opposition to each other. was to rhythmize the syllables of dactyls and spondees in even
ff.)
240
time and the syllables of trochees in triple time.
The other
impulse, which was secondary, was to carry the equalizing process
through the entire colon by making the
feet themselves equal.
His doctrine
passage
is
clearly
conceived
and
stated,
and the whole
(240-244) should be
consulted.
394
LOGAOEDIC VERSE
Simplified Logaoedic Verse
171
392. Logaoedic verse freely combines iambs
trochees and dactyls within the same colon.
and anapaests or The effect of this
combination, even under the limitations that were gradually Simplificaimposed (380, 384), is marked irregularity of form. tion of this complex verse was secured by introducing into the ode cola that were wholly iambic or anapaestic or wholly A form of verse was thus unconsciously trochaic or dactylic. developed by the poets of which the movement is distinctly more regular than that produced by a continuous series of towards rhythmical regularity, Inclination logaoedic cola.
furthermore,
logaoedic
gradually
led
to
the
of
reduction
this
of
the
is
purely
seen
in
element.
The
result
is
process
his
Aristophanes,
that does
although
there
none
of
simplified
odes
not contain some purely logaoedic constituent.
In
the main, however, they consist, in ascending rhythm, of iambic and anapaestic, in descending rhythm, of trochaic and dactylic
cola, either
combined in subordinate periods or constituting each

although
by
itself
such a period.
primitive
elements,
essential,
rhythmically
This shifting combination of different more regular, preserves the

of
characteristic
purely
logaoedic
verse,
variability of the arses of simple feet.

as
These elements show,
would be expected, considerable freedom of form, and the

is lively.
verse
393.
The prevailing iambic colon (62

(409),
ff.)
is
the dimeter, but
trimeters occur.
Certain apparent tripodies with spondaic close
(-^), Av. 457^

correspondence.
1314
(406), Lys.
1309, 1311
is
(413),
by Cf Av. 1314 = 1317. The colon v^ - ^ - ^ The apparent pentapody also in Lys. 1302 does not occur. Cf. Av. 547 (413) is to be regarded as a protracted trimeter.
are protracted catalectic dimeters.
This fact
established
= 459
(409).
See 68.
eqûal in
number.
Rational and irrational metres are about Eesolution of the thesis of the simple foot
and protraction are normal. 394. The prevailing anapaestic colon (270 ff.) is the acatalectic dimeter, and this generally consists wholly of anapaests. The proceleusmatic (271) never occurs, the dactyl only once, and The retarding effect, therefore, of the the spondee infrequently.
spondaic cola in Lys.
1313
f.
(413)
is
marked.
Cf. Eccl.
964
172
(415),

Thesm.
395
the
433
(414).
An
occasional
trimeter occurs,
approximate equivalent in this rhythm, if measured in primary A penthemimeral form also, times, of an iambic trimeter (389). is found in such relations as to preclude doubt v^ w - ^ ^ as to its constitution, although its rhythmical length, whether
,
that of a dimeter or of a catalectic tripody,
is
not certain.
Cf.
These may be true Av. 455, 458 (409), 1318, 1319 (406). catalectic tripodies, but probably they had the mensuration of dimeters, secured by a pause in the singing of unusual length.
Cf. the
395. Trochaic cola (197
use of the brachycatalectic dimeter (277). ff.) outnumber every other sort of
colon in this verse

prevailing phrase
is
and show unusual variety of form.

the
dimeter, but
a
The
the trimeter
is
not rare.
The ithyphallic (203) The penthemimer also

(408), a
lively
often closes
long
subordinate period.
occasionally occurs (203).

is
Eesolutiou of
Li/s.
the thesis of the simple foot
freely
is
admitted in
1279
ff.
hyporcheme, and
found also in other odes.
Eational metres preponderate and protraction is common. Spondaic trochaic metres (209) occur in unusual number in the first Spartan hyporcheme in the exode of the Lysistrata, 1247 ff. The paeonic-trochaic metre (223 ff.) generally has the" (412).
The which is sometimes resolved {^ ^^ ^ - ). form normal paeonic-trochaic metre {-^^'^) is found only in resolved form (^ w v^--^^), with one exception in a logaoedic
V-.
,
dimeter, Th.
396.
dactylic colon (333 ff.) is the acatalectic dimeter composed of four dactyls or of three dactyls and a The spondee, with two exceptions in acatalectic trispondee.
316 (411). The prevailing
meters, Thesm. 324,

in the colon.
328
f.
(411), is found only in the last place

is
This trimeter
the approximate equivalent of a
penthemimer is found as the final colon in a hexameter, Av. 751 (410), in such relation (note the
trochaic trimeter (389).
antistrophe)
colon.
that
it
cannot be
This penthemimer
may
connected with the following be a true catalectic tripody, but
probably
it had the mensuration of a dimeter, like the correCompare the use of sponding anapaestic penthemimer (394). A catalectic pentathe brachycatalectic dactylic dimeter (338).
pody (hypercatalectic dimeter) occurs also in this same ode {Av. This is probably to be regarded as a 742) between bird-notes.
shortened trimeter.
401
397.
LOGAOEDIC VERSE
173
On
logaoedic cola see 379, 383.
398. Hephaesfion ^ ascribes the invention of verse of this description to Archilochus, which is only another way of saying that it was primitive, and the form found in Ar. frag. 437, which consists of a dactylic dimeter and an ithyphallic, was called by Roman metricians versus Archilochius by distinction
'
' :
7)1'
yap
av8f)
olSlkov (rv Slmkij^^
ai'Ti/iaprvpora-L.
399. The modern

is
'
name by which
is
dactylo-trochaic,'
which
this verse is generally designated too limited in signification and is histori-
Hephaestion, in the chapter cited (xv.), discusses and quotes seven different styles of episynthetic verse. See Hephaestion The most of these are prosodiac or enoplic 50. 18; 157. 7 tf. periods (475 ff).
cally misleading.
'
'
many of the odes in this form of verse hyporchematic would alone warrant the assumption that the time of the constituent cola was at least It is hardly possible that it shifted, approximately unified.
400.
The
fact that
in
Aristophanes are
in
dancing,
within the
lively
limits
of a period, or indeed at short
intervals
within
is
the strophe.
Since the tone of these hypor-
and the movement rapid, it is probable that the controlling time was that of the iambic and trochaic
chematic odes
series,^ so
that the process of the unification of cola of apparently
rhythms was the same as that which operated witliin logaoedic cola, which, it must be remembered remain one of the constituents of this simplified verse. See 388 f. Confirmation of the supposition that the time was approximately uniform is found in apparently irregular correspondences between strophe and antistrophe and between two equivalent subordinate periods in some of these odes, an anapaest or dactyl answering to an iamb or trochee. Cf Av. 1313 = 1325 (406). Similarly in Av. 740 = 772 (410) a logaoedic dimeter of the form - ^y - ^ ^ _ ^ ^ finds its correspondent in a trochaic dimeter. Cf.
different
Ar. 451
401.
= 452
The
(409).
cola
that
constitute
be in rhythmical agreement.
anapaestic and trochaic cola
single period does not occur.
^
a subordinate period must The combination, for example, of or of dactylic and iambic within a
Heph.
Plut.
Cf.
47. 6 ; 49. 25 ff. ; 27. 7 ft". Mils. 28 (1140 F) 'Apx'Xoxos
irpocreêDpe /cat rrjv
et's
toi'S
oi^x ofioyeveh
pvO/xovs
2
hraaiv. See Rossbach, Spec. Metrik^, 374
f.
174
402.

The
in
402
structure
of
the
strophe
is
generally
complex.
Periods
other
rhythms are rarely admitted.
See
Thesm.
327^
(411).
403.
in ascending
Compare the following examples and descending rhythm
of subordinate periods
irarkpuiv KaK-qv, ot racrSe rots rifxas Trpoyovinv irapaSovTCDV
__^_
^_|
epwres
e/xas
__ _
TroAews.^
Qo.ttoi'
^r. 541f.
(^kpuv KeXevu)
f.
Karexo^'ct
S'
^-^_ _-__|
ij^qcjios
v.-
^ v.-
^v. 1316
AauTTwra, rov ov fSporiZv
hvvarai (f^Xeyvpa Seirrvov </)iAwv aTTiipynv
v^-^-l^-^Âewa
Tov
'A/auK-Aats
crtui'
Crat. 57,
avacrcrav,
cf.
58
t
Kai
\aXKLOiKOV
8i)
Tvv8apt8as
dyacnos, rot
Trap Ei'/jcorai' iJ/LdSSovTi,
^_
vouidSecra-L
^ -
- ^
Lys.
1299
fF.
yap
eV ^L/ci'âis
dAarat Sr/aaTwr, 6s v<f)ai'To86vaTov
(t6os
ov
TreTrarat
.^_^_ ^-^- ._v^_j__o^- ^-.âyi' S.7rep
V.
^v. 94 Iff.
ttoAi!? o
rws
KciTrpws
OdyovTa.^
rr/s
|-^-w -.dyai'o^poros
t]1'
Crat.
211
Ki'Trpts
f.
Trepi
e7rot7;cr
v^
^coi
__-^ -__^|-^-^
fioriv ojiov
ij/s-
1289
Trrepots KpeKovre'S
taKôv 'AttoAAoj
-^-v..
irrdvra
8'
-^-.^1-..-^ ____^v.
<^pevt
771f.
dw/Gpev
cu
e/?dcrTCMre
ttwkvws
iroiKtAovs
Aoyons
_ ^
404.
w ode
T/iesm.
437
ff.
simplified
or
may be composed
rhythm.
ff.
continuously in
ascending
in
descending
Cf.
Av.
451
ff.
(409),
1313
odes
ff.
(406),
and Lys. 1279

it
(408).
Or, as in the other
analyzed below,
405.
may
shift
the
rhythm from time
to
time, sometimes within narrow limits.
as the
'
versus Archilochius
<f>peL
This verse might be used continuously Kara in the following

'
arl'ôv,
avTop-drr] 8e
riOvfxaXXov koI crâKov Trpos avrw

voiTraicriv
8'
darfidpayov KVTta-ov re'
dvdepLKOs
ivr)/3a'
Kol (jiXofLov d(p6ovov wcTTC TTapelvai. Tract tois aypor(rtv.
Crat.
325
This fragment was probably part of a stichic melic period (778).
407
406.
LOGAOEDIC VERSE
Av.
175
1313-34
(Stasimon L).
Strophe (1313-22).
'H/i-.
Ta\v
Ti'xy
St)
TroXvdvopa rdvSe ttoXlv 400, 795 <^
1314
IleL.
K-aAet rts drdpcjTrojv.

[Jiovov
Trpoa-eirj.
393
TroAfcus. 5
w ^
^^
w^ v^
^^
.
Ct _ 4^
2^
^
-^
^
-^
*H/i. a' KaT\ov(TL 8'

ITet.
e/DtoTs
e/xas
^ttTTov
<f)peiv
KeXevo).
w
.^ .^
*H/x. a' Tt
ya/D ovk evt
Tavry
;
KaXhv dvSpl
/leTOLKelv
394 394
^^^
^^
^^ w 4^^^ ^2-^ 2-^

^^
v?
1320 2o^6a Iloôs

TO TC
T'/}s
'Kfj-Ppocria Xd/Jires
^-^
w^ 10 ^
^^
^_.^
,^
v^
ayavoc^pofos'Ho-i'X'as 792
6*^^
iv-qp.pov irpocrwirov.
Mcsode (1323-4).
Ilet.
to?
/?AaKtKWS Sta/vorets*
oi3
Odrrov tyKOu/jcnis
Antistrophe (132534).
'Hfx. fS'
Tlei.
(jteperoj
KdXadov raxv
Tis
Tmpwv,
<jv
8'
avOi^ iôpfxa
TVTTTwv ye tovtov b}8L
'H/x.
^' Travu yap ^paSi's

crv'
ecTTt Tts wcTTrep o vos.
lift.
Mav?)?
yap eVri
8etAo?.
'H/i. ^'
Se Tot TTTepd Trpwrov
1331 Stages TaSc Kocr^y,

Ta T
fJLOVCTL)^
O/AOU TCI
oTTcos
T pLaVTlKa.
Kttl
TO.
^ttAciTTl',
eTTCtTtt
S'
<f)povifj.ws
irpbs avSp'
:
opwv
1328
TTTeptxxr !,<;.
^(rrt tis
1313
Stj
Porsou
5' di/
1326 a5^tf Brunck
aCrts
Bentley
constitutes a mesodic triad, ABA. See 718. A= 1318-22). A - aba, 4 2 4, mesodic triad: two See 739. B = aab, 2- 2- 6, tetrameters with a dimeter as mesode. tAvo anapaestic penthemimers Avith a hexameter as epodic triad See 737. B is probably a melic iambic tetrameter. See 805. epode. This is the only ode in simplified logaoedic rhythm in Aristophanes composed solely of iambic and anapaestic cola, and even in this there is logaoedic correspondence in the first colon of the antistrophe.
The stasimon
(1313-17,
:
AB
407.
With
the tetrameters and

in
Crat.
hexameter
in
this
ode
cf.
238. 3, which follows, probably, an iambic subordinate period, of which the second metre is logaoedic
the tetrameter
:
dyav6(f)poves i)8vX6yio
cro(f)ta
Pporwv epicrcroKdAAets
Cf. also Crat.
239.
176
408.

Lys.
408
1279-94
(Exode).
Hyporcheme.
Xo. 'K9. Tpoa-aye ôpov, eiraye Xapira?,
395
eVi Se Kct/Vecrov "Apre/xtv,
^^^^^^^'^
^^ ^ ^ ^ ^ ^w^'v^
v^
v^
v^
4^"^
1281
-1 8e SiSviJLOV
v(f>pov,
7rt
ay eôpov
'Irytov
y^
v^-^
3^'^
1282
Se Nucrtov,
^
5
^^
v^
v^
2*^^
OS /uera /xatvcwrt BaK;i(tos opfiaai Saterat,
383 1285
Ata re
Tri'pt
(Âeyo/ievov, eVt
re-^v^^v^v^
TTOTVtav
aAoxov oXjSiav
ovk iiriXjcrpocrLV
etra 8e Sat/zovas, ofs kTVip-upTva-L

Xprja-Ojied'
-_- ^ - ^ v^v^-^^ .^^^^^ v^ 4*^ ^^ ^ ^^ ^^

-
^ - -^
3^
383
'Hcri'Xtas Tre/stTT^sayavo^povoslO
1290
yv
e7roLi](T
6ea
Ki'tt/dis.
aAaAaAat
atpecrd'
0)5
7ri
Tranywi/*
tai,
802 206
civw
vcKYj
I'at,
-^-^ v^ -^ ^^ >^ v^v./ w _ _ ^^ ^v^

.
evot vot,
euat
:
iia6.
lo
w ^ ^^ ^ w ^ ^ _ yj
4^^^
<^
4*^^
4 2
Bd/cxos or BaKxô's 1284 Bd/cx'os Burges dXaXai 1291 dXaXaXat Bergk Ij.eya\b(ppovoi have dXaXaXaJ, as the rhythm demands
:
Cf.
1289 a.yav6<ppovos Reisig! ^v. 1763 (588), where RVr
= ab (1279-86, 1287-94). A = abcba, Non-antistrophic. a tetrad composed of a tetrameter and 4 3 2 3 4, epodic pentad two trimeters that enclose a dimeter, with a tetrameter as epode See 763. B = aabcd, that repeats the opening strain of the pentad. a tetrad composed of two tetrameters, 4 4 4 2 3, epodic pentad a protracted tetrameter and a dimeter, with a trimeter as epode. The metrical form of 1291 ff. is doubtful. See 759.
: :
409.
Av.
451-9 = 539-47
Strojjhe.
(Debate).
'H/z. a
SoAepoi' jnev del
Kara Tvavra
400, 802
(TV
8i]
rpoirov
^-^- ^-wAeye
/xot.
;:,
V.W
3-^^
Tri(f)VKV
avOpwTTO^'
S'
0//OJS
381, 400
- ^ -
- -
^- ^4'-'
3-^
453 Tax 7P
Ti'XoiS au )(pr](TTov e^-
379
eiTTwv o T6 [xoi Trapopas,
i)
_-v.---w-^^
^.^
455 ovva/uv Ttva
fxiiîo
394
^.^
^
^2-*^
410
456 TTapaXtLofxkvqv
LOGAOEDIC VERSE
vtt'
c'/xt/s
177
arv
^pevo's
dgwerov'
8e tovO'
^^ op^S' Aey' et's kowov. 393 458 6 yap av crv tv^j/s fiot 394 ^^ w^ 459 dyaôv TroptVa'?, toijto kolvuv eo-rut.
v--
m
2-'^
5CV
393
^-^-
.-v.- o--3
'H/x. /5'
TToXv
67)
TToAv
St^
âXeTTCoTaToi'S Aoyovs
i]veyKa<s av6p(Dcf>
541
TrarepoiV
7r
kolkyji',
01
ws eSaKpycrd y kfidv rdcrSe ra? ri/xas Trpoyovwv 7rapa8ovTtov
543 544
546
e/xou
KareAiicrai'.
crv 5e /X06
Kara haijxova Kai <Tiva>
cri'v-VYiai'
dyaOi^v
^(cei? e/xot
crwTJ/p.
di'ttêts
Tci
ya/3
eyw
croi
oIki'jctw.
veoTTia KafMavTov
544
Tt^'a
Bentley
547 rd Princeps
rd re
Monostrophic dyad.
:
A = ab
(451-4, 455-9).
A=
aab, 3- 3- 4,
epodic triad two brachycatalectic logaoedic trimeters, with a tetrameter as epode. See 737. B = abac, 2- 5 2- 3, epodic tetrad two anapaestic penthemimers that enclose a pentameter, with a logaoedic trimeter as epode. See 748.
:
410.
Av.
737-52 = 769-84
Strophe.
(Parabasis).
'Up., a
Movo"a
Ao>(|Ua6a,
_
395
vd-
^^
_ _
2-
TIO TtO Ttb TtOTty^,

TToiKtAj;,
p.6'
i^s
^~^^.^
s./v^v^
2^?
v^~
4
eyw
740
Tratcrt KOpvcftala-i
r kv dpe/at?,
^ ^ v^ 400 ^^c^^^ w.^

5>.~vy^'v^
TIO TIO TtO TtOTty^,

t^d/xVOS /xeAtas
v^^
2'^?
eVi ^vAAoko/xov,
396, 800
(ant.)
-^-^ ____w
^^
3.CT
no
745
TtO Ttb TtoTty^.
^
>^
^.
^^^
2*^?
St' e/i,7}s yevi'os
ôvO?)^ /xeAewi'
dvacjiaivio
404
Ilai'i
vopovs
lepot's
a-epvd T prjTpl \opevpaT opeia,
v^ =^ ^^ .^ w^ w^ s^ 10
.-^,
^>.-
TOTOTOTOTOTOTOTOTOTiy^,
ev^V
cjcTTre/Det
.-^^v^^^^
w^^
2^1
pkXiTra
749
/Din'txo5
dp/3po(Tiwv pekean' d-
B6(TKTo Kap-ov del

(f>epwv
yXvKelav w8dv,
TtO TIO Ttb TtOTty^.
^ ^ v^ w <^ ^^ ^^ .^' 396, 802 - ^ - ^ ^ 6-^^' ^ 2^^ 15 c; w 404 .^ y^ ^- Kj ^^ K^ 2^

v,-
178

Antistrophe.
TOiaSe KVKVOlj
Tib TIO Tib TLOTiy^,
411
'HyLl. /3'
771
crvfj-iJiiyrj
fSorjv
ofxov Trrepots KpeKovres iaK\ov
ÂttoAAw
773
Tib Tib Tib TioTiy^,
ox^w
Slot
S'
i(}i^6fj.V0i
Trap "E(3pov Trorajxov,
lib Tib Tib Tib TiOTty^,

aWepiov
v(f>o<s
rjXOe j3od,
111
TTTrjê 3e TroiKiAa <f)vXd re d-qpCiV,
KVfxard t
ecr/Jecre
v^ve/ios aWprj,
779 TOTOTOTOTOTOTOTOTOTiy^
Tras
S'
iTTKTV7n]<T
"OAv/XTTOs,
eiAe
8e
ddp-fSos dvaKras,
'OAv/t-
TTiaSfS Se fiekos Xa/3iTes
Mowai
784
cTTwAdAvâv.
Ttb Tib Tib TiOTiy^.
748
liffTrepei
Reiske
ucnrep
i]
The monometer
dimeter.
in Nub.
in
737
= 769) probably had the value

penthemimer
of
Cf. the similar use of the dactylic
in address
275 (344). The metrical value of the bird-notes is as difficult to determine here as in 227 ff. Compare the similar case in Ban. 209 ff. Probably both syllables of Tib are short. The evidence of the manuoverwhelmingly for the reading Tib Tib Tib riorty^, even that which only once commits the vagary of reading Tib seven times*. Both this phrase and totototototototototlj^ may have had the value of a catalectic trochaic dimeter. There is no certain evidence elsewhere in the ode, in the metrical equivalence of subordinate periods, that any part of the melody was repeated. See the final note on Pmti. 209 ff. (373).
scripts is
of R,
411.
Xo.
Thesm.
312-30
^^
(Parode).
^ XiTOfiecrda TaicrS' eTT evyâis 379 ^^ ^ v^ w>^ (f>avevTas kirL\aprjvai. ^^ .^ 315 Zeu p.iyaXii}vv[x.e \pv(roXvpa re A'Âov OS e)(is updv, 383 5 ^ ^- ^ v^ w Kopa yAavKoX <TV Tray K par
Se^b/iecrâ koX deiov yevos
e's
^ ^ ^ 4^ ^ 2^ <^ ^2^ ^ 2^
y.^
KWTTi ^(pvcroXoyxe ttoAiv oiKovcra TrepLfxd-
X^JTOV,
eXOe Sevpo.
320
Ktti
TToXvwvvixe Orjpo(f>6ve
;)(pDa-0J7riSos epvos,
Aa-
rods
o-u
383
10
T TTOvTic (Te/xve nbo-fiSov
^ ^ ^ 7*^^ >^ ^^ ^ ^^ ' .^ ^ 4^^ >^ ^^ ^^ ^ 2*^^

323
dAi/xfSov TT/ooAiTTWv /xv^bv IxOvoivra
383 w. w - s^
3^^
412
oiVt/OoSovtjtov,
LOGAOEDIC VEESE
N?ypeos fU'aAtov re Kopai '^vjx-
179
389, 396
<âi
-^
.
-^-^
_ 5C 2*^ wv^ 2
_
.
-^
"
t'
6pt7rXayKTOL
(jôpfjuy^
ctt'
327 ^pvaea t
taXi^yo-eiev
evâl-i
S'
_ ^ _ 15 w v^ 416 v^w
'
328
rjixeTepais'
reAews
iKKXj](Tia.(rai/xtv
KOi^vw
^
389,396
330
320
eryevets -yvvatKes.
dTipotpdve
-^
(first
^ ^
5^'
on
IpPOi
(va\lov
R, which adds ttu?, probably a gloss 323 ixOvbevra von Wilamowitz ixOvbevr 329 'Ad-qvCiv Reisig: 'Adrjvaiuiv
:
rejected by Hermann) 325 eivaXiov Brunck

:
Non-antistrophic.
abcde,
4 2 2 2
7,
A = ABC
(312-19,
:
320-6,
327-30).
a=
iambic dimeter, dactylic dimeter, trochaic dimeter, trochaic heptameter. See 772. B = abed, 4 2 3 5, pericopic tetrad logaoedic tetrameter, paroemiac, logaoedic trimeter and a pentameter. See 772. c = abc, 2 2 6, pericopic triad: trochaic dimeter, ionic dimeter, pentameter. On the musical effect of pericopic grouping see 777. But See 771. the melody which closed the second intermediate period (b) may have been repeated at the close of the third (c).
:
pericopic
pentad
logaoedic
tetrameter,
412.
Lijs.
1247-72
(Exode).
J9''i/2)orche7ne.
Aa.
opixaov TOts
Kupcravtois
<S
395
Mva/xdva 383
Tav reav Mwav, a-is
1250
otSev d/ic tws t' 'Acravat(US,
^~ _ ^ _ w ^
_ _ w 4^ _ ^ _ ^ ' v^
. .
OKa TOt
p.ev
77
A/OTa/ZtTtO)
383
TrpWKpOOV (TVCLKeXoi
TTOTTO.
5-1-^ -^^ ^
v^
v^
S*^
KoiXa TWS Mv/SwS
~'
h'LKWV,
a.p.
S'
av Aewviâj
w w
6d-
1255 ayev
avrep
tws
KOLTrptJS
^
ttoAvs
0'
v^ 5^ w w"
.
yovras otw tov oSovra'
384, v., 802 10

uyU(^t rots
ttVO"i',
yevvas uc^pos 395

5' (Xyua
TToAi'S
Kar-
Twv cTKcAwv
i'ero.
1260
ryv
yup
twv8/3S ovk eAaacrcus
_._. _^_^ _._3C
-^ -^ ^>^ w v^ w ^ _>^__" _ ^ _ _ ^ ^ 10^^

>^
-^
>.,
Tus
ij/dfiixas
Tol Uepcrai.
15
dypoTepa (TrjpoKTovt /xoAe
--v^v^
3C
^w^^v^
180
Sevpo

Trapcrevi cria
TTOTTOtS CTTTOvSaS,
>
413
395 ^ _ _
.
^^
^^
.
1265 ws (Tvvexys ttoXvv

av
<jiLX.ca
a/xe
xpoôv.
vvv
8'
ates euTropos
eiVj
802
1268
Taicrt avvd-qKaia-i,
20------
_
v^
^
V.
9*^"^
Kal tolv
^
_
alfxvXav dAwTreKwv Travcraifieda.
_^
.
1271
o)
8evp'
Wl
Sevp',
w Kwaye 379, 404 - : :
irapareve.
--
V.
- ^ ^
3^^'
1250 Ttis r' 'A(7a)'aiws Brunck 1248 Tots Kvptravlois Meineke tws Kvpaavius avelKeXoi. von Wilamowitz 1252 wpuKpoov Ahrens irpoKpoov Toi^s r' 'Aaavaiovi 1257 lii^'o-eo' von Wilamowitz 1253 rws Mt75ws Kiister toi)s MtjSous deiKeXoi.
:
(noting the scholiast

tCiv
i'ero
dvrl rov ijvdei)

:
^vtrei
Brunck
:
d<^p6s
i'ero
kclI Kara 1259 Karruiv Reisig 1262 dyporipa Dindorf dyporep "Apref/.!.
:
:
1267 1270
t'
Schiifer
5'
1268 ralai
:
<Tvver]Kat<n
von Wilamowitz
rala-iv
ffwOriKat^
Trav(7ai/xda
Thiersch
Travaalfxed'
A = abed, = AB (1247-59, 1260-72). Non-antistrophic. tetrameter, octameter, pentameter, deca4 8 5 10, pericopic tetrad a tetrad B = aabcd, 3 3 6 9 3, epodic pentad See 772. meter. composed of two trimeters, a hexameter, and a nonameter, with a
:
:
logaoedic
See 759, 777. trimeter as epode. See von Wilamowitz, TeoigeschicUe, 88 ff.
413.
Lys.
1297-1322
Hyporcheme.
(Exode).
Aa.
Tavyerov
aiir'
kpavvov eKknrwa
v^
v./
'^
Mwa
/xdAe
AaKatva
TrpiiTTOv aplv
38 -v> ^ - ^ .^ v^ w v^ KAewa Tov 'AfivKXais crtov Ktti XaAKiotKOV avacrcrav, Tvv8apc8as r dyao-tus,
1302
TOt
8-^
^--3^
7ra/3
Ei'/sajTav
ipLdBSovrL.
em /xdA' /A/?a, (L cm Kov(f>a TrdAAwv,

1305
u)S TO.
393 404
- - ^ -^- w w v^ ^ ^ v^ v^
- - ^ 1
- ^
8<=^
îrdprav
crttov
-u/AVito/xes,
XP' /JLeXovTi KOL TToSwV KTtVoS,
v^ \j
v^
2
2*^^
^^
v^
v^
4-^^
v^
1308 <ox'> are ttwAoi rat Kopai 393 Trap TOV Eij/owTav 1310
d/xTraSeovTt TTVKvd ttoSou'
lOw-w.
4^
_ ^
^
393
.
v^
.
vy
dyKOVtwai,
^ _
_ _
414
Tttt
LOGAOEDIC VERSE
8e KOfxai. (relovTai
181
1312
383
15
wv-
2*^
^Trep BttK^âi/ OvpcraSSwav Kal TraiSSwav,
1314
ayrJTat
8'
Ai'j8a^v^
^ ^ ^ ^
v^
4*^
x^pwcfieXi'iTav,
cridv
^ w
1320 Kal Tav
avrav Kparivfivrj.
^
4^
:
crrav X.aXKi0LK0V
:
'Aadvav aibv 1300 dvaa-crav Schol. 1299 cndv A'alckenaer afx-rrdWovTi 1310 d/j-nadôvTi von Wilamowitz 1308 6x' ^'on Wilamowitz dyKovevovffa 1312 creioPTai. Richter aeiovr' or aeiovO' 1311 ajKOviivai Reisig irapanirvKiSdere 1319 xop'^0^^^''''*'' Hermann 1316 Trapa^TrrKiSSe Hermann 1321 i//t'r; Dindorf 1320 trtd;' Blaydes tna;/ 5' Xttypo^xXerav ov x<'P'^0fX^Ta' rdv Trd/jL/jLaxov
'A7r6XXw
: : : :
I'S/tij'j;
Non-antistrophic. A = abcd (1297-1302, 1303-7, 1308-15, (1316-22). A = aab, 3 3 8, epodic triad: two trimeters with an See 737. B - abbe, 1 2 2 4-, periodic tetrad octameter as epode. a hortatory dactylic monometer as proode, two dimeters, and a hypercatalectic trimeter as epode (36 f.). See 745, c = aabcd', a tetrad composed of two iambic tetra4 4 2 5 2, epodic pentad meters, a logaoedic dimeter, and a spondaic pentameter, with an acatalectic iambic dimeter as epode. See 759. d = a stichic period composed of three iambic tetrameters. See 778.
:
:
'
414.
Xo.
Thesm.
433-42
404 383
(Scene
I.).
oiVdJTTOTe ravTrjs I'jKova'a

>.~^
-^
v./
TroAuTrAoKcuTepas yvvaiKos
ovSe SeivoTepov AeyoiVi/s,
436
437
irdvTa
yap Aeyetv
ifSdcTTacre
8iKaia,
w w
5
<.~
v^
Trdcras 8' I8ea<i e^t^raa-ev,

Trdi'Ta
8'
379, 404
^^
w2^ w -^ ^ v^ v^6 ^ 2
(fjpevl
ttvkvuJs re
383, 404
TToiKiAovs Aoyovs dvrjvpev
ev 8u('r]Trifj.evovs'
440
oicTT'
dv
et
Aeyoi nap' avri^v
^ ^ w ^ ~ ^
10^~v^
v^
^^^ - ^ ^ ^^ ^ 6*^
_^__
EevoKAerys o K.apKLVov, 8oklv dv at'TOV,
442
ws
e'yoi/iai,
dcriv vfxlv
Aeyeiv,
v^ ^ ^ ^
iC
v^
S^
dvTiKpvs
436
Scaliger
:5eaj
:
fir]8iv
Suidas
eJSe'as
irapauTTjs
i^dcrraaev 437 i^daTaae Ed. 441 Hei'o/cX^Tjs Bentley SecoxX^s

:
440
Trap ainr)
'
182

= AAB (433-6 = 437-9, 440-2). Non-antistrophic. b is an See 770. dimeter, hexameter.
See
773.
415
A=
ab, 2 6,
pericopic dyad:
indivisible
nonameter.
415.
Ecd.
952-9 = 960-7 (Episode

Strophe.
IL).
Neavts.
v^ 2 _ ^ _ ^ ^ v^ ^ ^ ^ i eXde Kal ^vvevvos 953 ^ 404 Trjv evffipovrjv owtDS etret, <^ ^^ TTavv yap <8etvos> tis epws pe Sovd 379 5^^ v^ ^ TwvSe Twv crwv (ioa-Tpv-)(wv. 955
Sfvpo 8^ Bevpo
(f)[\ov
^/J-ov,
S17,
.
Sevpo
fxoi
Trpocr-
395
^^
^_^_
^8
arorros 8' 'iyKeiral p.01 tis

irodos, OS /ie SiaKvatVas
Xe<-
^^
958 959
/iês,
iKVovfiat
a,
"E/dws,
379 404
.^
v^^n
^
10
^
vy
v^
Kat V0L7](T0V TOvS' S eUl'^V

T17V
e/i.^v
iKka-Qai.
v^
w w _ _
.
2*^
Neavias.
Sev/ao
S7)
Sevpo
817,
KoX (TV
rr^v
p.OL
KaraSpapovaa
dvpav avotôv
ct
_ ^ _ ^ v^
75
-^
v./
_ ^ v^ ^^
2
v^
962
ri]vK,
Se ya^,
KaraTreo-wv KU(Top.aL.
__^_
^..^_
.-v.-
<f)i\ov,
dXX
ev
Tw
o-oj
/3ovXop.aL
379
KoA.7rco
5^
ri]S
--..(rrj^ TrvyTJs.
TrXrjKTLêcrOac
p^ra
.965
Ki'/Tpt Tt
/x'
8^
iKpaiveis i raurj;
383
fiWes,
Kttt
w^w-- -^--2
w ^
v-
iKVovpiai
(J,
"Epws,
Is
^^
Troirjcrov
ip.r]v
ttjvS'
evv^v
10
967
T^v
953
iKkaBai.
^-^
^
v.-
^vvevvo'i
Bothe
^vvevv6%
{xol
954 5nvbz Dindorf
The strophe and antistrophe
constitute the fourth
dyad
in
E = aba (952-3 See 717. proodic combination of eleven strophes. = 958-9, 954-7). A = ab, 24, pericopic dyad: trochaic dimeter octameter, and tetrameter. See 770. B = ab, 8 2, pericopic dyad The cola composing the octameter in the strophe See 770. dimeter.
:
are iambic dimeter, anapaestic dimeter, iambic dimeter and paroemiac ; in the antistrophe iambic trimeter, logaoedic dimeter and catalectic The octameter is followed in each case by a anapaestic trimeter.
i<
415
LOGAOEDIC VERSE
is
183
logaoedic dimeter, but this

in descending
in ascending
rhythm
in the strophe,
rhythm
in the antistrophe.
The
in
variation of the
strophe
51.
See
melody of the mesodic intermediate period and antistrophe is intentional and is found elsewhere. Eeisig {Coniedanea, 323) would find the explanation of the
metrical discrepancies in the
young man's
state of
mind
CHAPTER
VIII
MINOE IONIC VEESE^

416. The fundamental colon of ionic verse in Greek
is
comedy
9
ii.)
the dimeter, which consists of two minor ionic feet (8

Trdrtp,
7]v
iv.,
(Tov ri êrjOw
^ ^
-^
Vesp.
292
An
composed of two simple feet or metres (13), normally consists of twelve primary times and eight syllables. All minor ionic verse is in ascending rhythm.
ionic dimeter,
417. Aristophanes occasionally uses the trimeter. normally consists of twelve syllables and eighteen times
fj-a
This-
At"
ot'
rapa
poejxxptji
ere
to Aoittov
^ ^
\apiT(j)v TrAetcTTOV )(ôv(Tav p-epos
^ ^
uyvav
^ ^ ^ ^
-^
Vesp.
299
^ ^
v^w
Rmi. 334
f.
The monometer does not normally occur. 418. The ')(^p6vo^ kv6<; (32) of ionic verse is the second half of the thesis of the foot, a diseme time (32), and an ionic colon, by its suppression in the last metre, becomes catalectic (33, 34)
aTTO
yap TOvSe
p.e
tov p.Lcrdapiov
^ ^
is
^ ^
allowed in
at
wv^
the
Vesp.
300
419. Interchange
fifth
of length
fourth and
places of two contiguous metres, so that a short syllable

first
occurs at the end of the

the second
and a long
^
the beginning of
pa
At",
el
Kpkp.ai(rdk
y vp,d%
^^
\j
Vesp.
298
further
^ Major ionic verse does not occur in Greek comedy. 'Ionic,' therefore, in
this book,
when used without

'minor ionic'
definition, siguifies
184
425
This
partial
MINOK IONIC VERSE
185
derangement of the rhythm is called anaclasis See Schol. Heph. 148. 5 ff., 19 ff. anaclastic metres may correspond in 420. Normal and strophe and antistrophe
{avdK\a(TL<i).
ocriovi ts
(f)Xoyl
^tao-wTas=
y^
(êyycTai 8e Xeificjv
is
^ ^ ^ ^
^ ^ ^ Kan. 327 = 344
421. Anaclasis
sometimes partial
is
and
derangement
of
rhythm occurs only
in the second metre, but in this
case either
the anaclastic or the normal form
found in the corresponding
strophe or antistrophe
TTokvKapTTOV
/JLCV
Ttvd(r(T(x)V
=
PMn. 328
yovv TraAAerat yepovrwu
= 345
upav oo-tois /ii'O-rats \opeLav = oa eSoi' \opoTroiov p.aKap 'i]f3av

Ran. 336
= 353
422. The initial long syllable of this

(
'
irrational
'
ionic metre
simply trace of an irrational syllable in the metre This See 615 ff. that probably was its source (^ - ^ -).
)
- ^
is
original
metre
{^ - ^ - ) seems
ff.
also
(
to
be
)
the
source,
by
acephalization, of
the singular metre
- ^ -
with which the

of
hypermeter in Ban. 326

423.
(427) begins.
The structure
is
of the
two ionic
lyrics
regular form
ff.)
found in Aristophanes
states
hypermetrical.
Hephaestion (38. 6
most notable subordinate period is the catalectic tetrameter, and quotes a line in illustration from the comic poet Phrynichus
that
the
6'
dvdyKa
'crd'
lepevcnv Kadapeveiv <f>pd(TOixev
^ ^
Cf.
v-zv^
^ ^
wv^ Phryn.
frag.
70
Eupol. 192.
424.
A protracted metre of the form

:
^ ^ -
(32)
is
occasion-
ally
found at the beginning of a colon

iroBl
rdv aKoXacrrov
^tAoTratV/iova -ipidv
^ ^ <^ ^
^ ^ Ean. 332 ^ ^
to lack vigour
f.
425. Ionic
rhythm was thought

his
and
nobility.
Dionysius
in
rapid
characterization
vi dicendi,
xliii.,
of
the
style
of
Demosthenes (De admir.
1093
E.) says
that
;;
186

orator's
426
f^^^
one finds in the

TOi/?
speeclies
tmv
kol
pvO/jbcov
TroWaxv
aTravLoo^
avSp(oSec<;
Toij^
kol
dîco/xaTiKov<;
evyevei';,
8e
TTOv
vTTop'^rjfiaTiKov^
re
J.)
koL
Iq)vikov<;
koL
Si,aKXcofjL6vov<;.

to ionic
20
f.
even applies the epithet 'vulgar'

e</)'
rhythm
laiviKo<;
he Zta to tov pvdfiov (ôpTCKov,
Compare the use of this word in Aristotle's Politics (v. v. 9, 1340 b), where the terms ôpriKO'i and ekev6epLo]6r](Tav.
rhythms.
the
Aristides's
suggested
soft
it
inference
of the
character
of
rhythm from the

it
and effeminate habits

its
of the people
who used
writers,
and gave
name
is
often repeated
ionics.
by
later
but especially with reference to major
See the
passages quoted by
Amsel
in his dissertation
De
vi atque indole
rhythmorum, 101
426.
ff.
Vesp.
291-302 = 303-16
Strophe.
(Parode).
Ua.
292
Ko/5.
WeX-qa-eis ri /xot ovv

Trdrep,
tjv
<3
800
v-'w
crov tl ScTyâi
TraiSiov.
aAA.' el-
Trdvv y'
7re,
Tt /SovXcL fxe TTpiaa-Bai

oTfiai 8e or kpilv d- b
Trat.
295
Yla.
KaXov ;
(TTpaydXovs SriTrovdev w
pd At dXX
TTca
tcrâSas
iraTr-
wv^ ^ ^ v^w ^ \y ^ ^ v^^
^ ^ wv^
^ \j \j ^ ^ ^ \j
\j
v^vy
TyStov
ydp.
Kop. a.
ovk dv
421
v^v^-^-v^-vpels.
pd
Ila.
Ai",
el
Kpepaia-dk y
419
v^^-v.-^-ere
pd
d/To
At"
ov rdpa
t poire pil/io
tu Aoittov.
10^^
Kop. a
^ ^
v^v..-^^
21''
yap TovBe pe tov picrOapiov
^ _
301 TpiTOV avTov
(f>tTa
3C
e'x^tv
a A- 424
Kilyxj/ov
^./
v^
v^
v^
8et
Kttt
^vXa
^ ^
^ ^ ^
i^
<e
,> crv
8e crvKd
atVets
78
^^^
i]v prj
^ - -
Antistrophe.
Tla.
dye vvv & Trdrep

TO
^LKaCTTi'lpiOV dp-)^0}V
(jivrj-
305
Kadicry vvv, tto^cv

(Toped'
dpurrov
e)(êis
eX-
427
TTiSa
MINOR IONIC VERSE

^pi]<T~i']V
187
Tiva vuJv
';')
iropov
K.op. j3'
"EAAas Lepov
(^(v,
aTraTrai
fia At"
310
Ha.
Kop.
(3'
I'v'
ovK eywye vwv
oi8'
oTTodev y SetTTVOv ecrraL.

T6
p.
8yJT
(L
/xcAea
{J.yJTp
eriKTes
ifJLol
TTpdyiMaTa (36crKLv Trapexyj.

(L
dv6vi]Tov dp'
av-
XaKiov a'
e?xoi'
dyaXfia.
316
-rapa
I'wi'
o-TCvaêiv.
e Hermann Hermann &pa
:
ipx^v or
302 297 irainria Bentley Trania 314 d.p' w î'\d/ct6;' ff' (bpxoiv
:
304 Hpx^v Dindorf

a'
6v\dKi6v y
ionic
B (716) = abed, 21 3 4 2, pericopic tetrad: Monostrophic dyad. hypermeter of twenty-one metres (twenty in the antistrophe), See 772. trimeter, tetrameter, catalectic iambic dimeter. With ludicrous effect, Aristophanes See the scholiast on 308. changes the order of Pindar's phrase, "EAAas r-opov tepov, leaves the colon incomplete intentionally, and reduces the following dimeter to See 51. an exclamatory monometer. The omission of I e in thejast colon of the strophe is probably due
to accident.
Editors
who
reject
in
both strophe and antistrophe

p,
do not agree
vwi' a-rei'dêcv.
in their analysis of the clause crh Se crvKa
al-ds
Trdpa
and but any other form of catalexis See also Luthmer, is, very doubtful. in minor ionic cola De choriamho et ionico, 81, and Schroder's extended discussion of the in his Forarheiten, 97 ff., and his final conclusion colon ^ ^ - ^
Rossbach
( v^
(S/J^c.
Metrik^, 328) assumes

),
anaclasis
shortened catalexis
^ - v^ than ^ ^ -
in his Arisiaphanis Cantico., 13.
427.
Han. 323-36
= 340-53
w - ^
1^'
(Parode).
Straphe.
'Up., a
"laKX
w
iv expats
448
~oXvTijJ.y]T
IvâSe vai(DV,
^v^
"laK)l
v./^
v^

2^
^^v^
&
"laK'ê,
448
v^
v^
326 eXdl t6v6' dvd Aetpwva xopeva-ojv 422

ocTLOVs t? Oiarrwras,
-^-^^--^^- o
v^
420
421
5v^^ c;w
TToXvKapTrov
pel'
rivdcrcrdiv
^^_-_^-_
v^v./
Trepi
Kparl ctm /Bpvovra

dpacrel o'
330
a-T(fiavov fivproiV,
iyKaraKpovojv
188

332 334
TToSt
428
Tolv
OLKoXaa-Tov
Tt/Aav,
<îXo7ral(T[x.ova
\0
^ ^ ^ ^
y^
yj
^ ^
xapLTwv
irXeta-rov e'lôDcrav /xepos ayvdv.
lepav oaiots /^vcTTats
)(ôptav,
22
Antistwphe.
'H/x,. /3'
eyctpe
(fiXoyias Aa/x7raoas ev X^P^'' Tivacro-wv
"IcKX
<3
"Ia/<xe,
343 vvKTepov
<f>Xoyl
reXerijs (jnoar(f)6pos adT-qp.
(êyyerat 8e XeLfiiov
yovv TraAAerat ye/oovrcov

07700-660 vrat
Se
Awas
li'tavTOi'S
347
xpovcovs T
cTwv TraAatojv
349
351
Upas
(TV
inro rip.as.
cfieyytxiv
ctt
Se XapirdSi
e'ây
Trpof3d87]v
dvOjjpbv e'Aeiov
SajreSov \opo7rotov jxaKap yjâv.
323 7ro\vTl/j.7}T' Reisig Tro\vTL/j.^Tois 331 dpaael Princeps ^dpiret or Î'-po-w 333 4>i\oTrai(rfiova van Herwerden ti/jlclv Princeps tl/jltju (piXoTralynova 335 ayvdv Kaibel d7ra;' or 471/7;;/ 336 fj.vffTan Princeps iJ.vcrTai.ai. 341 xpo-^ Hermann xep<^' Ti'tp 7;k 350 <piyywv Bothe <p\iyu3v, which would be a reversion to primitive form (428, iv. and would involve a lengthening before mute and liquid that is not found elsewhere in the melic verse of Aristophanes. See 790 flf.
:
Monostrophic dyad. B (704) = abed, 13 2 22, pericopic tetrad, bacchiac monometer, ionic trimeter, bacchiac dimeter, ionic hypermeter
of
twenty-two metres.
See
772.
'free' ionics
428. In course of time minor ionic
variety
of
form.
is
An
modern
example
of this
ff.,
rhythm developed great licentious manner of

a parody that ridicules
composition
found in Thesm. 101

(' ')
This exhibits, in addition to the forms found in the severer type of composition,
the effeminate
tragic poet Agathon.
metres of the following constitution

i.
By
resolution
ofv^w
(419 ff.) as the first metre of the dimeter (9, 12, 13), and as the second (6, 8, 12, 13, 17, 18, 23) without the ordinary restriction (421).
iii.
and ^ ^ (3, 20, 22). ii. The form - v. - -
-^
^^-
(cola 11,
14, 21)
By
resolution of the foregoing

(15).
-^---(7,
and -
^^^
10, 19, 25)
429
iv.
MINOR IONIC VERSE

By
interior anaclasis of the forms
189
:
^ _ ^ _ (16) and what was probably the

V.
^ of
(20).
This
^ ^ and - v^ was a reversion
to
original form.
See 422.
By
resolution
the anaclastic form ^
- ^ -
^ - ^
(16).
vi.
The
is
protracted
(20).
It will be
form w ^ (424) within the colon observed that resolution of only normally long
syllables
allowed.
This
is
the ground of objection to the read-
-v^ ing Xeye vvv (or vlv) euTrto-rty? he rov/xov (^ ^ ^ ) adopted by some editors in Thesm. 105, not the correption of
vvv, which occurs in tragedy and might therefore be used in parody of a tragic writer.
429.
Tlusm.
101-129
(Prologue).
SIMULATED DUO ^ 'Ay. lepav 'xOov'tai'i Seww ^d/xevaL AayLXTraSa Kovpai ^ ^ ^vv (Xevdepta irarpLw^ 8t ôpiva-acrOe fSodv. 5^^ Xo. Tt'vt 8aLfi6vu)V o Kw/xos ^ ^ Aeye vvv' tticttco^ 81 Tovfiov 105 ^^ ^ 8aifiovas eêt arefSicrai.
v.-
v^
v^
^ ^ w w >^
^ ^

^ ~ s^ ^ 6*^
^./
ww
8^
'Ay.
aye vvv 6\j3iê Moucra

T^/Ducrewv
pvropa ro^wv
_^__ ^^__
10 ^w^^ wv^
^^ s^
^w
ôljSov, OS iSpiVaro
X^P"5
110
Xo.
yvaAa SiôvvTiSi
4>ot/3',
ya.
^^
X^^P^ KaAXto-rais dotSats

(V evfiova-ourt TifxaL<;
wpocfiepioi'.
_^__
^
^
^^
^ ^ ^ ^
S'^
yepas lephv
'Ay.
-^
v^^
6^
rdv T
ev opea-t 8pvoy6voL(TLV
15
wv.^---
ww
115
Xo.
Kopav deicrar "Aprefxiv dyporepav.

iofxai K\rjôv<ja (rp.vhv
118
'Ay.
yovov ok/Siôva-a Aarovs

"ApTifJLLV direLpoXexrj.
-'
^ - ^ ^ ^ ^ -^ ^ -^
^-^_
^ ^ ^ ^ 6^
s^^-S^
Aaroj re Kpovp-aTd
'AcrtdSos ttoSI
121
Xo.
Trapdpvdp.' evpvdpLa
^pvycwv 792
Siavevjuara Xa/JtTwv.
a-e/SofxaL
Aarw
dvaa-Q-av
^ ^ v^v^ ^ ^
^^
^ ^ ^ ^ ^ 7 ^
Kidapiv T jxarep' v/xvoiv
w^
-w
^ ^ ^
(f^
125
dpa-evL ftoa
86kljiov.
25 ^w^-
190
'Ay.
TO.

<f)dos
429
eWvTO
wv
Sai/ôvtot?
St'
342
ojXfxaxTiv
afierepas re
X^P'*'
ai(/)ViSt-
OV
OTTOS,
^^w ^^^
^^
^^ ^^
^-^
^^
.^
2^
^^
dvaKx' ayaAAe ôt/3ov.
78
30
w-w
- - ^
^
v^
2^
129 X"'P' oAîe
Trat
Aarovs.
570, 511
:
2'=
xop^â-aadai 103 xop^^'<^'^<^^^ Bentley iXeve^pg. 102 iXevdepig. Hermann 106 ^x Suidas ^x^'S 107 6X/3ife 105 TTLffTcos von Wilaiuowitz euTritrTwy 115 delffar' 114 opi/oYivoio-i^ von Wilamowitz 5puo76;'0((n Bentley: oirXiê <pu)S 126 ^dos Fritzsche doKifiqi ddcravT 125 56klixov Schol. Kiister 128 ôiôv Dindorf ôZ/Sov nâa
:
:
In 109 the augment

(790).
is
omitted, as often in tragedy, and
is
short
Aristophanes, as if in apology for the extreme licence he has allowed himself in metrical forms, has given the lyric as a whole a It is a non-antistrophic singularly simple and attractive structure. systematic period, composed of four intermediate periods, AABC, A = ab, 8 6, pericopic dyad octaarranged as an epodic tetrad. b = abcb, 5 6 7 6, proodic tetrad a See 770. meter, hexameter. pentameter as proode to two hexameters that enclose a heptameter. dactylic catalectic C = abed, 2 3 2 2, pericopic tetrad See 750. dimeter, dactylic trimeter, catalectic iambic dimeter, acephalous
: : :
Glyconic.
See
772.
Our poet has allowed himself the following correspondences of. ,v?w^-, ^ ^ - - ,^ ^ metres in paired subordinate periods
:
See von Wilamowitz,
Isyllos,
155
If.
CHAPTER
IX
PAEONIC VEESE
430. The fimdameutal colon of paeonic verse is the dimeter, which consists of a combination of two simple feet, two paeons or their equivalent, two cretics or a paeon and a cretic (8 iii.,
iii.)
[xiap Kal l38eXvp
Trpoa-TaTet prjTopwv
Savorara tou depovs

ou;( Ojoas creLopievov
;
^ ^^ ^ ^ ^^ v^
v^ Eq. 303 ^ Eq. 325 w Pax 1134 w Ach. 344

wv./
^-^^
The
last
combination
is
the least common, but the
it is
legitimate.
measure of ten primary times, the simple foot or metre (13) being hemiolic. Paeonic verse is in descending rhythm.
431.
paeonic
dimeter has
432.
The paeonic trimeter

PocTKopeOa Tzapdkvia
consists of three
simple feet or
:
metres, and has the measure of fifteen primary times

rjpivd T
w KUTaXafSp',
(0
^^
^
- ^ - ^
- ^
Av.
1099
KidapaoiSoraTe
- ^
'i)koXov6ovv S'ar'AAco T/oe^wv
^ -w^
- ^ -
Eupol. frag. 293

Ach. 214
_^_
crov
- ^ ere
y'
oLKOvawpev
aTroXer
kuto.
_^_ -^_ -^^

(OS
Ach.
294
675
f.
epe XafSova-a tuv SrjpoTqv
The trimeter
is rare.
^^
- ^ -
- ^ -
Ach.
433. Trimeters sometimes occur in pairs in the analyses of Heliodorus where a triple dimetrical division would be expected, and
191
192
is
434
of
His text thus sometimes avoided dimeters adopted in this book. the form ^ ^ ^, but these are legitimate. See Ach. 665 ff. (453) and the metrical scholium. Heliodorus also classifies the
tetrameter as a colon, where dimetrical division is imperative, since the tetrameter would be an isomeric compound foot and would exceed the allowed limit (22 f.), but this usage is probably mere licence of speech, just as he calls the trochaic tetrameter also a colon. Furthermore, it should be observed that Heliodorus does not use the terms St'/Aer/jov and rpijxeTpov to designate the dimeter and trimeter, but invariably Sippvdfiov and rptppvOpov, since he does not, as Hephaestion does, include paeons among the principal metra 'metra prototypa.' Paeons, in fact, occur See Hense, Heliodoreische Untersuchungen, 11 9 fF. only in melic composition.
434. The monometer does not occur.

in Ach.
note.
The apparent instance

See the critical
971 (456)
is
probably not authentic.
435.
hemiolic
metrical
dicolic.
The pentameter might occur as a colon, since it is a compound foot (24), but Heliodorus rejects it. See the scholium on Ach. 284 ff. (452) in which 294 f. is called
No
longer colon than the trirrhythmon
is
recognized by
Heliodorus in his analysis of any of the paeonic odes of Aristophanes.

436. Eesolution
cretic
of the long
syllable
of
the
thesis
of the
form of the paeonic metre rarely occurs.

ff.)
Hephaestion
(41. 7
V
notes this licence in a period in the

8'
Hushandmen
Ar. frag. Ill
dyop^
av TrXaravov
-^
y.^
^^
ev 8La<f>vTeva-oiJLv
^ ^^ ^
Cf.
Av. 246 (595).

437.
A
:
single
catalectic
paeonic
period
occurs
in
Greek
comedy
)(eT
Aet/xwva t
epo-
w^
v^
^^
VTa MapaOwvoi
Cf.
^
See 34.
^J^'
Av. 246 t
all
Heph. 42. 15
438.
ff.
With
this
exception,
sub-
ordinate periods in Aristophanes close with a cretic.
long syllable does not admit protraction in paeonic
verse.
See 32.
439. Dimeters and trimeters are not used independently as
subordinate periods.
verse
is
The
is
favourite subordinate period in paeonic
the
tetrameter,
its
composed of two
dimeters,
but
in
Aristophanes
use
almost restricted to stichic formations,
442
in
PAEONIC VERSE
Ach.
193
ff.
as
976
ff.
(456),
Vesp.
1275
(457).
With one
exception (Ach. 984) the tetrameter in Aristophanes consists of

three paeons and a cretic.
The same form occurs
also in Eupol.
Aristophanes uses the penta160, Ar. frciff. 110, 333, 507. meter, hexameter and octameter freely. These may consist
solely of cretics, as in Ach.
214
f.
(449), Uq.
322
(451), once,
in an octameter, solely of paeonics, except the last metre (Ach.
216
ff.).
Generally, however, there
is
great variety of arrange-
ment, but the principle holds that cretics are placed at the
beginning and close of the subordinate period, paeons within
it.
It seems reasonable to conclude that fragments which are quoted from the comic poets as tetrameters but have not the
of the tetrameter (- ^^ -^ - ^ ^ - ^^ ^ _^_^ were parts of hexameters, octameters or hypermeters. Of. Phryn. 57, Aristoph. /m^. 334, 699. See also Eubul. 112. Theopompus, on the authority of Hephaestion (42. 8 ff.), affected a pentameter composed of four paeons and a cretic, the
regular form
see above)
'
Theopompeum
TravT
'
ayada
8rj
yeyovev avSpda-LV
efxrjs
aTrh
crworma? Theopomp. 38
freely. Aristophanes has employed the dodecameter six times in the plays now extant and a hypermeter of eighteen metres twice. Hypermeters show
440.
Paeonic verse admits hypermeters
great variety of form through free mingling of paeons and cretics.

441. On the combination of subordinate periods, hypermeters and intermediate periods to form systematic periods, see 720 ff. 442. Paeonic rhythm has special affinity for trochaic rhythm. It is combined, in the paeonic and occasionally in other odes of Aristophanes, also with iambic, anapaestic and dactylic rhythms. Cf Ar. frag. 506, in which a paeonic series appears to be introduced by a melic anapaestic trimeter
aAt?
d(f>xn-j'S
fxoi,
271 yap ra Xnrapa KaTTTWv.
^.~^^^
Traparera/zat
.^-^
^^..^
d/\/\a (jiepeO' rj-rdnov

t)
KaTTptSiov veov
KoAAoTTa Ttv'
irXevpbv
(nrX.rjvd
n")
el
Se
/X7y,
i)
yXwTTav
i]
vrjaTLV,
SeA^ttKOS
OTTOjpLVlj^
rjTpiaiav cfiepeTe oevpo fJ-e'd
_^_
10
Ko\kdfS(DV X^'-^P^^''
^ ^^ w ^^ ^ .^ _ ^ _ w ^^ ^ ^ ^ ^ _ _ ^ _ _ ^ _ v^ ^^ ^ .^ ^ ^ v^ 17
^^
194
Cf. also
443
paeonic series of which only the beginning

Tous
/jtev
Anax. 12, in which an enoplic pentameter introduces a is quoted

opetovo/xot's v-
[xwv
TTOtija-et 8eX(f)aKa<s
rjXijSaTovi,
475 483 ^
ww
Tovs Se Trdvdrjpas, aX-
Xovs dypuxrras Xvkovs

<r5>
XeovTas
....
v^ w v^
v^w v^v^ ^ ^
v-v^
5*^
of the nine associated rhythms.
In the celebrated monody in Av. 227 ff. (595) paeonic is one See also Ban. 1359 ff. (592). 443. Correspondence between paeon and cretic ( - v^ ^^ and
v^
is
allowed in strophe and antistrophe and in two correit is
sponding subordinate periods, but
not common.
444. In the tetrameter and in the longer subordinate periods
The and hypermeters cola are frequently joined within a word. principle that the close of a cretic must coincide with the end of a word does not hold in comedy. Cratinus, in a 445. Heliodorus names this verse paeonic. well-known verse of the Trophonius {frag. 222), calls it cretic. On the probable relation of the cretic See Heph. 40. 8 ff. On paeonic-trochaic rhythm see 223 ff. to the paean see 620. 446. Paeonic rhythm is not found in the last five plays of Aristophanes, except in a single subordinate period in a parody It is spirited, and was {Pmti. 1359 f., 592), nor in the Clouds.
regarded as especially adapted to the
Aristides (98 M., 60. 1
ft".
movement
:
of a lively dance.
J.) implies that
hemiolic rhythms are

roi?
S'
even
livelier
and quicker than
trochaic
iv
rjfiLokca)
Xoyo) Oecopov/xevoci ivdovaiaa-rtKcorepoL'i elvai
<TVfjbl3/3r]Kv.
'
He
evidently applies the epithet in the sense

ing') in which Aristotle uses
in his classification of melodies
it
:
('
passionate,'
vii.
inspir-
in his Politics (v.
1341^)
ra
fiev rjOifcd,
to,
Be TrpaKTiKu,
ra
8'
evdovaiaaTLKa.
Aristophanes has the rhythm chiefly in

a lively young
the Acharnians and Uquites, plays written in the heyday of his
youth,
when he was himself
man
about town.
In the parode of the Acharnians (204 ff., 449; 284 ff., 452) it in the is used to express the rising excitement of the chorus
;
parode of the Equites (303
450; 322 ff., 451), in passionate Emotion is expressed in the second denunciation of Cleon. stasimon of the Acharnians (971 ff., 456), but the tone is milder. The language in which the Muse is invoked at the beginning
ff.,
449
PAEONIC VERSE
(665
ff.,
195
of the parabasis of the Acharnians
453)
is
significant:
Bevpo M.ova iXde (pXeyvpa Trupo? eôvcra
fievo<; vtovo<; Â.'yapviicri
Compare
also the phraseology at the close of the strophe.

is
The
sentiment in the antistrophe

ing plays the scene
is is
bitter complaint.
In the follow-
often domestic
quite appropriate to
comedy that
odes lively sentiments should

dinner.
and the tone lighter. It some of these paeonic be inspired by the prospect of
in
Bacchiac Khythm
447.
The bacehius (8
iii.,
iii.)
is
hemiolic
it is
foot
little
and
used
belongs in the same class with the paeon, but

in
Greek poetry and hardly

f.)
:
at all in
comedy.
Cf.
Hephaestion
el
(43. 1
TO Se â/cêtaKov airdvtov icmv, ware

iirl
Kal irov
TTore ifiTrecroL
j3pa-^v euplaKeadai.
448.
Two
bacchiac dimeters in correspondence appropriately

the
open
the
parode of
Ranae (316
f.)
with
invocation
of
lacchus
"laK^
"laKx'
cS
"IttKê
v^
v^
v^
^ ^
w "IaK\e
its
^
this
^ ^
The
foot
derived
name from
begins with a monometer (427).
use. The following ode For other dimeters see NvJj.
708
(289), Vesp.
317
single tetrameter is
(577), Ran. 325 (427), 1346 (592). found in Th. 1144 (387):
(3
^dvqd'
Tvpavvoxs
crruyoiicr'
locnrep
etKO?.
Lykics in Paeonic
449.
Ehythm
(Parode).
Ach.
204-18 = 219-33
StrojjJie.
Kop. a
196

(ftpovBo'i.
o'lfiot
450
TaAa?
TWV
211 ovK av
T(OV
kir
TWV
^(xyjs
efJLWV
ye Vo(fyepojv
Tr)TO<i,
OT
eyoj
dvdpuKWV
Se
cf)OpTLOV
Tpe-ôiv,
214 rjKoXovdovv âvXXo>

<f)avXix)S
av 6
e-
216
(nrov8o<ji6pos ovtos vtt

fjLOv
Tore StwKo/xcvos
i^<f>vyev ov8'
(jipw<s
av e\a-
av
OLTreTrXtâTO.
^ ~^ ^ ^^ _ w 15 w -^ 51 v^ ;^ v^ ..^ w ^^ 20 w =^
10
v^
w w ^ -^ ^ _
v^
-^
.^>^
6^
w
^^
v^
^
5^
^ ^
^^
.^
c;
8^
Kop.(3' vvv 8'
eTTCtST)
crreppov
i/Sv/
tov/mov avTii<vr]juov
220 Kat
/i.7jSe
TraAatoj AaKpaTei8rj to CTKeAos fSapvveTai,
ot';s(CTat.
7re/D
StWKTeos Se*
ji^
yap
ey^âvoi ttotc
yepovras ovra? iK<jivywv

ZeiJ Trarep Kai
A\apvea^.
avêrac twv ep-wv X'^P"^^''
avTeyUTrayw
'H/x. ^' ocTTts
w
TTO/D
êot TOto-6V x6potcriv icTTretVaTO,
226 229
otb-i
e/xou 7roAe/;tos ixô8oTros

tt/div
Koi'K
dv'/^cro)
av crxoivos
aTJTOtcrtv
231 ovs
oSvv7;/)bs eTTtKWTTOS, iVa p^Trore Trarwcriv eVt rots e/uias d/;i;reXoi;s.

:
220 AaKpareldrj Bentley
AaKparidri
221
iyxo-voi.
Brunck
eyxdvy
A is a stichic Monostrophic dyad. (204-7, 208-18). B = aabc, period composed of four trochaic tetrameters. See 778. 6 6 5 8, epodic tetrad two hexameters and a pentameter, with an octameter in the strophe, but heptameter in the antistrophe (51), as
:
A = AB
epode.
See 743. See the metrical scholium on Ach. 204 and the comment in 728. Heliodorus is here followed in regarding 204-8 = 219-22 as melic.
450.
Uq.
303-13 = 382-90 (Debate

StropJie
I.
L).
^Hfi. a'
fXLape Kal /SSeXvpe
KpoLKTa Tov arov dpaa-ovs
305
Trdcra /xev yrj

Traara 8'
TrAea,
eKKXi](ria
Kal reXrj Kal ypacfial Kal 8iKaa-T-qpt

S>
51
r}-
(ant.
(3op/3opOTdpaî, Kal
310
rr]v ttoXlv aivacrav

p-Civ
dvaTTvpl3aKOj'5i'ip.(ov
Ko/3. a' ocTTis
Tcts
'AO/jvas
(3o(Jjv
212
iKKeKuxfiioKas
^ -^^ v^ <^ ^ ^^ ^ w -^ w v^ w v^ 5 ^ vy ^ w ^ v.^ v^ ^ ^^ v^ 18^ ^ 10 v^ ^ ^^ w
^^./
451
313
Kairo
PAEON IC VERSE
twv TreTpwv avwêv
<p6povs dvvvocTKOTrwv.
197
v^
Toi's
_^_^ _^_4
I.
Antistrophe
'H/x. /3' v/v
apa TTvpos <y> erepa

dep/JLorepa Kal
X.6ywv
V TToAei Twi' dfat-
385
Kat TO Trpayfx
yv ap' ov (f)avXov
wS',
uAA'
ixr]8v
7ri6^t
Kat (TTpofêi,
Trotci.
p.kcro<s.
oAtyoi'
388
Kop.
13'
vvv yap ;(Tai
ws eav
ai'Toi/
vvi'i
fxaXd^ys
ry Trpo(r(3oXy,
390 5eiA6v
evpjorets*
eyw
701/3
Tors TpoTTovs
304 KpaKTa Dobree
eKKKil)<}rt)Kas
:
iTTicrrapLai.
xai
or KKKiJj(pevKas
KpaKra or /cat KeKpaKra 382 7' Princeps om.

:
312 KKeK6<piOKas Reiske
First
dyad (AA)
of
:
au antistrophic pericope.
See
705.
A = abb,
a paeonic hypermeter of eighteen metres in proodic triad the strophe, seventeen in the antistrophe, as proode to two trochaic See 738. tetrameters. See the metrical scholia on Eq. 303 ff. and 382 ff. and notes.
18 4
4,
451.
Eq.
322-32 = 397-406 (Debate

Strophe II.
I.).
'H/A.
a apa
Srjr
ovk
(xtt
dp-
Xrjs eSvÂovs dvai-
324 326 y
'
Seiav
iJTrep
{xovrj
TTpocTTaTel pyjTopMV
(TV
TTKTTevwv d/xeAyets
t/
V /
212
Ttuv êi'cov TOi;s KapTTip-ovs
327 TrpwTOS o5v
o S' 'IttttoSci/xou
XeijSeTaL ^coj/xevos.
^ ^ ^ v^ ^ v^ w v^ 8 w w K^ tCV _^ _ _^^_4 w c; v^ w w ^^4
328 dAA'
k^dvi]
yap
dvijp 'drepos
oAi'
389, 342
-^-^ -^-^
crov fXiapioTepos,
iocrre
lie
;)âiptv,
330
331 332
OS
ere
irava-ei
Kal TrdpeKTi.,
212
78,
51,
877A0S co-Tiv auToêi-,

Trai'OvpyLif.
re Kal dpacret
506
511
KOI KofiaXiKevp-acriv.
198

Antistrophe II.
452
'H/A. fi' 0)5
Se
TT/DO?
TTav
di/atSei'eTat
kov
[j.e6t(TTijcrL
rov
xpoj/zaros
tou
TrapeCTTTJKOTO'i.
400
402 404 405
ci
cre
yui)
/xtcrw,
yevoijm)V iv l\.paTLVOV KwStov

rrpocraSeiV
fAopcri/xov
Kat
(5
SiBacTKoiiJLTjV
TpaywSta.
Trepi ttcivt'
Itti Tracrt
Tt Trpayyaacri 8wpo8oK:otcr6v
eV
avOecriv t'^wv,
ei'ê
<f)avko)s bxnrip i]vpes
eKâAots
"-irii'e
t)v ivO^criv.
ctti
aa-aifJLi
yap tot av ôvov,

325
pTjTdptxJv
ttu''
rdij'
<TVfi(fiopai'i."
Bentley
prjTopaiv
B = ab See 705. Second dyad (BB) of an antistrophic pericope. A = abb, 8 4 4, proodic triad: a paeonic octa(322-27, 328-32). B = abc, 4 4 4, See 738. meter as proode to two trochaic tetrameters.
Aeolic dactylic tetrameter, trochaic tetrameter, triad diiambic tetrameter in the strophe, diiambo-Glyconic tetrameter in See also 732. See 771. the antistrophe. See the metrical scholium on Eq. 322 f. The Glyconic dimeter in the last colon of the antistrophe is a
pericopic
:
quotation from Simonides (frag.
Bergk *).
(Parode
II.).
452.
Ach.
284-302
= 335-46
LYRICAL DUO
Strophe.
At.
'Ûpa.KXet'i Ti]V
Tovrt Tt
0"Ti
212
)(^VTpav crvvrpLifere.
w ^ ^
w ^ ^
vy
4^^
Kop. a
ere
/i.ev
ovv KaraXevcrofxev & pLapa KetpaAiy.
277
At.
di'Tt
^-^- _-^- ^_
3-^^
TTOtas at'rtas w;
^âpvediv yepaiTaTOi
212 5
Kop. a TOUT
ep(i}T<^<s ;
dvatKttt
o'Xi'i'TOS
ct
fSSeXvpos
289
291
At.
<5
TrpoSoTtt T7}s TraTptSos,
oo"Tts rjp.(av yxovos

o-!ria-dp.vos
eha
Svi'a-
o-at irpos
e/M
dirol3XeTriv.
d-
dvTi
8'
Siv
ka-TViia-djii-jv
KOV(TaT,
dAA'
dK0U0"aTC.
;
w v^ v^ 4 w w v^ ^ x^ ^ ^^ ^ .^ w ^ ^^ 10 ^ -^ w ^^ ^ ;^ v^ ^ 12^ w w 212 v^ w ^ ^^^4^
w
v./
Kop. u' o-ou y
aKovawpev
dTroAer
KaTa
ere
Xwo-o/xev Tots Allots.
15
At.
p.7]8ap.ws Trplv
av y dKovcrr]T dAA' dvdcrxecr^' dyyadoL

dvacrîjcrofxai
"
212 w
c;
Kop. a
ot'K
^ _ ^ _
^ b^ ^ ^ 4^ _ ^ _
v./
452
PAEONIC VEESE
yMTjSe
(US
199
298 299
Aeye
/xot
(rv
Xoyov
20
i-
[J,iJi.icrr]Kai
(re
KAe-
wvos Ti fiaXXov, bv
yw
KaTaTefxiii)
ttoO' 'Itt-
Trercrt
KaTTVjxaTa.
k^ ::^ w v^ v^ s^ w
>_/
v^ v^ ^ ^^ w v^ v^ ^^ ^ ^
12^
At.
ws uTTOKTei'w,
KeKpa)(^d'
e-
yw yap
Se
oi'k
axovcro/xat.
Kop./5' arroAets ap' opyAiKa tov<fiLXavdpaKea

;
At.
ov5' e/xou AeyovTos
I'/xets
dpTiwi ijKovcraTe.
Kop.fS'
dAAa yap vGf Aey,

o"ot
et
SoKEt,
Toi'
re
AaKert
</>tAo'j,
339
8atjU,ovtov
aur&v o
(rova-rl
Tw
340
At.
COS
rpoTTii)
ToSe TO XapiuSiov
ov TrpoSuxroi ttotL
Toi'5
Xi9ov<; vvv [lot x.ajxaê.
irpMTOV eêpda-are.
Kop.
(3'
ovTOiL
(TO!,
-xaixai,
Koi a-v Kard-
OoV
At.
CtAA'
TTttAtV
OTTOJS
TO
^l<f)0<i.
pi) 'v
TOIS rpLp<J)(TlV
eyKdOy^VTac irov Xidoi.
Kop.fS' kKcrk(rL(TTaL
OL'x
)(afxd('
o-etd/Ai'ov
;
opas
345
346
Hamaker
:
aAAa pvy p,ot Trpoffiaanv, dAAa Karddov to ySeAos, ws oSe ye o-cto-Tos dpa
Try
crTpo(f)yj
K,,
yiyvcTat.
oi}/c
293 dKoyo-ar'
ovk iVar'
cri,''
lare A,
oiy/c
iVre re or
:
r'
or 7' cet.
294 dKoijauixev Elmsley (R) or hv cet. 298

'iTTTrero-t
aKOvcrofiev
296 df y
:
Y~ (Bentley)
5?;
cri)
7' av
TAE,
7'
Hermann
rj\i.Ka
and
TTore (for ttot'
dpa rbv
301 Trot?' or av cet. rocs or ro'iai, imreva-i, 6' ijXixa or is) in other MSS. 336 dp' o/mrjXiKa Reisig Spa 341 Xiôns vvv jxoi. Bentley : vvv ixoi \ldovs
/txot
Hermann
<ry /xoi
R,
Tolaiv 'nrirevcriv ttot'
e's
ErE, with variants
apparent hiatus in 285 = 336 see Lys. 479 (303) and note. The strophe and antistrophe constitute the dyad BB of a proodic See 717. B = aa (284-92, 293-302). See 728. A = abac, triad.
On
4 3 (5) 4 12, epodic tetrad: two trochaic tetrameters that enclose an anapaestic pentapody (77) in the first half of the strophe and a paeonic pentameter in the second half, with a paeonic dodecameter as epode.
See
748.
See the metrical scholia on Ach. 284
ff.,
with the note, and on 335
ff.
200
453.

Ach.
453
665-75 = 692-702
Strophe.
kXOe (pXeyv-
(Parabasis).
'H/i. a' Seupo
Mow
TTi'pbs
'
pa
exovcra fxevos
eVrovos
A\apviKy].
667 oiov e^ dvOpaKwi'

TTpLVLViDV <fi\paXoS d-
VTÂar
epedLôjxevos
piTTiSi,
ovpia
670
671
?)vtV
cii'
iiravdpaKiSes
wcrt 7rapaKt/ivai, ot
6e GaCTiav dva/cv-
Kwcrt XLirapafXTrvKa,
672
ot
Se /AciTTwcriv,
TO)
ov-
crofSapov iX$i /xeAos
cVtovov dypoLKorepov
o)?
/xe
v^ w ^^ y^ ^^ v^ 5 v^ ^ .^ K^ w <^ w ^>^ 10 ^.^ ^ v^ w w ^~ ^ >^
^ ^^ w ^^ ^ ^ Q^
v^
^^
v^^^
v^
Kj
^
v^
8^
v^ ^>^
v^
4^
w^^"
^ w w
_<
^-.-.
4^
~
v-^
v^
Xa/Sova-a rov S^yiorqv.
15
^^v^
_,^^
_^_9
Antistrophe.
'H/i,.
^' raura
ttcus
etKora, yk-
povT
dwoXecraL ttoXiov
irepl
dvSpa
KXixpv^pav,
694 TToAAa 87) ^v/xTTOV-)]aavra Kai dep/xov

Spwra
Sr)
dirol-
ixopâjxevov dvSptKov
Kal ttoXvv,
]\Iapa;
697
dvSp'
dyadov ovra
Trepl
OwuL
TrjV ttoXlv
/xev
698
elra
MapaddvL
or
t'jfxev
eSiwKopev,
699 I'W 8 VTt' dvSpoJV TTOVI]pMV cr(fi68pa SnoKOfJiedu, Kara TrpoaaXtcrKOfieda.
702
Trpos rdSe
rt's
dvre/jet
Mapxptas
:
Monostrophic dyad. A = abccd, 6 8 4 4 9, proodic pentad a hexameter as proode to a periodic tetrad composed of an octameter, two tetrameters, and a nonameter. See 753. See the metrical scholium on Ach. 665 ff. See also 433.
454.
Paa; 1 1 2 7-3 9
115
9-7 1 (Parabasis
78,
II.).
Strophe.
'Hyti. a' ij8op,ai
yjSofiai
38
Kpdvovs aTrrjXXayfiivos
rvpov re Kal
Kpofj-fxinov.
^ v^ ^ ^
c;
^ v^ _ _ ^ _
455
PAEONIC VERSE
ov yap ^tXi^Sw
[xd)(âi<;,
r>
201
1130
uAAa
Kwv
Trpbs TTVp
fier
SuXkrai-
dvSpwv
pwv Twv
(fiiXwv,
KKeas
^t'Awi' ttTT ai' y Savorara rov depovs

KTrTrppvL(rp.h'a,
1135
10
KavOpaKi^wv TOVp(.(Siv6ov
T7/V T
cf)r]yoif
212
ep.Trvpevo}V,
w v^ w
v^
v^
v^
w ^
^ w w
;(a/xa
ti)i'
Qp(].TTav
kvvwv
1139
TTys
yt'vaiKos Aov/xevr;?.
gc _^_v _^_^ _^_2^
w -^ w w ^ ^
12^
w v^ ^
'H/i.. /?' vyi'tV
ai'
S'
dx^''""^
I'^Si't'
1160
aSi^
Toi'
vofJLOV,
Siaa-KOTTWV ij8op.at
ras
Avj/Livtas
d/xTreAoDS,
vj-
1163
et
7r7ratvouo-tv
8rj
TO yap ^^tv
(fivcret'
TTpco-
ov
tov t
^tj-
Aryx
opwi' otSdi'ovr
1166
eW
oTTorav
ij
TreTrwi',
Kdirkyw Xo-p-a (l>rif^, " &pai ^lAat," Koi

ka-Q'na
Tov dvp.ov rpi/Soiv KVKWp.aL'
1170
Kara yiyvop-ai
Tragi's
Ti]ViKavra rov 6(poi>s.

1135
d'
Hermann
iKTreTrpLafieva or iKTreiruffneva tKireirpefii'iafiî'a Bergk 1165 otSd^'oi'r' Bentley : : V^/ca 5' &v or rivW Slv
:
1159
oldaivovr'
r]vlK
hv
1170
yiyvo/xai
Brunck
ylvoiiai.
= abed, 8 12 6 2, pericopic tetrad iambic Monostrophic dyad. octameter, paeonic dodecameter, trochaic hexameter, trochaic dimeter.
:
See
772.
ft'.
Heliodorus analyzes See the metrical scholium on Pao: 1127 cola 5-8 into two trimeters and a dimeter in the strophe (1131-3), but into trimeter, dimeter, trimeter in the antistrophe (1163-5). See
433.
455.
.^v.
1058-71 = 1088-1101
Strojjhe.
(Parabasis
II.).
'H/i.
i]8-i]
'
pol Tw TvavTo-Tu.
281
2^
KoX avTapxa. dvrjTol TrdvTfs
^^
1060
$v(rov(r
evKTatats ez'âts.
oTrrei'dJ,
irdaav pkv yap ydv
202
crw^co

S'
456
ei'âAets Kaprrois
yei'i'av
4^
2*^
KTLV(jjv 7ra/i</)i'Awv
di]p(t)v,
a TrdvT
kv
yaia
____
10
___2*^
w
w^"
1065
1066 1067
K KaXvKos ai'âvo/xI'ov
yevi'cri
7ra/x<âyois
e(j6i//xeva
SevSpecri t
Kapirov diro/Soa-KeraL'
KTet'vw S'
ot
v^ v^ v^ ^
..^
^^ ^^ .^
_ ^ _ v^ _ ^ _
K^TTOVS
e7;a)8ets
281
4
(f)dipov(TLV
XvfJLai^ exOLO-raiq-
1069
epTrerot
re Kat SctKera <7ra;'^'> oaairep

{'tt'
1070
ecTTiv
1'
/j,a5
Trrepvyos
(ôvais oAAnrat.
^ ^^ w.^ ^v^ 15 ^^^ w-^" -^ ^

T''
'Hyu., /5'
evSaifxov cfivXov irT-qvwi'
1089 oio)V(ov, 06 êtyttwvos /xtv )(Aati'as oi'k a/xTricrxi'oi'i'Taf 1091 ouS' au dep/xT] irvtyovs rj/JLas olktIs rv/Aauyiys ddXirei, 1093 aAA' dvOrjpiJjv Xetp.h)vwv
(fivXXcov
<T>
ev KoATTOts vatw,
1095 1097 1099
riviK
dv 6
dea-n-ea-ios
o^v
p.eXo'? d-xeras
6dX~e(ri fiea-i^pPpivoh iqAtofxavi]^ (Sod.
xîfxa^d)
I'lpivd
6'
tv
KOiXois dvTpoLS
TrapOevia
vvix(jiais
oi'/Det'ats
^v}jLTrai^(DV
'
/SocTKoixeOa
XevKorpocfâ
p-vpra
XaptTWV re
Kr^Trer'yuara.
1060 ei^xat'y Bentley evxo.1aL[v) ot 1064 & Dobree 1065 Dobree 7ro\v<pdyoLS 1066 icprjixiva Dobree ecpe^dfievoi or ((peô/uava (pdelpovcTLv Bentley Sd/cera <jr6.vd'y Sd/ce^' (pdeipovai 1069 Dissen t' Bentley 1095 6î> /iAos Brunck o^vêXrjs, o^vfieXTjs, or ^ûo/aeXrjs
: : : :
:
TraiJ.(j)Ayoi.s
1068 1094 1096
riktofiavrj^ Sllid.
vcprfKLOfiav-qs
R,
i/<j!)'
r/Xitjj
fiaveis
V
:
A = abbaa, 1065-71). epodic pentad in anapaestic rhjthm a palinodic tetrad composed of a paroemiac, two tetrameters and a second paroemiac, with
Monostrophic
2,
dyad.
A = AB
(1058-64,
2 4 4 2
a third paroemiac as epode that repeats the melody of the first and fourth periods. See 757. B = abc, 8 4 7, pericopic triad paeonic See octameter, acatalectic anapaestic tetrameter, paeonic heptameter.
:
771.
The contrast in form of the anapaestic and paeonic lines marked as possible. Cf. the spondaic anapaests in Iân. 372 ff.
456.
is
as
(301).
Ach.
971-985 = 986-999 (Stasimon

Strophe
I.
II.).
'Hyu..
efSes
irdara ttoXl
tov (ppovipov
dvSpa Tov
VTrp<TO<fiov,
973 oV
'iyei
cnreia-dpevo? ipTropiKa
Scep.TroXdi',
Xpyjpara
y^ w -^ w v^ ^^^
^ ~^ 5^' w ^ -^ ^ 5
'c;
v^^^
v^v^
"
456
PAEONIC VERSE
/xev
203
5
974 wv ra
iu olklu
TO.
5'
^pi'l(TLjia,
ai'
TTpiTTei
^Xiapa
Karea-Oiiti:
w w
<^ -~'
^/.^
w
v-/
^^
>^
Strophe II.
K.op.
avTop-ara Travr
dyada
10
TwSe ye Tropiêrai.
977
oi'SeTTOT
iyio IIoAe/xov
otKaS' uTToSeô/xat,
978
979
oi'Se
Trap
ep-ot
ttotc
tov
'ApyuoStov acrerat
^(;yKaTaK-Aivets,
on
ira-
pOLVlKOS dvijp
((fiV.,
15
I-
980
981
ocTTis
cTTt
TTttVT
dyd6'
>(ovTas 7rtKW/Aacras
I'jpydcraTO iravra
KUKa
20
KdverpeTre Kuêyei
982 Kdp.dx^To Kul TrpoaeTL

TToAAo, TvpoKaXovpAvov
983
"TTtve KardKeLcro Xa/Se

TvyvSe <îXori](TLa.v
w ^^^ ^ ..^ v^ -^ ^ ^ ^ w v^ w ^ w s^ v^ w^^ ^ .^^ v^ ^^ w ^^ y^ ^^ ^ .^ ^

<.
^ v^ ^ ^ w v^
>
^ -
-.
VH
-.^^
984 Ta5
x^P'^'^^s iyTTTe ttoAu

t<o 7rv/3i,
fSua.
^
25
>^
yuaAAov ev
985 eêxet
^'
i^/twi/
tov
212
ofl'OV
EK TaJV U/XTTfAcul'.
v^ =^ - ^^ ^
w
^^ v^
>^w
^^
^ ^
v^ v^
^^
^ ^^ ^ ^ <^^
v^
v^
4:
4^"
_ ^ _ ^ ^
4.
Antistrophe
'H/j,. fi'
I.
S?)
eirrepwrai r
ctti
to SetTrvov a/xa Kai p.eydXa
(fjpovei,
riJiv
Tov (3lov
S'
eîfiaXe Setypia KjdSey rd Trrepd Trpo
Ovpwv.
988 w
Kvn-jOi8t rrj
KaXrj Kal XdpiCTL rats (fiiXats ^vvTpo(f> AtaXXayyj,
Antistrophe II.
Kop.
(S'
COS
KttAov
ai'
e'xoL'cra
tu TrpoawTTOi/ ap
Tis
eAavâves'.
991
7rw
yu.e
Kat
ere
"Epws ^wayctyoc XafSuv,

e^wv
(rrecfiavov
/xe
ioa-n-ep
i)
6 yiypap,p.evos
I'o-ws
dvOkpiov.
cri';
-dvv yepovTLOV
ere
vevo/xtKas
y'
tti'
dAAa
995
Aa/3wv
r/aia
Sokw
eVc irpotrfâXdv
p.aKp6i',
n-yawra /xV dv d/iTrcAtSos
opxov iXd(r at
elra Trapd Toi^Se vea jjio(rxtSia crvKtSoiv,
Koi TO TpiTov
/cat
TTC/Dt
i}/xe/DtSos
opx*^*'?
" yepwv oSi,

1'
TO X<i)pLOV
cr
fX^tSttS
utt'
UTTttV
KVkAoj,
999
wo"T
dAetcêo-ât
avTwv
nci/xe
Tats
vor/xryi'tats.
'
204
971
flSes

w Suidas
: :
457
979 987
eldes
etSej
u).
Compare the
Elmsley
:
antistrophe
Ka.viTpa.Tre
irapoLviKbi
Elmsley
irapoLvios
981
Kavirpewe
deTyfia rdSe
Brunck
dely/xara or Sdy/xa,
The ode is an antistrophic pericope, AB = AB. See 705. A probably = aa'b, 5 5 6, epodic triad two pentameters, with a hexameter
:
as epode. in
See
737,
775
f.
is
a stichic period of ten tetrameters
but nine in the antistrophe, of which nine in the strophe and eight in the antistrophe are paeonic and one trochaic. See 778. See also 51. See the metrical scholium on Ach. 971 ff. Heliodorus rightly denies that this is an epirrhematic syzygy, such as Ach. 665-718
the strophe,
(453),
and gives
VS23.
his reasons.
457.
1265-74, 1275-83
Strophe
= 1284-91
^ <^ w ^ ^ ^ ^
v^
(Stasimon L).
I.
'H/x. a
TToAAaKts
Si)
'8o^'
ifjLavT(p
212
Sextos TTiffiVKkvaL koI

CTKaios oiiS7rw;roTe
^^ ^ ^ 6*^^
v.^
1267 aAA' 'A/xDVtas 1268

1269
otiTOS,
SeAAou
Kp(i}/3v\(i>v
_^__
v^ ^
v^ yj
fxaXXov ovK Twv

6V y uvtI
4*^
kyu) ttot
elSov
Setrret-
fMi'^Xov
Kal pod v^
^ ^
TTVovvTa
I'lj
/Jiera
Aewydpow
yap
ets
yap
yTrep 'AvTi^wi'-
8*^
1271 dAAa
irpecrfSiixDy
^dpcraXov mx^t',
10-^
1272 1274
LT
CK-et
-v.^
^ - ^
5^^
/XOJ'OS
fXOVOl'i
\^
TOis XlevccTTaicrt ^vi'rjv rots
GerraAwv, avrhs
TrevecTTijS
_^
_^__ _^__ _ _^__

^
w
6*^'^
v./
v^
wv eXdrrwu ovSevos.
Strophe II.
K-op. a'
fiaKapt
(lis
Arro/xd'es
fj.aKapiôfjiv
51
15

>^^^
ere
^
<^
>.~
1276
TraiSas i(fiVTV(ra'i
on
(ficXov
.^
XeipoTexvLKwroLTOVi
w
v^
^^
^^ ^^ ^^
1277 Trpwra
fih'
a/racrt
dv'Spa T cro(f)(HTaTox',
20
^
y^
1278
TOi'
KtOapaoiSoraroi',
w X"P'5 </)eo-7reTO 1279 Tov S' vTroKpiTy]v erepov dpyaAeov ws cro(f)ov
v^
^^
^^
w^
^
v./
v^^v^ w ^ ^^ <^ ^^ \j vy ^.~ y^ ^ v^ >^ v^

^.J
v./
A^
4^^
457
1280
eiT
'
PAEONIC VERSE
ApicfipdSrjv ttoXv tl
205
n^
25
6vfJLOcro(fiiKioTaTov,
1281 ovTivd
ttot'
cofiocre
fia-
Oovra Trapa
fxi^Sivhs
(f)V(ro^
1282 a\X 1283
diro
croc^Tys
v^ kj w ^ ^
-^
^^^
-^^
^^
avTOfxarov kKfiadeli'
yX(j}TTOTroiilv els to. rropi'^V
elcrtovd'
30
212
Kd(TTOT.
v^ -^ ^ ^ ^
w .^" w o 4^
-^
~^
i^
_^_^
^
\^
^ ^ ^ ^.^ w
4^'
4^^
'Ufi./3'*
*******
Antistroiilie I.
Antistro2)hc II.
Kop.fS'
1(71
Ttre? o"
ji
/x'
iXeyov ui KaTa8u]XXdyrjv,
{'TreTapttTTev eTTLKetpêvos
tjPLKa
Ktti
p.e
KXeuiV
KttKicra? eKi'to-e*
k^^' or
aTreSet/aopyv,
ovKTos eyeAwv /zeya Kexpaydra êw/xevot,

oi'Sei'
ap'
e/ioi!
jxkXov,
octov Se /xovov eiSevac
(TK(ap.p.dTLOV
eiTTore
n
r\
QXi/36p.evos eK/3uXw.
1290 Tavra
KartSiov vtto ti y.iKphv eVt^7yKtcra

X'^P'^^
"^V^'
e^ra vvv eî]irdTij(Tev
dp-ireXov.
:
1282
(piKxeos
Bentley
cpvaeus
1286 Kadaas Briel
KaKiarats
This ode, like the preceding, is an antistrophic pericope, but = the correspondent to the first systematic period is now lost = abcda, 6 4 8 5 6, pericopic pentad, but with See 705.
:
AB
<A>B.
reversion in the last subordinate period to the melody of the first trochaic hexameter, tetrameter, octameter, pentameter, hexameter. B is a stichic period of nine tetrameters in the strophe See 772.
(eight in the antistrophe), eight paeonic (seven in the antistrophe),
and one
Heliodorus, influenced Fesj). 1265 ff. by the parabatic quality of 1265-74, inconsistently regards this ode as an epirrhematic syzygy. It is not, however, in the strophe and antistrophe, but in the epirrhemata of the true epirrhematic syzygy found Furtherin the parabasis (668), that the chorus addresses the audience.
trochaic. See 778. See the metrical scholium on
more, the reason given in the metrical note on Jch. 971 ff. for denying that the stichic periods BB are there epirrhemata, namely that they are not in the proper trochaic rhythm, is equally applicable here. the first systematic period (1265-74) of the pericope In R and Some See the metrical scholium. eleven o-Tt'xot. is arranged in modern editors have followed this arrangement in part, and introduced an iambic cadence in some verses, but the rhythm is uninterruptedly
trochaic.
CHAPTER X
DOCHMIAC VEESE
458.
called dochmius, of
The fundamental form in dochmiac verse is a which the metrical constitution is ^

358).
its
phrase,
^ -,
source
as t/ ovv ov \eyL^ {Ach.
Various opinions have been
expressed both in ancient and in modern times as to
and rhythm (624

459.
f.).
Two
assumptions
seem
to
be warranted
by variant
forms of this fundamental phrase.

are theses admitting resolution
TToAe/tos atperat
:
First, that the long syllables
ra-xa 8e {jêrafiaXovcr
o Ti ttot'
to
(TX^rXie
(cf.
Av. 427-9)
^ -^ ^^ ^ ^^.^ ^ ^ ^-^ y^ ^^
>^
Av. 1188
Th.
723
Ach. 360
ov epefSos eTKTO
^^^^
v^
>^ Av. 1193
Secondly, that both the short syllables are arses which admit
irrationality.
This manifestation
may
be combined with resolution
of theses
Tts ravrrj
vepav
dvocTLOvs
v^
w Av. 1195
^^
~.^
Aeêts T
Th.
720
700*
^vv aSiKots epyois
-^
Th. 716^
TIi.
w
ets
IIoTVtat Moi/Dai
TTjv ejxrjv
fjLTjKeTt
Se
SoAov
eK-aAecre
^^ .^ ^ .^^^ kj .^
Av. 1264 Av. 333^*

arsis,
460. Aristophanes rarely irrationalizes the second
and in
general he employs relatively few of the thirty-two forms (Seidler,
De
and
'
versibus dochmiacis,
resolution.^
55
f.)
made
^
By
206
He
prefers
possible by irrationalization ^ -, has strong inclination

v^
,
The
mental
phrase
irrational forms of the fundav^ are (2) (1) w
(3) v^
</iesc.?,
(4)
resolution of
each of these four
464
^^
DOCHMIAC VERSE
207
towards
equally,
^-
y^
- and also
v^
- ^ -
and
inclines
to
which he employs about ^^^.^v^,^. Other forms are

,
occasional and rare.
461.
On
the
primary times and
assumptions stated, the dochmius has eight v^ is octaseme, ^ - = ^ ^ ^. This
^^
ff.
was the opinion held
anciently.^
On
its
the relation of the dochmius

see
to the primitive dimeter
and on
name
623
462. Tor convenience the dochmius will be regarded in this
book as a metre, and the dimeter and monometer as cola. The dochmius admits neither catalexis nor protraction. 463. In comedy the metrical form of the dochmiac metres
in the strophe
may
(467).
AcL 358
(once),
ff.
be exactly repeated in the antistrophe, as in In Vesp. 729 ff. (469) and Av. 1188 ff.
v^ (once), x^ ^ ^ and w ^ v^ - v^ - (four times). Greater freedom of correspondence is found in Ach. 489 ff. (468) and Th. 667 ff. (472). In Aves 327 (473) Aristophanes intentionally changes the rhythm in strophe and antistrophe. The chorus sings in dochmiac rhythm in the strophe (333-335), in paeonic in the antistrophe (34951). Each rhythm is singularly appropriate
(465) only simple variations occur, ^
^^
fif.
to
the
sentiment expressed.
is
Similar
intentional
variation
f.
of
melody
Pow;
found elsewhere.
cola.
'
See
AcJi.
492 f.~568
(468) and
950-955-1033-38
(583).
In the
latter, diiambic
correspond
with aeolic
these cases by
The attempt to secure metrical equivalence in emendation and other devices " is unnecessary
'
and unconvincing. See 51. 464. The monometer occasioually occurs singly in comedy, inserted between other rhythms or at the close of a strophe. Of. lYub. 1166^ 1167^ (474), Vesp. 733^ 735^ (469), 873 (470). Elsewhere two, three, four, five, seven, eight metres are joined, but in comedy no dochmiac subordinate period immediately
follows
another, without interposition of a period in different rhythm, except possibly in Ach. 566 (468) and Aristoph. frag. The dimeter and monometer may be assumed in all the 697.
ff'.
may
theoretically assume seven other metrically equivalent forms. See Gleditsch, Metrik'\ 188, for a convenient
summary.
1
See the authorities cited in Kiihne,

tradiderint vetercs.
De dochmio quid
-
Zielinski, for example {Gliederung, 331), regards both the strophe and the antistrophe of the lyric in the Arcs
(327 if.) as anapaestic, and the paeons (349-51) as 'cyclic,' i.e. metrical equivalents of anapaests. Kock {Die VogeP, 265) regards 333-5 as partly anapaestic, 349-51 as paeonic. partly paeonic ; Schroder {Aristoph. Cant. 32, 99) regards these verses as trochaic in both strophe and antistrophe {^^^ and w^v^w =
w ^).
208

lyrics
465
dochmiac
of
comedy without
resort
to
word-division.
Generally also the
first of
the two metres composing the dimeter
is neglected in Ach. 358 (467), 489, 495, 569 (468), Nuh. 1163 (474), Vesp. 744 (469), Av. 310, and 1266, 1268 (465), Thesm. 724 (472), Plut. 640.
ends with a word, but this
465.
Aves 1188-95
= 1262-8
StroijJie.
(Syzygy
II.).
'H/x.a' TToXefMos atperai, TroXejxos ov
(f>aTo<s
^^
-^
>^>^
v^
1190
TTpos
/i,e
Kol 6eovs.
dWa
(f>vXaTTe ttus
1192
1194
depa
TrepLvetfiskov,
ov epe/So^ cTeKCTO,
/X7^
ere
Xadrj dewv rts ravry Trepwv.
_
Antistro2:>he}
__
^ _
- _ _ ^ -
8d^'
'H^.yS' aTroKeK/Xv/Ka/xev Sboyeveis 8eov<;
1264
1266
ixr]KTi rrjv
/xrySe
ifiy^v
^tairepdv ttoXiv,
<ye> Ttv' upoOvTov dva. SdireSov TC
1268
~2/Se
fipoTwv
deoicrt
Trkpîreiv
Kairvov.
1266 7e Blaydes
octameter.
Monostrophic dyad. See 773.

466.
The period
consists of a single
dochmiac
The
dochmius
is
frequently
associated
with
other
rhythms
in comedy, especially with iambic, as in the four odes
that follow.
467.
Ach.
358-65 = 385-92 (Syzygy

Stroplte.
L).
'H/x. a'
Tt
ovv ov Aeyets
eiriîjvov
vy
eêveyKwv Ovpa('
360
362
o Tt TTOT
a-yîrXie to ywe-ya tout'
eêis
irdvv
yap
e/xe
ye ttoOos o ri
cf^povei';
eêt.
^^_^_ wântistrophes in this section that contain a dochmiac subordinate period which exceeds the tetrameter in length are printed in cola,
1
^ o 7d
For convenience,
all
in the style of hypermetrical systematic periods, and thus precisely repeat the form of their strophes,
468 364
uXX.'
{jiTip
DOCHMIAC VERSE
avTos
rrjv 8cki]V
Siw/Dtcrw,
209
78 6eU Sevpo TOiVi^vyvor iyx^lpeo
5__^_ -_^_ ^_^-3

Aeyeti'.
Antistrophe.
'H/JL./3' Tt
ravTa crTp^fû
TiXvaêi.ov,
eâvotye fMrjô-vas
(TKrjxpLV
rots
ws
390
Ti;''
dywv outos
ttj;/
ot5k
0,70;^
eiVSeêTat.
Brunck
392
Porson
d7wi'
Monostrophic dyad. heptameter as proode to two Heliodorus divides See the metrical scholium on Ach. 358 fF. the heptameter into five cola, but his arrangement necessitates wordFurthermore, he does not include the melic trimeters in division. It is to be noted that nevertheless he separates them from the ode. the following trimeters, regarding them as a distich.
:
A = abb,
a dochmiac 7 3 3, proodic triad melic iambic trimeters. See 738.
468.
Ach.
489-96 = 566-71 (Syzygy

StropJie.
II.).
Kop.a
Ti Spda-ei?
ti ^Tycret?
<aAX'>
Lcrdi
vvv
dva6O";^WT0S
lov
O"t0r/pou5
dvy'jp,
492
ocTTis Trapacrx^v
ry
^__^_ ^__^_4d voXet tov avx^va _-\,___^-^_^^3^ 78

rdvavTt'a.
eld vvv,
aTracrt
/xeAAets
eh Aeyeiv
494
avTjp ov rpepec to wpdyfj.'.
Trei8i]Trep
auTos aipel, Aeye.
Antistrophe}
Kop.
13'
I'w
Adfiax' w fSXeirwv
do-Tpo.7ru?,
The antistrophe
is
printed in cola, in order to facilitate comparison with the
strophe.
210
567

/SorjOrjcrov
469
w yopyoXocfia
âi-et's,
51
eire rts ecrTt raîapyôs
^__^_
r)
^^6dv
17
51
___^_ ^_^_ ^_^_

/Sorjdyâ-dru)
crrpaT-qyos
1(1
570 reixoiâxas "^^P,

Tis dvvcras,
5___^_
/i.cros.
:
^_
lyw yap exop-at
489 d\X' Hermann 494 dj-v/p Dindorf dvr]p lu 566 w Hermann 569 The period consists of a dochmius and an iambic dimeter joined within a word, and this was its constitution in the text of Heliodorus. See the metrical scholium on 566 ff. Elmsley reduced the dimeter to a dochmius by reading raîapxos rts fj, omitting (TTpaTTjyb^ 7) 570 TeLxo/ni.dxa.s Dobree reix^fidxas
:
Monostrophic dyad. A in the strophe = abba, 4 3 3 4, palinodic tetrad a dochmiac tetrameter as proode, two iambic trimeters, and a second dochmiac tetrameter as epode. See 746. If the received text of 569 is what Aristophanes wrote, the structure of the antistrophe was intentionally varied, as in Av. 327 ff. (463), and became abc, a pericopic triad a dochmiac hexameter, a period that consists of a dochmius and an iambic dimeter joined within a word, a dochmiac tetrameter. See 771. Even in this case, the last period (570 f.), in imitation of the strophe, may have repeated the melody with which the first (566 ff.) began, and the variation may have extended merely to the third and fourth cola. If 569 was, as Elmsley supposed, a dochmiac dimeter, A in the antistrophe = aa, 6 6, a dyad of the monostrophic type two dochmiac hexameters in correspondence. See 767. See the metrical scholia on Ach. 489 ff., 566 ff. Heliodorus makes the strophe a mesodic triad, aba, grouping the two melic trimeters as a single distichic period. The lack of complete metrical agreement between strophe and antistrophe probably led him to give, contrary to
:
: :
his regular practice (701), a separate analysis of the antistrophe.

his text,
In
571 consisted
Vesp.
of
two
'cola,'
the antistrophe being octacolic.
469.
729-35 = 743-9
Strophe.
(Debate).
'Up. a
mOov
pi'qS
TTidov Aoyoicrt, p^qS'
uffipwv yei'rj
730
drevTys
78 dyav dTepdpwv
KrjSepwv
^ t'
J^
^ - ^ v^^w
^ - ^ -
dvrjp.
2d
iW
w<f)Xev poi
i)
^vyyevijs
78
^rvat Tis ocTTis Toiavr' (vovOerei.
^-^_ w_^_ w_^_3

^ ^
._^_
^_î-:3V
^470
733
o-ot
DOCHMIAC VERSE
Se
211
-
vvv Tis 6ewv

fx<f)av'r]'S
38
- ^ w
- ^ -
Trapwv
734 ^yXXafx/Sdvei Tov 735

(TV
Trpdyfiaro'i,
78
Kal SrjXos (cttlv ev ttolwv

Se TrapMV Sexov.
^^
^ Til v^ ^ ~ ^ ^ ^ i v^ id
Aniisfro2)he.
'H1X./3' vvovdeTi]Kev
avrbv
'
ei's
ra TrpdyfxaO'
ois
tot'
i-TrefjiaiviT
eyvwKC ya/s dpTtws
745 Xoyi^Tai 747 vuv 748 Kai

8'
r'
CKCtva irdvd' ap.apTt.a'i
a (rov KeXevovTOS ovk iTreidero.

i'o-cos
Totcrt
crois
Aoyots TTiideraL
(Tw<]ipovi
pkvToi
/JLeOiirTds
ets
to Aoittov
toi'
rpoirov
iri06pLv6^ re croi.
749
wido/jLevos
Bruuck
7rid6/xvos
a probably = (729-32, 733-5). two iambic trimeters that enclose a aba'c, 3 2 3 3, epodic tetrad dochmiac dimeter, with a protracted iambic trimeter as epode. See B = abcb, 2 14 1, proodic tetrad an acephalous protracted 748, 776. iambic dimeter as proode to two dochmiac monometers that enclose an acatalectic iambic tetrameter. See 750.
Monostrophic dyad.
:
A = AB
470.
Vesp.
868-74 = 885-90
Strophe.
(Scene).
Kop. a'
V<f)rjiJb[a
[xlv
TTpoira
vvv VTrapyêrw.
78 w
<l>ot/3'
^_^_^_^_^_^c;3
dyady rvyrf
"AttoXXov
Ili'^t'
err
70
^-^-'-^v.^xr-wb
870
TO Trpdyp.
efiTTpocrdev
o fir^xai'drai
ovtos twv dvpwv
aTracriv rjp.lv dp/iocrat
Trav(rap.ivoLS TrXdviov,
^ ^ v^ 5*^ ^ i=i_^_ ^ ^ <^ 4 <^ %^ Id
874 lyu
Ilatdv.
Invocation.
Antisirophe.
Kop.fS' ^vvV)(^6pea-6a <.TavTdy
ctol
KairfîSopev
et'VOL
veauTLV dpâts eVe/ca twi' TrpoAeAeyyuevcov.
yap
dvi]p
l<Tp,ev
e^ ov
888 Tov Sypov i](r66pea-dd 890 Twv ye vewTepwv.

885
TCLvrd
crov <}>tAoi'VTas u)S oi'Sets
Reisig
ri<x$i)ne(76a
886 ^ê/ca Reisig eiVe/ca 890 7 veuripuv Schol. yevvaiorepuv

:
:
888
-âdbp-iada.
Cobet
212

The strophe and
antistrophe constitute the dyad
471
BB
of the proodic
triad inserted
tetrad
See
772.
in the scene. B = abcd, 3 5 4 1, pericopic See 717. iambic trimeter, pentameter, tetrameter, dochmiac nionometer. The melic trimeter in 886, with anapaest in the fifth place,
(70).
shows logaoedic form

471.
as
The dochmius has affinity also for anapaestic rhythm, exemplified in the two odes that follow.
472.
Thes.
667-86 = 707-25
Strophe.
(Syzygy).
K.op.
i^v
yap
[xe
ô-Oj]
Spdcras dvocria,
281,271
Saxrei re SiKrjv Kal irphs
^-^^^ ^^ ^^
^^
x:;
tovtw
r
Tois (xAAois ecTTaL aTra(Tiv
800
'ipycov
6^^
670 Tvapdêtyp
vfSpeuis dSiKCDV
aêwv re rpoTnov
(fyrjo-î
S'
dvai
.^
re Oeovs (fiavepws, Setêt r
^)8rj
674
Tracriv
dv6pu)iT0L<i a-efSlêLv
212
Satynovas j8iKaiu)S r
c^ w v^ w
^
'^X^''-
^^
4*^^
_^_i^
e^cTTOvrast ocria
fiy]8op.ii'ov<;
/cat
vo/xi/xa
w v^ c?v^v^ woo
TTOtetv
o tl
KaAw?
678
Kctv prj TToiwcri
ravra, rotaS'
tcTTai*
78
^ - ^ 8pwv
^ - ^ -
^ - -
3^'
avTwv oVav
Xij(f>6y
Tts <.0VKed'> oo-ia
680
<t]>
fiaviais Âeywx',
fet
v^ w ^^ v^
rt Spwjyt
3c;
Xva-cnj TrapaKOTTOS,
TcdcTLV
ep.(fiav->]<;
opdv
e-
212
15
_-_^_ v.^ _^_^

v^ ^^
3d
orat ywat^t Kot /SpoTOicnv,
^ ^
v^
>./^
w v^4
===
684
oTt
Tci
Trapdvopa rd r
Oeo'i
^^
dvocritt
J dirortveTai wapaxpij/xd re TtVerat.t
Ko/3. ^' Tl
av
oiii'
i7rot
7r/3os
ravrd
;
ris,
ore
TOtavra Trotwv
pevToi ye
o8'
dvat-
crxvvTt
l\.op. 13'
Mv.
KOtiTrco
TreTrav/ji.ai.
dkX
ovv
iJKCi?
y odev
Ji']Kls
<f)avXw<;
aTroSpas ov\ Aeêts ofov

Xijif/ei
Spoicras SteSt^'j ^pyov,
8k KaKOV.
473
fx-rf
DOCHMIAC VERSE
ykvono
av
fj,7j8a/iws,
213
TOVTO [xevTOi Mv. Kop.P'ris o?v crot,
aTrev'XO/iat.
Tt's
o-i'/A/xaxos
Oewv
a$ava.Twv
eXdoi
;
^vv
dSiKOis epyois
Mv.
Ko/o.
/3'
fiaTrju
XaXtlre
OTj
//ttt
'
Tvyv S' deth
e'yw
ovk d^rycrw.
aAA'
Tw
rax ov xaipwv laws

avocrtovs <7r> aêots kpyots'
cr
ivvf^puts Aoyovs XeêtS t
722
</cal>
yap dvTa[Xi\p6pcr6d
8e /xtra/â Ao Ctr'
:
Sicnrep
cikos avrt TwvSe.
723 Tctxa
667
/if
ctti
kukov ere/aoTpoTTOV tVexei T^X^:
Meineke
679 oi'/c^^' 669 ^crrat airaffLV Bothe S.ira<nf 'icTai. (it) yvva.i.^1 Bninck 683 icrai Reisig ^^(TTif 680 ^ von Velsen 719 ^kust Suidaa 710 T^xets 7' /Jporols ^poTolfftv Enger yvvai^lv 721 ^tt' Enger 720 X^êts t' Fritzsche re X^|s ewjipiaeLS vvj3pieh Reisig 725 eV^x" Bergk eV^x" '''^ 723 5^ Fritzsche 5^ <Te 722 Kai Hermann
Bergk
A = ab (667-78, 679-85). A = aabcd, Monostrophic dyad. a tetrad composed of two anapaestic 6 6 4 4 3, epodic pentad hexameters, a trochaic tetrameter, and a dochmiac tetrameter, Avith B = abcb, 3 3 4 3, See 759. a catalectic iambic trimeter as epode. an iambic trimeter as proode to two dochmiac proodic tetrad
:
:
See 750. trimeters that enclose a trochaic tetrameter. This analysis assumes that the strophe and antistrophe were
originally
certain.
in
close
51.
correspondence,
but
this
fact
is
by no means
See
473.
Aves 327-35
= 343-51
Stroj^he.
(Parode).
^Hfx.a
ea ea.
Exclamation.
328 TTpoSeSopeS'
dvoo-ia t
eirudofxev,
os
yap
281, 271
^t'Aos v]v 6p.6Tpo<fid 0'
'qp.lv
^^^^
=^
^^

4-
330
Vp.TO TreSta Trap'

TTapifSi]
i)plv,
277 -^ ^-^^^ ^^^^^^ ^^
2-
piv Oea-povs dp\aLOVS,

S'
TTapejSrj
opKovs opvidwv,
cKtiAecre irapefSuXe
5^^
r
kpX rrapd
333 eh
Se
SoAov
yevos
dvocrtoi', oTrep ^(>t
eyever
epoL
-^ -^
^^^^^
^^
TToAe/itov -pdcf)ij.
-^^^ ^
5d
v/>^>.~^
Aîtistrophe.
'H/A.
/?' 10)
t'w,
Exclamation.
'iiriO
iTray
iTTLfftepe
iroXepiov oppdv
^^^^^v.^^
.^
^^ ^^
42-
345
KJioviav,
Trrkpvyd re iravTo.
.^^^ _ _
7ri/3aA Trepi T
(US
KVKXwcraf
dp<f)(o
^^^^^^^^
5
Set Tw8'
Ktti
olpwêtv
____ ___

Souvat pvyxî'
<l>op(idv.
214

51,
474
349 ovT yap opos a-Kupiv ovTC veôs aWepiov
442
350
351
ovT ttoXlov TreAayos

lo-Tiv o Tt
SeêTac
/xe.
TwS' a7ro<^vydvTe
334
e/xol
10
v^ ^^ ^ v^ w
-^
^^.
^^
-^
:
^
v^
^^ ^^
^ -^ ^ w v^
10^
Blaydes
7r' efiol
345
iravrq.
Reisig
iravra
Hiatus in 345, 346
is
only apparent.
Cf. Lys.
479
(303)
and the
comment. Monostrophic dyad.
A = abed,
:
4-2-4
5 in the strophe,
4-2-4 10
in the antistrophe, pericopic tetrad
brachycatalectic anapaestic tetra-
meter, brachycatalectic anapaestic dimeter, anapaestic tetrameter, and in the strophe a dochmiac pentameter, in the antistrophe a paeonic
dodecameter.
See
772, 463.
474.
2t.
ftoda-ofiac
JVuh.
1154-69 (Episode
78
II.).
rapa rav VTreprovov
w-w- .-w^ - ^ .
,.-..^ - ^ ^ 6^
1155
fioav.
loj
KAaer SyfioXotTTarai
- ^ -
avToi re koI Ta.p\aia Kai tokoc

ovSev yap av
tok<jdv
fie
(fiXavpov epydcraiO' en,
otos efxol rpe<êTai

ToicrS'
ev\
475
Sw/xacrt Trats,
Xdp,Tr(ov,
croiTi^p
w ^ ^ ^
v./
V-'
v^ ^ w -^ ^ 2^
v./
yj
2*^'
1160
dfi<f)y]Ket
yAwrry
efJL6<i,
281
2*^
TrpofBoXos
8o//.ot?,
e^dpoh
f3Xd/3r],
78
^^^^ KaKwv
cos
ifie.
--W- --.^_3
^-
1163 Avcravias
irarptixav fxeydXuyv
ov KaAecrov rpe^wv ev8odev

10
^-
.^
1
1
v^
v^
v^
4d^'
1165 & TeKVOV

eêXS'
S)
rat,
281, 276
-^ -
oiK(j)v,
ate (Tov Trarpos.
2w.
2t.
2o).
o8'
eKctvos dv7jp,
(Î'Aos.
281, 276
15
titdv.
w ^tAos w
aTTt^t
10)
Xa/3o}v TOV
78
2t.
1155
iw,
TeKVOV,
lu).
212
:
_ _ _ _ -^ v^ v^ ..^ - ^^ - v^ v^ .^^ v^ -^ ^^
id^
1
-^
v./
Id^'
<^
w
v./
2^^'
2*^
S)
'/SoXoo-rdra:
ivSoBev Tpix'^v
^^
oôKoffTaraL Princeps 1168 woi'Dindorf: woj/

I'w.
1164 rpex'^v ivSodev Princeps

croi;
The systematic period ends with
The following
lov
lov is
an
474
DOCHMIAC VERSE
215
anaphonema, and in the text of Heliodorus was separated from the ode by the 8iTrk-7j. See Schol. Nub. 1170 ff. Non-antistrophic. A = ABC (1154-60, llGl-6, 1167-70). A = a protracted iambic hexameter as abccd, 6 6 2 2 2, proodic pentad proode to a periodic tetrad composed of an iambic hexameter, two This intermediate enoplic dimeters and a paroemiac. See 752. period possibly may be aabbc. See 754. B = abcde, 3 4 1 1 1, iambic trimeter, dochmiac teti'ameter, anapaestic pericopic pentad monometer, anapaestic monometer, dochmiac monometer. See 772. anapaestic monometei', dochmiac G = abed, 112 2, pericopic tetrad See 772 monometer, catalectic iambic dimeter, trochaic dimeter. The first two intermediate periods constitute a monody (593), and show appropriate variety of rhythm.
:
'
'
CHAPTER
XI
^
PEOSODIAC-ENOPLIC VEESE
475. The fundamental cola of prosodiac-enoplie verse are the two dimeters from which it receives its name, the prosodiac, TTpoaoSiaKO';, ^-^v^ -v^^-, and the enoplius, iv67r\io<;, - ^ ^ - ^ ^ - ^, which are respectively in ascending and descending rhythm. Each normally contains twelve primary times and eight syllables, but the first syllable of the prosodiac and the last syllable of the enoplius may be short instead of
long
(ras aTTTOyuevos
Ww
)]v
âperpas
clva
6e o-e
yovarwv KapKiVos iXdwv

Trpbs
eyio ttot
dpd ye tovt ap'
^ ^ -^ ^ w w^ v^v^ Eq. 1272 = 1298 ^ y^ ^ ^ Pax 782 w^^- ^ ^ y^ Nub. 465

ff.,
On
643
ff.
the constitution and probable origin of these cola, see 630
476. The prosodiac does not admit catalexis, but a hypercatalectic (488) prosodiac dimeter occurs
KOLvrj
yap eV evrvxâiaLV
^^
^ ^
y^
Eccl.
573
477.
By
catalexis the enoplius loses its final syllable

eTncrrafjievriv
(f>povTi8'
,^
^ ^ _
Eccl.
572
Cola occur in association with these dimeters that when joined with the prosodiac have the form of an iambic dimeter, when joined with the enoplius that of a trochaic dimeter. In both these associated cola, which in comedy do not admit resolu478.
Since the prosodiac-enoplie odes in
quoted, where necessary, from Bacchylides
Aristophanes are too few to illustrate all the forms, occasional cola will be
and Pindar,
216
483
PROSODIAC-ENOPLIC VERSE
the component metre
:
217
tion,
is
generally, but
by no means always,
irrational (650)
<Tol
yap
5e
TaB' l^
-PX^)'=
/^^'^'
Koi Td)l dv
f3ovf3o)viipy]
\opbv
TO
fii]
(Tcfivpov
'xy Mdpcrt/xos yepovTos oitos
^ ~ ^ ^ ^ - ^ ^
v^w" Pax 781 v^ w" Fesp. 277 ^ Pax 803 ^ Vesp. 276
479. Catalexis in these dimeters assumes the regular iambic

(
and trochaic
- ^ -
forms
-^
Kal ydcrTpKTOv (reavrov

lj.r)8iv
ets
AvartcTTpaTOV
ci/iiAe
rais eVt/JSats
ka-dUi KAewvv/AOS
^ ^ w w w - w - w ^^ >^ v^ ^
Vesp.
1529
/rajr.
Eq. 1267
Crat.
323
^5. 1293
480. Protraction
form.
may
occur in cola of iambic and trochaic

is
The ithyphallic (203)

TOV
<f)ik0V
common
'
XO/3VO-OV
^ ^
y^^ PttX
111
Also a hypercatalectic (488) dimeter in iambic form

depfxav
8'
eVi Trvkwv
diXkav
^ -
^ - ^ :
^ Bacch.
x.
22 K.
481.
Two
prosodiac trimeters occur
MoKTciv yXvKvSwpov dyaXp-a, twv y vvv
^ ^
dvSpwv T
oaiTttS Kal
_^^_ ^_^_
- _ ^ ^
catalexis,
Bacch.
V.
BaXlas paKapwv
_ _ ^ _
482. Neither of these admits
- ^ ^ but
Pax 119 t
both
may
be
hypercatalectic
dXX' wydd' dvtCTTacro prjO
oi'TW creavTov
^ ^
Tov
TTttts
_^^_
re Ilocretoav
^ -
Vesp.
286
Oi. viii.
Aarors evpvpeSwv
^_
483.
^ ^
:
_^^_
Find.
32
Two
enoplic trimeters occur
duTifSoXij fxerd rwv -aiSwv xopevcraL
_^^_ ^^
^
'
Pax 783
574
f.
epXerat yAcurr?;? -a'ota
oAitvjv
_^
1
-WW- WW
This was called (Heph. 50. 18 ff.).
'
AVcZ.
This was called
'
iambelegus (Heph.
'
encomiologicum
'
51. 3tf.).
::
: :
218

484. These trimeters both admit catalexis
484
Ataydâ KaTejSav, rav Trovrcav
- ^ ^ "Y/3pis, a ttXovtov Suva/xtV re Oows
^ ^
-v^v^v^
Find.
01. vii.
13
^
485. Trimetrical
cola
occur,
v^v>
in
Bacch. XV. 59
association
with
the
two
prosodiac and two enoplic trimeters, which in ascending rhythm
have the form of an iambic trimeter and in descending rhythm

of a trochaic trimeter
:
eXOovra
Koa-fxyjcTaL
deoS/xarov ttoAii'
^
Ilv^wi't 8t^
jxr]
w^_
w
^ ^
Bacch.
xii.
KaKWi
Trev(r6aL
^_
I'crropis
_e;2.
1273
44
Kovpai Slw^lttttoc "Api/os
w
TravâATys
e/JLals
v./
v^
Baccli. ix.
evecrraîv <fipao-iv
-^
^ ^
Bacch.
xiii.
229
the
486. Similar in formation are two tetrameters that
fulfil
function of cola in the composition of strophes.
The
first is
prosodiac
pi(Tuos yo.p aXXoii
dAAo? ipypaa-LV
dvOpU)Trocs
jXvkvs
i.
v^v^
-.^v^-
v^-
Find.
Isth.
47
This does not admit catalexis.

is
The second
of these tetrameters
enoplic
i>
fiev
aljxapdai irapa Sai/xovos dvdpdnroLS dpicTTOv
^
The
catalectic
form
^w
is
v^v^
v^
Bacch. xiv.
commoner
eyyoi'wv yevcravro, Kal v\ptirvXov Tpoias eoos
w
487.
v^v^y
wv^
v^/vy
Bacch.
ix.
46
Compare the
final colon of the
hexameter in the follow-
ing fragment of Pherecrates (2)

Aoucra/zfvot Se Trpo Xap7rpd<;
r\pipa<;
ev
Tol-i
(rTe(f)avwpa(Tiv,
ol
8'
ev
tw
fivpi^
AaAeire
Trepl a-icrvfxfSpLwv
Koa-/>iocravSaAwi' re
489
219
On
633
ff.,
and trochaic form, of the

643
ff.
the probable origin and formation of the dimeters of iambic six trimeters and of the two tetrameters, see
488.
The
hypercatalectic
syllable
generally
results
in
Ionian verse from regressive reduction of an acatalectic colon.
The
process
of
reduction
'
is
applied
in
successive
stages
eatalexis, brachycatalexis,
hypercatalexis.'
Thus an
a
acatalectic
catalectic
'
dimeter
dimeter,
catalectic
in
Ionian
verse
becomes
dimeter
successively
(tripody),
;
a
'
brachycatalectic
and a
hyper-
monometer (penthemimer)
'
an acatalectic trimeter
becomes a
pody), a
'
catalectic trimeter, a brachycatalectic trimeter (penta-
catalectic syllables in prosodiac verse arose

if,
as
Hypersome in this manner, seems probable, the iambic penthemimer is the constituent
hypercatalectic
dimeter.
See 33, 35, 36, 37.
element of prosodiac cola in iambic form (638), others through the conversion of an original paroemiac into a prosodiac (631).^
See 642.
489.
However
derived, they were probably all rhythmized
in a similar manner.
See 37.
is
Prosodiac -enoplic verse
regular
and simple.
The
twelve cola in ascending and descending rhythm that are illustrated
above
1.
3.
4. 5.
^-^w -_^^ ^_^_ -_^_
-ww_^^_ -_^_ -_^^ _^^_ M_^_ -_^_
9.
-w^-^-^
v^w-^
10.
11.
12.
- ^ - ^ - ^ - ^ - ^ - ^ - ^ ^ -
-^w-
^ ^
^ ^ ^ ^
^ ^ ^ ^
- ^ - ^
with their catalectic and hypercatalectic forms, are the elements from which respectively prosodiac and enoplic subordinate periods
are constructed.
These cola
may
themselves serve as periods or
they
may
be combined into tetrameters, pentameters, hexameters,
heptameters and octameters,

1
Onhypercatalexisinhighlydeveloped
Aeolic verse, see the editor's Origin and Form of Aeolic Verse, 300, with the
notes. For Schroder's final treatment of the hypercatalectic syllable, see his
Vorarbeiten, 93
fi".
220

490. Thus, by combination, in Aristophanes
:
490
aTpo/SeL,
Trapd/3aive kvkX(x> Kal ydo-rpta-ov cnavTov
(1+2) ^ - ^ ^
"Hpav
dîa
(1
a-Yj
_^^_!
fiera crou
^ -
Ves2).
1529
241
re ol 'Acnraa-Lav tikti lâTaTrvyocrvvr)
1)
__^^ _^^_|__^^
- ^ ^ ^ ^ -I
Crat.
(fipevl
crvfiftovXevcrofJi.evov';
(7
+ 7) -v^..cfiaperpas
^^--\-^^p,ij
Nub. 474
f.
era? aTTTOfievo?
VIvOwvl 8ia
KaKws
Trevecrât
(1+5)
qv
(7
--^w -^^-1-'-.,- --^_ ^fierd
-2-1272
Pax-
f.
8e (re
KapKivos ekdwv avrt/BoXy

v^
v^
twv
TratStov
xopeva-ai
+ 9) + 8)
(7
^ ^
I
_ ^ ^ _
^ ^
_ ^
782
ff.
Kol 8te^'jry]X
^'ôOiv Trore (âi'Aws io-QUi KAewvi'/xos
(10
KOL
-v^--
-^^- ^^__|-^_^
,
v^
^2, 1292f.
fX.OVO'i
OVK dv eTTiWiT
6.XX OTTOT aVTl/SoXoit]
TtS, KClTtO KVTTTOiV ttV
OVTW
+ 7 + 8)
Oewv
re
-^v^-
^^-^\-^^- w
Vesp.
^ ^
ff.
|_^
p.aKdpiiiV'
278
K/\.LOVcra
yd/xovs avSpwv re
Satras
kol
6aXia%
qo\
yap
(1
rdS'
+4+
2)
--V.W
-^^_j__^_ --^^ _^^_[

^_
Pax 778 fF. Xoyov eXOelv Tvpdyfxara Kavrt-ypaeâs
ttoXXldv TaAavTtov
e^ ^PXV'^ /AcAet
^_
fSovAo/xevoVi dvaKOivovadat re Kal eis
(7
+ 9)
-v^w- .^^__j_^^_
v^w -w eipTjfieva ~w irporepov
^^__|_^^_
Nuh. 470
ff.
p-'i'jre
oeSpafieva
firJT
p-Laovcri
yap
rjv
rd TraAaia
noXXaKLS
OeoJvTaL
^ ^ _ ^
I
_ ^ _ ^
in
c. 578
ff.
491.
is
great variety of combinations of these twelve cola
found in lyric poetry and the drama. Variants of these cola There are but two in Aristophanes. Variants arose, under poetic impulse to secure special rhythmical effect,
are very rare.
by slightly altering the form of a particular colon, commonly by the change of a single metre. For the two instances of variation in Aristophanes, v^ ^ ^ ^ corresponding with _ ^ _ _ ^ _ _ ( Vesp. 276 = 283), and - w .. - ^ v. - with _ ^ ^ _ _ ^ _ (Vesp. 274 = 282), see 825 and 826 f., where
.
this subject is treated at length (812 ff.). The combination of subordinate periods in ascending prosodiac rhythm with periods
in
^
descending
enoplic
rhythm has
its
ff. ).
exact parallel
Cf.
in
the
Thib was called 'choerileum' (Schol. Kub. 457
Antiphanes 174.
2, 5, 6.
493
])eriods in
flf.)
221
ascending and descending rhythm and simplified logaoedic (392 ff.) verse. 492. Periods in other rhythms are sometimes combined with prosodiac and enoplic periods in the same ode. A notable example is found in Pax 785 ff. (497), where the regular series is broken, at the beginning of the second intermediate period, by a protracted Aeolic hexameter, followed by two dactylic dimeters Similarly in Ban. 674 ff. tliat enclose an anapaestic tetrameter. (498), the first intermediate period begins and the second intermediate period both begins and ends with simplified logaoedic cola. The first intermediate period in Nuh. 457 ff. (500) is in Eccl. 571 ff. (501) begins with a logaoedic the same rhythm. The first and last subordinate periods in Fesjx 273 ff. trimeter. (499) are in minor ionic rhythm. Single prosodiac and enoplic subordinate periods occasionally occur also in odes composed mainly in other rhythms.
union of subordinate
in iambo-trochaic (367
493.
Eq.
1264-73 =
290-9
(Parabasis XL).
Strophe.
'HyU.
a Tl KaAAlOV
(Tiv
t) 7)
dp)(ÔjJiVOL-
KaTaTTavofxei'oiCTLV
488
doav
iTTTrcov
et's
iXaTrjpas detêtr
[XTjSev
fJLrjSi
Avaio-TpaTov,
O v^ ^ ^
Ax'-
v^w wv^
v^w v^^
v^
v^
_^^_ ^^__
5*^^
5-*^
QovjJiavTiv tov dveortoi' av
Treiv Koi<Tij
KapSia ; 795
<^tA'
(am.)
^ _ ^
\y \^ _ ^ _
f,''
1270 Kal yap ovros w

vy,
"AttoAAoi' <dely
Trei-
daXepoti
SaK/Jt'oiS
(ras d7rTO/xevo5
Iltiâivt 8ia
cfiaperpas
firj
wv^ ^w
10
^ ^
5^
v^v^
^
5^
KaKws wevecrdai.
^ -
Antistrophe.
'H/i.
f3' ))
oAActKis
evwxLatari. (f>povTLa-i crvyyeyev7//zat,
1292 Kal Suî'jTi^x oTToOev ttotc <âvAws icrdUi KAewn'/xo-j. 1294 cfiacrl </J.evy yap avTov epeTrrofxevov to. twv ixovTUiv dvepoiv 1296 ovK dv iêXOelv dirh t^s (TLirvrjs' tovs 8' avTi/SoXeiv dv ofxias' 1298 " t^' w dva tt/oos yovdrtov, eêXOe Kal o-uyyvw^t rjy Tpa-rre^y."
1270 ouTos Dindorf: oirroa-l 1294 <jji.h> Bentley or (v dia or ofius
<det>
dW
1273 5t^ Dindorf 1296 av 6fj.w$ Bergk &v

:
Hermann:
d/xoion or
ev
5i<f.
dvonoius
222

Monostrophic dyad.
494
A = abbcd, 5-5555,
periodic tetrad composed of a hypercatalectic
epodic pentad a prosodiac tetrameter,

:
two enoplic pentameters, and an enoplic pentameter

with a prosodiac pentameter as epode. See 751. See the metrical scholium on j&j. 1264 fF. The ode opens with parody of verses from prosodia {frag. 89 S.) quoted by the scholiast:
Tt
1]
of different form,
one
of
Pindar's
KaAAiov apyoixkvoidLV
pa9v^(t)v6v re
!]
KaTaTravofjAi/ouTLV
Aarw
Kat doav Linroyv eXdreipav aetcrat
Aristophanes has omitted Pindar's third colon as inappropriate, brought forward his fourth with felicitous changes, and added with comic effect the unexpected clausula fjn^Sev Is Ava-ia-rparov. The scholiast says that the antistrophe begins with a parody of verses quoted from Euripides.
494.
Vesp.
1518-22 = 1523-7; 1528-37

Strophe.
re-
(Exode).
'HyU.
a ay' w pieyaXayvvfia
792
v^
^w
'^
1519
Kva Tov daXaa-CTLOLo,

TTT^Sare irapa
\pdp.a6ov
Kal dlv
dAos drpvyeroi-
1522
KaplSwv dSeAôt.
Antist7^02?he.
5o
ww w^
v_/
v^^ ~ ^ v^ 4*^^' ^ ^^ ww ' 6*^ ^
'H/x.
P' ra)(yv 7r68a KVK-AocroêiTe, Kal to ^pwixîov

Tts,
1525 eKAaKTicrccTW
ottws iSdi'Tes ai'w tr/ceAos w^wo-lv ol
dearai.
Epode.
Xo.
(TTpo/Sei,
Ttapdfiatve kvkXo)
ko-I
ydtrrpKrov creavTov,
1530 pLTTTe (TKeAos ovpdviov êp-fSiKes kyy^vkcrOuiv. 1532 Kaurbs ydp o ttoi/to/xcSwv ava^ irarrjp Trpocrepirei 1534 ^(rdels Itti roicrtv eavrov Tratcri rots rpiop^ôis.
dAA' e^dyeT,
rjpa^
ra;;^!'"
et
ti ^tAetr'
6p\ovp,^vot,
6vpaê
touto ydyo
ocTTts
ot'Seis ttcu
Trdpos SeSpaKev,
1537
d^X'3^'/"'^''05
aTTTÂXaêi' )(ôpov Tpvy(o8wv.
1519
ei/ Kt;/fX<fj
âXatrcrtoto
aoj3eiTe {aTpoêlre
Dindorf V)
:
âXacrcrtoi;
1523 7r65a
KiJA-XocroiSerTe
Dindorf
7r65'
RV
an epodic
triad,
The ode
4
6,
is
constitutes
AAB.
See
716,
A = ab,
prosodiac tetrameter and hexameter. See 770. a stichic period composed of seven prosodiac tetrameters. See
pericopic
:
dyad
778.
;;
497
495.
PEOSODIAC-ENOPLIC VERSE
The
223
tetrameter that constitutes the epode of the pre-
ceding ode was in favour with the comic poets.
Compare
T?Js r^fxerepas (roffyias

v8aLfjioi''
Kptri^s aptcrre TrdvTtov
TtKT
8'
<j
firjTrjp
iKpiwv
\po(fir]aris.
Crat.
323
30
TovTOKTi
OTrtcTdev
trw hi<f}pov (jiepwp AvKovpyos

Crat.
e'^wv KaXda-ipiv.
viro^vyiois dAootaai'T' v9v<; eKTroLrjcrai.
Pher. 65
Seo-TTora,
Kal rdSe vvv aKOVcrov dv Xeyoi aoi.

kv6v,
Eupol. 236
Xdyvvov exw
Cf. also
w ypav, BvXaKov
Se fxecrrov.
Diph. 12
Eupol. 139.
496.
pentameter
with
corresponding,
but
trimetrical,
latalectic iambic
close occurs, as
we have
already seen, in the
Equites
(1272
f.).
f.
= 1298
also
f.).
Compare
fragment
the
hexameter,
the
with
ff.
dimetrical iambic close, in the strophe just above (Vesp.
1520
= 1525
Sophocles,
Note
the
of
quoted
of
composed
dimeter
in parody in Av. 1337 ff., two iambelegi (481, n.) and a catalectic iambic
Oenomaus of an octameter
* * yVOLfxav aiero?
yAai'Kas
1337
<et
vxpLireTas,
~]^
^ ^
^^
w diMoraOeiip' virep drpvykrov

eir'
olS/xa
Xifj.va'i.
^ ^ w
:
ww
-^
7ap> yevoiixav
(?)
Ed.
1338
afiiroTadeiriv Blaj'des
av woTaOd-qv
497.
Pax 775-96
= 797-818
Strophe.
(Parabasis
I.).
'H/t. a'
Movo-a
(TV
pXv iroXeixovs
fxeT
cxtt-
wa-afievrj
ifxov
777 Tov
(f>iXov xo/o^ô'ov,
480
^ ^ ww ^ ^
^ ^
^^v^
o
4*^
v^w

2^^
778 KXcLOva-a dewv
re yd/xovs
ww
- ^ ^ -
dvSpoJv T Salras Kal daXia^ /taKcipcoV
481
781
Tjv
n. 5
croi
yap rdS'
^ "PX'*?^ fteAet.
Se ere
KapKcVos eXOiov
^ ^ ^ ^ ^
^ ^
^^7"
w^
V.W ^
dvTL/SoXfj juera tcov TratScuv xopevaai^
483
785
fiyjO'
n.
VTrdKovi
[xrjT' e'A-
513, 516
- ^ ^ ^ ^
-^
dys crvveptdos
ai'TOts,
10
wv^
v^

6*^^
dAAd
I'o/Atê
TravTas
v^
w o
224

opTvya'i oiKoyevets yuAtaux^va'j
498
389, 800
(ant.)
-^ -^ -^-^2
_ ^^_,^_ w^ ^^ ^^^c
lA/TiSas
op)(i]crTas vavi'o<f)Vts (T(fivpd8u)V
791
aTTOKViO-fiaTa /;i7yâvoSt(âs.
i(f>acr)^'
793 Kal yap
6 Trarrjp o Trap'
795 ecx^ TO 8pap.a yaXrjv

ecrirepas aTrdyâc.
tT]S
k^
v^
^ w
v^v^
4^
Aiitistrophe.
'Hyit. ft'
TOtaSe \p-q
(ro<fiov
XaptTwv
TrotrjTi^v
Sa^ktofiaTa
KaAAtKO/iwv
799 Tov
800
vfiviLV,
OTttv 7}ptva
/lev
4>a)V7/
x^'^'^'*^^'
H'^H'^^^
/x?)
KeAa8v;,
'x??
-jfppov
Se
Mopcrt/i-os
804 /xrôe MeAav^to?, ov 8i] TttKporaTrjv oira yi]pv(ravTO<; i^kouo"', 807 rjVLKa Twv rpaywSwv tov ôpov e?xov d8eA<})0S re Kat auros, a/x</)Oj 810 Fopydves 6\po(f>dy oi fSaTiSoa-KOTroi
"ApTTviai, ypaocrofât fiiapol Tpayopdcrxaôt IxOvoXvfJiai-
815
3v
KaTaxpep-ô-pLivy] yxeya Kat TrAaru

^vp-iratê ttjv
817 Moucra êa per' ipov

785 inrdKove Bentley
:
opT7]V.
:
vTraKoicrj's
808 d5eX^6s Bekker
dSeXôs
Monostrophic
4 2 7
5,
dyad.
:
A = ab
enoplic
(775-84,
tetrameter,
785-96).
ithy phallic,
a=
abed,.
pericopic tetrad
heptameter, enoplic pentameter. See 772. b = abcbd, epodic pentad a protracted choriambo-iambic hexameter and two dactylic dimeters that enclose an anapaestic tetrameter, with an enoplic tetrameter as epode. See 762. See the metrical scholium on Pax 775 fF. The strophe and antistrophe open with parody of verses from the Orestia of Stesichorus {frag. 35, 36, 37). See the scholiast, who quotes the lines parodied in the antistrophe.
:
prosodiac 6 2 4 2 4,
498.
Ban. 674-85
= 706-17
Strophe.
(Parabasis).
'H^.
a'
Mowa
iTTLfirjOi
ôpwv lepQv
396, 800
Kal
eX.6'
(ant.)
^-^
2-'=
e-l repifiv dotSas e/tds,

(ant.)
379, 800, 795 676 TOV TToAiJV oôpkvq AaWV OÂoV, OV (TOcfiiai
pvpiai KdOy]VTai,
^-^- ^ -^_^^_ ^^_i=i

5
- ^ -
v^v^ v^ v^
^ _
yj
.
A^ m 2*^^
678
<jiiXoTip.6TepaL KAeoi^wvTos,
^' ov
394
^--^-^-^-2
499
81]
x^*'^^*'"'"
225
a/x(îAuAois
680
Setvov 7rt/3pe/xeTat
792
TreraAoi'"
QprjKia
7rt
\i.Xi8ioi'
v^v^ - w v^ ^ ^
v^
w^^
w .
2'-'
2-^^
l3dpf3apov
eôfxivi]
394, 800 (ant.)lOw-
-.
^-^W9 aoAet-
683
KeAaSet
8'
iu<XavTov dj]86viov
ya'OJi'Tui.
vo/xov,
Tat,
Kuv
LiraL
393 ^
T''
Antistroplie.
ySi'ov
dvepos
1)
T/)07rov ocrrts
eV
olfxiolêTai,
708 OU
TToAt'l/
OVS' 6 7TL6l]KO<i 0VT05 O VVV t'rOxAcol',
KAetyev?;? o jxiKpos,
710
o TTOV^pdraTOS jSaXavevs ottoctol
KparovcTL KVKy]cnrecf)pov
ipevSoXLTpov Koi'tas
Kat KtyLtcoAta?
yi;?,
714
vpoi'ov evStarpti/'et
'Swi'
Se
raS'
ot'K
ipr/viKos
ecr^',
iVa ^y^TTore
Kd-o8v8i] fxedviav avev ^vXov

714
t'oi:'
/SaSiôiV.
0^
Bentley
eiSws 5e or eZStis re
(674-7, 678-85). A = abed, 2-3 4 2, dactylic penthemimer, logaoedic trimeter, enoplic pericopic tetrad B = abcde, 2 2 2 2 7, pericopic See 772. tetrameter, ithyphallic'! pentad anapaestic dimeter in logaoedic time (389), prosodiac dimeter, See 772, enoplic dimeter, ithyphallic, simplified logaoedic heptameter.
Monostrophic dyad.
:
A = ab
777.
499.
r^sp.
273-80 = 281-9
Strophe.
(Parode).
'H/jI. a'
TL
-or
ov irpo Ovpun'
(fiaiver'
dp'
i)fj.iv
417, 424
wv.-.
V.W-wv^ ^ ^
5
'2!^
^ ^ - -~
274
275
o yepwi' ov8' vTraKovet

jj-uiv
aTToAcuAeKC ras
^ ^ 491 w v^
(ant.)
^^^ ^w ^ o4" TW CTKOTO) TOV SctKTuAoV TTOV, 5 v^ ^ v^ 491 ^ v^ 276 tV' tcpXeyp-rivev avTov v^ w v^ TO a-cfivpoi' ykpovTOS ovtos, ^ _v.,_^6'^ Kal Tax' ttv ftovftiavLuyq 277 v^^ ^w pjv TToAu Spt/avTUTOs y w - ^ 4-<^ 488 10 278 7> rdv Trap i)p.lv, v../^ n^v^ ^ Kttt /XOVOS Ol'K dv CI^Ct',
efJLf3d8as,i) TTpocreKOxp' ev
802
Ty
226

dXX'
TtS,
500
279
ottot'
avTifSoXoi-rj
OLV
KaTO) KVTTTWV
i/'ets"
OVTIO
-^ ^ ^
^ ^
w^
~ ^
6
280 "Atôv
lAeyev.
^^^-2^
Antistrophe.
'H/x.
f3'
Taâ
(OS
8'
av
Siot
tov x^'t'^'' avOpomov, os
>)/ias
SieSi'er'
282 lâTraTwv Kai Aeywv

cîAa^Tyvaios
lyi'
Kai rav Sa/AW Trpwros KaretTroi,

efTTl ytt/O
Sta TOUT oSw7/^lS tT tCTWS KerTttl TTX'/aeTTWV.
TOtOUTOS
286 aAA'
ecrOu
wytt^' dvtcrTao-o
[xy]S'
/.it/S'
oi5tw creaDTOv
dyavaKTei.
kolI
yap
dvrjp
Tra)(^v<s
r/Kt
twv TrpoSovTwv
Opî/crys'
TttTTt
289 ov
oTTWs eyx^''"/''^'^*
281
x^^^'-i'O''
Hermann
x^f'^"'oi'

pentad,
constitute the first
AABBC.
See
716.
:
A = ab
dyad in an epodic (273-7^ 277^-80). A = abed,
5 2 4
6,
pericopic tetrad
ionic pentameter, enoplic dimeter, enoplic
See 772. b = abc, tetrameter, enoplic hexameter in trochaic form. 4- 6 2, pericopic triad hypercatalectic prosodiac trimeter, enoplic
:
See 771, 777. hexameter, ionic dimeter. The ode begins and ends with a minor ionic movement. The Verse entire ode that follows (291-316) is in minor ionic rhythm. 290, viray & Trai I'Traye, is apparently a comical addition of the second It has the metrical form of the final colon of the ode. coryphaeus.
500.
Mih.
457-75
(Parode).
Lyrical Trio.
Kop. a
X-qp-a p.ev
Trdpecm TwSe y' ovk droXpov
395 458
dAA' eroLpov,
lardi
8'
ws
- ^ - ^ - ^ - ^ ^ ^ w 5*^
_^_^
ravra paOwv
Trap'
epov KAeos ovpavo-
396 460
2t.
p.y]K7r(jiV
^w
^
k^
v^w
^7-*^
8td^ts.
dp'
apd ye tout
oxpopai
;
eyw
/3'
ttot
loa-re
^ ^ ^
Kop.
ye (xov rroX-
800
Aous
eiTL
- ^ ^ Kad/jcrdai,
^ wv^ -v^
7
Talcri Ovpais del
483, 802
10
-^w-
501
PKOSODIAC-ENOPLIC VERSE
ISovXofiivovs dvaKOLVova-dai.
227
470
\^
ww
re koi els Xoyov eXdelu
472
IT
pay [xara KuvTtypac/xis ttoAAwv -aAdi'Twi'
483
474 a^6a
o-tj
-^w- WW-- -W--7

15
cjipei'l
crvfilSovcroij.
Xevcroixevois /xera
ww w w
ww
w w
4^'
copic
(457-GO, 461-75). A = ab, 5 4, perirhythm pentameter, tetrameter. a hyperb probably = ab'b'c, 7-7 7 4, periodic tetrad See 770. catalectic prosodiac hexameter as proode, two enoplic heptameters, and a choerileum (490 n.) as epode. See 745, 776. See the metrical scholium on Nuh. 457 if.
Non-antistrophic.
A = AB
dyad
in
simplified logaoedic
501.
'Hu. a
vvv
5i)
cd.
Sec
ere
571-80
Kal
(Debate).
ttvkvijv (f^peva
(jaXocrocjôi'
383
<f)povTL8'
TrL(TTafxei'y]V
_-_-_^w--3
3-*^
iyeipeiv
573
Taicrt,
<îAato-tv d[j.vvLV.
KOiVTQ
yap
Itv
evTV\[ai(Tiv
ww ww 2*^ 2 ww ww 488 ww ww w
574 575
'ipyerai yAwTXi;? k-lvoia -irokiTqv
SrjfjLOv
eTrayXaiovcra
790
St]-
ww ww
w5
5"
IxvpiauTtv wcfieXiauri fSiov
XoV
Kaipos
B'
OTl TTCp
Setrat
Sl'l'ttTai*
WW WW
nvos
e^-
<8e>,
yap
ri a-o(f)ov
481
evp7][J.aros
rj
n.
10
WW -WW-'
ttoAis rjiMMV.
2*^ w w w w jJ-rJTe BeSpafieva fxn'^r' et ww ww p.ipr^fieva ino irporepov ww ww w dova-i yap riv to. TraAatu 580 8^ 15 w w TToAAaKts êcovrat.
578 dAAa
Trepaive fiovov
ww ww ww
ww
6-*^
'
576 577X0?
5'
]\Ieineke
dr]\ovv
<5e>
Hermann
577
rt
Princeps
tol or rol
ye
The antistrophe of the monostrophic dyad is lacking (673). A A = abb, 3 2 2, proodic triad: a logaoedic (571-3, 574-7, 578-80). b - abT^c, See 738. trimeter as proode to two enoplic dimeters. 3-5 5 6-, periodic tetrad a hypercatalectic prosodiac dimeter as proode, two enoplic pentameters and a hypercatalectic prosodiac c = ab, 2 8, pericopic dyad: See 745, 776. pentameter as epode. See 770. enoplic dimeter and octameter.
:
= ABC
228
502.

With
the
last
502
subordinate
period
cf.
:
the
enoplic
hexameter ending with an ithyphallic in Crat. 240

(TTacris
Se
Kal
TTpta-fivyivris X.p6vos dAAiyXotcri //.tyevre ixkyurrov tcktTOV
rvpavvov
ov
8rj
K<f)aX-i]yepirav Qeol
KaXovcriv
503.
Modern
writers on Greek metric are not agreed as to
the origin and constitution of the cola that compose prosodiacenoplic verse.
theorists
See 812
ff.
Furthermore,
all
ancient metrical
are
not in agreement with one another,
nor
is
the
individual ancient metrician always in agreement with himself.
The views
of Heliodorus,
who
analyzes three of the foregoing
metrical scholia on
See the Hub. 457 ff. In these analyses, he consistently regards the elements ^ - ^ - and
odes, are of peculiar interest
to
students of comedy.
Fax 775 K,
'
Hq.
1264
ff.,
as
is
x^
'
- ^ not
,
as
'
epitrites
(see
Heph. 12.16
iambic
ionics,'
but respectively as iambic and trochaic.

basis
(for
iambic
- -
v^
-),
and 1 3 f.) nor His phraseology penthemimer, iambic

f.
hephthemiraer, iambic dimeter, iambic trimeter;

(for
trochaic basis
v./
- ^
),
ithyphallic,
trochaic
hephthemimer,
trochaic
dimeter, trochaic trimeter.

504. He does not name the enoplius, but calls the combination v^^ v-'v^ haKTvXiKov TpiiTOVv et? BcauWa^lav (Fax 782 and 783, Eq. 1265) or SaKrvXcKou KTpiTrouv ei<?> rpo'Xâlov
(JVub.
465).
He
does recognize, however, the prosodiac,
repeatedly designating the combination
name.
Again,
Thus
ireLvrj,
dTrcoa-a/jiivi] /xer
rj
oScaKrj evS6Kdar]/j,o<;
(cf.
^-wv^-wv^- by this (Fax 776) is Trep/oSo? irpoathe antistrophe, v. 798) S(o8eKd(r7)p.o<i.

i/jiov
6aK.pol<i
BaKpvoc?
{Eq.
1271)
is
irpoaoScaKov
BwSeKaa-rjfMov.
He
gives a single indication, of doubtful meaning,
as to the constitution of the prosodiac.

fxer
ijMOv
{Nuh.
Bco8Kd(Tr]p,o<;.
(Nub.
tion
468)
is
Thus t6v nrdvra y^povov 462) is dvairaia-TiKr] TrpoaoSiaKr) rrepioSo'i Again, more simply, ttoWoix; eVt ratai dvpac<i dvairatcmKov TrpocroBcaKov BfoBeKdcrrj/jLov. Does
at
anapaestic attached to 'prosodiac' here signify the differentiathat Hephaestion perspicuously states
flf.),
unusual
length
(630
or does
it
mean
that Heliodorus regarded the prosodiac
)^
505
a real
fact
anapaestic (logaoedic)
is
229
of fixed
is
;is
tripody, but
form
The
that
perhaps
indeterminable,
these
but
it
to
be
noted
is
his
analysis of
prosodiac
his
and
of
enoplic
periods
evidently
controlled
by
to
theory
davvdprrjTa,
which
xv.).
ff.,
llephaestiou
Til us
seems
have
the
adopted
first
'
from
Heliodorus divides
enoplic
period
dactylic
in
him (chap. Fax 775

'
catalectic
]irosodiac.
tetrameter, into
f.,
penthemimer
and
So also in Eq. 1270
a catalectic enoplic pentameter,

of trochaic basis, 'dactylic
ihe period consists,
by
his analysis,
penthemimer' and
periods
'
is
Thus the true nature of these obscured, whether we regard them as enoplic or as
prosodiac.^
'
dactylo-epitritic
is
(812
ff.)-
he
obsessed by his theory.

f.,
These analyses reveal how heavily Thus again he states that UnK
re
470
ôvkoixevov; dvaicoivovcrOai
kuI
e?
Xoyov iXOeiv, a
'
tetrametric combination of enoplic dimeters, consists of

'
'
dactylic
He calls this penthemimer and anapaestic hephthemimer.' an eVo?, and so far as number and arrangement of long and short syllables are concerned, it is no doubt identical with one
form of the heroic
505.
as
line.^
for regarding the prosodiac and enoplius dodecaseme isomeric dimeters, in which each short syllable has the value of one primary time and each long syllable that
The reasons
of two, are
stated elsewhere in
f.
this
book.
See, in
particular,
630
ff.,
647
The probable
origin of these
two dimeters and
their
consequent syllabic identity with fixed forms of the anapaestic and dactylic tripody must not be forgotten in weighing the
significance of the phraseology used
scholia.
by Heliodorus
arise
in the metrical
Confusion
would be
likely to
at
once on the
loss of the music.

1 The prosodiac is briefly designated simply as dvairatcrTiKdv in the commentary on Eq. 1272 and Ahtb. 475. - Note also his analysis of Nub. 472 f., an enoplic trimeter; 474 f., achoerileum;
Fax 779
an iambelegus 783 f., an f., encoraiologicum 795 f., an enoplic tetrameter. - See Blass, Bacchijlidis Carmina ^ xxxv. f. Goodell, Metric, 196 f.
; ; ;
CHAPTER
XII
AEOLIC VEESE^
506.
The fundamental colon

in
in
Aeolic verse
is
poly-
schematist dimeter of eight syllables, in

are
practically unregulated
is
which the quantities

metre, but the second
the
first
:
metre
always a choriamb (19 f.) (i.) o o o o - ^ v^ Closely related with this dimeter are four others due to the further choriambization of the primitive dimeter o o - ^ (ii.)
:
V two
v^
called Glyconic, in
which the quantities of the

(iii.)
first
syllables
remain
close
unregulated;
-^^- ^-^-,
choriamb
the
called
choriambo-iambic, which
;
begins
with a
and
has
Glyconic
;
(iv.)
and (v.) - ^ - ^ the ditrochaic dimeter. These are all normal Aeolic dimeters, but the last is rare in comedy. For their relation to one another and to the primitive
dimeter
^
^ - ^ _ ^ _ ^
^ - ^ -^
diiambic
dimeter, as developed in Aeolic poetry, see 651
ff.,
657
flf.
507. Aristophanes employs nine of the sixteen possible forms
(651) of the polyschematist dimeter

KUiTOL TToAAot TUVT
eTTadoV
511
508.
AEOLIC VERSE
231
ff.)
By
catalexis
o
(Hepli.
o
29.
the
polyschematist
dimeter becomes
notably in
o o
- w ^
(34).
This catalexis appears
the Eupolidean, a tetrameter in favour with the comic poets, which consists of an acatalectic and a catalectic polyschematist dimeter
(3
deiijfxevot
vi)
KanpCi
irpos ii/xa? iXevdipois

fj..
raXrjdi]
tov Atdvucrov Tov ^Kdpeif/avTu.
- ^ - ^ The forms
-WW-
xj
-w^
Nub. 518
f.
of the first metre in the polyschematist dimeter

(see
which
by Aristophanes are 7 and 9 Aeolic verse; 1, 6, 8, 10 in the Eupolidean.

are preferred
507) in melic
509.
By
is
brachycatalexis
polyschematist
cola
end in
:
but this
uncommon.
w
Compare the following tetrameter

Av. 1724
fjLaKapLCTTov (TV yap-ov Ty8e iroXei y)'jp.as

f.
-WW- -WW- -WW510.

to
The Aeolic dimeter was originally severely restricted eight syllables, but later, under Ionian influence, it admitted
f.).
resolution of long syllables in certain forms (506,
some freedom (659
Eesolution occurs
first
schematist dimeter, but only in the

VTTO
iv., v.) with even in the polymetre
T yepOVTlOl'
oXkdpMV
TTpoTepoiv
wv^w
ww
ww
LlJS. .325
aAAo. TToXep-ov Koi /xavicuv

^wvTcs TOT
eVt
<^w ww
ww^
Lys.
342
f.
Twv
Nub. 1029
probably felt, although unconsciously, that the metre which underlay each of these resolved polyschematist metres was diiambic, the forms numbered 12 and 7 above. Under Ionian influence even an anapaest (cf. 70) might appear at the beginning of the first metre
Aristophanes
original
ttoXlovx^ eras ecrxov 'dSpas
Cf.
<^
ww
Lys.
345
EccL 940 (567), Vesp. 1461 (548). 511. Aristophanes is fond of the Glyconic, of which the
catalectic
form
(oo-w
rjp.epas
w-i=i)is
called Plierecratean
XopSov KtyKXof3a.~av pvOjiov

i^SwTTOV
w
w w w w w w
âos
SeVp'
0-Tai TOio-t Trapoi'crt

TOtO-t
rjv
Kal
U.(f)LKVOVIXiVOli,
KA,ewv
a7ro/V>/Tat.
w w w w w
w w w w
A.v'\s,t.
frag.
140
Eq.
9736
: :
'
232

first
512
The
four
v^ y^
two
syllables of the Glyconic here
possible
forms.
Aristophanes uses
v^
assume two of the very rarely and

in
only in parody, in which he allows also spondaic close of
the
Glyconic
(oo-v^
),
found
Sophocles
and
Euripides.
He
never admits the anapaest into the Glyconic,
except in parody, as in Han.
1322
(586).
is
512. Eesolution of a long syllable

first
allowed in one of the

syllables
two places of the Glyconic, the unregulated

Ti TTore Trpayfia yev/^crerat
;
w^v^
v.^
^^
Ran. 1251
Here the underlying metre was probably felt to be ditrochaic, - v^ - vy, since Aristophanes rarely begins the Glyconic with the antispast, v^ ^ Compare the unusual resolution in froff. 141
.
Trpea-jSvra,
Trorepa c^tAets
-^
This resolution, which occurs in Pindar,

in
is found in Aristophanes parody in conjunction with spondaic close as in Aves 910,
91-4 (585).
513.
The choriambo- iambic and diiambic dimeters
occur
frequently in comedy in both their acatalectic and their catalectic
forms
ws
fJ.v
dirAo)
Aoyo),
KaKws
iôXicretev 6 Zei's
TpOTTOV TttAatva Kvrjo-ias
ywatKas dvOpaKiveiv
^ y^ ^ ^^ kj ^ ^ kj
is
w
^^
v^
Ach. 1152
Eccl.
f.
^ ^
kj
Lys.
919 340
diiambic penthemimer
(562).
(36)
found
in
Nub.
702
806,
704 = 808
514. Irrational metres are freely allowed in diiambic dimeters
and sometimes even as the second metre in choriambo-iambic

dimeters
KovSev rraprjXOev, coar
eywy
w
^ v^v^
v^
^
v^
Tou Trpay/xacrtv xpwTtêTaL

XaAKO/cpdrcov
tWwv
ktvttos
is
v^
637 516 Eq. 552

Ves}).
Ntib.
515. Eesolution also
common
in the first metre of diiambic
dimeters
ov ex
eTTiSoipL reu^tSos
ere
kvkX.10 Se Trepl
KLcrcros
v^^^v^ ^ ^ ^ -^ ^
kj
Ach.
Th.
1156
999
{^
518
IxaLvofievos'
AEOLIC VERSE
6 Se XtOov fSaXeiv
/3ovAoyLlVOS V CTKOTO) Xd/3oL
233
770 Act
TcAea Se Svypo
.^^v^ w ^ -^ ^ v^ w w w ^- v^
^c/l.
77t.
1168 353
f.
of
Diiambic cola may even have logaoedic form, under the influence iambic cola in Ionian rhythm (70), as in Ach. 849 (582),
Fax
in cola
94.8 (583).
516. Protraction (tovt])

cola
:
is
not
common and
is
found chiefly
of diiambic form, but sometimes in
choriambo-iambic
oKcAAof Kara
fj.eX-
^ _
.
Aovres Aa/Jetv avTOv kvojv

apTrdaacra cfêvyoi
>)vLKa
Twv rpaycoSwv
^ _ ^ _ <y ^
are
_ ^ _ w
jich.
.
^ ^
1159
f.
Pax 807
517. Ditrochaic
dimeters
rare
in the Aeolic verse of
comedy, but when they occur they admit the irrational metre, resolution and protraction, as in Ionian rhythm
/xYj
(fiOoveo
Taioriv veatcri,
e/x7r(î'Ke
TO Tpvcfiepov yap
iKirka-OL
=
w ^
EccL 900
f.
crov
to Tprjpia
TO T IttikXlvtpov aTrofSdXoi'i
_^_^ ^v^-o
518. Trimetrical cola are
= 906
f.
much
:
less
common than
dimetrical,
but they occur in

(iii.)
all five
forms
(i.)
polyschematist,
(ii.)
Glyconic,
choriambo-iambic,
(iv.)
diiambic, (v.) ditrochaic (rarely), and
are due to the
dimeter.
tion,
same choriambizing influence which produced the Compare the corresponding dimeters (506). In illustranote the examples quoted from various poets in 654, and
also the following

(i.)
xdO' iTipov vvKTepwov yevoiTo
_^^_ _^^_
âaTtocrtv apafiaivova-l Te toi'S
Ach. 1163
_ ^ ^ _
Kar
opea vvp.^dv eparols ev
{'/tvois
_ ^ ^ _ v^ v^
- ^ ^ ^ - -
r/i.
357
^
(ii.)
^w
n. 992
xaip'
<5
)(^pv<T6Kepws jSe/SdKTa kY^Xcdv
Udv, HeXaa-yiKov "Apyos Ipftanvtav
_-_^
^ - ^ ^
^ ^
Crat.
321
WpaV OVK
UTToAeiS OvS' dT7oXrj\pL
Eccl.
923
'
234

first of
519
(cf.
The
these,
quoted from Cratinus,
is
the Phalaecean
the
catalectic
Vesp.
1226,
1227,
1248);
the
second,
lesser
Asclepiadean.
(iii.)
ecTTt
SiKaiov,
el
8rifMOKpaTov[ji.9a
- ^ ^ )}
^
e\i<i
v^
^_^_
Eccl.
945
Eêcrov jxaKaipa Tray^pvcrov
- ^ ^ (iv.)
^ - ^ -
_^^_
^ -
Nub. 598
Ach. 1158
(Tiôvcra
TrdpaXos
ctti
rpaTre^rj Kecp-einj
^
yap
(v.)
fjLOi,
^
8'
^^^ ^
lirjTTip
ctAAr; /Se/BijKe
._
kolttI
._
w ypav
Eccl.
913
903
Tots
{Ji.rjXois
eTravdei'
crv
-v^
_^_. -^
Eccl.
On
655
the relation
ff.
of
all
these cola to the primitive trimeter, see
519. Aeolic trimeters in comedy, except ditrochaic, generally assume iambic, rarely choriambic, catalexis. They admit the resolutions, irrational metres, protraction, and the irregularities found in parody, that are allowed in dimeters. For example, Aristophanes uses in Av. 908 (585), in parody, an acephalous ^ ^ which (38) polyschematist trimeter, ^ - -^ ends in Glyconic form with spondaic close (511), where normally - ^ - ^ ^_^_. In the following he would have colon (909) the same trimeter is brachycatalectic. 520. Correspondence is allowed between certain forms of the unregulated metre in polyschematist cola
,
-^-^
vvv 8k
Toi/
e/c
Oi'}fjLiTepov
=
^ ^ =
^ ^
7rotr;T7yv
ovTrtx>7rod'
ovTO) KaOapojs
_^^_
=
Vesp.
526
= 631
Aoyoicrt Kal (fipovTccri Kal
ws
rjSv <Tov Totcrt
Aoyots
wv^ Nub. 951 = 1026
Tov ^vyypaff^Q rov fxekewv
KaO' eVepov vvKTepcvvv yevoiro
_-^_ _^^_
v^^^
v^
^
Vesp.
^c/i.
1151
1163
cfivtrecos,
y]v
e'x^'
''''''
o.e.L
=
^ ^
forms
1458
Tb
yap
Keivo<s
avTtAeywv
different
1470
521. The
allowed
of
the
Glyconic
may
correspond
V TO) Siiy/XaTi T(OV SlKWV
=
^ ^
ovTos ov Swarat /xadelv
^_^_
Eq. 979
= 995
528
KctAet
Ta/ioi
AEOLIC VERSE
'Op9aynpav, ojtws
TTaiyviati]V S'
235
=
v7
p)i'
w v^
forms of
^cc^.
916 = 922
522.
The normal and
irrational
:
the choriambo-
iambic dimeter
XakKOKpOTOiV
may
correspond
KTVTTO'i
lTnr(x)V
rys lepwrdry]^
77a[o"aiv
wv./
^ ^
Eq. 552
= 582
523.
Normal, irrational and resolved metres

:
may
correspond
in diiambic cola
Seoixevov,
i)
8'
w-Trfpei'-i]
/SovX.OfJLiVO'i
kv (TKOTM
XdfSoi,
^v^v^ ^ v^
^ ^
Acli.
1157
1169
rrpos Trjv i/xrjv dvdyKi]i'

peXi]iia, KvTrpi8o<s epvoi/\oKAewvos
v^ ^^^
T'esjj. 1
454
= 1466
524. The choriambo- iambic dimeter may correspond as a whole with the polyschematist, Glyconic, or diiambic dimeter
yvpvacTiov Aeyetv re
Sei
=
^ ^
w v^
Vesj).
ot'Sevb? rjKovcrapev ov\Sk
527
= 632
Kara tov veaviav opa? yap ws rovSe XeycLV.

fiTj
oj?
Se
Trdvr'
einXijXvdev
= ^ ^
wv^ ^ ^ w
KOvSev TraprjXdei', wctt' eyojy'

va-repoTTOis /3or]d(o
^ ^ w w w
Vesp.
532
f.
= 636
f.
=
Lys.
yvvaiKas uvdpaKevew
326 = 340
525.
The same correspondences
are allowed in
two equivalent
526. Single Aeolic subordinate periods may be combined in the same systematic period with most of the rhythms of Ionian
verse, often with
marked
effect since
the contrast of rhythms
is
impressive.
527. Aeolic verse developed
many
tetrameters of fixed form

(506).
by uniting two
of the five dimeters
named above
Some
had vogue and received particular names in antiquity, and some came to be used, like iambic and trochaic These tetrameters are nearly all tetrameters, in recitative verse.
of these tetrameters
catalectic.
528.
Thus
(i.)
the Eupolidean, already cited (508), of which the
236
general scheme

is
529
oooo
^ ^
oooo
k^
Com-
pare the Parabasis of the Mches (518-62).
The forms
the order
V.
of
(9),
of the first metre in these forty-five verses, arranged in frequency of occurrence, are (16 times), ^ - - ^ (1), with four (8), - V. - ^ (7),
:
:
^ (2), doubtful cases forms of the third metre are

:
^ ^ ^ - ^
(12),
(l),
_ - _ _ (i). The - ^ - ^ (11), - ^

with three
doubtful
list
(1).
(10),
(5),
V.
(3),
(1),
cases:
- ^ - ^
(1),
- ^
(1),
Compare the
of forms in 651.
529. This
Resolution
is
verse was much affected by the comic poets. admitted in the second dimeter of the tetrameter
as well as the first

fji'
yîxdiv
(TVKov TLS
lSyj
8ta )(^p6vov veov TTore,

TO)
TW(fiOaXf^b)
TOVTM
_^^_ ^^_^ -WW

;
7reptlx6.TTOjJ.eV
TWV TTacSiwv
Pher. 132
For other examples of the Eupolidean cf. Crat. 74, 98, 318; Pherec. 29, 47, 64, 122, 191 Eupol. 78, 120; Aristoph. 54, 55; Plat. 92, 169; Alexis 206, 237; Frg. incert. 53, 54, 55, 56, 1330. 530. The epionicum (ii.) likewise consists of two polyschematist
dimeters,
the
first
ff.)
acephalous
(38),
the
second
acatalectic (Heph. 57.

ci)
11
KaAXicrTTj TToAt Traawv ocras

iv8a[p.(v TrpoTepov t'
KAewv
icfiopu,
ea-t]
ws
ycrda,
vvr 8e yaaAAov
-WW- -w-w -WWCf. also
Eupol. 290
531.
Eupol 291, 292. The Priapean (iii.)

19
ff.)
consists of
two Glyconics, the second
catalectic (Heph. 33.
ov8' At^wvt'S' pv9p6)(^p(i)V ia-dUiv
(.tl
TpiyXqv,
ovSe Tpvyovo?,
oi'Se
Seivov
<j)vrjv
p.eXavovpov
-^-w w-w- -w-w

See also Crat. 320.
532. The greater Asclepiadean eKKaiheKaavWaôv (Heph. 34. 11
Crat.
221
(iv.),
called
also
SaircpLKov
ff),
likewise consists of two
but the first dimeter abandons Glyconic close, developing an antispast as the second metre, as in the lesser Asclepiadean (518, ii.), and is thus closely linked with the
Glyconics,
::
537
dimeter.
AEOLIC VERSE
Aristophanes
has
joined
the
237
following
Phalaecean
ff.
with this in parodying Alcaeus {frag. 84) in Av. 1410

opvide'i TLVS
o'lS'
ovSev
e;\;ovre>;
:
TrrepoiroLKiXoi,
Tai'vcr iTTTepe TrotKiAa
xeXiSoc
Ct Aves 1415
For
a
also
and
of
Vesp.
1238 (Asclepiadean
trimeters,
in a scolium).
discussion
Asclepiadean
tetrameters
and
longer periods, see the Editor's Origin and
Form
of Aeolic Verse,
304
ff.
533.
An
meter
(v.)
acatalectic and a catalectic choriambo-iambic were also combined (Heph. 30. 11 ff.)
oi?>a fxlv
di-
apxâlov Tt 8puiv koi'î X^XrjO' i/xavTOV
_^^_
This tetrameter
(frag.
_^^_
Arist. frag.
30
the Flatterers of Eupolis is used by line in Compare also 159) in a quotation of sixteen verses.
Eupol. 38, 361.

534. Different
dimeters
might
be combined, as
:
(vi.)
the
polyschematist dimeter and the Pherecratean

ev
Xeifj.(J)VL
X(jiro(f)6pco,
KVTreLpov re Spoo'ojS?/
_^^_
Plier.
109. 2
535. The polyschematist and the choriambo-iambic dimeter - ^ ^ were combined under the fundamental scheme - ^ w - v^ The first metre assumes various forms, but two of these tetrameters got vogue. Eirst (vii.)
oooo
Xiyvvv SoKO)
wa-irep irvpos
fioL
KaOopav koI KaTrvbv
S>
yvvaiKC?
Kao/xevov
<nrev(rTeov ecrrt Oolttov
^_
536.
- ^ ^ also (viii.)
ifxal
- ^ ^ -
Lys. 319,
320
Compare
ei
yap
Trava-aiJuvo)
yov
7roAe/xoi'
ykvoiTO
- ^ ^ -
- ^ ^ -
- ^ ^ -
Arist. frag. 109. 2
Eor acatalectic examples of

537.
this tetrameter see Pher. 29 and 122. The polyschematist and the diiambic dimeter were
(ix.)
rrj-i
combined, as
^>Âw ye
evTvî'a? tov Trpko'fivv ot [X~i<rTij
^ -
- ^ ^
^ -
Vesp.
1450
f.
238
538.
538
The Glyconic was combined with the choriambo-iambic

w
^
TrpecrfSvTa iroT^pa cfuXels ras SpvTrereli tratpas
(TV Tots VTTOTrapOevovs
dimeter, as (x.)
aX/xaSas ws lAaas
v^
^
539.
v^^w
v^v^
Arist frag. 141
The choriambo-iambic dimeter and Pherecratean were

(xi.)
combined, as
w
/xaAa>âs /xer eêpwv dvaTTvewv
8'
vuKivdov
Pher. 131.
1
- ^ ^ -
^ - ^ -
v^^-vy
v^
540. The combination of the choriambo-iambic dimeter with a catalectic polyschematist dimeter, of which the first metre was usually - ^ - ^, gave the celebrated tetrameter named (xii.)
Cratineum (Heph. 54. 11

Ei!ie
KL(rcro)(alT'
ff.)
after Cratinus
X'-^P'
ava^
'^^^^^^x'
'^K<f)avTi8rj<;,
TrdvTa ôpT^Ta, Travra toXjii^to. rwSe tu> X^PV^ TrXrjv Htvtoi) vd/uotcrt Kal Ixotvtwvos w 'K.dpov.
-wv^Cf. also Crat.
^ - ^ -
- ^ - ^
- ^ 9,
Crat.
324
327, and (text uncertain)
41, 146, 210.
For
Eupol. 37 see Heph. 54. 19
K
some of the foregoing tetrameters
'
541. It seems probable that
may have been

are often
used in continuous passages as
verses
'
rendered
in recitative, as the anapaestic tetrameter
and trochaic tetrameter
in Aristophanes, especially in the parabasis. example, very strong presumption that the series of sixteen (668) tetrameters in Eupol. 159 (533) constituted the
employed
for
There
is,
example
epirrhema or antepirrhema of a parabasis. The only certain in Aristophanes of Aeolic tetrameters rendered in recitative is found in the parabasis of the JVuhes (528), where
Eupolideans are thus used.
hypermeters
may have been
It is also possible that Aeolic used in the pnigos, in the manner

Cf.
of the anapaestic hypermeter in the parabasis. quoted in 549, and note Bergk's surmise.
Pher.
96
542. Pentameters, hexameters, heptameters, octameters and
hypermeters are formed by the union of dimeters and trimeters

of the
same or
different orders.
543.
Erom
the
foregoing
elements
systematic
periods
of
simple or varied form are composed, according as they consist of a single sort of colon or of different elemental cola.
545
544.
AEOLIC VERSE
239
strophe
may
consist solely of a single sort of colon,
as in the
two odes that follow
E^.
973-6 = 977-80 = 981-4 = 985-8 = 989-92 = 993-6

(Stasimon
I.)
Stroi^lie I.
"H/x.
7'j3to-TOV
</>aos
rj[ipas
ecrrat TOicrt
Trapowi Kat
975
Totcrt
Sevp' aîKVOv/xa-ois,
aTroXrjTUi.
yv KXewv
^ ^ o ^
- ^ ^^ v^ w
^_^_ ^_^_
v^
w ^ S
Strophe II.
'H/x. /3' KaiTOL -peo-jSi'Tepm'
tlvmv
oiojv
dpyaXewTaTUiV iy
tco
oeiypaTL twv
Strophe
'H/x. a'
III
TroAet
/xeyas, oi'k
ws
d p)
'ykvS' ovros eV
t//
av
i]aT7;i/
o-Kei'?/
5i'o
)(jir](riiJ.(D,
SoiSi'^ orSe Topvvip
Strophe IV.
'H^. /3'dAAa Kut To5' eycuye ârfia^w Tiys vofiova-ias avrov' (pacrl yap auTov 01 iraiSes ot ^vve<f)OiTiov,
Strophe V.
'Ku.
a' TTiv AwptcTTi
ji6vi]v
0.V
apfioTTecrOai
Oajxa
t7)i'
Xvpav,
aXXrjv 8
ouK eOeXeiv fiaOelv K'Jra tuv Kidapt(n^]v
Strophe VI.
'H/X./5' opytcrêvr' aTrayetv K-eXercu', ws apfxoviav o Trais ouTOS
oi'
SiVarat
[xaOelv r\v
/xi)
AcupoSoKicrTt.
975
Scaliger
ToTfft
:
5e?p'
dcpiKvovfxevoLS
Bentley
roiffiv
a.<f>iKvoviiivoicTLV
981 'yived'
yivoid'
The six strophes constitute a monostrophic hexad (701). The period consists of a single octameter composed of three Glyconics and See 773. a Pherecratean. See the metrical schohum on Eq. 973 ff.
545.
Xo.
Tt TTOTC
Ban. 1251-60 (Episode XL).

-payp.a yenô-erat;
^v^ ^
^ .^ ^ ^ ^ w
w-v^^^
(fipovTLîiv
yap eywy'
e;^co,
v^
TtV apa
fj.e/j.\j/iv
kirolcreL
St)
dvSpt Tw TToXr TrAetcTTa
w w ^^
240
1255

Kal KaXXicTTa
a-avTt
davjxa^di
jxkXr]
ttoii^-
546
Twv
fJ.i-XP'-
vvvl.
oirr)
5 v^ ^ ^
>^
^
v^
-^
6'"'
yap eywy'
ttotc
531
/xe/i;/'Tat
tovtov
Tov BaK^êtov avaKxa,
1260
Kttt
8e8oLX
1256
iVep aurov.
Meineke
(
:
10
^ ^ _ _ _ ^ v^ ^
^t) outuv
^ w w - v^
,^
4*"*^'
^_,
2*^^
v^
2^
iJ-ixp'- '''"''
ert yOc (yOf
+ ), 6 6 4 (+2 2), epodic triad, with refrain, in Glyconic rhythm two hexameters with a tetrameter as epode, the strophe closing with two Pherecrateans that repeat the melody of the final colon of the tetrameter. See 737 and 774.
Non-antistrophic.
:
A = aab
546. In the following all but two cola are Glyconic
Ai:
676-84
(Parabasis).
Commation.
Kop. a w
ft)
c^tAr;,
S>
ôvd-i'j,
509, 800
<l>iXraTov opvewv
38
tmv
efxoJv
TravTwv, ^vvvo/xe
vfxvwv,
- ^ ^ ^ ^
v^
2-^
^vvTpo<f)
avySot,
w w w
v^
v^

6*^
680
'^]X9es i)Xdis
)]?)vv
i!i6'q^,
509
cfiepovcr'
- ^ - w
2-^
"
(f)d6yyov ip-ol
dXX w
avAbv
KaXXifSoav KpkKovcr'
<^6kyp.a(riv
'I'lpivois
apxpv Twv
Non-antistrophic.
avairaLcrTiDV.
___^ ^_^_ _ __^ ^_^_ ___^ ^__8*-^

epodic tetrad
748.
:
^w v^
A = abac,
ff,,
2- 6 2- 8,
two brachy-
catalectic polyschematist dimeters that enclose a Glyconic hexameter,
with a Glyconic octameter as epode.
See
On
the commation see 293
298.
547.
The Pherecratean was sometimes used continuously

:
in
a series of short verses

avSpes
irpocrxj^Te.
tov vovv
v^
\j
fîvprjfxaTi.
Katv(f),
<TVfJiTrTVKTOL<i
dvaTTaicTTOis
_ _ _ ^ ^^ _ _ v^ ^ _ _
Plier.
79
Of.
Crates 33, Eupol. 162.
548. The continuous use of the polyschematist dimeter in an entire systematic period, in the manner of the Glyconic, was avoided in melic verse, probably because of the irregularity of
form of
its
first
is
Aristophanes
metre. The nearest approach to this use in found in the following ode
'
549
Vesp.
AEOLIC VERSE
241
II.).
1450-61 = 1462-73 (Stasimon

Strophe.
'H/x. a' (ijXQ
ye
tt}?
evTvîaî
OL /XCTeCTTT/
537
^
^ _
TOV TTpea/Sw
v^^ ^ _ M 4CV
î]pCjv rpoTTcav Kal /JiottJs"
^_^_ _^^_
^.^v./
eVepa 5c vvv avrt/xa^wv

^)
_,^^_

/Jieya
tl fieTaTreareiTai
5
^ ^
802
10
î?
^c^>^
.^
1455 eVt TO
Tpvcj>wv Kal /xaXaKOV.
^_^ gcv ^^_

^^
v^v.^
Ta;(a 8' av larws ovk edekot.
^.^^
^^
Th yap diroa-TrjvaL x^^^"""^^

(f>va-e(^<s

14^^'
r)v
e'xot
T15 aei.
w^^ ^
^
o
_^^_
wv.^
KairoL TToAAot ravr'
aradov
510
1460
^vvovres yvcu/xais erepoiv

[xeTe/SaXXovro TOi'S rpoTrov?.
_^^_
v^
^^
Antistrophe.
Up.. fS' TToXXov 8' liraivov Trap
ip,ol
Kai Toicrtv v (ftpovovaiv

TvxijDV airetcriv Sia rr]V
1465
(fnXoTrarpLav Kal (rocfiiav

6 irats 6 ^tAo/cAewi/os.
ov8evl
yap
oiJtojs
ayavw
kêxvdrfv.
^lii'eyevo/XT^v
7ê/xav7y^'
ovSe rpoTTOts
oi'S'
1470
Tt
OTJ
yap
eKeivos avTtAeywi/
ryv,
KpeiTTWv
f3ovX6p.ei'OS
TOV
cjivcravra crep-voTepoLS
;
1473
KaraKoa-p^rjcrai Trpccy/xacrcv
1454 /jLeTairecreiTaL Bentley /xeTa-rreicreTai or (ae7a irelcreTai Tpvipuiu Dindorf eiri t6 pxxpav or iwLTpvcpbv or fVi t6 rpvcpov
: :
1455
eTri
to
Monostrophic dyad. A = abc, 4 6 14, pericopic triad tetrameter, hexameter, hypermeter of fourteen metres. See 771. The polyschematist dimeter here admits six different forms of the unregulated first metre in addition to those that are pentasyllabic
:
or hexasyllabic by resolution or irregularity (1461 = 1473). Only two cola are non-polyschematist, the catalectic diiambic dimeters ending the first two subordinate periods. With these compare the last colon, a catalectic polyschematist dimeter (508).
549.
fragfmeut
Compare
the
series
of
dimeters
in
the
following
242

* * * * TOiS Se KpLTals
TOis vvvl Kpivovat Xeyu),
jtiTJ
550
VtOpKeiV
I17]8'
dSlKWS
(fiiXiov
^
5
KpivcLV,
vrj
rhv
fivOov ts
ii/xas
eVepov
êpeKpdT7jw ^
As Bergk surmised, this may have been the close of the pnigos Cf. also a parabasis, to which it would be admirably adapted. Pher. 13 (two subordinate periods), 95, Eupol. 362 (a colon and the beginning of a second), Arist. frag. 11, 533.
of
550. The continuous use of the acatalectic chorianibo-iambic dimeter was likewise avoided in strophic composition, although it appears, like the Eupolidean, in a verse of fixed form (533) The catalectic dimeter, on the other which was used by line.
hand, occurs in a fragment of Aristophanes in a series of limited

extent
ovK erbs
Tracri
w ywatKCS
eKaa-Tod' avSpes'
e'/oya
w w
v^ \j
KaKolcriv rjfias
<f>XM(riv
Setvo,
yap
Spwcrai
vtt'
Xafi/SavofJiea-O'
avTwv
^ ^ w w _ ^ ^ _ v^^

^ y^ ^ w ^ ^ w v>
v.^
^ _
^
_
Arist. 10
Compare
also
OS xapiT(3iv [xev oêi
^
v^ w v^
KaXXafSiSas 8e
crrjcrafiiSas
jSatveL,
8e X^t^*^
firjXa Se
y^pkixiTT eTai
...
Eupol. 163
The last colon seems to be an abnormal catalexis of the preceding Emendations have been catalectic dimeter and has given offence. proposed, but the form, since it is unique, is probably due to defective The sentiment quotation, as Hermann indicated (Elementa, 576). precludes the supposition that it is a dochmius.
551. Variety of effect was secured by the combination of cola
of different orders, as of cola in the following
polyschematist and choriambo-iambic
Nuh.
949-58 = 1024-33 (Debate

Strophe.
L).
'H/x.
vvv 8ei^Tov tw
ttio-vvu)
535
950
TOts TreptSe^LOUTi
^ ^ ^
^ ^ w v? 4^
"
653
AEOLIC VERSE
XoyOKTL Kol ^pOVTL(Tt Kul
yvw/iOTvVois
{JueptfJivaLi,
243
535
953 Aeywv
u/>ictvwv Trorepos
(jiavi]a-Tai
vvv yap airas
O v^ ^w v^ ^ w 4^^ Ow ^ v^v^ ww kd y^ ^^
IvddBi. KtvSi'Vos di/irat (ro(f)ias^
957
ijs
TTcpt
Tols e/iots ^t'Aots

p.kyLcrTO<;.
fO'Tii'
dywv
o^ ^v^ w w
_,^v^_
w w
>_/
_^^_
v:;
ll'-^
'
H/bi. /3'
w KaXXiTTX^pyov
(US
'>)8v
<TO(fiiav
1025
KAeivoTciTT^v eTracrKOjv,
crov TolcTL
eVecrTii'
Aoyots
a.v6o<;.
a/a
a-iocfipov
1028
eijSaiyuoves 6'
^crav
7rt
oi
^WVTeS TOT
TWV
TTporkpoiv'
fjLovcrav
)((ov
TTpos ovv TuS'
KOfJiôTTpeTrrj
1032
Set ere
Aeyetv ri Katvov, ws
7]v8oKiixr]Kv avt'jp.
dfxdvwv woTepos Bergk oirdrepos avro^v oir&repos avToiv is a gloss on the original iroTepos
953
X^7c<;v
\e7w;/
d/uetVwc,
in
which
Monostrophic dyad. aab, 4 4 11, epodic triad: meters, with a hendecameter as epode. See 737.
A=
two
tetra-
552. Polyschematist dimeters are combined with Glyconics

in the following fragment
* *
TTcivTa
yap yv
fiear
dvSpwv Kal
S'
fxiLpaKtijiV
6fJ.d8(j}
____ _^^_
^
^ w ^v^
v^
TTlvdvTWV, O/AOU
yp^St' ^v ixeydXauTLV oi-
kj
^k^ ^~
w
vov )âipovTa Aerao-Tais.
Philvl. 5
See also Arist. /ra^. 561.

553. In the following ode, series of choriambo- iambic dimeters and of Glyconics are linked by two trimeters
Hq.
551-64 = 581-94
Strophe.
(Parabasis
I.).
Hfx. a
("tttti
dva^ Iloo-etSov w
i'-Trcuv
_^v^_^_^_
ktvttos
XaAKOK/oo'Twi'
^^
^ ^ ~
^ - ^ -w w
Kal
xpp.TLcrixo<s
dvSdvet
802
Kal KvavefJijSoXoc
(ant.)
$oal
- ^ ^ ^w
244
555

iXLcrOoffiOpot,
554
rpL-qpeis,
fieLpaKLWV 6' ajLttAAa kap.Trpvvop.ev(DV iv app-acrLV
KoX (SapySaip-ovovifTwi',
Seu/a
^ ^ wv^ ^ ^ ^ ^
w
10*^ ^ ^ ^ ^ -^
-^
6*^^
eXO'
ets
X^poi'
Xpva-orptaLv
518,
ii.
v.--^

^ ^ w
^
-^
^ - ^ - o
z""
560
Sekcfiivoiv /xeSewv Sovvtctpare,
10
^
--/
.3<=^
Tepaca-Tie ttoi K/dovov
c; C7
^lAraT e/c Twv ciAAwv re êwv Kdrjôpp.iu)Vi re

'
vaiots Trpos TO 7rapecrT05.
'
v^ ^ ^ qCV v v7
v^
v./
Antistro'plu.
'H/x.
^"fi
TToAtovx^ IlaAAas,
w
TTOlt]-
T^s tepwraxT/s
aTra-
(TWV TToAc/XW re Kai

ral<i
8vvdp,iL
6'
vinpcfiepov-
585
crr^s
peêovcra ^w/aas, Xa/Sovcra Trjv

p.a)(âL<i
Sev/o'
a.<piKov
iv
orpaTtais re Kai
rjp.Tepav
^vvipyov
NiK-qv,
i]
x^P'''^^^ eo-Ttv eraipa

ly/xwi'
590
Tois T
exdpoitri /xe^'
(fjavrjOi'
o-Tacria^'et.
vuv ovv Sevpo
Set
yap TOis dvSpdcri

a-Q
ToicrSe irdvi-
T^X^V
iropLcrai (re
Kr]v ecTrep irore
Kai vvv.
A = abccd, 10 6 3 3 8, proodic pentad: a Monostrophic dyad. decameter as proode to a periodic tetrad composed of a hexameter, two catalectic Asclepiadean trimeters, and an octameter as epode.
See
753.
See the metrical scholium on Eq. 551

554.
fF.
With
this
compare
the
following
series
of
live
tetrameters
w /xaAaxas
- ^ ^ .^ k^ v^w Kol peXiXioTivov AaAwv 533 w^ Kai pdSa Trpocra-ea-qpm, w (^lXmv pkv dp.dpaKOV 531 5 <^ w w irpocTKLvCdv Se creAtra,
p-ev
eêpwv
539
dvairvifDV 8' vdKivOov,
^^
^ w ^ ^ i^^ v^ v^
v^
4*^
v^
^ ^ ^ i^^
556
yeXCjv
8' iTTTTOo-eAtva
AEOLIC VERSE
Kal
245
y^ -^
531 531
10
^
4
Kocr/ioo-avSaAa fSaivwv,
(yXî KaTTifSoa rpiTOV

Tratcjv,
ws I'oôs
series
is
1(7Tlv.
^ ^ ^ ^
^ ^ v^ v^ 4*^^
Pher. 131
555.
of
two
catalectic choriambo-iambic cola
and
a Pherecratean
found in Arist. frag. 695:

V t)8v6(rfxoi.<;
oo-Tis
cTTpio/JLaiTt.
iravvvxi^wv
TYjV
Se(ToLvav epetSets.
^ ^ ^ ^ ^
^ w ^ _ _
556. Diiambic and Glyconic cola are the chief constituents

of the following
Ecclesiaznsae
911-17 = 918-23
Strophe.
(Episode
II.).
Ne.
alai
t'l
ttote Trila-Ofiai

516
/}
v^^^
v^
ovx
i^KCi
fiovTalpos,
73,
912
[MOVYj 8'
avTov
AetTro/iat,
800 w
-^

w
v^7
yap
Ktti
fioi p-'JTrjp
aXXy
{xeTOi
fêfSijKi.
TaXA' ovSev
ravra 8d Aeyeiv
38,
518
-^^-^-^^ w
v^ v^
915
d\K
KaXet,
S)
fxaV iKerevofiaL,
'Opdayopav, ottws
w
ere.
ii.
w ^
10^^
<av> cravT^S Karovat', dvTi/?oAw
518,
^v.--w^-v^
w -~ ^ v^
Antistivphe.
Tp.
TjSr]
Tov a-' 'Iwvtas
T/DOTTOV
TaAaiva
kvtjo-i^s,
_ ^ _ ^ w
.
920
BoKLS 8e fiOL Kal Xdf3Sa kuto. toi'S Aecr/?toi'S.
uAA'
OTJK
av
TTod'
v<f)apTrd(Tai'i
Tafia, iraiyvia'
rrjv S'
eyni^v 5
^ ^ ^
v^
v^
w w
w/Dav ovK aTToAets ovB' aTroX-qifei.
916 'Opdaydpav Ed.

Scaliger
:
toc 'Opdaydpav
917
d)/
Hermann
921 i>ap7rd<rais
ixpapTrdaaio
The strophe and antistrophe constitute the second dyad in a In the strophe, See 717. proodic combination of eleven strophes. C = abc, 2 7 10, pericopic triad: catalectic polyschematist dimeter, In the antistrophe C = ab, See 771. Aeolic heptameter, decameter.
246
7 7,
770.

epodic dyad
:
557
diiambic heptameter, Glyconic heptameter. See Aristophanes simplifies the rhythm of the first half of the
antistrophe.
Peculiarities of See 51. exaggerated in this part of the strophe.
rhythm
are
intentionally
557. In
are
the following ode two subordinate periods that mainly ditrochaic end each with a catalectic choriambo-
iambic dimeter
Eccl
900-5 = 906-10 (Episode

StT02jhe.
II.).
Ne.
/XTj
(f)96veL
raicriv veaLcn,
kp.Trk<^vKi.
_^__ _^_^
-.^ -^
901
TO Tpv(f)pov yap
Tois aTraAoicri
p.rjpol'i
^^ ^ ^
^=^
^ ^
v^
6^
903
KaTTt rots /^rÂots 7ravêt'
(tv
S'
w ypav,
5 -y^
TTapaXeXeât KavTeTpiipaL
Tw
davoLTO)
p.X-i]fj.a.
^ ^ w ^ ^ v^ 7*"^
Antistrophe.
Yp.
(K~<roL crov to Tprjfia
907
TO T
kiTiKXiVTpov (iTro/BoiXois
l3ovXojxvrj (TTroSeicrOat,
909
KUTTl TtJs kAiVT^S 0</>6V ev-
51,
pots
Kal TrpocreAKiVato
<fiLXTJ(Tai.
517,
j3ovXofxeV7j
_ ^ _ K^ ^ ^w 507 ^ v^ 208 ^ ^
.
_ ^ _ ^
-^^
.^
'
6^
v./
^J y^ ^ ^ ^ ~ 6^
in a proodic

:
constitute the
first
dyad
combination of eleven strophes. In the strophe B = ab, 6 7, See 717. pericopic dyad hexameter, heptameter. See 770. In the antistrophe two hexameters in correspond(51) B = aa, 6 6, monostrophic type ence. See 767.
:
558.
Still
greater variety in form and melody was secured

of three
by
combining cola
joins
series
different
orders in
the same strophe,
as in the following, in
which a simplified logaoedic pentameter two periods composed of choriambo-iambic cola with a of polyschematist and Glyconic dimeters.
Nub.
563-74 = 595-606
Strophe.
(Parabasis
I.).
'H/x.
vipifjLiSovTa /xev
dc(av
800
(ant.)
Zrjva Tvpavvov ets ;ô/)6v
^ ^ ^ ^
w w ^ ^
"
559
AEOLIC VERSE
pwra
rov re
fieyav kikAi/ctkw,
247
565
y^
6*^
//.eyacrdevrj
Tptaivijs rafiiav,
yvy-j
re Kal dA/xi'pa? daXacr-
800
cTTjs
r,
aypiov
fioxXevTi'ji',
- ^ w ^ ^
^ - ^ ^ 7*^''
Kol fieyaXiovvfJiov I'lfieTepov irarkp'
389
570 383
Toi'
AWepa. a-epvorarov PioOpeppova

^'
-^-^ -^ ^ -^-^-^-----5c
TrdvTO)\\
iTnrovwpav o?
uTrep-
Au/x7rpots ttKTtcrtv Karex^' 10

yi^s TreSov,
p.kya06/5'
ava^ Ar)ki
KwOluv e^wv
e'xcis
{npiKepaTa irerpav,
598
601
'Ecêo-ov
paKUipa Trdyxpvo'ov
6eu<;
ofKOV v
^ Kopat
(re
AvSwi' peydXws
i}
(rkfiova-iv,
7rixwp'os 'ijperepa
^'
alyi8os I'ptoxos ttoAiouxo? 'Aâva,
603
Ilapi'ao-o-tav
os Karex'^^' ireTpav crvv TrevKais creAayei
BaKXaiS
AeXcfiLcnv epirpeTrwv, KW/AacrTTjs Atdvt;cros.
A = abed, 6 7 5 8, pericopic tetrad Monostrophic dyad. choriambo- iambic hexameter and heptameter, simplified logaoedic See 772. pentameter, polyschematist-Glyconic octameter.
559.
in Aiiat. frag.
Yiiprjvr]
The same Aeolic dimeters 109 (aab, 4 4 8 ?)

(Ba6vXovT Kal
are
combined more
^ ^^ ^ ^ ^
intricately
538
536
^vydpLov fSoeLKov
t
yap
efiol
iravcrapevu)
ToG TToXepov yei/otTo

a-Kdij/ai
KdiroirXdaaL t koX
[>
Aovcra/zevw SieAKiVat
^ ^ ^ ^ i
w ^ ^
y^
ww
^ ^ ^
T^S Tpvyo^ dpTov Xiirapov

Kal pd(f)avov (fiayovri.
^ -^ ww
:
y^ v^4 -^ ^ ^ ^ ^ S
^-y
Compare the following

VTT
series of tetrameters
Of.
dvaSevSpdSojv ciTraAas
da-TraXdOov'; TraroiJvTes
535
.^^
V AetjUoivt X(DTO(f)OpO)
534
___^ _^^_
w w
^^
^ ^ ^
<,
^ ^ v^ vy4
4
KVTTftpov T Spoa-aiSr]
248

IWV
560
KdvdpVCTKOV /AaAaKWV T
XiifiaKa
Koi,
538
Tpi(f)vXXov.
v^ v^w
v^
v^
4^ Pher.
109
With
the
first of
these tetrameters compare Aiist. frag. 142.
560. Polyschematist,
Glyconic and diiambic
cola
may
be
combined
Thes.
352-71
75
(Parode).
Xo.
^vvV)(^6fxe6a
reAea
fxev
TToAei TeAca Se S^/ô)
^ >^ w <^w^
\j
\j
.^w^
^ i^ 2^^ w 2 w v^w
rdS' ivyp-ar
iKyevecrdaL,
6'crais
"
355
357
TO,
8'
dpia-Q'
TrpoaqKei
o
I'tKttv
Aeyoucrais
oTrdcrat
y^ 379 -^ ^ 5 v^
re Tors
I'qaTTarQxTiV Trapa/Saivovcri
opKovs Tovs vevopicrpkvovi
^
v^
^_^_
v^v^9" ^ ^ w v^
v^
v./
360
7]
KepBwv CLveK
ijyqfjiLcrpaTa
(rjTOva-'
irrl
/SXafSy,
Kai vopov
10
^
v^
dvTLpeduTTdvai
-
raTTOppl^Td T TOlCtV
___^^_^_
^
<^
X^pois Tois rjpeTepoLS Xiyovcr,
365
If}
M7y8oDS eTrayoncri t^s

t ouveK
7ri
___^ ^_^_
^ wv^ 12^
X^^po-S
acre/Joucr'
f3Xdj3y f, 14
dStKoucrt re rvyv TrdAtv
dAA' 389 v^-^-^-^-2

ioo-8'
(5
TrayKpares Zev raiJTa KvpwcreLas,
370
ly/Liiv
Oeov? Trapaa-rarelv
KaiTrep yvvac^lv ovcrais.
__^_ ^^_,_,_ __^_ ^__7C

357 iâiraTuiciv
:
354
oi/ve/c'
evy/JiaT eKyevecxBai
Dindorf
tiJyfxaTa yeviffdat
Hermann
364 X^70U(r' Suidas X^yovaiv 366 eij-e/c' Bentley : eVeK* a disturbing phrase derived from 360, that has displaced some such sentiment as /xvpia t aWa vvv, the second count in the third item of indictment, which should be double like the two that precede. The imprecation after 367 daeôva' ddiKovffi TT)v 7r6Xtf is left to the imagination of the spectator Hermann affeôvaiv dBtKovciv
(âiraruxn
^TTt
360
:
/3Xd/35
B = ab (352-60, 361-71). a = abbe, 4 2 2 9, a tetrameter as proode, two dimeters and a nonaB = abc, 12 2 7, pericopic triad: Glyconic meter as epode. See 745. See 771. dodecameter, anapaestic dimeter, diiambic heptameter.
Non-antistrophic.
:
periodic tetrad
561. The commonest combination in Aristophanes joins polyschematist with choriambo-iambic and diiambic cola, as in
the five odes that follow
ii
562
AEOLIC VERSE
Nul.
249
510-17
(Parabasis
I.).
Commation.
Ko/o.
uAA'
'iOi
yaipuiv Trjs uvopeias
281
ovvKa TavT}]S.
VTV)(ia yei'OiTO rav-
>^
533
792, 800
dpwTTW, OTl TrpOrjKWV

els
jSadv
Tvys
rfXiKias
cftvcTLV
5 ^v^
av-
515
v(j)TpoLS rrjv
Tov n-pdyp.aa-iv ^puiTiêTai

KOL
cro(f)Lav
eTracTKei.
:
v^v^ w v^ ^ sj v^ ^ ^ ^ -^ 8
avrov
:
511 owera Brunck
elVe/ca
or
^;'6/ca
515
ai;ToO Dindorl'
3 4 8, pericopic triad See 771. trimeter, Aeolic tetrameter and octameter.
Non-antistrophic.
A = abc,
anapaestic
On
the commation see 293, 298.

Niih.
562.
700-6 = 804-13
Antistrophc.
(Syzygy).
'Hyu. f3'
ap' ala-Oavet Trkela-ra Sl'

fias
rj-
535
dyad' avTi'x' e^wv
ixovas
Oewv
ws
ecTTtv
513
diravTa.
- ^ ^ ^ ^ y^ ^^ 04 ^ ^y 2-'-
Tot/iOS o8'
Spdv
00-'
av KeXevrjs.
B'
379 513
iTrrjpfJievov
^-^-^-v.-2
5
(TV
avSpos eKTre7rXrjy/xVov
(f)avp{os
810
Kal
^ ^ w ^=^3 v^v^
6i'i'ao"at
y^
2-'-
^ w v> y.
yvoi's diroXdipeis 6
TrXi'icrTOV
51
raxfws"
(jiiXei
-wv^- -^..rot-
^ -
yap
7ra>5
rd
51
aij^'
^_^__-^-
^^
trepci
rpeTrecrât.
51
10
v/
11
*S'^/'op7ie.
'H/i.a' <f)p6vTi^
8r)
Kal Siddpei iravra t/30 ov re aavTov
702
(TTpofSei TTVKVwcras.
Ta;(us
67r'
S',
oTttv CIS
7r7^Sa
diropov
Trea-rjs,
(xAAo
705
vorjfia
(f)pv6s,
vttvos S'
uTreo-TW
yAvKU^v/iOS
6fifiaru>v.
MonostropMc dyad.
strophe), epodic pentad
:
probably = abc'bd, 4 2-2 2-11 (4 in the
a tetrad composed of a tetrameter, and two penthemimers that enclose a logaoedic dimeter, with a See 762, hendecameter (tetrameter in the strophe) as epode.
diiambic
250

See the metrical scholium on Nuh. 804
563.
Lys.
fF.
563
321-34 = 335-49
Strophe.
(Parode).
Xo. Fu.
irkrov Trkrov IîkoSikyj

TTpli'
c;
v^
^^_"
322
i/nreTTprjcrdai,
KaXvKTjv
v^-w- -v^^_ v^-w^ ^^ ^ ^^ ^ ^^ ^ ^ ^ - ^ ^ -
/cat
KpiTvkXav
7repL(jiV(T'r]TW
509
VTTo
-M
7.CV
re vopwv apyaXkuyv
_^^_
325
VTTO re yepovTUiv
oXWpwv.
dXXa
327 vvv 328
Srj
ôfBovp-ai, roî..
fi^v
vcTTipoTrovs fSoTjOw;
x^^_
w
_^^_
^ ^
yap
eixTrXi](rap.kvi]
535
10
Tv/i/
vSpiav KVcf)aia
_ ^ ^ _
/toAts aTTo Kpi^vT^s inr'
oxXov
^^^v^
gC ^ v^^_ ^ _ m 4CV ^ ^
Kal dopx'fiov Koi Trardyov )(^VTpiov
330
SovXato-LV (JjCTTlÔpAvi]
5^
(TTcypaTiaL^ 6\ apraAews
dpafji,V7],
Taicriv kpal'i
/cao/êvais /3or)6w.
SrjfxoTLcriv
15
334
(ft'epovcr'
v8wp
^ _ ^ v/ w w ^ v^ ^^ w ^
Antistrophe. Xo. Tv.

i^Kovo'a
Ttts
ydp TxxôykpovdvSpa'S cppeiv crreAcx^/
336
tS
(f>povTas u)(T7rep /JaAavevo-ovTas
TToAtV j-WS TpiTClAai'TOvt

Seti/oTar'
/Sct/JOS,
a;rtAoi;vTas eTrtov
;(p'^
340
341 as
(US
TTV/Di
Tols /xva-apas
yvvaiKos dvOpaKemiV
(5
dea
fx-q
ttot
eyw
TripTrpa/xevas
iSoip-i,
342 aAAa
TroXkfxov Kal jxavcwv
pv(Tapeva<s
'EAAaSa Kal
xpv(roX6(f)a
TToAiVas,
344
e^' oTcnrcp
TToXiovxe eras ecrxov eSpas.
Kal
ere
/caAw
et
(Tvp.p.a)(ôv
T/3tToye;/t',
rts eKt-
vas vTroTTipTrprja-LV dvijp,

(fikpetv
v8(x)p
jxeO'
vfiQv.
is
330
5oi5\at<riv
Dindorf:
5oi/\7;o-t;'
Lys. 277, 278 (94) and the note
338 The second 'dactyl' 347 et Reisig ijv

:
dubious.
Cf.
565
AEOLIC VERSE
251
strophe),
C (704) = abcde, 7-84510 (12 in antiMonostrophic dyad. brachycatalectic heptameter, octameter, pericopic pentad See tetrameter, pentameter, decameter (dodecameter in antistrophe).
:
772.
On
the pentameter
345, the colon lacking in the strophe of. Crat. 172.
(51),
see 510.
With
564.
Ecd.
968-71 = 972-5 (Episode

Strophe.
II.).
Neavts.
Kol Tavra fievTOL
fj.erpi.ui'i
537 535
5
w
^ ^ v^v^ ^ ^
-v^v^
969 970
Trpos Tr/v ifi-qv dvdyKr]y

dpr)ii.v'
i=i_^^ ^_i=i4
kcTTLV.
(TV
8e flOl,
_^^
w ^
^^ 2
cfiiXrarov
iKerevw,
^4
civotôv da-udôv fx^' 8td
Toi
ere
TToi'oi'?
e\(j
Antistrophe.
Id
Neavtas.
c5
xpv(ro8ai8aXrov
e/xov
^leX^][xa,
KvTrptSo? epvos,
fieXiTTa Movo-7/s, XapiTuiv Qpkp.jia, Tpv<^7]s' TrpcxrwTrov,
975
avotôv dxrirdôv
rot
ere
fxe'
Bid
ttovous ex^^-
The strophe and antistrophe constitute the fifth dyad in a proodic r = aabc, 4 4 2 1, epodic See 717. combination of eleven strophes. two tetrameters and a dimeter, with a dochmius as epode. tetrad The dochmius that closes the lyric is admirably adapted to See 742.
:
express the emotion of the singer, and connexion with iambics, elsewhere in
it
Aristophanes
occurs in just this form, in in passages of
Cf. Ach. intense feeling, in comic imitation or parody of tragedy. 744 (469), 873 1219, 1221 (599), Aûb. 1163, 1164 (474), Fesp. 730
= 890
(470).
565.
Ach.
1150-61 = 1162-73 (Stasimon

Strophe.
III.).
'H/z.a' 'Av'TLfj-axov rvv i^-aKaSos
y^
^^
^ ^
- ^ ^ w v^ 4*^ ^
Tov ^vyypa(f)ri rov /xeAewi'
TrotJ^rryv,
-^
(OS fiiv (xttAo)
^ -
^-^5^^
Aoyo),
KaK(.o<;
*
533 ^ ^
eôXicreuv 6 Ztv?
OS y'
^fJ-^
^v./
TOV
TXi'jfioifa Atj-
wv--
WWw-^5^
II 55
voia yopnywv aTreXva-' dSenrvou.
-WW- -WWOV t'

fTTtSot/it
t)
Tv0l8oS
S'
cJ^^w^^
Seo/xevoi',
iotijij.V)j
w^^w
w w ^ ^
'
252
CTLôvcra

TrdpaXos enl rpairkîj KeL/xhi]
56G
OKcXXoi' kStu
fieX-
10
v^
1160
AovTos Aa/5etv avrov kvwv

apTrdfracra <f>vyoL.
,
_ ^ _
\^
w
^ _ m
6^^
'H/,1. /3'
TOVTO
jiiev
aiJTtj)
Kaiwv
4V,
k^^' eVepov vvKTe/3ivov ykvoiro.
1164 TjTTtaAwv yap 1166 etra KardêLe 1168 /zaivo/ievos o

1171
cTraêtev 8*
o'tKaS'
e^ iTTTracrias /JaSt^wv,
Tts aurov /xeî'wv tvjs Ke(fiaXrjs 'O/jccttt/s

8e
XWov
jSaXeiv jSouAo/^tevos
ctkotw
XdfSoL tq
Xîpl TTeXedov apTiws Ke^fO'/^î'oi'

e;)(û)v
tov /xctp/iapov, Kaireid' d/xaprwv /SdXoL Kparlvov.
constitute the dyad BB of the proodic triad that forms the stasimon. See 717. B = abacd, 5 4 5 7 6, epodic pentad a tetrad composed of a pentameter, a tetrameter, a second pentameter and a heptameter, with a hexameter as epode.

:
contrast in form, due to extreme resolution and between the last two subordinate periods is admirably adapted to heighten the comic effect of the sentiment. See the metrical scholium on Ach. 1143 fF.
See
761.
The
protraction,
566. Cola
of
four
orders
may
be
combined in the same

(Debate).
strophe
Vesp.
526-45 = 631-47
Strophe.
'HyLl. a'
VVV Se
TOl'
Ik $l]fJ.TipOV
yvfxvaariov Xkyeuv ti Set
Katvov, OTTOiS (f)avq(rL B8.
iveyKard)
fxoi
Sevpo rrjv
^ ^ w
w
Kia-TTjV Tts
ws Tax'tTTa.
530 drap
'H/x. a'
/xr)
<âvet ttoTos Tts wv,

;
^v TttuTa TrapaKeXevi] Kara tov veavtav

TovSe Aeyetv.
(TOL )tAyas
opas yap ws
eo"T
dywv
<vi;v>
10
535 Koi
Trepl
rujv ciTravTwv
/xt)
ct'Trep,
yevoiTO,
Kparrjcrai.
537 oStos ideXeL

BS.
Kttt
p.y)v
oar'
ww w ^ ^ v^
v^
v^v^ ^ ^ k^ ^ w v^ v^ vy ^ v^ v^ ^q^^ ^ ^^ w v^ wv-- <^ \^ v^v^

^^
^^

6^^
4*^^
4^^

6*^ 2*^
v./
v^
v? ^ ^
v^ v/
2^^ 2^^
av Xe^rj y' aTrAws
4^
ixv7jix6(rvva ypdipofxai 'yw.
15 c^v^ w
w
v.y
$t.
Tt
yap
jU,
(jidd'
vjieis,
oSt
^ w
v^
4*^
TO)
Aoyw
Kpar-jcry;
^ ^
^
'
567
a
OVKTl
7r/3eO-/?VT(ijV
AEOLIC VERSE
6)(\o<i
oLKaprj,
253
\^
H/X.
541
-^pTi'ja-LiJLos
k<TT
8'
ovS'
v-zv^ ^ ^
v^w
(TKioTTTO/xevot
iv Ta?5 oSots aTrdfrafi
544
6aXX.O(fi6poL KaXoi'iMed' , dvTwfio<rto}V

KeXvcf)-)].
533
v^w
v^w
Antistrophe.
^ ^
v^
4*^
'H/X. yS' OVTTWTTod'
OVTd) KadapW<i
632
4i.
ot'Sefb? rjKOVcrapLei/ ov8e
^wTws AeyovTOS.
dXX'
ipyjfxa'S
OVK,
we^' ov-
T(o p^SiUiS Tpvyt]crLV.
635
KaA.(3s
yap ySeiv
o)?
eyw
TaVTrj KpOLTUTTOS
'H/x. /3' (is Se ttcivt'
ClfJiL.
kTr(.X-i]Xv6ev
637
Koi5Sei'
TraprjXdev, mctt' eyuty'
rjvâvofiTjv aKOVCDV,
Kttv fJLaKapwv
StKaêiv
ai'Tos t'So^ct VTjcrots,
641 ^8o/xevos AlyovTi.

S>t.
WS
8'
Tttt
OVTOS
^^StJ
(TKOpSlVattVTOV.
KOLO-TLV
lycij
OVK CV
BS.
1^
/xi]v
(re
rrjixepov
a-KVTrj j3XeTrei.v Trotiycrw.

'H/x. /3' 861
8e ere Travrotas TrAeKCtv

et's
aTTocfitvîv
TraAaâ?,
Treirdvat
;)(aA7roi'
646
T7/V ya/3
/xi)
p)v opyrjv
/xo{!
Trpos
AeyovT6.
:
iv
536 y^voiro Ed. (7^1/01^' Bentley) yiuoLTo vvv MSS. 534 z/w Bentley 642 ws 5' Hirschig 544 KaXovfied' Person KaXolfxeO' Person hv iv
: :
543
:
ua-d'
Monostrophic dyad. A = AB (526-37, 538-45). A = abba ( + ), a hexameter as tetrad, with refrain ( + 222), palinodic proode, two tetrameters and a second hexameter as epode, with three In the strophe B = aabc, See 746 and 774. dimeters in refrain. two tetrameters and a heptameter, with a 4 4 7 4, epodic tetrad See 742. In the antistrophe B = aab, 4 4 9, tetrameter as epode. two tetrameters, with a nonameter as epode. See 737. epodic triad The close of the antistrophe is simplified. See 51.
6446
567.
scolium
( Ath.
The following ode has the metrical form xv. 695 a)
of a
famous
254

Eccl
568
938-41
= 942-5
Strophe.
(Episode IL).
Ne.
(.16'
e^rjv
irapa
T'fj
vea KaOevSeuv
Kal
fxrj
"Sei
Trporepov SiaaTroBrjcrai,
jcv
940
dvda-tjxov
rj
Trpe(r(3vTepav,
510 v^ v^
eX^vdepio.
^ ^
^ ^
ov yap dvao-XiTOV tovto y
_ ^ ^ _
Anfistrophe.
Tp.
ol[JL(x>^(MV
w w^3^'
dpa
TttTTt
vrj
Ai'a CTToSyjtrets,
kcrrlv.
ov yap
Xapiêvj^s raS'
Kara tov
vojxov
et
ravra
ttoiciv
945
939
/irj
eo-Ti
ix-qUv
SiKatov,
^r]p.0KpaT0vp.ida.
:
'Set
Elmsley
940 irpea^vr^pav Bothe
irpea^vTepov

:
constitute
the
third
dyad
in
= aab'c, 3 3 2 3, See 717. proodic combination of eleven strophes. two Phalaeceans and a polyschematist dimeter with epodic tetrad
anapaestic opening, with a trimeter as epode.
See
742, 775.
568.
With
the last colon in the above compare the fragment
of the scolium in Vesp. *
1245
*
ff.
^pqixara Kal
Kdjxol fx^rd
(3lov
KXetrayopa re
GcTTaAwv.
569. Tvt'o closely related Aeolic tetrameters in

are illustrated in 535
f.
common
use
first
In the fundamental scheme the
metre
of
is
unregulated.
this
general form, with resolution in

it
Anacreon {frag. 24) uses a tetrameter the first metre, and

in Av.
Aristophanes appropriates
dvaireTofJiaL
8rj
1372
Trpos "OXvfMTTOv TTTepvyecrai Kov<ât^
Hephaestion (30, 6 ff.) is in doubt whether the resolved first Aristophanes, metre represents an iambic dipody or a choriamb.
with
much humour, makes
this
ambiguous resolution the under-
lying conceit of a song in which he travesties the extravagances

of the dithyrambic poet Cinesias, but as he proceeds he genially
enlarges the original ambiguity.
He
rings all possible changes
570
AEOLIC VERSE
255
on the tetrameter
practice
by means
among
they are
of
all
impossible according to his
own
the
of resolution
and contraction in the choriamb

equivalent
in
art,
and
by substitution
metres
length
to
choriamb.
dialogue
Furthermore,
with
In
showman's
he
introduces
these fancy tetrameters to break the stream of
the dithyrambist's 'melody.'
1394
f.
and
at the close of
the song the poet shifts to the acatalectic form of the original
tetrameter.
This had been

TTi'vetv
ctet
made
familiar by Pherecrates
Kal yme^rctv Ttplv dyopav TreTrXr^Bevai
^ Av.
(Cinesias sings)
_^^_ _^^_ ^_^_

1372-1400
8i]
pher. 29
(Episode IL).
1372
ff.
" dvaTTiTOfiai
TreTOfxai
8'
7rpo<;
"OXv/xtov TrTepvyecra-i
68ov aAAor'
eV aAAav
fxeXewv
Kov(fiai,s'"
(Interruption)
1376
f.
d.(f)6f3(ii
cf)pivl
(TijofxaTi
re veav
(f)eTra>v
(Welcome)
(Remonstrance)
1380
f.
opvis yevio-dai jSovXopai Xiyv(fj6oyyo^ ar^Swv.
('
Iambic
'
and antispastic variations)
1393
tf.
etSwAa
7reTLvu>v
atdepo8p6p.iDV oicuvtov ravao8eipMv
(Interruption)
Tov d\d8po-
fxov
uAd/jievos dfi'
dvep.o)v 7ri/otaicri j3air]v
(Interruption)
^ ^
(Major ionic variation)
(Anaclastic minor ionic variations)
1398
ff.
TOTc
fikv
voTiav ari\wv Tpos 686v, Tore
8'
av jSopea
o-w/xa TreAaîov dXip-tvov
aWepo? avXaKa
Te/xi'iov.
Aristophanes himself never resolves either long of choriamb nor contracts its shorts not to mention the extravagant variations here introduced his audience would be quick to appreciate the skill with which he brought the resources of metric into the service of his art as a comic poet. 570. Catalexis is common in all forms of Aeolic verse, at
Since
the
" ~
256

Brachycatalexis
also
is
571
the close of a period.
found even in
Aristophanes (509), as in Av.

Zys.
676,
not
680
(546), in
1724
other
(588),
poets.
323
= 337
(563),
and
is
uncommon
Similar shortening of the beginning of a colon was effected by

or sometimes even two of the initial might be suppressed. Aristophanes makes frequent use of the acephalous Gly conic (^-^ ^ - ^ -) and of its catalectic form, the acephalous Pherecratean (^ - ^ ^ ). The latter is called also colon Eeizianum, a modern name.^ 571. In some odes Aristophanes employs these cola con-
acephalization (38).
One
syllables of the colon
tinuously, as in the following
Uq.
1111-20 = 1121-30 = 1131-40 = 1141-50

(Stasimon
Strophe
II.)
I.
'H/i.
a &
Arjfxe
Kak-qv y' eêis ore ttcivtcs avcr'
w
800
(st. iii.)
1112
apxriv,
^^_^_~
^ ' o 8^^' ^ w
v^
dpomot SeSiWi
irep
uxt-
avSpa Tvpavvov.
ivirapaywyo'i
ei,
1115
a.\X'
^WTTcvo/xevos re x'^'"
peis Ka.âiraTwfXiVO'i,
^ ^ ^ ^ ~^ w 5 wv^ ^ ^
v^
^_^_"
irphs Tov T Aeyovr'
aet
800
K)(rji'a<;,
(St. iii),
802
o vovs 8e
aov
1120
Trapwv airo^p.d.
^ - ^ v^ v^ 10 o - v^
w - v^ ^ _ ^ _ w - ^ 12^^'
Strophe II.
\r).
Strophe III.
'Up.. /3' xovro)
e'l
voGs OVK evL rais. KOfiais

vfiSiV,
pkv av ev
ttoiois,
0T
/x'
ov
8'
(fypoveiv
croL
dkvoti;?
t/jottw,
to?
tVeor'
Aeyets,
vofiiêr
eyo)
ko)v
ev
tw
Tavr' rjXiOidô).
tovtw yrdw
TroXXrj,
1125 avTos re yap
-rjSop-at
1135
el
Tova8'
Tvep
7riT7ySes
w(r
l3p'vXXo)V TO Kad' y)p.pav,
Srip-oaiovi rpe(f>i^
ttvkvi,
KXeiTTOvrd re fôvXopai
Tpi(piv eva
7rpo(rTaT>;v
kv
ry
Kad' orav
oxj/ov
pij croi Tv\rj
ov,
TouTov
S',
orav y irXewi,
tovtwv 6s av y
Traîis
1130
1
apas 7raTaâ.
1140
100.
dvcras eTrtSeiTrvets.
the various forms of this colon as they appear in Plautus, see Lindsay^ classification in his edition of the Captivi
On
See also Leo, Rhein. Mus. xl. 185 flf., Plant. Cant. 58 ff., Der saturnische Vers, 74 ff.
573
AEOLIC VERSE
Strophe IV.
257
auTois TreptepxofxaL
Toi'S
KOLfx'
oio[Xvovs <f>poveii'
eâirarvkkeLV.
CKacrTor' av-
1145 TijpM yap
Toi'S oi'Se
SoKwi' opai'
eVetT'
K AcTTTOvTas
dvay-
Ka{w
TTccAiv
eêpilv
/x,ou
arr' av KexAo^wcri
1150
K^jp-ov
KaraprjXm'.
dyad
See 701. A = ab, 8 12, pericopic Monostrophic tetrad, AAA A. See 770. an acephalous-Glyconic octameter and dodecameter. See the metrical scholium on Eq. 1 1 1 1 fF.
:
was regarded and ten or eleven primary times, and that two contiguous cola were joined as closely as But it is more likely, in view of the two normal Glyconics.
572. It
is
possible that the acephalous Glyconic
as a complete colon of seven syllables
relation of the acephalous Glyconic to other cola
(cf.
Av. 1*731
ff.
in 588 and Mib.
1345
and had the
full
was normally dodecaseme The time of the syllable time of the Glyconic.
f.
in 576), that
it
lacking at the beginning of the acephalous colon within the subordinate period
may then have been marked by

;
a pause,
if
the
previous colon ended with a word
two acephalous cola were joined in the middle of a word, the union must have been Thus the first subordinate period in effected by protraction. the foregoing ode in the first and second strophes respectively would be as follows, the instrumental accompaniment and the
but
if
dance continuing for the

1111
1121
ff.
full
time
- -
v./
w-w- ^--^
^ - ^ ^
^ ^
v./
^^ - -
v^
ff.
--W
- - ^
"A^.^
^ - ^ -
573. The value of the dimeter now under consideration ( - v^ lias been variously determined by ancient and modern ) Heliodorus consistently denominates this dimeter and metricians.
^ w
The metrical symbols
and
(33) designate respectively an eighth (1) and a quarter (r) pause." The tie {^)
here indicates the protraction of a long syllable to the value of a dotted quarter note or of a half note.
^ ,
258
its catalectic
574
ionic
form respectively as hephthemimeral and hemiolic major See, for dimeters ( v-'v^ ^ and ^ ^ ). Hephaestion (35. 8 ff.) ignores example, the scholium on this ode. the hemiolic phrase, but follows Heliodorus in his classification of the longer colon (aS' "Apre/xis, w Kopai, quoted from Telesilla) as ionic. Rossbach denominates it " mixed first prosodiac " or " logaoedic
prosodiac" {Spec. Metrik^, 530, 563), and Westphal regards, it (Allg. Metrik^, 354)asanacatalectic monanapaestictripody: ^ - ^ ^ - -^ in accordance with the general logaoedic theory of all Aeolic verse If this dimeter is major ionic, it will that these scholars entertain. be noted that the second, catalectic metre has primitive trochaic form (615 ff.) ; but this is without parallel in poetry of the fifth century. Furthermore, major ionic verse is not foimd in Greek comedy, and the constant association of this dimeter with Glyconics and diiambic cola in Aristophanes, of which abundant illustrations follow, establishes a strong presumption that it is Aeolic, and a shortened form See von Wilamowitz, Isyllos, 143. of the Glyconic.
' '
574.
cola
With the now under
exception of the acatalectic and catalectic

consideration,
acephalous Aeolic
cola,
Aristophanes employs few and only in obvious imitation of primitive

Of,
in
popular forms or in parody.
parody, Av.
904, 908,
instance
909
(585), Ban.
1319
(586),
1347, 1350 (592).
An
of dissyllabic acephalization occurs in Th.
992
(589).
See the
Editor's Origin
and Form of Aeolic Verse. 575. Hermippus also used the acephalous
- w v^ ^ v^w ^ w ^ v^ ^ ^ 5^ ^ ^ w v^ v^ ^ kj k^ w
y_^
Glyconic
and
Pherecratean
Xatp
u)
SiaTToVrtov
Tt TTpaTTOfxev
aiTO (ru>[xaTos
;
(TT/aaTeu/Aa,
TO,
ixkv
y'
Trpos
KOfJLr)
oij/LV
eêi KaAws,
T veaviKYJ re (ipaîovoyv.
(r(f>pcyei
ycrdov
Toi/
"A/SvSov ws
v--
^ ^ ^ ^ ^ ^

Hermip. 58
Athenaeus
dvrjp yeyevqrai
Bergk emended the text of cola

(xii.
3,
|
4,
which
is
unintelligible in
524
f. )
to, fx^v irpbs 6xpiv /iaXa/cws
Ix^"*
"'"'^ ffwyaaros.
576. Acephalous Glyconics are often associated with diiambic

coia, as in
the ode that follows
'
Hephaestion quotes the same colon
earlier
in
his treatise
(14.
11
ff.)
as
'anapaestic'
577
AEOLIC VERSE
Nul. 1345-50
259
= 1391-6
Strophe.
(Debate
II.).
'H/t.
(Tov
epyov w Trpeo-ûra
(ftpovriêiv
oirrj
1346
(1)5
TOi/
avSpa
et
K/DaTvycrets"
/w/y
^ ^
oi'k
v_/
ovTos,
T(o VeTTOiêi',
av
7yi'
ovTws uKoXacrTos.
aAA.'
eo-^'
%^
^^
6'tw
OpaavveTai,'
SrjXov ye rdv-
1350
dpwTTOv
Vrt TO
A-;y/;ia.
^^
v^
5*^^
'H/x.
^'
of/xat'
t
ye twv vediTepMV
y'
tols
KapSia? irqSav o rt Aeêi.
yap TOtaCra
8epp,a
oStos iêipyacrpêvos
XaAwv
dvaTretcrfi,
1395 TO
twv yepairepuiv
'arl to
\7JfjLa
Xd/Soip-ev dv dAA' ov8' ipe/Sivdov.

to X^m'
fo''"'
1349 TCLvOpuTTov
Hermann
5 5
5,
Tdvdpuiwov
Monostrophic dyad. meters in correspondence.

577.
aaa,
768.
monostrophic
three penta-
See
Note the combination
of acephalous
and
full
dimeters
in the first intermediate period of the following ode
Vesp.
317-33
(Parode).
Monody.
î.
(^t'Aoi,
T-qKop.ai pilv
447
f.
v^
rrdkai Sia Trys ott^s
318
vp.u)v
vTraKoviDV.
ei/i'
^ ^ ^
802 802
r-
dAAci yap oi'X oios t
^ ^
5
w w 4^ ^ 2^ ^
2^
319 aSeiv 320
Tt
Troi^crw
S'
i'tto
rrjpovpat
twvS
7ret
yu,^'
___^ ^_^_
^ v/v^ w
w^
jSovXopai ye irdAai
yxwv
eXdwv
eirt
tov? KaStTTOi'/yaat.
___^ ^_^_
802 281 802
O-KOVS KttKOV Tl
tlAA'
ry
^ ^
10
v-/
8*^
w ZeC peyafipovra
TTOirjaov KaTTVOv ^ttt<^V7ys
yx
7y
2^ ^ v^ ^. ^^
325
UpoêviS-qu
i]
rov SeAAou
toutov tov \pevhap.dpa^vv.

ToA/zryo-ov
____
^~.
^^ v^6
^^
ava^
^âpifraa-Bal poL
i"j
vrdOos OLKTipas,
pe Kepavvu
lb -^
v.~
'
"
260

SiaTLvOaXew
(tttoSio-ov
/a'
578
raxews,
.^
^^ -^
330
KotTreiT
1?
i]
dveAwv
d7ro(/)vo->;cras
9pfj.i]V
i<f>
.^ ^^
.^
.^
o^dXfx-qv efxjSaXe
Sijra
ov
XWov
ju.
ttoliô-qv
802
>^
v^
yj
14*'^
Tcts
XP^'P'^^^''
o.pi9iiov(ri.
20
:
^^
320 irdXat Brunck
TrdXat
Trdi'ii
The monody
See
716.
constitutes the epode of an epodic pentad
AABBC.
(
C = ab (317-23, 324-33).
:
a = abcde
),
2 4 2 2 8
2),
bacchiac dimeter, acephalous-Glyconic tetrameter, choriambo-iambic dimeter, acephalous Pherecratean, and See 772 and 774. Glyconic octameter, with refrain. B = ab, 6 14, hexameter, hypermeter of pericopic dyad in anapaestic rhythm
:
pericopic pentad, with refrain
fourteen metres.
See
771.
578.
distinct, as in the
The diiambic element was sometimes slight, and quite two odes that follow, which begin each with a
diiambic tetrameter.
Eccl.
289-99 = 300-10
Strophe.
(Parode).
*H|M.
)(^b}pw/Jiev
ei's
iKKXrjcriai'
>=i.
^
^
v^
v^
^_
^ ^ ^ ^
v^
v^ y^
(SvS/aes,
rjTreLXrjcre
yap
._^_
^ 5 ^ 10 o m _
i^
290
291
o Oea-fiodeTTjs,
firj
osdv
Trpio
irdvv tou Kve<f)ovs
7]Kr}
KKovifievos,
(TTepywv (TKopoSdXfiy
292
fSXeTTdiv
VTroTpifxp-a,
fir]
Swcreiv TO rpiMJioXov.
293 aXX 294

295
S)
XapiTi/xtSr;
^ ^ ^ ^
v^
^ w
\^
KoX ^[JLiKvOe Kal A/JttKTJS

iTTov KareTreiyajv,
v^
v^
(ravTip Trpo(Te\(MV ottw?
^ ^
\j
prjSev irapaxopBieis
wv
Set
(T
diroSelâf
15
296 oTTws 8e to crvpfioXov AaôvTes eVetTtt ttAjj-
297
o-i'oi
KaOeSov/xed', ws
w v^ v^ v^ v^ ^ ^ o v./^^
v^ v^ v^
^ ^ ^
dr x^LpoTov(ap.v
298 299
diravO' ovocr
dv 8ey
(piXas.
;
o
20
v^
v--
Tots ry/xeTcpas
KaiToi rl Aeyo)
yd/)
X/''?*'
cjiiXov?
v^
v^
^ w
v^
f'
ovo/idêtv.
_ _
v^
S^^
ww4^
^
v^
6^
^ _ ^
m
v/
gcv

8*^^
w
v^
c;
w w " v^ ^ 8^^
580
AEOLIC VERSE
Antistrophe.
261
'
H/i.
fi'
6pa
8'
OTTWS
ijjOrjcrofiev
jovaSe tous e^ acrTCws

p.v,
301
i/Kovras,
ocroi
irph
toi!
rjviK
eSei
XafBdv ikdovT
Ka^v/i'TO
ofioXov
/xouov,
AaAovvTcg
ev TOis o-Te<âi'w/zacriv,
i-i'vt
8'
evo)(Xovcr'
ayav.
dXX
305
Tci
ov\i, 'Mvpo)Vi8ris St' ijpx^" ^ ycvvaSas, o^'Seis av tToXfia
T7JS
TToAews StotKCtv a/ayr/3iov cfi^pwv
dAA' 7]kv eKacrros

Kai
eV acTKiSiw <f}p(DV TTieiv a/itt t'
aprov
atiT<x)
8vo KpopLp-voi xat
T/3ts
I'vvi
av eAaas.
rt
Se
rpiuifioXov
î-jtovctl
Xaj3dv,
orav
ir/oaTTwcrt
Kotvov
wcnrep Tn]Xo(j>opovvT(<i.
291
f.
ffT^pyojv ffKopoSaXfir; ^X^ttiov virdrpififxa

:
Porson
^X^ttuiv
VTr6Tpifj.fjLa
ariprfuiv
301 f. ôet Xa/Setc 293 XapLTi/xidij Bentley ^ x<^P'- riixla iXOdfra Set Xaêtv or iXedvT' (or i\d6uTs or iXddvras) idei Xaûv 307 aiTU) von Velsen aD R, oni. T
Kopo5d\iJ.r)
(\06vt'
Dawes
Monostrophic dyad.
;ihc,
A = abc
:
4 8
4,
pericopic triad
A= (289-92, 293-95, 296-99). diiambic tetrameter, acephalous-Glyconic

:
See 771. B = aa, 6 6, monostrophic two octameter and tetrameter. See 767. C = aa, acephalous-Glyconic hexameters in correspondence. two acephalous - Gly conic octametei's in corre8 8, monostrophic
:
spondence.
See
767.
579.
Ba7i.
448-53 = 454-9
Strophe.
(Parode).
'HjU.
-^lopwpev ts 7roAv/3/Do5oi'S
Aet/Awvav dv6epu)8eis,
450
TOl'
l]p.TpOV TpOTTOV
Tov KaAAixopwrarov
Tratôvres, ov oXfiiat,
5
Moipai ^vvdyovatv.
Antistrophe.
'H/i.
^ ^ ^ ^ ^ >:^ ^ ^^ 4CV w w v^ v^ v^ v^ v^ ^ w v^ 8^^ v^ w

v:?
^'
/Liovots
yap
t)p.lv
-/yAto?
Kal (f>eyyo<; IXapov eo-Tiv,

re Siyyopev rpoirov rrepl tovs êvovs koI
456
oo-oi
lUfivqfJLeO'
e-i'o-c^//
Tovs ISiwras.
Monostrophic dyad.
(704)
ab, 4
8,
pericopic
dyad
diiambic
tetrameter, acephalous-Glyconic octameter.
See
770.
580. Diiambic
cola
sometimes preponderate, so that in the
fusion of styles (659) the apparently Ionian element predominates.
The
unconscious
blending of Aeolic
and
Ionian rhythms
is
perfectly illustrated in such odes.
262

Pax 856-67 = 909-21 (Syzygy
Strophe.
III.).
581
'H/i.
v8ai[xovtKws y
(rf3vTr]S,
Ttt
o Trpe-
857
Tp.
ocra
3)8'
IBelv,
vvv rdSe Trpdrrei.

7ret8av vvfKftiov
802
(ant.)
Tt SrJT
II
opare XajXTrpov ovra

e'crei
'HjLt.
{iÂwTos
ye/Dwv,
wi/ TraXiv,
861
Tp.
aS^ts veos
/iV/D(j)
KaraAeiTTTOS.
Tt Svy^'
^ w v^ o w w w ^ - ^ v^ - ^^ 6*^^' ^ ^ ^ 5^ ^ ^ ^ 4*^^ w ^ ^ w v^ w v^ w c; 6*^^
oifxai.
orav ^vvwv
10
__^_ ^_^_
v^ ^ _ _ ^ _ w v^ v^ o w _ _ ^ _ o w
Twv TLrOioiv e^wfiai

'H/x.
4^
euSai/xovecrrepos <âve6
802
(ant)
^_,^_
^ _
i^
4*-'^
Twv K.apKivov
Tp.
crTpo/3tX(ov.
o^Kovv SiKaiuis ;
ox-qfia
oams et's KavOdpov Vtâs

15
866 867
ecrwo-a
tous "EAA?;vas, wo-t
ev TO ts dyporcriv
avTOv?
aTravTttS ovTas d0-<âAws
Ktvetv Te /cat Kaêi^Setv.
m_^_ ^__4C
w w w w ^ _ ^^ g''^ ^ w
Antistrophe.
'^HfM. /3'
vy
XP^?^'''o?
dv7)p 7roAtT?;s etrTiv d-aa-tv oo-yis 0-Tt toiovtos.

ei/""^!.
Tp.
'Hp,.
OTttv
rpvydr, eia-eade ttoAXw p,aAAov oios

(TV
^'
Kttt
vuv
ye 8tjXos
t'
<jo)Ti]p
yap
diraa-iv dv6pw7rots yeyV7;(rai.
Tp.
(f>rj(Ti,s
CTretSav eKiriys oivov veov AcTrao-Tryv.
'Hp. ^'
Tp.
Kttt
ttAt^v
yc Twv êwv det

t'p,tv
ct'
rjyr](r6pe(rda TrpwTov.
7roAA(r)V
yap
dîos Tpvyaios d^/xovevs eyw, Setvwv diraAAdâs

TTOvwv Tov Sr^pôry^v o/xtAov,
921
Kttt
TOV yewpyiKov Aewj' '^Y-ep/SoXov re
iravcra<i.
a= (856-9 = 860-3, 864-7). acephalous -Glyconic hexameter, diiambic two diiambic B = aba, 4 8 4, mesodic triad tetrameter. See 770. dypouriv See 729. tetrameters with a diiambic octameter as mesode. avTovs in 866 is found only in cod. B, and may be due to the metrical recension of Triclinius. If dypois, the reading of the other MSS., is
Monostrophic dyad.
6
4,
A = AAB
ab,
pericopic
dyad
right,
B in the strophe is ab, 4 11. See 51. See the metrical scholium on Pax 856 ff.
or
581. The distinctively Aeolic element is sometimes merely one Odes two dimeters that break or close a diiambic movement.
,^
582
AEOLIC VERSE
263
thus composed are iambic rather than Aeolic.

at the
See the remark
beginning of the preceding paragraph.
Nnl. 1303-10
= 1311-20
Strophe.
(Stasimon
II.).
H/i.
olov rh irpayfiaTiav epav cftXavpoiv
yap
yepwv
o8'
ipa(r6el*i
1305
d7roo-T/)ô-at
Tct
fSovkerai
dSai/eto'aTO
*
^pTi]fj.ad'
1307 KOVK
0"^'
OTTCUS
OV TrfflipOV
o
Xi'jij/eTai
TL TrpayfM,
TOVTOV
TTOtV/Cret
TOV
(TOffiL-
51,
CTTTjv,
&u Travovpyeiv rjpâr ,

Xaj3dv KaKov
ti.
^ ^ o 5 _ 73 ^- ^
.
^^
w ^ w
^ _ v^ v^ ^
aL(f)i'i]<5
^ 5^ ^ ^ vô4^ ^ 4CV ^^ _ ^ ^ ^ ^ ^ 6*^^
Antistrophe.
Mfj.. (3'
oTfiai
yap avrov
avTi'x
ot
evpijcreiv
owep iraAat ttot
i^qrei
1313
1315
etvai
tov vlbv 8c6vov

too-Te
yvw/xas evavTta? Aeyeiv

ctTravras oTo-irep
Trap.Trovqp'
'
Totcriv StKttiots,
viKai/
av
Î'yyevT/rat,
Kav Aeyy
I'o-ws
8'
ib-ws fSovXu'jcreTaL
Ka.(fiWVov
avToy
eiVai.
ti
1307
Xrj-êTai
:
ti
Hermann
X-q-êrai.
or rt
Xrixf/erai
1310 Xaêlv kukov
Hermann
t:
KaKov \apeiv
Monostrophic dyad. A = abbe, 5 4 4 6 (7 in the antistrophe), a pentameter as proode, two diiambic tetrameters, and a diiambic hexameter (heptameter in the antistrophe) as epode. See 745. See the metrical scholium on Nub. 1303
periodic tetrad
:
ft".
582.
Ach.
836-41 = 842-7 = 848-53 = 854-9

(Stasimon
Strophe
I.)
I.
'H/x. a'
evSaifJLOvel
avOpiHTzoî.
ovk
>=i
w
^
;
(St. III.)
lyKovcru? oi irpofSatvei
w ^ ^ 4CY
837 TO Tvpayfia tov

K a prr (OCT Tat
/i/ovAei'/xaro?
515, 802
c;-"C- ;=^-vî
yap
avi]p
i^y
838
Iv Tdyop(i KaOqixevos.
Kav
ela-nj
ns
KTrjcrtas
802
(st.
IV.)
264
-i]

(TVKOcfidvTrj?
583
aAAos,
oi-
fX(i)(o)V
KaOe^CLTaL.
^ ^
^ ^ 8*^ ^
Strophe II.
H/A.
ovh'
aAAos
di'dpwTTcjv VTro^wvuiv ae Trrjfxavel tl,

<toi,
843
ovS' iôfi6p^TaL Il/oeTrts t>)v evpvTrpwKTtav

ov8' oiCTTiet KAea)vr/x(p'
Âaivav
cr
S'
e^^wv (fiavrjv 8Ut kou ûvtvîov

dvaTrXrjcrei.
'YjrepôAos Sikwv
Strophe
'H/i. a'
III
croi
ov8'
evTv\(j)v ev
rdyopa
irp6(Ti(Ti
jSaSiôiv
849 Kyoartvos
act Ki.Kapfj.kvos fxoti^bv /xi^ fxaâipa^
6 TTipnrovqpos 'Apre/xwv, 6 Taî'S
ayav
t>jv fiovcTLKyjv,
oûiv
kukov
Ttov /xacr^âAwv irarpos
Tpayacratof
Strophe IV.
'H/i.
/3'
ouS' av^ts
au
ere
crKioxfjiTaL
natVwv
6 7ra/A7rovr;pos
oveiSos,
856
AvcrtcTT/oaTos t
6 irepiaXovpyus
rdyopa XoXapyewv
kokois, ptydiv' re
rots
Kat Tretvwv aci

ixrjvos
d^'r;/)
irAeiv
tj
rpiaKovO' rj/xepas toG

836
Ti
eKaarov.
842
irr]iJ.avtV
ai'^pwiros
:
Brunck
avOpuiros
L. Dindorf
Tr-q/xavilTaL
850
837 dj'Tj/j Brunck Bentley oô' 6

:
Monostrophic tetrad.
See
701.
A = aab,
8,
epodic triad
two tetrameters with an octameter
as epode.
See
737.
See the metrical scholium on Ach. 836.

is found in the following which the poet has employed anapaestic as well as diiambic and acephalous- Gly conic cola. The last intermediate period (c) illustrates in strophe and antistrophe the close relationship between diiambic and Glyconic forms in Aeolic verse.
583. Greater complexity of structure
ode, in
Fax 939-55 = 1023-38 (Syzygy

Strophe.
Ko/3. a
tos
IV.).
irdvO'
X'/
ocr'
dv deus BeXrj
51
erepu)
''"''X'?
KUTOpdol
^ ^ _ ^ _
.
^_^_
^ _ _
..
v^
4C
940 X^P^'
'*''
vow, 'inpov
S'
281, 389
TOVTuyv KaTO. Kaipbi'
ttTravTcI.
^=^
Tp.
d)S
Tavra SrjXd y
eaO',
8-q.
yap
/Jwjubs dvpafTi Ka\
- - oc -.^ ^ id ^
-_ 4*^ w w ^ ^^
584
OTCiycTe
AEOLIC VERSE
265
Kop. a
vw
v 6(ro) crofiapa 281,
379
deodiv Karkyii TroXep-ov peraTpoiros
946
T/o.
atipa,
is
vvv yap SaipiDV

pera/SifSdêL.
(f>avepw'i
ayaâ
10
^ ^^ -^ ^ ^ ^^ v^- -^ ^^ ^ 8 ^.^^^ w
TO Kavovv Trdpea-T
oAas
^X*^^
^^^
:^
Kal crrippa Kal pdô-i^po-v,
949 Kal
TTvp ye touti,
KOvSev
i-
o-xet TrXrjv
to Trpo/Sarov
i//xas.
Ko|0. a' ot'Koi'V apiXXyicr(rdov ;
ws
15
802
OTt
(ant.)
951
17
Xalpis vp.ds
K^Ttt tout'
i'Sy,
TT/odo-eicriv
avXijo-wv o-kXt]V OtS'
TOS,
20
^ ^ ^ v^^ v^ ^ ^ ^ o ^
i=i vl?
^ ^ ^
'^
^ ^ ^ ^ ^ Y w w
;=i
<f>v(r(oi'Ti
Kal TTOvovpevio
^
^
955
TTpocrSwcreTe Si/ttov.
^ ^ ^
v..^
vy
v^
Ko/3. /?' o-e Toi
dvpaa-L
XPV p^vovra toIvvv

ctti
1024
Tp.
crxtâs Seupi riOevat raxôiS t<x Te Trpoacfiopa Trdur'
Toi'Tots.
oiIkow Sokw
8'
a-OL
;
/iavTiKWS to ^pvyavov Tideo-dat
Kop. P' TTws
ovxi
Tt
yap
ov
(TV
(re
Treêuy' oo-a XP') oro(ôv ; (jipoveh oTTocra xpôSv ecTTiv tov <y>
avSpa
Tt S'
o-o<^v^
SoKipov ^pevl
TTO/Di/iO)
T ToXp^rj ;
Tp.
))
o"Xt{'a
yovi' evi-jppkvq tov 2TtA/3t8r/v Trieêt,

ol<Top.ai,
1032 Kat
Kop.
/?'
Ti's
Tijv T/3a7re^ttV
Kai 7rai8bs ov
Seryo-fi.
ovv av
oi'k
eTraivecreiev
dvSpa tolovtov,
octtls ttoXX'
dvarXas
;
ecwve
rr]v
lepdv ttoXlv
1037
1023
in cod.
wo-T
ot'Xt p^]
:
iravcrei
ttot'
mv
IprjXwTus ctTrao-iv.
dvpaa-i Schol.
dvpai.(jt.
:
1029
eo-Ttf
Hermann
eo-rt
ê Triclinius
1033 oiv tv Dindorf
hv ovv or hv
MonostropMc dyad. A = ABC (939-42, 943-9, 950-5). a in the two diiambic tetrameters with a strophe = aba, 4 4 4, mesodic triad A in the antiSee 739. logaoedic-anapaestic tetrameter as mesode. a b = abb, 8 4 4, proodic triad See 771. strophe = abc, 3 4 4. logaoedic-anapaestic octameter with diiambic close (colon 10) as proode See 738. c = ab, 8 4, pericopic dyad to two diiambic tetrameters. in the strophe a diiambic octameter and a tetrameter composed of a diiambic dimeter and an acephalous Pherecratean, but in the antistrophe
: :
:
acephalous Glyconics are substituted for diiambic dimeters in cola 1 6, The attempts to 'emend' the text of these cola in the 17, 18. See 51. antistrophe are neither necessary nor felicitous. See the metrical scholium on Pax 939 ff. with the notes.
584.
cola,
The following ode

is defective.
is
composed
solely of
acephalous
but the text
266

Fax 1329-55^
Strophe
T/3.
584
(Exode).
/.
(1329-32).
802
Sevp
S>
yvvai
ts
ayphv
- - ^ o - w ^ _ ^
^ _ ^ w ^ - ^ - 6^
2^
^wTTcos /uer' e/Aov Ka\y]

KaXu)y.
2^
Strophe 11. (1333-5).

'H/x. a'
Stro2)he III.
Hfi. /3'
'H/x. a
"^Hyx. /?'
(1336-9).
;
;
rpts /JLaKap' w? SiKai-
T6
Tt
SpdcTOfiev avT'qv
SpdcrofJiev avT'qv
ws Tayaâ vvv * * *
'YfiTjV '^YfxevaL
'Yfii]v 'Yfjievai'
(S,
S>.
exetS-St
Tpvyqa-Ofiev avT-qv,
rpvy-qa-ofxiv avTrjv.
'H/i. a'
Strophe IF. (1340-3).

'HyM.
Strophe V. (1344-7).
'H/x. a' oi/C7y(TTe
^'
dW
rov
dpajxevoi
(jtepo)-
yovv KaA.ws
[xiv 01
~poT T ay [JikvoL
oji'Speî.
ov Trpdy/Jiar' ^xovre'; dk-
vvfxcfiiov
Xd (TVKoXoyovvTes.
^YfXTjv 'Y/Aevat' 'YfiTjv '^Yfj.kvai
ai,
S).
'YyM7)v *Y/XVai' w,
'Yymryv 'Y/tevat'
(3.
^S^^rayie
7^/.
(1348-9).
/cai
Strophe
VII (1350-2).
'H^.
/?'
tot} /xev /xeya
Traxi'.
*
Ttj's
*
8'
*
-^Sv
oivov re Triyi ttoXvv.

5<-
TO crvKov.
&,
c3.>
*
w,
w.
<CYfjLrjv ^Y/xevai'
'H/x. a' Yfx,y]v '^Y/xevai'
'Y/xr^v 'Y/Ai'at'
'HjU. /?'
'YjU.ii)v'
'Y/icvat'
>S'^ro297ie
T///. (1353-5).
)(âipeTe
Tp.
<L
yaip^r' dv^vvTrr](r6k [xoi

eSecrOe.
Spes,
Kav
TrXaKovvras
< Hfx.
'Yfxi^v
Yfxevai' w,
w.>
'H/z. /3' '^YfXTjV 'YjU,vat'
1341 vpoTerayixivoL Bentley
TrpocTTeTay/j.&OL
Cola had been lost from this ode even in the time of Heliodorus, and certain other cola in his text (1336-9) did not conform to the
All the strophes are printed in cola, in order to facilitate comparison.
ij
585
AEOLIC VEESE
his
267
scheme of structure. What this scheme was is easily gathered See the metrical scholium. commentary. The ode was monostrophic, originally perhaps an oKras fj-ouoEach strophe (except perhaps III.) contained five cola, two :rTpo(f)iKi]. an .Kâtalectic and three catalectic, i.e. A = abb, 6 2 2, proodic triad ucephalous-Glyconic hexameter as proiide to two acephalous PhereProbably the pair of subordinate periods in all the strophes crateans. (except III.) consisted of the invocation Y/xryi/ 'Y/xevat' w repeated. Cf. 1340-3, 1344-7, of which the structure is intact. On this assumption the period in 1329-32 is easily restored, and in general the equivalence It will be observed that as they stand 1348 of parts is apparent. and 1351 end in a 'variable syllable.' This final syllable was doubtThe less lengthened by the opening of the following colon, now lost. The text third strophe (1336-9) now seems to be hopelessly corrupt. preserved in the MSS. still extant was the reading Heliodorus had In some texts, he says (Schol. 1336-9), the haple occurs before him. after each of the four catalectic dimeters, to indicate that they were taken alternately by the two half-choruses in other copies of the
"general
from
'
ra fxeTpa, i.e. because the Heliodorus metres failed to correspond to the general scheme. gives the text of these four cola, but expresses no opinion, at least in the commentary now extant and consistently with this says, on 134455, that he gives the text as transmitted (ws 8k (peperai, Kal evravOa There is an ea-Tiv), although the pentacolic structure breaks down. intimation in a scholium under the last line of the text in V ( Ypp ovtws 'HAtoSwpos) that he suggested the refrain should be 'Yfj-evai' &
text the dimeters are not given at
'
'
all
Sta
added
at the end.
It does
not follow from the lack of agreement in
1336-39 and the other strophes that Aristophanes With that suppleness of did not compose these cola as they stand. invention which characterizes him everywhere, he may have substituted
structure between
quadruple refrain of acephalous Pherecrateans for a period of normal form. See Enger, Ehein. Mus. ix. (1854), 580 f. Schrader, lihein. Mus. Westphal, Prolegomena, 20 fT. Schroder, Aristoph. xxi. (1866)", 93 ff. Zacher-Bachmann, Aristoph. Pax, 104 Cant. 29
this
; ; ;
;
fi",
585.
Av.
904-53 (Scene
III.).
eftect.
Aristophanes uses Aeolic rhythm in parody with excellent
His own practice is so conservative that when he allows himself the freedom found, for example, in Euripides, the contrast with his ordinary manner is glaring. This contrast is marked in the first part (904-914) of the scene in the Aves in which he
introduces the Beggar Poet as representative of the melic poets
in general, as Cinesias in a later scene in the play (569) represents
specially the dithyrambists.
268

508, 510, 574 rav v8aifiova kXtJctov m
585
904 ^cf)XoKOKKvyi,av
___^^_^_
-v.^-^-.-v^--5^
v^
^^
_ ^ _
2^
906
Movcra reais
ev vfj,v(av dotSats.
518
iii.,
519
908 910
ya> /yteAtyAwcrcrcav eTrewv
tets
519
w
v^
-_-
ciotSav Movo-dojv depdiriov

oTprjpos,
5195
512
^ w
^ v^
6-^
Kara rov
"0/y.?/pov.
w^
^
v^
v>2^
Two
913 Mouo-awv
oTprjpoL,
Trimeters.
OepoLTTOVTis
Kara rov
"Ojxrjpov.
512
v^
^ w
2^^^
w>^ w2^
There is here hardly a colon in which our poet does not do violence to his ordinary form. The fifth colon is brachycatalectic,
but
its last metre assumes, by a slight change in the words of the song, ordinary catalectic form in the seventh colon. On the clause Kara rov "Op-r^pov, which is wrongly omitted in some editions of the play, see the Editor's Scholia on the Aves, 174 (Schol. Av. 909).
The subordinate periods that

fourth, are in simplified logaoedic
follow, except the second
and
rhythm (392
ff.),
but logaoedic
cola predominate
924 dAAa
oiairep
Tis WKeta
Movadwv
(fidns
395, 206
iTnrwv dp,apv-
507 517
10
-WWww
^-
- w - ww - ^ - 4
- w w
3^^
yd, (TV Se " Trdrep KTicrrop AtVi/as
- w
927
(adiiov lepwv o/xcuvv/Ae," 36s ip.lv o tl irep
929 Tea /ceâAd
6e\rjs
379 570
ip.lv
^-^- w-w^
w - w w w w - w -
w^^w-3
930
TTpOcfipUiV
86pV
TIV.
508, 510 Five Trimeters.
- w -
936 ToSe pev ovk deKovaa

TV 8k Tea
(jipevl
cftcXa
'
Mouora ToSe Swpov Sexerai
383 15^^-w ^^ w -^ 383 383

^^
^^
^^
2^ 2*^
pdOe Jliv8dpLov eVos
^^
- ^
w - w
3^'^
Tri'meter.
941 "
vopd8e(r(TL
yap
ev
^Kvdais dAdrat SxpaTcov,
379
943
os" v(fiavTo86vaTov eVôs "oi' eTrarai
379
^-^- w-w- .-w^__- w-w- w

"
6<^
586
" aKAer)? 8' efSa
"
AEOLIC VERSE
crTToAas avev
x'Twi'Os'.
269
945
" ^vves o rot Aeyw,"
379 395
20v^-^.-^^
^^^
2-
w -
v^
3^^
>^
Four
Trimeters.
"""^^
950
kAtjct-ov
xP'^'^^^P^^^
Tpofj.pav
Kpvepdv
383 952 vi(f)ofSoXa TreSiairokvTTopd r 393 395 953 i)XvOov dXaXdv.
- ^ ^^ -^ _ ^ -^ ^ -^ ^v^ww2^ - v^ -^ w - 2-^
__
3^
The scholiast on Av. 926, 941 ^ tells us that certain of these periods are parodies of one of Pindar's hyporchemes, and quotes them
^t'l/e?
o Toi Aeyoj,
6fJHovvfJ.e
-^
.^-^
âd^wv Upwv
irdrep KTicrrop AtVva?

vouaSeo-o-t
yap
ev 2Ki'6â65
aAarat crTpaTwr
o? a{xaô(popr)Tov oiKov ov 7r77arai,

aK-Aer/s <S'>
e'ySa.
w v^ ^^ v/ ^^^2 2 w w ^ >^ w ^^ . v^ >^ ^^ ^^ ^ v^ - w - 1

^
v^
Cf. Schol. Find. Pi/th.
ii.
127,
iNê//;.
vii.
1.
The hyporchemes
of Pindar,
if
one
may
judge from meagre extant
remains, were written in simplified logaoedic rhythm, with Aeolic Comvariations such as cola 10, 11, 13, 14 in Aristophanes's parody. pare the three imitations of hyporchemes at the close of the Lijsistrata. The intervening trimeters naturally mark the divisions of the There is no sure indication, poet's rhapsody into intermediate periods.
in the metrical correspondence of subordinate periods, of repetition of any part of the melody, which varied from period to period ^vith
lively effect.
586. Aristophanes's Aeolic
manner
in
parody
is
well illustrated
also in the following direct travesty of Euripides.

In the
first
II.).
part of the scene in which these verses occur
Euripides charges Aeschylus with cribbing the dactylic cadence with which, as he alleges, the odes of Aeschylus uniformly end, Aeschylus weakly concedes See 349 ff. and adduces proof.
the
point
and
attempts
defence
{Ban.
1298
ff.),
but im-
mediately
and makes a savage counter-charge in kind. The source of his own inspiration was at least noble, but Euripides drew his from the bawdy-house, the carouse, the dance-hall and the wake
rallies
!
See the Editor's Scholin on the Aves, ad
loc.
'
270

The
song,
therefore,
586
that
Aeschylus
plays that
sings
in
illustration
of the villainous art of Euripides
must have been

in
largely
com-
posed
or
of
quotations
from
his
sentiment, form,
melody suggested sources familiar to the audience. These were strung together with only specious regard to grammatical connexion. Unfortunately only one quotation can now be with certainty, vv. 1317, 1318, borrowed from identified Euripides's Eledra 435 i. See the Scholiast on sources no
longer extant.
The metrical form
of the song
may
be submitted with some
confidence to the test of the comic poet's
own
is
practice.
With
the exception of a single colon (5) the

dXKVoves,
OaXdcra-qs
rhythm
Aeolic.
Alcrx-
ai."
Trap'
uei'aots
518
1310
i.,
519, 802
-^^-^^^-^--3""
^
Kvixaa-L o-Tpw/iuAAere,
508
Teyyov(rai voTtots Trrepoiv

pavLCTL
___^ ^_^_
..
v^
2^^'
XP^^
Spocriôfievai
510
ai,'
^ ^
V.
- w ^ ^
4H
6'
vTru)p6(f)ioi
Kara ywvtas
383
ttieiAtcr(TeT
- w -
^-
v^
3-^
SaKxi'Aois (âAayye?
518
1315 laroTova
Tn^via-jxaTa,
ii.
Av
508, 510
KepKiSos dot,8ov fj-eXeras,

tv'
^^ ^ -^v^
^ - ^ - w - w ^ ^ 2*^^ w^/ ^ _ ^ _v^ w
3^^
6 <îAavAos CTraAAc SeX-
512
({As
^^
irpwpats KvavepLJSoXoi'i, 10
[xavreia Kal crTaStovs,
574
1320
oivdvOas ydvos dfXTreXov,

jSoT/Dvos
- ^ ^ ^ w
v^
-^
-^
v^
eXiKa
TT aver LIT ovov.
510
TTepifSaXX'
c5
TCKVOv aiAevas.
511
OpttS
TOV TToSa
TOl'TOl'
Opw.
15
^^^^ - ^ ^ ___^ w-^^ ^___

v^
Tt
Se
TovTov opas
opw.
511
^ ^ - ^
1325
TOtanTi ixkvTOi (tv ttoiwv 802

ToA/xas rdp-a p-kXtj êyeiv,
dva.
20
w-wv^v^ __^ ^_^_
w
w
^> v^
TO SwScKap.T^xî'oi'
v^v^
v^
26^
Kvpi^VTjs /xeAoTTOtwv;
586
AEOLIC VERSE
271
sixth colon begins with a musical shake (of. Ban. 1348) on the syllable il-, introducing a Phalaecean (518 ii.). Our poet never
The
peculiar musical
himself forces a syllable to do double duty, in order to secure a effect such as this. Nowhere, except in parody (569), does he resolve either long syllable of a choriamb (colon 1), nor does he use polyschematist dimeters such asv^v^^--^ w^^-, with double resolution in the first metre (4, 13), or - -- ^ - - ^ (7), or
^
(cf.
- w
TToSa
^ ^
1322), or (15) ^
to 1323), or
v^ - (11), ^ nor Glyconics such as (14) -^ TovTov in 1323 with reference to the anapaest in w (cf, tovtov in 1324 with reference
^-v^-
w - w - (16). Presumably these are forms that he condemns, but some of them at least were employed by poets of good standing, and Aristophanes's metrical strictures are not to be taken too seriously. His audience would appreciate the humour with which he has Aeschylus, in his heat, make Dionysus by the very course of the dialogue responsible for a monstrous form of Glyconic (15) that doubtless all decent poets would have condemned. The most effective feature of this genial burlesque was doubtless the music to which it was sung. Of its quality we unfortunately have but a single intimation in the trilling roulade in 1314. The melody was doubtless continuous. There is no evidence of periodic
correspondence.
^ ^ - w
CHAPTER
XIII
COMPOSITE LYEICS
587.
Many
of the sougs that have
been treated singly in
the preceding sections in illustration of particular rhythms are parts of composite lyrics of several strophes, such as Vesp. 273-
333
(716),
Ban. 316-459 (704), and Ucd. 893-975 (717).

lyrics that follow will
588.
The two
serve as special illus-
trations of this form of composition.
Av.
1720-65
Strophe
(Exode).
I.
Xo.
avaye
Sie^ê
Trdpaye Trapeze irepLTrerea-Oe
1722 Tov fiaKapa
[jbaKapi
TTjs
avv Tvxa.
^^^^^
^ ^
-^
2^
(ftev
(f)ev
w/oas rov
1724 w jxaKapuTTov
crv ya.p.ov
KaWovs. 73 ^ ^ 509
5
--.---.-__._3
^ ^
i-^
v^
v^
rfjSe TToAet yrifxas.
Strophe II.
Kop. a p,ydX.ai p.eydXai Karexova-i ri'xat
^^
,^
^^_,^_
1727
yevos opvidcDV
Sia TovSc Tov dv8p
,
^^
aAA' vpevaiois
o')8al<i
^^^
Kal
vv[x<fiL8iot(xi
Ktti
Sex^crd'
-^ w^
^^
,^__
9*^
,^___
1730
auTov
rrjv BacrtAetav.
Strophe
'^Hfi.a
III
570, 572
"Upa
TOV
ttot' 'OXv/XTria
i]X.i(3dr(j}V
1732
Opovaiv
w O ^^
^ ^
dpxovTa
deois p.eyav
Mortal ^weKot/xtcrav
272
^ w v^ ^ _ ^ _ ^ ^^ o
\j
S^
588
1735
1/
COMPOSITE LYRICS
TotwS' vfievauo'
5
273
<CYfj.r)v
&
'Yjuevat'
d).>
^ ^
..
- ^ - -
2<^
2<^
Antistrophe III.
Ztjvos TTupoxos ya-iuiiv
1741 Tî
t'
ei'Oat/xoi'OS
(5
(3
"Hpas"
w,
w.
'YfJLTjv
'Y//,evat'
'Y/i^v
'Yjiievat
Strophe IV.
n.
1745
Ixdp'nv vfMVOii, k\6.pi]v wSats,
ayafiai 5e Aoycoi'.
Kttl
aye vvv auTOV
Ttts
^dovia'i KkycraTe /Spovras
Tcts
Tc TTvpwSeis Alos dcTTepoTTas

t'
Sctvoi/
apyi/ra KCpai'voi'.
10^
Stroph
Xo.
V.
/xeya
(5
x/^'^trô''
acrrcpoTr^s <âo5,
1749
Atos auPpoTov eyxo?

S)
338
TTvpfjiopov,
Ôovtai jSapvaxî'i
0'
6lx(3po<f)6poL
ap,a fSpovTol
388
2-C
afs oSe
vw
xôi'^ a-eUi,
1752
Sto,
ere
ra Travra Kparr^cra'i
334
Kttt
TTotpeSpov BacrtAeiav Ixet Atos.
-^2
511
'Y/XTjv
'Y/xevai' w.
2'^
>S'i{ro^7ie
F/.
Ilet.
eVecrê vvv yap.oicrti'

<^{;Aa TTcivTa
w
75
1756
ctwvo/kov
TreSov Atbs
TTTepo^dp'
eTTi
Kat Aexos ya/AiÂioj/.
dpeôv w fiaKaipa arqv
1760
X^'/"
'^''^'
rrTepQv ep-wv
ai-
\a(3ova-a (Tvy)(optvcrov
pojv Se Kov(f)iw
cr'
_ ^ _ ^ v^
.
eyw. 38,
._^_
802
-v^ v^
Xo.
dAaAaAat
it)
Traiwv,
^ _ v^ v^ v^
v^
^ _ ^
T7;veAAa KaXXiviKos,
Saipoviov VTreprare.
1734
^weKoi/j-iffav
&
10
w
(cf.
v^w8 ^ v^
._,^_
1736^ Dindort
w v^v^6
the antistrophe)
Bentley
^vveKOfiLcrav
The song
consists of a series of five
non^ntistrophic systematic
periods and a single dyad,
ABCCDEF
(1720-5, 1726-30, 1731-6 = T
274

:
589
See 717. A = abed, 3 2 3 4-, 1737-42, 1743-7, 1748-54, 1755-65). pericopic tetrad, with iambo-trochaic opening and Aeolic close trochaic
trimeter,
iambic
dimeter,
B is an indivisible anapaestic schematist tetrameter. See 773. is an indivisible anapaestic decameter. nonameter, as These are integral portions of the lyric that closes the play and are melic (283, 292). In CC, a monostrophic dyad, C = abb ( + ), 8 2 2 ( + 2), an acephalous-Grlyconic octameter as a proodic triad with refrain
iambic See 772.
trimeter,
brachycatalectic
poly-
proode to two Pherecrateans, with the

774.
final colon repeated. See 738, proodic hexad a brachycatalectic dactylic tetrameter anticipates the opening strain of the following periodic tetrad composed of a brachycatalectic dactylic tetrameter, two brachycatalectic dactylic dimeters, and a dactylic dimeter, to
E = aabbcd,
4- 4- 2- 2- 2
2,
which a Pherecratean
Finally
737.
hymeneal refrain. See 755. is added, the epodic triad in iambic rhythm two protracted See octameters with an acephalous protracted hexameter as epode.
F = aab,
8 8
6,
589.
Thesm.
947-1000 (Stasimon
Strophe
I.
I.).
Ko/3.
a aye vvv
vo/JLos
rjfieLS
7ratcra>/jiev
airep
283
(vdd8e
Ttticri
yvvai^lv,
948 orav opyta

wpats
(refjiva
deoiv Upai<s
direp koI
dve\Û)iJiv,
949 HavcTbyv
eis
a-efSerai,
Kal vqcrrevei,
/f
iroXXoLKLS avTolv
TWl/ otpiov
^^ v^ v^ >^ ^^ 5 v^ ^^
w~ ^^
^^
^^
^/<^
^^
v^
4*^^
-^^
4*^
Tas wpas ^vveTreyxop-evos

Odp.'
v.^
^^
8^'
952
TOiaura p.eXeiv
eaiiTw.
^-^
Strophe II.
Xo.
opfia X^Pî;
517, 209
KOv<f>a TTOcriv ay' els
kvkXov,
pvOp.ov
^ -^ ^
.
_ ^ ^^
.
2^
2^^
955 x^P^
a-vvuTTTe
X'^P'î
ôp^MS
519, 203
^^
^^
5
- ^
^^
- ^
-.-3^
^ - ^ -
VTTaye iraxra, fBaive KapTzaXip-oiv ttoSoiv
518
eTTio-KOTretv
i.,
655
f.
Se Travraxy
o/xfjia
- ^ ^ ^
- w - ^ w v^
958
KVKXov(rav
XPV XP^ KardcrTacnv.
Strophe III.
'Hyx.a'
a/i,a
i.
St
koX yevos 'OAn/iTrtW êwv
204
^w
589
961
fieXire
COMPOSITE LYEICS
koI yepaie
(jiiovrj
275
i=^w
iracra
yopop.avî Tpoirio.
w w=^w
ii.
te/)<3
^ ^ v^ 7
Strophe III.
'H/;i. /i' il
Se Tis
TTpoaSoKa
KUKm
epeiv iv
yvvaiKa
p.'
ovcrav dvS/aa?,
cfipoveZ
OVK opdws
Strophe III. in.

Xo.
dAAa
xpr\v
lixnT(.p
epyov av Ti Kawov irpwrov cvkvkXov xo/)ttas

ev(f)va
(JT-ijcrai
/Saa-iv.
Strophe IV.
'H/x.
TTpoâive
ttoo-I
toj/
evXvpav
o w>^
^ ^
970
972
p-iXTTOVcra
kol tt;v Toô(j>6pov
w
^
.^
^=^
^ ^ w
v^ v^
"Aprep-iv avacra-av uyvi'jv

X"-'^P'
oTTtt^'e
<^
^
^^
6^
(Kaepyi,
VLKi]V.
570
5
2^^
2^ 2^
Se
973 "Hpav re
yueAi/'W/Acv
tt/v
reXeiav
iri
uxnrep eiKos,
X^/'O'^''''^'
^ v^ ^ _ v^ _
^ w
2^^
975
v)
TTacri
rots
e/xTraiêt
re Kai
KXySas yapiov
(fivXdrreL.
v^
5^
Antistrophe IV.
'Hyii. /3'
'Ep/rljv
re
vo/xtov
avrop.ai
koI
ITava
Koi
Nv/Acâs
(j)iXas
ctti-
yAaoa^
TrpodvpLOiS
980 Tais
qp^cTepaiCTi
yppî'C-i-'i-
\apkvTa
981 iâipi
^Tj
Trpodvp.(x)'i
SnrXrjv X^P''^ XP^'^5.
983
7rato-a)/xv
tS
yDvatKes ola-ep
vd/xos,
j/Jjo-TeTJO/i-ev
Se
TravTws.
Strophe V.
Xo.
dAA'
ta TTciAA' didarpecf)'
evpv6p.(a ttoSl,
986 Topeut TTacrav <^8r)v 74 qyov 8e y' &8' avTos 988 (TV Kt(Tcro(j)6p BaKx^te Sea-TTOT iyw 8e Kp.0Li 70 989 (re ({aXoxopoia-i, p.kX\pui, 990 evt' (3 Atdvucre
'
w w
v^
w
. .
2^'
^^
v/
5^ ~~
v^^^^
- ^ - v^ v^w^ w w
ev u/xvoi?.
10
>^
B/ad/xie
Ktti
2/i,Aas Trat,
992 xopots TC/D7rd/u,vov 574 Kar opea vvp.<fiav eparols
6^ w 2*^ w w - w 2^^' 2^ w v^
v.^
518
i.
^ -
-WW-
w - -
5^
: :
276

-^^
589
994 Evtov Evtov iVi a.vaôpe.v(3i. 383 995 diJ.(j>t 8e (Tol KTUTretTat
K-Ldaipaivios "i^X^j
-^
wv^
v^
w
Sda-KLa Kal vdwai
^ ^^ ^ ^ 2 w 2
.3
997
fJi.eXd[X(f)vXXd
oprj
TreTpwSets jSpefjLovTai.
518 509
ii.
^--^^--^^-^v^ -^
5-*^
15
999 kvkXw
6e Trept
ere
kkto-os
^ ^
v/ v^
cv7rTaAos e'AiKt 6dkkei.

:
^^
y^ .^^
2^^
2
952 fi4\iv Zanetti 948 deolv Meineke OeaTv 947^ raiai Brunck rah 955^ x^pa Ed. x"Pa 966 XPW Bothe 9o5^ xP' Dobree x'P' fiiWeiv 969'' evXiipav Trocrtc iroixl Reisig 969 968 ev(pvd Brunck eiKpvi) Xp?; 982 x^P'" Biset ijixeripais 980 iîxeTepaiai Hermann eKvpav Kiister 989 <pi.\ox6poiai Bentley vqcyrevufiev 984 vriarevoixev Beutley XaipetJ' 992 TepTrofievov Bentley repirbpLeiôs 990 eCt' (i.e. ei^te) Ed. eifiov (pi\ox6poi(nv dvaxopevuiu 996 994^ dvaxopet/w Ed. 994"* efJt' (i.e. eiim) Ed. ei/oZ
: : : : :
Ktâtpwi'tos Zanetti
KidapJivios
The song
triad
consists of three non-antistrophic systematic periods, a
and a dyad, ABCCCDDE (947-52, 953-8, 959-61 = 962-5 = A = aab, 4 4 8, See 717. 966-8, 969-76 = 977-84, 985-1000). epodic triad in anapaestic rhythm two tetrameters with an octameter The melody of the lively strophe B that follows, See 737. as epode. which was sung by the entire chorus, was probably continuous, abed, protracted ditrochaic 2 2 3 8, pericopic tetrad in Aeolic rhythm dimeter, ditrochaic dimeter, ditrochaic trimeter, polyschematist and It is possible that the melody was See 772. diiambic octameter.
: :
In the following The division into cola follows See 754. monostrophic triad, C was probably an indivisible trochaic heptameter. D = AB (969-72, 973-6). A = abb, 6 2 2, proodic triad: a See 773. See diiambic hexameter as proode to two acephalous Pherecrateans. 738. B = aab, 2 2 5, epodic triad in diiambic rhythm two catalectic E = ABC (985-9, See 737. dimeters with a pentameter as epode.
aabb'c.
:
rhythm
A = abcb, 3 2 6 2, proodic tetrad in diiambic a trimeter as proode to two catalectic dimeters that enclose B aabc, 2 2 5 3, epodic tetrad See 750. a protracted hexameter. two Pherecrateans and an acephalous Aeolic pentameter, with a c = aabaa, 2 2 5-22, epodic See 742. logaoedic trimeter as epode. pentad in Aeolic rhythm: a tetrad composed of two dimeters, a brachycatalectic pentameter and a third dimeter, with a final dimeter
990-4, 995-1000).
:
as epode that repeats the
melody
of the preceding period.
See
760.
CHAPTER XIV
MONODIES
590.
peculiar
Solos
manner
sung by actors abound in Euripides, but his in monodies was an innovation and was made
Generally, in Euripides,
the subject of Aristophanes's ridicule.
monodies lack strophic correspondence completely, no part of the melody being repeated, and display great variety of metrical form The music to which they were and frequent shift of rhythm. sung was doubtless of the most advanced character.-^ 591. In the Banae Aristophanes manufactures a monody in the Euripidean manner in comic illustration of his rival's art. In matter True to his model, he assigns the part to a woman.
' '
it is
incoherent, but nevertheless falls into five

serve
as
main
divisions
I.
that
the periodic
basis
of
musical composition.
brief invocation, in
The Vision by Night (1331-37).

rhythm that merges,
AeoHc
rhythm, introduces a description of the Dream, in anapaestic as horror grows, into dochmiacs followed by
II.
a catalectic logaoedic trimeter.
The
Purification (1338-41'').
is
single hypermeter,
mainly in dactylic rhythm,

is
closed
by a
Pherecratean, the invocation of Poseidon, that

metrically
Eealization
closely connected
III.
with
of
the
preceding
dimeter
(800).
Sudden
(1341^45). A paeonic-trochaic rhythm (to which the gloomy have danced a lively accompaniment !) is dactylic penthemimer and an iambic clausula.
the
Portent
hypermeter in Aeschylus may followed by a IV. The Narra-
tive
(1346-55) begins with
a bacchiac followed by a logaoedic
1 On the monodies of Euripides see Decharme's Eurijrides, in James Loeb's and in particular 366 IT. version, 353 and on his music Gevaert, Histoire de la
11'.,
;
On the music of musique, ii. 538 ff. Aristophanes see Gevaert, Histoire, ii. 553 ff.
277
278

are
592
dimeter and ends (colon 31) with a dochmius.

periods
The intervening composed successively in Aeolic, anapaestic and iambic rhythm. V. Passionate Appeals for Aid (1356-63) are made to the Cretans in paeonic-trochaic rhythm, to Artemis in paeonic, to Hecate in logaoedic, and the monody ends with a
' '
protracted catalectic iambic trimeter.
592.
II.).
Monody sung hy
1331
(S
Aeschylus.
vuKTos KeAatvoâ^9
Ttva
/Mot
___^ _^^_2
281
6p(f)va,
SvcTTavov ovec-
-_______^-^
pov
7r/i7reis
^ dcfiavovs, 'AtSa
^V)(a.V
^^
TTpOTToXoV,
^^
a\pvxov e;ôvTa, [xeXaivas
1335 Nv/cTos
\pLV,
TratSa,
(f>piK(jL)8r]
Setvav
6-
fieXavoveKvei/xova, (f>6via (fiovta
-^^^
8e/3Kd/i,Vov,
^__^_4d
^
V.
/AeyaAovs ovvxo-S e'xovTa
383
1338 dXXd
JJ.OL
_-^
- ^
3^^
diJ.(f)iTroXoi
Xv)(vov dipare
342
1339
KaXiria-i
-^-^-^--^
w^
e/c
Trorapwv Spocrov apare,
10-^-^ -^ - ^
OipfXiTe S' v8(x)p,
1340
1341
0)9
dv delov ovupov dTroKXvcTM,
800
to)
-^
-^-^
_^_." _^_.
^^-w
^ _ ^
gcv
TTovTie SaifjLOV.
Klv'"
TOUT
tW
^WOt- 223
ff.
^ ^ w v^
v^v^-v^
KOI TttSe Tepa 6ed(TocrOe'
15
cf)pov8i^
Tov dAcKTpvoi/a
w-^-v^
yuou (TVvap7rd(ra(Ta
VX'VKy^.
- ^ - ^ --- -..-9'^ ^n^ >^ 2-^ 1345 w Mavta ^vXXafSe. - v^ ^ 2^' .. 1346 eyw 8' d TdXaiva 448 20 v^ v^ - w 2^^ TTpoark-ôvfT ^tvôv ep.avTrj'i 379 v^ w^v^ v^- 2*"
Ni'/zât
o/3ecro-t'yovot.
338
epyotcTL,
Xivov fxecrrov drpaKTOv
518
ii.,
570
- - ^
.^
- -
v^
^ - ^
a*^^
593 1348
ieiettetAicro-ovcra
Cf.
MONODIES
x^poiv
/VV
279
Ran. 1314 (586)
-.^w ^ ^ w y^ ^
kov-
K-AwcTTrypa Troiova-', o7rw5

KV(f)aio<;
<f}epov<r'
802
25
ts
ayopai/
oLTroSoifiai''
w ^ w'^ ^ 8^
1351
6 6'
di'tTTTur'
aveTTTar
es
aWkpa
^^^
281
(fiOTaTaLS TTTepvywv
ttK/Aats
^-^- _-__
v^
ejwot
S'
aê'
X^" KareAtTre, SaKpva V.-W78
^_^..
Id
^^^_
"
SaKpvd T
ttTT
ofipLaTWV ejSakov
ijSaXov a rXapuDV.
1356 dAA' w
Kjo^Ts, "I-
464 223 ff,

ra
kk-
v^
v^
.
.
8as TCKva, TU TOâ <Te> Aaf36vTes eVa/xiVaTC,
w^-v^ v^<^.v^
KwAd T dyUTrdAAare
KkovpLeroL
T'ljv
35
oLKiav.
_ ^ _ _
KaXa 432
_ ^ _ v^^.v^ v^^^-w v^^-w _ ^ _ lo'^

.
1359 1360
1361
d/>ia
Se
AtKTi'vva Trais d
^w- -^ v^ ^^ ^^ v^ v^
v^
-^^ ^
8
rdi KvviaKas
)(ôv(r
kXdkrw
Sid hopnav 7ravTa)(rj,

(TV
8'
(3
Atos Siirvpovi dvexov-
379
era
40
- w -
_-^-"
Aa/A7raSas oûraras
x^/'ô'^'
'EKCira
7rapd(/)';yvov
eis
FAvkj/s,
1363
oTTws dv eicreAôvcra tôjpdcroj.
1342 repa L. Dindorf

d
Srepa or r^para
1357 <Te> von Wilamowitz
1359
Keck
'Apre/xis
See Leo, Plant. Cant. 81

147, and Aristoph. Cant. 77
f.
ff
Schroder, Philologus, Ixiv.
(1905)
593. Aristophanes
arraigned
Euripides,
not
because
he
introduced monodies upon the stage, but because his monodies
were
Cf.
vile.
Aristophanes himself uses this form of composition.
ff. 1206 ff. (92). Generally his (90), Nnh. monodies are of a simple type, but eight years before the Eanae. was submitted to the judgment of the public he had brought upon the scene, as an appropriate part of the action of his play,
Ach.
263
; "
280
594
its
an elaborate monody that must have charmed his audience by airy grace and sprightly fancy. His bird-song does not differ structurally in any marked way from the monody in the Ranac, and it employs quite as great a variety of rhythms and
shifts
them
as
frequently,
but
nevertheless
it
produces
the
general
impression
it
of greater
simplicity,
accompanied
parody.
was characterized,
of
and the music that course, by none of the
extravagances that must have contributed to the success of the
The Hoopoe's song falls naturally into periods the which is marked by a bird-call or, in one case, by the name of the bird invoked (227-37, 238-42, 243-49, 250-62). The rhythm of these bird-notes is as uncertain here as later in the play (410), In two instances quantities are doubtful, although the vowels in tlo and rpcoTo are probably all short but the very succession of short vowels in these and other cola perplexes conclusions. The possible melodic correspondence of the first and fourth cola may justify the assumption that the first was in dochmiac rhythm, which would be appropriate. The eighth and eleventh cola are also probably dochmiac. The only reasonable alternative is proceleusmatic anapaests which seem neither so likely nor so appropriate. Some editors assume similarly that the fourteenth and fifteenth cola constitute anapaestic pentapodies, which is improbable. They are here analyzed as a resolved
594.
close of
paeonic-trochaic tetrameter.
airy quality.
This seems to suit their light and
This tetrameter and the following paeonic-trochaic
pentameter prepare the way for the paeonic hypermeter with which the next period opens. The song closes with three paeonic-trochaic dimeters. It is to be noted that with one
exception, in the sixteenth colon just before the bird-call, the
iambic and trochaic metres are
all rational.
595.
Av.
227-62
(Parode).
Monody of
227
eTTOTTOTrol
ttottoI
the Hoopoe.
TroiroTroTrol
ttottoi,
liO
tU)
ITO)
ITO)
IT(I)
ITW,
v-*
y^
v^
3^
iTw Tis
S>8e
Twv
e/jLiav
o/xoTrrepcov
"
595
MONODIES
otroi
281
230
eva-TTOpovi dypoiKiov
yuas
^
vificrde,
^ -
v.-
2d
(f)vXa [xvpla
KpiOorpdywv
481
o-TTcp/i.oAdyoji'
5^-^- ^-w^ -^^-3

^v^
v^v^
2
re yev);
477
Taxi' TTiTopeva, p.aX6aKi]V levra yyjpvv,
234
vera t
tv dXoKi
6ap.d
464
S>8e
w^^v^^^ld
Xeirrov
(SwXov
dfj.(f>i.rLTTv(3iê6'
'
rjôfxeva.
(f)(x)V^
10
- ^ - ^ ^-^
-^-w
- ^ - ^
Tib Tih Tib TIO Tib Tib Tib TIO.
w^^v^^ w^--wv^3d
238
b'cra
6'
v/mCjv
Kara
k-qitovs tVt
kkktov
KActSecri
TCI
vofihv eêi,
v^ w-^ ^v^ v^
id
T K-at" opea
ra t koti223ff.
V.V..
w
V.
^w..-^'
vorpdya rd t KOfxapoipdya,
15
^^v..
aoiSav
^ w...
V.
241
ai'i'o-aT
Trero/xeva Trpbs eyxav
242
243
oi'
T/DIOTO T/OIOTO TOTo/3pi^

6^'
v^w-'w v^w

-^
^^
v.-
eXeias Tap' avOgl'CTTO/XOVS
440
20
XQvaS
T
fjLTrt,8as
KaimO',
yrj<;
vera
v--
evSpoaovs
tottovs
6/00-
v^
w w w ^^
v--
't^T
Aei/AWVa T
VTa Mapa^wi/os,
436 437
511
w v^
V. v^
^"
12
^~
248
OpVLS 7 -TtpOTTOLKlXoS,
aTTayas uTTuyas.
25
. . - . . w 2
2^
250 wv T
~t Trdi/Tiot/ oI8/xa
daXd(T(rii]<s
<f)vXa fxer
dXKv6va-(TL TroTrjraL
Sevp
iVc
eiio-d/ievoi to,
vewTepa,
TTcivTa
yup evâSe
(ûA'
dBpoiôpiev
otwvwv Tavaooeipwi'.
30
_-
2^
255
I'jKeL
yap
tis Spcp-vs TrpicrfSvi
282
Katvbs
Kaivtav

yvix)iJ.rjv
596
_ _ _ _
kyyî.tpr]Tri<i.
T epy(ov
els
aXK
Ir
Aoyovs
otTravra
Sevpo Sevpo Sevpo Sevpo.
35 w w
^^^w^^w
v^
v^4
2^
260 TOpOTOpOTOpOTOpOTi^
KiKKa/3av KLKKa/Bav
>^w
_ ^ _
_ ^ _
.^
tto
2^ 2^
TOpOTOpOTOpoXlXlXl^.
227 Ed.: Tro Trot Trot V, ^TTOTToi 7r67r6 eXOTOt TTO- TTO Tr6 TTO Tr6

^
tto
^-
^J
v^w
R,
f 7r6
tto
tto
ttoi
Trot
Trot
tto TTO
7r6
x6
tto
TTO'TTO'TrOl'
TTOTTO
TTO
TTOTTO
TTOÔt
A,
fTTO TTOI- Tr6
TTO
Tr(5
TTOI- TrOTToT'
r,
Tr6
TTOi
ilTOirdt
WOirOWO WOlrOirOl
:
TTOirOi
TTOTTOTTOt
TTOTTOt
TTOTTot
251
TroTrJTai
Cobst
times
iroTarai
Topo 6 times + Tt| V, 7 times + T/7I A, 5 Topo 4 times + \i\i\i^ RA, 3 times + roXtXiXtf
+ Tt7| MVpaCB
U, eTTOTTOt 260 RFUH 262 Ed.

:
:
V VpoC,
roporo roporo XCKCKl^
596. It adds to the effectiveness of the monody in the Ranae to assume that no part of the melody was repeated, but that the singer passed from strain to strain, the music constantly changing, in exaggerated imitation of the licence of Euripides. There is,
(592)
'
'
indeed, no instance in this

(595)
monody
of
of exact metrical correspondence
In the monody in the Aves correspondence, based on practical identity of the metrical form of subordinate periods, and this comports with its greater simplicity. For example, the melody to which the first colon was sung may have been repeated in the fourth that of the second in the third ; of the seventh in the ninth ; and correspondences may have been introduced within the paeonic hypermeter (18-23) and the dactylic octameter (26-29), but this is
there
are
possibilities
between any two subordinate periods.
melodic
less likely.
that closes the exode of the Acharnians
Commentators on Aristophanes assume that the song is a lyrical duo. The poet undoubtedly affected this form of composition, but the closing song of the Acharnians lacks the distinguishing feature of the duo, intimate recognition by each singer of the presence of the other. Cf., for example, in this play 284 ff. (452) and 1008 ff. (83). In Ach. 1190 ff. Lamachus does not recognize the presence of Dicaeopolis, and his lament, if rendered continuously, with the
597.
burlesque echoes of Dicaeopolis omitted,
is
monody
in
that
in
tone
is
not
unlike
the
celebrated
Lamachus's apprehension, expressed in that Dicaeopolis see him and jibe at him as he is carried wounded to his house, furnishes the proper dramatic motive for the appearance of the rustic hero with the girls. It enhances the comic effect of the remainder of the lyric to assume that while Dicaeopolis,
monody 1196 f.,
the
Eanae.
may
599
MONODIES
is
283
present,
although half-seas-over, does recognize that Lamachus

the
latter
steadily
ignores
his
rival's
presence.
Lamachus
disappears from the scene, at 1226, before the close of the play.
Then
follows, in a stichic period (778), a
real trio of Dicaeopolis
and the leaders of the half-choruses, closed by a final strain sung by the chorus entire. 598. The poet's purpose in this play is to ridicule the party The closing scene of the in Athens that was clamouring for war.
play contrasts, in individual experience, the joys of peace
the horrors of war.
(!)
with
His echoing The scholiast on lines must have produced a great effect. 1190 says of Lamachus Oprjvoov iraparpaycpSei, and continues irapaTTjprjreov he on avTnidr](Ttv av6i<i 6 jjuev ra e'/c toO iroXe/jiov
:
:
Dicaeopolis caps Lamachus.
Setva airep eiradev, 6 Se airep eêi iv
elprjvrj
jâpixoavva.
This
in of
contrast of sentiment
metrical
form.
marked by difference The metres used by Lamachus are those

is
appropriately
tragedy, the metres
used by Dicaeopolis
the
warrior's
tend to comic form,
lamentations with set 1205, 1208^ jxoêph^ iy(o = 1208^ 1209^=1209^ 1217 = 1215, 1221 = 1219). Compare for metrical contrasts 1191-1197 (paratragedic ^ - only except
repeats
when he
purpose (1198
1190, 1206
11991202 (comic: v^ five times, one suppressed arsis), and 1210 with 1211, 1212 with 1213, 1214 with 1216, 1218 with 1220. See 129. In 12241225 Dicaeopolis adopts tragic metrical form but not sentiment on his own account. "When the lyric dialogue passes at 1227 to Dicaeopolis and the Chorus, the metrical form
once, three suppressed arses) with
is
comic.
The
effect of this variation
was probably increased by

Invariable
burlesque
variations of
of the
melody.
agreement in
those
of
length, therefore,
the periods of Dicaeopolis with
Lamachus was not demanded, and commentators who would restore verses after 1201 and 1205 are probably in error.
599.
Ach.
1190-1234
(Exode).
Burlesque of a Monody.
Aa.
aTTarai aTTarat
Of. W^m6. 707 (289).
38,
72
^J
'^
1191
crrvyepa. rdSe ye
Kpvipa TrdOea'
rdXas
iyo).
284

SloWvfiaL Sophs
VTTO TToXeflLOV TVTTiis.
599
1194 1196
K6tvo
S'
alaKTov dv ycvoiTo
fiot,
AtKatoTToAts
ei'
/a'
lSol Terpoi/xevov
Ka.T'
iyxdvoi rats
efxals
rv)(âL(rLV.
^_ ._^_
Ai.
^ ^
2
3CV
drTarai aTraTal
_ ^ _
(TKXrjpd Kal Kv8h)Via.
_ ^ _
1199
TWV
TLTOiOiV
a)S
(îX-qcraTov
jxe
fiaXdaKm w
xpvcriui
TO TTcpiTrerao-Tov xaTri/AavSaAwTov,
10
v^
.^
w
.
w -
w ^ -
v^
3^^'
1202
Aa.
Tov yap
X'^"'
T^P'^TO'i
eK~iTrwKa.
_ _ ^ _
w
10)
iiy
_ ^ _
V.
3^^'
(rvficfiopa.
rdXaiva twv e^wv
KaKwi/.
^ 1205
At.
10)
it)
Tpav/xaTiav (TrajBvvtDV.
v^ v^
X'^V^ AayuaxiTTTTiov.
w w
.
^_^_ ^_^_3 v^ ^_^_3 v^ ^_^_3

v.>^^..-2
Aa.
arrvyepos eyw.
At. fxoyepos iyw.
15v^^wAa.
A.
At.
Ti
/;ie
(TV
Kwets;
At.
rt /xe crv SaKvets
TaAas eyw
^v/xlSoXrjs (Sapeias.
v^
w ._^
;
.
3^
Tois Xovcrt
yap
tis ^v/x/BoXas eTrpaTTero
Aa.
At.
to)
Ilatttv ITaiav.
ov)(l
^
20
_ _
dAA
vvvl TT^/xepov Ilatwvta.
w_
v^.^3^
Aa.
Xd/Secrde p.ov XafSecrOe tou o-KeAous TraTrat,
1215
At.
Trpoa-Xd/Sea-d'
eyuou
(3
(/>iAot
v.^
v^
^ 5
Se
y cr^w tou Treons dfKpu)
jikcrov
1217
Aa.
-poa-XdjSea-e'
</)tAat.
- ^ -
v^
w 5^
etAiyyto) Kapa Atôj 7r7rA7^yp,ev'os

25
^ ^w v^
^ - ^ 3
^_^_
1219
At.
Kttl
(TKOToStVtO).
Id
Kayo) Kaêi'Setv /SovXojxaL Kal a-Tvo/xat
1221
Kat cTKOTOjSivto).
^^
v./
+ Id
599
6vpaê
/x'
MONODIES
iêveyKar' eh tov HittuXo}'
285
Aa.
1223
At.
0)5
Traiwviaurt xepa-iv.
30 v^
^ ^
5*^^
T0V5
Kpira.<:
jxe
(ftepere
ov
'crrtv
6 /3ao-iAer>?y
1225
Aa.
At.
aTToSore /xot tov oo-koi'.

Aoy;(T7 rts
St'
/>t7re;77;ye
/xoi
ocrreoiv oSvprd.
opare tovtovi Kevov.
T^veAAa KaWiviKOi.
Kop. a
Ti]VX\a 8rJT,
eiTrep
5''' v^ ^ ^ w w4 35 w ^ ^ w 4*^^ v^ vy
v./
v.^
w ^^ w
v^
v./
KaAets
y',
At.
Kop.
At.
Xo.
_ ^ _ ^ _ ^ 4^^ y^ ^ -^ w v> v^ 4 ^ 40 a/xvcTTtv k^kXaxj/a. v^ ^' TryveAAa vvv w yevmSa w ^wpet Xa/Swv TOV a(TKov. ^ ^ ^ 4*^^ ^ ^ ^ eTrecrOk vvv aSovres m _ ^ _ ^ _ ^^ 4*^^ TV/veAAa /caAAtvi/cos. ^~ v^ v^ aAA' k-ôfxea-Qa crrjv X-P'-^ ^"' ^ ^ ^ TiyveAAa KaAAtvtKos a v^ 6*^^ v^ SovTes ere Kal tov acrKov.
(0
TTpeajSv KaAAtVtKOS.
Kal irpos y' aKparov eyx'ô.S
v./
v,-
1194 alaKTbv Person
alaKTov oifxwKTou
1210
^vfiôXrjs
Dindorf
rrji iv
fidxv
See the metrical scholia on Ach. 1190
ff.
CHAPTEK XV
OEIGIN OF THE FOEMS OF GEEEK POETEY
600. It
is
now
a commonplace of Comparative Metric that

in
the
primitive poetic forms
eight and a trimeter of eleven or twelve syllables.
was quantitative,
Aryan speech were a dimeter of The language but the order of longs and shorts was not yet
regulated, so that the dimeter, for example,
may
be represented
is
aso
oooooooor>=^^^^^^^^.
This dimeter
where two dimeters, separated by a tetrameter, and two tetrameters are united in a
in the Avesia,
first
diaeresis,
distich.
found form
The
fifth,
ordering of quantities appears in the Rigveda.
The
dimeter
sixth
and seventh syllables

;
of
the
octosyllabic
are
respectively short, long, short
the final syllable remains ancipital.

:
This gives an iambic metre in the second half
oooov^-vî=i.
it
The rhythmiziug impulse gained

quantities
of
force
as
operated.^
The
the
first
metre
of
the
Vedic
dimeter
remain
practically unregulated, although preferences are manifest.
601. The facts have been ascertained with great patience and are See Oldenberg's Hymnen des Itigveda, i. 1 &. From the table on p. 14 it appears that of the sixteen possible forms of the first metre (two units in four places) fifteen occur. The four that v^-^-, predominate are, in the order of preference, v-- The combination <^ v^ v.- v^ is not found. E. Vernon Arnold in his Vedic Metre in its Historical Development, 153, records that over ninety per cent of the lyric dimeters he tabulates ^ ^ He distinguishes three forms of have pure iambic close the normal form the opening as relatively common (39 per cent in lyric dimeters) ; the iambic form ^ w (29 per cent)
clearly stated.
,
v--
and the 'syncopated' form:

^
(11 per cent).
Arnold gives
See 653 on the evolution of the dimeter in Aeolic Greek verse.
!<
604
ORIGIN OF THE FORMS OF GREEK POETRY

interesting
detail
(pp.
287
in
much
Avesta
149-174).
f.
For the trimeter

one of the
the
and Rigveda
see
611
It
is
many
services
rendered to metrical science by Rudolf Westphal that he noted many years ago the Avestan and Vedic dimeters and trimeters and pointed out their significant bearing on the corresponding Greek cola. See Zur
verglekhenden Metrik, 437
ft'.
See also his Alhj.
Meirik'^,
38-47.
602.
The
distich of the Avesta, with its four dimeters arranged
pair and pair,
elevated by
its
rhythmical.
in check,
an impressive means of dignified expression, form above ordinary prose speech, but it is not Poetic impulse, however, could not long be held
is
to the second half of the primitive dimeter in India
and the rhythmizing influence that gave melodic form found early
among those other more highly gifted men of Aryan speech who in the third millennium before Christ began to make their way from the north-western regions of the Balkan peninsula into the land which afterwards was to be known as The rhythmizing impulse regulated the order of Greece. quantities among these earlier Greeks in two modes which are
expression also
now
seen to have been distinct.
Ionian Verse
603.
Among
the ancestors of the Ionian poets,
it
fixed a long
:
syllable in the even places of the dimeter, second, fourth, sixth
o-o-o-o^.
These
even
places
were
finally
developed
into the theses of simple feet (664)
and they remained remark-
ably constant and stable (27) in all the various formations that were gradually evolved. The dimeter was in ascending rhythm.
The odd
simple
syllables,
feet,
on the other hand, the arses ultimately of were for a long time in a state of flux. They
;
might be short or long, or become two shorts they might be omitted altogether. Variability of form remained the distinctive mark of these odd places in the dimeter.
LOGAOEDIC, IAMBIC AND ANAPAESTIC DIMETERS
604. Probably the
first
metrical phrase to emerge from these
elements was logaoedic (375

its
theses constant but ff.), with its and the division into thesis and arsis only approximately diplasic. This was the form that would naturally be first evolved, when poets were dealing with material that was not yet under easy control.
arses variable
288
605.

The unconscious
sacrifice
effort
605
to
secure
regularity of order,
produced monotony, evolved two forms of the dimeter in ascending rhythm that, with the corresponding forms in descending rhythm, became the chief resources of Ionian poetry, namely the iambic (62 fif.)
without that
of variety
which would have
and the anapaestic (270 fF.) dimeter. 606. The constitution of the iambic dimeter (^ _^_v^_^_) seems simple, but while it is regular it admits variety. Short syllables were fixed in only the second and fourth arses of the the first and third continued to admit either original dimeter The dimeter was now naturally felt to consist of short or long. two metres,' identical in structure ^^ - ^ - i^_^_. This metre, like the dimeter itself, was isomeric (12), but its arsis might be irrational (15), with a variability parallel to that which characterized the odd places of the primitive dimeter. The recognition of thesis and arsis in the metre ( ^ - o finally established the simple foot, the iamb (^ -), as a distinct
;
'
'
'
element of rhythm. ^-^607. In the evolution of the anapaestic dimeter - - the unconscious effort to differentiate it from the iambic dimeter, in which the simple feet were diplasic (9 ii.), gradually
:
^ ^
fixed one long or
two short syllables in
all arses
its
of the original
normal value of two Thus arose an isomeric simple foot, adapted to primary times. the movement of men on the march.
LOGAOEDIC, TROCHAIC AND DACTYLIC DIMETERS
608.
dimeter and this long syllable assumed
The
principle prevails in
Greek poetry that cola are

;
reduced, not enlarged, in verse-building

rather than growth.
Catalexis
is
the process involves loss
the natural manifestation of
and results from disposition to upon the voices of the singers, the musical accompaniment and the dance, if the song was orchestic, continuing for the full time of the colon. The syllable thus suppressed in the primitive dimeter was the final arsis. But it was the first arsis of this dimeter that, in consequence of its position, was peeuHarly exposed, and initial attrition was so constant that gradually a series of dimeters was evolved in The primitive form of the acephalous descending rhythm. dimeter in Ionian rhythm was - o - o - o -. From this came
this principle at the close of cola,
ease
the
strain
610

- ^ -, with recognition
of
289
feet,
- ^ - ^
as in
metres and simple
the iambic dimeter (606).
but only apparently
Eelations are
now
apparently
are
reversed:
of
the odd
the
syllables
the
constant and stable part
the
phrase,
even places are
Thus arose, subject to the variability that marks the arsis. not to dwell needlessly on obvious facts, logaoedic, trochaic and
dactylic hephtheniimers in descending
i)
rhythm
.^
ttoXlv rjfxeTepav eêt

)']
X.aLpe(f>wv
vvKTepi<s
prj/xaTa Kal irapairpicrixaT
^^ ^ eVwv ^^
^^
w v^ ^^
Thenn. 1140
Av. 1564
Ran. 882
609.
of
It is not likely that in the primitive stage the
rhythm
the
initial
these
dimeters was
dimeters
;
felt
to
be
different
from that of
to
complete
the
syllable
corresponding
the
upward beat with which the phrase began was felt to be lacking, See 38. the melody beginning with the first downward beat. This fact is illustrated by two forms of the acephalous iambic dimeter in early use, the acatalectic,^ - v^ - ^ - ^ -, and the These sometimes occur even in later catalectic, - ^ - v^ poetry, in association with ascending rhythms, and remain iambic, but generally they are associated with descending rhythms, and have trochaic scansion, - ^ - ^ _ ^ _^ catalectic dimeter, and _ ^ _ ^ the ithyphallic (203). See Heph. 18. 6 ff. and
.
'
'
19. 5
ff.
610.
When, however, two acephalous

cola,
cola Wi^re united in a
tetrameter in continuous rhythm, a vital change took place.
For
- v/ - v^ - ^ - ^ - ^ - and cannot be united in continuous rhythm a primary time is needed The final thesis This was secured in two ways. to link them.
example, two acephalous
v./
;
of the first phrase might be held in singing

of three primary times
\pi]<Tip.ov
:
till
it
had the value
pXv ov8iv,
(xA|Aa)S
Se
SetAbv koI fieya
- ^ - ^
- ^
^^
_ ^ _ ^
- ^ -
Av. 1476
f.
But generally a syllable This process was called protraction (31). was expressed for the lacking primary time
^ This happens to be identical with that part of the iambic trimeter that follows the ])enthemimeral caesura, aud, after Aristophanes had perpetrated his
Cf.
The uame
famous jest, came to be called \rjKv0iov. Fmu. 1197 tf., and Heph. 122. 14 tf. \riKvdiov has no historical
significance.
290

ovfios vtos.
611
aAAci
[jLi]
f3o\aTe-
koI yap Tvyxo-vn-
- ^ - ^
-v>-^|-w
-v^-
Vesp.
336
The syllable was a natural interposition, since it merely restored The movement the lost arsis of the second acephalous dimeter. was now felt to begin with the downward beat, the rhythm was
descending.
lectic
Thus arose the acatalectic trochaic dimeter. Acataand dactylic dimeters were developed in a Thus in dactylic rhythm similar manner.
logaoedic
:
SeivoTaTOLV (TTOfiaToiv TTop'uraa-daL
p-qjxaTa
|
Kai Trapair pLcrfiar
eTrwv
____ __
|-^-_ -^-
Ran. 880
ff.
TKIMETERS
611. Besides the dimeter of the epic distich (600 ff.) there also occurs in the Avesta a hendecasyllabic trimetrical colon, with found in quantities still unregulated
:
ooooooooooo,
the
gathas.
The hendecasyllabic colon appears
also
in
the
Rigveda, together with an acatalectic colon of twelve syllables, and in both the principle of ordering of quantities is manifestly
in operation.
ninth, tenth, eleventh)
The regular rhythm in the last four places (eighth, and in the last five places (eighth, ninth,tenth, eleventh, twelfth) of the two trimeters is respectively - ^ - ^ and - ^ - ^ ^, that is, iambic. The seven preceding
syllables are in a state of flux, although preferences are distinctly
manifest, with disposition to iambic

612.
rhythm
fF.,
in the first metre.

Metre,
See Oldenberg's Eymnen,
i.
42
and Arnold's Fedic
The following facts are the results of Arnold's painsThe percentages here given are for archaic taking investigations.
175-227.
lyric
metres (Table, 188). Trimeters are almost invariably divided by caesura either after the fourth syllable (45 per cent) or after the fifth (50 per cent), the latter corresponding to penthemimeral caesura in the iambic trimeter The regular iambic rhythm of the close of the colon is in Greek. sometimes broken by a short syllable in the eighth place, less
The frequently in the tenth, rarely by a long syllable in the ninth. normal form of the three syllables (fifth, sixth, seventh) that follow
the early caesura
-^ ^ subnormal forms are - ^ -, ^ ^ ^, is The normal form of the with the sixth syllable short. corresponding syllables in the trimeter divided by penthemimeral v^ In both, caesura is - ^ ^ varied by a subnormal form the two syllables that follow the caesura are normally short. Trimeters generally open with a metre of the form ^ - ^ - (36 per
,
- ^
v^
all
v..
-/
615
cent) or

(32 per cent), the latter being non-iambic.
>=^
291
The
'normal' forms of the acatalectic
^ - ^ and numerous variations occur in the first metre, ;iiid especially, as has been seen, in the second. Arnold concludes (p. 226) that the dominant scheme of the pre-Vedic trimeter was v^ - ^ (^) v^ ^
:!:1
^-^-|ww
^-^
trimeter,
would be: \^ ^ - ^ - ^ ^^ but

therefore,
(îl)
613.
The
acatalectic
trimetrical
colou
appears
in
Ionian
long syllable fixed in the even places but witli variable syllables in the odd places
:
verse in Greek with a
o-o- o-o-
i=^.
From
this base
were developed, by processes identical
dimeters, acatalectic and catalectic and anapaestic trimeters in ascending rhythm, and logaoedic, trochaic and dactylic trimeters in descending rhythm. Anapaestic and dactylic trimeters in which the simple feet were in even time, which was their normal measurement,
logaoedic, iambic
.
with those that produced
exceeded the
length
allowed
to
diplasic
compound
feet
(22)
and fell apart into dimeters and monometers. The use of the monometer (dipody) as a colon probably began in this manner.
614. In certain forms of verse the thesis of simple feet might be resolved (11, 17). The result of this new source of variation was greater liveliness in musical expression. Just the opposite effect was secured by the other variation denominated protraction (tovt]), in which the thesis of a simple foot absorbed an adjacent arsis and took its time. Thus in the rhythmization
of the iambic verse
:
ofioppodw, (TvvdeXo),
(TVfji.7TpaLvi(ras
e'x^
f.
^ - ^ -
- ^ -
- ^ -
^ - ^ - Av. 851
there was no pause in singing, but compensative lengthening of
the long syllables following the suppressed arses, here indicated
by
dots.
three primary times.
In this case the long syllable assumed the value of See 31.
IONIC COLA
615.
The
relation
of
trimeters to the primitive cola
minor and major ionic dimeters and is not so well determined as that
of the dimeters and trimeters already considered.
They appear,
to
however, to have arisen, in the

greater
anaclasis
unconscious
expression,
effort
secure
interior
its
variety
of
rhythmical
metres
of
through
within
the
the
primitive
dimeter in
292

Thus from ^ - ^ in
thesis
616
iambic and trochaic development.
v^-vy-,
each
;
by interchange of metre, came ^ ^
and
arsis
of simple feet ivithin
v^v.^
ascending
^^v^
rhythm
in
from
-vy-vy
rhythm.
-v.y-v-'
came
is
^ ^
descending
apparently
of
This view
supported by the fact that

in
6
we
see these ionic cola in process of
early lyric poetry.

Trepicrcrov'
Thus
making in extant remains minor ionic rhythm
a*
yap 'AttoAAwv
av
(xtto
Avktjos Alcm. 83
V^ vy
'I;/w o-aAacrcro/xeSoicr',
paarSoiv
Alcm. 84
e^ct
fJ-iv
'AvSpo/JLeSa
Kakav
d/xoL/Sav
Sapph. 58
^''dTr<f)Ot
Tt
rav iroXvok/Sov ' A(f>p68LTav Sapph. 59
Here iambic metres and minor ionics are combined in the same That the formative dipody is iambic is confirmed by colon.
the fact that
it
may
be irrational.
(syncopation
in
is
616. That
anaclasis
modern music)
is
legitimate and natural operation, and

as
not to be stigmatize4
the
and mechanical metrical process, is proved by found between the second and third metres of the last two fragments, a constant manifestation in
an
artificial
terminal
anaclasis
ionic verse of the classical period (419
flf.).
Ionic verse, although

as
generally
regular,
was
nevertheless
plastic,
Aristophanes's
famous extravaganza proves (429).

617. Similarly, fragments
in
of early
lyric
poetry are extant
which trochaic metres are combined with major ionics in the same colon. Compare the following, which are all quoted by Hephaestion (chap, xi.) in illustration of major ionic verse ^
irA^pT/s [xev kâiv^r'
a creXdwa-
^ ^
^ ^
al 8' ws Trepl /3w/xoi' ea-Tddrjcrai' Sapph. 53
'
Not
all
modern metricians agree
who
this
classifies all
Sappho 52, for example, with him. Bergk has been variously regarded. [Altestes Versmass, 407) thought its component cola were a form of the Spruchvers (paroemiac), and he was followed by Usener ( " paroemiacus, " AUgriechischer Versbau, 93) and Schroder ("enoplion," Von Wilamowitz, Aristofh. Cant. 88).
quoted as ionic
particular
(/s^/ZZos,
the other periods here 125 ff.), regards
fragment as Glyconic {Isyllos, 129 n.). But no scansion of these cola is satisfactory that does not bring them and the trimeters in Sappho 53 and Alcaeus 38 under the same formula. Schroder discusses some of these periods in Hermes, xxxviii. (1903), 204.
i^
619

ov yap 'ApKaSeacn XtofSa Alcaeus 38
293
TpiîoXerep-
OeSvKe jxlv a (jeXdvva

Kai IIAr^tâSes, fikaai 8e
ri'xTs,
^ ~
^
^^
ww w w
v^v^
_^__
y->
irapa 8' epx^T"' ^po.,
"
yw
Se fiova
KareuSw Sap ph. 52

aiS'
KpTô-crat
vv ttot'
e/z/xeAecus 7rd5e(r(rtv
MpX^jfT' aTraXoKr'
TTOttS
dfKfi'
epoevra jSwfiov
wv^ ww
v^v^
w
v^v^ v_/^
v^
_^__
rkpiv dvdo'i fidXaKov /xdreia-aL Sapph. 54
Vfiop(poTpa Mvaa-iBiKa ras d^rdXas FvpiVvtos Sapph. 76
dcraporepas ovSafid irw/aara crWiv ri'^ôwrav Sapph. 77
In
iio
ji)artial
major
ionic
verse
the
initial
metre
of
colon,
but
of
other,
may
begin with a short syllable in consequence
acephalization.
618. Aristophanes quotes from a scolium of primitive form two cola that illustrate the same process (Vesp. 1240 f.)
ovK
0"Tiv
dAojTreKiêii',
^w
^ ^
ov8' dfJL(fiOTpoicri yiyvâ-daL (fiiXov
_^__ _^_
v^
PAEONIC COLA
619. In certain odes of Aristophanes, which are fully treated
in
223
ff.,
trochaic and paeonic metres are freely mingled.

oTToo-oi
TTttcriv
yeojpytKOV J3lov
eT/oi/3oyLiev
ixovrj
yap
r}/xas
wtêAeis
S.
-^ww -w-^ -w^w -w-w

Aristophanes even uses a
ovSev
ov8e
ea-TL TTVp,
'
- ^
'
^ - Pax 589
tetrameter by line
paeonic-trochaic
drfplov yvvaiKhs dfia-^byTepov,
ovS'
(58'
dvaiSvjs ov8ep.La Tro'pSaAis
-^
^ ^ ^
-w-
Lys.
1014
in
ff.
The trochaic metre and the paeon may correspond and antistrophe
Kttt
strophe
KttT
avTo TouTO fiovov av8pis /xa^î/zwraroi

CKetcrc
Tai<;
= = 1093
Tovs evavTious TrAecov
rpiijpfa-iv
-v^-w -v^^^ -wv:;^
- ^ -
Vesp.
1062
The paeon may assume cretic form, both when used independently and when in correspondence with a trochaic metre
:
294
et TL

K)(âpt.(rfj.Vov
620
yoipiBLOv ota-da Trap
ejiou
ye KanSrjSoKws
-wv^v^ -
av
jx
-wwv^
-www -www -wtv TwSe
Pax 347
f.
KovKT
evpois SiKao-rr^v hpifJ.vv ov8e

vo/i.t^'
8vcrKoXoi' =
TOVTo
fXTj
(fiavXov
Tw
irpayfiaTi
_ ^
620.
it is
_ ^
w -
- w - Pax 349 = 388

must have been uniform, and trochaic, each metre had
The time
of these periods
it
highly probable that
was
'
approximately the rhythmical value of six primary times.
Von
Wilamowitz explains the

the
first
;
origin of these
'
light
trochaic metres.
In rapid dancing, he suggests, the second step

the foot just touches the earth and
that
lifted,
is less is
heavy than
dipody
is
again quickly
so
the
second
long
of
the
trochaic
differentiated from the first
trochaic
metre gravitated
it
assumed - w - ^
(
in some cases. became - ^ ^ ^
In the dance the toward paeonic form and actually Expressed in mechanical symbols,
.
by shortening.
The
cretic
of
three
syllables
^^
-)
is
a later substitute for
-www.
See von Wilamowitz's
Orestie,
265.
is
621. It
obvious that
if
successive periods consisted solely
of metres in paeonic or cretic form, the tendency
would be
arisen
to
reduce the original value of these metres from six primary times
to
five.
The process by which
-www
At
had
from
- w - w
part
still
;
affected only the arsis of the trochaic metre, its lighter
the thesis remained constant.
a time
when
metres,
would be but a step, and a natural step, in a continuous series of cola composed of metres of the form - w w w to give each short its normal value of a primary time. Thus would arise a new metre of five primary times, in descending hemiolic rhythm, with thesis related to arsis in the ratio of 3 to 2, namely the paeonic (-www,
in evolution,
were seeking
final definition, it
-W-).
622. Kossbach and Westphal first expressed the view that the paeonic metre, in essence, was a rhythmical shortening of the trochaic But they dipody. See Ehythmik\ 221, Rhythmik\ 141 fi"., 153 f. maintained that in such series as are quoted above from Aristophanes These the trochaic metres were reduced to the value of paeonics. were the cretics (k/jt/tikoi Kara. Sirpoxaiov) of the Greek rhy thmicians, with the value, not of J See their Spec. J^, but of J J'S'.J^'
'
/J
625
295
This would account for the equivalence of the paeon and the trochaic metre, but they fail to explain the process by which the paeonic metre J J" J* J" was derived from J J* J J* or J J'J^^.
Metrik^, 738.
THE DOCHMIUS
in Greek v^ of the dochmius, v^ Aeschylus is doubtful, and its use is mainly Its evolution was apparently due to confined to the drama. the pressing need that tragic poets felt for a rhythmical phrase adequate to express the great excitement naturally incident to
623.
The occurrence
poetry before
scenes in tragedy.
621
Its
source and even
its
constitution
(ix.
are
4.
still
subjects of
discussion.
Among
the ancients, Quintilian

J.)
97) was uncertain
whether
it
consisted of bacchius and

ff.
Aristides states (39 M., 26. 5
that
iamb or of iamb and cretic. it is composed of iamb and
Hephaestion (32. 5 If.) regards it as TratW Smyi'to? ( - v^ - ). an antispastic penthemimer {kXvlv iiaUrai). Choeroboscus in his commentary (Heph. 239. 13 ff.) interprets this to mean antispast and a syllable, but adds oi fikv-oi pyd/xtKol to 7rav fierpov ws fitav The scholiast on Aesch. crv^vylav Xafx/SdvovTes Soxz-itaKov 6vofjLa.(ov(rt. Sept. 128, (TV T (3 Atoyeves (fnXo/iaxov Kpdro'i, has similar comment: Kal Tavra 8o)(^[j.LaKa. eo'Tiv Kal mto, lav Tts avra OKTaa-fjiiui'i paivij.
Kvpl,(i)<;
Se
eiov
Se
(Balvrj
'
pvdjxol
yap
elcri
'
/Saivovrab
8k
ol
pvdfiol,
Siai/Detrai
On Sejpt. to fierpa, ovxl jSatvovrai. 1188, 1190, he says that the rhythm is octaseme.
625.
103, quoting Av.
Epitome, the moderns, Hermann {Elementa, 243 regards the dochmius as a hypercatalectic antispast and Westphal {Spec. Metrik -, 853 f.), holding that divides it w -^ -^ ^ -^ any octaseme rhythm must have dactylic division (4 4), and that such
;
Among
i
225
ff.)
division as
is
indicated
by Quintilian
(3
5 or
5:3)
is
arrhythmical,
regards the dochmius as a catalectic bacchiac dimeter (v./ - - ^ -), the last long syllable being followed by a pause equal to two primary 76 ff.) times.i J. H. H. Schmidt {Metrik, 509 ff., Introduction, bacchius,' with anacrusis, and following analyzes the dochmius into
'
^ - A ||). Pickel {De versuum dochmiacorum shortened choree {y^ origine, 167) holds that the dochmius is an iambic tripody, with the second thesis protracted in consequence of the loss of the second arsis {^ - i^ ^ -). In dochmii in which the first two theses are both resolved, and protraction is therefore impossible, he assumes a pause, sometimes necessarily in the middle of a word, in place of the lost Brambach {Metrische Stvdien zu Sophocles, 59 ff.) regards second arsis.
\
|
See Rossbach's discussion in Spec. Metrik^, 760
ff.
296
626
the dochmius as a catalectic trochaic tripody with anaclasis in the Every dochmius is catalectic, representing an first two syllables. Crusius {Zu neuentdeckten original phrase of nine primary times. Muslkresten, 193 If.), observing that the first syllables of the dochmii in the Reynier papyrus, which dates in the time of Augustus, are stigmatized (even the iambic form rwdâs Sai/Awv), and assuming that the o-Tty/xvy was attached to the thesis, concludes that the beginning of the dochmius shows the same variability of form that characterizes The dochmius, he thinks, is the shortest and freest Aeolic rhythm. Von Wilamowitz also believes that the Aeolic (Mogaoedic ') colon. source of the dochmius is to be found ultimately in Aeolic rhythm {Comment Metricum, ii. 29), notwithstanding the fact that resolution is alien to Aeolic metre, which limits variability of form by the strict He counting of syllables {Gottingische gelehrte Anzeigen, clx. 149). regards ^ ^ ^ as the primitive form of the dochmius {Orestie, Schroder {Forarbeiten, 126 ff.) derives the dochmius outright 189). from the acatalectic lesser Asclepiadean (cf. 518 ii.) by fusion of
' '
its
two
halves,
^ - - ^ ^ - and - ^ ^ - ^ -
626. These and other theories that have been advanced have
not escaped criticism.
Their number and variety show that the

It
is
problem
is
difficult.
perhaps
insoluble, but
certain in-
disputable facts must not be ignored in any attempt to establish
the relation of the dochmius to the primitive dimeter.
The case
is
may
form
be stated as follows.
of the
Each short
^
--'
syllable of the
fundamental
This
true
dochmius
^^y
be long.
also of the arsis of the first simple foot in each metre of the
primitive dimeter as developed in iambic form in Ionian rhythm.
Thus ^ ~ Ku - v3-v^-. Again, each normally long syllable of This is true also of each of the the dochmius may be resolved.
first
three theses of the primitive dimeter in
its
iambic developfact
ment.
Thus
^^^^^
first
^^
-.
Now
the
cannot
be
ignored that the

primitive
three simple feet of the iambic form of the
dimeter
thus
developed
of the
furnish
all
the
thirty-two
dochmius (460, n.), if the second arsis is absolutely suppressed and the number of primary Thus ^^^xy^. times is thus reduced from nine to eight. The effect of this suppression, in its disturbance of the rhythm, is startling, through the juxtaposition of two theses, with disThis is an entirely new effect, since solution of the time. continuous rhythmization by repetition of simple feet is the The name Sop^/ito? law that prevails elsewhere in Ionian verse.
theoretically possible forms
630

new
plirase
297
its
given to this
seems thus
to be justified
by
form.
Other regular rhythms are called 6p6oL 627. Furthermore, dochmiac verse is associated in the tragic
poets chiefly with iamljic periods, generally trimeters and tetra-
meters, and these display, by
appropriate variety of form.
means The
of protraction
relation
and resolution, between the iambic
metre and the dochmius is so close that they may be united within a single colon and even joined within a word. Compare,
for
347 = 359, 370 = 381, 738 = avv a-rpaTm), Agam. 1100 = 1107 (t&> Kikaiva, rote yap TeXet9), 1117 = 1128, 1157 (ta) XKafidvhpov
example, in Aeschylus, Sup.
(-TToXet
745
fxeXayxtfio)
Trdrpiov
ttotoz/)
1 16
(loi
TrpoTTupyoL
dvcriai
irarpo'i),
Eum.
173
178
{jMLaarop' elatv ov Trda-erat).
Less often the iambic
metre follows, as in Sept. 888 = 900. 628. In comedy also iambic is the rhythm with which the dochmius is most frequently associated. See 466. Here also the two rhythms may be closely joined, as in Ach. 569 (460). With this compare Aesch. Sept. 419 f rpefio) S' ai/xaTr],^6pov<; Five dochmii precede and an ithypliallic fiopov^ virep <f>l\(ov. follows, closing the strophe. Note also the much discussed colon in Ucc. 971 (564), a combination of an iambic dimeter With this compare Aesch. Agam. with a dochmiac monometer.
.
1156
tu
ydjiOL ydjxoL Ila'/Dioos okidpioi (piXwv
629.
The
facts
noted in 626
ff.
may
indicate the true source
of the dochmius, namely, that it
is
in origin an iambic tripody
with the arsis of the second simple foot absolutely suppressed.
Prosodiac-F^noplic Cola
630. Testimony that
it
is
trustworthy links the prosodiac, as

in
appears
with fixed
as
constitution
the
poets
of
the
fifth
century, with an early form of the Ionian dimeter.
This early
simplified
phrase
appears
the
first
half
of
celebrated
logaoedic period in Archilochus (79. 1):

'EpaxrpoviSi] XaptXae,
\prip6.
Toi yeAoTov
^w ^v^ ^ w
v./
298

"
631
Hephaestion (xv.) expressly states that the prosodiac, which consists of ionic and choriamb," lies implicit in the anapaestic hephthemimer which constitutes the first part of this tetrametrical The second half, he says, is the ithyphallic. period. Archilochus, he continues, always observed the division of the two cola and admitted different forms of the anapaestic dimeter zf^ - ^), but Cratinus and the poets who followed him maintained and cultivated a fixed prosodiac form of this tetrameter,' They
(^-^
'
made
it
a real tetrameter, treating

S>
its
division with indifference
Xatp
fj-ey'
a^peioyeAws
o/^tAe rais iwi/SSais Crat. 323. 1
and regarding its first half not as anapaestic but as prosodiac. For, he adds, an anapaestic tripody of the form s^ ^ - ^ ^ admits prosodiac division, ^v^ - ^ ^^ - and he explains the process at length,^ This means that Cratinus and his successors, pleased with its rhythm, adopted a fixed form of the logaoedic period employed by Archilochus, hut gave it a tlie first half was identified with different metrical constitution the prosodiac, an ancient and well-known dimeter, the second was a catalectic iambic dimeter.^ The tetrameter thus constituted was in ascending rhythm, as was each of its parts, and each half of each dimeter had the rhythmical value of six primary times. This particular prosodiac tetrameter, as we have seen (495), had great vogue with the comic poets.^ 631. The identification by Cratinus of a fixed form of the anapaestic tripody with the prosodiac at once suggests the
,
:
probable relation
of
the
its
prosodiac
to
the
primitive
dimeter,
namely, that
^
it
had
rij
source in the paroemiac form of this

tov n-po<TOOiaKOv 'dv Kal tovto elSos, to e^ to iwviKov koI xopi-o-P-lî-KoO avyKeifievov. <i'"^5'''<^^"^': ^'7'^ ovTwOLaipoliro, '''T iav fvptjaei ry TrpocrooLaKU} ((papfiofov.
fiiv
ol
8i
ij.er'
avTov
fief
ro/iy dSia-
<f>6pws expT7(rai'ro,
wavep Kparivos (323)

dxp67Xwj
6>iXe
Xalp
MH''
Tah
'
iTrl^dats,
ri}j rjixeripas <Tocf)La$
evdai/j.oi''
^tikt^
ffe
Kpnrjs dpLCTe irdvTuiv iJ.i]TT]p iKplwv xj/o^rjan.
yap
(XTTovdeiov
ixv
'''ov
TrpGirov,
tov%
ivTavda yap
irpo <rv\\aî)s.
o/xofojs
to
S^
rplTOV
irpb
Tirixi^Tai
Toh 'Apxi\oxeiois,
oeiovs
to.
Kal p-evToi Kai

Toiis
toi'-j
avTov Svo avof/leVy

ol
TraprjT-ncavTo
iv
ry
fiiTk TOV 'Kpx'ikoxov,

iiyovfievot,
ovx ws dvairaiaTLKov
TrpoaodiaKdv, to e^ I^jviktjs Kal xoptaA'./3iK^s, t^s iwviK^s Kal ^paxeiav

Ti)v
eis Tplirovu
dWa
TrpuiTTjv 5exop.ivT)s. dvvaTai 5e Kal dvaTraiaTiKov diatpdadai, el dirb airovBdov ApxoLTo, ohv to 2a7r0oOs (82)
8e e^TJs duairaiaTovs, rds tov devrepov dvawaicrTov 5uo /Spaxeta? irpoadels rip o-woi'ddu' Troiriaecs' 'iwvLKov dnb nelôvos. Heph. 47. 16 ff. ^^^ 5' ^^^j xop'^p-ôv. 2 Qf. Schol. Heph. 154. 11-17. The statement at the close of the .scholiast's comment is significant icperifxifieph yap lafMîKov T
KaXXioTu,
633
299
arsis
dimeter and was thus derived at a time

the paroemiac was
still
when
the
tirst
of
in flux,
^-^^-^^-^
(603).
In
final
the conversion of this particular form of the paroemiac into the

prosodiac, in
syllable
the various
processes
of verse-building,
its
was either merged in the following colon, ^ - ^ ^ -v^wtetrameter under consideration,

^
,
as
in the
^j-v/-
appeared sporadically as a hypercatalectic syllable (488), as in odes in which a prosodiac used as an independent - ^ ^ - ^ such as ^^v^ period assumes the form
or
,
KOLvy yap
ctt'
VTV\iaL(rL\' Eccl.
574
:
or was
lost, at
Tr]
the close of an acatalectic period, as

fSaOv^MVOti
v(f)dva<i
(Tvv XapiTT(T(ri
^ ^
- ^ ^
is
^ ^
_^^_v Bacch.
vfivov
oltto
(aOeas
V.
f.
K.
632. It
to be
observed that the tetrameter employed by

is
Cratinus and his successors
not found in Pindar and in but
one ode of Bacchylides

general,
(xix. K.).
The
lyric
poets did not, in
make use
of catalectic prosodiac cola
and periods, but
substituted for them, with the
same purpose
of resting the voices
of the singers (33), the hypercatalectic cola
and periods which

of
they found ready to
their
hands.
at
which
Hephaestion
notes
The discovery length was not, of

of
Cratinus
the
of
course,
invention of prosodiac verse, but the adoption of a

prosodiac tetrameter
in use, but
new form
a
line
by the clever adaptation

it
that
Archilochus had made famous.
Prosodiac verse had long been
seems probable, from anapaestic and iambic forms of the primitive dimeter in a manner precisely analogous to that which Cratinus employed, although he was not
633.
had originated,
conscious of precedents.
What was
the iambic element in prosodiac verse
Two
longer tetrameters antecede the catalectic tetrameter of Cratinus.
The
first is
i.
hypercatalectic
e'^
ras
eparojv
i(j)6/3-q(Tev
TrayKparTj?
"Hpa
fieXdOpon'
^ ^
- ^ ^ -
-|-^-
^ eirt
Bacch.
xi.
43
f.
K.
o ras deov,
ov 'âpdOeia tikt'
prjyjxlvL ttovtov
v^-v^w
The second
ii.
_^^_ î_^_
acatalectic
:
^_
criv 8'
Pind. Nem.
v.
is
vôv vapa
8a[p.ocrL
/cetraf
dXaOeuj. fSpurwi'
^w -wv^-
-'- ^
^ -
Bacch.
ix.
84
f.
K.
300

oSov irapa KaAAtoTras Aa>ôio-av ô)(ov yepas
634
v^-ww
TTws
8rj
- ^ ^ -
^|_.^_
| vy
^_^_ ^_^_
Bacch. xix. 13
f.
K.
XtTTov euKAea vacrov,
koI tcs av8pas uAki/xovs
WW
The
comic poets,
iii.
WW
Pind. iVêm.
v.
catalectic tetrameter of Cratinus, particularly affected
by the
may
again be illustrated
aKovcrov uv Acyo> aoi
w SionroTa Kal rdSe vvv
WW -WW- w|-w634.
closes
iii.
Eupol. 236
'
The identification as an acephalous
of Hephaestion's
ithyphallic
'
that
catalectic iambic dimeter

' '
and of the
corresponding clause in
ii. as a lecythium (609, n.) is forbidden an acephalous hypercatalectic iambic dimeter is foreign to Ionian rhythm.
by
i.,
for
635.
The
in
is
ii.
nature
of
this
phrase
as
it
appears
in
i.,
-wphrases
pare
reduction,
first
w-
-, from which evidently the corresponding and iii. are successively derived by regressive
revealed by certain other prosodiac periods. Comtwo hypercatalectic trimeters (iv. and vi.), from which were formed, by regressive reduction, two corresponding acatalectic trimeters (v. and vii.) that often occur
iv.
'()
fjiiiv
TToXv Spip.vraro'i y
tJv
twf
Trap
rjp.iv
f.
aAA
Styad
dvtcTTacro
p.7^8'
ovTin crtavTov
Vesp. 277'*
= 286
xi.
f.
(TT-qde(T(TL
TraXivrpoTTOV e/x,/3aAev vorjpia
WW
V.
WW
<3
^|
^
xiii.
Bacch.
54 K.
VLKav T
ipLKvSea p-eXirer,
veot
WW -WW- w|-wvi.
Bacch.
190 K.
Tov
Trais
Xet/awv
Aarous evpvp.e8(ov re Ilocretoav awTOV BAeiji'iaSais kiriviKov

6
^ vii.
_|_^^ _^^_
w Ymd.
01. viii.
32, 75
dvSpwv re Salras Kal BaXtas p.aKdpwv Pax 779

Keivov crvv dvSpbs 8atp.ovtaLs dperals Pind.
Nem.
i.
crravTCS, iTLTvav
h aWepa
\eLpas dp.a
w
deols 6'
w| |
WW WW
'
WW
Pind.
Nem.
v.
dvia)(0VT'i X'^pa'i
dOavdroLS
w-
WW
'
Bacch. XV. 45 K.
The
In
last (vii.)
was called
iambelegus
(481, n.).
636. Prosodiac verse

all
is
thus seen to be eminently episynthetic.
other verse trimetrical cola are derived from a primitive
' ,:
639

fif.),
301
trimeter (611
but in prosodiac verse trimeters as well as

It
longer periods are compound.
appears, furthermore, that the

in
component
637.
elements
may
be
combined
either
order
of
arrangement.
third of the foregoing trimeters
also in the following
viii.
The shorter iambic phrase that appears in the first and ( c; - v^ - o in iv. and vi.) is seen
avSrjfi
eAata? iv IleAoTro'j ^pvyiox' Kkewoi^ dedkois
^
TlcvSapiKov
|-vyw
verses
:
^^
\-^
Bacch.
viii.
14
ff.
K.
Compare the
")
quoted by Hephaestion (51.
16
f.,
"to
OS Kal Ti'TTfts ayi'w TreAeKet TtKero

cro(f)ol
âvOav 'Addvav
Se
Kol to [xyjSev dyav iiros aLvrjcrav Treptcrcrws
-_^_ -|_^^ -V.W- -|-wThis tetrameter, like

all
Pind./ragr. 34,
216
other hypercatalectic prosodiac periods,
might be reduced by a syllable

ix.
/JLKrdos
yap aAAots aAAos
ctt'
epy/xacrtv dvOptoTrois
yXvKis
Isth.
i.
^ 638.
-|-^^ -wv^- -|-v^-
Find.
47
examples
an
syllable.
The phrase joined with the paroemiac is the iambic penthemimer, ^ - v^ - ^
in the
,
foregoing
in
which ends
'
arsis, as
the paroemiac, being catalectic, ends in a
variable
periods
The combination of paroemiac and penthemimer into was controlled by the rhythmical law, which holds
without exception in all compound prosodiac periods, that each phrase if initial is complete, ^ ^^-^j^--^:!. or - - ^ - acephalous, hut in each its subsequent occicrrences is of acephalous paroemiac, or - ^ - ^, acephalous
-^^-K^^-^,
in
iambic
penthemimer.
the
In
the
various
processes
(cf.
of
verse-
building, the final syllable of each phrase
merged
or
following
colon,
supplying
631) was either the lacking arsis,
appeared sporadically as a hypercatalectic syllable, or lost, at the close of an acatalectic period.

639.
was
To
revert
now
to the tetrameter
with the consideration of
which
began,
triple
this investigation of the iambic element in prosodiac verse
a it seems certain that i. (633), like viii. (637), is compound, but with the elements differently arranged ii_^^ ^>^ ^ - i:i|_^_ i=i. Compare the follow-
_^^_
302

is
640
ing period, which

versely arranged
:
composed of the same elements but con-
vvv \pr) IlocretSai/os re UiTpaiov re/êvos KeXaSrja-at
^ -
_|_^_ _|_^^ -w^'
Bacch. xiv. 20
'
f.
K.
This composite
hypercatalectic iambic dimeter
occurs also as
an independent period
Oepfiav
8'
eVt Trvewv
aeAXav
v^
^^|
v^
elp'qa-eTai ttoAA' ev /Spax^crroLS
w
that
Bacch.
Find.
x.
22 K.
Isth. vi.
59
of
640. It
is
now
in
obvious
the iambic
trimeter also
prosodiac
verse was not originally indivisible, like
the normal
It is
iambic
trimeter
in
Ionian verse (613), but composite.

hypercatalectic, acatalectic and,
found
three
forms,
in
the
drama, catalectic
X.
\py]<jr6v.
Tt fjLaKpav yXwa-crav Wx'cras eXavvo)
^_ _|_^_ _|_^_
xi.
Bacch.
X.
51 K.
ij/vxav 8'
aKap-TTTOs,
irpocnraXaicrwv ^Xd' dvrjp
w- -|-.^- -|-wxii.
Find.
Isth. iv.
53 b
Tlvdoivi 8ia prj ko.km^ Trevecrdai
^- -|-^641.
^1
^2-1273
suffice for the
is
The paroemiac and iambic peuthemimer

it
constitution of all normal prosodiac periods, and

fact that
a striking
they can be identified in the fully developed prosodiac

fifth
verse of poets of the

642.
of the
century.
(cf.
'
The examples quoted

'
i.,
iv.,
vi.,
viii.,
x.)
disclose
the
origin
hypercatalectic
syllable in prosodiac verse
(488).
This
syllable,
which
is
has
been
the
still
subject
of
much
discussion in recent years,

poetry, of
the trace,
subsisting in later
the final syllable of an original paroemiac or of an
original iambic penthemimer.
On
the rhythmical value of the
hypercatalectic syllable, see 37.

643.
To turn now
to enoplic verse,
we could hardly expect
to find testimony as
explicit as
ff.)
;
that given by Hephaestion in
regard to the prosodiac (630
but once in possession of the
by which, in Ionian verse, all cola in descending rhythm arose from the primitive dimeter by loss of
key
to the general process
its first arsis
(608
ff.),
we
see at once the ultimate relation of the

its
enoplius to the prosodiac and thereby discover
probable origin.
primitive
The enoplius was the acephalous form
of
the same
645

:
303
paroemiac from which the prosodiac had sprung
the enoplius,
-v-'v^-lw^-^,
by
acephalization.
arose from the paroemiac,
^-^w-v^w-^,
is
The
enoplius,
it
therefore,
differs
in
origin
dactylic tripody of fixed form, but
from this tripody in
Each half normally contains six constitution (647). primary times. If described in terms similar to those used by Hephaestion in describing the prosodiac, it would be said to In verse-building consist of a choriamb and minor ionic' The distinction between trochaic cola. it is associated with prosodiac and enoplic cola is precisely that which subsists between anapaestic and dactylic or iambic and trochaic cola: prosodiac cola are in ascending, enoplic in descending rhythm.
metrical
' '
'
644.
Each prosodiac colon and

its
period, with a few exceptions,
has in fact
enoplic correspondent, and the original distinction

to the retention or
between prosodiac and enoplic cola was due

suppression of an initial
cola
arsis.
and
periods,
which are
Compare the following enoplic numbered to correspond with the

Kapvôvn Aaw
Bacch.
xiii.
numbered prosodiac periods previously quoted

i.
TepxpieTrei';
vlv doiSai ttuvtI
- ^ ^ ii.
^ ^
1-^
\- ^
230
f.
K.
iravporepiov to Se irdvTMV vpapeiv oi'Sev yXvKv

Bacch.
i.
-WW- ^^--|_w--|-wlv8op.a.\a<;
174
f.
K.
ar
aXeKTwp o-uyyoi'w
ti}s
I
Trap'
ecTTia
01. xii.
-WW- WW
iii.
|-w-w|-wecrTrepas
I
Find.
aTro.yât
14
ft'xe
rh Spaifxa yaXrjv
iv.
V.
w -
^ ^ _ -
- w - w
- -
Paa;
795
Isth.
f. i.
61 S"
dpera KarctKeiTat -rdaav opydw Find.
41
Trpdyfiara Kdrnypacâs ttoAAwv TaXdi'TO)v
-WW- WW
V.
|-w
io-jrir'
(483, n.) Nub.
472
f.
(0TtV6 (Tuv
yepas
dyXuov
Find.
01. viii.
-WW- ww-w|-w645. Analyzed
11
with
reference
to
their
origin,
these
five
i.e.
periods consist of a paroemiac with suppressed initial arsis,
ww an enoplius elements that constitute the

prosodiac periods.
(-ww-
),
and the same acephalous iambic

phrase of the
five
final
corresponding
But
just as the enoplius, although ultimately
derived by acephalization from the same form of the primitive
dimeter as the prosodiac, was early individualized as a distinct

dimeter in descending rhythm, thus also the second colon in each
of the enoplic periods just quoted, even in early antiquity,
when
304
this
646
form of verse was developed, must have been felt to be Poets of the fifth century at least must have regarded trochaic.
these clauses
dimeter, 646.
'
as,
respectively, trochaic dimeter, catalectic trochaic
ithyphallic,' trochaic metre, catalectic trochaic metre.
The order
of arrangement
might
be the
converse of
iambic element with suppressed initial arsis begins each of the following periods, the opening is now trochaic
that in i.v.
vi.
An
aÔov-qros
8'
atvos 'OAi'/xTrtoviKais Pind. 01.
xi.
ipXerai yXtaTTrjs iirivoLa TroAtTvjv
_^
vii.
|_^^_
^ ^
8'
^ ^
Eccl.
574
18
Ota irapdkvoL (jitXeoiCTLV kraipat
-^-s^\-^^Y/)o"i9'
Pind. Pyth.
iii.
eVrtv
ovpavimv
v8a.T(av Pind. 01. xi.
ofSa KuX ttXovtov /xeydXav 8vvaa-iv
_^
vvv
8'
|_^^_
o-Te<âi'OJcra/xevos
^ ^ Pind. 01.
Bacch.
X.
49 K.
'OXvpiria
_w-w|-v.wviii.
^ ^ -
xii.
17
oWts
al(rxvv(JiV kTrix^pia.
TraTrraivf.i to. iropcrw
_^
ix.
|_^^_
_^
^ ^
|_^
8'
Pind. Pyth.
iii.
22
eyyovwi' yeiVai/TO, Kal vxl/iirvXov Tpoias eSos Bacch.

OS TVX9- H-^^ 8aip.ovos, dvopias
ix.
46 K.
67
ovk dpirXaKwv
|_^^_
^ ^ -
^ ^
^ -
l-v..-
Pind. 01.
viii.
(fjacrydi'M
re p.apvap.eva Kepd'iêv dypiowi
- ^ X.
^\-
^ ^ -
^\Aws
Pind. Pyth.
ix. 21'
i8e
viKdaavTa xpvaroTraxv^
_^
pvdfjia
|_^_^|_^
TWV
'
Bacch.
V.
40 K.
15
OXvpTTLU. KdXXuTTOV qidXiOV
_^_^|_^
xi.
1-^
Pind.
01.
iii.
evSov dpirkXov KaxXdôifrav 8p6aro)
_^_^|_^
xii.
|-w-
Pind.
01. vii. 2
lp.ipw \pi<Ta.(T
d(pVKTOV OKTTOV
'_^
In
all cases
|_^_^|
Eur. Med. 634
(i., iv., vi., viii., x.)
the hypercatalectic syllable of the
prosodiac period becomes the final syllable of the corresponding

acatalectic enoplic period.
647.
The poets of the
fifth
century were probably unconscious
of the relation of the prosodiac

source.
'
and enopHus to their common To them these were dimeters, isomeric dodecaseme feet,' and as distinct and individual entities, in musical phrasing, Yet these poets must have as iambic and trochaic dimeters. felt the anapaestic movement in the prosodiac and the dactylic
648

There
is
305
in the enoplius.
differentiated
the
cola.
prosodiac
and dactylic
himself
ample and enoplius from true anapaestic Hephaestion states that Cratinus and his suc1).
evidence, nevertheless, that they
cessors thus distinguished the prosodiac (630, n.

testifies
Aristophanes
the
as
to
the
enoplius.^
Socrates in
Clouds
(649
f),
in the first extant literary reference to the enoplius,
instructs
Strepsiades
that
it
is
important for a gentleman in
society to understand the difference between dactylic

verse.
The two were
different, therefore,
an uninstructed
person like
is
and enoplic and yet so similar that Strepsiades might confuse them.
difficult.
Their differentiation
now
not
The enoplic dimeter,
-wv^-
^ ^
differs
from the dactylic tripody in metrical
constitution.
Taken
as a whole, it is the metrical equivalent of
a dactylic tripody of fixed form,

process
of
- ^ ^ - ^
this
y^
but in the
musical phrase-building
rhythmical basis was
converted into an isomeric dimeter (ttow), complete in itself, in which each half, as in the trochaic dimeter, normally consisted of
six
primary times.
Here, as elsewhere, the dimeter was normally

a 7rplo8o<i, to
the smallest unit of rhythmical measurement and was regarded

as a whole.
The enoplius was

xv.)
employ the term

ff.).
applied by Heliodorus to the prosodiac (Schol.

648. Hephaestion (ch.
Fax 775
and
a
'
the
scholiasts
(cf
Schol.
metr. Find.
01.
iii.
2)
might, as
'
convenience, designate
'
the
metres of the prosodiac as
ionic
and
choriambic,'
naming each
from
ionics.
accidental form, but these are spurious choriambs and The true choriamb is Aeolic (651) and is alien to Ionian rhythm (71, 206), and the two true ionics are at variance both in their probable origin (615 ff.) and in their rhythm with the The genuine found in the prosodiac and enoplius. ionics minor ionic is in ascending, the genuine major ionic in descending rhythm (29). In such a tetrameter as
its
'
'
ot
fj.v
TTttAai
w QpaarvfSovXe
(fiwres,
o'i
y^pv<rafi~VK(av
^ ^
the
-w^first
V.-W-
^ -
Find.
Isth.
ii.
rhythm
of the
half of the period

is
is
anapaestic, of the
second iambic, but the period

dimeters, and the
first
a tetrameter, composed of two
is
as certainly
an isomeric
7roy<?
as the
second.
The normal measure

ff. ;
of each dimeter is twelve primary

Bacchylidis Carmina ^ xxxv.
ff.
;
1 See Blass, Kleine Beitrage, 455 of Bacchylides, 166 f.
Rhythms
306

;
649
the normal measure of each times, four longs and four shorts metre is six primary times, two longs and two shorts the order of arrangement of the longs and shorts in each dimeter is determined by its rhythm. The metres of the prosodiac and enoplius,
:
therefore, are not feet,' and these dimeters are the best existing illustration of the essential indivisibility of the Greek dimeter. Here certainly there can be no assumption of podic stress.
'
See 28.
Each dimeter
is
a unit, with thesis and arsis equal, the

in the prosodiac in ascending rhythm,,
order being
arsis, thesis
and
thesis, arsis in the enoplius in
descending rhythm.
649. Doubt has been expressed whether the last two metres in such a tetrameter as that just quoted can properly be regarded as iambic, since this view involves the combination of diplasic ( - - ^ ^ ) and isomeric ( v^ - ^ - ) feet in the same period. See Gleditsch in
1
|
The error that underlies Bursian's JahresbericM, cxhv. (1909), 128 f. assumption that the metre, and not the dimeter, In of a tetrameter. is the element that determines the composition
this criticism is the
each component dimeter in this tetrameter is isomeric, and the But ignoring difiference between the two parts is their rhythm. illthis mistaken point of view for a moment, the objection seems
fact,
only
are combined in precisely this feet taken, for diplasic and isomeric See the periods in true ionic verse, in early Greek poetry. quoted from Alcman, Alcaeus and Sappho in 615, 617, and Gleditsch
'
'
manner
in his Metrik'^ 106. 1, 107. 3, illustration of ionic verse.
who
cites
some
of these periods in
650. The iambic and consequently also the trochaic elements This is prosodiac -enoplic verse are generally irrational not an abnormal manifestation that invalidates the assumption that these metres are iambic and trochaic, for irrational outin
number rational metres in all three sorts of iambic and trochaic This fact, which verse in comedy, melic, recitative and spoken. of such significance that is commonly overlooked or ignorfed, is See for statistics confirming it are given elsewhere in this book.
iambic verse 186
The general and trochaic metres in prosodiacenoplic verse is legitimate, and it is also natural, comporting with the character of this verse, which is eminently dignified and But pure iambic ( ^ - ^ - ) and trochaic ( - ^ - ^ ) stately.
f.,
for trochaic 247, 256, 261, 268.
use, therefore, of irrational iambic
metres are by no means excluded, as the periods prove that are quoted above (633 ff., 644 ff.).
653

Aeolic Verse
307
The rhythmizing impulse regulated the ordering of mode that was distinct from that The musical number in which prevailed in Ionian verse (603). which the poetic impulse of early Aeolian singers found satisThis factory rhythmical expression was the choriamb, - v^ w -. The first half is the fundamental metre (foot) in Aeolic verse. of the primitive dimeter in which it appeared remained with
651.
quantities in Aeolic poetry in a
quantities
practically
unregulated
(oooo -ww-)
even in
the
fifth
century.
The
principle that
first
prevailed, in the
un-
conscious attempt to give this
half of the dimeter rhythmical
form, was exclusion in selection.
Nine of the sixteen possible
forms (two units, w and -, in four places) that the first metre These are starred in might assume are found in Aristophanes.
the following
1
list
308
THE VERSE OF GKEEK COMEDY

the
first
654
failed to regulate
half of
the
primitive dimeter, but

half.
gathering force gave choriambic form to the second
In the
second stage
it
placed the choriamb at the middle of the dimeter,
forming the Glyconic, with final cadence in the last two syllables In the third stage that had been developed in the first stage. the first metre finally became choriambic and the dimeter ended
with the double
stages.
final
The process was natural and these dimeters were inherited by poets
For
illustrations of these dimeters
f.,
cadence developed in the two preceding All it was unconscious.

of a later age.
of their catalectic forms,
and
see 507
511, 513.
654.
The choriambization
of the primitive colon of twelve
syllables (611) produced trimeters of constitution similar to that
of the three dimeters just considered.

acatalectic
and
catalectic trimeters
I.
Polyschematist Trimeters.
7rpoi"^t
Kal yv(o[xa, Trap' otw to deiov Soph. Ph. 139
(xAAo. Ti;iS'
eXd', ai ttotu KarepuiTa Sapph. frag.
1.
Tov ^vyy pa(firj rov /xeXeMV
iroi7]T-qv
Ach. 1151
oi'av
eSrjAwcras ave/aos aiôvos Soph. Aj.
221
vO'
oifj.ai
Tov ypep.d)(av Qrja-ea Kal Soph. O.G. 1054
ei'ddSe KtVSvvos dvelrac o"0(^ta?
Nub. 956
/ra^.
1. 1
TTotKcXodpov'
dOavdr 'Ac^pdSira Sapph.

10
-v^-,^
116
_^^_
- ^ ^ -
6 Moio-ayeras
/ê
KaXe'i xopevcraL Pind. frag.

11
^__^
^--2
w ^ - ^ -
efJLol
^vveir]
8id Trav-O'i
ev(f)p(3)v
Soph. Aj. 705
12>^-w- -v^vêyo) 8'
rXd/xoiv TraAatbs a^' oS xpoi/os Soph. Aj.
599
f.
12v^-vÎI.
(
- ^ - ^
The
following trimeters begin with Glyconic
movement
o
^
0-..W-):
Sapphic hendecasyllable, Heph.
43.
'^
Pindaric hendecasyllable, Heph. 44,

ff.
11 S.
12
656

(Tapwv
e's
309
/xvpi<j)v
"A/ayos i'lnnov Find.
Isth. vii.
11
(W
i^rjv irapa
ry
V<^t
KaOevSecv Ec. 938
TjkOes (K irepaTiov
yas eAeâvrtvav Alcaeus 33

\pv(roTpiaLv'
Sevp'
eXd'
ets
)(ôpov
t5
w Eq. 559
1168
tYftf p-vpLov a\do'i o ^DVOiKci Soph. Ph.
III.
The followiug open with choriambo-iambic movement
ov yap dvacrXTov tovto y' ikevdepw Ec. 941
rov T p.tyaa-6Vi] TpLatvrjs ra/xtav Nub. 566
See also the trimeters quoted in 518,

655.
i.-iii.
The Aeolic trimeter originated under the same choriambizing impulse that produced the dimeter, and the possible
forms of the trimeter, like those of the dimeter,
in graphic
may
be exhibited
form
OOOO
o
v/^
- w w - w ^ o
2
3
656. The choriambization of the primitive trimeter was a continuation of the process begun in the choriambization of the The law by which the different forms of the trimeter dimeter.
are controlled
is
simple, and
it
operates with singular precision.
Formation develops by
dissyllables,
and a metre may consist
only of such elements as have already been regularly formed. The third metre of the trimeter, therefore, like the second metre
- ^ ^ - (by catalexis - ^ - ) or The second metre in the first - or - ^ - ^ in the stage of the trimeter must be second and third stages it may be distinctively ^ - ^ - or The first metre ^ ^ forms not allowed in the first stage.
of the dimeter, will be either
^ _ ^ _ (by catalexis
^^
).
v.^
v.^
of the trimeter in the first stage is polyschematist, in the

1
second
ff.
Phalaecean, Heph. 32. 21
ff.
Asclepiadeaii,
Heph.
33. 5
::
+
657
310
it
always has Glyconic form, in the third it is the choriamb. These facts are illustrated in the examples just quoted (I.-III.). 657. Other cola occur in Aeolic odes that in appearance are iambic or trochaic
(TV
8'
dvSpos (KTmrXrjyixevov Nub. 809

Lys.
ywatKas dv6paKiVtv
kX^s ewl yAwcrcra
340
1052
f.
j3e/3aKe
_^__ _^_^
v--
^ v^ v^ w
^ w w
Trpoa-TToXuiv KvixoX.TTiSdi' Sopli. O.G.
658. These
selves
cola
associated
with Aeolic verses are themif
legitimate Aeolic cola, and, like the others, are due to
choriambization.
This process, for example,
carried
to
the
length of four or j&ve metres, as dimeter

trimeter, or trimeter
+ dimeter,
among
dimeter
+ dimeter,
would
give,
others,
:
under
the law just stated, tetrameters and pentameters such as
---- w-.-|.-^- ^-.659. It

is
probable, however, that
the
poets
of
the
fifth
century
did
not
consciously
differentiate
cola where they crossed, such Aeolic cola, been quoted, and the iambic and trochaic verses of Archilochus. These poets admitted into all iambic and trochaic cola not only the irrational metres found in Archilochus, but also the
'
'
' '
and Ionian namely, as have just

Aeolic
two other variations that characterize these forms of verse in We have the fifth century, resolution and protraction (tovt]).
seen that the
'
iambic
'
might be
irrational
(514).
element even of choriambo-iambic cola In illustration of resolution and
protraction in diiambic and ditrochaic (19) cola in Aeolic odes
compare the following

^vvevx6fJi-e9a
TJ
fxkya ri [jîTaTrea-elrai.
o Trats o
TQ X^'P'
7raêiv
w ^>^ ^ ^- ^ ^^^v^.^>_. îAokAcwvos Vesp. 1454 = 1466 v^ w ^^ ^ ^ v^v^ v^ w iriX(.9ov dprita's Kexeo-jJ-hov 8' e'^wv Ach. 1170 f. ^
xeAea
/j-ev
Thes.
352
v^
^v-f
._^_
N^lb.
v6i]ixa
y^
<fipev6<i,
vTTvos 8' direaTOi yXvi<vOvfJLO<; opLfidrwi'
^^
Trap'
^ - ^ d(piXoii
-^^_ ^_^_
fTretre
705
f.
lirecr'
/icAeois 'ArpeiSat?
^w-v.
^^^ ^
- ^
Soph. Aj. 620
f.
'
663
311
660. Ditrochaic cola are not frequent in comedy, but Aristophanes abounds in diiarabic dimeters in close association with other Aeolic cola. Doubt whether these diiambic cola are in fact Aeolic is dissipated by cases in which they correspond For in strophe or antistrophe with undoubted Aeolic cola.
example, compare
ovTos ideXei Kparrjcrai
7}56/xV'os
=
= 641
AeyovTt Fcsp. 537

ToSe.
.^w ^ ^
v^
v.-
aAAd
(US
({)of3ovfj.ai
)(^prj
fiQv uo"Te/307rovs fSorjdio
TTvpl
rai yMUcrapds yui'aiKas dvOpaKivetr
- ^ ^ -
- ^ ^ -
^ ^ ^ -
Lys.
326
= 340
in
661. The metres, then, that appear in Aeolic verse are six number the fundamental choriamb, - ^ ^ - the unregulated first metre of the polyschematist dimeter and trimeter, ^ ^ ^ ^ and the semi-regulated first metre of the Glyconic, ^ ^ - ^
:
three
others
:
due
to
the
process
of
choriambization
the
carried
through
the diiamb, ^ - ^
- the
,
ditrochee,
- ^ - ^, and the
see
autispast,
v^
(19).
On
the
antispast
Editor's
Origin and Forvi of Aeolic Verse, 303-309. 662. The evidence of crossing of styles exhibited by
'
iambic
points
and
the
'
trochaic
'
cola
is
interesting and instructive, for
it
way
to the differentiation
of Ionian
main facts are now apparent. rhythm of Ionian verse, and when it occurs there except in the prosodiac and enoplius, where it is
form (648),
It
The and Aeolic verse. The choriamb is alien to the

it
is
due,
spurious
may
to interior anaclasis, as in iambic verse in English. thus occur in Greek, as has often been noted, at the
Cf.
beginning even of a spoken trimeter.
Aesch. Sept.
488,
547; Choeph. 1049; Soph.

is
/ra^.
the other hand, a succession of
785; Arist. Pax (S^2>. On two or more dactyls or anapaests
clear indication of Ionian rhythm, just as conversely the single occurrence of a long and two shorts, or of two shorts and a
long, generally signifies that
the verse
is
Aeolic.
is
Hybrid cola
effec-
are inadmissible, but a series of Aeolic cola

tively varied
sometimes
by the introduction of one

See 526.
of the
is
or
more cola completely

and Ionian
Aeolic verse
in Ionian metre.
663.
The
effect
interrelation of Aeolic
still
verse in the
fifth
century
;
further manifest.
counted syllables
a dimeter was octosyllabic, a trimeter dodeca-
312
syllabic.

But the poets
664
of the fifth century, under the influence
of Ionian rhythm, admitted resolution in Aeolic cola generally
with some freedom, not only in those that in form were identical with the normal iambic and trochaic cola of Ionian verse (see
657 f.), but also in the polyschematist dimeter and the Gly conic and the corresponding trimeters
:
7rt
TO
TpV<f>tOV
Kttt
[XaXaKOV =
Vesp.
^^Kj
1455
ouSevi
yap
oiirws
ayavw
1467 ~ ^^ ^
TO yap
rt
dTToa-Trjvai,
^âAcTTov
Vesp.
1457
wv^
yap
e/cetvos
7ri
avTcXeycav Vesp. 1470
w^^
992
f.
v^
{wvTfs tot'
Twv
Trporepoiv
Nub. 1029
v^^-
KaT opea
vvp-fâv iparois ev vfivois Th.
Ti TTOTC TvpayfJLa yevqa-erat Ran.
1251
<^v^
v^^v^^ v^

^^
Kjx^
^ ^ wv^
^w
v^
^ ^
v^w
^
Bpo/nie Kul Se/xeAas Trat Th.
991
wv^ wv^
See for other examples 510, 512.
Conclusion
664. It appears from the preceding survey (600
flf.)
of the
itself,
probable origin of Ionian and Aeolic cola, that the colon
not the metre or the simple
foot, is
the true unit of rhythmical

'
measurement
Greek poetry. Aristoxenus called cola feet,' and Aristophanes in a merry jest refers to the Glyconic dimeter as a ttou?, contrasting two extreme types
in
7roSe9 avvderot (21),
(Ban. 1322
fi'.).
was the
colon
colon,
in
gradual process.
that
The primitive poetic element in Aryan speech which the regulation of quantities was a It was in this gradual development of the
form as subordinate
metres and simple feet took
elements of the true unit of measurement.
; ;
CHAPTER XYI
STEUCTURE OF COMEDY^
665.
different
The structure
of a
comedy
tragedy
of Aristophanes of
is
essentially
The same period. primitive elements of a play of the Old Comedy were the parode, the debate, in which in which the poet brought in his chorus two of his players maintained and disputed the theme of his play,
from that of a
the
;
contending against one another as if pleaders in a court of law and the parabasis, in which, at the close of the primitive play, he
set
forth his
own
merits and personal grievances, and in two
following topical parts expressed his views on questions of the The debate and parabasis are peculiar to comedy, and are day.
structurally individualized
as
by the pairing
Attic
of non-melic as well
melic parts.
The
oldest
comedies were
short
and
A probably consisted only of parode, debate, and parabasis. comedy of Menander, on the contrary, derived its five acts
from tragedy and was structurally
Aristophanes.
666.
far
removed from a play of
As comedy developed and

to the three original
lengthened, other divisions

:
were added
elements
prologue and exode

;
and stasima mediatnig scenes that, while advancing the action, served specially
epirrhematic
syzygies
;
episodes
with
following
to connect other divisions of the play.
Among
is
these the syzygy,
a division that
1
is
also peculiar to
comedy,
-
a free imitation of
:
See, in particular, Zielinski's Glicdc-
rungderaltattisckenKoi/iddieatnd 113.2011' Composition dcs comedies d'Aristophane. In reading this chapter, the student will need to consult the "Table of Structure and Rhythms," to be found at the end of this book.
See Kaibel's Fragmenta, 72. 13 fl'. in fabiilas primi earn contulerunt ita ut non excederent in singulis versus trecenos" (e libro glossarum), and Usener in Â<;zn. J/ms. xviii. (1873), 417 ff., 429 f.
"sed
<non> magnas,
313
314
667
the last four parts of the parabasis, and admirably illustrates in
balanced speech and song, the primitive distinguishing principle

of the structure of
comedy, the pairing of non-melic as well as

is
melic parts.
play of Aristophanes
It
is
in
many
particulars a
peculiar literary creation.
drama only
It
is
in a restricted
sense, since the action is at a standstill during

divisions,
two important
distinguished,
the debate and

a
the
parabasis.
Shakspere or Moliere by the fact that quite one-half of its verses are melodramatic, recitative, or melic, and were rendered to the accompaniment of a musical
furthermore, from
comedy
of
instrument.
667. Some of these divisions have canonical form and most them show canonical use of rhythm, but Aristophanes is bound by neither. He varies and changes, shifting his rhythms
of
special effects and subordinating form to the better development of the action, often weaving division imperceptibly into division, but always in such fashion that the fundamental He is structure and limits of the divisions are discoverable. always flexible, he has complete mastery of his materials, and the development of his theme never suffers from slavish adherence
to secure
to convention.
668.
The parabasis
was
originally an epilogue, but in the

it is
developed comedy of Aristophanes
found
at
about
the
It consists, when middle of the play, except in the Vespae. complete, of seven parts KOfi/jbdriov, 7rapdâcrt<i, fiaKpov (Schol.
:
Pax 765)
or
Trviyo?
(Schol.
AcJi.
659), fieXo^ (strophe, ode),
iTTippyjfjba, /ieXo<?
avriarpocfiov (antistrophe, antode), dvTeiripp'qp.a.
The first three are single parts and were probably all rendered by the first corypheus the last four are paired and constitute, in
;
the terminology of Heliodorus, an
i7rippr)/jbariKr)
crv^vyia (Schol.
The commation (293 ff.) was 551, 1264). probably a solo, and is composed, wholly or partly, in anapaestic The parabasis proper, avrr) rj rhythm, except in the Aves (546).
Ach.
665, Eq.
7rapdâcn<; (Schol. Ach. 626),

spectators,
is
the poet's
tetrameters
is
own
address to the
and
;
is
written in anapaestic tetrameters, except in the

anapaestic
follows
it
Nubes
(528)
so
these
recitative.
The pnigos that
and was
named because
1
were rendered in an anapaestic hypermeter, was to be recited at one breath

corypheus speechless.
ff.
{d'TTvevaTL,
Heph. 73.
4), leaving the
The
See Heph. 72. 11
670
STRUCTURE OF COMEDY
315
strophe and antistroplie were sung respectively by the first and Their structure is elaborate and they are second half-choruses. composed in many different rhythms. The epirrhema, following
the strophe, as the the
antistrophe,
name
are
implies,
composed
probably were rendered in

half-choruses respectively.^
and the antepirrhema, following in trochaic tetrameters and recitative by the leaders of the two The In theme they are topical.
if
it
number
equal
to
of verses in the
antepirrhema,
occurs, is
is
always
that in the epirrhema.
The number
commonly a
multiple of four, sixteen in eight epirrhemata, twenty in the first parabasis of the Nitbcs and in the Vespae and Eanae, and twice
ten in the Lysistrata.
669.
is
Sometimes a play contains a second parabasis.

last four
This
normal A tricolic trochaic period is added to the epirrhema and parts. The second See Schol. Pao: 1127. antepirrhema of the Peace. parabasis of the Nubes (1113 ff.) consists merely of a protracted iambic tetrameter, of the nature of a commation, and an Even the first parabasis is not always complete. epirrhema.
never complete and generally consists of the
;
That of the Nubes lacks a pnigos that of the Peace has neither TJiesmojphoriazusae that of the epirrhema nor antepirrhema that consists simply of parabasis proper, pnigos, and epirrhema
; ;
of the
Eanae
of the last four parts; that of the Lysistrata of

It is to be observed that the first
these four parts doubled.
two
periods in the
first
strophe and antistrophe of the parabasis of
the Lysistrata have the tone of a commation.

670. The debate is now a recognized division of the Old Attic Comedy, thanks to the acute investigations of Eossbach and In two plays of Westphal,- Zielinski ^ and Humphreys.^ Aristophanes {Vesp. 534, Pan. 883) the chorus speaks of it as a The subject in dispute, which is generally the contest,' drycov. poet's main contention in the play, is often indicated and an
'
umpire chosen at the

example, Vesp. 513
is
close of the preceding division.

ff.,
See, for
LJq.
733
ff.
The master
of ceremonies
the chorus, and
it
is
The debate belongs

1
historically in
the chorus that announces the verdict. the first half of the play,
-
the division of the chorus of into half-choruses and the functions of its two leaders, the two coryphei, see the editor's Unrecognized Actor, 103 ff.
On
Spec. Metrik", 401

ff.
fi'.,
Spec.
Metnk?,
comedy
133
3
QUederxmg 9
ff.
Agon
of the Old Conmdy, 179
ff.
316

the
parabasis
671
it
between the parode and
(665) and
generally
occurs there in the comedies that are extant, but in two of these, the Nules and the Putnae, the poet has transferred it for special
reasons to the
consists of nine parts, of
When complete, it second half of the play. which the second four are paired with
It begins with a song
the
first
four.
by the
first
half-chorus,
whose leader
to argue his
in
two
in
recitative anapaestic or iambic tetrameters
then bids one of the contestants open the debate.

case
He
proceeds
'
which tail ofi' as feeling is roused into dimeters, both in the same rhythm as the distich. Iambic tetrameters and dimeters rendered by a debater are Then the second half- chorus sings the melodramatic (804). antistrophe and its leader exhorts the other contestant to defend His argument also is expressed in tetrameters and his views. Slight modifications of the The verdict follows. dimeters. disposition and significance of the nine parts as just outlined
tetrameters,
may
occur.
Zielinski has
7rvlyo<;,
named
these parts
(ohrj,
KaraKe\evafx6<;,
avTeiripprj/xa,
iTTipprj/JLa,
avrwhrj,
avTLKaTaKe\evafj,6(;,
avmrvl'yo^,
671.
(T(f)payi^.
The songs
of the debate are closely connected in

:
theme
with the following discussion they emphasize the importance of the question at issue or touch upon the abilities or characters of In a the contestants, often addressing one or both directly. single case (JEq. 303 ff.) the song consists of two strophes and two antistrophes, mesodic tetrameters separating the two parts
of the pericope.
The following
f), is
distich,
with two exceptions (Uq.

is
407
it
f,
Thesm. 531
hortatory.
It
worthy of note that
and begins in fourteen instances out of nineteen with that the epirrhema, following the first distich, in seven cases in
ten begins with kuI
locution only once.
iJbrjv.
aWd
The antepirrhema, however, has this In exceptional cases both distichs may be
addressed to the same debater, as in the Equites (761 f, 841 f), in which the chorus is intensely partisan, and in the Aves (460 f
tion of the Lysistrata
In the antihortais only one debater. (549 f.), Lysistrata and her companions are addressed, as both Chremylus and Blepsidemus in the Plutus In the hortation of the Ranae (905 ) both debaters (487 f). This are warned by Dionysus to mind their manner of speech. is the only hortatory distich not recited by the leader of one of The debate proper, composed of epirrhema the half-choruses.
548
f.),
in wliich there
672
STRUCTURE OF COMEDY
of
317
and pnigos, antepirrhema and antipnigos, does not consist

set speeches
two
delivered without interruption, but

in
is
a dialogue,
which other speakers may take part Both epirrhema and antepirrhema are generally expressed in the same rhythm, anapaestic or iambic,
often
bitter
tone, in
besides the two debaters.
but one
may
be anapaestic, the other iambic.

is
When
the tone
of the debate
contentious and abusive, the lines are iambic.

in Nuh.
The four trimeters
1085-8
are the only exception to
the principle that the epirrhema and antepirrhema are written

solely in tetrameters.
The number
of tetrameters is generally
approximately equal in epirrhema and antepirrhema.

cases
first
it is
exactly the same {Eq.

it
335
ff.,
Av. 462
if
ff.),
In two and in the
of these
is
a multiple of four, as
in imitation of the
epirrhema and antepirrhema of the parabasis. The pnigos is generally a dialogue and differs in this particular from the pnigos
of the
parabasis (668), but with two exceptions {Lys.

f.)
598
fi'..
Ran. 1078
it
also consists of a single hypermeter.
672. The verdict, when it by the second corypheus, but
occurred,
it
was probably delivered might be omitted, as in both
debates
in
the
Nubes, in which
Cf.
debate abandons his case.

first
one of the speakers in each Nub. 1101^ ff., 1437 ff. In the
ff.)
debate in the Equites (457
it
consists of four iambic
ff.) of three, and here no more than a peremptory command to stop wrangling in the second debate in the Equites (941 f.) it is expressed in prose. In the Vespae (725 ff.) it consists of four anapaestic tetrameters and two paired songs and two paired recitative anapaestic periods. The verdict proper is found in the first three tetrameters in the
tetrameters, in the Thesmophoriazusae
(571
it is
verses
that
follow
the
chorus,
now
convinced,
pleads
ff.),
with
Philocleon to yield.
Similarly in the Aves (626
after the
first
chorus
verses
scene.
has
clearly
it
expressed
its
judgment
in
the
two
tetrameters,
begins to think of the future, and the remaining

introduction
to the
constitute an appropriate
following
In the Lysistrata the poet substitutes for the verdict two trimetrical tristichs spoken by the two debaters (608 ff.). The chorus is still divided and a verdict is not possible. The introduction to the debate in this play
(467-70-471-5)
is
noteworthy,
as also the hortatory distich
The
first
(539 f.) prefixed to the second half. debate in the Nubes has an elaborate introduction in
ff.).
anapaestic dimeters (889
Generally a scene (679
ff.)
serves
318
this

purpose.
673
The
close of the debate in the

;
Banae resembles
has not been brought to a satisfactory conclusion {âXeTrov ovv epyov Siaipelv is the judgment of the chorus), and in a monostrophie dyad (Ban.
that of the Lysistrata the discussion
here also
1099
&.)
that
is
substituted for the verdict, the chorus urges its
continuance, but in some other form,

673.
debates.
Two
plays,
the
in
Equites
and
Nîbes,
have
half.
each
two
The debates
the
Thesmophoriazusae, Ecdesiazusae,
and Plutus are not complete, lacking the second

Peace.
Debates
and The theme did not allow set discussion. There is an exposition of the poet's main contention in the Acharnians (347625), but it is veiled, and the effect of its seriousness is counteracted by the intrusion of a laugh-compelling satire (393-488). To discuss in set form, in 425 B.C. in Athens, the folly of the party that insisted on continuing the war with Sparta would have exasperated the public.^ In the spring of 421 B.C., when the poet's Fcaxe was brought out, the question of
peace or war needed no discussion.
a debate but a continuous argument.
there
is
in canonical form are not found at all in the Acharnians
On
the
other hand, the

is
debate sometimes preserves canonical form, but in reality
not
but one debater.
In the Aves, for example, In the epirrhema he endeavours to

antepirrhema he develops his plan
earliest
convince the chorus of birds that sovereignty rightly belongs, not

to
men, but to them

it.
in the
for securing
674.
The parode
of
;
the
Attic
comedy (665) was
probably wholly lyrical

added, in two
lyrical element
subsequently verses in recitative were
extant plays to the

(Eq.
complete exclusion of the

ff.).
242 K, Fax 299

'
This division
is
in
many
irpoiTrj
particulars singular as
'
developed in Aristophanes.
The
parodos in Aristotle's Art of Poetry (1452 b), 17 of Xe^t? oXt] x^P^> whether his own or not and whether intended to apply to comedy or not, certainly does not cover
definition
the parode of Aristophanes."

parode, as
'
Zielinski's definition of the
comic
the verses rendered by the chorus, with accompanying

it first
evolutions and music, from the time

until
1
appears in the isode

fails
it
comes
to
standstill
in
the
orchestra,' also
jiarode
to
See Mazon, Composition, 24 f. 2 See Westphal's discussion of this statement of Aristotle (Prolegmicna, 57
tf.)
of the
with 127), {Metrik^, 236).
of comedy {Gliederung, Gleditsch's restattment
and
Zielinski's elaborate definition
676
comprehend the
the chorus
is
STRUCTURE OF COMEDY
facts.
sets,
319
the chorus, appear
Actors, as well
as
within the limits he
and in two
plays, at least {Nuhes, llanae),
The chorus is an important it is seen. two leaders are actors as well as singers, Its coming is always in the parode it dominates the scene. intimated, and the preparations for its appearance, which may be The parode would purposely delayed, are sometimes elaborate. naturally seem, then, to begin at that point in the play where the chorus either actually appears or its coming is definitely There is always a shift at this point from the stock indicated. Some previous trimeters of the prologue to some other rhythm.
heard before
factor in comedy, its
allusion to the chorus in the trimeters of the prologue prepares
the
way
fl'.;
for the
199 268
to
Eq.
ff.;
225
Av. 198
ff.
;
See Ach. 178 ff., change in all the extant plays. Vesp. 214 Pax 296 ff. Nub. 252 f. f. Thesm. 280 ff. Ban. 312 ff. Ecd. Lys. 247 ff.
; ;
fif.
Plut.
223
ff.
to be the
end at that point in most prominent
The parode would naturally seem also the action where the chorus has ceased
figure
on the scene.
This
is
coincident
with the beginning of a following division of the play of which These limits of the parode the form and use are unmistakable.
are adopted in this book.
675.
the poet
In each instance The parode lacks canonical form. has employed the particular structure that is best
adapted to carry the action forward at this important stage of It is noteworthy that the principle of pairing its development.
of
non-melic
notable a feature of the debate
The lyrical some plays, are generally paired. 676. The parode of the Ranae (316 ff.) is almost wdiolly lyrical, and the lyrical elements are in correspondence as dyads, Non-lyrical parts, rendered by actors, by the triad and octad. first corypheus of the chorus of men as hierophant, and by the
leader of the supplementary chorus of
^
and is so employed in the parode,^ elements, on the contrary, which are abundant in
parts
that
is
seen in the parabasis

is
rarely
women
as daduch, serve
Zielinski
endeavours
to
establish
both
in
'symmetry'
and
'eurhythmy,'
technical sense in which he employs tliose terms, in the parode Not only are (Gliedcrung, 352 ff.). epirrhema and antepirrhema here discoverable, he says, but each has the same nunibei' of verses, and this number
the
is four or a multiple of four. He assumes, of course, exceptions to the application of these principles. Their application to the debate ((?îo?erM?i^, 366 ^.) involves the frequent assumption of pauses equivalent to a whole ti.tramcter. In this investigation, Zielinski proceeds from the parabasis {Glicdei-ung, 349 fi'.).
320
676
See 704. Just when the choruses appeared in the isode in tliis play cannot be certainly determined. It cannot have been before 323, and it is probable that the general introit was delayed till 354, when the hierophant entered
as links to connect the songs.
at
the
head of the
also
great
procession.
lyrical
Compare the
See
704.
similar
situation in the Nuhes.
The
ff.)
elements in the parode of
the
Lysistrata
(254
are
paired.
Compare
with the preceding the simple structure of the first half of the This is separated parode of the Acharnians (204 ff.), AA**.^ from the second half by an intermediate scene, during which The structure of the lyrical element in the chorus is in hiding.
the second half
is
The parode of the Ecdcsiazusae is proodic, AB*B. The members of the chorus have gathered during the prologue,^ and leave the scene in the parodos ^ (285 ff.), *AA. They return in the epiparode (478 ff.), ABB**. The
peculiar.
'
'
first
parode of
ff.), is
the Peace
(299
ff.),
like
that
of
the
Equites
close
(247
non-lyrical, although extremely lively.
At the
of the following syzygy
Hermes
bids the chorus and the super-
numeraries 'come in' (eiaiopra, 427), namely to that part of the orchestra which lay within the wings just in front of the proscenium, and shovel away the stones under which Peace is
buried.
When
parode (553
place,
ff.),
she has been recovered, the chorus, in the second returns with the supernumeraries to its proper
of the play.
down for the remaining business These two parts of the second parode, of which each has the structure and employs the rhythms of the first parode, are separated by a non-antistrophic mesode, so that the The lyrical elements in the parode general scheme is **A**.
and
after a song settles
of the Plutus
(253
ff.)
are pentadic,
*AABBC
the structure
of that of the Ves2}ae
(230
ff) is similar,
**AABBC.
See 716.
In that of the Thesmophoriazusae (295 ff.), on the other hand, In the JVuhes there is no correspondence of lyrical parts, *A*B. the chorus does not appear until long after the parode (263 ff.) Its song, in answer to the invocation Cf. 323 ff. is under way.
of Socrates, has been heard from afar.
this
lyric
The
discourse that follows

its
is
subject.
dyad is very long, but the Clouds are The long anapaestic verses in which it
continuous
written are
singularly appropriate to the character both of the chorus and

1
The
See the editor's Unrecognized Actor, 124
asterisk signifies a non-melic part. * fierd^Tacns Poll. f.
iv.
108.
677
STRUCTURE OF COMEDY
two elderly men.
it,
321
dignity the
of the
With becoming
but
it
chorus
takes but small part in

Strepsiades.
closes the parode in a trio with
The structure of this parode is *A*A**B. The parode of the Aves (227 f.) is an excellent illustration of the poet's skill in devising a form suited to the theme. The Hoopoe convokes the birds in an elaborate monody, but the chorus delays It probably enters in regular formation, its coming till 294. since six birds are named in 297-301, the first file, and six each in 302, 303, 304, but it breaks rank at the isode, and its members run chirping and calling in confusion about the orchestra. Its excitement increases when the Hoopoe repeats his fatal announcement in 320, an attack ensues, and it is long before its hostility can be allayed and the parode brought to a close. The structure of this parode seems to be intricate, but it is
exactly adapted to the situation,
677.
A**B*B**C.
comedy developed named syzygy by
In imitation of the epirrhematic syzygy that closes the
parabasis, a primitive part of the play (665),
a division which has also been appropriately

Zielinski, since it consists of strophe
and antistrophe, epirrhema and antepirrhema, with strophe and antistrophe always separated. But this new division, although its structure is unmistakable, differs from the epirrhematic syzygy that closes the parabasis The strophe and antistrophe of the in important particulars. parabasis are never amoebean, but were sung solely by the
half-choruses.
In the syzygy quite one half of the strophes
and antistrophes are extremely vivacious duos or trios in which the singers were actors and the leaders of the half-choruses. The epirrhema and antepirrhema of the parabasis always consist of trochaic tetrameters, and the number of these is the same in each they always follow strophe aud antistrophe, and they were continuously rendered in recitative respectively by
;
the leaders
of the half-choruses in the syzygy they consist, with a few exceptions which will be considered below, exclusively
;
of
spoken
trimeters
first
which
of
are
not
equal
in
number,
they
ant-
frequently come
antistrophe, in
in order, epirrhema, strophe, antepirrhema,
place
strophe, epirrhema,
antistrophe,
in
of
and they are commonly a dialogue speakers are actors (or an actor) and a leader
epirrhema,
half-choruses, or
actors
alone.
is
which
the
one of the
Occasionally
the
epirrhema or
antepirrhema,
or
both,
monologue
taken
by
an
actor.
322
Syzygies
in
in

four
ff.,
678
parts
of
fif.,
canonical form and
Ach.
ff.
347
489
Pax 819
ff.,
rhythm occur Av. 1118 ff., Ban.
460
Syzygies do not occur iu the Lysistrata, Ecclesiazusae
or Plutus.
may occur. These development of the action and are Thus, in Eq. 611 ff. and Ach. 1000 ff. the generally simple. In Pax situation warrants a brief introduction in trimeters.
678. Deviations from the prescribed form
result
from
the
natural
rhythm (974-1015) breaks the Similarly in Nub. 627 ff. the poet has inserted a burlesque K0f^fM6<i (70722) between the two Twenty epirrhemata or antepirrhemata halves of the syzygy. in a total of thirty-two are composed exclusively in trimeters, but appropriate variations of rhythm may occur, as in Pax 346 ff, iu which each half of the syzygy closes with two hortatory
922
ff.,
a prayer in anapaestic
continuity of the antepirrhema.
trochaic tetrameters, so that the epirrhema and antepirrhema end
each in a compound tristich

of
trimeters
in Aves
801
ff.,
1494
ff,
ff.,
in
which
the epirrhemata consist solely of trimeters, the antepirrhemata
and prose;
and
in
Pax 459
in
which the
antepirrhema ends in four iambic tetrameters and a final Yoheave-ho in the effort, which is successful, to bring the huge In Vesp. 403 ff. the epirrhema statue of Peace from the pit.
and antepirrhema
of tetrameters
is
are
composed
in trochaic tetrameters, in imita-
tion of the corresponding parts in the parabasis, but the
number
and
respectively
thirty-one
and thirty-eight
ff.
they constitute a dialogue.

the epirrhematic
structure
In Vesp. 334
of the
the poet imitates
debate
the
epirrhema
;
and
antepirrhema are written in anapaestic tetrameters the first two of these in each division are recited by a corypheus and are
hortatory
epirrhema even ends in a recitative anapaestic But no question is under discussion and The syzygy in TJies7n. 655 ff is the action advances rapidly. In the preceding scene the sex of unusually elaborate. Mnesiiochus has been revealed and Cleisthenes, as he leaves, bids
;
the
hypermetrical period.
women watch him with care until he lodges information with The women constituting the chorus are greatly and the syzygy there may be other men lurking near excited
the
the prytanes.
is
prefaced by an introduction, as in Ach.

ff.,
1000
if.
and Equites
611
but here
it
is
a Song of Quest opened by recitative
anapaestic tetrameters that have the ring of the commation of a
680
STRUCT UEE OF COMEDY
323
song.
parabasis.
lively
at
dance
accompanies
the
Then the
and
ant-
syzygy begins
667.
In
this
again
epirrhema
epirrhema, written in the main in trimeters, begin each with two

hortatory tetrameters recited respectively by the leaders of the
half-choruses, but the
rhythm
is
now
trochaic.
When,
further-
more, in the epirrhema the

Mnesilochus, feeling
is
women
realize the bold stratagem of
so intense that the
rhythm
shifts
from
trimeters to dochmii and trochaic tetrameters.

679. There are certain divisions of a comedy that serve to mediate the parts between which they occur, special connecting It is historically links that adjust and advance the action. significant that more than half of them thus connect primitive
divisions
(665).
Furthermore, twenty in twenty-six
of
them
occur either before a parabasis or before a debate, primitive parts
They here gather which the action of the play stands still. up the lines of the action and bring it to the point at which it may be readily resumed after the intermission. This continuance of a suspended action is marked in those cases in which the same personages that are actors in the scene that precedes a
in
parabasis reappear in the part that follows
it.
Cf.
Eq.
461
ff.
ff.,
with 611
ff.,
ff.
Fax 657
with 846
Nul. 476 ff. with 627 ff., Vesp. 891 ff. with 1122 with 819 ff., û 638 ff. with 801 ff., Thesm. 765
ff.
with 738 ff. When this connecting division occurs before a debate, it becomes, by its ordering of the action, an appropriate introduction to the following discussion.
ff..
Ban. 605
ff.
Cf Nuh. 1321 ff, ^v. 434 ff, Zt/s. 387 ff., Thesm. 372 ff. Ban. 830 ff., Fed. 520 ff., Plut. 322 The name scene has been
ff.
given to this mediating division.

680.
The stock verse

In
of the scene is the trimeter, as
would
be expected.
is
fifteen cases in
a total of twenty-six the scene
lines
composed exclusively in trimeters, including shorter iambic and anaphonemata. Eecitative verses are introduced in four scenes: Nuh. 476 ff. begins with a hortatory anapaestic
distich;
Fax 428
ff.
begins
with
;
three
trochaic
tetrameters
and ends with a prose formula

'hexameters';
scene
Fax 1039
anapaestic
introduces dactylic
tetrameters.
it.
Av. 638
ff.
three
if
may
include a lyric,
the situation warrants
The Thus
Ach.
242 ff. ends with a monody in iambic rhythm and Thesm. 765 ff. with a short monody in anapaestic rhythm. On Fan. 664-7, in Scene I., see 709. Fan. 830 ff. includes a prayer to
324

fif.
681
two hortatory iambic the Muses in dactylic rhythm, Thesm. 3 V 2 tetrameters and two songs, one in simplified logaoedic, the other in paeonic-trochaic rhythm, Av. 903 ff. the song of the Poet,
dactylic
'
hexameters
is
'
and
prose.
In Vesp. 760
&.
the length of
the mock-trial
triad
for the case
skilfully relieved
and a prayer in recitative and its hearing. 681. The special use of the scene before parabasis and debate Twenty scenes are found somewhere m determines its position.
the
first
by the introduction of a lyric verse between the preparations
half of the play, all preceding the
first
parabasis
the
other six are in
the
second
or
half, into
which they have been

ff.,
attracted by a second parabasis {Eq.
1151
Nuh. 1105
jGf.,
fi'.,
Pax
Ban. 830 by a debate {Nub. 1321 Only two scenes before which they occur. ff.), immediately {Ach. 242 ff., Thesm. 765 ff.), as has been noted, end in a lyric, and in each case this is a non-antistrophic monody. 682. The action of the second half of the play is carried forward mainly in the episode, which is invariably followed by
1039 K,Av. 903
fif.)
a stasimon
that
either
actually occurs or
is
indicated in the
manuscripts.
From
the
point
of view
of structure, therefore,
episode and stasimon properly constitute a single division.
Both The stasimon is never It is often a monostrophic dyad AA (seven non-antistrophic. cases), but it may be a tetrad AAAA {Ach. 836 ff., ^^. 1111 ff., Ran. 814 ff.), a hexad AAAAAA {Eq. 973 ff.), a triad consisting of proode, strophe and antistrophe ABB {Ach. 1143 ff.) or of strophe, mesode and antistrophe ABA {Av. 1313 ff.), a pericope ABAB {Ach. 971 ff., Vesp. 1265 ff.), or it may have still more
names have been adopted from
tragedy.
elaborate
{TJiesm.
structure
947
ff.).
AABCD {Thesm. 1136 A stasimon is missing in
ff.),
ABCCCDDE
the JVuhes and no
stasima occur in the Ecclesiazusae and Plutus, but their places are The stasimon always severally indicated in the manuscripts.
follows the episode, once with an introduction composed of verses
in recitative {Lys.
101442) its parts are never separated from one another by intervening recitative or spoken verses in six; ;
teen cases in eighteen

the
strophe
instances
in
it is
rendered solely by the chorus, as are
and antistrophe of the parabasis, and the two which it is a duo {Eq. 1111 ff., Av. 1313 ff.) Besides these two cases, there are introduce each a single actor. only two others {Eq. 973 ff., Thesm. 1136 ff.) in which an actor
684
actors
STRUCTURE OF COMEDY
remain
during
the
325
of
or
rendering
the
its
stasimon.
importance by leaving the chorus in sole possession of the scene during its performance. The particulars just mentioned differentiate the stasimon from the lyric dyad of the syzygy. This is always a
Aristophanes, like the tragic writers, emphasized
dyad
strophe and antistrophe often precede the epirrhema and

;
antepirrhema
in
they are always separated by intervening verses
in half the instances of their occurrence they are duos or trios
twenty-nine instances in thirty-two an actor or actors are

during their rendering.
present
In three cases (Av. 851
ff.,
1553
ff.,
1694
ff.)
the situation requires that the actors shall

of the episode
leave the scene.

683.
The stock verse

it
is
the trimeter.
In ten
cases in twenty-six
is
composed
solely of trimeters, including
In seven other cases, dochmii (Thesm. 846 ff., 627 ff.), recitative verses (Fq. 997 K, Fax 1191 ff., Lys. 706 ff., 1072 ff.) or prose {Ach. 719 ff.) have been introduced. The episode may include lyric elements, if the situation warrants Thus melic periods have been introduced in Vesp. 1122 ff., it. melic periods and the song of Cinesias in Aves 1335 ff., a nonantistrophic iambo-trochaic monody in Vesp. 1292 ff., a nonantistrophic anapaestic trio in Lys. 829 ff., a dyadic iambic trio in Ach. 860 ff., an extremely lively duo in composite rhythm and a short iambic monody in JVuh. 1131 ff., a parody of a scene from the Andromeda in iambo-trochaic rhythm and the echo-scene in Thesm. 1001 ff., a continuous succession of songs in Ecd. 877 ff.
auaphonemata.
Flict.
Finally, in the celebrated Battle of the Bards in Ran. 1 1 1 9
ff.,
long but closely connected episode, a song in Aeolic rhythm, in
which the chorus expresses eager curiosity

poets' prologues,
lyric in Aeolic
to learn
how
Euripides
will establish his charge against Aeschylus, follows the test of the
and two mock lyrics in dactylic rhythm, a mock rhythm and a burlesque monody are introduced
into the following test of their choral rhythms, the episode ending
with the
trochaic
trial of the scales, introduced by a short lyric in rhythm which expresses great excitement. 684. The prologue is that division of a comedy which
Like the scene it is normally ff.). and the prologues of six extant plays are written exclusively in trimeters, including short iambic lines and anaphonemata. Eecitative verses and non-antistrophic songs by
precedes the parode (674
trimetrical,
326
actors

may
685
be introduced on occasion, but since the chorus has no dyadic lyric, consisting of strophe and Dactylic antistrophe, is found in the prologue of any play.
not yet appeared
'hexameters' occur in the prologue of the Bquites; a melic anapaestic period in that of the Aves two recitative anapaestic periods and a melic dactylic period in that of the Peace; a
;
recitative anapaestic period
and a song chiefly in ionic rhythm in
the Thesmophoriazusae
in the Ranae.
the frog-song in ianibo-trochaic
rhythm
685. In eight of the extant comedies of Aristophanes the exode follows a stasimon, in the other three, JEquites, Nubes, Aves, it follows respectively a second parabasis, a second debate and a The last lines of eight of these exodes were rendered syzygy.
by
tlie
chorus.
chorus, in a ninth, the Lysistrata, by a sujiphimentary It seems likely that the Peace also originally ended
with the singing of the hymeneal strain by half-choruses, so that the rendering of the last strophe was the same as that of the This general choral ending See 584. strophe that preceded it.
of the plays led Dindorf to suggest that lines
had been
lost
at
the close of the Equites, which as transmitted consists simply of recitative anapaestic tetrameters and iambic trimeters.
686. Tt seems probable that these final lines were all melic, but the NuhcH, Thesmophoriazusae and Plutus end each in an anapaestic period that is too brief to furnish sure evidence of this
in its metrical form.
See 292.
The
:
iinal
words, however, of
Zei yap KaToiriv tovtwv the chorus in the Plutus are significant ciBovra^ eTrea-Oat,, although they are sometimes interpreted to
refer to a following
stock
song that has not been preserved.
The remainder
of the exode in each of these three plays is
com-
Trimeters are found also in all the other plays except the lianac, in which the exode begins with a recitative anapaestic period and ends with a non-antistrophic
posed in trimeters.
dactylic period,
and the Peace, in which it consists of recitative anapaestic tetrameters, a recitative anapaestic period, and probably The lyrical close of the a monostrophic octad in Aeolic rhythm.
latter
is
elaborate
in a
Acharnians
Aves
in
and five other plays end similarly: the pseudo-monody, chiefly in iambic rhythm the the Lysistrata in three lyric of seven periods;
;
non-antistrophic
periods in sin)pliHed logaoedic rhythm; the Ecclesiazusae in a hyporcliematic lyric, chiefly in dactylic rhythm,
687
STRUCTUUK OF COMEDY
;
327
in
following recitative trochaic tetrameters
and the Vespae
an
epodic triad in prosodiac rhythm,
followinj,'
a recitative anapaestic
period and recitative anapaestic tetrameters.
Four of the divisions of comedy tliat have been disthe preceding paragraphs have canonical form, the parabasis, the debate, the syzygy, and the episode with following
687.
cussed
in
stasimou.
Eegarded from the point of

fall
vi(!vv
of their
classes, of
use of
rhythms, the divisions of comedy
into
two
which
The one normally excludes the trimeter, the other admits it. former includes the three primitive divisions, parode, debate and
parabasis.
Trimeters never occur
in
the parabasis
in
they are
irregularly admitted into the debate only

LijH.
Nnbcs 1085-8 and
608-13, and into tlie parode only in Thcsni. 331-51, J'Jrcl. 504-13, yli'. 203-6, and Ran. 318-22, 337-9, 414-15(?). Tbe
of
normal elements
recitative verses
these three divisions are melodramatic and

lyric strophes.
and periods and
Four of
tlic
remaining divisions, syzygy, episode with stasimon, scene and Tlie first two consist prologue, all normally include the trimeter. of trimeters and lyric strophes that are arranged iv Siexîa in
trimeters are former and Kara avvix^tav hi the latter (700) the sole normal constituent of the last two, but Aristophanes, as
tlie
;
we have
seen, is not
bouiul by convention, and
tlie
trimetrical
parts of these four
divisions
may admit
recitative
verses
and
periods and lyric strophes.
The prologue and the
trimetrical
parts of the syzygy eschew the infusion of the lyrical element,

llecitait freely, the episode still more freely, and periods are admittinl into any of these trimetrical The remaining division of comedy is the parts on occasion. exode, a happy elective combination, with melic close, of trimeters, recitative verses and periods, and lyric strophes.
the scene admits
tive verses
OHAPTEK
XVII
COMPOSITION OF A COMEDY
688. Ancient metricians distinguish
êvq, of poetic composition.
three
principal
forms,
line,
poem may be
of
written by
Kara
crTt'Xpv,
and then
it
consists
the same verse, o-Tt%o9,
change of rhythm, as the Iliad of composed of more than one form of stichic verse, as a comedy of Menander (Heph. 64. 12 ff.), which combines trimeters and tetrameters, it is said to be /j,iktov Kara Secondly, it may be composed Kara rrepioZov, when it ariôv. An ode consists of great periods, of which the strophe is a type.
indefinitely repeated without
Homer.
If it is
of Pindar exemplifies the periodic form.

of these two, a
Finally, in combination
in or
of
Kara yevo^ when it is written part Kara ari'ôv and in part Kara irepiohov, as a tragedy comedy of the fifth century (Heph. 63. 12 ff.). A comedy
poem
is
[xiKrov
Aristophanes, therefore,
689. The verse of
is
a Trolijfia yevtKM<; fiiKrov.

is
comedy
extraordinarily varied, but
may
under the two divisions named above, as stichic verse, used by line, Kara arlxov, and periodic verse, composed in periods, Kara irepiohov, but the second division trenches upon the first, for songs occasionally occur that are composed in
be broadly
classified,
part of ireploSoL Kara arixov (778), just as conversely there is a class of non-melic periods (710 ff.). 690. The iambic trimeter, the stock verse of the dialogue of
comedy (95
is the principal form employed by line, but ff.), Aristophanes also uses Kara arlxov the iambic tetrameter (167 ff.) and protracted tetrameter (189, cf. Vesp. 248-72), the trochaic tetrameter (244 ff.) and paeonic- trochaic tetrameter (226, cf. Lys.
1014-35), the anapaestic tetrameter (305

rhythm, the heroic
'
ff.)
and, in dactylic
all
hexameter
'
(356
ff.).
These are
forms
328
694
ff.)-
329
in Aeolic
of Ionian verse (603
Once he uses a tetrameter

the Eupolidean (528,
cf.
rhythm (651
ff.)
by
line,
Nuh. 518-62).
691. Periodic verse employs all the cola described in preced-
ing chapters (II.-XII.).

orders
It
combines
freely,
but in prescribed
of arrangement, cola that are in the
same rhythm
or in
different
rhythms and that are of the same length lengtlis, both the full forms and those modified by catalexis, and protraction. Cola thus combined TrepLoSo^;, systematic period (47), from which this
its
or of different
acephalization,
constitute the
form of com-
name. 692. The non-melic stichic verse of comedy is its larger but simpler part. The classification and analysis of its periods, on An orderly the other hand, involve problems of real difficulty.
position takes
and
logical classification of these periods is the first consideration
only on this basis

safely
may
the analysis of the periods themselves be

classification
attempted.
Such a
must conform
to
the
doctrine of Heliodorus, so far as this can be
determined,
and
where
Trepl
this fails
UoiTjfiaTO'?,
must follow which are
in the
brief but valuable.
main Hephaestion's treatises Supplementary

it is
dependence
may
be placed on these with greater confidence, in
the investigation of the periods of comedy, since

practice of Heliodorus.^
now demonand
strated that Hephaestion's doctrine rests on the authority
These sources, unfortunately, are not wholly satisfactory. scholia on Aristophanes (830 ff.) must be our chief authority in dealing with comedy, and they are indeed helpful, but they are too meagre and mutilated to furnish a systematic body of doctrine. Hephaestion's treatises, on the
693.
The Heliodorean metrical
other hand, though brief, cover
all
Greek poetry from Homer
to
it
the citharodic nomes of Timotheus, and where he particularizes

is
evident that he has the lyric poets specially in mind.
His
needs serious modification in application In this book, the periodic parts of the comedies of Aristophanes are grouped and discussed under the following order of arrangement.
classification, therefore,
to comedy.
694. Classification of Systematic Periods

First Class.
1
Periods in antistrophic relation

ff.,
Kara aêaiv.
On
the subject of poetic composition

ff.
see in particular Heliodorus in the older
metrical scholia on Aristophanes (830
and Hephaestion
irepl
IToti^yaaros, 58.
12
Hense's demonstration 62. 15 ff. Untersuchungen, 128 ff.) that Heliodorus is the source of the shorter treatise Trepl Ilot^/naros in Hephaestion is important.
(
;j30
TlIK
I.
VKRSK OF (JRKKK
A - A or
(!()MKI)Y
695
M()ii(isl-i(i|hic,:
A = A = Aor A = A = A = Aetc.
[xM'iods
:
II.
INriropic:
(U.tts^.
I'.
- A
1'..
Sixotul
I.
N'()ii-;uil;islr()i)lii('.
('nrXal.
Molic.
Noii-iiiolic.
Cltfss.
II.
Third
AiiliHliopliic,
:
iiiid
noii-iuilisiropliic
i)cri()(lH
(soin-
hiiic.d
I.
fiiKTai.
lOpclic: AA15.
11.
rroodic: AlUi.
in. McHodio: A! '.A.

695.
'J'lio
word 'iHuiod'
it,
is
hove used in the
first
soiiso
in
whi(di Ilcdiodonis (Miiploys

Lioii
in reroreuce to the largest
comlunu-
of
it
col;!,.
Tins
is
tJie
ayatematic
period (47).
Thus he
applies
to
a.
whole strophe and antistropho in the parabasis of

II'.).
Each of these in said to ho a irepioho'i of nineteen Pax 775-818; of. Schol. Eq. 551 \t and 12G4 The stroi>lie and antistro])lu; of the syzygy in the EquUcs are botli of. Schol. TTtyj/oSot of eight eola (Schol. AV/. Gl 6-23 = 68:3-90
the
react'..
cola (Sehol.
Jck.
1008-17 = 1037-46).
in
Kaeh strophe of the tetras and.

a ireptoBo^: (Schol. Eq.
hexas (701)
the Eqiiites
is
1111-50,
tlie
973-96
also
to
of.
Schol. Ach.
836-59).
lleliodorns applies the term

lirst
songs which laok
antiatrophic correspondents,
division
of the second general class above, as to the inonody of Dicaeopolis in the; /ioharnians (Schol. Ach. 263 If.; cf. Schol.
Pax 512
IT.).
Ilia
conniuMit
on the second stasinion in
the
Acharnmna, thiit each hall' of the irefUKoirri is a period (Schol. Compare also the Ach. 971-99), is particularly instructive.
comment on
1143-73), a
the third slasimon of the Adiarnians (Schol. Ach. triad that consists of three periods, ])ro()de (an
anapaestic hypermeter), strophe, a,nd antistrophe (717). 696. It is to be noted that ire])hae8tion, in his longer treatise,
system,' instead of irepioBoî to employs the term aiKm^jxa, He uses Trt/otoSo? once in the shorter designate a strophe. trcatiae (61. 15 = 68. .".) in the same sense as Ileliodorus.
'
697.
doruB,
Kakovirir
On
()(,
this application of the

tiVf
term
repioSos, signalized
enre
by
Ilolio-
compare Dionysius:
iwiKriKol (rTpoifiijv
:
Kara
(ulm.
irTi'xov,
in
(Dc
ficv
die.
Kara TrefuoSoy, i)i' in Demosth. 1110 K.),

o-iKmy/iaTot /ict/moi'
and Phinudos crT/)()(/n/ Kal tWu' ti' XvfUKoi^ TTou'iiuurLV
ui'Ti<rT/)o</)()S
>/
kuI
e7r<î<S()s
i)ri'
(rr/)(></)i/
amy
irinoTif
Ti.Oc(ii\')^
700
T/)to8os
COMTOSITION OF A
{Rhet.
('()MI';i)\-
331
(Christ's
Gracr.
od.
W;ilz,
v.
510).
Soo
Mclrische
Uberliefemnr/, 138.
698.
Il(ili()(l()tus
iilso
applies
tli(>
Icnii
inptoîn'i,
in
I.Ik^
ordinary
a sint^lo
niiuiiuir, to
the conihiiiiitiou of two or nion*

Thi.s
is
c.ol.i
into
rhythmical whole.
(39,
40).
sec;
the subordiiiiite [xTiod or

as
hyperineter
For
this
usage,
exemplified
in
the
920-39 = 940-5 1, in which the two iambic heptameters 929-81 and 932 I, tMch composed of three cola, and the octameter 94851 are each called he designates each of the six comOn Ack. 12 14 7re/3toSo9.
metrical scholia,
his
analysis of Jch.
IT.
binations
of
trimeter and shorter colon
as
Slieolic
itiid
period,*
and on Uq. 498-506, the anapaestic decameter constituting the commation as two 'periods.'
bination
of such
lesser
lieptamoter
is
It
the
com-
subordinate periods, or of subordinate

tlu;
periods and hypermeters, that ])r-oduces

period.
greater
oi-
sysUwiiatic
On
an intervening stage, the intoniHidiato
[jcriod,
cHtablislied
by
the metrical scholia, soo 728.
699. Tlu! systematic-
])erio(ls of
conuidy
may
bci
classilied,
on
the basis of their collocation with one another and

parts of the phiy, in three;
with other
main divisions
(694).
First Class
ra Kara a'êcnv
irepioSiKu.
700.
The
first
general class comprehends systematic jxu-iods
in antistrophic relation,
Kara
crêo-ip.
The
related parts (strophe,
antistrophc)
ixeva}
may
be juxtaposed, ra Kara avv^êiav durairoBcSois
This relation of parts
found in stasima and sometimes

Ikit the antistrophe
elsewhere, as in
is
Pax 775-90 = 797-818.
generally separated from the strophe, in comedy, by an inter-
vening series of verses in another rhythm to which a second series

corresponds, as in the last half of the parabasis, in the debate
and
says
in .sy/ygies.
:
Thus
Ileliodorus
e'Xêcv
commenting on Pax 939-55

Sie-êia,
/ieA,o<?
o vttovoS)
the;
fjbev
rb avriarpoôv ev
with
reference to
fore,
antistrophe in
102338.
may
be denominated ra iu Sieêia (or
Such p(U'iods, thereKara Sci-xêiav Heph.)
dvraTTohiSofieva.
'
On
their semeiosis see 851.

Hophaestion, but i.s restored {Unlersuchungen, 131).
l)y
Tin: j)hraseology does not happen to occur in Iho Aristophaiiio scholia nor in
Hcnso

332

This
701.
first
I.
701
general class
may
Monostrophic.
f
be divided into two sub-classes, In monostrophica, the song consists
of a single systematic period repeated one or
more
times.
Cf.
fii,a<i
Heph. 66. 21
fMovocnpo^tKa
fiev
ovv
elcrlv
otroaa vtto
If it occurs twice A = A, the common <7Tpo(f)r]<; KarafieTpecTai. form in comedy, the song consists of strophe and antistrophe and
is
called /xovoarpocfîKT}
Svd^.
is
Ct Pax 775-96
kuto,
avve'êLav,
= 797-818,
separated,
in
which
the
arrangement
and the metrical

the the
scholium.
When
strophe
is
and antistrophe are
analysis into cola

antistrophe, except
not repeated in the metrical note on

oversight.
by
Schol. Eq. 6 8 3-9
= 616
it
23): eirerai
rj
avTlarpo(f)o<; t?}? 7rpoa7roSeSofMevr)<;,
and Schol. Paa;

is
385-99
346-60).
rpcd'i,
If the song occurs as
three times
fj,ovocrTpo<f)CKr)
in
Han.
crvve-)(eiav,
it is
A = A = A,
:
and in
TeTpd<i,
a iJiovo(TTpo<^LKr)
398413, arranged Kara If four times, TJiesm. 95968. as in Ach. 83659, on which
;
comment is /xovoaTpoipiKr} TreptoBaiv eâKooXoov Terpd<i Eq. 11111150: fiiXof fjuovocrrpocfuKov dfxoiâlov TreptoBcov reaadpcov; Ran. 81429. Eq. 9736 (see the comment) is a /j,ovo(TTpo^cKr] efa?, A = A = A = A = A = A; Ban. 41639, and perhaps Fax 1329-57 (584), a fMovoaTpo(f)iKr) 6KTd<i. The following single monostrophic dyads occur in Aristothe
phanes
Ach. 204-18 = 219-33, 284275-90 = 298-313, Av. 327-35 = 34351. Syzygy: Ach. 358-65 = 385-92, 489-96 = 566-71, 1008-17 = 1037-46, Eq. 616-23 = 683-90, Nuh. 700-6 = 804-13, Vesp. 334-45 = 365-78, Fax 346-60 = 385-99, 459-72=486-99, 856-67 = 909-21, 939-55 = 1023-38, Av. 851-8 = 895-902, 1188-95 = 1262-8, 1553-64 = 16941705, Thesm. 667-86 = 707-25, Ban. 534-48 = 590-604. Debate: Eq. 756-60 = 836-40, Hub. 949-58 = 1024-33, 1345-50 = 1391-6, Vesp. 526-45 = 631-47, 729-35 = 7439, Av. 451-9 = 539-47, Lys. 476-83 = 541-8, Ban. 895904 = 992-1003. Parabasis Ach. 665-75 = 692-702, Eq. 551-64 = 581-94, 1264-73 = 1290-99, Nub. 563-74 = 595-606, Vesp. 1060-70 = 1091-1101, Fax 1127-39 = 1159-71, Av. 737-52 = 769-84, 1058-71 = 1088-1101, Ban. 674-85 = 706-17. 703. Kara avvkx^Mv Parode Eccl. 289-99 = 300-310.
702. iv Steêta
: Parode
302
= 335-46,
JVub.
706
:
333
Parabasis Pax 775Debate: Ran. 1099-1108 = 1109-18. Stasimon: 96 = 797-818. Episode Ach. 929-39 = 940-51.
:
Nub.
1303-10 = 1311-20, Vesp. 1450-61 = 1462-73, Pax 1305-10 = 1311-15, ylv. 1470-81 = 1482-93, Lys. 781-804 = 805-28, 1043-57 = 1058-71, 1189-1202 = 1203-15, iifart. 1482-90 = 1491-9. 704. Monostrophic dyads may follow one another within
614-25 = 636-47, 658-71 = 682-95, A*A*B*B*/ and in the parode of the same play 256-65 = 271-80, 286This 95 = 296-305, 321-34 = 335-49, *A*A*BB**CC**. Monois a favourite arrangement of lyrical parts in tragedy. strophic dyads, triads, etc. may thus be joined in comedy within 316 = the same main division, as in the parode of the Eanae 317, 323-36 = 340-53, 372-7 = 378-81, 384-8 = 389-93,
:
:
:
the same main division of the comedy, as in the parabasis of the

Lysistrata
398-402 = 403-408 = 409-13, 416-18 = 419-21 = 422-4 = 425-7 = 428-30 = 431-3 = 434-6 = 437-9, 448-53 = 4549,
AA*B*B*CC*DD*EEE*FFrFFrrr*GG.
ff.)
Dyads and
triads
are found also as parts of the groups in the third class described
below (715
705.
II.
Pericopic.
Two
systematic periods that are not
metrically equal are sometimes united in Aristophanes into

larger unit called TrepcKOTrr) dvofioiofjiep'^'i
and two such
irepiKoirai
may
the
manner
stand in antistrophic correspondence {Kara ax^txiv), after Compare the second stasimon of of monostrophica.
the Achaniians:
971-5
calls
+ 976-85 =
a av^vyia
986-9
+ 990-9, AB = AB,
dvofiotofMepi).
:
which Heliodorus
Kara
ireptKoirrjv
Compare
in the
126574 the second stasimon in the Vesfpae 1275-83=<x X x>+1284-91,AB = <A>B, the second syzygy
also
same play 403-14 + 415-29 = 461-70 + 471-87. AB* = AB*, and the first debate in the Equites: 303-13 + 32232 = 382-90 + 397-406, A*B* = A*B*.
:
Second Class
706. In
TreptoBiKa dirXd.
itself.
comedy a systematic period frequently stands by with any Such periods are conveniently grouped in two other period.
It is not in relation of antistrophic equivalence
sub-classes (694).
1
The
asterisk (*) signifies a non-nielic part.

334
707.
to
differ
I.

Melic.
707
The
class.
period,
essentially in kind or constitution

It is
preceding general
antistrophically.
on inspection, is discovered not from those of the always a song, but it is not used
The following
Aristophanes
:
single non-antistrophic melic periods occur in
Ban. 209-68.
Pax 114.-23, Av. 209-22, TJiesm. 101-29, Jûh. 4:57-75, Fax 582-600, ^v. 227Scene: Ach. 263-79, 62, 400-33, Thesm. 312-30, 352-71. Av. 904 ff., Thesm. 433-42, 459-65, 776-84, Ban. 875-84. Syzygy: Nuh. 707-22, Pax 512-19, Thesm. 659-66. Debate:
708. Prologue:
Parode
Av. 628-35, Thesm. 520-30, JSccl. 571-80. 626-7, Uq. 498-506, Nub. 510-17, Vesp.
Parabasis
Ach.
1009-15, Pax 729-33, Av. 676-84. Episode: Nub. 1154-69, 1206-13, Vesp. 1326-40, Av. 1372 ff., Lys. 954-79, Thesm. 1015-55, 1065-97, Pan. 1251-60, 1264-77, 1284-95, 1309-28, 1331-63, 1370-77. Exode: Ach. 1190-1234, Nub. 1510, Lys. 1247-72, 1279-94, 1297-1322, Thesm. 1227-31, Pan. 1528-33, Peel. 1163-81, Plut. 1208-9. Non-antistrophic
periods are found also as parts of the groups in the third class
described below (715
ff.).
709. Detached lyrical strains of only a line or two in extent
that are too small to be designated as strophes are occasionally
found interspersed in the dialogue
of
comedy.
Hephaestion
Cf. Vesp. 1226-7, names these parts aa-rpoâ (69. 7 1232-5, 1238-9, 1241-2, 1245-7, 1248, Av. 310-12, 31416, 1337-39, 1410-12, 1415, Thesm. 700-1, 913-15, Plut. 637, 639-40. " Ran. 6 6 4-7 probably masks an original trimeter " Hoa-eihov Whether the remaining aXo9 iv jBevdeaiv. riXjrjaev Ti<;
fif.).
words
" o? Alyaiov rrpoiva<i
r)
yXavKci'i yu-eSei?," a continuation
of the quotation from Sophocles's Laocoon (see Schol. Pan. 678),
were part of the original text of the play or not

See the editors. 710. II. Non-melic.
is
uncertain.
number
all
of dimeters, varied
The period consists of an indefinite by occasional trimeters or monometers,
in
the same rhythm, anapaestic, iambic, or trochaic.

it
With
rare exceptions
is
hypermetrical.
Its
close is
marked by a
catalectic dimeter, or rarely trimeter, in the

it is
same rhythm, and, if composed of more than one hypermeter, each hypermeter
715
Such a period
In the paired
is
335
ends in the same manner.

'
said to consist of
like
'
cola,
e'l
e^
ofiolcov.
parts
of
comedy two
sometimes correspond to one another, a fact indicated in this hook by the sign ~ but this is not a relation of equivalence, since with one exception, Fax 1156-8-1188-90, such periods are not of the same length and they may be in
irepioSoL
o/ulolov
different rhythms.
Cf. Uq.
82435, anapaestic dimeters -911
UepioSoc i^ o/moloov are found 40, iambic dimeters and trimeter. in nearly all the main divisions of comedy. The following non-melic periods occur in Aristophanes. Those
more subordinate periods or hypermeters marked with a dagger. Prologue: Fax 82-101, 154-72, Thcsm. 711. xA.napaestic 39-62t. Parode: iVi^6. 439-56. Syzygy Vesj). 358-64, Fax 974-1015t. Debate: FJq. 824-35, Nuh. 889-948, 1009-23, Vesp. 621-30-719-24, 736-42-749^-59, Av. 523-38-61125, Zys. 532-38t~598-607t, iiVm. 1078-98t, Uccl. 689-709, Parabasis ^cA. 659Scene: Vesp. 879-84. Flut. 598-618. 64, Eq. 547-50, Vesp. 1051-9, Pa 765-74, î;. 723-36, Thesm. 814-29. Exode: Vesp. 1482-95, Fax 1320-8, Ba7i. 1 500-2 7t. Debate: :Eq. 367-81 Parode Lys. 382-6. 712. Iambic: -441-56, 911-40, iVw6. 1089-1104, 1386-90-1446-51, i?a7i. 971-91. Fq. 284-302, Fax 339-45,571713. Trochaic : Parode 81-651-6, û 387-99. Parabasis: Fax 1156-8-1188-90.
that consist of two or
are
:
714.
the e^
The
6[jL0Lwv,
limitations imposed above on the form and rhythm of with the purpose of securing a clearly formulated
principle of classification, are more definite than Hephaestion's definiThese, unfortunately, See Heph. 59. 18 flF.; 65. 12 ff. tions warrant. are not explicit, but it is generally assumed that the anapaestic hyper-
meter ('system')
is
the type of what he means.
Cf.
Heph. 75. 15
ff.
Third Class
TreptoSiKa fMiKra.
715. The third class (694) of the songs of comedy comprises those that consist of three or more (Heph. 67. 1 ff.) systematic periods, of which at least two were sung to the same melody.
Cf.
Hephaestion's definition of the iroLrjixaTa

:
/jliktu in his
smaller
treatise
fitKTa Se
oaa
rj
fiepo^ fiev
tl
he
TL
diToXeXvfiivov
i^
ofxolcov
Kara aykcnv, p,epo<i In comedy the (60. 9 f.).

ex^t
336

is
it
716
song
not repeated, as in lyric poetry, that
is,
is
not, as a
whole, used Kara (y^kaiv.

sub-classes, epodic, proodic,
yuKra of comedy may be subdivided into three and mesodic. In this sub-class the unpaired period follows 716. Epodic. Cf. a strophe and antistrophe, AAB, /u,eA.o9 eTrcphiKov rptaSiKOv. Epodic structure Vesp. 1518-37, in which the epode is stichic. prevails in Pindar kutcl aykcriv, and is not uncommon in The song is generally a triad, but by easy and natural tragedy.
The
/Ae\77
development the triad, consisting of a pair of antistrophic parts with epode, may become a pentad consisting of two such pairs Cf. Phd. with epode, AABBC, yu-eXo? eTrcoSiKov irevrahiKov. 290-321 and Vesp. 273-333. A heptad of this form occurs The epode may be in Sophocles El. 121-250, AABBCCD. irregularly expanded to two or more periods and assume the form of an anomoeomeric pericope (705), as in Thesm. 1136-59,
AABCD.
717. Proodic.
In this sub-class, the single period introduces

Cf.
the song,
ABB.
:
Ach. 1143-73, and note the

irpowhiKov
irepiohcov
comment
rpcMv.
of
Cf.
Heliodorus
also
/xeXo? tov 'XPpov
The Vesp. 863-90, Ach. 280-346, and IJccl. 478-503. group of monostrophic dyads introduced into the second episode of the Ecclesiazusae (893-975) begins with proode, ABBCC*DD* EEFF. Cf. the form of the first stasimon in TJiesm. 947-1000
in
which two non-antistrophic systematic periods in the form of by a triad, a dyad and a non-antistrophic In Av. 1720-65 a monostrophic dyad period, ABCCCDDE.
a pericope are followed
has pericopic epode as well as proode, ABCCDEF. In this sub-class the single period separates 718. Mesodic.
strophe and antistrophe,
ABA,
p,eXo<;
fMeawScKov rpiaScKov.
Cf.
Av. 1313-34. 719. Hephaestion (67. 16
ff.)
adds two tetradic to the three
normal
triadic
forms just illustrated, the palinodic,
ABBA, and
These combinations of systematic periods do not happen to occur in comedy, but each form of structure is there illustrated in the combination of subordinate periods within The periodic form Both occur in tragedy. the strophe (740 ff.).
the periodic,
is,
ABBC.
of course, a combination of the first
and third
triadic forms
proode, strophe, antistrophe, epode.
CHAPTER
XVIII
ANALYSIS OF SYSTEMATIC PERIODS

720.
recitative
All
systematic periods in comedy are melic except the

flf.
and melodramatic periods enumerated in 710 Unhappily, the music of none of these melic periods has been preserved, and we are reduced, in our attempt to determine the form and relation of the subordinate periods and hypermeters
that constitute a strophe, to a study of their metrical structure.
But
this recourse is not sufficient, for metric is not
adequate to
deal finally with all the problems that
demand
its
solution.
The
original score of these melic periods, with
rhythmical and
musical notation to indicate pauses and the length and pitch of

syllables,
would
alone
suffice,
by plainly revealing the exact
value of syllables, equations and variations in the melody, and
rhythmical
to
close, to
determine the poet's complete intention as

structure.
The determination, and hypermeters of which some of the melic strophes in Aristophanes are composed cannot now claim to be final, some facts remain uncertain. Nevertheless, since the Greek language was quantitative, and since Greek music was in general simple, and the melody in song was subordinate to the words, metrical form is in Greek unusually significant, and with due reservations the analysis of the systematic period may safely be attempted. The structure of most periods can be determined with reasonable certainty.
metrical
form
and periodic
therefore, of the subordinate periods
721. The difficulty of determining the periodology of the strophe without the sure indications furnished by the music is well illustrated In speaking of the in Hephaestion's discussion of the aTroAeAv/xeva. oLTfiijTa he says (69. 16 tf.) that their division is possible, but that the
337
338
poet has left
is
722
It no indications as to what his division of them was. manifest also in the practice of Heliodorus, who generally analyzes the strophe in comedy not into subordinate periods and hypermeters,
cola.
but directly into

722.
three
division of a
The systematic periods that occur within any main comedy are arranged, as we have seen (694), in
they are in antistrophic relation, or they stand
ways:
alone, or they are a combination of these
ment.
two modes of arrangeThe subordinate periods and hypermeters that constitute a This melic systematic period are grouped in the same manner. statement rests first on the direct testimony of the practice of Heliodorus and secondly on internal evidence. 723. The testimony furnished by the practice of Heliodorus in the metrical scholia on Aristophanes is meagre but conclusive.
He
generally analyzes the systematic period directly into cola,
but sometimes, pursuing a middle course, he groups the cola of which the strophe is composed, and then, in designating these groups, he uses precisely the phraseology he employs in grouping
systematic periods.
(86),
Thus in analyzing ^cA. 929-39 = 940-51 two subordinate tricolic periods 929-31 and 932-4, which are metrically equal and were arranged in his edition each in two a-Tuxoh a ixovoarpoj)LKr) Svd<;, as if they were
he
calls the
strophe and antistrophe (701).

7re/otoSo<?
Verses
935-6
constitute a third
and 937-9 a fourth.
See the scholia on Ach. 929,
946, 948.
He
here even introduces the term BnrXr] {8vo StTrXai,
851, 854), which is not normally used within the strophe (850), to indicate the separation of the different metrical groups, just
as he employs
it
in the
commation
actor,
of the Equites (294, see Schol.
Eq.
of the opening hypermeter, from the following subordinate period, which is the real beginning of the complete parabasis. 724. The partially preserved metrical scholia on the amoebean song that closes the Acharnians (599) exhibit the same use The separation of the irepioho'^ which begins of technical terms.
498)
to
mark the separation

a
retiring
addressed to
with 1210 {TaXa<i
iyo) etc.)
from the preceding period
is
indicated
by
1214-25 (1214-15 = 1216-17, 1218-19 = 1220-21, 1222-3 = 1224-5) are

SlttXt).
The three
SuaSe?
of
pairs of periods in
designated
as
Tpel<;.
To
indicate,
then, the
structural
interrelation
these periods (aa, bb, cc), Heliodorus employs
precisely the
phraseology by which normally he indicates
the
728
of

strophes.
339
six
relation
See 701, 704.

calls
Each of these
sub-
ordinate irepiohoi,
725.
irepLKo-TTrj
is dicolic.
Heliodorus
of fourteen cola.
Pax 459-72 = 486-99 (302) a See Schol. Pax 459 ff. He does
not indicate the point or points of division, but probably the grouping is dyadic (459 66, 467 72), and the strophe is
regarded as a
strictly
is
irepLKoirr)
avo/jboiofjLpr)<;
hvahiKrj, phraseology that
appropriate only to a group of unequal
systematic
periods (strophes).
See 705.
726. Heliodorus calls Ach.

as if these subordinate periods
489-96
(468) a rpia^;
/xea-wSiKT],
f.)
(489-91 =494-6, 492
were
that
a mesodic combination of three systematic periods (718). 727. Finally, it has already been noted (695, 698)
Heliodorus uses the term

systematic
that
is,
7re/JtoSo9
in
the two main senses of
period
applies
and
it
of
subordinate
to
period
or
hypermeter,
part of a
he
both
strophe and to a
strophe.
It thus appears (723
ff.)
that Heliodorus regarded the forms
of structure of single systematic periods as the
same
as those of
the combinations of systematic periods found in different

divisions of the play (694).
main
728. His practice, furthermore, establishes
another fact of
period.
great importance, an intermediate stage of grouping between the
subordinate period
or
hypermeter and the

in Ach.
systematic
The systematic period
284302
(452) consists of eight
subordinate periods and hypermeters of respectively 4 5 (3) 4 12 The second half repeats the first. He calls 4 5 4 12 metres.
each half of this strophe

aTpo(f)LK')].
TreptoSo?
and the whole

is
Sva<;
fiovo-
The type
capital
of this strophe, therefore,
(717)
= aa,
the
small
letters
designating the
periods
intermediate
between the subordinate and the systematic periods (46), and Heliodorus, then, made three applications of the term A = abac. It might signify strophe and antistrophe Sva<i /jiovoaTpo(f)tKij. (701), or as in Ach. 1214 ff. (724) two subordinate periods, or, as we have just seen, two equivalent combinations of subordinate And he used the term TrepioSo? to periods with a hypermeter.
indicate the half of each of these combinations.
Ach.
(
204-18 =
fiovo-
21933
<TTpo(^LKr},
(449)
is
called a /ieXo? fiovoarpocjiLKov
= Sua?
A = A).
'
Each systematic period

(
{'rreploho'i),
A, consists
of
two
'
monads
= rrepiohot).
Heliodorus does not state
how
340

cola each
' '
729
many
monad
case
that the change of

or
monad contains, but there can be no doubt rhythm marks the division, and that the first
period a consists
of the four
intermediate
trochaic
tetrameters, the second b of the following paeonic cola.
In this
The phraseology of the scholium on Pa^y 85667 (580) is instructive. The first five cola (856-9) in this systematic period, which constitute two subordinate periods, are
A = AB.
Heliodorus remarks that these two groups may be regarded as arpo^rj and He means, avrta-rpoipo^ and the verses that follow as eVojSo?.
exactly repeated in the following five cola (860-3).
strophe (856-67) are arranged in an epodic group aab, as the systematic periods are generally arranged in Pindar AAB. Since the subject seems to be complicated, although in fact
of course, that the parts of this single
analysis
illustrate
proves
to be simple in practice, it may be well to the method of Heliodorus by analyzing two or three
729.
Pax 856-67 = 909-21

is
(580).
The metrical complex
856-67
three
a systematic period A, and strophe and antistrophe
together constitute a monostrophic dyad
AA.
Each
of
consists of
intermediate
periods
(856-9
:
= 860-3, 864-7
aab.
in
the
strophe),
grouped in epodic form
Each
the
equal
intermediate
periods aa consists of two subordinate periods (856-8, two acephalous Glyconics and an acephalous Pherecratean These two sub859, a diiambic tetrameter = 860-2, 863). ordinate periods are grouped after the manner of a dyadic The remaining intermediate period ab, 6 4 metres. pericope (864-7) is the epode, b, and consists of three catalectic subordinate periods (864, a diiambic tetrameter; 865-6, a diiambic octameter; 867, a diiambic tetrameter), which are grouped after Briefly aba, 4 8 4 metres. the manner of a mesodic period summarized the formula is A = A, A = aab, a = ab, b = aba. 730. The significance for the music of the exact metrical
: : :
correspondence of various parts of such a lyric as this is not to The antistrophe (909-21) has the metrical constitube doubted.
tion of the strophe
and
antistrophe
in
(856-67), and all scholars agree that strophe comedy were sung to the same music,
unless the poet has intentionally varied their constitution (51).
Correspondences within this metrical and musical complex must The air to which the first interhave the same significance.
734
341
mediate period (a: 8569) was sung was repeated in the second
The tune was changed in the final intermediate 8647), but within this period mesodic metrical structure (aba) indicates that its first and last subordinate periods (aa) were sung to the same melody. 731. All these correspondences, whether of strophe and antistrophe or of two intermediate periods or of two subordinate periods, are of the same nature. It must be sharply observed that the metrical agreement of two intermediate or subordinate periods which, it is assumed, had the' same melody, onust be as exact as that between strophe and antistrophe. Musical correspondence of periods in different rhythms, although of the same length, is an impossible assumption,
(a:
860-3).
(b
:
period
732. Hq.
322-32 = 397-406
as
(451):
B=B
(705).
The
inter-
strophe, B, consists of
two intermediate periods (322-7, 328-32),

a dyadic pericope, ab.
which are grouped

mediate period.
A,
The
;
first
consists of three subordinate periods

;
(322-5,
a paeonic octameter
326, a trochaic tetrameter

:
327, a trochaic
tetrameter) grouped as a proodic period
abb, 8 4
4 metres.
The
second intermediate period, B (328-32), consists of three subordinate periods (328-9, a dactylic tetrameter; 330, a trochaic
tetrameter; 3312, a protracted acatalectic diiambic tetrameter),
which are distinguished from one another by their rhythm and therefore cannot have been sung to the same melody, are grouped as a triadic pericope Summary B = B, abc, 4 4 4 metres. B = AB, A = abb, B = abc. The strophe 733. Fax 346-60 = 385-99 (232): A = A. consists of three intermediate periods (346-9, 3507, 358-60) grouped as a triadic pericope, abc. The first, A, consists of three subordinate periods (346, a trochaic tetrameter; 347-8, a paeonic -trochaic hexameter; 349, a trochaic tetrameter), grouped as a mesodic period, aba, 4 6 4. b consists of four subordinate periods (350, a trochaic tetrameter; 351-3, a
:
:
paeonic-trochaic hexameter;
354 5, a
paeonic-trochaic hexameter;
356-7, a trochaic tetrameter) grouped in palinodic (719) form, abba, 4 6 6 4. c consists of a single hypermeter of nine paeonictrochaic metres. A = A, A = abc, a = aba, B = abba, c = a.
Few
734.
strophes in Aristophanes have as complicated structure
as those just analyzed.
Most
of
them are comparatively
simple.
The
close of the intermediate period is generally
marked
342

strong, as in the three odes just analyzed.
735
by a rhetorical pause, indicated in the text by punctuation that

is
commonly
This
of
fact is particularly significant, since neither Aristophanes nor the
Greek poets in general attempted thus

to
mark the
close
735.
The
correct analysis of a strophe depends

its
on the proper
observation of the close of
subordinate periods and hypermeters.
This
close
is
normally
syllable, or hiatus (43),
indicated by catalexis, the variable and no period or hypermeter ends within
a word.
Commonly
not invariably, since certain rhythms
they
may 836-41 (582).
change of rhythm indicates close, but are so concordant that Compare, for example, Ach. be joined within a word.
also*
Here
consists directly of three subordinate
837, 838-41), a diiambic tetrameter, a diiambic tetrameter, and an octameter consisting of three diiambic dimeters and an acephalous Pherecratean, the last diiambic dimeter and The group is arranged the Pherecratean uniting within a word.
periods (836
after the
manner
of an epodic triad
A = aab,
4 4
8.
736. Subordinate periods and hypermeters, then, that constitute a systematic or intermediate period are grouped in the
same manner
various
Examples of the See 722. be simpler, in attempting this analysis, to begin with periods of the mixed class, corresponding See 694 to the TrepcoSiKa fiiKTu of the general classification.
as systematic periods.
follow.
It will
types
and 715
ff.
TRIADIC GROUPS
Epodic Type
or A
= aab.
737. The simplest exemplification of the epodic triad occurs in Ban. 416 ff. (80), a monostrophic octad. The structure of this little iambic strophe is 2 2 3 two catalectic dimeters with an acatalectic trimeter as epode. See von Wilamowitz, Comment, Compare Thesm. metricum, ii. 31, and Leo, Plaut. cant. 63. 94752 (589), 4 4 8: in anapaestic rhythm, two tetrameters with an octameter as epode. Nub. 94958 (551), 4 4 11: in Aeolic rhythm, two tetrameters with a hendecameter as epode.
:
Thesm.
1136-9
(387), 2 2 2: in logaoedic
rhythm, two catalectic

Vesp.
dimeters with
(243),
protracted
dimeter as epode.
4037
4 4 7: in trochaic rhythm, two tetrameters with a hepta-
740

:
3-13
meter as epode. Av. 451-4 (409), 3- 3- 4 in logaoedic rhythm, two brachycatalectic trimeters with a tetrameter as epode. Thesm. 973-6 (589), 2 2 5: in Aeolic rhythm, two diianibic dimeters with a diiambic pentameter as epode. Ban. 898904 (214), 6 6 7: in trochaic rhythm, two hexameters with a heptameter as epode. This is a large class in Aristophanes.
Froodic Type
738. Thus Pax 1329-32
or
= abb.
(584), 6 2 2: in Aeolic rhythm, an
hexameter as proode to two acephalous (467), 7 3 3: a dochmiac heptaEq. 30313 (450), meter as proode to two iambic trimeters. 18 4 4: a paeonic hypermeter of eighteen metres (see 40) as proode to two trochaic tetrameters. Ban. 895-7 (214), 2 3 3:
acephalous
Glyconic
Pherecrateans.
Ach.
358-65
Eq. an anapaestic dimeter as proode to two trochaic trimeters. 322-7 (451), 8 4 4: a paeonic octameter as proode to two
trochaic tetrameters.
Mesodic Type
739.
or A
= aba.
in Aeolic
Thus Pax 864-7

tetrameters
(583),
(580), 4 8 4:
rhythm, two
as
diiambic
with
diiambic
octameter
mesode.
4 4 4: two diiambic tetrameters with an anapaestic tetrameter as mesode. Av. 1313-17 (406), 4 2 4: in simplified logaoedic rhythm, two logaoedic tetrameters with an iambic dimeter as mesode. Pax 346-9 (232), 4 6 4: in paeonictrochaic rhythm, two tetrameters with a hexameter as mesode.
Pax 939-42
TETRADIC GEOUPS
740. Hephaestion (66. 24 ff.) defines the epodic, proodic, and mesodic combinations of systematic periods as groups in which
a-vcrrTjfjbaacv
6/jLOioi<i
:
avofioiov
rt,
eiTKêperai,
fiev
AAB, ABB, ABA,
and continues
'
rov rcov rpcwv apiOfiov ovK av yevoiTO re tolovtov, iirl TrXetov he ovSev avro KcoXvet ylverai, yap wairep rpta^ iirwhiKi], ovto) Koi rerpa^ iKTLV(x6at
StjXovoti
eV eXarrov
Ka\
irevTCL'i
kol
iirl
irXelov.
He
here
uses
the
term
rpia'^
iirwSiKT] in a general sense that includes all three groups.
He
notes two forms of the reTpd<i (67. 16
the 7rei/Ta9 and eâ?.
but does not exemplify The practice of Aristophanes, however, in

ff.),
344
741
and hypermeters within a systematic period, clearly illustrates Hephaestion's meaning when dealing with combinations of systematic periods with one
his combinations of subordinate periods
another.
See 719.
741. Tetradic
and pentadic
combinations
of
subordinate
periods and hypermeters arose by process of accretion.
Tetrads
and pentads were a growth.

accretion
is
Every tetrad reveals one of the
three triadic groups aab, abb, aba, as the underlying form. rather
The
every
a proode or epode, with a strong inclination to epodic
than
is
proodic structure.
Similarly, the
basis
of
pentad
added.
742.
a tetrad
of established
form, with proode or
epode
aab with epode.

consisted
The commonest form Thus arose

not
of
of the epodic tetrad

aahc.
is
the group
tetrad
The epode
period,
of the
one
subordinate
but
of
two,
with
strain.
amplification of the melody
by the addition of a new

:
Thus Ban. 398-402 (82), 3 3 5 3 in iambic rhythm, two and a catalectic pentameter, with the same ephymnium, an acatalectic trimeter, as epode in each of the three strophes. See von Wilamowitz, Comment, metricum ii. 31 and Leo, Plaut. cant. 63. The former would make similar analysis (4 4 6 2) of Ach. 836 ff. (582), ending the ode with the colon Keizianum, as an independent period, notwithstanding hyphenation in 840. Compare also Ran. 814-17 (346), 3 3 3- 2 two dactylic trimeters and a brachycatalectic dactylic trimeter, with
catalectic trimeters
;
:
a catalectic trochaic dimeter as epode.

743.
But the fourth subordinate period

a unit
7 of independent
:
is
often not simply a
clausula, but
proportions.
Thus
Plut.
rhythm, two tetrameters and Av. 147081 (215), a hexameter, with a heptameter as epode. 6 6 4 8: in trochaic rhythm, two hexameters and a tetrameter with an octameter as epode. Ach. 208-18 (449), 6 6 5 8 in
(88),
302-8
4 4 6
in iambic
paeonic
rhythm, two hexameters and a pentameter with an octameter as epode. Lys. 61925 (230), 4 4 4 5: in paeonictrochaic rhythm, two paeonic-trochaic tetrameters and a trochaic
tetrameter with a paeonic-trochaic pentameter as epode.
744. If the last subordinate period reverts to the melody of
the opening period, the type becomes aaba, with simplification of
the melody.
tetrameters
Thus Lys. 614-18 (230), 4 4 6 4 two trochaic and a protracted iambic hexameter with a third
:
' .
748

The rhythm of
345
trochaic tetrameter as epode.
this intermediate
period
is
iambo-trochaic.
we have seeu (740), recognizes tetradic, and even more elaborate forms of Troi^fxara ixikto,, and he records (67. 16 ff.) two tetradic groups, the 'periodic,' ABBC, and the palinodic,' ABBA. These are both represented in the
745. Hephaestion, as
pentadic,
'
grouping of the subordinate periods that constitute a strophe. It is obvious that the form arose by accretion of a periodic
' '
proode to the epodic
triad,
forming
dibbc,
or of an epode to the
is
proodic triad, forming abhc.
In other words, abbe
a pair of
equal periods with both proode and epode.

(581), 5
Thus Mih. 1303-10
4 4 7:
in Aeolic
rhythm, a pentameter, consisting of a
diiambic trimeter and an acephalous Pherecratean, as proode, two
diiambic tetrameters, and a diiambic heptameter as epode.
Thesw rhythm, a diiambic tetrameter as proode, two diiambic dimeters, and a nonameter as epode, consist-
352-60
(560),
4 2 2
in Aeolic
ing of a polyschematist dimeter and trimeter and two Glyconics.

746.
The
last
member
of the
'
periodic
'
group just considered

abba, with
'
may
be identical with the opening

This
is
period, giving
simplification of the melody.
Hephaestion's
palinodic
group.
As
the
name
implies, it closes with the
same musical
which it begins. (Compare the group aaba, 744.) Thus Ach. 489-96 (468), 4 3 3 4: a dochmiac tetrameter as proode, two iambic trimeters, and a second dochmiac tetrameter as epode that repeats the melody of the first period. Ach. 1008-17 (83), 6 4 4 6: in iambic rhythm, a hexameter as proode, two tetrameters and a second hexameter as epode. Pax
strain with
350-7
(232), 4 6 6 4:
])roode,
in paeonic- trochaic
tetrameter as
two
paeonic-trochaic
rhythm, a trochaic hexameters, and a
second trochaic tetrameter as epode.

747.
The
first
member
of the
'
periodic
'
tetrad
may
:
anticipate
the melody of the paired periods that follow and the type then
becomes aaab. Thus Ran. 534-40 (217), 6 6 6 4 in trochaic rhythm, a hexameter as proode that anticipates the melody of the two hexameters that follow, and a tetrameter as epode. The musical effect was that of a monostrophic triad with epode. Compare Pax 114-18 (345), 2 2 2 5 in dactylic rhythm, three dimeters with a pentameter as epode. Ran. 1370-7 (218), 2 2 2 10: in trochaic rhythm, three dimeters with a decameter as epode. 748. A tetradic group arose from the mesodic triad aba by
:
346

in Aeolic
749
accretion of an epode, forming abac.
Thus Av. 676-84 (546), rhythm, two brachycatalectic polyschematist dimeters that enclose a Glyconic hexameter with a Glyconic Ach. 294-302 (452), 4 5 4 12: two octameter as epode. trochaic tetrameters that enclose a paeonic pentameter, with a
2- 6 2- 8
:
paeonic dodecameter as epode.

simplified
Av.
4559
(409), 2-
2-3:
in
logaoedic rhythm, two anapaestic penthemimers that
enclose a logaoedic pentameter, with a logaoedic trimeter as epode.
749. If the last period of this tetrad repeats the
the paired periods, the type
is
abaa.
Thus Vesp. 744 and abba 746.) trochaic rhythm, two tetrameters that enclose a paeonic-trochaic
:
melody of (Compare the groups aaba 338-41 (238), 4 2 4 4 in
dimeter, with a third tetrameter as epode.
triad
second tetradic group arose from the same mesodic Thus Eccl. by accretion of a proode, forming ohcb. 47882 (85), 1 4 5 4 an anapaestic monometer as proode to two iambic tetrameters that enclose an iambic pentameter. an iambic trimeter as proode to Thesm. 679-85 (472), 3 3 4 3 two dochmiac trimeters that enclose an acatalectic trochaic an acephalous iambic tetrameter. Vesp. 733-5 (469), 2 1 4 1 dimeter as proode to two dochmii that enclose an acatalectic
750.
aba,
:
iambic tetrameter.
a heptameter.
Thesm.
114-25
(429), 5
6:
in ionic
rhythm, a pentameter as proode to two hexameters that enclose
PENTADIC GEOUPS
751. Pentads arose
of the
tetrads just
is
example,
(231),
by accretion of an epode or proode to one The epodic pentad abbcd, for Thus Eq. 616-23 the 'periodic' tetrad with epode.
described.
4 4 4 2 8: in paeonic-trochaic rhythm, a periodic tetrad composed of a trochaic tetrameter, two paeonic-trochaic tetrameters and a dimeter, with a trochaic octameter as epode of the
tetrad.
Hq.
1264-73
(493),
5-5555:
a hypercatalectic prosodiac
tetrameter, two enoplic pentameters
and an enoplic pentameter

ecbccd,
of different form, with a prosodiac pentameter as epode.
752. The converse of this
is
the proodic pentad
formed
from the
Thus Thesm. 776-84 (286), 12 4 4 6: in anapaestic rhythm, a monometer as proode to a periodic tetrad composed of a dimeter, two tetrameters, and a hexameter.
'
periodic
'
tetrad
by accretion of a proode.
758
753.

But the proode
(453), 6 8
is
347
sometimes not simply a brief intro-
ductory strain, but a unit of independent proportions.
Thus
Ach.
4 4 9: in paeonic rhythm, a hexameter as proode to an octameter, two tetrameters and a nonameter, Eq. 551-64 (553), 10 6 3 3 8: in Aeolic rhythm, a choriaraboiambic decameter as proode to a choriambo-iambic hexameter, two catalectic lesser Asclepiadeans and a Glyconic octameter. 754. The proode of this pentad may anticipate the first period of the following periodic tetrad, giving the form aabbc,
with simplification of the melody.
665-75
(Compare the tetrad aaab 747.)

8: in iambic rhythm, a hepta-
Thus Ach. 929-39
(86), 7 7 2 2
meter as proode that anticipates the melody of the first period of the following periodic tetrad composed of a heptameter, two
The musical effect to this anticipawas a group that consisted of two monostrophic dyads (aabb) with an epode (c). 755. From this pentad by addition of an ephymnium arises See Av. one of the two hexads found in Aristophanes, aabbcd. 1748-54 (588), 4-4-2-2-22: mainly in dactylic rhythm, a
dimeters and a heptameter.
tion
brachycatalectic
tetrameter
as
proode
to
brachycatalectic
tetrameter, two brachycatalectic dimeters and a dimeter, with a
Pherecratean as epode.
756. The palinodic group also became pentadic by accretion an epode, giving abbac. Thus Lys. 291-5 (370), 4 2 2 4 3: in trochaic rhythm, a palinodic tetrad composed of a tetrameter,
of
two dimeters and a second tetrameter, with a protracted trimeter ephymnium. 757. The final epode may repeat the melody of the first and last periods of the tetrad, giving abbaa. Thus Eq. 75660 (91), 4 4 4 4 4: in iambic rhythm, a palinodic tetrad composed of a tetrameter, two protracted tetrameters and a tetrameter, with a tetrameter as epode that repeats the melody of the first and fourth periods. The musical effect of this repetition was a group that consisted of a proode (a) and two monostrophic dyads (bbaa), of Av. which the second reverted to the melody of the proode. 1058-64 (455), 2 4 4 2 2: in anapaestic rhythm, a paroemiac, two tetrameters and two paroemiacs. 758. A hexad occurs in which the central pair of periods in See Lys. the palinodic group abba is repeated, giving abbbba. 793-804 (242), 822228: two paeonic-trochaic octameters
as
348

797800
forbids the
759
of
enclosing two pairs of trochaic dimeters.

parts in the dialogue in
The evident pairing
division of this
hexad into two intermediate

aab.
periods, proodic, abb,
and epodic,
759.
or
'
The
basis of each of the foregoing pentads is a 'periodic'

'
palinodic
tetrad.
Other tetrads
familiar
also
underlie
pentadic
groups.
Thus from the pentad aabcdi by accretion

2 2
aabc (742) arose the of an epode, as in Ran. 372-7 (301),

tetrad
2-32:
in
anapaestic rhythm, a tetrad
composed of two
paroemiacs, a brachycatalectic dimeter and a catalectic trimeter,
with an acatalectic dimeter as epode. Lys. 1287-94 (408), 4 4 4 2 3: in simplified logaoedic rhythm, two logaoedic tetrameters, a trochaic tetrameter and a catalectic trochaic dimeter, with a
protracted trochaic trimeter as epode.
760.
From
the variant aaba (744) of this tetrad, by accretion
of an epode that repeated its prevailing melody, arose the pentad
aabaa.
Thus Pax 1305-10

final
(87),
4 4 2 4 4: in iambic rhythm,
a tetrad composed of two tetrameters, a dimeter and a tetrameter,
with a
first,
tetrameter as epode that repeats the melody of the
repetition
and fourth periods. The musical effect of this was a group consisting of two equivalent monostrophic dyads (aa, aa) enclosing a mesode (b). 761. The pentad 6acd arose by accretion of an epode to the tetrad abac (748). Thus Ach. 1150-61 (565), 5 4 5 7 6: in Aeolic rhythm, a tetrad composed of a pentameter, a tetrameter, a second pentameter and a diiambic heptameter, with a protracted diiambic hexameter as epode. See von Wilamowitz, Comment,
second,
metricnm,
ii.
31.
ys.
954-79
(287),
9691213:
in anapaestic
rhythm, a nonameter, a hexameter, a second nonameter and a

dodecameter, with a hypermetrical period of thirteen metres as
epode.
tetrad abcb
The pentad ahchd arose by accretion of an epode to the Thus Thesm. 433-42 (414), 2 6 2 6 9: in (750). simplified logaoedic rhythm, a paroemiac and two logaoedic hexa762.
meters that enclose a logaoedic dimeter, with a trochaic nonameter

as epode.
763. The epode of the foregoing pentad might revert to the melody of the first period, giving abcba. Thus Zys. 1279-86 (408), 4 3 2 3 4: in simplified logaoedic rhythm, a tetrad composed of a tetrameter and two trimeters that enclose a dimeter,
768
349
with a second tetrameter as epode that repeats the melody of

the
first period.
764.
The following
to
table
summarizes
:
the
triads,
tetrads,
pentads, and hexads found within the strophe
in
comedy and
shows their relations

aab (737)
one another
f.)
aahc (742
dJybc
\^
aahcd (759)
aaba (744)
aabaa (760)
ahhcdi
abb (738)
ahhc
(745)
(751)
f.)
^hccd (752
abba (746)
aaab (747)
aba (739)
abac (748)
aabbc (754) aabbcd (755) abbac (756) abbbba (758) abbaa (757)
a&acd (761)
ahcb& (762)
abaa (749) ^hch (750)
abcba (763)
765.
class
(736
These are the structural forms in which, in the mixed subordinate periods and hypermeters that ff.), the
a
in
constitute
systematic
or
intermediate
period
appear to be
of
arranged
periods
Aristophanes.
In
each
combination, identity
metrical structure indicates that at least two of the subordinate

or
hypermeters were sung to the same melody with
effect of simplifying the
whole was sung.

aaba, abba, etc.
melody to which the larger period as a The variants of the normal types, such as (indented in the table), are due to the same
disposition to simplify musical expression.
766. Other forms of strophic structure occur than those of
the mixed type.
These, like the preceding, are direct imitations
of corresponding groupings of systematic periods.
Examples
of
the different types follow.
Monostrophic Type
767.
or
= aa
or aaa.
The grouping
of the subordinate periods in an inter-
mediate period
(aa) Ecd.
may be that of a monostrophic dyad (701). Thus 293-5 (578), 6 6 in Aeolic rhythm, two acephalous
:
Glyconic hexameters in correspondence. intermediate period in Eccl. 296-9.

768.
In one instance in Aristophanes the grouping of the
350
769
subordinate periods of a systematic period is that of a monoThe three subordinate periods are all equal strophic triad (701).
Nub. 1345-50 (576), 5 5 5 in Aeolic rhythm, a triad in which each subordinate period consists of a diiambic trimeter and an acephalous Pherecratean. In the last period these are
(aaa).
:
connected within a word.
Pericopic Type
or
= ab,
period
abc, etc.
769.
in
The grouping
or
of subordinate periods
is
and hypermeters
often
systematic
intermediate
that
of
Both the dyadic, ab, and triadic, abc, forms are common, and tetrads, abed, and even pentads, There was no repetition of any part of the melody abcde, occur.
irepiKoirr]
dvo/juoiofiepri^ (705).
in
these
periods.
On
the
significance
of
this
fact,
see
777.
Musically these are the most elaborate periods in Aristophanes. 770. Thus, in illustration of pericopic dyads, Av. 851-8
(93),
116: in iambic rhythm, hendecameter and hexameter. Vesp. 1326-31 See von Wilamowitz, Comment, metricum, ii. 31. Uq. in trochaic rhythm, pentameter and hexameter. (371), 5 6
:
rhythm, decameter and 4 6 in prosodiac rhythm, Uq. 1111-20 (571), 8 12: in Aeolic tetrameter and hexameter. Uccl. rhythm, acephalous Glyconic octameter and dodecameter. 952-3 (415), 2 4: in trochaic rhythm, protracted dimeter and
498-506
(294),
10 7:
in
anapaestic
(494),
heptameter.
Vesp.
1518-22
tetrameter.
in free ionic rhythm, Thesm. 101-6 (429), 8 6 Pax 856-9 (580), 6 4 in Aeolic octameter and hexameter. rhythm, acephalous Glyconic hexameter and diiambic tetrameter. 771. The subordinate periods and hypermeters grouped in a
: :
systematic or intermediate period

triad,
often
constitute a
pericopic
Thus Mtb. 510-17 (561), 3 4 8: anapaestic triVesp. 1335-41 (371), meter, Aeolic tetrameter and octameter. 2 6 6: iambic dimeter and hexameter and trochaic hexameter. Vesp. 1450-61 (548), 4 6 14: in Aeolic rhythm, tetrameter,
abc.
(222), 2
Thesm. 520-30 hexameter and hypermeter of fourteen metres. 14 9: anapaestic dimeter, trochaic hypermeter of fourteen Av. 1065-71 (455), 8 4 7: metres, and trochaic nonameter.
paeonic octameter, anapaestic tetrameter and paeonic heptameter. Uccl. 289-92 (578), 4 8 4: iambic tetrameter, and acephalous
Glyconic octameter and tetrameter.
Vesp.
278-80
(499),
4-62:
773
ANALYSIS OF SYSTEMATIC PEEIODS
351
hypercatalectic prosodiac trimeter, enoplic hexameter and ionic
dimeter.
772.
The subordinate periods and hypermeters grouped

or
in a
systematic
intermediate
period often
constitute
pericopic
is
tetrad, abed, or
even pentad, abcde.

dodecameter, trochaic
No
part of the melody

:
repeated.
Thus Pax 1127-39

(558), 6 7 5 8:
(454),
8 12 6 2
iambic octa-
meter,
hexameter and dimeter. choriambo-iambic hexameter and heptameter, simplified logaoedic pentameter, and an octameter
Nub.
paeonic
563-74
composed of a polyschematist tetrameter and a Priapean. Ban. 1099-1108 (236), 4 8 6 10: in trochaic rhythm, tetrameter, octameter, hexameter, and decameter. Thesm. 126-9
(429), 2 3 2 2: dactylic dimeter
trimeter, catalectic iambic Av. 1720-5 (588), 3 2 3 4: trochaic trimeter, iambic dimeter, iambic trimeter, and Aeolic
and
dimeter and acephalous Glyconic.

tetrameter.
dimeter, prosodiac heptameter and enoplic pentameter.

occur.
4 2 7 5: enoplic tetrameter and Pentads Thus Lys. 321-34 (563), 7-84510: in Aeolic rhythm,
(497),
Pax 775-84
brachycatalectic
heptameter, octameter,
tetrameter, pentameter,
:
in trochaic rhythm, hexameter, tetrameter, octameter, pentameter, and hexameter, with return in the last period to the melody of the first period (abcda).
decameter.
Vesp.
1265-74
(457), 6
8 5 6
Indivisible Periods
or
= a.
all
773.
systematic or intermediate period sometimes lacks
indications of division into subordinate periods or hypermeters,

its
cola being continuously connected
973-6
tean,
by synaphea. Thus Eq. (544) consists of three Glyconic dimeters and a Pherecraof five iambic dimeters.
and Ran. 384-8 (89)

each
or
is
Only the
by
hiatus.
last colon in
is catalectic,
and no colon ends
in a variable
syllable
separated
from the following
colon
Compare
dimeters,
also Ecd.
893-9
trimeter,
(220): a trochaic hypermeter of five and a dimeter. Av. 1188-95 (465):

Vesp.
a dochmiac systematic period of four dimeters.
863-7
an anapaestic hypermeter of three dimeters, a monometer and a paroemiac. Av. 209-22 (285): an anapaestic hypermeter of twelve dimeters, a monometer and a paroemiac. Nuh. 1206(300)
:
13
(92)
an
iambic
hypermeter of seventeen
metres.
Pax
358-60
(232): a paeonic-trochaic nonameter.
352

Periods with Refrain.
774
774. In a few odes in Aristophanes the regular structure is broken by a short clause that seems to have been merely a refrain, repeating the melody of the last colon of the preceding For example, in Lys. 781-804 (242), a subordinate period.
song in popular form that

verses
is
in
many
particulars
instructive,
The rhythm is paeonic-trochaic. A hexameter (781-3) is followed by a nonameter (784-8) that ends with the strain rot? opeaiv -, a dimeter of unique metrical form that (oKei, -wv.-v^|-
781-92,
A,
seem
to
be grouped as abc, 6
9+4,
It seems in the three cola that follow. probable that these three cola were sung to the melody of the The third period (792), a tetrameter, ends preceding clausula. Thus also in Ban. 1251-60 (545), the with the same strain.
is
exactly
repeated
two Glyconic hexameters followed cola that follow (1259, 1260), both Pherecrateans, may have been, in the music, no more Vesp. than a refrain of the strain that ended the third period.
type seems to be aab, 6 6 4 by a Glyconic tetrameter.
,
The two
526-37
6 4
(566), an intermediate period,

,
is
apparently palinodic
+ two Aeolic hexameters enclosing two diiambic tetrameters, followed by three cola (535, 536, 537) that repeat
4 6
Av. 1731-6 (588), the final colon of the preceding period. abb, 8 2 2+: acephalous Glyconic octameter followed by two Pherecrateans, with words and melody of the last repeated in the
following final colon.
775.
tions
In the foregoing analyses (737

the
close
ff.),
the normal indica-
of
of the
subordinate period and hypermeter,
catalexis, variable syllable, hiatus (43), are strictly regarded.
No
subordinate period or hypermeter has been assumed whose close was not marked by one of these or by a change of rhythm. But while the variable syllable and hiatus, since they are not allowed
period has reached
within a subordinate period or hypermeter, clearly denote that the its close, and are therefore never to be ignored,
nevertheless a combination of cola that constitute a true period may lack both these indicia (44). This fact is established by the
correspondence of acatalectic subordinate periods in strophe and antistrophe of which one ends with variable syllable or hiatus Thus we should connect Nub. 1313-14 but the other does not.
(581) with the following dimeters,
if
the variable vowel in which
776
353
the corresponding period of the strophe ends
(13056) did not
show that each

verse,
in
particular,
illustrations
;
hexameters 30^, pentameters (449). and 815^' = 819 = 823
Paeonic an acatalectic iambic tetrameter. which avoids catalexis (437), abounds in Cf. Ach. 208-10 = 223-5^ of this principle. 211-13^' = 226-8, hexameters 214-15 = 229is
;
Cf. also
Ban.
814^=818 = 822 = 826
275^=2S2''-3^ euoplic tetrameters 1737-40 (588), acephalous Glyconic

hypermeter
827, dactylic trimeters (346); Ves2J. (499); Av. 1731-4^ =

octameters.
It follows, of
course, that all indications of the close of a subordinate period or
may
be lacking in both strophe and antistrophe in a
particular instance.
In
Uccl.
938-41 = 942-5
cola,
(567) Aristophanes
has imitated a popular form of scolium.
and the stanza

all indications of
consists
of four
The rhythm is Aeolic two Phalaeceans, and a

and fourth cola
dimeter and a trimeter.
The
third colon in Aristophanes lacks
periodic close, so that the third
seem
to constitute a pentameter,
but in other occurrences of this
strophe the third colon ends with variable syllable, as in Ath. xv.
694
e,
and there
is
period and the strophe

in Aristophanes, aabc.
no doubt that each colon is a subordinate is a tetrad of the form that is commonest
here
that
776. It
is
just
metre
fails
to
furnish
complete
See 720.
evidence as to the periodic structure of the strophe.
subordinate period or hypermeter

the last
syllable
is
may end
in an acatalectic
colon of which
variable vowel.
not marked by hiatus or

repeated again and
This
does
not often happen in lyric poetry

is
such as Pindar's, in whose odes the strophe

to
again, but in Aristophanes correspondence is generally confined
two strophes (strophe and
antistrophe),
non-antistrophic.
It is therefore possible that
and many songs are some combinations
of cola entered in this book as single subordinate periods or hypermeters may really have been two or more periods, each with its proper musical cadence. But a period that lacks the
customary indicia of close should be sharply inspected

acceptance.
before
period thus theoretically constituted must rigidly

it
conform to two requirements,

part must be of normal type.
antistrophic period
must be an established form

it is
of
verse and the systematic or intermediate period of which
In PhU. 316
ff.
(88), the
non-
(31621)
a
is
apparently a pericopic dyad, ab,

triad, ab'a,
4 12, but
it
may have been
mesodic
4 8
4, consist-
2 a
364
777
ing of two iambic tetrameters enclosing an acatalectic octameter. In Ecd. 483 ff. (85), the first intermediate period of the strophe
(483-8) is apparently a pericopic triad, abc, 4 6 10, but it may have been a palinodic tetrad, abb'a, 4 6 6 4, consisting of two In Ran. 875 ff. iambic tetrameters enclosing two hexameters.
(347), the non-antistrophic period is apparently a pericopic pentad, abcde, 5 6 2 4 4, but it may consist of two intermediate periods
AB
(875-8,
879-84),
with
a a proodic
triad,
ab'b,
5 3 3,
consisting of a dactylic pentameter as proode to two trimeters, and In Ach. 971 ff. (456), the first strophe B a pericopic triad, abc.
(971-5) of the pericope is apparently a pericopic .dyad, ab, 10 6, but it may have been an epodic triad, aa'b, 5 5 6, consisting of two pentameters in correspondence with one another with a In Lys. 286 ff. (370), the first five cola hexameter as epode.
(286-90) apparently
meter, but they
constitute a single hendecametrical hyperas a mesodic triad a'b'a,
may have been sung
two syncopated iambic tetrameters enclosing In Nub. 457 ff. (500), the prosodiac and enoplic a trimeter. intermediate period b (461-75) is apparently a pericopic dyad ab, 7- 18, but it may have been a periodic tetrad, abVc, 7-7 7 4, consisting of a hypercatalectic prosodiac hexameter as proode, two enoplic heptameters, and an enoplic tetrameter as epode. In all these cases, the music would instantly have revealed whether Some of them seem or not the assumed correspondences existed. probable, but it is obvious that the process by which they are now determined is arbitrary. Examples might be multiplied. 777. It should be observed that the melody of a strophe
4 3
4, consisting of
was
simplified precisely as the
number
of its subordinate periods
Many of the songs that were in correspondence was increased. in Aristophanes are simple, but it is inherently improbable that
all of
therefore, in
them were of this type. The pericopic form of structure, which the pericopic period was sung to a melody Such a melody was specially without recurrences, was normal.
to
adapted
situations
that
were
lively
or
unusual
and
to
It is sentiments that were spirited or elevated or vehement. from this point of view that the melic hypermeter, which is of
frequent occurrence in Aristophanes and is composed in nearly It is a normal and useful form. all rhythms, is to be regarded. Compare the trochaic hypermeter in Ecd. 893-9 (220), the
anapaestic in Nul.
711-22
(289), the dactylic in Nub.
276-86
778

oOo-ll
(450)/ the ionic in Ran.
355
(344), the paeonic in Eq.
326-
36
tion
(427), the choriambic in Vesp.
1455-61
(548).
The assump-
is justifiable that the melody of hypermeters such as these was continuously sustained without recurrences from the beginning
to the close.
Stichic Period melic period remains to be considered which 778. resembles the hypermeter in form, but in reality is far removed from it. This is the period in which periodic verse trenches
upon
all
stichic (689).
trochaic or anapaestic
forms of recitative
Ach.
Groups of tetrameters, namely, in iambic, rhythm and of trimeters in dactylic rhythm, verse in familiar use in comedy, sometimes
Of.
occur as melic systematic or intermediate periods.
Ecd.
92
(85),
204-7
(449),
Pax 729-33
Of.
(295), Ran.
4891528-33
tetra-
(348).
Groups
of paeonic-trochaic, paeonic
and prosodiac
(243),
meters are similarly used.

(457),
Vesp.
415-29
1275-83
1528-37
(494).
Each
stitutes a subordinate period.
of the 'verses' thus used conThose in iambic, trochaic, anapaestic,

all
paeonic-trochaic,
and prosodiac rhythm are

Plut.
catalectic,
except
which the fourth tetrameter is acatalectic, but is separated from the fifth by hiatus. Different rhythms may be combined in the same group as in Pax 729-33 (295) anapaestic and trochaic, in Ach. 976-85 (456) paeonic and trochaic. These groups were often rendered by the leaders of the half-choruses or by actors or by both. It is now
(88),
in the group found in
290-5
in
impossible to determine
how
the subordinate periods,
all of
the
same length, in any stichic period were grouped in the melody. The extreme assumptions, on the one hand that the subordinate periods in any given period were all sung to the same air (e.g. aaaaa), on the other that the melody to which they were sung was without recurrences (e.g. abode), are both unlikely. Within these extremes a great variety of combinations was possible.
* Compare the long paeonic hyjtermeters in the Delphian Hymns to Apollo, published by Weil, with the accompanying music by Theodore Reinach, in
Bulletin
xvii.
dc
correspondancc
hdUnique
569 li"., 584 fl". (note (1893), particularly 593 ff.), and xviii. (1894), 345 tf. (note 348), 363 H'., with PI. xix.
CHAPTER XIX
VARIOUS MATTERS
Catalexis
EosSBACH and Westphal hold that the catalectic metres and anapaestic cola are protracted, and that the protraction these rhythms suffer affects the long syllable that precedes the omitted primary time or times. The rhythmical
779.
of iambic
value (31), for example, of such a catalectic iambic trimeter as wi v^-^- v^ is ^ - ^ - wi (3), not
w--v>-t-
^ - ^ -
A.
See 33.
They assume,
is
therefore,
that the catalectic metre in such a colon as this

identical with the protracted metre that precedes,
differentiate
rhythmically
and they thus
iambic and anapaestic from
all
other rhythms, in
which they rightly hold that a

Their theory of iambic and
to establish
catalectic colon is followed

is
by
so
a pause, while the corresponding acatalectic colon
complete.
anapaestic
catalexis
has been
generally accepted that the evidence by which they endeavour

it
demands
consideration.^
first,
780.
It is to be observed,
that their general theory of
protraction
in iambic verse
is
disproved by evidence that has

last edition of
their
1
been made available since the publication of the Theorie der musischen Kilnste. They hold
See
{Spec.
Metrik^,
Rossbach and "Westphal, Rhythmik^, 177 f., Allg. Metrik^, 173 ff., 272 ff., Rossbach first Spec. Mdrii?, 7 f., 179. proposed the doctrine in RhyihmiB, 85 fif., but he places dependence on the evidence supposed to be furnished by the Hymns to Helios and Nemesis much less
confidently in the first presentation of his theory than in subsequent editions.
Rhythmik^, 88. See also Allg. Metrik\ 471 ff. Spec. Metrik\ 7 f., 137 ff. The doctrine is maintained by Westphal in the second edition of their Metrik. See Allg. MeiriJc^, 155 ff., S2)ec. Metrik'^, 329 f., 445, and note the concession on p. 330. The tone of the statement in the third edition is dogmatic.
356
781
in
CATALEXIS
such an iambic colon
357
179) that
')(p6vo<;
asv^-v^-
.-^-
the
Kev6<i (31) is
taken up not by the following, but by the
preceding long syllable, so that the colon cited becomes by protrac-^^ _ ^ _ ), But in the fragment of tion ^y-vî
^-(^-^
i.
Aristoxenus's Principles of Rhythm recovered in Oxyrhynchus, five cola are quoted and rhythmized as follows (Grenfell and
Hunt, Oxyr. Papyri,

'ivda
Syj
15):
u.
t_
TTOiKiXwv dvOeoiv
afi/3poTOi Aei/iaKS
^ ^
i_v^
u.
v^
l_v^
w
v^
/3advcrKiov irap' aAcros af^poirapOevovs
w
i_
^
v^
w
l_
fiuwras x^/ôus
dyKaAats 8e\ovTai
^ ^
Aristoxenus's
illustrated
'
foot
'
is
here the diiambic metre.

the
He
has just
the use
of
protracted ditrochaic metre
v^ i-
and in introducing the quoted hypermeter notes that, in the protracted diiamb u. v^ -, the triseme syllable, rj irepiexovaa ^vXKa^rj} is placed in a position the reverse of that which it has in the protracted ditrochee. His comment on the hypermeter is as follows iv tovtw yap oc re Trivre irpoirot, 7r6SecTTe TTjv ixev
Trpoyrrjv
^vWajSriv iv rw
rco
iXa'^lcrro),
fiyl(TT(p %/3o'z/&)
KeladaL,
iv
rco
rrjv
he
Sevrepav
iv
rrjv
Be
,
rpiTrjv
- ^ - therefore, is to be The diiambic colon v^ - v^ i- v^ rhythmized thus v^ - ^ not thus ^ - ^ v^ The facts adduced completely invalidate Westphal's attempt {Rhythmik^, 128) to establish v^ - v^ i- as a j(p6vo^ tt]^ pvOp-oirouaf; iSlo^ of greater compass than the ^(^povo^; 7ro8cK6<i, and
/x(T(p.
:
, :
i
nullify wliatever support this doctrine
may
be supposed to give
to his theory of iambic catalexis (Ally. Metrik^, 2
74
-.
f.).
781.
The form
is
of the protracted iambic metre
that occurs
most
frequently
that
is
just
discussed,
v^
A
this,
second
but rarer form (73)
^ -
-.
We
should expect
i-
under
the operation of the principle manifest in

,
^ -, to be rhythmized as vy - I- but Eossbach and Westphal hold, as already This conclusion is disproved by stated, that it becomes v^ an inscription from Asia Minor published by Sir William Eamsay
i
in the Bulletin de correspondance helUnique in 1883, but not fully

'
See Weil, Etudes de rhythmique,
'JOO
tF.
358
interpreted
of the
first
till

1891.^
This
is
781
the work of a certain Seikelos,

era,
century of the Christian

acatalectic
and consists of a
musical setting,
protracted
iambic
octameter, with
marks
of the
to indicate the rhythmization,

metres.
and
crTty/iat
on the theses
so
The
inscription
is
well
preserved, but has

to a
much
detail that scholars are not agreed as
few readings.
indicate the
I give the transcription
of
M. Eeinach, but do not

staff,
position of the notes on the
in order not to distract attention
from the metrical and rhythmical facts revealed by the song. Short syllables, here indicated by the eighth note, are not marked
in the inscription
;
long syllables,
if
not completely resolved into

_i
shorts in the music, have either
or
(the equivalent of
i-
).
mm
783
CATALEXIS
.
359
- here becomes v^ 'or ^^ - w-"The protracted metre ^ In each case the ')(p6vo<; Kev6<i is part or singularly ^ - ^xr^The inscription nowhere indicates that of the second simple foot. it is possible to rhythmize this metre as ^ -J -. 782. Eossbach and Westphal support their statement (779) that catalectic cola in iambic and anapaestic rhythm close and ^ ^ ^ - almost solely respectively with the metres
.
v.^
'
is found in the musical score and Nemesis, which were republished by They cite this Bellermann, with extraordinary care, in 1840.^ These hymns, composed in the second evidence repeatedly.
by the evidence that they believe

of the
Hymns
to Helios
century of the Christian
era, consist of
dimeters in ascending rhythm, with musical setting
simply constituted logaoedic The fundaas follows

:
mental values of
syllables, revealed
by the \ef k, are

2
KvavwTTi 6ea dvyarep AtKas

aKTii'tt
Nem.
^^
iroXva-rpoffiOV
d/i7rAeKWi' Hel.
12
)(îovo(3X<f)dpov TTOiTep 'Aoi^s Hel. 7
ûyov
fie.Ta
X^^P^ Kparovaa Nem. 13

,
^^ s^ ^ ^^ >^ w .^ ~^ ^^ ^ ^^ ^^^ ^^
;
the second or ^ The first simple foot may be -. the fourth in the acatalectic and third are invariably >^ the catalectic dimeter is the logaoedic paroemiac. dimeter is ^ With the last colon quoted, compare the famous dimeter of
;
;
Archilochus, 'Epaa/jiovlBr] XaplXae.

783.
The music, while maintaining, of

by the words
of the
course,
fundamental
to
metrical values, admits variations of form

indicated
additional
those
Hymns.
These variations are
simple and consist in attaching two tones to a single long syllable.
As we have already seen (390 f.), scholars are not agreed as to the manner in which isomeric anapaests and diplasic iambs were combined in logaoedic verse, but we may here assume, in
in
order to illustrate the melodic values of syllables in the Hymns modern musical notation, that the simple feet in logaoedic
verse were diplasic and that the

anapaest,
^--
- and
was, in
as
iamb was sung as ^J, and the J^^J and J^ J, although the last
two values are too exactly

variant metres
1
stated, since the equalization of slightly
all
Greek rhythms, only approximate.

thumes, 327 ff. Bergk, Lynci !.* xiii. f. Gevaert, Histoire, i. 132 ff., 144 ff., 374 ff., von Jan, 445 ft"., and Mdopee, 39 ft'. Musici, 460 ff., and Supplem. 40 ff.
; ;
Bellermann, Hymnen, with account See of previous publications on p. 20 ff. a\ao\W'^t\A\9.\,Rhythmik%(,ndHarm(mik-, Supplem. 57 ft'., and Mtisik d. gr. Alter-

360

in
784
this
(Compare the remarks on the trochaic metre

assumption, the acatalectic colon of the
228.)
On
Hymns,
on the basis of syllables will be either J'JJ^^FJ ^J^JJ'J in dodecaseme time. tion from this in the music to which the
follows
Trepi
:
;^-^- ^ - ^ ^^J ^^J ^^J SJ

The simplest
^^
variais
Hymns
'SJ*S
form,
are set
as
vwTov aTretpirov ovpavov
'
i
Eel. 11
The
third
anapaest
has
proceleusmatic
as
and
the
first
syllable of ovpavov
was sung
^^'f>J
ov-ov,^ with variation of tones
on the whole word

10,
784. In six apparently catalectic cola
{Ilel.
8, 9,
21, Nem.
3,
13) of the thirty-nine set to music in these Hymns, the sign A occurs between the last two notes of the musical score Five of these six cola that is set over the words of the colon.
have four notes, with a

TTTavots VTT
over the second metre.
Thus
I'xvecrcrt
8uoKiS Hel. 9 (Cod. N)
The sign a ordinarily signifies a pause of a primary time (33), but in each of the six instances of its occurrence in these Hymns
it
stands over a dissyllabic or trisyllabic word and cannot there-
fore signify
an actual pause, which was not permitted in Greek
within a word, but must indicate protraction, precisely as
we
meet apparently
catalectic
dimeters
first
in
Aristophanes that are
nevertheless complete, as in the
dimeter of the following
melic trochaic tetrameter

XP'qo-i/JLOV
fxkv
Oi'Sev,
aXXws
T SetAov Kol fieya
{Av.
1476
f., cf.
1559
f.,
1695
f.)
The
syllable in a musical score that did not
would be the only means of indicating a protracted employ signs of quantity.

In one instance of the
six, five
(See the inscription of Seikelos.)

notes, with
stand over the apparently catalectic metre

Se irdpoiOe
ykavKa
Se
Aa
va Hel. 21 (Cod. N)
^ Compare the Hymns to Apollo, in paeonic rhythm, found at Delphi (von Jan, Supplem. 8 ff.)- For example, in the first Hymn, the text of the third line of the second fragment of the inscription
de cor. hell, xvii., 1893, plate xxi. bis) reads ipiPp6iJ.ovov (for ipi^p6/j.ov)
{Bidl.
ddyarpes evwXevoi, a device often met elsewhere in these Delphian Hymns,
786
first
CATALEXIS
syllable of the first metre has
syllable.
361
Here the
two notes
as
also the penultimate
Furthermore, there are in these

over the last metre.
Hymns
four apparently catalectic cola {Hel. 13, 23, 25,

,
that have six notes, but without a
Nem. 9) Thus
:
Aei'/vwv
VTTO a-vpjJiaa-i /aoctxwv Hel.
23 (Cod. N)
on these ten apparently catalectic cola, six with a but with six notes over the catalectic metre, that They hold Eossbach and Westphal seek to establish their case. that the protraction indicated by a found in six of the cola affects the preceding syllable, so that, for example, Sico/cet? in
785.
It is
,
four without
it
Kel. 9 {supra)
But we have the testimony of Aristois ^ i- xenus that protraction affected the thesis of the simple foot in which it occurred, and in the inscription of Seikelos we have direct evidence of this fact in a metre of the form ^ The only reasonable conclusion to be which was sung v^ - i.
drawn from
htooKeL^
this
evidence
is
surely that
1,
irravoh
\
vir
X')(yeaaL
(supra)
was
^
I
^M
1 îid that J ^^J ^J^J.J ^^-i-, v.~ êkdva (supra) was fj^^ J^J^J */^^ J not - - ^ - î- JjiJ ^P/ J J^ffj J 786. The other four apparently catalectic cola cited above are held by Eossbach and Westphal to confirm their theory of They state that in the nature of iambic and anapaestic catalexis. JleL 23 (supra) and the similar cases the first three of the last four notes belong to the penultimate syllable of the colon and
.
,
^,^JJ. not yXavKa Se irdpoiOe
only the fourth to the ultimate, so that the last metre is J^^J^J"J It is clear that the four cases belong in the same ( v^ ^ i_ - ).
category
with the other

six,
analogy with these

/xoaxfov (supra)
six, and it is equally clear that, by such a colon as \evKcov vtto avp/xaai
must have been

1--, rft!
^- ^-
sssspT^^not--^
conclusion
overlooked.
there
note.
is
is
^M
M hT^h
,
i^
^fe^fi
J .'.^J This
I
confirmed by internal evidence that has hitherto been
Whenever a given note is repeated in

to
f^/xfi
these two
Hymns
to
always a syllable
See Hel. 21,
syllable,
fjbi
correspond to each occurrence of this

If
(supra).
two notes are attached
the
same
cp,
they are always different, the tone shifting.
Note
in the
same
colon.
But among the four instances
now under
consideration these two occur

362
I

ij.
787
tj.
^L
<;
fipp^(
atyAas TroXvSepKca irayav Hel. 13 (Cod. N)

Xijdovcra 8e Trap TroSa patvets
Nem. 9 (Cod. N)
The usage of the poet demands the division of fippc and /xcr The ascription of pp and re to the same between two syllables. syllable and the assumption that the last metre was here
^^^JVV'J
^^
absolutely forbidden.
787. Besides the ten cola just examined, the parts of these
Hymns
set to
seven others {Eel

following
:
music consist of twenty-two acatalectic cola and 1, 14, 18, 19, 22, Nem. 4, 6) such as the
(CCC ic pc
)(^LOvof3X(f)dpov Trarep
"^
'Aov$ Hel. 7 (Cod. N)
Each of the seven has ten syllables and ten notes, except Nem. 6, These are true catalectic cola, of which the score is defective.
with the arsis of the
last
vîth three others (Hel. 11, Neiii. 13, 14), that
simple foot absolutely suppressed,^ and were shortened by
hiatus or the substitution of a short vowel for a final long (43.), they furnished the pauses designed to rest the voices of the
singers.
melody
of each
These ten pauses occur at irregular intervals, since the Hymn is without recurrences and the component
'
periods are of different lengths.

788.
The seventeen
paroemiac
'
cola of the
two
Hymns
are
is
clearly differentiated into three classes,

instructive.
and
this differentiation
The metrical form by the Xeft?, is the same

:
of each of the cola, as revealed

3t
^-
The missing
element, needed to
complete the rhythm, has the value of a
primary time.
the
Xei/i/Att
thesis of the last simple foot
In six cola this is restored by protraction of the and the procedure is indicated by In four other placed in the position of the lost arsis.
is
cola protraction
last
1^1
indicated by the ascription of four notes to the
two long
syllables,
whereby the
final
its
long syllable
is
is
We
reject the
still
assumption that
a primary time
1
J^J^ lacking, because the colon in that case would

Belindifference or carelessness of the composer or copyist, but the stubborn fact remains that the leimma is not there,
musical value
sung as with
See Rossbach, Ehythmik^, 88.
lermann
{Lyrici,
(Hymnen,
I.*
66)
and
Bergk
(
xiv.)
last
think of a leimma
between the
two
notes, lost
by the
789
CATALEXIS
363
that
cola
end with is without

is
the musical equivalent of six short syllables, a catalexis

parallel.
The protraction
is,
of the
remaining seven
not indicated in any manner.

in catalexis the
'
We
is
'
conclude, therefore,
that they are really incomplete, that
catalectic.
Hephaestion
Aristides
says
that
that
it is
last
'
foot
diminished,'
The distinction between robbed of a syllable (33). catalectic and acatalectic cola is substantial, how substantial is
apparent
when one
recalls
that catalexis
is
the chief
means
employed by the poets
to indicate the
close of the combination
of acatalectic cola that constitute the subordinate period.
Any
is
theory of catalexis that does

discredited,^
not maintain
this
distinction
would alone condemn the assumption that the final metre in a catalectic iambic colon was rendered as ^ even if there were not additional convincing evidence for rejecting it. We must conclude that in iambic and and
this
consideration
anapaestic catalexis the arsis of the last simple foot
is
actually
suppressed and that two theses are thus brought together, ^
and
time of
precisely as in the ionic,
^ ^
its
To complete the
syllable, as
the colon, a
pause follows
final
in
all
other rhythms.
789. Disposition to accept the current theory of iambic
and
promoted by the practice of modern music, which ignores the distinction between ascending and descending When the rhythm. This distinction is nevertheless very real. trochaic dimeter had developed the arsis of its last simple foot and stood forth as an independent rhythm (610), fundamental relations were shifted. It is the first metre in the trochaic
anapaestic catalexis
is
dimeter that constitutes
its
thesis, it is the
first
simple foot in
each trochaic metre that constitutes the thesis of that metre.

This reverses the relations found in the primitive dimeter and
consequently in the iambic dimeter, in which the last metre and

the last simple foot in each metre are theses.
this distinction that Aristoxenus has in It is
precisely
difference
in iambic
suffers
between the protractions -
v.^
mind wlien he notes the i- in trochaic and i- ^ of
rhythm
(780).
It
is
the arsis
of
each metre that

is
protraction.
This
of
distinction
relations
lost
in
modern music, which

stressed syllable in
^ "Was ist denn mowitz on Sappho 51
stresses all
all
rhythms and
at the
rigidly puts the

bar.
them
beginning of the
die Katalexe,
in Ifiyllos, 128.
wenn nicht der Vers KaraXTjêt?" von Wila-
364

the
1
790
Thus
melic
iambic
tetrameter
,^J .^J
1
J" J J* J .^ IJ.
/J
becomes |
trochaic
/ iJ /J / |J / J /
J .^ J
and catalexis in the 273) that the last metre of the iambic tetrameter cannot be rendered otherwise than as w i- ^
bining
protraction
,^J ,^J / comlast metre.

i
II
Westphal
This
is
asserts (AH. Mctrik^,
true, if the
tetrameter
is
first
reduced, in
violation of
One might add that the iambic period quoted by Aristoxenus (780) cannot For it is not possible be rendered at all in the modern manner. to restate such a period asi-v^- i-^- ^ - -^ - w-^^-in
perfectly defined differences, to trochaic movement.
terms of trochaic movement and at the same time preserve the

syllabic
values
Aristoxenus
falls
certifies.
See the
difficulties
into
which Gevaert
first
{Mdopê, 386) in his musical setting of the
part of the inscription of Seikelos.
Quantity of Syllables in Comedy^

790.
When
double
consonant
is
or
two
or
more
single
consonants follow a vowel that
naturally short, the syllable
When, containing the short vowel is lengthened by position. however, the two single consonants are a mute and a liquid that
are in the
same simple word

is
or in the
same part of a compound

7/i,
v,
word, the syllable

r^v, Sfx,
lengthened in Aristophanes only before

fj,,
8v,
y\, /3X, middle mutes with
or X.
Before so
many
remaining thirty combinations of mute and liquid as all rhythms except dactylic, with few exceptions. These exceptions are found, in spoken and recitative and dactylic verse, only in trimeters, anapaestic tetrameters
of the
it
occur,
remains short in
hexameters.
Trarpwov Nub. 791. The following exceptions occur in trimeters 1468; Trarpis Thesm. 859; ttotvi' Lys. 742, He. 369; KuTrpou Lys. 8' 'O/Jpt/AOTrarpa (probably ^ ^ ) 833; vypbv Pax 140; All these instances show the influence of tragic or epic^ Eq. 1178. usage. Many of the remaining cases have been emended and the editors should be consulted: Spaxfiwv Fax 1201, Fl. 1019; KaTrviov Vesp. 151; Se Kva(f>evt Fl. 166; [xaKpov Eq. 207; Tvydrpcov Th. 1184; Kp[xadpwv Nub. 869; KadtSpveevre Av. 45; ISpvaaa-de Fl. 1153.
:
-/}
See the form given by Gevaert i. 145) to the melody of the two iambic tetrameters that begin the
^
{Histoire,
to collections
Hymn
the Muse, along with
printed in the the Hymns to
Helios and Nemesis. ^ Yov the general doctrine, see Hephaestion, chap. i. (1, 5 ff.), Aristid. 44 f. M., 29. 10 ff. J.
794
QUANTITY OF SYLLABLES
365
,
i. Attrpec^r;? (vulgate) Av. 1442, see Kirchner's Prosopographio Some words have been brought into the discussion which do 3755. not belong here, since the vowel of the syllable that seems to Ikjhmv constitute an exception to the rule is probably naturally long On all these cases see Th. 395 (of. Cratin. 323); hpta Ach. 1092.
On
Kopp's Ueher
:
posit io debilis,
249
ft'.
792. The following exceptions occur in recitative anapaestic tetrameters Trerpats Eq- 783, Kairvov Nub. 320, uKpov 401, vypav 335 652, vypa 678; Ktx^ôiv Av. 591, w Kef^piovt] r]fj.Tpe KpoviSri Fesp.
553, dypcjv 579, oAtyoSpavees 686; XV Ki-Trpoyevct' Lys. 551 ; 3paxpyv See the editors.^ Fesp. 691. The following occur in melic verse: fiova-a f3apvf3poixo<; Nub. 313
(344), 0T6 TrporjKwi'
513
(561),
rUva
Fesp.
1518 and
KUKAoo-o/JeiTe
1523
(494),
TToXvâKpvv Av. 212 and i^pm 216 (285), dyavoc^povos 1321 (406), Cf. also Trapdpvdp.' evpvdixa Th. 121 (429). e-i^pe/zerai Ran. 680 (498).
lengthening
before
793. Aristophanes evidently inclines to Homeric usage" in the syllable containing a naturally short vowel
mute and
liquid in his dactylic
'
hexameters,' but his Attic

is
disposition to keep
the syllable short
strong
and the two
tendencies about balance one another.

794. Compare the folloAving instances of lengthening HacfiXayoi'wv 199, Sitt TptTToSojv 1016, KaTaKpwôva-i 1020, eViK-pwôi-o-i 1051, KeKpoTTiS?; 1055, r68e (ppda-crat 1058, iroXvcSpiV 1068; d<f)pa8iy](TL Fax 1064, ToSe TTporepov 1074, 1107, d(f>pi]TU}p 1097, OK-pvdevTO'j 1098, Aev/vdrpixa Av. 971, aKXijTos 983; oTrAdrepov 1270, o-Aorepois 1271 On the other hand, the syllables remain short iyt/3pt/ieT7;s Lys. 773.
:
Eq.
in ya/i<^?;Aycrt SpaKovra Eq. 198, 8eLvd KtKpayais
1018, rot U.a<fi\ayo)v
1058, tt^s epvOpds 1088; Oepixhs 6 irXivpniiv Pax eirLyoiJ.h-q TV(f)Xd 1078, aAAa rt xP^'/i' 1080, yap Kara XPWH-^^' Aei-Korpixa e'o-Tiv 6 XPWI'-^'' llOlj <S TTOTVt' (woto ^^Tie) 1108; KpLOV Av. 971, 7rpiuTL(TTa IT po(^-i]Ti]<; 972, x^'p' eVtTrATjo-at 975, Si) Tore Xpv) 985. The following instances of lengthening occur in melic dactylic
1054, 1069, 1088,
^]v
o-oi
'<^pa(er
verse
Nuh. 278, (SaprfSpo/xov 284, KeK-poTTOs 301 (344), But the vowel is kept short in dvTiTexi'ov (346). Ban. 816 (346), kuI -apa-pla-fxaT 882 (347), dpyaXewv Iv ottAois 1532, -) 1269, ei/xi ^poeti' 1276 -roxTiav Trarptois 1533 (348), 'Arpews (w and four (351), Axatwv îdpovov 1284, Kttt xP' TrpdKTopi 1289 (352),
:
Trarpos
dir'
epc^pep,6Ta? i?aw.
814
._.
cases in ^ccZ.
1169
ff.
(354).
1 Their statements often need revision, as that of Blaydes in his exegetical note on Xi(b. 320: "quod licuit in tetrametris et dimetris anapaesticis, splenThis licence is didiore genere metri." allowed in only 12 of the 1235 recitative
anapaestic tetrameters in Aristophanes,
and in none of his dimeters, ^ See La Roche's Homer ische UiUerSeymour's Homeric IT., 1 sjcchungcn, Language and Verse, 2Q i.
366
795.
795
few words in Aristophanes allow lengthening
of
an
initial short
in the thesis, as in
Homer.
289 rhythm, Av. 220 (285), 688, 700, and even in trimeters, Ach. 53, Av. 1224, Ran. 629. Aristophanes has dvi]p ( ) also, Av. 687, Eq. 1295 (493), Ran. 706 (498), Av. 1313 {iroXvavopa, 406), the last three occurring in melic
Cf. aKa/x.aTos
(344).
and aâvaros
in melic dactylic verse, Nuh. 286,
The
latter occurs also in anapaestic
verse.
796.
final
vowel short by nature
is
always lengthened in
Aristophanes before the single consonant p at the beginning of a word, except once in a melic trochaic dimeter, rSivhe fxofjurjv
Vesp.
1067
(235).
Nub. 647, Fesp. 982, Pax 699, PI. 51, 1065; tetrameters: Eq. 546, Nub. 344, 416, Paz 740, Ran. 1059, 1066; in anapaestic dimeters: Vesp. 1487, Th. 781; in mehc This fact is verse: Ach. 1146 (299), Th. 665 (221), Ran. 405 (82). to he noted in rendering such verses as Ach. 412, Lys. 944, Ran. 495.
Thus
in trimeters:
in anapaestic
797. A final long vowel or diphthong in the dissyllabic arsis an anapaest or dactyl or in the dissyllabic (resolved) thesis of an anapaest ( - w ^ ) may be shortened in anapaestic tetrameters and dactylic hexameters before an initial vowel or diphthong. This is sometimes called weak or improper hiatus, since there is See 43. actual loss of quantity without a compensating pause.
of
'
'
Nub. 321, 346, 372, 375; r; in Aûb. 355, 394; w in i;^;. 784; t in Nub. Aristophanes has this shortening in anapaestic dimeters only in 392. Pax 1008, in a 'dactylic anapaest' formed by a proper name. 799. Thus also, in dactylic 'hexameters,' ov in Pax 1068, 1098, Av. 987 L in Eq. 1090, 1092, Av. 979 ; ot in Eq. 1015, 1032, 1056,
; ;
798. Thus, in anapaestic teti'ameters, ov in Eq. 532, Nub. 977, Fesp. 599, 687, Lys. 574, PL 528 ; ei in Eq. 813, 818, Nub. Fesp. 651, 694; oi in Eq. 1329, Nub. 327, 352, Fesp. 673, Av. at in Eq. 807, 809, 1329, Nub. 293, 316, 365, 1002, 1007, Fesp. w in Eq. 806, 660, etc. ; y in Eq. 763, Nub. 324, Fesp. 699
373, 347,
687
602,
1058, 1080, Pax 106.3, 1279, 1286 bis, 1300; ai in Eq. 199, 1018, Pax 1091, 1274, 1276, 1280, 1298, Av. 978, Lys. 771, 774; rj in Pax 1292 ; oj in Eq. 1090 ev in Eq. 1015, 1030. 800. Tlie same shortening may occur in dissyllabic combinations of short syllables and in the arsis of the trochee in melic verse, as ei in Ran. 714 (498); oi in Nub. 298 (344), 595 (558), Fesp. 291 (426), Pax 585 (233), 810 (497), Ran. 875 (347); at in Nub. 304, 306, 307
;
(344),
466
(500),
567
(558), Fesp.
407
(243),
Pax 119
bis (345),
Th.
1027
802
QUANTITY OF SYLLABLES
;,y
367
1149 (387), Ban. 674 (498); in Eq. 1138 (571); w in Eq. 1133 (571), Nub. 290 (344), 513 (561), Ar. 774 (410); 7; 'in Fesp. 1064 (235), Ar. 676 (546), Th. 1150 (387); u> in Pax 122 (345), Ban. 706 (498), 1340 (592). Of these exceptions one is ionic, four are trochaic, two paeonictrochaic, three anapaestic, one enoplic, six Aeolic, and as we should expect from the dominating influence of Homer, twelve dactylic. See Clapp's Quantitative Difficulty, 339 f.
(374),
801.
A
The
diphthong or long vowel within a word

syllable thus shortened
is
may
be
shortened before a following vowel or diphthong in word.

the arsis of
trochee, or
same the iamb or

the
the second syllable of the dissyllabic arsis of the
anapaest or dactyl or of the dissyllabic (resolved) thesis of the

anapaest.
at in SeiAatos ending a trimeter, Eq. 139, Nub. 1473, Fesp. 165, etc.; 01 in certain pronouns: ofos Pax 1111, ttoios Fesp. 1369, TotoGros Eq. 418, Fesp. 512, Pax 311, Nub. 342, Pax 1280; ot in other words: Boiwrta Ach. 160, Botwrds Ach. 900, Eq. 479, 480, Lys. 40, oLOfiai Lys. 247, 1149, Eq. 860, and in particular iroieu) and its compounds and derivatives: Ach. 52, 58; Nub. 1046, 1054; Eq.
Thus
40,
246, Nub. 583; Eq. 811, 1321, Nub. 296; Fesp. 1057, Pax 88; Eq. 1082, Pare 1065, 1089; fxovaroTrouo) Nub. 334, TratSoTrotew ii'c. 615, TToiT^Tvys PaTi. 71, 84; Nub. 1362, 1366; Pa?i. 1008, Thesm. 59; Ka)/iwSo7rot7yT';ys Paa; 734 r/ in .^v. It should be observed that 298. the long vowel or diphthong which immediately precedes the demon;
-t in ovToa-i is always shortened in Aiistophanes, as in avryji Ach. 20, Av. 301, toitovl Ach. 246, Fesp. 434, tovtwi Eq. 869, ravryL Eq. 271, ovToii Ach. 40, avrau Ach. 194. Compare the double shortening in the compound tvwoutos in Nub. 392, Twwoirrovi ofa v^ |s^ TTtTTopSas jinan anapaestic tetrameter Here belongs dî (aUi) of which the first syllable is sometimes in the thesis and long, as in Ach. 608, 751, Eq. 215, Nub. 1279, 1288; Eq. 274, 568, but generally in the arsis and short, as at the end of a trimeter in Ach. 761, Nub. 761, Fesp. Ill, 218, 1318; elsewhere in trimeters, as in Ach. 28, Eq. 5, Pax 425, Lys. 1135, Pa7i. 146 (detVwv) and in other forms of non-melic verse, as in Nub. 1053 ; Av. 271, Ec. 1160, 1162; Eq. 541, Fesp. 702, Pax 744, 760, Av. 590, 596; Fesp. The first syllable of dei is sometimes long in the 719, Ran. 1086. arsis of the simple foot in anapaestic verse, the word constituting a 'spondaic' anapaest, as in Fesp. 390, 667, 699, Lys. 491, Ban. 1027; Nub. 1011. 802. The same interior shortening may occur in dissyllabic combinations of short syllables and in the arsis of the iamb or trochee in melic verse, as in cjuXaOi^vatos in Fesp. 282^ (499), -otew in Nub.
strative
368

(581),
803
332 (577), Pax 358^ (232), Lys. 968 1325 (586), iroi-qr-q^ in Eq. 583 (553), Pmii. 1528 (348), kirivoia in Av. 405 (290), otos in Vesp. 318 (577), toiovtos in Pax 911 (580), 1034 (583), otw in Lys. 1256, ywat in Pax 1329 (584), and aces The first syllable of ad in melic Averse is short under in 1267 (412). the same conditions in Ach. 849, 857 (582), 942 (86), Eq. 1118 (571), Vesp. 1458 (548), Pax 399 (232), 917 (580), Av. 451 (409), 750 (410), Pmu. 1309 (586); but long in the thesis in Av. 1478 (215), Nub. 275 (344), Lys. 819 (242), Ran. 536 (217), and probably in Nuh. 469 (500) and in the Eupolideans in Nub. 547, 552.
1308
Vesp. 319, 322, 324,
(287),
Ran.
Modes
803.
of Eendering
The determination of the modes (59 f.) in which the parts of a comedy were rendered is generally not Hard and fast rules do difficult, but some parts are in doubt. The trimeter of comic dialogue, for example, was not suffice. generally delivered with the speaking voice unsupported by musical accompaniment, but some trimeters in comedy must have
different
Lamachus's dolorous farewell to the been rendered differently, light of day in the Acharnians is called /xeXo<; by his attendant, These are although it is expressed in trimeters (1184-5).
The narrative continues melodramatic trimeters. Compare the phraseology in Nuh. 1370 f Toaavra Xe|a9, etc. o B vdv<; Xeôv Tc tS)v vecorepcov, arr ecnl ra cro(f)a ravra Some trimeters in comedy, pa EvpiTTiBov prjo-iv rtv, etc.
probably
.
|
then, in parody tragedy.
The
entire passage in the
and paratragedy, were rendered in the manner of Acharnians (1174-89) may
have been thus rendered. 804. The iambic tetrameter is the verse of abuse in comedy, and a vehement debate conducted in this verse, such as occurs in Eq. 335 ff., contains in itself strong intimation of melodramatic
rendering, a fact confirmed by
its
metrical form, which does not
But not materially differ from that of the trimeter of dialogue. all iambic tetrameters in comedy are abusive, and some were
For the metrical differentiation of in recitative. Most and melodramatic iambic tetrameters, see 186. See 190 S. iambic hypermeters were rendered melodramatically. Trochaic tetrameters and hypermeters and anapaestic tetrameters It is and hypermeters were probably never thus rendered.
rendered
recitative
instructive to observe that the half of the celebrated debate in
806
MODES OF RENDERING
369
the Ranae conducted by Aeschylus (1006 ff.) is in anapaestic The rhythm, that conducted by Euripides (907 ff.) in iambic. contrast between the Good Young Man and the Bad Young Man is similarly marked in the Nuhes (961 ff., 1036 ff.), and it is not without significance that Aristophanes in his Eqiiites, designing to out-Cleon Cleon, has his famous blackguard in the second debate carry on in iambic tetrameters the argument which Cleon
has begun in anapaests {Eq.

'
hexameters
'
of comedy, used in
763 ff., 843 ff.). The dactylic mock oracles and heroics, were
rendered in recitative, and probably even the Eupolideans in the

parabasis of the Nuhes (518
805.
It is
ff.).
now
impossible to determine with certainty
how
some tetrameters and hypermeters were rendered, whether in song or in recitative, and the distinction, indeed, between the two modes may sometimes not have been great. Aves 1313-36
(406) seems to be a mesodic musical number, ABA, with a melic iambic tetrameter between strophe and antistrophe, but this
single
tetrameter
may have been
recited.
In the Lysistrata
(254 ff.), to judge from the practice in other parodes (cf Eq. 247 ff, Vesp. 230 ff., Paa; 301 ff, ^c. 285 ff., Plut 257 ff), the two verses with which the half-chorus of old men enters were
rendered in recitative, but the corresponding verses with which
the
women
enter (319 f) are in Aeolic rhythm.
Shall
we
con-
clude that these verses were also rendered in recitative, as the
Eupolideans in the Nubesl

pair of verses
It is possible, of course, that one
was
recited, the other sung.
806. Scholars
are not
agreed
as
to
the
rendering of the
trochaic tetrameters of the epirrhemata
and antepirrhemata of
653, states
is
the parabasis
(668).
Hermann
in his Epitome,
that they were recited by the leaders of the two half-choruses
that
sang the strophe and antistrophe, and this view
now
f.
generally entertained.
attaches
special
Enger
in Rhein. Mus. x.
(1854) 119
importance to the prevailing tetradic form of these parts of a comedy (668), and suggests that they were taken
respectively
in his Prolegomena,
by four members of each half- chorus. Westphal 40 ff., holds that strophe and epirrhema constituted a single lyrical number, and were rendered by the whole chorus with dance (the cordax) and song. But when we consider the contents of the epirrhemata and antepirrhemata of the parabases, it is difficult to believe that they were rendered by
2 B
370
807
twenty -four persons in song, with the accompaniment of the These were topical addresses to the audience, full of cordax. local hits, and the first requirement must have been that they
should be so rendered that the audience could take the jokes. Positive evidence is lacking, but it should be noted that
Heliodorus
differentiates
the
metrical
'
form
'
of
strophe
'
and
as
epirrhema
perhaps
to
so
sharply,
contrasting
of
ff".,
melic
with
See
;
stichic,'
indicate
difference
ff.,
rendering.
Schol.
Pax
1127 971 K
ff".,
Ach. 665
Eq.
551
1264
ff".
also
Schol. Ach.
807. Heliodorus regards Ach.

single melos consisting of
204-18
(Schol.
two monads with
shift of
204 ff.) as a rhythm at
to think that the four introductory tetrameters
208, but the opening of other parodes (cf 805) might lead one were recited by
first
first
the leader of the
half-chorus.
In
this instance
we
are in
Vesp.
doubt where the
half- chorus began to sing, but in
403
ff.
we
are uncertain where its singing ceased

If
and passed into

recitation
recitation.
we conclude
that
408-14
constitute the choral
part of the
first
half of the parodic syzygy,
and that
began at 415, we must account

in
for the cretics of the half-choruses

f.
418
f.,
428
f.
= 475
f.,
486
Continuous series of pro-
tracted trochaic metres are not used elsewhere in recitative. Trochaic 808. Trochaic hypermeters also perplex inquiry.
hypermeters in Aristophanes that are strictly trochaic generally Such hypermeters are Eq. 284follow trochaic tetrameters.
302, Pax 339-45, 571-81,

are each part of a parode.
It
651-6, ^v. 387-99, and these

seems certain that those in the in recitative, yet Heliodorus
Equites and Aves were rendered

states
that
commentary on these
See his each of the three in the Peace is melic. But since he applies this term passages.
also to the iambic period {Eq.
911-40,
see the
commentary) in
the second debate in the Equites that was almost certainly melodramatic, it is probable that he uses /ieXo? as a general term,
applied to the rendering of all verse except the spoken trimeter of dialogue, and that the three trochaic periods in question were
rendered in recitative, as the preceding tetrameters.

809. Elsewhere Heliodorus generally uses the word /icAos, as we Cf. the should expect, in application to a strophe that was sung. metrical scholia on Ach. 665 ff., Eq. 551 ff., 1111 ff, 1264 ff, Nuh. 1303 ff., Pax 856 ff., 939 ff., 1127 ff. Similarly he applies it to the
811
missing
it
MODES OF RENDERING
first
371
ff.).
stasimon of the Nuhes (Schol. Nub. 889
He
applies
also to Ach.
263
ft".,
consisting of the
monody
of Dicaeopolis
and
the four dimeters of the chorus, where the second part probably was Similarly he applies it to Fax 571-600 as a sung as well as the first. whole, consisting probably of a recitative trochaic hypermeter and a
melic strophe.
For Ach. 204
ff.
see 807.
810. The means of differentiating melic from recitative anapaests are stated in 282, but we are sometimes in doubt. The leader of the first half-chorus had the anapaests in Aves
1726-30, Peithetaerus those

recited
in
1743-7.
No
peculiarity of
If Peithetaerus
metrical form indicates that they were sung.
1743-7, how did he render the syncopated iambic
tetrameters in
that
back on the probable fact Opinions lyrical number. also differ as to the rendering of the Kofifidna that open the Some of the commatia of comedy must have been parabases. Others must have been at least sung, as Av. 676 ff. (546).
fall
1755-62?
We
aU the comedies ended with a
partially melic,
as
Nuh.
it
498 ff. (294), probably in mode of rendering, if
also
510 ff. (561), Fax 729 ff.

was due
Vesp.
1009
The
(297), Hq.
(295).
difference
existed,
to the fact that the first
part of the commation was addressed to actors as they left the stage, and that the verses that followed were a prelude to the
poet's address to the audience.
Some may have simply been

half-chorus, as perhaps Ach.
recited
by the leader of the

(296).
first
626
ft:
811. It
must frankly be
just
as
confessed, then, that the
rendering certain parts of a comedy cannot
mode of now be determined

the
with
certainty,
many
questions
face
which
modern
interpreter
of
Aristophanes
must
determine the scenic presentation of a Happily the audience that gathered in the ancient be answered.
theatre to see the play as well as to hear
it were not disturbed Uncertainty in settling these points now by these questions. does not imply the least doubt that they were definitely and clearly determined by the poet before the actual performance.
when he attempts to play in detail cannot now
372

Pkosodiac-Enoplic Verse
theories of constitution
812
the prosodiac and enoplius have modern scholars as respectively an anapaestic tripody and a dactylic tripody, and the iambic and trochaic metres that are joined with them as third and second epitrites (Heph. 12. 13-18), The verse composed of these elements has therefore been named dactylo-epitritic. The combination of tripody with dimeter and the union of isomeric
812. Until recent years,
generally been regarded by
single feet (dactyls) with diplasic single feet (trochees) in such
a tetrameter as
eo-reâvwo-ev Weipas ev IXaveAAavtov deOXots
-v/w-v^v.
operation
of
|-v^
Bacch.
xiii.
164
f.
K.
difficult
have been variously explained.

uniting
a
The former involves the

colon
tripodic
difficulty
with
dipodic
metres.
Westphal appreciated the

meter.
and made the long syllables

constituting a tetra-
at the close of the tripody tetraseme, thus
See
>Sêc.
Metrik"^,
619
ff.
But
this
remedy, which
is
unsupported by ancient evidence,

ends with trochaic
in the
close, as in
is
of no avail
when the
tripody
the following corresponding verse
same ode
icrrtov
apTraAews t
is
aeArrov I^lkovto ^kpcrov Bacch.
xiii.
98
f.
K.
This manifestation
tion, the short
not infrequent and has historical explana-
syllable at the
end of the tripody being, in
fact,
the final syllable of an original paroemiac (643), but manifestly the short syllable cannot carry the burden of tetraseme length.
The combination
period
is
of single feet of different
^êvr]
within the same
likewise a difficult problem for those
who make
the
simple foot the unit of rhythmical measurement.

the simple feet in the epitrite, giving
it
Bockh equalizes
had
See
the value of six primary
times
v^
=2
I.
1 iy2 9 )
^he
single dactyl, furthermore,
the value of
Find. Op.
the epitrite
ii.
(-v^w=3f|^
and
=3
3).
107.
The tetrameter quoted thus becomes a
pentameter with the value of thirty primary times. Eossbach proposed in the first edition of his Rhythmik, as one solution of
the difficulty, to give each long syllable the value of two primary
times, each short syllable of the dactyl that of one primary time.
813
PKOSODIAC-ENOPLIC VERSE
epitrite,
373
'
but the short syllable of the

of one
which was
irrational,' that
and one-half
times.
See Rhythviik^, 130.

of
meter
thus has the value
twenty-seven
times.
The tetraWestphal
four primary times (|
of the epitrite the value of The See System dcr Ehythmik, 184. This view was verse quoted thus measures twenty-eight times. subsequently modified {Spec. Metrik", 619 ff.) by giving tetraserae value to each long syllable of the final foot of the dactylic tripody.
varied this by giving the trochee

*)
The verse quoted thus has the value of thirty-two primary J. H. H. Schmidt (Compositionslehre, 84 ff., Rhythmic and Metric, 41) also gives the trochee of the epitrite the value of four primary times, but by assuming triseme length for the long
times.
syllable (3 1). diplasic
Kossbach measurement of
finally {Spec. Metrik^,

all
431
'
ff.)
insists
on
the simple feet; the epitrite ends

'
with an irrational long syllable and the dactyl is cyclic (389 ff.). The dactyl, he Goodell {Metric, 202 ff.) rejects this absolutely. says, was a true dactyl in even time and controlled the period. The trochees were somehow rhythmized under the influence of Just how this was effected is not the dactyls and spondees.
now
determinable.
But the process
of equalizing the time of

;
a purely trochaic the dactylic and trochaic cola was not rigid dimeter, perhaps even a dipody, may have kept its own triple
time.
813.
Some modern
metricians
hold that
the verse
now
under consideration is ionic, regarding the prosodiac and enoplius as composed each of two distinct and separable metres and ^ ^ and believing that all these metres are ionics, not only ^ furthermore, that the elements but even ^ ^ ^ - w - and _ vy - ^ designated in this book as iambic and
v..
; ,
trochaic, are also ionics, but irrational, the equivalents respectively
of
In prosodiac periods, therefore, the ^ ^ and ^ w ^ ^ may appear as {2)^ - ^^ v^ (first syllable major ionic (1) ^ - (second syllable of the arsis irrational), variable), or (3) In enoplic periods or even (4)^ - v^ - (both manifestations). may appear as {2)yj ^^ - ^ (last the minor ionic (1)^ ^
.
syllable
irrational),
'
or (3)- v^ - - (first syllable of the arsis The even (4)- v^ - v^ (both manifestations). choriambic form of the ionic mediates between the first series Otto Schroder, who is the and the second, being found in both. chief exponent of this theory, would put a stress (ictus, 28) at
variable),
or
'
'
374
814
the middle of each metre, namely on the second syllable of the

thesis of
v^ v^
thesis
of
^ and its equivalents, on the first syllable of the and its equivalents, and on the short syllables
See the tabulation in his Vorarbeiten, 93.
'
of the choriamb.
814.
It is obvious, if this theory is sound, that these
ionic
elements in prosodiac-enoplic verse must have had a peculiar Since the publication in 1886 of von Wilamowitz's development.^
Isyllos,
a stimulating book, the
search for ionics has
gone on
merrily and a bizarre collection

these
its
is
has been assembled.
Among
The
the choriamb, but sober reflection must relegate this to
proper place as the fundamental metre in Aeolic verse.

it
choriamb,
should be observed,
is
not found
among
the minor
ionics of Isyllus, nor, at the other extreme, in
of early melic poetry on the scansion of
any ionic fragment which scholars are agreed,
nor in any ionic ode in the drama, even in Aristophanes's tour In short, the choriamb, whenever it appears in deforce (429).
any form of Ionian verse, and the instances are not numerous, is For the cases in Aristophanes see 71, due to interior anaclasis. v^ furthermore, does not occur in major The form 206. ionic verse in the early melic poets nor in the drama, in which it The remains to be proved that major ionic verse occurs at all.
,
fragments of ionic verse in the melic poets are few, but happily can be formulated with exactness in the drama, since entire odes in this metre are found
the laws governing minor ionic verse
both in comedy and in tragedy, and furnish means of complete occurs in the drama only as the comparison. The form - v^
result of terminal anaclasis
(419
ff.),
except that Aristophanes

,
occasionally allows a collocation
wv^-^|-v^
and
v^v^
not found in
the tragedians, with v^v./-vy|-w
in
correspondence in strophe and antistrophe, where the anaclastic
form in the one case prevents misinterpretation of the other, and where the normal interprets the once he has ^ ^ \~ ^ In all these cases the colon begins with true irregular form.^ then, in true minor ionic The form - ^ minor ionic arsis. verse, we may safely conclude, is not a minor ionic, but arises
' ,
version.
1
by conversion through anaclasis or in imitation of such conThe instances of the latter are extremely rare.^ But
See
ff.
Schroder,
Vorarbeiten,
85
ff.,
91
"
exclude, of course, Thesm. 101 ff. (429) from consideration, a ludicrous

I
extravagance that exhibits with set purpose every possible licence in form. ^ A sporadic case occurs in Aeschylus irepivaiovTaL TraXaiSi' Supp. 1021 = 1030.

1^
815
375
we constantly encounter
such as follow
Zrjvos
cf)afu
:
enoplic cola in Bacchylides and Pindar
v6a\h
Kol
ireSov Bacch. ix. 5 K.
y^
^ ^
cjid(TO}
ixeyio-Tov Bacch.
i.
21 K., 159 B.
liK-eAta T
avrov
Trifêt
Pyth.
i.
19^*
^^
^
^
viii. 34''
Tavpov dpyaevra irarpl Seiôv

Twi' 8'
d(f>dv'T(i}v
01. xiii. G9''
Kv8o<;
avreiVet cradpov
Nem.
TToAies
a r
Kvôta-
Kal Tracrav Kara 01.
xiii.
112
41
S*
dvareivats ovpavc^ x^^P"-^ dfj^dôvs
Isth. vi.
vavcrl Trei'Ti'jKovTa crvv
KpyjTwv o^tAw
Baccli. frg.
i.
f.
K.,
i.
115 B.
Cola of this description
may
be continuously combined in periods

6pvi\xe'S
la-xvi; irrda-a-ovTc
8'
Xi0v<f)9oyyot
<f)6/3oi
-v.^
OS
t'
|-v^-^
^
- ^ ^
Bacch.
V.
22
15
f.
K.
ev alva Taprdpoi Kei\Tat, dewv TToAe/xios
-V.
cri'v
|_^_. ^^M
_v^_^
|
Pyth.
1.
Tij;(a6s
wKicrcrav dp>â|yoi'S aTrop^v^Twi'
dyvtdv
ix.
^
oa-Lu
v./
|~^
Bacch.
51
f.
K.
^^_- _^_M _^_.|_^_M _^^

6epfJ.d
Spiov iv<f)paive
6vp.6v tovto yap
K^p^koyv VTrepTarov
Bacch.
ot/<tats
iii.
Ni'jtiâi'
XovTpd
/JacrTciêts
6/xt|A4(j)V
Trap'
83 f. K. dpovpan
19
dKficf.
_^
Tov yap "ISas
_^
dfxcfil
_^_.|_^
_^_.|_^_i=i _^
_^
01. xii.
j3ov(Tiv ttws ;ôAaj|êis eTpiocrev
âAKeas Aoyâ?
_^
_^
^ ^ Nem.
X.
60
815. There are scores of these cola and periods in Pindar and Bacchylides, but there is nothing comparable in true minor If these are ionics and represent ionic verse in the Greek poets. they must indeed have had a each the ground form v^ w But as trochaics peculiar origin and independent development
,
!
they are unobjectionable
neither resolution nor the irrational
But form of the most of the metres (650) occasions difficulty. - ^ then is the equivalent of ^ y^ if, on the contrary, involves resolution of an irrational syllable, the form ^ y^ Thus also a phenomenon not found elsewhere in Greek verse. ^^ ^ ^^ sometimes appears as in prosodiac verse
,
:
376

6ka-(ravro, Trap fSiofjibv iraTepos
816
'EAAaviou
'^
ovTTO}
v^^
v^^ ^
Pind.
Nem.
v.
10
yevicrt (fiatvaiv TepeL\vav
parep olvdvOas OTrwpav
^
irrational
v^
^
if
Pind.
Nem.
v.
In such cases as these,

syllable,
w ^ also involves resolution of an ^ - is regarded as equivalent to
metre
see his
But such resolution is unobjectionable in the iambic For Schroder's explanation of this phenomenon ^ Vorarbeiten, 102 ff.
.
.
816. In an article recently published in Hermes (xliv., 1909, 321 ff.), Friedlander rejects the derivation of the element - ^ found in enoplic verse, from the minor ionic, rightly maintaining that the first syllable in - v^ as well as the third, is a thesis. But he also denies that this element is trochaic, on the sole ground that its final syllable is generally long, ignoring the sufficient explanation of this v^ found in its irrationality. See 650. He maintains that in prosodiac verse and, by loss of the initial arsis, - ^ in enoplic verse are not respectively an iambic penthemimer ( ^ ^ ) and a trochaic metre ( - v^ - - ) but are " shorter secondary forms " of ^ _ ^ and - ^ - ^ and he assumes an intermediate tripody v-- - w - ^ -, which in enoplic verse, by loss of its initial arsis, would become ^ ^ But it is precisely this tripody which does not occur in prosodiac-enoplic verse. It will be noticed that in the process of regressive reduction from i. to v. in the illustrations quoted in 644, a final colon of the form v^ ^ (with restored arsis, ^ - w - ) fails between iii. and iv. Whereas the final phrases in i., ii., iii., reckoning in simple feet, have each four theses, those in iv. and V. have but two. The intermediate colon with three theses is not found in pi'osodiac-enoplic verse in any poet, and it is unfortunate that Friedlander should have impaired the value of an interesting investigation by quoting in its support not only Aeolic periods from Pindar, but even part of a heavily protracted melic iambic trimeter It is a commonplace of Greek metric that cola may from Sophocles have the same metrical form and yet be unrelated. Friedlander's ^ subsequent deductions are not tenable. For if were w ^ and v^ derived from from v./ w necessarily in each case by the loss of a final arsis, both forms would contain three theses, like their sources, and the final syllable of each would always be long within a colon, whereas it is often short in prosodiac-enoplic
,
v./
verse, as we have seen, assumption that v^ value of a simple metre
thus derived,
of
w Friedlander's and might sometimes have the two theses ("fallender Zweiheber") is
v^
v./
.
v./ manifestly erroneous, as are his statements that -, as actually found in prosodiac verse, has sometimes the value of three theses, and
818
377
that the ithyphallic, which, reckoning in simple feet, has always four theses, may sometimes be accounted a tripody (" Ureiheber ").
ionic theory of prosodiac verse 817. Furthermore, the excludes from this class a whole series of periods which belong
' '
to
it,
and compels
their classification elsewhere, although these

It cannot account for
:
periods occur in prosodiac-enoplic odes.

catalectic periods of the following forms
OS av TTO-pa ITie/DtScov'
piTTxe (TKcAos
<L
\d-)(r]a-i
Swpa Movcrav Bacch.

eyyevo-6(i}v
xix.
3
f.
f.
K.
ovpdviov
pe/Lt)SiKS
Vesp.
1530
Tray/cyoares,
w Tpwtas t^^XV ^raAaia

rin^wvi Sta
Setfias Eur. Bhes.
232
o-as aTTTo/xevos (paperpas
/xt)
kuk-ws TrivardaL
- - ^ ^
_^^_|__^_
'
- - ^ -
__^_
^ - -
Eq. 1272
f.
The
is
'
ionic
theory has no explanation of this catalexis,^
Yet
the tetrameter fovmd in Bacchylides, Euripides and Aristophanes

the period that
n.).
(630,
Hephaestion expressly For further examples see 495.
certifies
as prosodiac
YAEIANTS FROM NORMAL TYPES
The final argument that has induced many scholars to theory of prosodiachowever reluctantly, the ionic enoplic verse is doubtless that drawn from the apparent correSee spondence of certain metres in Bacchylides and Pindar. If it were true that the mere Leo, Zur neuesten Bewegung, 159. occurrence of different forms in the same place in successive
818.
accept,
' '
'
'
strophes proved their rhythmical equivalence, then doubtless
should have to agree that, for example, - ^
and - ^
for
and
v^
^^
name
that would
fit
we - and - w were convertible, and make search them all. But the mere fact of
v^
,
substitution does not prove rhythmical equivalence either in this

or in other rhythms.
See 51.
These changes arose under poetic

effect.
impulse to secure a special rhythmical

Schroder'sclassificationof r^.sp. 1530 Both (494, audi Eq. 1273 is significant. 493) occur in odes composed exclusively, the former of prosodiac, the latter of Yet he prosodiac and euoplic periods. classifies the former (Aristoph. Cant. as an Archilochian tetrameter. 21)
1
The
question,
directly against the express testimony The latter (Aristoph. of Hejjhaestion. Cayit. 11, 98, 100), he admits, ends with a catalectic iambic trimeter, although the remainder of tlie strophe, he says, is prosodiac and enoplic ("Chalcidic").
378

is
819
then, of the significance of these changes
one of rhythm, and

'
must be answered, not by consideration

even
cola,
of single
metres
'
or
Such consideration may reveal even to men whose speech is not quantitative, and to whom therefore Greek quantitative rhythm often seems strange and difficult, the special rhythmical effect at which the poet aimed, and thus disclose the true differentiation of the slightly
but of the period as a whole.
different forms that the period takes.
819.
Prosodiac-enoplic verse
is
regular and
triply
-
simple.
Four
tetra-
dimeters
and
six
all
trimeters
of
and two
compound
the
meters (489),
normal form,
suffice
for
building
of
the stately and impressive strophes found in lyric poetry and
Exceptions to normal types are not numerous. the drama. Bacchylides is the poet There are only two in Aristophanes. who manifests special disposition to vary his rhythms by means
abnormal forms, but even in Bacchylides there are relatively The papyrus manuscript of this poet, first published in 1897, contains about 665 prosodiac and enoplic cola that are either complete or so slightly mutilated All that their exact original metrical form is not in doubt. but twenty -eight of these are included among the twelve normal cola,' and these twenty-eight show, among limitless possibilities,
of
few variants from normal types.
'
only six different sorts of variation.

is
In other words, variation

at
strictly limited.
The question
I shall
issue
is
so
all
fundamental
these variants
and important that

Pindar,
now
briefly
submit
in Bacchylides to consideration, quoting occasional parallels
from
820. These variants arose, as I have just said, under poetic
impulse to secure
variation
It
is
special
rhythmical effect by substituting a
slightly different form for one of the twelve regular cola.
The
commonly
consists in the change of a single element.

is,
never involves confusion of rhythms, that

is
no enoplic element
introduced into any prosodiac period, as conversely no pro-
sodiac element
introduced into any enoplic period, by which
the continuous ascending or descending

respectively would be broken.
rhythm of either period The normal form represented by the variant is generally determined by apparent correspondence if not, it is revealed by the contiguous forms composing the colon in which the variant occurs. The variants follow.^
1
The
hair-lines here indicate the division into cola.
822
821.
UXevpwva
8'
379
fx-lvvvda Se /zot
^^ _^^_
TOV
^
I
^v\a yXvKd\a yvwv S oXiyoaOevewv ^^ ^ ^ Bacch. V. 151 K.
f.
WS
rSei'
'AX/C/7/i/l'tOS
6aV[Xa(TTQ<i 1/|pWS TVX(rt
Att/XTTO/Xei'Ol'
^^
is
^~|
^^
^ ^
Ibid. 71
Three times in this long ode the regular rhythm of the pentameter disturbed, as in the second period quoted, by the anticipation, in the second metre, of the iambic movement that follows in the
third/
Compare
in
Pindar
'Oy îâ-rUuu-iv r
o5
S'
u/x</)'
aioveira-L
)')
TreptcrTeAAwv doiSav
ItpijTai
~
i.
cteÂots
TToXi-jxi^diV
KvSos a(3p6v
^
This
^ ^
_^^_
^ -
Isth.
33,
50
period (33) is normally the well-known tetrameter (489, 6).

822.
hypercatalectic
form of a
The reverse
effect is
:
observable in the following penta-
meter in descending rhythm

drJKv
avT
evpye(TLav,
XnrapoJv t
aAjAcov <TT(f)avu)V eTTip-oipov
Bacch.
i.
19
f.
K.,
157
f.
B.
_^__ _^-_ ^^_^|_^^_
oaarov avûtr) xpovov, rovSe Xd-xev
'
Ti\ fidv; dpera 8'
kTrljxo-)(do<;
v..^-- ibid.
42
f.
K.,
180
f.
B.
In this single period of the ode (v. 42 f.) the regular rhythm is varied by continuing the opening trochaic cadence into the second Thus also in a catalectic tetrameter (489, 12), in Find. metre.
Pyth.
i.
TOV
TTpoa-'epTTOVTa
')(jp6voVj 8'
S)v
e/oarai Kaiphv StSots

irpb
~
57, 77
fiurdov, ev 'EirdpTo.
epeo)
rdv
KidaLpwvo<; pa-xav
v./ Pyth.
i.
vy
wo
sj
Compare the following heptameter

XaAxeoKpavov
S'
eTreiT
e^jetAero Jîbv
dva7rTi'[as
(fiaperpas
8'
7rw/xa
tw
ei'tti'Tia
Bacch.
V.
74
ff.
K.
Once
1
in this ode (colon
115) a trochaic metre occurs instead of

occurs in prosodiac verse nowhere else Greek poetry. Housman's conjecture See Jebb's note. id' is, therefore, right.
in
In Bacch. xiv. 5 Blass reads 170', where the manuscript is uncertain, but ^ this would give a variation (
-v./^-
for
v^^
-^w-)
which
380
823
the normal - ^ ^ -
at the beginning of the second dimeter/ due perhaps to the trochaic swing of the period." 823. The displacing element is sometimes the first half of
the prosodiac or the second half of the enoplius. pentameter in ascending rhythm
yvwfiai TToXvTrXayKTOi /SpoTwv
\
Thus in a
~
afiepa-av VTrepraTOV Ik XipQ,v yepas

ka-crafievoiv,
Kacrav Trap eiwSpov
Trpoyo\v(jiv
UpLafiOL
7rei
XP^^^
f.,
Bacch.
xi.
35
119
f.
K.
Twice in this ode the regular rhythm is varied in the second metre by the anticipation of the opening movement of the Compare in Pindar trimeter that follows.
Kal TrevTo-KLS 'IcrOpiol crTe<f)avw<7dfj.vos
Nem.
vi.
19
8ai{X(i}V
dir'
Olvwvas
eXaârev.
crracro/xai*
oiJTOt
diracra Kf.phioiv
V.
^
824.
wv^j
wv^
-^
^ ^ Nem.
16
The reverse
effect is observable in
descending rhythm
dvdecrtv
âvdav
dvaBrjcrdfjievos
.
KicftaXdv.
_^
^ ^ -
^ ^ -
V.W-
Bacch.
X.
15
f.
K.
The tetrameter does not here end, as it would normally (489, ionic cadence 12), with trochaic movement, but continues the
' '
(Hephaestion's phraseology) in the last metre.

this cadence
Pindar
affects
Me/Avova x^XKodpav'
OVK drep AlaKiSdv
\
Tts
yap
icrXov T-qXe(f)OV
-'
Keap vpvcDV yeveraL
- ^ ^ The
i.
^ ^ -
\^ ^
^ -
Isth. V.
41, 20
Cf. Nem. first period (41) shows the normal tetrameter. and 17, Pyth. iv. 6, Isth. vi. 37. 825. The disposition to this substitution is so strong that it may be made even when it is not supported by an adjacent Thus it occurs as the initial movement metre of the same form. in a period, where the effect is equivalent to partial acephalization.
fifth
This period cannot begin with the colon of the epode, because of
in 74.
name
in a restored line, and in 170 B. where, however, the editors read i'6<r<jy
for j-oiVcov of the manuscript.
hyphenation
Elsewhere
occurs
- A trochaic metre is substituted for the first metre of the enoplius also in Bacch. i. 9 B., in a conjectured proper
in the ode the in this place.
normal
v^v^
826
iOiXii
S'
ai'êtv
381
(fyphas dv8p6<;, 6 S' ev t/aSojv deois
^ ^
-v^w(fitdXav
(OS-
^ ^
et'
^ Tt<j
Bacch.
i.
24
f.
K.,
162
f.
B.i
a<î'jds
citto
xeif)h\kyixi]Vv
1-.^
to
(X(f)vpov
iii.
23
avTov
ykpovTo^ ovtos;
koI to.-^ dv /3ov-
Sid tout' 68vvi)diX<i
eiV
I
tcrws
K^lrat irvpiTnov.
ecrrt
ydp toioutos
Vesp.
avr'jp
---
-^--l-^-o -.--I-.
276
f.,
283
f.
This variation of rhythm thus established
may
occur even within
a trochaic series, with distinct effect of dissonance

1 TO,
Trap xeipbs Kvj3epvd\TaL Si/caiaio-i (fipeve(ra-LV

8'
~
3
a-vfjicfiopd
ecrdXhv d[xaX8v\vei fSapyrXaTOS fioXovcra
- ^
Cf.
^v^
X.
|-w
;
-v^_^
ix.
Bacch. xiv. 10
f.,
f.
K.
Bacch.
826.
10
Find. Pyth.
41.
are
Cola occur in both Bacchylides and Pindar that

the
whoUy iambic
form.
or trochaic except for a single metre in choriambic

'
This
is
iambic
'
or
'
trochaic
'
choriamb found
"
in
iambic and trochaic verse throughout Greek poetry

VfjiVOLCTLV
{'(/)atve
vvv ev
Tat? TroXxjr^paTOis Ti KAt|vbv oA/iJtais 'A-Odvaa
Bacch. xix. 8
ff.
K.
The second dimeter would normally be wholly iambic, but an

'
iambic choriamb displaces its first metre with rhythmical comparable to syncopation in modern music
' :
effect
(popfXLyy
'AttoAAcuv 7rTdyA(oo-jO-ov
vvfJi(f>eias
)(/Dvo-eaj
TrXaKTpo) StWKWv
_M^_
IleAAavd
t'
(OS
dpa
CTrei^pa
Kelvos ev AeKTpots 'AKacrTOV
^_|
t
^_
e^ciKt?-
^ -
- Xem.
V.
24,
30
veavLO. yajx/Spt^ rrpoTrtjvcoi' OLKo6ev oiKaSe, 7rdy\xpv(Tov,
Kopv^dv KTedvoiV
t'
Ai'ytvd
vi\Kwvd'
iv
M-yd/Doi|o-tv
ov^ erepov
XiOiva
Ul. vii.
4,
86
160 K. is au iambic trimeter with ionic opening, if the verse See the begins with a short syllable.
1
Bacch.
V.
'
editors,
-
'
For Aristophanes see
71, 206.
382
827
827. In descending rhythm this is the commonest form of variation of rhythm found in enoplic verse
ovXiOV dprjvov ^LcnrXkâur' 'Addvq.
~
Pyth.
xii. 8,
ewXia
Aw/Dt'w
(Tvv
Aaoo-crowv jxvacTTTJp'
dywvwv
24
(pwvav evapfj.6ât TreSt'Aw

SiSvfJLOLS
Traia-l
^^
5,
v^
_^__
v^
~
01.
iii.
fSadv^wvov
5'
AvjSas
35
Ttv
iv 'IdOjxui StTrAda

17
âAAoio"' apera
Isth. v.
For longer periods cf Nem.
viii.
2,
xi.
and 14,
Isth.
vi.
6.
Compare
also
d(fi66vu)V dcTTwv
I
Kcivos dvrip, cTTLKvpaaL?

7r/3os
lyueprats
doiSais~
IltTdvav Se
Tra/)'
Evpa>|Ta Tropov Set crdfifpov eXOetv ev topa
- ^ ^ -
^ ^
j-v^
Spo/xo),
|
_^^_ -^
(tiiv
1/i.oi
|
0^. vi. 7,
28
Koi AvKaiov Trap Aios ^t/kc
ttoSwv êipcov re viKacrai ad'evti
auTos "OXvp-n-ov OkXas vatetv
(tvv t
'Adavaio. KeXaiveyKi t "Apti
v^
\^
\J
'I
\J
^ Nem. X. 48, 84
dehs opOol
xiv.
Katpos dv8pwv epyfiari KdAjAtcTTOS*
ev epSovTa 8e Kal
_^
_^^_|_^
^ ^ -
^ ^
BaccL
17
f.
K.
Zt^vi TTapi(jTa[ikva
Kptjvets reAos dâvdTot|crtv re koi
OvaTols dperas
Baccli. xi. 5
flf.
K.
The dimeter sometimes occurs independently

yA(JO"cra iroLfxaiveLV
as a period
WeXet
01. xi.
S'
^^
92
ev 8'
"Api]S dvdei vea>v
= Tbv
ev 'OAv'/xttw (^drvai 0?. xiii. 23,
- ^ ^ - -v^-in the last dimeter for the ^ - furnishes the key to the explanation of an unusual substitution found in Bacchylides and Aristophanes, The substitution normal - ^
oi
_^^_
-v^-for-v^v^- v^w-:
IIAeKrêvtSas MeveAaos
|
ydpvt deXîeTrel
Bacch. XV. 48 K.
- ^ ^ This
is
^ ^
|_^^_ ^^_
the period ends in
normal, two enoplic dimeters combined, but once in a
defective line (13
K)
v^
-.
Compare
829
rots
|
383
tc>v
fxwv aTToAwAeKe
e/^^dSas,
17
TrpocriKoxp'
iv
Tw (tkotw
SaKTvXov
TTOV
eâ-n-aTMi' kuI Aeytoi'
|
ws (^tAa^v/vaios yy kuI
rdv ^d/uo tt^wtos KaTctVoi
T'esjj.
274
f.,
282
f.
The two normal dimeters

dvara dvaToicri
are found in correspondence in Pindar
TrpcTTfi
=
37
'H/OttKAei' irpoTepov Isth. v. 16,
v^
:^
m ^ _
The nature 282 is now

xiii.
of the substitution in Bacch. xv.

clear:
the dimeter - ^
v^
passages as the allowed substitute for
13 K. and Vesp. - ^ - occurs in these - v^ ^ - (cf. 01.
23, 92 quoted above).

828.
AU
the variations
from normal types in Bacchylides
have now been considered/ and practically all in Pindar. 829. The change involved in each of these cases undoubtedly produces temporary dissolution of the regular rhythm and is
But it is not fortuitous comparable with dissonance in harmony. nor arbitrary, but due to some special tendency which is discoverable when the rhythm of the entire period is taken into
account.
effect
Occurring but rarely in any single ode

as distinct
its
general
may have been

The
and satisfactory
as
that of the
regulated discords of modern music.

1
third colon in the strophe in Bacch.
xiii. is
probably a Pherecratean.
CHAPTER XX
THE COMMENTAEY OF HELIODOEUS
830. In the editions of plays of Aristophanes purchasable in the bookshops of Athens during the fourth and third centuries B.C. the trimeters of dialogue and tetrameters were doubtless
given each
periods.
its
own
line,
but lyrical parts were written solidly

cola
or of
as prose without indication of the limits either of
Furthermore, the musical notes, found in the author's original book of the play, were probably soon eliminated from
Even cultivated men, the copies offered for sale by the trade. therefore, as early as the time of Lycurgus, must often have felt
doubt as to the metrical form of these comic songs, although it is neither elaborate nor complex. 831. It was probably Aristophanes of Byzantium (c. 200 B.C.)
who
devised and published the colometrical editions of the tragic

that
His of our present texts. Some Alexandrian Pindar is certain. scholar must early have done the poet Aristophanes the same service, for it cannot be supposed that, when so simple a way to a better understanding of the metrical constitution of dramatic
dramatists
became the basis

of
colometrical
edition
odes
had been discovered and
applied, Aristophanes
was
left
neglected for three hundred years until the time of Heliodorus. In these colometrical editions the entire text was written in
(ni'xoL
to
and KtoXa, and

eye
certain
arjfieia
were also used

facts
to indicate quickly
the
important
relating
to
rhythm and
structure.
Sooner or later also the principle of indentation was
employed to bring into relief the relative length of lines and cola. These editions promoted the systematic study of the subject, and metrical treatises were written.
384
834
THE COMMENTARY OF HELIODORUS

(c.
385
832. Heliodorus
100
a.d.)
wrote a noteworthy colometry
commentary in which he analyzed the metrical structure of the plays and ventured occasional criticism. Doubtless he corrected and improved the colometrical texts of the poet which he had before him as he wrote. It is
of Aristophanes, a continuous
not likely, for the reason just stated, that he himself

stituted such a text.
first
con-
Extracts were
made from
his colometry of
Aristophanes, of which copies (ra 'HXioSiopov in the subscriptions
end of the Nubes, Pax, and Aves) were current, by the in the Byzantine period collected the scholia on Aristophanes now found in part in the oldest extant manuscripts. This scholar depended chiefly on Symmachus, practically contemporary with Heliodorus, for exegetical comment. Symmachus was not interested in colometry.^
at the
anonymous scholar who early
833. Mutilated remains of these Heliodorean extracts are found in existing manuscripts mingled -with the exegetical commentary. The
is in a deplorable condition, but nevertheless admits trustworthy restoration in most cases. Dindorf, in his Oxford edition of Aristophanes (iv. i., p. xvi.), first attributed the older metrical scholia to Heliodorus. Schneider {De schol. fordibus, 119) a little later suggested that Heliodorus had written a colometry. Thiemaim collected and published, in 1868 and 1869, the fragments of the older metrical scholia, separating them from the Byzantine metrical commentary, and in the following year Hense, in his Untersuchungen, made very substantial contributions to a better understanding of Thiemann's collections, and corrected many of his conclusions. See also a lively chapter in Rutherford's History of Annotation, 87 ff. Triclinius, who lived at the beginning of the fourteenth century, is the author of the "Byzantine" metrical scholia, as Dindorf surmised. See Zacher, Handschriften, 603 fF. Musurus incorporated the Triclinian analyses with the scholia in the Princeps. Compare the metrical commentary on the Niibes in the important Vatican manuscript Vv5 (Zacher, 628 fF.) with that of the Princeps (reprinted in Thiemann, 32 if.).
text of these remains
834.
In Heliodorus's colometrical texts of Aristophanes, the
difference in length of cola
indentation of lines.
was indicated to the eye by means of The technical term for indentation in the
commentary is etadeaif;, and the standard is the preceding line. The shorter line is said to be iv elaOeaet. If the order of length is reversed and the shorter line precedes, the position of the longer Hne is indicated by the term e/cêcrt?, it is said to be
Hense, Heliodoreische Untersuchungen, 12
ff.,
interprets the subscriptions differently.
2c
386
eV eKdecrei.

The
participle eKKeifievo^
is
835
sometimes employed to
iteration, the state-
indicate this relation.
To prevent constant
eKdecrei,
be applied to an entire group of verses provided that no member of the group is theoretiThe phraseology cally longer or shorter than the preceding norm.
ment
iv
elaOeaei or eV
may
in this case is often etcrdea-i^
eh
or eKdeai<;
ek
irepioBov or /xe\o<;
as,
or
the
like.
All verses in a given category,

trimeter,
is
for
example,
iambic trimeters, are assumed to be of the same length.
which occurs oftener in comedy medium length, was centred on Measured by this, iambic and trochaic tetrameters and the page. Cf. Schol. Ach. 836, 204, Eq. the heroic line were iv eKOeaei. Conversely, the trimeter following any of these was ev 1015. The longest line was Cf. Schol. Pax 431, Eq. 1041. eladeaeu. Compared with any other, it was the anapaestic tetrameter.
835.
The iambic
than any other verse and
of
iv
eKOea-ei,.
(Schol. Eq.
Thus Eq. 761 f., following an iambic tetrameter 761); Pax 729 ff., following an iambic trimeter, and
a trochaic tetrameter (Schol.
Pax 734, following Schol. Pax 729 the

tetrameters
is
Pax 729
ff.).
In
difference in length of anapaestic
and trochaic
the
subject
of
special
comment.
Thus three
In fact they
categories are established.
All verses in any one of these thr.ee
categories
were estimated as of the same length.
are not, but all verses in each group began theoretically on the
same perpendicular line. 836. Measured by the standard

the longer
elcrOecrei
of the trimeter or of
any of
are
iv
lines
just
mentioned, certain shorter lines
and constitute a fourth category, as iambic, trochaic, Thus iambic anapaestic and dactylic dimeters and Glyconics. dimeters following trimeters (Schol. Ach. 263) or iambic tetrameters (Schol. Ach. 836); trochaic dimeters following trochaic tetrameters (Schol. Pax 337); anapaestic dimeters following trimeters (Schol. Pax 82) or anapaestic tetrameters (Schol. Ach. 659); dactylic dimeters following trimeters (Schol. Pax 114);
Glyconics following trimeters (Schol. Eq. 973).
837.
The
relative
positions
of
the
verses
in
the
four
categories mentioned
may
be indicated thus
839
838.
387
The relative position of some other cola mentioned in commentary is not equally certain. Heliodorus recognizes iambic, trochaic, and anapaestic monometers as elements in hypermeters (Schol. Eq. 911, Pax oil, 82). The commentary leaves it uncertain whether they began flush with the dimeters or were set in, and thus constitute the nucleus of a fifth and final category. The hypermeter is treated as a whole and is said to
the
be eV elcrOeaeL with reference to the norm, but

follow that
all
its
it
does
not
elements began on
the
same
line.
But
he
Heliodorus has a term specially employed to indicate additional

indentation, eVetVêo-i? (843), and
it is
at least singular that
nowhere applies it to the monometer if this was actually set in beyond the dimeter.^ Cf. Schol. Ach. 274: eV elaOeaet KoiKa
rpla ladpidfia,
oiv to, j3'
lufMîKa BtfMerpa, to Be ev /lovofierpov.
He
does not say to Se p
<iv
i7rei,adeat>
fiovojxeTpov.
phrase would be equally appropriate elsewhere.

editors indent the
relative
monometer, as
also catalectic
The Most modern dimeters.^ The

formulae,
is
position
of colaria, including
brief prose
equally in doubt, as also of the various exclamations {avaiôavrjfjbaTa,
7rpoava<pcovi]fiaTa,
7rpoava(pQ)vr]crL<i)
that occur, generally
among the trimeters of dialogue. The former were indented when following a trimeter or longer line, but whether they were
in
the
fourth
or
a possible
fifth
category
is
uncertain.
See
Pax 433, JSq. 941 (after iambic trimeter), Pax 1104 (between hexameters). as the commentary now stands, the position of an
Schol. Ach. 43, 123, 407,
is
a catalectic
Generally,
avacfxovijfia
not indicated. Cf. Schol. Eq. 11 70, A%b. 1259, Pax 1, 173, In Pax 1291 alôt follows a trimeter, but is not 657, 1191. said to be eV elcrdeaei. The following hexameter is iv eKdea-ei. The trimeters that follow Nub. 1170, lov lov, are eV eKdeaei,
but the analysis of the preceding ode

cf.
is lost.
With Nub. 1170
Nub. 1321 and note.

839.
Dochmiac dimeters
are in the fourth category, but the
1 The iambic monometer in Ach. 407 ev fi(T0i(Ti, but with reference to a trimeter (Schol. Ac?i. 407). Cf. the same statement in regard to an iambic penthe-
Pax
^
.512).
is
ggg jjjg Schol. on Fajc 469 ft"., Ach. for such evidence of the indentation of catalectic dimeters as is found in the
1008
mimer and an iambic
ijfjudXiov,
Zw TLatiiv
natdf. in the same position (Schol. 43, The anapaestic dnrXovy in Paz 1210). 512 is included in the same group with the following iambic dimeters (Schol.
Commentary. Cf. the iambic hephthemimer which Heliodorus read in Ach,

557, but the case is not decisive (Schol. Ach. 557 and note),
388

is
840
position of a single dochmius

trochaic,
Cf. Schol.
as uncertain as that of iambic,

for
and anapaestic monometers and

Ach. 358, 566.
the
same
reason.
840. The position of paeonic cola is perhaps in doubt. Dirrhythma and trirrhythma following a tetrarrhythmon are iv ela-deaei, as a tetrarrhythmon after a dirrhythmou or trirrhythmon
is ev
No tetrarrhythmon described in ixOeaei (Schol. Ach. 665). the commentary happens to occur after or before a trimeter, but in Schol. Pax 346 trochaic tetrameters are said to be iv e-rreKdea-eL
(843)
cKdea-ec
with reference to a tetrarrhythmon, which is itself ev See also Schol. Pax with reference to a dirrhythmon.
Since the trochaic tetrameter
place
these
is in the second class (835), tetrarrhythmon in the third Trirrhythma would then class, along with the iambic trimeter. be in the fourth class, but dirrhythma and trirrhythma are grouped together in the commentary, like iambic, trochaic, and anapaestic dimeters and monometers and single and double
585.
scholia
the
paeonic
dochmii, and the relative
position
of the
dirrhythmon
is
as
uncertain as that of the monometer and dochmius.

841. Gly conies are in the fourth class (Schol. Uq. 973), but acephalous Glyconics, which Heliodorus regards as IwvLKa airo fieiôvo<i, are indented with reference to anapaestic dimeters in
Schol.
Pax 1329, but

in
to restoration.
fully
in a reading {iv i'lreLaOeaei) that is due This would place acephalous Glyconics doubtclass.
fifth
classification elsewhere in the
There is nothing to contradict this Cf Schol. Eq. 1111, commentary.

.
Ach. 836, Pax 856.

842. A group of cola beginning a new metrical part is sometimes in the same category as to length as the preceding To indicate this, the comcolon that constitutes the norm.
mentary occasionally employs the word o/aoico?. Cf. Schol. Eq. Cf. the use of ttuXlv in Schol. Eq. 247 763, Pax 301, 337. and for a parallel use of 6ixoio<i cf. Schol. Ach. 628, Nul. 1353. 843. Hehodorus is generally content to indicate the position of a line by means of the simple terms eto-êcrt? or e/cêo-i?, measuring it exclusively by the preceding line, but sometimes, although very rarely, he employs two standards of comparison in The third line in a descending scale is estabUshing position. The it is additionally indented. then said to be iv iireLo-diaet,
converse
expression,
in
an
ascending
scale,
is
iv
iTreKdiaec.
846
THE COMMENTAKY OF IIELIODOEUS

trochaic
389
Thus a group of trimeters would be

a preceding
tetrameter
;
iv elaOiaet with reference to
shorter
hues
following
the
trimeters might then be said to be iv eireiaOeaei.
Conversely
trimeters would be iv iKdeaet in relation to a preceding dimeter

trochaic tetrameters following the trimeters might then be said
to be iv i7rK6ecreL.
exists,
triple relation of this sort, in fact, often
but Heliodorus frequently ignores
of
the
modern
and
editors
the terms
ia-6eaL(;
i7retcr9ea-t,<i
eKdeat<i
it, and the practice commentary of substituting and eVe'/cêcrt? by conjecture for the simple whenever they might occur is not to be
of
the
approved.
consulting
Schol. Ach.
:
Compare the following instances

the
in the
:
commentary,
iTrelaOecreL
:
explanatory and
critical
notes
iv
1008, Eq. 616, 941, Pax 433, 1329, 1333; iv Fax 346, 459, 470, 553, 585, 1316. iireKeiaec 844. The position of the second line in a descending scale is sometimes indicated not simply by iv elaOeaet, but by iv elaBicet Cf. irapa followed by the name of the norm in the accusative. The prose formulae following in 433 f. are Schol. Fax 431. The phraseology iv elcrdeaei irapa designated as iv iTretcrOia-et. expresses the idea of intermediate or approximate indentation, Cf. Schol. and may be used even when no shorter lines follow. On the converse term irapeicdeaL^ Nul. 1131, Fax 657, 729. see the note on Schol. Fax 459, 464.
845. In the colometrical text of Heliodorus the relations of length were indicated, in accordance with the rules deduced above,
by
to
their position on the page. It was not necessary, therefore, Analyses of burden the commentary with technical terms.
odes,
many
indeed,
as
now
transmitted
in
the
manuscripts,
completely lack designations of position.
Heliodorus, no doubt,
used his judgment in expressing or omitting these designations. Some, to be sure, may have been lost in transmission, and he
may have been

it
careless
and inconsistent in inserting them, but

if
indeed it is possible (838 ff.), now to attempt to insert these terms, as some editors are inclined to do, in restoring the mutilated text of his commentary, in all cases
does not seem wise,
where they might be employed. 846. In the colometrical texts of the dramatic poets not only indentation, but also semeiosis, was employed to indicate certain The tokens {arjfieta) important facts quickly to the eye (831). thus used by Heliodorus were the Trapdypacfio^ and the Kop(ovi<;.
390
847.

He employed
, and
the double (Trapdypacjô'i
847
two forms of the irapdypaô';, the single

BlttXt}), ^r-.
{7rapdypaô(; difKri),
848. The double paragraph -^, placed over the beginnmg of a colon or verse, signified change of /xerpa, i.e. cola or verses
regarded from the point of view of their metrical form, as the metricians were wont to regard them, rather than of their
Cf. Schol. Fax 82, 114, 124, 154, 173, 299, etc. rhythm. This change was generally an actual shift of rhythm, as from
trimeters to anapaestic dimeters and monometers or to dactylic
dimeters (Schol.
trochaic
Fax
82,
154,
tetrameters
(Schol.
974; Schol. Fax 114) Fax 299, 383, 426), or

or
or
to
from
to
anapaestic
trimeters
dimeters
(Schol.
and
monometers
the
heroic
line
Fav 173,
1016;
Schol.
change was sometimes simply a shift The SlttXt] is thus placed in tlie another in the same rhythm. commentary over the first of a series of dimeters following
the
tetrameters.
trochaic, Schol.
124); but from one colon to
Fax
Compare, in iambic rhythm, Schol. Fq. 911, in ^^.284, Fax 651, in anapaestic, Schol. Ach. 659, Fq. 824, Fax 1320. 849. All changes of metres in this special sense were thus Colaria and marked, in non-melic parts, with one exception. exclamations were set in (838), but the fact that they were
'
'
from the preceding and following lines was not marked, except by indentation, unless they had the compass of A single BittXi] suffices two lines, when the SiTrXr} was employed. in Schol. Nuh. 1170, 1321 for both the exclamation and the With these cf. Schol. Fq. 941, Nub. 1259, following trimeters.
different fjbirpa
Fax 433.
The exclamations and colaria in the last two cases That they also (as in Schol. Fq. 941) stand between trimeters. originally had the SiTrXr) is inferable from the BittXt} attached to
the trimeters that follow in each case. strophe, on the other hand, 850.
was regarded
it,
as
a
it
The might be composed in

metrical whole.
StTrXT}
did not occur within
although
different rhythms, but
was placed at the
beginning both of the strophe and of the part that followed it (except as in 851), even if the first line of the song was the same
fiirpov as the line that preceded,
and its last line the same as that The strophe was thus marked off as a musical Generally there was actual change entity with great distinctness. of rhythm at the beginning, both of the strophe and of the follow-
which followed.
852
391
ing part.
JEquites
Thus the strophe of the ode of the syzygy in the (616-623), of which the beginning and close are in trochaic and the remainder in paeonic- trochaic rhythm, is enclosed by The ZiirXrj was here set trimeters (Schol. Eq. 616 and 624). over the beginning of 616 and also of 624, but not within the The strophe in the first syzygy of the Acharnians (358song. 365), composed of dochmiacs and a trimetrical iambic distich, is likewise enclosed by trimeters and the SivrXr) was placed over the beginning of 358 and also of 366, but here 365 and 366 are
both trimeters, one melic, the other spoken.
Heliodorus regards
Fax 337-345
as a
/ieX-o9,
closing the parode, and sets the SiirXrj
over the beginning
of
and 337 are the same
/jbirpov.
337 and again of 346, although 336 The distich, however, spoken by
a coryphaeus, that frequently follows a strophe, he includes with The following line has the song and does not give it the StTrXi).
Cf. Schol. Ach. 303, the StTrXrj, even if it is the same fierpov. Uq. 761, Mtb. 476, and also Schol. Eq 409. 851. If the antistrophe in a dyadic ode immediately followed
the
the strophe (700), strophe and antistrophe were not separated by If, however, BiirXfj, but were regarded as a musical whole.
the
antistrophe was
separated from
the
strophe
(irepioSo^
iv
Steêta),
first
two
BtTrXat,
^ ^, were
set over the
beginning of the
the commentary.
,
colon of the antistrophe, and the reason of this is given in Cf. Schol. Pax 383 v(f ou? (383 f.) BnrXal
:
eirerai,
yap
reference to
avnarpeôvaa the strophe, 346-360.

r)
rrj
eKKatSeKaKcoXo),
also
with
Cf.
Schol.
Fax 486,
In one instance, Heliodorus and Schol. Ach. 1037, Eq. 68o. has recorded the use of the two StirXal to indicate the corresCf. Schol. Fax 956 and note. pondence of trimeters in a syzygy.
852.
of seven parts
The complete parabasis (77 TeXela Trapd/Bacns:) consists The general rules determine the use of (668).
StTrXr) with the first three, the commation, parabasis proper and pnigos. If the commation was melic, the SiTrXrj separated it from the following parabasis proper (Schol. Fax 734:, Eq. 507); if Heliodorus did not regard it as melic, and if there was no shift
the
The hLirXi) of iierpa, the StTrX?) did not occur (Schol, Ach. 626). always marked the beginning of the pnigos and that of the
following strophe.
The
last four parts of the parabasis. strophe,
epirrhema, antistrophe, antepirrhema, constitute an iTrippvfâriKTj This was regarded as a a-v^vyta (Schol. Ach. 665, Eq. 551).
392
whole, and
its

parts were not separated by the
BlttXtj.
853
The
(Schol.
second stasimon in the Acharnians (Ach. 971999), a

dvo/xoLOfipr)<;
TreptKOTrTj
Kara
This
a-)(êacv
is
(705),
was similarly regarded
Ach.
971).
a syzygy, but not epirrhematic.
On
the
other hand the non-antistropliic parts of irepLKoirai that were not
composed Kara ax^crtv seem

SiirXr}.
to
Heliodorus
regarded
Fax 571600
its
have been marked off by the as an amoebean
anomoeomeric pericope and separated

(Schol.
two parts by the
BiTrXrj
in
Fax 571). Similarly, the proode of the triadic pericope Ach. 11431173 is separated from the following strophe and
853.
antistrophe by the SittXtj (Schol. Ach. 1150).
Under the
principles stated in the preceding paragraphs
(848 ff.) the 8t7rX?7 would occur in the Acharnians over the beginning of the following verses 204, 234, 242, 263, 280,
:
284, 305, 347, 358, 366, 393, 489, 497, 572, 626, 628, 659, 665, 719, 836, 860, 929, 952, 971, 1000, 1008, 1018, 1047, Two Scn-Xai would occur over the 1143, 1150, 1174, 1190. beginning of 335, 385, 566, 1037.
854. There is a second, sporadic use of the SiTrXf] in the Heliodorus Heliodorean commentary that demands attention. generally analyzes a strophe directly into cola, but sometimes he
designates the subordinate periods of which the strophe

posed.
is
com-
In these cases he sometimes irregularly places the BnrXrj over the beginning of a subordinate period which has not the
same metrical constitution

just as he uses
it
as the subordinate period that precedes,
to
separate the non-antistrophic parts of a
pericope (852).
He
then regards these smaller musical entities
as wholes, just as he invariably so regards a single strophe, or a
strophe and antistrophe

cf.
when juxtaposed (851). See 723 f. and This subordinate use of 929, 1210, Uq. 498. the SittXt] is not recorded in the Table of Structure and Ehythms, to be found at the end of this book. 855. The 'wapd^pa(ô<; d-rfkri had a more limited use than
SchoL
AcL
StTrXf], It was employed in a continuous monostrophic ode more than two strophes to indicate that the strophes were rendered by half- choruses. Thus in the first stasimon of the Equites (cf. Schol. Eq. 973) it was written over the first part of
the
of
following strophes, and over

first
977, 985, 993, to indicate that the second half-chorus sang the 981 and 989 to indicate that the
half-chorus here resumed the singing.
The
BlttXt],
of course.
859
393
separated 996, where the song ended, and 997, in which the rhythm changed. Cf. Schol. Pax 1336 for further indications of
Tlie 7rapdypa(f)o<; cnrXr) the use of the aTrXrj in Aristophanes. occurred in the Acharnians over 842, 848, and 854; the aTrXr) appears not to have been used unless the ode was sung exclusively
Cf. Schol. Uq. 1111. by the chorus. 856. The single paragraph (lineola) was not employed by Heliodorus in comedy in the manner prescribed by Hephaestion
(75. 5
ff.),
to indicate in dialogue
or song change of speaker or
singer, although, as is
well-kuowu, there are traces of this later Hephaestionic usage in the older manuscripts of Aristophanes. The d7r\i) here often stands before the verse taken by a new
857.
speaker, in place of the
compendium of his name, (860). The coronis (5) intimated certain facts of the scenic i. at some point early in the parode It was thus used action. ii. at any point in the play to mark the coming of the chorus where the actors all retired and left the chorus in possession of
: ;
on the return of an actor or actors after such a iv. at the end of the play as an It was not employed to indicate the coming exeunt omnes.' and going of actors when other actors remained on the scene, or to mark the going and immediate return of an actor who happened
the scene
;
iii.
part taken by the chorus;

'
to be
on alone,
858.
Cf. in the
e.g. Ach. 328-330, 365-366. Commonly Heliodorus adds the explanation
of its use.
Acharnians: elaipxerai
<ydp 6 x^P^'^' Schol.

;
elaiaaLv ol viroKptrai, Schol.
242
iîovrcov
Y0/J09 \iyei ti]v rekeiav irapdâaiv, Schol.
204; on rwv viroKpiTcbv o 626; on eTreiaiaai,
719 i^\d6vT(Dv rdv viroKptrMV kuI fivovTO<i rov xopov, 836; elcriaa-L yap ol vTroKptral, Schol. 860; uiroxfopvelcriaaiv ol viroKpLrai, advTcov TOiV viroKpnoiv, Schol. 971 rov Schol. 1000; elaipx^rao yap 6 v7roKpiT7]<;, Schol. 1174; Bpd/j.aTO'i, Schol. Uq. 1335, Pax 1329.
Schol. Schol.
; ;
?}
859. Thiemann places the a-Ai}, BiirXq, and Kop^vk on the right end of the first of the two cola differentiated hy these signa, and lines the signum with the text of the first of these two cola. See Editors of Aristophanes who avail his Heliodori cohmetria, 128 ff. themselves of semeiosis follow the same practice, but this mode of writing is in defiance of the phraseology by which Heliodorus indicates the position of these signa and is contradicted by the evidence of the
at the
Heliodorus, in stating the position of the ScttAt} which manuscripts. indicates that the rhythm of the tetrameters in Pax 734 ff. is difl'erent
394

:
860
from that of the last of the tetrameters that precede, says (Schol. Pax Cf. Schol. ti<^' oi'S SittAi] koL CKêcrts is avTi)v r-qv TrapdjSacrtv. 734) Fax 383 on the antistrophe, preceded by tetrameters, that begins with 385: vcf)' ovs StTrAat^'; also Schol. Pax 299, on the parode which {'<^' Kopwvk. begins in 301 ovs Kopwvis, and Schol. Ach. 971 v(fi' o
:
See also Schol. Ach. 347, 364, 566, Eq. 761. states that the signum is placed under the
cola or verses.
Heliodorus invariably
first
of the contrasted
860. The evidence of literary papyri for the use of the Trapaypatô? and Kopwv6? antedates the time of Heliodorus. The British Museum papyrus of Bacchylides, assigned by Kenyon to the first century B.C., uses the paragraphus to separate strophe and antistrophe and epode and places it, always at the beginning of the lines, between the last colon of the strophe and the first colon of the antistrophe, and between the last colon of the antistrophe and the first colon of the epode. The epode is separated from the strophe of the following triad by a
airXr^
combination of coronis of simple antisigmatic form and the paraThis also is placed between the cola at the graphus, thus !) extreme left. Compare the fragment of a partheneum of Pindar in Oxyrhynchus Papyrus 659 (iv. 53 IF.) of the first centiuy of the Christian era, and the fragments of paeans of Pindar in 841 (v. 24 fiF.) In both these manuscripts the coronis is of the second century. The paragraphus has a long history. Originally it was a elaborate.
.
device (ypa[xjx^] Trapdypacfio?) employed to indicate the It beginning of a new sentence and its use in prose is well known. is to be noted that in this use it does not stand at the end of the first sentence, but at the beginning of the column between the two sentences to be separated, even if the second begins in the preceding Compare Oxyrhynchus Papyrus 696 (iv. 142 f.), a fragment line. In the drama this of Thucydides of the first century of our era. signum was employed to denote a change of speaker, although
rhetorical
this use begins early.
Record of Heliodorus does not thus use it, so far as is known (856). In a papyrus of the third century B.C. that contains seventy verses of the Antiope of Euripides {Flinders Fetrie Papyri, i., plates i., ii., edited by Mahaffy), the speakers are not named in the margin of the part of the play now extant, but the paragraphus is placed at the left over the beginning of the verse with which the change occurs. Remains of an interesting papyrus manuscript of Aristophanes are found among the Berlin fragments of classical
{Berliner Klassikertexte, v. ii., xviii. Taf. v.), which von Wilamowitz assigns to the fifth century of our era. This contains a very considerable number of verses of the Acharnians and some verses of the Pianae and Ares. The paragraphus is written in this manuscript in the manner just described, but the compendium of the speaker's name also is sometimes given and placed before the verse. Compare also the new Menander, which Korte {Menandrea, xii.) assigns to the
authors
860
THE COMMENTARY OF HELIOUORUS
395
Examples might be multiplied. fourth or fifth century of our era. In the Ravennas of Aristophanes, which is a parchment manuscript of the tenth century, the paragraphus has dropped to the front of the colon and taken the place of the compendium denoting the speaker. The conclusions to be drawn from the facts stated ^ may be
illustrated as follows
"jv
:
\ôfXv
/^^l'
68ov Xoyiov eLirwiMev ocra re vous ^X^''
XP^]^
TI'TTTetV
TOVS pa/38oVXOV<5,
cricoTraT
et I
et
TIS
KtO/XwSoTTOlT/T^S
PdX 733
f.
TTovrjpoi
HrjSaiJLWs
fii]
8e
r;0"Tat M^ XaKn
SecTTTod'
'Ep/u,?/,
/x.)/5a/Aws,
p/Sa/y-ws,
Pax 384
f.
eicrei/x
vTral Trrepvyon' KL^Xav Kai Koxpix^v.
eiSes
TTao-a
ttoAi
vi)
tov
(fypovifiov
Ack. 970
KioXvei.
f.
KA.
ISov.
AA.
l8ov
TOV At
i//x/oas
oi'êv
qSia-TOV
cf)dos
ea-Tai tomti Trapovcri
Kol
Touri Sevp
dcftiKVOvp-evois,
qv KAewv
aTToAT^rat.
KaiTOb Trpeo-fSvTepcDV Ttvwi' Eq.

1 See Conradt, Uber die Semeiotik des HcUodorus, 273 ff. The dnrXij had little vogue in the use made of it by Heliodorus and has not been reported in any extant manuscript of Aristophanes. The forms As a of the 5t7r\^ and Kopwfis vary. or > critical mark the SiirXij was > For the form adopted in this or <
972
ff.
=, joined at the left ^êue Fragmente, 297. For the coronis here used, a paragraphus with a simple apostrophic coronis attached 5, see Blass in von Miiller's Handhuch der AUertuvisvnssenscha/t, i,^ 308, 311, and Baechylidis carm. xiv.
book, two aTrXat,
-.^, see Blass,
ABBEEVIATIONS AND SIGNA

R Codex Ravennas 137, 4, A. V Codex Venetus Marcianus 474. E Codex Estensis iii. D 8. T Codex Laurentianus xxxi. 15. 9 Codex Laurentianus 140 (AF 2779). Pr. Editio Princeps. The readings of 8, when it is used, are due to Dindorf in his Oxford edition.
Dindorf.
Thiemann.
Hense.
Zacher.
B Bachmann.
< >
Ed.
Editor.
S signum.
by
Hense, within
Greek words within ( ) have been supplied by Thiemann, within T 1 by the Editor.
attached to an incomplete Greek word signifies that it is written compendiously in the manuscript and that its original form must be determined
from the context.
in a
Greek quotation
:
signifies that
intervening words are omitted.
* * after or ) signifies that the metrical scholium is attached in the manuscript to a scholium on general matters. After numerals within following + * * signifies that no metrical scholium on the ) without ( verses indicated by the numerals is extant.
:
The superior numeral in the text of the metrical scholium stands hejore the Greek word or phrase to which the critical note pertains.
The lemma
:
is
in heavy-face type
when
;
it
occurs before the text of the

If it
is is
metrical scholium, but not in the critical notes. by the following scholium is marginal if it
is interlinear.
followed by
immediately followed ) the scholium
The
spelling of
some Greek words, such
as 8ippv6/j.oi',
rpippvOixov.
etc.,
has been silently corrected.
METEICAL SCHOLIA
Acharnians
êls:^
^
KoikdpLOv air
'
iXacr-
aovo<;.
EF
fact,
In
the half-line
is
an iambic penthemimer, not an anaclastic

Schol. 123.
minor
ionic hemiolion.
Compare
ttoKlp
123
/jLt,fMepe<;.
aiya
KaOil^c
ev
eladeaec
iafx,/3tKov
irevOrj-
E
Tok PaaiXc'us o^Qakiibv)
124203
ttoXcv
ev
eKdiaei
crriôi
lafiîKol rpifjierpoL.
The metrical scholium on 1-203 found in T p. 17 (D iv. ii. 327, 1-7) occurs in no extant MS., except as here represented by the metrical scholia on 43, 123, 124, but it is given in the Princeps under The existing metrical commentary fails the list of dramatis personae. to account not only for 1-42, 44-60, 62-122, but also for the prose
formula in 61.
Cf. Schol.
-n]8e
%
8'
9^1.
:
204-33
6
e/c
iras
eirou
Kopo)vl<;,
eiaepx^TaL yap
-
Yopo*?
Blmkwv top
^
W/jL(f)i6eov,
*
Koi eari
^
pberaôkcKov
yCieXo?
Bvo
/MOvdSoiv
fjUOVoarpocfiiKbv
piev
i8
kcoXwv
elcrl
*"
^^(ôv
"^
Ta<;
7re/3to8ou9,
&V (2047)
TratcoviKa
ev
eKdeaeo
etra
ev
ev
<(ni')(pi>
rpo-
yaiKol KaraXrjKTLKol rerpaperpOL'

Koika
ev.'^
(208 12)
eKOeaei
eladea-et
^ Kol
ev
eladeaei,
y'
Zippv6p,a
^kuI
TTpdppv6p,ov
KO)\a
e^, 0)v
tcl
EF
(213-8^*^)
TO
re
Kal
irdXcv
Blppv6p.ov
irpcoTOV Kal
to Tp'iTov
to
irepirTov,^
Se \oi7ra TpippvOpa.
- T 43 ^ r ) in E 123 ^ Ed. fjLeffii} 204-33 1 r /j.eTaôTiKbv
:
: : :
E
E
See 449.
^
KOfxudnov
=
E
T
iXdrrovo^
T E
:
lj.ovo(TTpo4>LK
.&v
7}
fx^v
^
TTpwTr)
:
E E
^
r6 fi^Xos
ta'
T
^
Svddwv T
'
*
=
^x'
rpoxaiKai
KaraXvuriKal
(Kdiaei
E
397
rpla
dvdpdKwv
(popTiof) iu
'
398
ach.
Misconception of the meaning of fiovds (intermediate period, not strophe) led some corrector to read fiovoa-rpoi^LKwv, S>v rj îlv -n-pwrrj iB'
KwXcov
e'x^'
^^^
fxovo(rrpo<{iLKOv
i8
kwAwv
first
e'x^^*
(ioXiKov since the
monads
are in different rhythms.
The fieXos is fieraThe paeonic cola

4, 2, 4,
(208-18), with the exception of the

analj^sis as in the text of R, in
2, 3, 2, 3, 2,
two, are divided in Heliodorus's
which they contain respectively 3 paeonic metres, but see 433.

Trpoi9'
(is
^
24262
viBo9,
^
TO
ol
TTpoo-0ei'
*
^
hnrXrj
elaiv
he fxera Kopco{kcl).
^
OTC elaiacTLv
vrrroKpLral,
:
kuL koX
la^ôi
EF
irepl-
26383 <t)aXTis Iraipe 0809 (263 79) " /ctwXct)!' i^'

rj'
SlttXt]
fjbe\o<;,
rf<i
ov r)yeLTat
rod viroKpnov,
8e
ev
irpoira /xev elcriv

/S',
(26370)
^7'
*
iv
eladeaec la/xlSiKa SlfMerpa, aKaTokrjKra fiev
TO Be
KaraXriKTLKov, ra
aWa
e'
aKaraXr^Kra.
EF
(2713)
S)v
(2746
^)
eladeaei KcoXa rpia laapiO/xa,
ra
/3'
lafiîKa Bifierpa, ro Be ev fiovofxerpov.
EF
(277
9,
280-3) * * *
la-dpiOiJia
See 90, 234.
may
institute a numerical comparison with the three cola
(trimeters) that preceded
274-6
in
the text of Heliodorus.
Three
trimeters followed
274-6
also in his text.

BcrrXr)
'
284302
^
'HpdKXeis:
elra eTrerai Bva<i pbOvoarpoîKr]

BeKaKcoXov<i,
e/c
afxotâia
to?
6
nrepLoBovi
e'ôvcra
cttl'^cov
t]
,
Bvo
rov^
rerpafxerpcov KaraXTjKTCKcov rpojâlKOiv Kac kcoXcov

arl'Xôv'i
oiv
/Mev
v7roKptrr]
iv
eKdeaei
êlra^
Kara
ro
taov
roL<;
a rroiel ^ Bo'^fiiav av^vjiav îv rrj rrpcorr] rreptoBw^ KOi îv r Bevrepa} 7raLwva<i rpel<i Kal (Bvo Kara) Bialpeatv, Tc5 Be BikcoXm rovr(p ro fxev irpSirov icrrlv " airoXet'; dpa rov rjXiKa rovBe ^cXav6paKea" ro Be rr}? Bvrepa<i " ovroi * tVot
-yopiKot<;
yafiai
"
"
eirerat
Be
roi<;
Bvcrl
kcoXol^
eladecrec
crrtô?
rpo'âtKo<;
oBe
"'
avrl
rrola<i
alria<;,"
Kal
iv
ra
Xoittcl
KO)Xa
rraiavLKa BlppvOfia.
EF
See 452.
Heliodorus regards the two intermediate periods 284-92 and 293(see 728) as strophe and antistrophe, the two constituting a raonostrophic dyad, and he considers 285, an anapaestic 'pentapody,' to He means be the metrical equivalent of 294 f., a paeonic pentameter. to quote these subordinate periods, but inadvertently substitutes 336,
302
242-62 263-83
1
^
ore
^
r
r;
ol
'E,:
om. T
^
ra
lafiêTa E, IffTiv
^
la/jLJieTa
^
H
^
TrepioSoj
irepiKoiry}
kuiXov
rplTov
V T
:
KaTaXriKTiKo.
Lemma
^ sic
/xâr)v
Xa/Si^ref {Xa^dvT
"
V) Stpavra
Er
KaToXriKTiKCv
284-302
*
Pr.
.afioiâias
^
rpoxaifwc reTpa/J-eTpuv
Ed.
hoxf-^v
rpoxouos
ACH.
METRICAL SCHOLIA
'
399
He analyzes 285^, from the second dyad, for 285, and 342 for 294 f. dochmii arranged as two cola (note n^ it should be noted, as two When he says that they are Kara to iVov rots x^P'-'^^^^ ^^ StKwAw). means that they are equally h da-Oka-a with the six paeonic cola that
'
follow 286.
here applies the word (Tv(vyia to the union of two two cola, just as he uses it in Schol. For his general Nuh. 889 of the union of two anapaests in a dipody. application of the word, see 668.
Heliodorus
'
dochmii,' which he regards as
3034
aou
8'
eyw Xoyous
\iyovTo%:
CTrerac
rrj
ovaoc
icrTi
'^
ol-
artxov, o T0Z9
/j,eXe<Tiv
e| eOovi vTrdyovaiv, oirep
rerpd-
fierpov rpo-âtKov KaraXrjKTLKou.
EF
*
^
See 850.
SiTrXal
Se Bvo,
'^
335-46
V ^PX*)
" ^'^
'"ws
d-n-OKTecoi
rj
:"
on
"
rj
erepa errerac 8vd^

*
dvTiarpe<ôvaa
Be BVTpa<i
" rrj
t^
irpoaTrohehojjievr),
rr]<;
fj<i
dTTOKTevo)
t)}?
KeKpaxê," TeA.09 8e
arpoijifj
Trpuirri<i
ov
irpoBcoaco
irore,"
yiyverai."
EF
See 452.
34757
(TTL'ÔL
efxeXXex'
"
apa iravTa
.
ixf)^
BlttXt]
kuI
iv
tKdeaet
lajX^LICOi
Tt
^
la
EF
:
358--84
TrepioBov
ouv
Xe'yeis
"
BLTrXrj
Kol
(358-63)
^
eia6e(rL<;
et?
tov
yopov
'irevraKaXou
Bo-^/xuav,
ovrcov
SittXmv
aev TOiv Bvo irpoiTcov, difKoiV Be tcov rpiodv
rwv Xolttwv.
'
EF
(3645^) ^ eV ^ StoTt (36684)

id'.
eKdecret
arl'ôi
la/ju^cKol
BL(TTi-)(ia
Bvo
v(f)
BnrXrj,
tafj,îKov<i
iirKfyeperai,
ev rfj
arixov;
EF
o
^
See 467, 850.

dXX' ou (Tx^'n
el<;
40756
aed^
fxerpovi.
^^'
^t,crOe(Tt
"
fxavopêrpov lafxjSiKov,
eKdecra
crTtôu?
lafMJSiKOiK;
aKaraXijKTOv^;
Tpi-
EF
originally have covered 407-88,
^Trd,
The comment may
and the
last
part of it have read rpip-erpovs " <ê{;."i Cf. Schol. Pax 657.
/xera 8e
pd'
icrrl
irpoavatfiwvijpa to
48996
^
Ti Spc'iaets
BiTfXi)
Kol
Tpia<;
pêcrrpBcKJ],
-^9
ai piev
1)
eKarepaOev
BiaTLVp<;
:
{ireploBoi)
^
elat
BUcoXoi,
BlttXmv
Bo)(^piio}v,
Be
p.6arj
Xapufio'^
TpLp,eTpo<;
:
dKaTdXr]KTo<i.
(i.e. d'/j-erpov
^
T:
:
EF
See 468.
- Pr. S'ip.eTpov 303-4 ^ E 6td5t T Adscript to Schol. 336 in EF 335-46

^
in
fj
Sri
'E, rj
some preceding code.x) ^ E: aTrodi8oV
fi^wTj
*
^ ^
347-67 358-84
^
r T T
'
aTTOKTeudv
:
E
-
dffOiaeL
xP'-'^^' *
:
"
:
E ^
:
evScKa
"^^"to-koKov
V
:
'^
T!
Siv
8nr\wi> jxiv tu3v
TO XoL-n-bf
'
Lemma
dXX' ^wep avr6i (avrds cm. E)

* ct'ixol
Er
eif
om. E 407-56 489-96
Ed.
:
dadiaei
^
E
^^
om. Y
"
eKdeaei
:
Pr.
fj.ovbTpoirov
eKdiaeL's
dalv iKaripuOev
lafiîKr)
Sluerpos
400

557
^
ach
aXifjGes
(5
'mTpnrre
iv eladeaei, 8e îTrKpeperai^
lafiîKrjv
rrjv
" aXri6e<;
&
TrtTptTTTe."
EF
The
text of Heliodorus did not contain Kal fjnapoWa.re in 557.

iw Ad/jiax'
io>
:
56671
ohov
^
u^' o
StTrXf]
Kal iaOeai<;
eh
irepi-
oKTaKoikov, ^9 Ta fiev
BiTrXovv
Se
.
aXKa
cktov,
iarl So'^/Mta, airXovv he to
reraprov,
to
to
8e
Tre/XTTTov
lafxîKoi'
SifMeTpov cLKaTaXrj KTov
EF
See 468,
to place
Heliodorus designates the length only of the two cola necessary In his analysis 1, 2, 3, 6 the iifth, the iambic dimeter. were Sox/^ta StTrAa, cola 4, 7, 8 a-rrXa. He does not regard this period See 851. as an antistrophe.
626
Xeyet
Trjv
18
di/r)p
ciKa
eîovTwv
t')]<;
Twv
8e
^
vTTOKpiTcov
yopoif
TeXeiav
Trapdâcnv,
eaTi
"
irapajBdaewi
uva'Traia-TLKtav
to
p-ev
K0fMp,dTc6v
pêTpcov
(626/)
^ ^
(ttl'x^cov
Bvo
rj
TCTpae'f
KaTaXrjKTiKcov, Xo!
.
avTrj
he
7rapd/3acn'i
BittXt}
(62858)
'
opLoiwv (TTLy^cov
EF (65964*)
koI avTo
'^ "^
koI etaOeai^; eh
SifieTpov
^^j
a'l
TO KaXovpêvov
jjbev
Trvtyo'i,
dvaTraiaTiKov, eK
evo<i
/caTaXrjKTiKov,
^"
aKaTaXn^KToav ^ê.
BlttXyj
Kal
^^
eTTcppripârcKr]
av^vyia,
KcoXoyv
^* e'
rj'i
EF (665 718 (66575 = 692702)

TraicoviKcbv,
fiev
fjieXcKal
B'
(TreploBoi)
elcn
la
S)v
^^
to,
fiev
TrpSiTa
Tpippv6p,a, to Be
BippvBp,ov
elTa iv
eKdeaei
ev Be
TeTpdppvOfia Bvo
Tplppvefxov.
Kal
ev
^^
elcrOea-ec
Tpia
fiev
BippvOfxa,
EF (676-91 = 703-18)
**
See 296, 453.
Heliodorus assumes that the Koppdnov is not melic, otherwise he would have written tT]<; 8e TvapafSdo-ews to p^v Koppdnov kcTTi o SiTrXrj Kal avTi] etc. KaTaX')]KTtK(J}v, v(f) See 852. See also 433 on
. .
.
665
ff.
719 34
vTTOKpiTal),
"
opoi
fxef
dyopas
Kopoivh,
OTi
e7reicria(Tiv
(ot
Kal
elai
aTL'ôc
lapLîKol
TpipbeTpoi
aKaTdXrjKTOL
eKKalBeKa.
EF
euSaifiOfel y' cii'GpwTros
:
83659
: :
(^Kopcovh),
iêXdovTCOV
Tojv
dXriOei om. T 557 ^ B 566-71 ^ E 6KrdK<j)Pov T dvairaiffTwv 626-718 ^ H Lemma irpbs ravra KXeuiv in
:
avrrj
^
^
:
Pr.
TpiaKovra dvo E,
Kai
^
X/3'
*
EF
^
ii
H
:
n-i'iyos
to
/xaKpov
T T
dvaTraiffTiKov, ibairep Kal

9
r)
KaraKXei's
i"
Siafxerpov
0'
Pr.
KaTaXrfKTiKicv
T
^^
?f
Lemma
" T
:
Pr. : aKaraX-^KTOv ^^ E: devpo fiovcra in EF

i'
iTTipyifxaTiKai <rvl;vyiaL
T
*
7'
dcrdiffei
^6
tKdeaei.
719-34
720 dyopdêiv
gd.
t'
e^ E,
tr'
ACH.
METRICAL SCHOLIA
KoX
^
401
^
VTTOKpCTMV
^
fjLeVOVTO'i
TOV
eV
ÔpOV,
KaV
êv^
'
/jLOVOaTpO(f)lKT]
TreptoScov eâKcoXcov rerpcU, oiv rjyovi'Tat ari-ÔL lafiîKol rerpdfierpoi

8',
KaToXrjKTLKol hvo
Sifierpa
eKdeaei,
7'
Koi
/cat
elcrOecrec
KOiXa
diro
la/j,(3cKa
aKardXTjKTa
'HpaKXTJsl
ev
laviKov
fjueiôvof
T}/jbi6Xiov.
FiTTOJ
Er
See 582, 573.

cKajioi'
860 928
ya
rdk
TuXac
^6'.
KOpO}Vl<i,
elalaat <ydp ol vnroKpLTal, Kai
elcriv
la/xlSoL
EF
et?
92951
34)
IkSTjcroc
(3
Xwore
"
BLirXP]
KoX fxeTaâai^
6')(0vaav
rd<;
(929
/xovo(TTpo(pLK7]v
SvciSa
8tcrTiôv<;
irepiohov;.
Er
rrj
(940-5) * * * (935-6, 937-9) * * * 9356^) (Suo) SiTrXal Koi eirerat ofiova gk tmv
'^
(946-7 =
eipdrj/Mifxepcov
trpdiTTj.
EF (948-51
937-9
"O
^hvo^
B.TrXal
Kal
uXXtj
TOV 'xppov ia/jiîK7] kuI avrrj e'/c rpLOiv fxev Sifxerpcov EF See 86, 723. dKaraXrjKTcov koi rerdprov KaraXrjKTtKOv.
TrepioSo'i
By
ta/it/3tK7)
T77
TrpwTj;
Koi avrrj recalls

|x6\is y'
^
Heliodorus refers to the period in 935-6, just as 9379.

^ i/e'8Tjcra
:
952-70
^69 IdjJLÔVi
* *
BlttXt)
Se
Kal
'
eKdeaL<i
i6'
EF
w:
y^'
o
Kop(ov'i<;,
97199
vTTOKpcTcov,
i8es
VTVOâyprjadvrwv
tmv
Ta<;
Kol
eaTC
(Tvl^vyia
"
Kara
e/c
irepLico'TTi'iv
dvofMOiofieprj,
(pavratriav
(TTi-^LKa<i
irape-ôvcra
eiripprj fxaTLKri<i
^crv^vyia';,^
brt
irepcoSovi
ovk
7rp6<;
e^jêi
rov avrov
al
rrepiohol
'^
ariôv,
fxev
elcriv
^
a\V
ovB
elal
TrapeLajSariKal
to
^
deaTpov.
ôvv^
(9715
= 9869)
TratcovLKal
7rpoi]<y7]TiKal
avTi)<i
eirTaKcoXoi
'
fiovoppvOfMov
Tpcpp60ficov.
Kal
Tptppv0/Mov
^Kal
Sippvdfiov^
BU KUK
^
rgiô"!
EF (976-85 = 990-9^):
KcrTi'ôvy
al Be aKoXovdrjTtKal ireploBol elcn BeKaKcoXot i^ ivvea iraLWVLKOiv

TTpappv6/J,Qyv
Kal
ei/o<?
TeTpa/JbTpov
Tpo-âlKov
KaTaXrjKTLKov.
EF
See 456.
He
Heliodorus reads at the beginning of the strophe cfSes w crSes <3. observes hiatus in the monorrhythmon efês w, and can hardly
836-59
^
Pr.
1
fxeWovros
:
fiovoaTpocpLKOv Trepiodov i^dKwXov 5'
Pr.
dKaTdX-qKTOi
860-928 929-51 ^
o-ot
:
Ed.
;
ê
E Er
r
interlinear in
*
F
^
5t7r\^
- T 5io-Ttxs Lemma dW S;
:
Lemma
i^drj
êvuv jSArto-re
:
EP
koXwj Ix" ^ Ed.

:
952-70
Svo
*
^Svâv
:
t(7deaii
E
*''
eh om. P
''
Ed.
:
/3'
P,
E
971-99
^
:
dvo/j-oio/xeprji
^
Ed.
(iripprjfjiaTos
avTi^s
Ed.
Kalavroh
'
iiTTd
KtDXa iraMviKa
*
p-ovoixirpov
Ed.
'^
TiTpatiirpov
:
Ed.
rpiQiv fxirpuv
Adscript to Schol. 977 in
EP
rerpaiMTpwv
2 D
402
ach.
have ignored the variable vowel at the end of 972. By his analysis, then, 971-5 consisted of seven cola of respectively 1, 3, 2, 3, 2, 3, 3 On the last two, see 433. The force of 8is (bis) paeonic metres. extends only over the preceding rpippvOfiov koL SippvOfjiov.
10007
Kptral.
It
dKou'ere
Xew
(KopQ)VL<;,
otl)
elaiaaiv
ol
viro-
1008 17
eindKaiXo^
eKdeaeL^
elcrdecret,
^
IvjKCi
CTc
-riis
eujBouXias
StrrXr]
koI
irepioho^
a/jioiâla,
lafjb/3tKol
^
^9
to
Trpwrov
iv
elcrOecreL
~
êlra
iv iv
^ru>
ojv
rerpdixerpoL
"*
KaTaXrjKTCKol
kcoXov
Bvo,
Kol
KoyXa
Kol
^
Bvo,
iv
'
mv
iv
elcrdeaet
^
ev
o/xoiov
e'f
TrpcoTO)
eTreiadecrei
cttl'ô^
lapLîKov
roi?
ecfidrjp^t/jLepe^,
a/jL<poTepa>v
elcrdecrei,
^^
yiverac
^^
ojjlolo^
bvo
e^rj<;
oe
ev
kcoXov
ojjlolov
tm
irpdoTW,
^to
Be^
^^ ^'
(rrlyô'i
6/jiola><;
lafiîKo^
TeTpdfjuerpo^ KaraXrjKTLKo^.
EF
See 83.
'
In R, E, r, the text of 1008-17 is arranged in seven cola,' which end respectively with the words erfSovXlas, Trapow?;?, 18-7x6, Xeyeiv, vTTocrKaXeve, payecpLKm, SiaKovetrai, and this arrangement Heliodorus approved; but in the colometrical text before him 1013 f. seem to have been written
:
otpâi
(re
Kal tovt
ev Xeyeiv
TO TTvp viroa-KaXeve
with indentation (here
eVe/crêo-ts)
of
the second
colon.
Regarding
these as a tetrameter, he properly says the next colon (1015) is His fifth colon (1014) is the only instance of the inev etVêorei.
dentation of a catalectic iambic dimeter in the extant commentary.
103746
7reptoSo9
di/Tip
di/cupifjKe
(Bvo)
BtTrXai,
avrr]
yap iariv
rj
6fjbOio)<i
tjj
dvcorepa
eTrTaKcoXo^
civriaTpecfjovcra.
EF
See 83.
114373
^
ire
8tj
xatpoires
Kopo)vl<;
^Kal /MeXo<; tov 'ôpov^

dvaiTaKjTiKr].
TrpowBiKQv TrepioBwv rptMV,

^)
Siv
iari
irputriq
EF
irepi-
(115073
080119
BiiT\r\
KoX
rj
TOiv
ofioLOJV
Bva^
to
eôvaa
Td<;
BaBeKaKOiXovi,
mv (11503)
to
/9'
irpSirov
TrpcoTrj
'xôpcafi^tKov
BifxeTpov aKaraXTjKTOV'
iv fiev
Trj
TreptoBo)
iaTiv
1000-7 ^ Prescript to 1000 in R KaTaK-qKTiKo.. difiera Heliodorus's reTpd/xeTpot may lafj-PiKo, 1008-17 ^ Ed. and critical note 2) and this have been written d'êrpoi (cf. Scbol. Ach. 303 ^ E: ^' T 5' ^ gd. ^ Ed. may have passed into Si/xeTpa in EF mistaken by some was scribe for ws, and its symbol in turn uv Heliodorus's Kal. ^ E ^ Ed. to -rrpGiTov V irevTe. Heliodorus's iv mistaken for that of Kal. ' Ed. ^ Ed. irap^Kdecrei la/xîKa became e', which appears as irivre in Er '" Ed. ^^ Ed. 8 T: ylvovrai cttIxoi. o/jloloi e|' iv el<T64(reL Si ewTa arixoi E, ^^ ^^ lafJLîKoi T TeTpdfJLerpoi KaKoK-qKTiKol Ed. 67rTd(7TX0t r ^ Lemma rbv ^vyypa<pij in E irpoudiKwv T TrpooSt/cwj' E, 1143-73 ^ T
:
fiF.
EQ.
METRICAL SCHOLIA
iv
^
403
eart
Se
lafiîKov,
8e
rfj
hevTepa
to *
TrepioScp
'ôpiafxîKov,
avyyeveî
rw
lafjiîK(p-
rptrov ')(opLaixîicov
* *
(f)d7}fMifipe'i
TO reraprov/
E (1154-61)
'fl
See 299, 565.
117489
Kai
3
^
Sfxwes
Kopavi^,
elaipx^TaL
"
yap
tS"'.
viroKpLT )'}<;,
elaiv
tafijÔi
rpifjierpot
KaraXtjKTtKoi.
EF
779
/8'
1190-1234
^)
rdTTaral dTTarall:
(1190-1209) * * * (1210"
BnrXrj
koI
aXXrj
7repioho<;
TrevruKcoXoî,
to
irpoiTov
ofMoiov
tS
^
Trpo avTov, Si/xeTpov aKard\7]KTov, to
l8u<f>aX\.iKov,
TO y'
lafi^LKo^ (aTlô<;) iv eKOecrec, to B
iv elcrOeaei lajx^tKov
)
rjîoXiov,
TO
e'
^
lafi^LKo<i
crTi'yô<;.
EF (121425
Ta<i
BiTrXr}
koI
8vdSe<;
TpeU
Slkoo\ov<;
eyovaat
^6/jiOlQ)<i^
TrepLoSov;,
^
i^
ui/xl3ov
K(ii\(OV
TpifM6Tp0V
Bca(j)6p(ov^
BlppvOfjiOv,
BoxP'i'OV
UKaTaXrJKTOV
T779 fiev
iKKGLfJUeVOV
Kal
ovv
tt/ocot?;?
BvaZa
S)
Ty)<;
to
""g^l
BevTepov iraLwvLKov
'^Trj<;
TO
" irpoa'K-dêcrd^
(piXai,'^
Be
^
BevTpa<;
BvdBo'i
dirkovv^
EF (1222-5^)
e(f)dr]iLii,fiepe<;.
TpiTr]<;
^to
BevTepov^ lafi^LKov
F (122631)
F
ey*^
* *
(1232
4^) iv eladecrec ^^la/xôc Bt/xeTpoi aKaTdXrjKTOC ^Bvo, KaTok'qKTtKOf;

Be
eh,
Kol Kop(ov\<i
text of
1)
tov BpdfxaTO'i?
See 599.
"^^^^
The
1212
in
1210
in
EF
reads xaAas
p-o-xxi^
that of
EEF
reads
Ilaiav Ilaiav.
Equites
1196
larraTaial
aTiôL lapi^LKol aKaTdXrjKTOt

tto)?
"
p9
S"
'
mv
6 Te\evTaio<; " kuI troLKiXo)^
koI
aa(f}(0(;
yvLyp,evo<;."
V
tmv
247-83
iTrirewv,
îraie:
KopcovL^,
<ttl')(ol
6tl
elaepxeTat
ô
%opo9
kol irdXiv
Tpo-âiKol
:
\^
Koi
V
<el<i
284-302
KcctXfov
^ ^
^âiToQavelaQov'^
TO,
BlttXi]
et(x6eat<i
ireploBovy
16',
o)V
fiev
te'
^
dfiotâta
*
twv VTroKpiT&v
Koi
Bifierpa
firfTroTe
aKaTdXrjKTa,
ia-Tt
to.
Be
B'
ivaWd^
KaTaXrjKTCKa,
BiaTLyov TeTpdfieTpov KaTaXrjKTtKOV.
V
^
TOV iafx^LKOv Ed. 1174-89 ^ T iffriv

: :
ia/JLêia Tplfierpa
KaToKrjKTiKa
:
te'
E
"
""'
- T oeKaKuiXos Lemma rdXas eyih iu EF Lemma Xdêad^ fiov Xdêade E, \dl3eaei /jlov V ~ * T Lemma dvpaî jx iêviyKar wpCiTov E, TTpQiTov iari T ^ Lemma dXX' e\pbfxec6a in T cor., TriveWa in T SidSos
1190-1234
:
T
E V
^^
ianîKbv iv
5(\-6Xoi'S
*
eiadiaei
T
:
in
Ed.
di/xerpoi
iafJL^LKoi
cor.
:
p5"7' - Ed. 1-196 1 S iaTTaraid^ in V ^ Pr. - 6 D rpiaKovra /3' om. V 247-83 ^ S Trate in V ^ d ' KaTaXrjKTiKd 284^302 S before scholium in V, but not in Text ^ Ed. * Ed. TeTpd/ieTpa Karafl<yl dlcrix d/cardXTj/cTa e ivaXa^ Y
: :
. :
XT/KTl/cd
404

o-e
eq.
In 300 Heliodorus doubtless read Kai reading of the manuscripts now extant.
<âvw rots TrpvTdvea-iv, the
30311
trepiohov
/S'
<S
jjLtape
Kol
rf<i
pScWope
to
BiTrXrj
Koi
ela-Qeaa
8i,ppvd/JL0v,
^'
"êt?^
kcoXwv
KpTjTlKOV
Trpwrov
TO,
iraLwvLKov
Se
to
eK
KoX
hoj^pLlOV,
XoiTTa
TTaiOOVLKa
hippvOfia.
See 450.
Heliodorus read Kai KeKpaKra in 304. His employment of et'o-implying that all the following cola are shorter than the preceding norm (301 f., a trochaic tetrameter in his analysis), is a second indication that he did not include the distich in 312 f. in his analysis, but gave it separate consideration. Cf. Schol. Eq. 761.
êo-ts,
322-32
^
rgpa
o^î.
(322-7)
(328-9^)
to
iv
a',
elaOeaei
y8'
KcoXa
/S',
BaKTvXtKa
Bt/jbeTpa,
aKaToXrjKTOv
See 451.
13.
TO 8e
KaToXTjKTLKov.
(3302) * * *
Heph.
On
this doctrine of dactylic catalexis see

T^v
10
ff.,
21. 1
ft'.
3828
X^pov
apa TTupos
onrXr]
Kai
iv
elaOeaei
ireploSo^
a'/S'y',
to,
tov
Se
TratcoviKT}
kirTaKoiKo';,
eôvaa TplppvOfia
XoLira SippvOfxa.
See 450.
Heliodorus read Kai KeKpaK-a in 304. This reading and the apparent loss of a metre in the antistrophe, which has only seventeen, explain his failure to note the correspondence of strophe and antiProperly two SiTrAat would be placed under 381 strophe. See 851. and again under 396, since these verses precede each an antistrophe. The analysis of 367-81 has been lost, but probably Heliodorus regarded its last verse as a catalectic iambic trimeter. Cf. Schol. Eq. 911 if. on Eq. 939 f. It is with reference to this that the following group of paeonic dirrhythma and trirrhythma (382 fF.) are said to See 840. be ev tto-^to-et.
40940
\^',
ouToi
pi'
uirepPaXeio-G'
SnrXr} koI
\d(3oc.'^
(TTL'Xpi,
la/j,/3iKol
Mv
T\evTaio<i
d\X'
" dvrjp av
i6i
)^â.ipu)v
:
i]hew<i
V
yap twv (498 506)
tov
^
498610
vTTOKptTwv,
"
Kopcovi<i
eêkOovToov
Xeyec
eiTa
KaTa\L(f)6U
(3' ,
6
Trjv
x^P^"^
/jcev
7repi6Sov<;
dvaTraiaTLKa'i
'TrpoTrefiTTTiKTjv
v<p'
Tpov TWV viTOKpLTOiv

^
:
ovaav SeKUfieTpov TrevTaKOiXov,

"
fjv
Ed. wepioSos /cat etcrdeais 303-11 322-32 1 Adscript to 328 f. in V 382-8 1 Ed. iTreiirdiaei ^ 409-40 ^ D: dnrXoi iafiôi - Ed. 498-610 ^ T eicrekdovTwv ^ Ed. 6 {duo) a.vairaicTwv [?/']
:
iiri.<Tei<xei.
Trepiodov avairalcFTuv
t)
reads
-rrepiodovs
EQ.
METRICAL SCHOLIA
Kara
TO
rrjv
Trj<;
405
KOfM/xdrcov,
StTrXr)
Bevrepevovcrav
êaTL
Be avrrj ro^
^
ap')(eTat 'yap
KaXoufxevT]<i reXeia^ 7rapa^da(o<;,
eTTTd/nerpov
^)
^
Be
e<7Ti
'
Ko/jUfMciTiov
TeTpaKcoXov.
rrjv
"'
V
^
(50746
*-
BiirXi]
(rri-ÔL
Kol
eK6ecri<;
eh
*
avrrju
irapdâcnv,
yu,'.
dvairaiO'TtKol
KaTaXr)KTLKol
Terpafxerpoc
V
^^
(54750)
fjêXiKol
(551
elai
iB'
610
TJ<;
BiTrXf]
eira eTrdyerai eTripprj/jLariKT) av^vyia, al

fxev
(55164
'
= 58194)
/S'
irepioBoL
Koikcov
TO irpoiTov ôptafxîKov la^jBiKrjV

ofiotov
^'~
e-ôv
e7nfxefj,iy/jLevrjV
aKaToXrjKTOv koL to
B
^
uKaTdXrjKTOV koI to
KaToXrfKTiKOV
7]
7'
Ka\ to
OfMOCOV
Koi
TO
Ôpia/x/SlKOV
t,'
Koi
TO
^^
S"'
CLKaTdXrjKTOV^ Kol to
O/XOLOV
kol TO
^"
KaTaXrjICTLKOV,
KaTaXi-jKTLKov,
TO
tcl
Be
Be
Kol TO
B'
^^
avTicTTraaTiKov
Tpi/xeTpov
XocTTo,
dvTiaTracTTiKd BljieTpa, Tpla fiev TXvK(oveia, to
TeXevralov
iTripprjfia
Be
êpeKpdTeiov.
eaTl
^'
V
^^
(565-80
595-610^^)
to
cttl^cov o
(f)iXeL
iS"'
TeTpd/xeTpcov
Tpo'xâl'Kcbv
Kora-
XrjKTLKOiv,
'ApiaT0(pdv7]<i.
V
The
See 294, 553.
On
the sporadic use of 8l-\ij between two subordinate periods,

Kop-fiaTiov is
illustrated in this scholium, see 854.
properly
all
that part of the complete parabasis which precedes the parabasis in the limited sense. Cf. Schol. Ach. 626, Pax 729. But the two
regular parts (see 293) of the introductory strophe in this parabasis are so distinctly di\aded that Heliodorus regards the second as the
real
beginning of the complete parabasis.

61
15 u
<|>iXTaT
dvSpwi'
eVi
Tov X^P^^
fcal
'
ta/MÔC
TpLfieTpoi
dKaTdXrjKTOc
<B',
Be>
e'
tov vTTOKpcTOv Trapepxo/jLevov.

:
V
x^P'^^
61623
to
^
/S'
^vOv ap' a|ioi'^
BnrXy]
ireptoBo'i
'^
tov
ÔKTOi KcaXcov, ^9 TO
ev
elcrOeaei
a TpoxaiKov ^TeTpdfxeTpov ^pax^KaTdXrjKTOv, iraicovLKov TeTpdppvOfxov, tcl Be Xonrd iv

B'
iTreicrOeaet,
to 7' iraKOViKov Bippvdfiov, to

e'
Tpoxai^nov eipdrj-
fiifiepe<i,
TO
TratcoviKov Blppvdfiov, to
S"'
TpoxîKov Tpl/xeTpov
e(f)dr}fjLCfiepe^.
aKaTaXrjKTOV,
to
^'
6/jlocov
koI
to
r\
rpoât/coz'
V
*
*
:
See 231.
5^
tls
T eTTTd/xerpa Lemma el /ueV

:
etVi
{ivrdneTpov
in
5e
^
icm
:
0),
t6
d^
ko/jlholtiov
^
TeTpd/xeTpov
dvfjp
^
V
:
T
^^
dva.TraL(TTiKT)
5t7rX^
etffdecriv
Pr.
6'
dva-n-atdTOL
Ed.
fji.a'
Adscript to scholium on 551 in

Kal
'^
with
:
lemma
TO
yrjffai
iwwi dva^ HoffeLOov TO de i' dvawai.(jTLKbv ôvXSfxeda in V

'
" T
^'^
fxiX-q
:
dKardXr]
.
dvairaiffTiKbv Tpifierpa
.
^'
T xoi Lemma ei"Xo'-^
^*'
reTpdnerpov rpoxo-LKbv dKaraXv
^^
Kiister
'ApiffTapxos
616-23
eirrdKii}\os
w Ka\d \iyuv
''
in 617
V
V,
tlffOeffis
aKaToXri
V V
O
^
y'/tierpov (sic.')
Tplfierpov
cor.
^ 9 : eh wepiodov Pr. KaToXr^KTiKOv 9,

:
Ed.
iiadiau
406
eq.
On the theoretical indentation of the second colon see 840. Trochaic trimeters (Heliodorus's sixth and seventh cola) are here grouped with catalectic dimeters and paeonic dirrhythma.
62482
^
Kal
fiT)!/
dKouo-ai
ScTrXi]
(/cal)
crrL'ôi
la/Jb/ScKol
TplfieTpoi aKaTaXrjKTOL
vd'
V
:
68390
avriarpocô^
irdi'Ta Toi TTCTrpaYas
(Suo)
"
StTrXat,
ort
eTterai
rj
rrj';
^
irpoanTohehofjbevrj'i.
V
Kal
See 231.
^
691 755
Kal
\i.r\v:
SittXtj
fe'.
e/cêcrt<?
el<i
Idfiôv?
rpifiirpovi aKaraXijKTOv;
V
Kal
756823
p.ev
y8'
vuv
Z-q
o-e
SittXt)
(75660)
(Kal
(Tricot
e',
mv
a
Kal
Kal
6
B'
Kal
e'f
e'
lafjbôi
TeTpd/xerpoc
KardXrjKTiKOi, 6
8k
j'
Id/x^cov
Zip,erp(ov
WvâWiKOiv
hlcmxo'i
Kal
e^f/9
elra
(7612)
(TTi'ôL
eV
eKdeaec
ia-rlv
'
^6
v(f)^
e6vp,o<i
dvdtraiaTO'i
Terpd/jirpo<i
KaraXrjKTiKO'i
"
BittXt]
(763823)
et-?
6/xoLQ)<;
â.
V
^
See 91. * * *
SlttXtj
82435
oTTOTai/
x'^-'^l'-i-
Se
Kal eLcrdeaa
So)SeKdKO)\ov.
ireplohov dvaTraianKrjv
reTpaKaieiKOCTLiJberpov
:
836910 u
'l(tov rol<i
irao-ii'
di'6pw7rois
"
SivrX?}
Kal
eKde<TL<;
ov
Kar
dvaTraiaTOi'i et?
IdfijSov^;
^Terpa/xerpovi ^KaraXrjKTtKOV'?
06'.
When Heliodorus says ov Kar la-ov rots dvaTraicrTois he means that the iambic tetrameters (836 ff.), although ev kK0k(Ti with reference to the standard (835), are not so long as the preceding anapaestic tetrameter (823), the standard for the following dimetrical period. On the position of the anapaestic tetrameter, see 835. Heliodorus
again
fails to
note an antistrophe (836

^
ff.
= 756
ff.).
91140
/LteXo?
cfiou
\i.kv
o3i/
SiirXi]
Kal
ccr$eai<i
"
eh
dp,Oi/3alov
ra)V
viroKpiTOJV
fiovofxerpa,
*
kcoXcov
Trdvrcov
Idfi^cov,
&v
to
rd
Be
irpMTa
Svo
reXevratov to
rd TptaKoaTov
ctj
^ e^r)<i
BlfieTpa
aKardXriKTa,
Tpi/jueTpov
:
KaTaXrjKTiKov.
V
{7repioBo<i)
9412
Si/ccoXo?
eu
ye
tov Ata
BlttXt]
^
Kal
Tov X^P^^
iv
eaTt,
:
eireio-decrei,
e7rLTr}Be<;
BiaXeXvfievr]
eh tov
ireôv
Xoyov
Be iroXXd Kal
:
Trap"
^viroXiBi
:
creaij/xeicojueva.
. .
^ H ^ T 624-82 ^ D SiTrXot tafiôL " T di'rrXrj 683-90 1 S before 683 in V - T etadeais 691-755 1 S over 691 in V 756-823 ^ T t6 idifj-ov dnrX^ dixxwaiaTos rerpafêr 824-35 ^ Ed. rerpd/xeT /cat dKoaifierpov " 6 ^ ta/jLîKa V 836-910 ^ T etadeai^
:
rpets /JLera dKardX-rj
KaraXr]
Ed.
|'
T
:
TeTpdfierpa V, rpifierpovi
KaraX-^KTiKa
1
V V V
"
911-40 941-2 1
ifxov in
Idfiôv
-
5"'
Ed.
evarov
diaXeXv/xevus
els
cm.
BQ.
METRICAL SCHOLIA
'
407
dicolic
'
For an attempt at a metrical analysis of this made by some Byzantine grammarian and found
289, 9-13.
prose
line,
ii.
in V, see
IV.,
94372
Kdfi.01
8oK6i
A,
.
SlttX}}
koI êv^
iKdeaei 'lafiôt
'
rpi-
fierpoL dKaToXijKTOL
V
:
97396
Koi
^SiaTov
<t)dos
Kopo)vi<i,
iîaa-L
yap
ol
"
viroKpirai,
ev eladiaei
tov
%0|Co{)
e'/c
efa9
^
fiovoarpo^cKr]
rTpaK(o\ou<;
eyovcra Ta<i 7repi68ov<;

avvrjirTaL
y'
VXvKOveiwv koi tov êpeKpareiov,

SiaKeKpirai,
he
S"'
he
rfj
Xefet Kal
*
fiovov
k,
^ t)
to
êpeKpaTSLov'
Kopwviho<;,
Tpi-
'7rapd<ypa(f)oc
8e
oi
dir-Xal fiev
SiirXf]
fxeTO,
OTt
elcriacnv
viroKptTai,
irj'
.
Kai
elcriv
(9971014)
tafifSoi
fieTpoL
aKaTokrjKTOC
See 544.
;
The Trapdypa(f>os that separated the six strophes was single that under the sixth was double and was joined with the coronis (855).
101520
r'.
^ r<|,priêu
'EpcxOetSr)''
ev
eKOecrei
(ttlxoI'
(eVt/col)
V
10219
^rauTt
fia
ttji'
AiîxTirpa
Kal
iv
'
eladeaec
crTLXOt
lafiîKol
6'.
V
ritrri
1037-50
^
yoni"!:
(1037-40^)
:
iv
"
eKOeaei
iiriKol
Z'
Kal
(104150)
eV elcrOeaei,
la/xôt BeKa.
iv
10679
Tpeh.
rAiyeiST)
^pdaaai^
KucaXcjirexa
iKOiaei
iirtKol
V
^
10709
t
,
'ôu
TouTo
(|)T]CTif^
iv
elaOeaei
8e
Mfxôc
avv
olvel
^
apua to
:
" etev."
V
^
111150
pLOvocrTpo(f>iKov
<jcal
ATJixe
KaXii;/
BcTrXrj
Kal
8'
iv
elaOecret
/u-e'Xo?
dpbocl3aiov
irepiohmv
*
ivaXKa^
tov
"
X^P"^
IwviKal
to
tov v7roKptTOv>, BeKUKCoXot

pbelôvo'i, o)V tcl
Se elcriv a! irepiohoi
diro
p,ev
iaTcv eÔrjpupLepr), 8vo 8e
r)p,io\ia,
TCTapTov Kal TO SeKaTov.
V
Ed.
:
See 571, 573.

:
1264-1315
943-72 973-96
el
*
1
^
Ti
KCiXXiok'
dpxofieVoiai
TeTpd/xeTp
-
*
.
*
.
KopcovU
Be,
Ed.
Pr.
el(rd
dKaTaXr)
r;
fJ.6vov
^
ctpo4>lkt]
T:
rerpa/cajXos o^'aa
Pr.
7\i;a:wi'"
airXoc
Two
notes in V, the
first
ending
5^ 5"' Kal
nera KopuvlSos,
the second (S idou diaaai) beginning SlttXt) Sti eia-laaiv 1015-20 ^ Adscript to 1014 in V - T : dKd^ffei 1021-9 1 Prescript to 1021 in V 1037-50 ^ The entire metrical scholium is adscript to the general scholium on ^ T eirLKo. ehdeaei T 1040 in e 1070-9 ^ aWa raus eKacTore as lemma in ^ T: xopoO- 9: iv eKde .V 1111-50 ^ Adscript to 1111 ff. in V
:
iKdiaei
5^ Pr.
om.
IwviKQs
'
408
iîacn
al fiev

yap
ol
nub.
viroKptrai,
TreploSot
fjbev
koX
^
eari
av^vyla
iTripprj/MaTCKt],
/jueXiKal
(126473 = 12909)
lafi^CKOv
^
e'/c
^ ^9 BeKaKcoXol elac,
Kol
avTMV TO
to
TTpwTov
619
e<fi67jiu,tfiepe<;,
to
*
Be
/S'
SaKTvXcKov
e(f)87]/j-c/Jiepe<}'
Tplirovv
BicrvWa^lav, to Be
Tpo'âiKi]<; ^daQ)<i
S'
Tpo-âlKov
Tre/u,7rT0v
koI
^'
SaKTvXiKov
irevdrjfjitfjiepov'i'
to
S"'
la/x/StKov
BlfxeTpov
to
ofiolco'i
ra
to
e'
TO
7)
irpoaoBiaKov ScoBeKaarjfMov Bia^6p(o<i TrpoaeXa/Se'

to
i
6'
avavataTLKOv'
lafMîKov
TpifieTpov
'
KUTaXrjKTiKov.
ff.
(1274-89 = 1300-15) * * * See
493, 503
Heliodorus regards ti ko-XXlov ap'xpfx.kvouTiv as an iambic hephthemimer, notwithstanding the anapaests. He overlooks his third
colon.
131634 eu4)i]|xeLv XPT rpdfieTpoc KaToXr^KTiKol ^
crr/ôt ev K0crt avairaLCTTLKol

.
re-
l6'
V
^
:
13351408
"
S>
(jjiXrar'
di'Spui'
ev elaOecrei tafiôi Tpl/jueTpoi
dKaTaXrjKTOL
oB'
Kol
fxeTo,
tov
TeXevToiov
Kopcovlf
rj
tov
BpdfiaTot;.
V
JVuhes
^
45775
fiev
XtjiJia
iiek
TTcipeoTi
7re/3to8o9
evBeKUKCoXof,
mv to
to
TrpwTOV Tpo'â'iKOV Bl/neTpov aKaTdXrjKTOv'

^
to
/3'
Tpo'âiKov
TpLfieTpov
B'
5"'
KaTaXrjKTtKov'
^
to
<y'
BuktvXckov
to
e'
7rev67}/xLfjbep<i'
dvairaLa-TLKov
7rv6r]fiifipe<;'
'
êpeKpdTeiov dTeXe
^tj<;
TO
^
lafi^tKrj ^dcri<;
to
rj
,
^'
dvairatcrTLKr}
cTVvr]7rTai
BcoBeKdcrrj/jbo^;,
koI
to
l
to
dWd
Iu/mîkco
TrevOrj/jbifxepel'
BaKTvXiKov {TptTTOVv eh)
Tpo')(alov'
)
77
to la
TpicrvXXaô^ KaTo, troBa KprjTLKov.

^
(46775
Troiei
irepLoBo^
evvedKcoXo'i,
^
o)v
to
^
TrpcoTov
'ôpia/xîKov
av^vyiav
B'
to
/3'
^^
dvaTraiCTTLKov
^^
irpocroBiaKov BwBeKdarjpbov'
to 7' la/jb^tKov
7rev6r]/iip,epe<;
kol
5"'
to
e^rj<;
crvvrjirTaL
Be
^to
BaKTvXiKov
Kol yap to
^
TrevdTjfJii/jiepe^^
^^
koI to
to
:
dvairaicrTiKov
ecfidrj/nt/xepe'i,
^^
Ta
/3'
e7ro9'
1
BaKTvXiKov
"
7rep6r]/jLifiep<i,
^
Kal
tj'
1264-1315
Tpoxo.'CKbv
Trvdr)/j.i.p.epS
D
:
lis
V
V,
lafiôv
'
9
:
Tr.
diffvW
^
Ed.
Tpiirovv
(pdr)iu[jLipii
^
e<pd7]pufj.epes
irpoodiKbv
"^
TpoxclxSv dKaTaKrjKTOv
'^
.
daKTv\iK7Js
V
:
1316-34 1 T te' 1335-1408 1 T '^Kde 457-75 ^ S X^,aa in V

:
H
:
Pr.
KaraXi] aKaTdXTjKTov
:
T
:
to
irevd-rjiirjixepis
"^
^
:
Pr.
Pr.
Trvdr]fMr]/xepes
Pr.
note in V, but under the same signum

'"
TTpoawdtaKov
^^
by Ed.
(see
TO.
B:
A separate avaTtaiarov O'kwXos ^- Kal to " 7rv6r)fxpii f transferred from below " Ed. Kai rb j"' Kal rb v' rb in V, i.e. rd /3' = Ta dvo
:
êpeKpanov
irevdrifirifiepel
'
note 12)
NUB.
METRICAL SCHOLIA
ê
409
koX yap ra
/3
avvrjinai
no
eî)'?
ovtl
avairaicrriKw,
to
Xtyofievov ^(oipiXecov.
See 500, 503
ff.
Heliodorus divides the ode into two periods (457-66, 467-75), which he analyzes separately, as if a dyadic pericope. The first ends, cretic the second begins with oxne in his analysis, with oifôfxac, a ye crov, a choriambic colon. The following statement, Trote? a-v^vyiav, apparently unites the choriamb with the preceding cretic in a syzygy.
' '
'
'
4767 '"dW
iirdyeiv
^
cYxeipei^
*'
et'wê
yap
p-era
to
aaat,
StaTixo^-
^
:
Compare the
on a Heiiodorean original
iiriTiOivai.
Triclinian note in the Vatican manuscript, Vv5, based Iv iKdka-ei, 8e a-rixot 8vo dva-n-ata-riKol nrpa.Ictti
jLieroi,
peTpoL KaraXijKTLKOi, edos yap
rds TotavVas
Trepi68ov<i
8uttixov
Zacher, Handschriften, 631.
Compare
also the following
note on 478, in Handschriften, 632.
804-13
')(oplap,ô<i
S.p'
alaQdvii:
"
'xppiap.ô'^
8ip,eTpo<;
dfcaTdXr]KTO<;'
Bip,Tpo^
KaToXrjKTtKO'i'
et9
\'ap,ô<i
7rv67]p,tp,pr]<i'
utto
'ôpidp.ôv
XrjKTLKOf;'
6t9
^da(o<;
^(opiapLôv'
tapuô^
hipbeTpo^;
KaTa/3ttcre&)9
capLô^
8i,p,eTpo<i
uKaTokriKTO^' diro 'ôpidpLôv

TplpueTpov
lapiôv'
'ôpcap/SLKov
uKaTdXrjKTOV'
')(ôplap,fio<i
e^drjpbLpbeprjf;.
See 562.
Heliodorus overlooks his ninth colon.
889-948 \wpi
advTcov
Tcav
Seupt
* *
SnrXri kuI Kopo)vl<;, diroxfopvhe
viroKpiTOiv'
pbe\o^
rod
%opoi)
ov
tceiTat,
dXkd
^
yeypaiTTai
pep
iv
pueaw
" 'ôpov"
Kal
eTrerai
ev
elaOea-et
(TrepioSo?)
dvaTrata-TCKij
e^êt
tmv
viroKpiTOiV,
Kal Bid ra
irpoacoTra ovSe
reXeta?
ra?
<Tv^vyLa<?.
eaTt
8e
ra
iravTa
K&Xa
326.
oB' ,
S)v
Ta TrpMTa
B'
^BlpêTpa^
dvaTraiaTiKd.
V
T03V
See
1131 53
KpLTWV,
^TrefXTTTT],
TTpds
K0p03VL<;,
elcTLOVTOiV
VTTOeiat,
Kal
e^ri
.
TTpapLTpov<;,
yap
'
ol
lapbÔL TplpieTpoi
loO
:
Ky'
li
1170-1205 MoG
^ T
:
BittXt),
eha
eladeat'i
eU trpoavaand
is
tCiv XtyofjLfvwv
^
476-7
The note
to that verse
'
804^13 1 889-948 1131-53 1170-1205

'
of which by signum S 804 in V S 889 in V

1
this
:
is
a part
is
placed after 467 in
referred
T Startxa - T diKaraKriKTOS T diau avairaiaTiKol V Prescript to 1131 in R T ra e^Tjt - 1 elra Lemma in V, S ioO in R
: :
ff.
"^
iafiî
Tpi.fi.erpa
Kal
V, elra and space
^ (erased)
els
410
(jxovTja-iv,
**

TO " lov
lov,''
vEsr.
*"
Kol
ca/jiôi
Tplfxerpot
\e' iv
eKdead.
VE
12591302
KUi
TO
^ loj
|ioi
fioi
7rpoava(f)a>vr)/j,a
to
"
lo)
fxoi
fiot"
" ea.
y'.
Sib
SiirXr}
koI
aTiôc
* * *
lafjiîKol
Tpc/jue'-poi,
TeaarapaKOVTa
V
Trpay/xciTOJi'
^
:
1303 20
fjbeko^
otof TO
Kopcovl'i
Se
Kol
^ fiovoaTpo(f)iK6v^
tov
X^P^^
lafM^CKov
o)v
^Ta'i
TrepcoSovs:^
/<ca\cov
êôv^,
oiv
TO
*
irpoiTov
TplfieTpov
uKaToX'qKTOv,
^
Kol
iv elaOeaet
KwXa Tpla
* *
lou
:
to irpoiTov Icovlkov
^
^/jioXtoi'.
VE
(1307-1310^)*
lou
See 581.
ecTa
etaOecri'^
et<f
132144
<f)a)vrj(Tiv,
SiTrXr),
^t<;
irpoava-
TO
lov
lov,
kol
eKdeai'i'^
ldfjL/3ov<;
TpifieTpovi
aKaTokrjKTov^ eiKocn
Cf. Schol.
Tpel<;.
@
See
838.
Nuh. 1170 for the restoration.

Kal
\s.r]v
135385
MV
TeXevTUio^;
O06C ye:
(TTixol
Ofioioi
tm
Bi(TTi'X
" ê<ppov av kol Trpovaxo/nrjv."
Vespae
1229
ia/jb/3iK0i
ooTOS
Ti
Trdcrxeis
*
,
Tpi/JiTpot ciKaToXriKTOL
a(})7]Klav
^TOl'
aK9'
KaT (JTlxyi up^V^ Mv reXefrato? " ttoWmv

* * *
SiKaarTOiv
ScaaKeSdv "
TTTjXoi'
(sic).
TTClTep
V
I
248 72
W
"
TTCXTCp
TO
6
^
flETpOV
evTevOev rjXkaêv,
ecrTt
yap
fiiKTov,
avvTeOev k re
la/uiîKov
BifieTpov aKaTa\7JKTov koI l6v(f)a\\cKov.
V
;
The remainder
not Heliodorean.
of the note in
V
:
(T
p.
21
iv.
ii.
450, 8-9)
is
126591
TrpoaooTTOv
*
^TToXXciKts
St)
'Soâ
ô
TroirjTrj^;
TavTa Xeyei
^
airo
Tov xppov'
:
Trapa/SaTtKa
:
Be to, pbekvhpLa'
cItu
to
''
e ^ T om. V e' VR T ei^dâei VR 1259-1302 1 S 1259 in V 2 jj(j_ 1303-20 ^ KopuivLs ^^' q (meanaKaToXriKTov Kal om. RV ing to include both strophe and antistrophe) ^ Adscript to 1304 ff. in RV ^ YG ^ The analysis is continued in R9 Tpia. KQ\a V rnxiokeiov R 6 (see D iv. 569 n.), but is Byzantine 1321-44 1 Ed. t) 1353-85 1 T TeXevTolov ^ jj 1-229 1 S euros in Y j'^^jQet " 248-72 1 Pr. cD Trdrep woLTep V ^ Pr. yap fMiKTov Pr. fxiKpov V
t6
ia/xîKou
*
1
D
:
1265-91
fx4rpov avTi\-i)KTov Kal ldv<pa\iKov the note faces 1265 in 6

:
'^
fxeX^dpia
vapaâriKO.
eZra rd avTeiripprifia
R,
om. V,
iirlpptjfia
Kal to
added by Rutherford
PAX
eTTLpprj/xa
METRICAL SCHOLIA
kol to avreirippi^îa.
8id\ififia
411
liF
Tovro
^(pTjcrcv'^
êma?
cttIx'^v
(127583) * * * /xera avaardrav elvai, roiv

"^
*''HXto8ft)po<?' fiera evpov ^tovtoov^ evheKa. Tov crnyov rov " yXcoTTOTToieiv ei<? ra iropveta eiaiovra eKuaTore ela-l TOTTOC kirra exovre^ a-Ti<yfMa<i koI aXoyov^, mv eV rrpoxetpov
irkeLa-Tcov
3e
fiev
^
evpeiv tov \6yov ovk eaTi,

v7ro\a/jt,(3dv(o
to,
8e
ToiavTU TroXXa/ct?
ov
^
^ firjv
eiTrov
oTt
ev
toI^;
Trpwrot?
dvTiypd(f)ot^
<^6apevTa otl
tlvu
fiev
Toa-avTa
r)v
tov
dpcdfiov
yvaxrdrjvai,,
(1284-91^)
fxeTCi
to hLdXeipLp-a iv TroXXot?
(pepovTat
(TTixpi
iiTTa Kol TeTpdfJieTpov, ov 6 vov'i ov TrpoaTTLTTTet.
V
ft",
bee 457
are reported which the metrical scholia on 1275 527, 11-18) has confused their application and The speaker throughout is apparently the anonymous interpretation. Byzantine compiler of the scholia (832), who, here as elsewhere, bases his metrical statements on the commentary of Heliodorus. Once (see the first note on 1275 ft'.), citing Heliodorus (</.7/o-a') as authority for the StaAei/x/za where Antistrophe L, now lost, stood in the original book of the play, he says that the largest provision for disarranged lines which he himself found in any of his copies was It is worthy of note that Strophe I. (1265-74), to eleven spaces.
The disorder
(iv.
in
in
Dindorf
ii.
in
lost antistrophe corresponded, is arranged in eleven o-Tt'xot The compiler next gives Heliodorus's ow^n both R and V. Heliodorus says that the words, prefixing his name to the quotation. non-interpretable lines in his copy numbered seven, and he assumes that they were already in confusion in the first copies of the original 'Seven,' then, would be the number of solid book of the play. lines in which Aristophanes wrote Antistrophe I. as one continuous Heliodorus let this antistrophe go as musical whole in his own copy.
which the
'
'
It was later editors who attempted to heal the lines and The compiler arrange them in metrical conformity with the strophe. may have repeated one of these attempts in his great variorum edition, but if he did the lines were subsequently lost.
hopeless.
'
'
Fax
1-81
iafj,/3ot
* ^
Taip' atpe
/ialâi'"'
tov
'
Bpd/j,aT0<;
-KpwTOi
e?
TplixeTpoi
aKaToXrjKTOi
ir',
Siv
TeXeurato? "
iTTTrriBov
tov dep
The following metrical note

"
is
to the epirrhema (1275-83) between the scholia on 1259
added to the scholium on 1281 in V. tovto refers = Bergk The note is placed in dvaa-raTov and 1267, but it is separate from these and is
'''
complete in
over
itself
" elai rives in Kai TpLTov ofMoaov TrpoffiriTrrei
Bergk i-TroXa/^/Sdvw 6tl Bergk (except oi5 Ed.

:
^
:
/j-w riva
:
Signum
cDv
Bergk)
(piperai arixov ivbs

1
1-81
The note
in
precedes the
first
general scholium on
TeXevraLOv
412

/xera Be
eVl Tov KavOdpov,"

(poyvrjfia
to " ea
^
ea."
V
:
82101
^
^
^CTuxos Tjo-uxos
SlttXtj
koI
eia6ecn<;
el<;
irepiohov
dva7raiaTiKr)v
tmv
viroKptroiV
Tpvyalov
Kal
e-êt
tov
oiKeTOv
ivveaKaLTpiaKOVTa/xeTpov eiKocn kcoXcov, otl

^
/xovofieTpov to
SeKUTov.
V
^^b) TrdrepT
^
:
11417
ecTTL
BtirXr]
Kol
6t(j6e(Ti<;
ela/j,ev,
ôvB^^
TLV0<;
TU^T/?
ovK dvaTTUiaTov eêi ôvBeva^,

ttXtjv
dWd
7rdvTa<;
'^roy?
TroSa?^
BaKTv\ov<;
Tpiwv
BiavWd^cov.
See 345.
On
this doctrine of dactylic catalexis see
Heph.
:
13.
10
flf.,
21.
fF.
12453
6ecn<;
^
Kal Tts iropos
ctoi
-rqs
68ou
y^'^'ô'^Tai
BlttXtj
Kal eta~
et?
(TT'i')(ôv<i
^
tafiîKov<; Tpip,eTpov<i
dKaTaXrjKTOvi
BlttXT]
\'.
V
eicr-
15472
OeaL<i
ei?
dXV
aye ni^yaae
^
Be
'^
Kal
TreploBov
id'
oifAoi
dvaTraLaTtKrjv
tov
irpea^vTov
OKTWKai-
TptaKOVTdfieTpov
Kcokaiv.
V
:
173298
TpifjL,eTpov<i
CO
ws Se'SoiKa
'
BlttX-)]
Kal eK6ecn<; eh IdpuôVi

^
pkS"',
Xeoo."
mv
*
Te\evTalo<i " Kal
vrjaioyTaL,
Bevp*
lt
irdvTe^
ev
evioi^
Be dvTi,'ypd<f)oi'i
fieTU
aTlôv<; va
Xrj'
eaTL KfoXdpcov
ToBe
" tI
^ <^r)(;
"
;
Kal
fxeTa
dX\.ov<;
ToBe
"
Irj
li]."
V
TdxKTT
299-336 Us
et?
(7Ti')(ôv^
%as:
v(f)'
BiTrXij
Kal
(299-300)
tov
%o/c>oi)
e/cêo-i?
y8
,
TpoyalKov'i
Xeyet-
TeTpap,eTpov<;
01)9
KaTaXrfKTiKov'^
ou?
eVt
irpea^vTTj'i
KopwvU,
elcreX-
66vTo^,
^
Kal
(30136)
*
(XTlyoL
:
6iioico6/xeTpoi>
On
91
V V
"
dvawaicrTiKr]
evvâ
Kal
has the interlinear note to0t6 iari to d^Karov
114-17 ^ The note is given twice in V in slightly varying forms, and is misplaced both times. It is attached by a signum once to iraidi' in 111 (V^) and again 2 Si^^Xt) ^ Ed.: eKaarov to fieTpoi' Y^ to ^(TTi in 118 (Vb) ^ Ed. oiidk dvairaiarov i^x^f TTpa.Kw\ov V^ CLvairaicTTiKhv 5^ airb Ed. ^ Z crvWdîov ^ B. 124-53 1 eh D om. V Ke' ^ /cat D ^ D : dvairaKXTiK 154-72 ^ S before 154 in V om. * Z oKTw Kal TpiaKovTd/j.eTpos ^ ^ 173-298 T t6 TeXeuTolov Text of V : vnaiwras S oL/xot. ws in V * ^ Ed. and ire in scholium in V (pTj T : en-eciois
.
.
299-336
cl)s
Tdxicrr in "V
PAX
METRICAL SCHOLIA
rj
413
'
KaraXrjKTtKol XS"', mv T6\evTato<; " fiaXXov
to yrjpa'i
e/cSu"?.
V
337-45
fiev
^
^
^
jAT Ti
Kttl
vuvi
*
ye:
SiTrXfj,
cTrerat
"
yap
'
"^
/xeXo?,
ov
tj
TrpowSo'i
iariv
*
^
ck
8icrTt%ou
^'
6fjL0LQ)<;
CKKeifiivov
kuI iv
fxev
elcrOecrec
<'rrpLoBo<;>
e
kcoXcov
TpoxaiKcov,
Bi/xerpoov
aKaraXrjKTdiv
Be
îari^
to
KaraXrjKTCKOv Be rov reXevralov, fiovofxerpov eaTi Be to TeXo<; " lav lov irapaTeXevTOv.
BiTrXi]
^
KKpayevai.
V
^
346-60
""el
Y^^P
Y^'ôi'TO
iSelv'^
Kal
<7reptoSo9>
CKKaiBeKa kcoXwv, on> 6 fiev a ecTTC aTC'^Ô'i TpoâiKO<; eKKetfieva Kol ^ BevTepov iv eladea-et KOiXov TratwviKov (Bippvdîov ^ TeTpdppvdfiov aKaTdXrjKTOv, kov eireKOeaet ^Kav^ iKdea-ec)
<(Tri'V0O
S"',
rpoya'CKol
TCL
/'
^
/3'
TeTpafieTpoi
KaTaXrjKTiKor
to
"
Be
^
MV
TramvLKCL
Be Xolttcl
Btppvdfxa,
TpiTov
^KaV kmXu TpoxaiKov
eÔrjfiLfiepe'i,
Ta
toU Tptalv
6 kclv
'
ofioia
e<?
eKacTTOv eKcio-Tcp
kcik
elra iv iKdeaei
(Tvv
^
crTt;;^09 Tpo'xâlK6<;,
AvKetov
KOiXa
XvKeiov
ayadr)
Bopl
fiev
Tv-yT)^^
(7VV
dcnriBL,^^
elaOeaet
TraccoviKci,
rpia
BippvOfia,
to
Be
B'
TpippvOfiov,
to " eiXeT
f)fuv
V
^
See 232.
fioi
383-99
iK0eaei
v<f
TTJ
Te'tTTe'
Ti
TTcxCTxeT
"
BittXi)
Kal
(383-4)
iv
/3
crTiyoi
TpoâiKol
^' ,
eireTac
rj'i
TeTpafxeTpoi
KUTaXrjKTCKol
rj
om
Be
BiTrXal
yap
(385-99)
" fiTjBa/jum
avTiaTpeôvaa
BeaTToO'
'Ep/xi},''
eKKatBeKaKcoXo),
irpoiTO'i
TeXo<i
"
BecTTTOT
dyaXovfjiev
rjfjbt<;"
VF
^
426-34
c7Tt%ot
uiiiTepov ivrevQev:
Bt,7rXr]
Kal
"*
iv eKdecrec
(e')'
Tpo-)(alKo\
TeTpdfMeTpoi KaTaXrjKTCKol
^
ecTa
(426-30) (4312)
Bvo,
iv
"
eladeaet irapd
toi"?
TeTpafieTpov<i
aTi'^ôi
lafi^cKol
fiev
Kav
(4334)
inreio-decret,
KwXa
Bvo,
wv to
iK
BlttXov
a-irovBeiov,
to Be iK tov BevTepov
Tpo')(âiov
Kal auTov BittXov.
vr
Following /x^Xos in V is dtro npo (then 337-45 ^ Adscript to 337 ff. in V erasure covering two short intramarginal lines) povs ov t? fxev etc. The scribe probably wrote awb irpo6dov fxev etc., but failed to erase the beginning and close of his miswritten
'^
note
eKdecei TeXevra'ia
D
'
TrpooSos
T
:
diffrix
eKKeifievTjs
: . .
'^
^ Ed. KaraXrj Sifierpuv fj-era. dLUfTpuv ft-kv Ed. * T reXevr c r of \ ^ text in the given as V. The lemma is in before 347 346-60 S ^ T Sevrepoi iv iKdiaei kwXwv iraMvi.Kuiv Kal tCjv 6,aowv eKKaiSeKa
:
5^
o
to.
*_
'
-a H H
:
:
TerpappvdfJLOs dKaraXyj
iKdicreL
^
^
^
.
D
.
iraiuvta Siuipiko. dlpvdfJ.a

iKirtir\T)yfiivoi.
T
T T
'iKacrrot
^
T
.
rpiixeT
dlpvdfw.
383-99
iKardXt)
fiev
. .
iKireTrX^nnivoL in
V,
as
X/3'
lemma
T
in
*
rpifx
V,
Tpl/Merpoi aKaTaXri
.T
ayaXov dyaXXov-
7)ft,eis
o-rtx
426-34 V,
Wf r
om.
Y
'
iKOiaei.
rots Terpa/ieTpoii
(xrlxoi^
ineKdidu
414

43558
aireVSoi'Tes
pax
8e
o>v
euxofieaOa
*^
8f7r\r]
Kal
iv
eKdiaec ariyoi lajx^LKol rplfjuerpoL VF Taio<; " vTTOTeive 8)] 7rd<;.
uKaraXriKTOi
^
kS',
reXev-
45972
yopov
TOiv
ela
BlttXt}
Kal
^
TrepLKOirr}
a/xocâicov
rov
Kal
rov
vTroKptrov
irpoira
e'
'
ev
eireKdecrei
^
Kal
e-)(et
irapeKOeaei, ^9
(45963) ra
Kara
e'
^
Kara
/3'
kmXov,
Trpcorov
Trpoo-oiTTOov,
Kal
eart to
fMev
Kal
yap ^ aXXayyjv <y' TpiavWa(3a

to
etr]
Tra\iiJL^dK-)(eiov,
to
8e
iralwv
irptorof;,
Se
S'
tjtol
Tge"!
SaKTvXcKov
8t7r\ov<i
Sl'ttXovv
rj
rpo'âiKov
TrevdrjfjUfMepe'?
av,
to
TToXifMâKxeto^.
^
VF
St/jieTpa
(464-6^)
^'^
to,
ef^r}?
Tpta
iv
TrapcKdecrei,
avaTraiaTLKa
XijKTCKov
ev,
Kara
crriKov
iroha
^'^
(4678^^) eiTa ev V (469 ^^) KprjriKOv.
aKaTaXrjKTa /3' Kat Karaela decree TpicrvXkaôi <yS'>

elr'
ev
ef^}?
iKdeaei
avairai-
ecpdrjfitfMepi'i.
(470 1
^^) to.
Buo avairaiaTiKo,
^'^)
iv
^^
i7rK0eaC
Sifierpa
aKaTokrjKTa.
(472
^^
iv
Heliodorus classifies the exhortations in cola 1-5 and 9, 10 merely as the simple feet which the syllables seem to constitute, These short cola evidently but he is in doubt in regard to colon 4. would be indented as deeply as any cola could be. With reference, for example, to a trimeter, an anapaestic dimeter intervening, they would be ev 7reio-êo-et. The anapaestic dimeter, in turn, following any of these, would be Iv -apeKdea-eL, with reference to a trimeter. Recognizing the problem these very short elements present, Heliodorus serves notice at the beginning of his note that he will have occasion to employ the terms eTreKOea-a and TrapeKOeans, and he does use them, but in introducing the term eVeKêo-ts (the only possible designation here, if one is to be used at all) in stating the position of cola 12, 13 (470-1) he is inconsistent with himself and certainly in error. Neither above in placing cola 6-8 (464-6), nor elsewhere, does he differentiate a catalectic from an acatalectic anapaestic dimeter, but he does this in treating cola 11-14 (469-72), of which two are The note on these cola, if consistent with his catalectic dimeters.
' '
previous note, would read

459-72
3
1
rot
e^/Js
rea-o-apa
ev irapeKdecreL,
avairaio--
V
Z
fKdiixei
be KaTo.
4aTL
^
:
Kara wdda as below ?

*
r T
adscript to 459
. . .
ff.
in
irpoaibiro^v
^
" Ed. om. T

'
^KdeaLs.
^
D
:
dXXd yap
V
By
/3'
ira\ifJ.âKxei.op
V
difjL
.
.
ZiirXovv
.
V
.
^
.
avaTraioTLK
12
aKaraXr]
Sv Kal KaraX-i]
Cf. Schol. Pax 486 koAuiv Should this 8ti to /xev a TpicrvWa^bv error, S ela in 463 in ^^ Adscript to 466
Ed.
V V
:
in "V
1
eKdeaei
^*
Interlinear in
"
H
:
Treudrj/j.i/j.epis
^ Ed.: V has eiaOeaei. here and Vr iireKdiaei just Adscript to 470 in " Adscript to 472 in These two terms got transposed in transmission below. i^ -' ^^ T T r om. V om. V V, lemma -rrds oîv ov xwpei in T aKaToXrjKTOi V di/xer KaraXt) di/x V,
;
.
PAX
METRICAL SCHOLIA
Koi t6 8
,
415
8e.
TiKov Sifierpov KaTaXrjKTiKov to a

rh y.
ttKaTaA7;KT0V
to
(3
Kal
47385
la/jLîKol
i<y'.
(S
Acifiax'
dSiKcIs
SlttX}]
Kal
arl-ôt
rpi/xeTpoc
Vr
<S
48699
Trporipa
TO.
^
eta)
Buo
8c7r\al,
eirerai
iB'
"
r]<i
'yap
i)
avrl(npo<ô<i
rrj
TreptKOTrfj
dfioi/Sata
KtoXoiv,
rj
TrpoacoTra
eX(T^
Btaipeaiv Ofioiav,
o'i
e-ôvaa Kal rrjv et? cip'^r] " m ela,^' Ti\o<i Be
" aX)C
KwXvovcriv."
iras
:
See 302.
Kal
'^^^^
51219
KcoXcov
TrpSiTov
7]'
aye vOv aye

a/jLOCâicov
BiTrXPj
el'crêcrt?
et9
ireploBop
tov
X^P^^
to
B'
'^^^
vtroKpiTov'
to
avairatcniKov Kal (to)

^'
BnrXovv'
^
/d'
{Kal
to
e')
lapbîKov
didr)fiifjiepe<i'
^
to 7' Kal to
lafiîKov BifxeTpov aKaTaXijKTOv'

t)'
TO
S"'
Kal 'to
ofiotov.
11
See 84.
|
eta eta Tras (Richter),
Heliodorus seems to have read (518-19): S> eta da era vvv w efa or something similar, two acatalectic dimeters.
553 70
^ ^
^d)S
Tdxitrr'
aveu
^
SopaTi'ou
,
eV
iireKdea-ei,
(TTiXpi
Tpoxf^LKol
KaTaXrjKTiKol
Lf]
(bv
Te\VTaio<;
" Kal
Tpiaivovv
ajMOLâlov
Ty BiKeWr]"
fiev
Vr
6.va}xvr]a0ivre<5
:
571600 ^dW
TO
^
BlttXyj
~
Kal
/>teXo?
'
TOV vTTOKpiTOV (57181)

evvea,
BsKaKcoXov TpoâiKov, ov iv
to,
77',
eladiarei
aKaToXrjKTa BifMeTpa
Kal
iv
fJuovo/ieTpov
*
Be
to
evaTov
TrapaTeXevTov,
iKdecrei
crTiXp^
'')
TpoxalKOî
TeTpdfjbeTpo^
KaTaXrjKTtKo^;.
VF
(582-600
BittXtj
Kal <to>
x^pov, <ov iv eladecreiy Koika 7' TpoxalKci, eaTi Be to '' Ttve ypdcpovcnv " iBdfXTjfiev oXov Tpoj(aiKov e^dfJueTpov 7' /3' TpoxalKa <BifxeTpa> aKaToXy^KTa, to Be Kat (f)aai to, fxev
TOV
TpoxacKov
^
KaTaXrjKTLKov.
^
V
^
(585 92^)
Kal
elT
iv
^"
iKdeaei
TTaioivtKOV
TeTpdppvd/xov
7'
dKaToXrjKTOv,
iv
iireKOecxei
^^
<(TTixo9> reTpd[jbeTpo<i KaTa\riKTtK0<; TpoxalKo^'

B'
elT
iv
eladeaet,
K(x)\a,
o)v
TO,
TracwviKa
Bippvdfia,
to
Be
irapaTeXevTov
lafiîKov BifieTpov.
473-85 486-99 512-19 553-70
rpoxai^K
(593-600)
*
See 233.
1
^ 1
^
r S Cb Ad/xax in V - Ed.: o5 T: 5'

: :
:
D:
aWoiKO)
.
=*
- rdB: cm. TO S" Kal B cm. R iKdâei. r S Soparlov in KaraXr) V, (ttixol Ka.Ta\r]KriKol rpoxai-'Kol T
d/iolo}^
^
V
*
it]'
otixx
*
cm.
V
. .
tj
SiKiWv V cm. r 571-600 ^ r adscript to 571 ff. in V ' Ed. e' rb V, om. V rpoxa-'CKw T
:
:
D
T
^
V, otLxol
^ 5aifj.6vLa
9
rpoxcuot.
Terpa^xeTpoL
^
:
KaraXrjKTiKoi
T
:
as lemma in V 10 T KaraXr,
. .
naiuviKris
oeKavuiXa Tpoxc-LKO) V, 5eKarwXw 5'/x KaraXr] . arix Tpox ^ X^-^P^ X"V' *s lemma in V
rerpa/jL
V, rerpappvO/jLos
(Kd^cyei.
" T
(Kdâei
416

6516
^
pax
Tpo')(aiK6v,
ttTT
B,v
ouv Xcyeis
SittXt]
koI
"
yLieX.09
ov
S'
fiev
<iv
elcrdeaeO
iv
elcrl
KOiXa
hifierpa
aKaraXrjKTa,
reXevraiov
\7}KTi,K0<;
Be
iarcv
eKOeaei
^ crTi')(o<;
Terpafxerpo^
Kara~
rpo'âiKO'i.
^
VF
oTi
657728
rerpd/jueTpov
TdW
^
mwiras^
SiirXf]
koX
o/3',
eocrOe(ri<i
irapa
X5~'
tov
ld^j3ovq rpifjuirpovi 7rpoava(j)(ovr]fia to " Si w."

ei?
fxera
Se
ecrrl
VF
729818
reXecav,
e'^,
dW
101
xaiptav
6 X'^P^'^ fxevcov Trouel
jrapdâatv ov
iv
eKOecrei,
dWd
^
(72933)
KOfi/xdriov /xiv
ecm
"
rov 'XPpov ^cnixoiv

S'
Siv
Terpd/jueTpoL {arix^c)
eladecreC)
KardXrjKTtKol
otc
^
fxev
{iv
^
he
irapd
tovtov<;,
elcrlv
dvairaLo-TLKoi,
'
Te\vralo
kut
caov
rot?
aWot^;
koI
^^
dvairaiei?
GTiKO'^.
VF
(73464
i)^
am
BiTrXij
K6ecri<i
Kavrr/vy rrjv Trapdâcriv,
KaraXrjKTCKol Xa! ,
dvairaKTTLKol {a-rlxpi) ^^ TerpdêTpoi mv reXevrato'^ " iravp' dvidaa^^^ (765
^^
74
^^)
*
OTzep
*
TO
^^
SiirXrj
icrrl
Be
Kol
elcrdea-ci
et?
ro
KaXov/xevov
t
fiaKpov,
K(oXcov,
7reploBo<;
dvairaio-riKr]
elKoadfjLeTpo<;
ri<{
reXevralov
BiTrXrj
^
" dvBpo<i
ro
et?
/jLerwTrov
eôvro'^"
^^
^^
F
a
7'
(775818^*)
^^
Koi fieTaôXr)
fiovoa-rpocfiCKrjv
BvdBa
to
ivveaKaiBeKaKoiXovi
e^pvaav
to
"
Td<i
irepioBov;,
wv
BaKTvXcKov
"
irev6riiXLêpe<;'
rj
Bevrepov TreploBoq
koI to
B'
TrpocroBiaifi}
evBeKdcrrj/jLO'i
BooBeKaaTj/xo'i
ofjboiov
to
^*
^"WvâXXiKov êXeyov to
TO
5"'
"^
BcTrevOrj/jitfiepe'i,
KaXovcriv
lap,-
lafi/SiKov
66?
"'^
Bl/xeTpov
'
dKaTdXrjKTov
TO
T]
to
^'
BaK-
TvXlKOV
{koI to
TpiTTOVV
6'
Bi(TvXXa/3iaV
TLve<i
Tpoâlicri
ySrtcrt?,)
BaKTvXlKOV OfjbOlOV, Be avvdiTTOvcn to '^ rj' koI

ijKcofMioXoyiKov,
/juev
"^
TO
&
^^
619
BLTrevdrjfii/jbep^'i
koI jLveTUt,
i^',
Koi
ecTTi
djxeivov.
Ta
^
e^rj<i
'*
la
&)?
KeKcoXiaTai,
^
651-6
'
S before scholium
.
iu V, but not in text

.
.
'^KOeais ets ixe\oi
D
T
(TTix
rerpafj.
KaraXri
rpoxa-'iK
V,
(XtIx<^v rerpa/j.^Tpwi'
KaTaXTjKTLKwv rpo"
Xai-Kwv
3
r
^
ovk in 658 iu V, dXV ovk hv e'liroi lemma in F * 1: V, lafxfiiKa Tplfxerpa V raV, om. V s ^ ^^q pj._ 729-818 1 r S Wl xatpw;/ in V q^^ yp * T iravras V, raiJTas KaraXij V, Terpd/xeTpa KaraXrjKTtKa T
657-728
:
dW
.
.
T
'
'
t6
lan^'
.
rpip.
:
^
T
^^^^^^
V) reXevraioi rpoxaiVoi (rpoxaiK T KaTiaoi V, Kdriffoi F dvairaiaTiK V, om. F (tbie word stands at the beginning of the following scholium
>
.
VF
in
in
1^
V)
:
Adscript to 734
. .
flF.
V
rerpafi
.
.
Ed.
^^77
. .
10
eTr^Kdeais
^^ Adscript KaraXr] to adscript to scholium on 775 in F ''' ^^ wv evveaKaideKa KuiXuv dnrXrj 5e F T ^xô-^ 5t:r\^ ^^ T -" D om. F irpoaoSiKT) TO id' iafiîKdv di/xeTpov KaTaXrjKTiKov -* ^' Z : to " idvcpaXiKov T 5eKa.(Tr)ixos y i9v(pdXiKov Kal to 5' bfioiov 2" "'^ 24 j) ^ D diavXX la/jLîffXeyou D k' Bergk Trepdrj/xifiep^s '^ ^^ D ir^ i' J) KK6\Xi(TTai. Kal ylv iyKUfuoXoyiKhv eh dnrev$riij.ifj.ep^s
dvavaLffTLK Ed. scholium on 765 in F

^^
^'^
^^
fiovcra
in
V,
i*"
PAX
ôplafiô<;
METRICAL SCHOLIA
e(f)Or}fxc/jipT]<i,
^^
417
"fro
crvvrjTrrai
rf;?
e^rj<;
^"
he
Bvvarac Be
irpwrov
\017ra
avrSiv
fierareOrjvac
<TvWal3rj<;,
ra
to
Be
tB'
Vcody]vai.'\'
to
ly'
'
BaKTvXiKov
^Be'^
'
7rev67]/jLCfMepe<i
avato
TratcTTLKQv Tpiirovv
et?
i^'
TO TrevTeKatSeKUTOv BaKTvXiKov TeTpdirovv

iS" BittXovv
TO
LT]
TpicrvWalSiav, to
el<;
BiavWaîav
BaKTvXiKov
l9' ^^
TeTpoLTTovv
BaKTvKiKov
"TTevdrjiJiLp.epe'i
TO
ia[jbîKov BifxeTpov KaTaXrjKTCKov.
VF
See 497, 503

on 785
fF.
ff.
obvious.
The mecaning of the obelized words The text is probably corrupt.
in the note
is
not
81955
KoX
01
ws xaKetTQv
^
Kop(ov[<i,
^
'^
TTpotaac
^
yap
01
viroKpiTai,
TrpCOTOl
(TtIÔI
lafM/SiKOl
TpLfieTpOl
UKaTClkriKTOt
85667
euSaifiociKus
BlttXt],
eireTai
yap
^
/xeXo?
cifMOiâlov
"
Tov X^P^^ '^^'' '^^^ vTTOKpiTOV, ou icTTt KcoXa y' TOV x^pov, o)v to TrpoiTov koI
fMetôvo<;
rj/jLioXiov.
e(f>0r]p,cfj,prj
TTpoiTa
iv
^
ca$ecrei
to
^
j3'
IcovLKa
aTTo
awTj/jb/jueva,
eKKeLfj,evo<;
to
Be
y'
Iwvlkov
*"
kuI
'
avTO
la/i-
"eJra"'
"
S'
tov
^
viroKpcTOv
B'^
(TTi'XP'i
^LKoî
TeTpdfieTpo'i
^Kal
irdXiv
KcoXa
^ o/jioia
to t9
Tol'i
avcoy
iv eladeaet
^ydp
^^
ecrri^
tov XP^^
TeTpd/jueTpo'^
KOiXa y
6/jiooa
avo)
^Kal aTLXO'i^
la/j,î,Ko<i
KaTaXtjKTiKO^ BevTepo<i iv
(TTpo^rj
eKdeaei
TO,
S'
'
TavTa
^^
^Be^
BvvaTat
^kmXoov
^
elvat
5"',
Kal
dvTicrTpo(f)o<i,
5"'^
'^
e^rj<i
^^
eVftiSo?
mv to a Kal to
y'
CTTixoi
^6/jboiQ}'i^
lafjLîKol
TeTpdfjieTpoc
BifxeTpa,
KaTaXrjKTiKOi, ^Ta
Be ev
Xonrd
e<f)d7]-
iv
eladecrec
lafi/StKa
dicaTdXriKTa
Kal
pbLlxeph?
V
^
See 580.
aye
8t)
92238
TpifJbeTpov?
ti
vi^v.
i^'.
BlttXi)
Kal
'^
eia0eat<i
et?
ld/jLôv<i
dKaTaXrjKT0V<i
ws
irafO' OCT
V
:
93955
30
ay Oeos 9eXoi.
4kt7]u
eîj?
BiTrXf},
32
eireTai
.
yap
fxeXo'i
((pd-nfMifiepes
'''
avW
: . .
jj
e^^^^^^^s
^
Z
*
819-55
ol {fJ.ev)
iafiîK
7
^ T adscript to 819 ff. in V TTpwTot Kal ti Kal roi vpuira V, Kal ra TrpQra T ^ T Tpi/j. Y, ia/JiîKa V aKaraXri
1
taa
V
*
t, reading Kai
om.
VT
Z
V,
Tpl/j-eTpa
d/cardXT/Kra
*
F
5'
.
''
Xr' 856-67 8' Ed.

: :
1
:
(here
.
.
TrpQroi'
(Kdâei
iuvik
Icouik
j'tjXwtos
in 860)
ex
in V,
which continues rod

.
viroKpiT
'
(TTix
rerpa/j.
6fj.oios
roh
dvu)'
ravra dwarai

elvai aTpo(pi] Kal clvtIctt po(f)0%

.
ra 5
.
.
rerpa/j. lafiîK i^rji els eTTojSoi' eiac 5^ tou xop Ofj-oia (sic) rois dvu ""'''XX /caraXr; C'^nfusion of terms KaraXrj 5iô Se eV eKdeaei. (ttixx i-o-fJ-ôi rerpdij. fTr({)8ov and from resulted from the transposition of the words ravra Svvarai " i Ed. : 6fioios T ^ iv eladiaei T ei<Ti. 8k Z B omissions ^- Ed. '^ Ed. ia/x^LK rerpafi ets 'irw8ov KaraXr] 8vo oe ('"XX
.
" H:
-iafxôi
1
922-38
Adscript to 922
ff.
in
Ed.
^/cêtns
2 E
418
o
virovooi
fiev

e^îv rb civTicrTpoôv ev Sie^^La,
Sioirep
pax
(f)pTaL Be (w?
Sui<f)opov,
irporepov
Trapadrjaoixai
0}<i
(peperat.
Kol
0iKv ivravda
<TvvSeafio<;
Tivd<i,"
(939) to " KaTopOol" irepiTreveLV koL 6 "re" irpcx; to (1023) " ae tol 6vpaac XPV t^^vetv ovt
.
Koi
KoX TOVTO Se a/xdpTTjfid iaTCV, otl irpoiTa 7' KO)\d eVri TavTa fxev ^TavTo} (TTixo<i dX\o<; ^TeTpdfiTpo<;'^. jxeTO,
cb?
ôvv^ iaTeov,
Be
eêt
i^rjyrjTeov.
taiJiô<i
to
^
tolvvv
irpwTOV
twv
Kal
ical
TptSiV KcoXwv Tov ^-xPpov

(iv elaOea-ei)
^
TeTpdfi,Tpo<; KaTaX7)KTtK6<;,
dvairata-TiKa Svo UfxeTpa,
aKaTdXrjKTOv re
^
KaTaXrjKTiKov.
(942-947') eha
'^^
ev
eKOeaet
(ttlxo^ laixîKO irpSiTOV Trpoo-oSiUKov evSeKdcrrjfxov' to /3

to he
Tj
dvairataTiKT] Tpiirohia'
^
7'
lafxîKov
^^
e(f)d7jfj.ifj.epe<;,
to Be
he
e
S'
(Tv^vyov
laiM^LKOV
dvairataTLKov
^^)
Tplirovv,
to
lafjL^CKOv e<p6r}fxip,epk.
^^
(948-9
etra ev iKOeaei tov vTTOKptTOV
hi(TTixo'i 'iafiô'i TeTpdfMeTpo
hifieTpov
dKaTd\r)KTOV'
K\etSo<;'
to ^' e^
la/xîKri<;
^daeaxi Kal Tpoxai^r]'; KaTalafiîKov BlfieTpov aKard-
TO
TO
7'
5"'
Kal ro
\rjKT0v'
IwviKov
-{jfxioXiov.
See 583.
of Oeky.
Heliodorus's text read deXoL re in
939 instead
He condemns
the attempt to reduce this period to a trimeter by rejecting KaTopBol, in order to make it equivalent to the corresponding period in the His reading of that line is unfortunately now antistrophe (1023). His argument for keeping 939 a tetrameter is indeterminable.
apparently its correspondence with the tetrameter in 942, but the text of the metrical scholium on 942 at this point is uncertain. Note the application of the phrase a-vCvyov Tpiirow to the words vvv yap Saipiov (fâvepm {three simple feet) and see Schol. Ack 284 and
note.
956-73
la/x^LKol
aye
8r)
TO
Kav'oui'
/3'
BiTrXal Kal ev eKdecrec aTixot

i^' .
rpLpLerpoi aKaTdXrjKTOi
V
But there are
in fact eighteen
On
this use of
two
îTrXal, see 851.
939-65
at end of KaroK-n
. .
Schneider:
(pipovri
^
^
:
Ed.
fier* ^
r' aXX
T>
:
(a
blurred letter or letters

.
.
dW)
^
tCv
as
!>
om.
in
.
inroKpcT
ia/xôi
rerpafi
D D
:
dvavaLCTTiKol
KarakTjKTLKOv
^
re
Kai
.
aKardXr)
.
dvpacri.
.
Kal
.
dri
in 942
^
lemma
.
V
.
B
V
(ttlxx
ta/A/3i/c
. .
rerpafi
^^
.
KaraXr]
S'lJ-erpoi
d.vairai(rriK
rpiirod
i"
.
ffv^
V
diarix
.
Z
:
doubtfully
Tlfll6\tOV
om.
V
Sifierpoi.)
(variant
^^ ^^ prescript to 948 f. in ^^ S ovkovv in 950 in KaraXrj

:
.
'iafiôi.
^^
Y
1
956-73
Adscript to 956
f.
in
PAX
trimeters here,
METRICAL SCHOLIA
and
is
419
in
general the doctrine of the equivalence of
groups of trimeters
very doubtful.
:
9/4 1015
l6'
(3
aefifOTciTr) PacriXeia
SnrXrj
'
Kal
etadecrtq
el<;
avairaiCTTcov 7rep(,68ov<;
KuiXcov,
Svo, rrjv fxev

y',
TrepTeKaiTpcaKovrd/jieTpov
re
/3'
OTi
e-êc
/MOvofieTpa
to
Kal
la
Kal
iS"',
rrjv
Be e^KaLrecrcrapaKovrdijberpov
Taur'
(S
/C7'
kco\(ov.*
V
et?
101622
10 .J 9 62
ttoXiti/xiit'
BlttXt]
Kal K6ecn<^
Idfijôv^
rpifxirpov; dKaTa\r}KTov<;
^' .
;
A^
TauTi SeSparai
SiirXP]
Kal
eKOecn^
ei9
IdjjLôvi
rpifxerpovi aKaTaXi'jKTov'i kB'.

^
V
^
1104 ottovSt) o-itocSt)) iv ela-Oecret KcoXdpiov Buo cnrovBeiwv. V 110514 cyxei 8tj Kdjxoi Kal iv eKOeaei iiriKol dXXoi l. V ^ eêXOovTcov 1127 90 -^Soixai y' TjSojxai Kopwvl
: :
'
T(7w
vTroKpirSiv
X'^P^'^
/jlovo<;
KaraXc'jrel'i
"
BiairepaLveraL
crv-
^vjiav
OV
<i7ripp7)/jLaTtKr]v
Kara
al
7reptK07rr]v>
dvoiioiofieprj
rpiaBiKrjv
TTVKVOi^
yevo/juevTjv,
yap
lS"'
irXelarai
"
eTrippTj/jbariKal
BvaBiKai
ly
elcTLV,
avrrj
Be eêi fMeXiKrjv fxev Be
irpooTrjv
(jrepioBoi'^
(f)iX7}Bel
k(oXq)v,
(TTixiKrjv
(jTi^wv,
/xdXiaTa
<Kal
'ApLaTO<f)dvi]<;,
Kal
/xev
B'
"^
varepav
^
rpUoiXov.
ro
(1127-39 =
Blppvdfiov,
^
115971) T^9
/3'
7rpooT7]<;>
a
^^
TraiwvtKOP
^"
to
Kal y
fiev
(Kal)
e|
5"'
lafi^LKri<i
^
^daew^ Kal
Kal
^to
e
TpoxaiKi]<i
KaTarj'
KXeLBo<i,
TO
e'
Kal
rpippvdfxa,
BlppvdpLa
6'.
iv
Ty
TO
^'
TrepcKOTTrj
eart
Kal
Be
to
S"'^
-rraicoviKov
Tpippvdfjbov
(TTpocpfj
re
t
Kal
La
^^
i/3'
BippvOfxov,
ly
Bvo
^TplppvOfjia'^
iv
rrj
TpoyaiKa
BlfieTpa,
Bvo
fiev
aKard^^
Xr)KTa, Bvo Be KaTaXrjKTLKd.
V
Bvo
(1140-55 = 1172-87) * * *
icrrlv
fiev
i)
(1156-8
TpoxaiK)],
= 1188-90)
dXXd
^"^
avTri
TpiKcoXo
inploboi de S" Kai TeaffapaKOfTdfieTpov y' Kal rejects

:
dv6.irai.<TT0v
e'
Kal
fiirpuv
to
adds on ?x"
fJ-ovdnerpa rpia,
which
1016-22 1 Adscript to 1016 and interlinear in V 1039-62 1 Adscript to 1039 in V 1104 1 irapfiriypa^T] i] prelixed in V 1105-14 1 T eireiK - T 1127-90 1 T eiaeXebvTwv dfioiofj-epfj
: :
:
o^.
^'>
irXeKTal
&i>tl
V
*
irpdjrr]
vpbs
TTvp
:
SU\Kiov (1131) as
^"
^^
'
lemma
Bipvdiiov
in
V
-"
"
"
T H:
Hffrepos rpi/cwXos
dXXd
k\u56s
T:
error,
rpipvdfjLos
Ed.
5e Kal
in 1188 in
V
S
T T
Ed.
8ipv0fia in
" Bv
-
S iroXXa
^ ol
avryj
1191-1269
first ioi/ in
V, adscript to 1191
ff.
om. T
voirp-al Kal iari
420
Kaa-TL

Kar
ap-^rjv
pax
*
Trpoavacpoyvrjai'i
^
ro
" lov
(orj').
lov,"
el^?}?
Se
CTTtôt la/jL^CKol rpi/JLeTpoL
aKaraXrjKTOL
:
VF
crri'xôi
12845
128 67
eie>'
eKopecrOec
^ /3'.
elra iv
'
elaOecrec
la/JL^CKol
rplfieTpoi aKaraXrjKTOL
^
VF
elr
:
GcupriCTOKT
ap'
iv cKdeaet
eiT
i'mKoil
^' .
128890
12913
iiTLKol
/3'.
^
koikiot'
d-iroXoio)
y'.
iv
eladecreL err 1^(01 la/x^CKol
rplperpoc dKardXTjKTOi
aipol
:
V
ttou?
crTrofSeio?
elra
Kal
iv
'
eKOicret
V
^
12947
dKaraXrjKTOi,
airepp
Kal
tois
Koi
~
:
ari-xoi
la/jb/SiKol
rplfierpoL
B' .
^
V
do-TTiSi
\ikv
/8'.
:
12981301
X^^'
ra)v^,
^ '^<^l'
laioiv
Kp'^Cko'yôv
iarl to Sicrrt-
O'Tl'X^^
ilTLKol
VF
^Kopcovl<;,
130510
Kol
êlra^
^ tapbfio'i
^ ujxdii'
TO
Xotiroi'
iîovrtov
tcov
jB'
vTTOKpi-
a-TiXOt,
lafx/SiKol Terpafjuerpot,
KarakT^KriKol
(1307),
Bl/Mrpo<;
dKard\7]KTo<i.
(130810) * * *
<ydp
See 87.
131628
Kpcrai,
eu(f>T)p,cii'
XPT
Koptovl^,
ol
irpcoroL
elcriaat
ol
iiiro-
Kal
(131619)
8'.
elaiv
iv
iireKdecrei,
(ttlxoi
dvaTracariKol
7replo8o
yuVai
ScirXi]
Kal
'
iv
iTreicrOeaei
^6Krd<;^
{xovocrrpo^LKr}
irepiohoov
^
rrevraKcoKcov
lwvikwv
Sc/xerpcov,
8vo
KaraXrjKrcKMV rptwv he
(pepovrat
*
^paxv^ciraXjjKrcJV.
^TTuXcv^ iv irreLo-deaei rov
yopov ro
laov.
'iva
(13335^) elra (13369 ^) iv rovroc^

fxepo'?
Kara
.
.
rtva<;
'
irapdypacpoi,
^
xopo^ dvd
'^
avrd
.
.
elTjs
OLKardXriKTOt.
elev
om. T
dicmxx
1284-5
3
in V, adscript to scholium on 1283 in
KaTaXrjKTiK T iKdeafL
:
c^'
1286-7 1 S duip-qaovT in V 1288-90 1 T e/c6>e 1291-3 1 Prefixed to 1291 in 1294-7 1 S 6.weppe in V 1298-1301 ^ r S affwiSi. V
: .
Y
^ ^
eiade
f. in V Adscript to 1307 in Y ^ Adscript to 1320 ff. in Y T eirLddiaeL V has tovt6 icrri to ;jLov6/xeTpov rb e ^ -j. 3 gd. ^.^^ ^^^^^ ixovo1329-55 1 Adscript to 1329 ff. in Y ^ Adscript to 1333 f. in Y, ^ D ^paxewv KaroK-nKTuiv <rrpo(pi.K vepiobos ^ Prescript to 1334-6 in Y ^ T !rapaypa<pal and beginning eZr' iv {sic)
Kal eXeyfiov 'Apxi-^^X^^ ^ 1305-10 ^ Adscript to 1305 1316-28 1 S KOfjillêiv in
'^"^ a-rtxoi.
-
'Apx'ôX<"^ (D ewiKol
'
ApxOôxos V)
iffrl
rb Siarixo"
/3'
om.
V
:
On 1324
. .
also
PAX
Xe'777,
'
METKICAL SCHOLIA
v
421
Bia
ncnv
^he^
)
ov
(jteperaL
^ra
e'
Kb)Xa^
tu
fierpa.
(1340 3 = 1344 7
Xôpov.
'
Kal
iraXiv ra
rov avrov fiirpov rov

Kal ivravda eariv.
(134855^^) ivrevdev
iv toI<; dvTiypd(f)Oi'i ov (fyeperac

<f)epTai
^^
rd irevraKooKa dK6\ov6u)<i, ox? ^Ze^ a Kop(ovl<; <r;> rov BpdfiaTo<;. u(f>^

Adscript to 1335
error,
f.
Y
rii
See 584.
flf.
in
V
in
Prescript to 1340
in
" By
in
S oUrjceTe in 1334
^"^
oi>
" Adscript
Kdpov to 1355
:
TABLE OF STRUCTUKE AND RHYTHMS

main divisions of the plays 684, 667, 687 ; Parode 665, 674-6, 667, 687 Scene 666, 679-81, 667, 687; Syzt/gy 666, 677 f., 667, 687; Debate Episode 666, 665, 670-3, 667, 687 ; Pambasis 665, 668 f., 667, 687 682 f., 667, 687; Stasimon 666, 682, 667, 687; Exode 666, 685 f., 667, 687. See the following sections on non-melic rhythms in Aristophanes
See the following

Prologrie
sections on the
666,
Tetrameter: Iambic 167-83, 186-9 95-143, 186 f. Trochaic 244-55, 259, 226; Anapaestic 305-20; Eupolidean 528 f. Hypermeter: Iambic 190-6, 710, 712; Trochaic 267-9, 710, 713 Dactylic Hexameter 356-66. Anapaestic 321-31, 710 f. See the following sections on the use of cniixda Trapdypa(f>os SittA-t) 846-54 Trapdypa(j)o<i aTrXrj 846 f., 855 f. KOpOiVL'i 857 f.
Trimeter
; ;
:
ACHARNIANS
Prologue: 1-203
1_42, 44-60, 62-122, 124-203: trimeters (200). iambic penthemimers. 43, 123 prose. 61
: :
Parode
I.
204-41
204-18
= 219-33
234-7-238-41
204-18
= 219-33:
:
monostrophic dyad in trochaic and paeonic
See 449. rhythm. 234-6, 238-40 recitative trochaic tetrameters. prose formula. 237, 241
:
Scene
I.
242-79
263-79
242-62
422
:.
TABLE OF STRUCTURE AND RHYTHMS

242-62: trimeters (21). 263-79 non-antistrophic period
:
42 3
in iambic
rhythm.
See
90.
Parode
II.
280-346
280-3
284-302 = 335-46
303-4
305-34
280-3
non-antistrophic period in paeonic-trochaic rhythm, con-
stituting the proode of a triad.
See
234.
284-302 = 335-46
by periods
in
:
dyad of the triad, in paeoiiic rhythm varied See 452, trochaic and anapaestic rhythm.
:
303-34
recitative trochaic tetrameters.
Syzygy
347-92
347-57-366-84
358-65
347-57, 366-84
rhythm.
See
467.
:
= 385-92
trimeters (30).
:
358-65 = 385-92
monostrophic dyad in dochmiac and iambic
Seem
II.
393-488
393-488
393-403, 405-6, 408-56^ 457-88 404 iambic dimeter. 407 iambic monometer. 456'' anaphonema.
:
:
trimeters (94).
Syzygy 11
489-625
489-96
= 566-71
497-565-572-625
489-96 = 566-71: monostrophic dyad in dochmiac and iambic See 468. rhythm. 497-565, 572-77^ 577''-625 trimeters (124).
:
424

Farabasis:
ach.
626-718
626-7
628-58
659-64
r
665-75
= 692-702
= 703-18
(16)
1676-91
:
(16)
626-7 non-antistrophic period in anapaestic rhythm. See 296. 6 2 8-0 8 recitative anapaestic tetrameters. 659-64 recitative anapaestic hypermeter. 665-75 = 692-702 monostrophic dyad in paeonic rhythm.
: : :
See
453.
676-91, 703-18
Episode
I.
719-835
719-835
719-34, 736-79, 781-835: trimeters (115). prose. 735, 780
:
Stasimon
836-59
836-41
= 842-7 = 848-53 = 854-9

See
582.
836-59
monostrophic tetrad in Aeolic rhythm.

Episode II.
860-970
860-928
^9-39 = 940-51
952-70 860-928, 952-70 929-39 = 940-51
:
trimeters (88).
monostrophic dyad in iambic rhythm.

Stasimon II
See
86.
971-99
[971-75
1976-85
= 986-89
= 990-99
EQ.

971-75 = 986-89
:
425
first
pair of strophes in a pericope, in paeonic
rhythm.
See
456.
:
97G-85 = 990-99 second pair of strophes in the pericope, in See 456, paeonic rhythm with trochaic close.
SyzygyllL: 1000-68
looVioo?
1008-17
= 1037-46
1018-36-7047-68
1000-7, 1018-36, 1047-68: trimeters (49). 1008-17=1037-46: monostrophic dyad in
See
83.
iambic
rhythm.
Episode III.
1069-1142
(74).
10G9-82^ 1083-1U2: trimeters

1082^: anaphonenia.
Stasimon III.
1143-73
ri43-9
7150-61
= 1162-73
See
299.
1143-9
non-antistrophic systematic period in anapaestic rhythm,
constituting the probde of a triad.
1150-61 = 1162-73
dyad
of the triad, in Aeolic
rhythm.
See
565.
Exode: 1174-1234
n 74-89;
1174-89 trimeters (16). 1190-1234: pseudo-monody
:
7190-1234
in
iambic
rhythm,
with
slight
dochmiac variation.
See
599.
Equites
Prologue: 1-241
1-196
1-196, 202-41
:
797-201
202-241
197-201
trimeters (236). dactylic hexameters.
426

Farode: 242-302
eq.
242-6
247-83
284-302
242-83 284-302
:

:
recitative trochaic hypermeter.
Debate
I.
303-460
303-13-382-90
314-21-391-6
322-32
= 397-406
333-4-407-8
335-66
(32)
-409-40
(32)
367-81-441-56
457-60
303-13 = 382-90
:
first
pair of strophes in a pericope, in paeonic
and trochaic rhythm. See 450. 314-21, 391-6 recitative trochaic tetrameters. 322-32 = 397-406 second pair of strophes in the pericope, in paeonic and trochaic rhythm, varied by periods in dactylic and Aeolic
:
rhythm. See 451. 333-4, 407-8, 457-60 recitative iambic tetrameters. 335-66, 409-40 melodramatic iambic tetrameters. 367-81, 441-56 melodramatic iambic hypermeters.
: :
Scene
L: 461-97
461-97
461-97
iambic trimeters (37).

Parabasis
I.
498-610
498-506 507-46 547-50

i
551-64
(16)
= 581-94
= 595-610
(16)
[565-80
EQ.
TABLE OF STRUCTUEE AND RHYTHMS

498-506 non-antistrophic period in anapaestic rhythm. 507-46 recitative anapaestic tetrameters. 547-50 recitative anapaestic period. See 710 f, 551-64 = 581-94 monostrophic dyad in Acolic rhythm. 565-80, 595-610 recitative trochaic tetrameters.
:
427 See
294.
See
553.
Syzygy
611-755
6li-15
616-23 = 683-90
624-82 ~ 691-755
611-15, 624-82, 691-755: trimeters (129). 616-23 = 683-90 monostrophic dyad in paeonic-trochaic rhythm, with trochaic close. See 231.
:
Debate
II.
756-942
756-60 = 836-40
761-2-841-2
763-823
(61)
-843-910
(68)
824-35-911-40
941-2
756-60 = 836-40 monostrophic dyad in iambic rhythm. 761-823 recitative anapaestic teti'ameters. 824-35 recitative anapaestic hypermeter. 841-2 recitative iambic tetrameters. 843-910: melodramatic iambic tetrameters. 911-40 melodramatic iambic hypermeter. 941-2 prose.
: : :
See
91.
Episode
I: 943-72
943-72
943-72
trimeters (30).
Stasimon
.-
973-996
973-6
= 977-80 = 981-4 = 985-8 = 989-92 = 993-6

See
544,
973-96
monostrophic hexad in Aeolic rhythm.
428

//..
eq.
997-1110
;
997-1014; 1015-20; 1021-9; 1030-4; To35-6

1051-60; 1061-6; 1067-9; To70-9
;
1037-40; 1041-50;
;
To80-95
1096-1110
997-1014, 1021-29, 1035-6, 1041-50, 1061-6, 1070-77% 1078-9, 1097-1110: trimeters (69). 1015-20, 1030-4, 1037-40, 1051-60, 1067-9, 1080-95 dactylic
:
hexameters.
1077 ^ 1096: anaphonemata.

Stasimmi 11.
:
1111-50
1111-20=1121-30 = 1131-40 = 1141-50

1111-50
:
monostrophic tetrad in Aeolic rhythm.

Scene II.:
See
571.
1151-1263
1151-1263
1151-1237% 1238-63:
1237'': anaphonema.
trimeters (113).
Parabasis
11
1264-1315
1264-73
= 1290-99
(16)
11274-89 (16)= 1300-15
1264-73=1290-99:
rhythm. See 493. 1274-89, 1300-15
:
monostrophic
dyad
in
prosodiac - enoplic
Exode: 1316-1408
1316-34; 1335-1408
5
1316-34 recitative anapaestic tetrameters. 1335-45% 1346-1408: trimeters (74).

:
1345^: anaphonema.
NUBES
Prologue.
1,
:
1-262
(259).
40% 235 anaphonemata. 2-40% 41-221, 223-34, 236-62: trimeters 222 iambic monometer.
:
NUB.

Parade: 263-475
429
263-74-291-7
275-90 = 298-313
314-26
327-438
439-56
457-75
263-74, 291-7, 314-438 recitative anapaestic tetrameters. 275-90 = 298-313 monostrophic dyad in dactylic rhythm, with
: :
anapaestic close.
See
344.
439-56 457-75
recitative anapaestic hypermeter.
non-antistrophic period
in
prosodiac-enoplic
rhythm,
with simplified logaoedic opening.

Scene
See
500.
L: 476-509
;
476-7
:
478-509
476-7 recitative anapaestic tetrameters. 478-509 trimeters (32).

:
Farabasis I.:
510-626
510-7
518-62
[563-74 = 595-606 1575-94
(20)
= 607-26
(20)
510-7
opening.
non-antistrophic period in Aeolic rhythm, with anapaestic

561.
See
:
518-62 Eupolidean tetrameters. 563-74 = 595-606: monostrophic dyad

simplified logaoedic variation.
in
Aeolic rhythm, with
See
558.
575-94, 607-26
Spygy: 627-813
627-99-723-803
700-6
= 804^13
707-22
430
nub.
627-99, 723-803: trimeters (154). 700-6 = 804-13: monostrophic dyad in Aeolic rhythm, with
logaoedic variation.
:
See
562.
707-22 non-antistrophic period iambic and bacchiac opening. See 289.

Episode I.:
in
anapaestic
rhythm,
with
814-88
814-88
814-88: trimeters
(75).
[Stasimmi
Introduction
to
I.]
:
Debate
889-948
889-948
889-948
See
326.
Debate
L: 949-1104 =
1024-33
949-58
959-60- 1034-5
961-1008
(47)
~ 1036-84
(49)
+ 1085-8
1009-23- 1089-1104
949-58 = 1024-33: monostrophic dyad
551.
:
in Aeolic
rhythm.
See
959-1008 recitative anapaestic tetrameters. 100923: recitative anapaestic hypermeter. 1034-5 recitative iambic tetrameters. 1036-84 melodramatic iambic tetrameters. 1085-8 trimeters (4). 1089-1104 melodramatic iambic hypermeter.
: : : :
Scene 11.
1105-12
1105-12
1105-12: trimeters
(8).
Parabasis II. .-Ill 3-30
1113-4
111 3-4
:
1115-30
1115-30
protracted iambic tetrameter. recitative trochaic tetrameters (16).
NUB.

Episode II.:
lT3"l-53
;
431
1131-1302
n54-69
1770-1205; 1^06-13; 1214-58;
1^59-9^; 1260-1302
1131-53, 1171-1205, 12U-58, 1260-1302: trimeters (146). 1154-69: non-antistrophic period in varying rhythm, iambic, enoplic, anapaestic, dochmiac and trochaic. See 474,
1170, 1259, 1259'^: anaphonemata. 1206-13 non-antistrophic period in iambic rhythm.

:
See
92.
Stasimon
II.
1303-20
1303-10 = 1311-20
1303-10=1311-20:
See
581.
monostrophic
dyad
in
Aeolic
rhythm.
Scene
in.
1321-44
1T2I-44
1321
:
anaphonema.
(23).
1322-44: trimeters
Debate
11: 1345-1451
1345-50 = 1391-6
1351-2-1397-8
r353-85 (33)~r399-1445
(46)
1386-90-1446-51
1345-50 = 1391-6:
See
576.
:
monostrophic
dyad
in
Aeolic
rhythm.
1351-2, 1397-8 recitative iambic tetrameters. 1353-85, 1399-1445: melodramatic iambic tetrameters. 1386-90, 1446-51 melodramatic iambic hypermeters.
:
E'xode:
1452-1510
;
1452-1509
IblO
1452-92, 1494-1509: trimeters (57). 1493: anaphonema. 1510 melic anapaestic tetrameter.
:
432

Vespae
Prologue:
vesp.
1-229
1-229: trimeters
(229).
Parode: 230-333
230-47 248-72
273-80 = 281-9
290
291-302 = 303-16
317-33
230-47 recitative iambic tetrameters. 248-72 recitative protracted iambic tetrameters. 273-80 = 281-9: first dyad in an epodic pentad, enoplic rhythm, with ionic opening and close. See 499. 290 ionic dimeter. See 499 end. 291-302 = 303-16 second dyad of the pentad, in
:
: : :
in prosodiac-
ionic rhythm,
with iambic
close.
:
See
426,
317-33
non-antistrophic period in Aeolic and anapaestic rhythm,
with bacchiac opening, constituting the epode of the pentad.
See
577.
Syzygy
I.
334-402
334-45 = 365-78
346-7-379-80
348-57-381-402
358-64
334-45 = 365-78
346-57, 379-402
paeonic-trochaic variation.
:
monostrophic dyad in trochaic rhythm, with See 238.

recitative anapaestic tetrameters.
358-64
VE3P.

Syzygy 11.
1-403-14
:
433
403-525
= 461-70
(415-29
= 471-87
430-60-488-525
403-14 = 461-70
:
first
pair of strophes in a pericope, in trochaic

in
rhythm, with paeonic-trochaic variation. See 243. 415-29 = 471-87: second pair of strophes in the pericope, trochaic rhythm, with cretic variation. See 243. 430-60, 488-525 recitative trochaic tetrameters.
'
'
Debate:
526-759
526-45 = 631-47
546-7-648-9
548-620
(72)
-650-7 18
(69)
621-30-719-24
725-8
729-35 = 743-9^ 736-42 - 749"-59
526-45
= 631-47
monostrophic dyad in Aeolic rhythm.

: :
See
566.
546-620, 648-718, 725-8 621-30, 719-24, 736-42,

meters.
recitative anapaestic tetrameters. 749'^^-59 recitative anapaestic hyper-
729-35 =
rhythm.
749*^
:
743-9'':
469.
monostrophic dyad in iambic and dochmiac
See
anaphonema.
Scene:
760-1008
863-7
868-74 = 885-90
875-78
2 F
434

879-84
vesp.
891-1008
760-862, 891-902^ 903-30, 932-1008: trimeters (220). 863-7 non-antistrophic period in anapaestic rhythm, constituting See 300. the proode of a triad. dyad of the triad, in iambic rhythm, with 868-74 = 885-90
:
dochmiac
close.
:
See
470.
875-8 879-84

:

:
902", 931
anaphonemata.
Farabasis:
1009-1121
Too'9-15
1016-50
1051-9
j-
1060-70
= 1091-1101
(20)
\l071-90 (20)= 1102-21
1009-15
rhythm.
non-antistrophic
297.
period
in
anapaestic
and
trochaic
See
:
1016-50 1051-9
:
recitative anapaestic tetrameters. recitative anapaestic hypermeter.
1060-70=1091-1101: monostrophic dyad in trochaic rhythm, See 235. with paeonic-trochaic variation.
1071-90, 1102-21
:
Episode
I.
1122-1264
1232-5
;
1T22-I225
1226-7
1228-31
1236-7
1238-9
1240
1241-2; 1243-4; 1^45-8; 1249-64
1122-1225, 1228-31, 1236-7, 1240, 1243-4, 1249-64: trimeters

(129).
1226-7, 1248
Phalaeceans.
See 518
ii.,
709.
1232-5 1238-9 1241-2

709.
catalectic logaoedic trimeters.
See
383, 709.
greater Asclepiadean.
See 532, 709. primitive major ionic dimeter and trimeter.
See
618,
1245-7
Aeolic trimeters.
See
568, 709.
VESP.

Stasimon I.: 1265-91
|'l265-74
436
= [lacking]
il275-83
= 1284-91
of
1265-74 =
[lacking]
first
pair
strophes
in
pericope,
in
trochaic rhythm.
See
457.
:
1275-83 = 1284-91 second pair of strophes in the pericope, in paeonic rhythm, with trochaic close. See 457.
Episode
11.
1292-1449
;
129'2-1325
1326-31
7332-4
1335-40
1341-1449
1292-1325, 1332-4, 1341-1449: trimeters (146). 1326-31, 1335-40: non-antistrophic period in iambo- trochaic rhythm. See 371.
Stasimon II.: 1450-73
1450-61 = 1462-73
1450-61 = 1462-73
548.
monostrophic dyad in Aeolic rhythm.
See
Exode: 1474-1537
4-81
1482-95
1496-1515
1516-7
1^18-22 = 1523-7 7528-37

1474-81, 1496-1515: trimeters
:
:
(28).
1482-95 recitative anapaestic hypermeter. 1516-7 recitative anapaestic tetrameters. 1518-22 = 1523-7 dyad of an epodic triad,
:
in prosodiac
rhythm.
See
494.
1528-37
non-antistrophic period in prosodiac rhythm, constitut-
ing the epode of the triad.
See
494.
436

Pax
Prologue: 1-298
pax
1-81
82-101
102-13
114-23
124-53
154-72
173-298
1-59, 61-81, 102-13, 124-53, 173-298: trimeters (248). 60 anaphonema. 82-101, 154-72 recitative anapaestic liyperineters. 114-23: non-antistrophic period in dactylic rhythm. See 345.
:
ParodeL: 299-345
299-300
;
301-38
339-45
299-338 339-45
:

SyzygyL: 346-427
346-60
= 385-99
[361-82-400-25
[
383-4-426-7
346-60 = 385-99 monostrophic dyad in paeonic-trochaic rhythm, See 232. with pure trochaic variation. 361-82, 400-25 trimeters (48). 383-4, 426-7 recitative trochaic tetrameters.
:
Scene
I. :
428-58
428-30; 431-2; 433-4; 435-58
428-30
433-4
:

:
431-2, 435-58
trimeters (26).
ritualistic formulae.
SyzygylL: 459-519
459-72 = 486-99
473-85-500-19
459-72
;
473-85
486-99
500-7
508-11
512-9
PAX
TABLE OF STRUCTUEE AND EHYTHMS

459-72 = 486-99
:
437
anapaestic
moziostrophic
dyad
chiefly
in
rhythm. See 302. 473-85, 500-7: trimeters (21). 508-11 recitative iambic tetrameters. 512-9 non-antistrophic period in iambic rhythm, with anapaestic opening. See 84.
: :
Scene II.
520-52
520-52
520-52
trimeters (33).
Parode
II.
553-656
553-70 ~ (303-50
571-Sl -651-6
582-600
601-2
553-70, 601-50 recitative trochaic tetrameters. 571-81, 651-6 recitative trochaic hypermeters.
: :
582-600
non-antistrophic
with pure trochaic variation.
period See 233.
in
paeonic-trochaic
rhythm,
Scene
III: 657-728
657-728
657-92% 693-728
692^
:
trimeters (72).
anaphonema.
Parabasis I.:
729-818
729-33
734-64 765-74 775-96 = 797-818
729-33 734-64 765-74
non-antistrophic
period
in
anapaestic
rhythm,
with
trochaic close.
:
See
295.
438
pax
775-96 = 797-818: monostrophic dyad in prosodiac - enoplic rhythm, varied by periods in Aeolic, dactylic, and anapaestic rhythm. See 497.
SyzygyllL: 819-921
819-55 ~ 868-908 856-67
= 909-21
:
819-55, 868-896% 896'^-908 trimeters (79). 856-67 = 909-21: monostrophic dyad in Aeolic rhythm.
580.
See
SyzygylV.: 922-1038
922-38-956-1022
939-55 = 1023-38
922-38; 939-55; ^6-73; 974-1015; 1016-22; 1023-38

922-38, 956-73, 1016-22: trimeters (42). 939-55 = 1023-38: monostrophic dyad in Aeolic rhythm, with anapaestic variation. See 583.
974-1015
recitative anapaestic period.
See 710
f.
Scene IF.
1039-1 12(
1039-62; 1063-1114; 1115-26

1039-62, 1115-26: trimeters (36). 1063-76, 1076''-1103, 1105-14: dactylic hexameters. 1104: ritualistic formula.
Parabasis
II.
1127-90
n 27-39 =1159-71
,1140-55 (16)= 1172-87
(16)
1156-8-1188-90
1127-39 = 1159-71: monostrophic dyad in iambo - trochaic rhythm, with paeonic variation. See 454. 1140-55, 1172-87 recitative trochaic tetrameters. 1156-8, 1188-90: recitative trochaic periods. See 710, 713.
:
AVES

Episode
I.
:
439
1191-1304
;
1T9I-I269
1270-83
1284-5
;
1286-7
;
1288-90
1291-3
1294-7
1191, 1291
:
r298-1301
1^02-4
anaphonemata. 1192-1269, 1284-5, 1288-90, 1294-7, 1302-4: trimeters 1270-83, 1286-7, 1292-3, 1300-1: dactylic hexameters. 1298-9 elegiac distich. See 365.
:
(90).
Stasimon
I.
1305-15
13Il-.T
r30'5-10
1305-10=1311-5:
See
87.
monostrophic
dyad
in
iambic
rhythm.
Exode: 1316-55
r3l'6-9
1320-8
1329-55
1316-9 1320-8 1329-55

: :
recitative anapaestic tetrameters. recitative anapaestic hypermeters.

:
monostrophic octad in Aeolic rhythm.
See
584.
AVES
Prologue: 1-226
1-208
209-22
223-6
1-161, 162-93, 194-208, 223-6: trimeters (212). 16P, 193^: anaphonemata. 209-22 non-antistrophic period in anapaestic rhythm.
:
See
285.
Parode: 227-433
227-62
263-6
;
267-93
294-309
3T0-2
3T3
3T4-6
317-26
327-35 = 343-51 336-42

440

352-86
387-99 400-33
aves
227-62 nou-antistrophic systematic period in varying rhythm, dochmiac, iambic, prosodiac-enoplic, trochaic, ionic, paeonic-trochaic, paeonic, Aeolic, dactylic and anapaestic. See 595.
:
263-6
:
trimeters (4).
267 anaphonema. 268-309, 313, 317-8,

trochaic tetrameters.
320-6,
336-42,
352-86
recitative
310-2, 314-6: dochmii. See 709. 319: four long syllables, perhaps prolonged in rendering to the
time of a trochaic tetrameter. 327-35 = 343-51 monostrophic dyad in anapaestic and dochmiac rhythm in the strophe, in anapaestic and paeonic rhythm in the
:
antistrophe.
See
: :
473.
387-99 400-33
non-antistrophic
period
in
anapaestic,
iambic
and
dochmiac rhythm.
See
290.
Scene
I.
AVES

recitative
441
460-522, 548-610, 626-7, 636-7:

meters.
anapaestic tetra-
523-38, 611-25
recitative anapaestic hypermeters.
628-35
rbythm.
non-antistropbic
372.
systematic
period
in
iambo-trochaic
See
Scene 11.
638-75
;
638-57
638-57, 661-75
:
658-60
661-75
658-60
trimeters (35). recitative anapaestic tetrameters.
Parahasis
I.
676-800
676-84
685-722
723-36
[
737-52 = 769-84
(16)
(753-68
= 785-800
(16)
676-84: non-antistropbic systematic period

See
546.
in
Aeolic rbytbm.
685-722 recitative anapaestic tetrameters. 723-36 recitative anapaestic bypermeters. 737-52 = 769-84: monostropbic dyad in
:
simplified
logaoedic
rbytbm. See 410. 753-68, 785-800
recitative trocbaic tetrameters.
Syzygy
I.
801-902
801-50-859-94
851-8
= 895-902
;
801-50
851-8
876
;
859-63
;
864-7
;
868
;
869-71
;
872
873-5
877-9
880
881-8
889-94
872,
895-902
876, 880,
801-19%
trimeters (65).
820-50,
859-63,
868,
889-94:
819^: anaphonema.
851-8 = 895-902
monostropbic dyad in iambic rliytbm. 864-7, 869-71, 873-5, 877-9, 881-8 prose.
: :
See
93.
442

Scene III.
:
ave!
903-1057
913-4;
;
903;
904-6;
;
907;
;
908-10;
;
911-2;
;
915-23;
;
924-30
;
931-5
936-9
;
940
;
941-5
;
946-9
976
;
950-3
;
954-66
;
967-8
;
969-70
987-8
;
971-3
97 4
;
975
;
977-9
;
980-2
;
983-5
;
986
989-1034
1035-6
1048
;
1037-9
1040-2
1043-5
1046-7
1049-50; 1^51-7
903, 907, 911-2, 915-23, 931-5, 940, 946-9, 954-66, 969-70, 974, 976, 980-2, 986, 989-1034, 1037-9, 1043-5, 1048, 1051-7 trimeters (104).
:
the Poet, in Aeolic and simplified logaoedic rhythm.
Song of 904-6, 908-10, 913-4, 924-30, 936-9, 941-5, 950-3 See 585. 967-8, 971-3, 975, 977-9, 983-5, 987-8: dactylic hexameters. 1035-6, 1040-2, 1046-7, 1049-50 prose.
:
Farabasis II.
1058-1117
1058-71
= 1088-1101
= 1102-17
(16)
U072-87
1058-71 = 1088-1101:
paeonic rhythm.
(16)
monostrophic dyad in
anapaestic
and
See
455.
:
1072-87, 1102-17
Syzygyll: 1118-1268
Tlf8-87~ 1T96-I26I
lT88-95
= 1262-8
:
1118-87, 1196 (defective)-1261 trimeters (136). 1188-95 = 1262-8: monostrophic dyad in dochmiac
See
465.
rhythm.
Episode
1269-1312
1269-1312
1269-1312: trimeters
(44).
AVES

Stasimon
J.
:
443
1313-34
1313-22
= 1325-34
1323-4
1313-22 = 1325-34:
logaoedic rhythm.
1323-4:
triad.
dyad of ca mesodic triad, in simplified See 406. non-antistrophic iambic tetrameter as mesode of the
See
406.
Episode 11.
1335-1469
1335-6; 1337-9; 1340-71; 1372-4; 1375; 1376-7; 1378-9; 1380-1;
1382-92; 1393-6; 1397; 1398-1400; 1401-9; 1410-2;

1413-4; 7415
;
1416-69
1382-92,
1335-6, 1340-1^ 1342, 1344-71, 1375, 1378-9, 1397, 1401-9, 1413-4, 1416-69: trimeters (113). 1337-9 prosodiac octameter. See 496, 709.
:
1341^
1395'^: anaphonemata.
of Cinesias, in bastard Aeolic

:
1372-4, 1376-7, 1380-1, 1393-4; 1395''-6, 1398-1400: rhythm. See 569. 1410-1 greater Asclepiadean. See 532, 709. Phalaeceans. See 518 ii., 709. 1412, 1415
:
Song
Stasimon
II.
1470-93
M7b-81 = 1482-93
1470-81 = 1482-93
See
215.
:
monostrophic dyad in
trochaic
rhythm.
Syzygylll: 1494-1705
1494-1552- 1565-1693
1553-64 = 1694-1705
1494-1552; r553-64
1565-1660; 1661-6; 1667-93; 1694-1705
1494-1509, 1511-52, 1565-1660, 1667-93: trimeters (181). 1510: anaphonema. 1553-64=1694-1705: monostrophic dvad in trochaic rhythm.
See
216.
1661-6:
prose.
444

Uxode: 1706-65
aves
1706-19 1720-25
1726-30
1731-6
= 1737-42
1743-7
1748-54 1755-65
trimeters (14). non-antistrophic systematic period in iambo-trochaic rhythm, with Aeolic close. See 588.
: :
1706-19 1720-25
1726-30 non-antistrophic period in anapaestic rhythm. See 588. 1731-6 = 1737-42: monostrophic dyad in Aeolic rhythm. See
:
588.
1743-7 non-antistrophic period in anapaestic rhythm. See 588. 1748-54 non-antistrophic period in dactylic rhythm, with Aeolic'
: :
close.
See
588.
:
1755-65
non-antistrophic period in iambic rhythm.
See
588.
Lysistrata
Prologue:
1-253
1-253
trimeters (253).
Farode: 254-386
254-5
256-65
= 2^71-80
266-70- 281-5
286-95
= 296-305
306-18 319-20
LT8.

321-34 = 335-49
350-1
445
352-81
382-6
254-5, 266-70, 281-5, 306-18, 350-81
meters.
:
recitative iambic tetra-
256-65 = 271-80:
See
94.
first
monostrophic dyad, in iambic rhythm.
286-95 = 296-305
rhythm.
See
370.
second monostrophic dyad, in iambo-trochaic
319-20: Aeolic tetrameters. See 535. 321-34 = 335-49: third monostrophic dyad,
See
563.
in Aeolic
rhythm.
382-6
recitative iambic hypermeter.
Scene:
387-466
387-466
387-466
trimeters (80).
Debate: 467-613
467-70
(4)
-471-5
(5)
476-83 = 541^8
484-5 -549-50
486-531 (46) -551-97
(47)
532-8 - 598-607
539-40 608-10
467-75, 539-40 476-83 = 541-8
:
(3)
-611-13
(3)
recitative iambic tetrameters.
monostrophic dyad in iambic and anapaestic See 303. rhythm. 484-531, 549-97 recitative anapaestic tetrameters. See 710 f. 532-8, 598-607 recitative anapaestic periods.
: : :
608-13: trimeters
(6).
446

Farabasis
:
lys.
614-705
614-25
(10)
= 636-47
= 648-57
(10)
1626-35
r
658-71
(10)
= 682-95
= 696-705
(10)
\672-81
monostrophic dyad, See 230. rhythm, with paeonic-trochaic variation.

first
614-25 = 636-47:
in
iambo- trochaic
626-35 = 648-57; 672-81

meters.
:
= 696-705:
recitative trochaic tetra-
658-71 = 682-95 second monostrophic dyad, in trochaic rhythm, See 241. with paeonic-trochaic variation.
Episode
I.
706-80
;
706-9
710-11
7T2-69
770-6
777-80
706-9, 712-5, 717-69, 777-80: trimeters (65). 710-1, 716 anaphonemata. 770-6 dactylic hexameters.
:
Stasimon I.:
781-828
781-804 = 805-
781-804 = 805-28: monostrophic dyad

with trochaic
close.
in paeonic-trochaic
rhythm,
See
242.
Episode 11.
829-1013
;
829-953
954-79
980-1013
829-78, 880-953, 980-1013: trimeters (158). 879 anaphonema. 954-79 non-antistrophic period in anapaestic rhythm.
: :
See
287.
Stasimon II.
1014-71
1014-42
1043-57
= 1058-71
THES.

:
447
1014-35 recitative paeonic-trochaic tetrameters. See 682. 1036-42 recitative trochaic tetrameters. 1043-57 = 1058-71 monostrophic dyad in trochaic rhythm, with
: :
paeonic-trochaic variation.
See
239.
Episode III.
1072-1188
r072-3; 1074-1107; nOS-ll; lTl2-88

1072-3, 1108-11 recitative anapaestic tetrameters. 1074-1107, 1112-88: trimeters (111).
:
Stasimon III.:
1189-1215
1189-1202 = 1203-15
1189-1202 = 1203-15: monostrophic dyad in trochaic rhythm, with paeonic-trochaic variation. See 240.
Exode: 1216-1322
1216-46
r247-72
7273-8
1279-94
1295-6
1297-1322
1216-46, 1273-8, 1295-6: trimeters
(38).
1247-72
See
See
412.
non-antistrophic period in simplified logaoedic rhythm.

1279-94
408.
1297-1322
rhythm.
See
non-antistrophic
period
in
simplified
logaoedic
413.
Thesmophoriazusae
Prologue: 1-294
1-38
39-62
63-100
1^1-29
730-294
1_38, 63-100, 130-294: trimeters (241). See 710 f. recitative anapaestic period. non-antistrophic period in free ionic rhythm, See 428 f. dactylic, iambic and Aeolic variation at the close.
39-62 101-29
:
with
Parade: 295-371
295-311
312-30
331-51
352-71
448
:

295-311 prose. 312-30: non-antistrophic period
thes.
in simplified logaoedic rhythm,
with ionic variation.
See
411.
331-51 352-71
variation.
trimeters (21). non-antistrophic period in Aeolic rhythm, with anapaestic

560.
See
Scene
I.
372-519
;
372-80
381-2
383-432
433-42
443-58
459-65
466-519
372-80, 383-432, 443-58, 466-519: trimeters (129).
381-2 433-42
:
recitative iambic tetrameters.

:

non-antistrophic period in trochaic rhythm, with paeonic-
See 414.
459-65
trochaic variation.
See
237,
Debate: 520-73
520-30
531-2; 533-73
period
in
520-30
non-antistrophic
trochaic
rhythm,
with
anapaestic opening.
:
See
222.
531-2, 571-3 recitative iambic tetrameters. 533-70 melodramatic iambic tetrameters.

:
Scene II.
574-654
574-654
574-654: trimeters
(81).
Syzygy: 655-764
655-8
659-66
667-86 = 707-25
687-8-726-7
689-706-728-64
655-8
;
659-66
667-86
687-8
;
689-98
;
699-701
702-6
707-25
726-7
728-64
THES.
:
449
655-8 recitative anapaestic tetrameters. 659-66 non-antistrophic period in trochaic rhythm. See 221. 667-86 = 707-25 monostrophic dyad in anapaestic and dochmiac
: :
rhythm, with iambo-trochaic variation. See 472. 687-8, 702-6, 726-7 recitative trochaic tetrameters. 689-98, 728-64: trimeters (47). 699 anaphonema. 700-1 dochmii. See 709.
:
:
Scene III.
.-
765-84
776-84
765-75
765-75 776-84
trimeters (11). non-antistrophic period in anapaestic rhythm.
See
Parahasis
785-845
785-813; 814-29; 830-45
785-813 814-29 830-45

: :

recitative trochaic tetrameters (16).
Episode
I.
846-946
846-912; 913-5; 916-46

846-912, 916-46 913-5: dochmii.
:
trimeters (98).
See
709.
Stasimon
I.
.-
947-1000
947-52
953-8
959-61
= 962-5 = 966-8
969-76 = 977-84
985-1000
947-52 non-antistrophic period in anapaestic rhythm. See 953-8 non-antistrophic period in Aeolic rhythm. See 589. 2 G
: :
450
:

959-68 monostrophic triad in trochaic rhythm. See 589. 969-76 = 977-84: monostrophic dyad in Aeolic rhythm.
ran.
See
589.
985-1000:
non-antistrophic
period
in
Aeolic
rhythm, with
logaoedic variation.
See
589.
Episode II.
1001-1135
100"l-14; 1015-55; 1056-64; 1065-97; 1098-1135
1001-14, 1056-64, 1098-1135: trimeters (61). non-antistrophic period in iambo- trochaic 1015-55
:
rhythm,
ana-
by subordinate periods in Aeolic, enoplic, dactylic and See 374. paestic rhythm towards the close. non-antistrophic period in anapaestic rhythm. 1065-97
varied
:
See
288.
Stasimon 11.
1136-59
1136-9
= 1140-2
ri43-7
1148-54
ri55-9
1136-9 = 1140-2
387.
monostrophic dyad in logaoedic rhythm.

period
in
See
with
1143-7
non-antistrophic
logaoedic
rhythm,
See 387. bacchiac opening. 1148-54: non-antistrophic period in simplified logaoedic rhythm.
See
387.
1155-9
non-antistrophic period in logaoedic rhythm.
See
387.
Exode: 1160-1231
lT60-1226
1227-31
3
1160-1187^ 1187''-1213, 1214-5, 1216-22, 1223-6:

(68).
trimeters
1213^ 1215^ 1222*^: anaphonemata. 1227-31 non-antistrophic period in anapaestic rhythm.

:
See
291.
Eanae
Prologue:
1-315
;
1-208; 209-68
269-315
RAN.
TABLE OF STRUCTUEE AND RHYTHMS

1-14, 16-140^ 141-207, 269-315: trimeters (253).
451
140^ 208: anaphonemata. 209-68 non-antistrophic period in iambo-trochaic rhythm, varied by two subordinate periods in enoplic and prosodiac rhythm respectively.
:
See
373.
Parode: 316-459
316 = 317
318-22
323-36 = 340-53
337-9
354-71
372-7
= 378-81
382-3
384-8
= 389-93
394'*-7
398-402 = 403-8 = 409-13

414-5
416-8 = 419-21
= 422-4 = 425-7 = 428-30 = 431-3 = 434-6 = 437-9

440^-7
448-53 = 454-9
bacchiac dimeters in correspondence as first monoSee 448, 318-22, 337-9, 414-5: trimeters (10). 323-36 = 340-53 second monostrophic dyad, in ionic rhythm, with bacchiac variation at the beginning. See 427. 354-71, 382-3 recitative anapaestic tetrameters. 372-7 = 378-81 third monostrophic dvad, in anapaestic rhythm. See 301. 384-8 = 389-93 fourth monostrophic dyad, in iambic rhythm. See 89. 394*, 440" anaphonemata. 394^-7, 440''-7 protracted iambic tetrameters. 398-413 monostrophic triad in iambic rhythm. See 82.
strophic dyad.
: : : : : : :
316 = 317:
452
:

416-39 monostrophic octad in iambic rhythm. See 80. 448-53 = 454-9 fifth monostrophic dyad, in Aeolic rhythm.
:
ran.
See
579.
Syzygij
460-604
460-533 ~ 549-89
534-48 = 590^604
460-533, 549-89 534-48 = 590-604
217.
:
trimeters (115).
:
monostrophic dyad in trochaic rhythm.
See
Scene
I.
605-73
605-73
605-63,668-73: trimeters (65). 664-7 probably a disguised trimeter.

:
See
709.
Farabasis
67^4-85
(20)
674-737
= 706-17 = 718-737
(20)
[686-705
674-85 = 706-17:
686-705 = 718-737
:
monostrophic
dyad
in
prosodiac
enoplic
rhythm, with simplified logaoedic variation.
See
498.
/.
738-813
38-813
738-813: trimeters
(76).
Stasimon
I.
814-29
814-7
= 818-21 = 822-5 = 826-9
814-29
close.
monostrophic tetrad in dactylic rhythm, with trochaic
See
346.
Scene II.
830-94
:
830-74
875-84
885-94
BAN.

830-74, 885-94
:
453
trimeters (55).
875-84
close.
non-antistrophic period in dactylic rhythm, with trochaic
See
347.
Debate:
895-1118
895-904 = 992-1003
905-6- 1004-5
907-70
(64)
~ 1006-77
(71)
971-91 ~ 1078-98
1099-1108 = 1109-18
895-904 = 992-1003: monostrophic dyad in with anapaestic opening. See 214. 905-6 recitative iambic tetrameters. 907-70 melodramatic iambic tetrameters. 971-91 melodramatic iambic hypermeter.
: : :
trochaic
rhythm,
1004-77 1078-98

recitative anapaestic period.
See 710
f.
1099-1108=1109-18: monostrophic dyad

with paeonic-trochaic variation.
in trochaic
rhythm,
See
236.
Episode II.
1119-1481
1278-83; 1284-95;
;
lTl9-1250; 1251-60; 1261-3; l64-77
1296-1308; 1309-28; 1329-30; T331-63

1370-7
;
1364-9;
1378-1481
1364-9,
1119-1250, 1261-3,
:
1278-83, 1296-1308, 1329-30,
1378-1431% 1431^-1481 trimeters (267). 1251-60 non-antistrophic period in Aeolic rhythm. See 545. two mock lyrics in 'dactylic' rhythm. 1264-77, 1284-95 See
: :
351
f.
1309-28: mock
variation.
lyric
in
Aeolic rhythm,
with slight logaoedic
See
586.
Aeolic,
of a Euripidean monody in varying rhythm, dochmiac, logaoedic, dactylic, paeonic-trochaic, iambic, bacchiac and paeonic. See 591 f. 1370-7 non-antistrophic period in trochaic rhythm. See 218.
1331-63: parody
anapaestic,

Stasimon
II.
:
ec
1482-99
1482-90 = 1491-9
1482-90=1491-9:
See
219.
monostrophic
dyad
in
trochaic
rhythm.
Exode: 1500-33
1500-27
1528-33
5
1500-27 recitative anapaestic period consisting of three hypermeters and an octameter. See 710 f. 1528-33 non-antistrophic period in dactylic rhythm. See 348.
:
ECCLESIAZUSAE
Prologue: 1-284
l-223^ 223''-284
trimeters (285).
'Farode'
{fj^Ta(TT(uri<i)
285-310
285-8
289-99
:
= 300-10
in Aeolic
285-8 recitative iambic tetrameters. 289-99 = 300-10 monostrophic dyad

:
rhythm.
See
578.
Scene
311-477
311-477
311-477: trimeters
(167).
Epiparode: 478-519
478-82 483-92 = 493-503

504-13
514-6-517-9
EC.

:
455
478-82 non-antistrophic jieriod in iambic rhythm with anapaestic See 85. opening, constituting the proode of a triad. 483-92 = 493-503 dyad of the triad, in iambic rhythm. See 85.
:
504-13: trimeters (10). 514-9 recitative anapaestic tetrameters.

:
Scene 11.
520-70
520-70
520-70: trimeters
(51).
Debate: 571-709
571-80
581-2
583-688
in
689-709
rhythm,
571-80: non-antistrophic period

with logaoedic opening.
prosodiac-enoplic
See
501.
581-688 689-709

Scene III.
710-29
710-29
710-29
trimeters (20).
Episode
I.
730-876
730-876
730-876: trimeters
(147).
[Stasimon
Episode II.
:
/.]
877-1111
877-92
893-9 900-5 = 906-10
456

9Tl-7
plut.
= 918-23
924-37
938-41
= 942-5
946-51
952-9 = 960-7
968-71
= 972-5
1 1
976-1
trimeters (172). non-antistrophic period in trochaic rhythm, constituting the proode of a hendecad. See 220.
:
877-92, 924-37, 946-51, 976-1111

:
893-9
900-5 = 906-10:
See
557.
first
dyad
of the hendecad, in Aeolic
rhythm.
Aeolic
911-7 = 918-23:
rhythm.
See
567.
second
third
dyad
of
the
hendecad,
in
See
556.
:
938-41 = 942-5
dyad
rhythm.
952-9 = 960-7
logaoedic rhythm.
fourth See 415.

fifth
dyad
of
the
hendecad,
in
simplified
968-71 = 972-5:
with dochmiac
close.
dyad
564.
rhythm,
See
[Stasimon IL]
Exode: 1112-81
1112-54; 1^55-62; rT63-81
1112-54 1155-62 1163-81

See
354.
trimeters (43). recitative trochaic tetrameters.
non-antistrophic period in dactylic and trochaic rhythm.
Plutus
Prologue: 1-252
1-252
trimeters (252).
Parade: 253-321
253-89
290-5
= 296-301

302-8
457
= 309-15
316-21
253-89 recitative iambic tetrameters. 290-5 = 296-301: first dyad of an epodic pentad,
:
in
iambic
rhythm.
See
88.
See
88.
302-8 = 309-15: second dyad

:
of the pentad, in iambic
rhythm.
316-21 non-antistrophic period in iambic rhythm, constituting the epode of the pentad. See 88.
Scejie I.
322-486
322-486
322-36r', 362-486: trimeters (165).
361^':
anaphonema.
Debate: 487-6 li
487-8
489-597
598-618
487-597 598-618
Scene 11.
619-26
619-26
619-26: trimeters
(8).
[Parabasis]
Episode
I.
627-770
639-40
;
627-36
637
638
641-770
627-36, 638, 641-770: trimeters (141).

637,
639-40
dochmii.
See
709.
[Siasimon
7.]
Episode II.
771-801
771-801
771-801
trimeters (31).
458

[Stasimon //.]
Episode III.
802-958
802-958
802-805^ 806-958:
trimeters (158).
[Stasimon III.]
Episode IF.
959-1096
959-1096
959-1051% 1052-1096:
1051^: anaphonema.
trimeters (138).
[Stasimon
V.
:
IK]
1097-1170
1097-1170
1097-1170: trimeters
(74).
[Stasimon V.]
Exode: 1171-1209
ri7'l-1207; r208-9
5
1171-1207 trimeters (37). 1208-9 non-antistrophic period

: :
in
anapaestic
rhythm.
See
coc
BIBLIOGRAPHY
The
following
list
includes
The Verse of Greek Comedy.
For
only books and monographs cited in fuller information consult (ileditsch's
MetriP and
his reports in Bursian's Jahresbericht.

title signifies
See under Gkditsch.

the
superior numeral attached to a
number
of the
edition.
book or
The title monograph
is
is
given, in italics, in the language in which the
written.
Aristoxenus.
Aristoxeni
Morelli, Venice,
rhythmicorum element or urn fragmenta. Jacopo 1785. Cited as M. The same volume contains
Melik U7id Rhythmik des
Leipzig,
i.
orations of Aristides and Libanius.
Aristoxenus von Tarent.

thums. R. Westphal,
classischen Hellenen-
ii.,
1883-93.
Cited, generally
ft'.
by paragraph, as W. The pvO/j-iKa aToix^la are given in ii. 75 Westphal had previously published them in his Die Fragmente und die Lehrsatze dcr griechischen Ilhythriiiker (Leipzig, 1861), 26 ff., and as a supplement to his Griechische Rhythmik und Harmonik'^. See under Rosshach und Westphal.
Aristulis Quintiliani de musica lihri in. Albert Jahn, Berlin, Aristides. 1882. Cited as J. Aristides was first published by Meibom at Amsterdam in 1652. Cited as M. Heliodorus. For his Metrical Scholia on Aristophanes see pp. 397 tf. of this book. See also under Hense and Thiemann. Hephaestion. Hephaestionis Enchiridion cum commentariis veteribus. Max. Consbruch, Leipzig, 1906.
Amsel,
Apel,
G.
De
vi atque indole rhythmorum, quid veteres indicaverint.
Breslauer
philologische Abhandlungen,
J.
A.
E.
Metrik',
i.
ii.,
3 (1887). Leipzig, 1834.

i.
Arnold,
Vernon.
Vedic Metre in
its
Historical Development.
Cambridge,
Philologus,
Berlin, 1840.
1905.
Zur Kritih der Komodien des Aristophanes. 0. Supplementband v. (1885), 231 ff. Bellermann, F. Die Hymnen des Dionysius und Mesomedes.
Bachmann,
Anonymi
scriptio de
musica.
Berlin, 1841.
459
460

JVhat was Ictus in Latin Prosody ? American Journal of Philology, xix. (1898), 361 ff. Rhythmic Accent in Ancient Verse. American Journal of Philology,
XX. (1899),
Bennett, Charles E.
412
flf.
Bergk, Theodor.
Poetae Lyrici Graeci^,
i.
ii. iii.,
Leipzig, 1878-82.
titer das alteste
Versmass der Griechen.

ii.,
Freiburg, 1854.
Reprinted in
Berlin,
Kleine philologische Schriften,

Berliner Klassikertexte,
v. 2,
392 ff. Halle, 1886. Lyrische und dramatische Fragmente.

anapaesti in trimetro comico
1907.
Graecorum, Acta Societatis Philologae Lipsieusis, i. 2 (1872), 243 ff. Blass, F. Neue Fragmente des Euripides und andrer griechischer Dichter. Rheinisches Museum, N.F. xxxv. (1880), 74 ff., 287 ff. Kleine Beitrdge zur griechischen Metrik, iv. to kut IvoVAtov etSos. Jahrbiicher ftir classische Philologie, 32. Jahrgang (1886), 455 ff. Hermeneutik und Kritik^. Von Miiller's Handbuch der klassischen Altertums-Wissenschaft, i. (1892), 149 ff. Bacchylidis Carmina^. Leipzig, 1904. A Chapter on the Rhythms of Bacchylides. Hermathena, xiii. (1904-5),
Bernhardi, K,
De
incisionihus
163 ff. BoCKH, August.
Pindari Opera,
i.
ii.,
Leipzig,
1811-21.
Brambach, W.
Caesar,
J.
Metrische Studien zu Sophocles. Leipzig, 1869. Die Grundziige der griechischen Rhythmik. Marburg, 1861. Christ, Wilhelm. Die metrische Ueberlieferung der pindarischen Oden. Abhandlungen der koniglich bayerischen Akademie der Wissenschaften, xi. 3 (1868),
129
ff.
Die Parakataloge im griechischen und romischen Drama.

der
Abhandlungen
xiii.
koniglich
bayerischen Akademie der Wissenschaften,
(1875), 155 ff. Metrik der Griechen und Romer-. Leipzig, 1879. Clapp, E. B. A Quantitative Difficulty in the Neiv Metric.
(1904), 339 f. Conradt, C. Ueber die Semeiotih des Heliodorus.
xviii.
Classical Review,
Jahrbiicher
fiir
classische
Jahrgang (1895), 273 ff. Crusius, 0. Ein Liederfragment auf einer antiken Statuenhasis. logus, 1. (1891), 163 ff.
Philologie, 41.
Philo-
Zu neuentdeckten antiken Mtisikresten. Philologus, Iii. Dawes, Richard. Miscellanea Critica. Cambridge, 1745.
been frequently reprinted. Decharme, Paul. Euripides and
(1893),
160
ff.
This book has
the Spirit of his Dramas. Translated by New York and London, 1906. James Loeb. DoBREE, P. P. Addenda to Richard Person's Notae in Aristophanem.
Cambridge, 1820.
Elmslet, Peter. Aristophanis Comoedia Acharnenses. Oxford, Republished at Leipzig, 1830. Enger, R. Aristophanis Lysistrata cum scholiis. Bonn, 1844.
1809.
im Frieden des Aristophanes. Museum, N.F. ix. (1853-4), 568 ff. Wer recitirte das Epirrhema ? Rheinisches Museum, N.F,
Ueber die scenische Darstellung
Rheinisches
x.
(1854-6),
119
ff.
BIBLIOGRAPHY
461
FriedlXnder, Paul. Zur EntwicMungsgescMchte gricchischer Mefren. Hermes, xliv. (1909), 321 ff. Gevaert, F. a. Histoire et Theorie de la musique de I'Antiquite, i. ii., Gand, 1875-81.
La
Gleditsch, H.
le chant de I'Eglise latine. Gand, 1895. Metrik der Griechen \md Edmer mit einevi Anhang iiber die Musik der Griechen^. Von Miiller's Handbuch der klassischen Altertums-Wissenschaft, ii. 3 (1901), 63 ff. Bericht iiher die Erscheinungen auf dem Gebiete der griechischen und romischen Metrik. Bursian's Jahresbericht iiber Fortschritte der klassischen Altertumswissenschaft, cxxv. (1905), 1 ft'., cxliv. (1909),
Alelopee antique dans
75 tf. GooDELL, Thomas Dwight.
Chapters on Greek Metric.

Classical
New
York, 1901.
i.
Bisected Trimeters in Attic Tragedy.
Philology,
(1906),
145 ff. Grenfkll, Bernard P., and Hunt, Arthur S. TJie Oo:yrhynchus Papyri., i. -viii., London, 1898-1911. Hendrickson, G. L. Review of Bennett's llHiat was Ictus in Latin Prosody ? American Journal of Philology, xx. (1899), 198 Hen'se, Otto. Heliodoreische Untersuchiingen. Leipzig, 1870. Hermann, Gottfried. Elementa Doctrinae Metricae. Leipzig, 1816. Epitome Doctrinae Metricae'^. Leipzig, 1869. Humphreys, M. W. The Agon of the Old Comedy. American Journal of Philology, viii. (1887), 179 ff. Jan, Karl von. Musici Scriptores Graeci. Leipzig, 1895. Supplement entitled Melodiarum reliquiae. Leipzig, 1899. Kaibel, Georg. Comicorum Graecorum B'ragmenta, i. 1, Berlin, 1899. Kawczynski, M. Essai comparatif sur Vorigine et I'histoire des rythmes.
ft'.
Paris, 1889.
from a Papyrus in the 1897. Autotype facsimile of the Papyrus, 20 plates, London, 1897. See also the reproduction of the text in Jebb's Bacchylides, The Poems and Fragments, 147 Cambridge, 1905. KoRTE, Alfred. Menandrea ex papyris et membranis vetustissimis. Leipzig, 1910. KoPP, A. Ueber positio debilis und correptio attica im iambischen Trimeter der Griechen. Rheinisches Museum, N.F. xli. (1886), 247 ff.,
of Bacchylides,
ft'.
Kknyon, Frederic G. The Poems British Museum. London,
376
KiJHNE,
ff.
Halle, 1863. Konigsberg, 1902. Leo, Friedrich. Ein Kapitel plautinischer Metrik. Rheinisches Museum, N.F. xL (1885), 161 ff. Die plautinischen Cantica und die hellenistische Lyrik. Abhandlungen der koniglichen Gesellschaft der Wissenschaften zu Gottingen, N.F.
tradiderint veteres.
W.
De dochmio quid
Lehrs, Karl.
Kleine Schriften.
i.
7 (1897).
Zur neuesten Bewegung in der

fiir
griechischen Metrik.
Neue Jahrbiicher
das klassiche Altertum,
ix.
(1902), 157
ft".
Der Saturnische Vers. Abhandlungen der koniglichen Gesellschaft der Wissenschaften zu Gottingen, N.F. viii. 5 (1905).
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De choriambo
et
LuTHMER, JoHANN.
ionico a minore diiambi

viii.
loco positis.
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Dissertationes philologicae Argentoratenses selectae,
(1885), 77
Mahaffy,
The Flinders Petrie Papyri, loith transcriptions, commerdaries, index, i. ii., Dublin, 1891-1905. Royal Irish Academy, Cunningham Memoirs. Masquerat, P. Traite de Metrique grecque. Paris, 1899. Mazon, Paul. Essai sur la composition des comedies d'Aristophane. Paris, 1904. Monro, David Binning. The Modes of Ancient Greek Music. Oxford, 1894. Oldenberg, Hermann. Die Hymnen des Rigveda, i., Berlin, 1888. Perschinka, F. De mediae et novae quae vacatur comoediae Atticae trimetro iambico. Dissertationes philologae Viudobonenses, iii. (1891), 321 ff. PiCKEL, Karl. De versuum dochmiacorum origine. Dissertationes philoJ.
P.
logicae Argentoratenses,
PoRSON, Richard.
et
iii. (1880), 139 ff. Euripidis Hecuba. Ad fidem manuscriptorum emendata
brevibus notis emendationum potissimum rationes reddentibus instructa^. Cambridge, 1802. This edition contains the celebrated Praefatio and Supplementum ad Praefationem. A third edition appeared in 1808. Ramsay, Sir William. Unedited Inscriptions of Asia Minor. Bulletin de Correspondance hell^nique, vii. (1883), 258 ff. La Musique des Hymnes de Delp)hes. Reinach, Theodore. Bulletin de Correspondance hellenique, xvii. (1893), 584 ff. La Musique du Nouvel Hymne de Delphes. Bulletin de Correspondance
helldnique, xviii. (1894),
363
ff.
Reisig, Karl.
Goniectaneorum in Aristophanem
libri duo.
Leipzig, 1816.
RossBACH,
Metrih der griechischen August, und Westphal, Rudolf. Dramatiker und Lyriker nebst den begleitenden musischen Kilnsten, i. 1854-65. i. Griechische Bhythmik, von Rossbach II. III., Leipzig, Griechen, von Westphal II. i. Harmonik und Melopoie der (1854) (1863) II. ii. Allgemeine griechische Metrih, von Westphal (1865) Griechische Metrik nach den eijizelnen Strophengattungen und III. metrischen Stilarten, von Rossbach und Westphal (1865). The second edition in two volumes (1867-68) has the general title, Metrik der
; ;
Griechen
Bhythmik
im Vereine mit den und Harmonik
iibrigen musischen Kilnsten.
I.
Griechische
nebst
der
Geschichte
der
drei
musischen
von Westphal (1867). With supplement entitled, Die Fragmente der Rhythmiker und die Musik-Reste der Griechen. IL Allgemeine Metrik, 1-323 Griechische Metrik, von Westphal (1868). The third edition in three volumes Specielle Metrik, 325-864. (1885-89) has the general title, Theorie der musischen Kunste der Griechische Rhythmik, Hellenen. I. von Westphal (1885); II. Griechische Harmonik und Melopoie, von Westphal (1886) IIL i. Allgemeine Theorie der griechischen Metrik, von AVestphal und Gleditsch Griechische Metrik mit besonderer Riicksicht auf die III. ii. (1887) Strophengattungen und die iibrigen melischen Metra, von Rossbach (1889). Philologus, xxviii Der Trimeter des Aristophanes. Rumpel, Johann. (1869), 599 ff. Rutherford, William G. A Chapter in the History of Annotation. London, This is the third volume of his Scholia Aristophanica. 1905.
Disciplinen,
; ; ;
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Schmidt,
J.
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Die Kunstformen der griechischen Poesie und ihre 1868-72. i. Die Eurhythmie in den Chorgesiingen der Griechen (1868) II. Die antike Compositionslehre (1869); III. Die Monodien und Wechselgesiinge der attischen Tragodie (1871); IV. Griechische Metrik (1872). An Introduction to the Rhythmic and Metric of the Classical Languages, translated from the German by John Williams White, Boston, 1878. Schneider, Otto. De veterum in Aristophanem scholiorum fontibus. Stralsund, 1838. ScHR.\DER, Hermann. De extremae Pads Aristophaneae responsione Heliodoro Rheinisches Museum, N.F. xxi. (1866), 93 ff. duce restituenda. Schroeder, Otto. Die enoplischen Strophen Pindars. Hermes, xxxviii. H. Heinrich.
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Leipzig,
(1903),
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202
ff.
Miscellen.
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ff.).
Philologus,
(1905), 147 f. Vorarbeiten zur griechischen Versgeschichte. Leipzig, 1909. Aristophanis Cantica.
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Metrik.
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Gerhard.
Beitriige
zur
Theorie
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Hermes,
XXXV. (1900), 308 ff. Seidlek, a. De versibus dochrniacis trugicorum Graecorum. Leipzig, 1811-12. Harvard Xotes on the Anapaests of Aischylos. Smyth, Herbert Weir.
Studemund, Wilhelm.
Berlin, 1886.
Studies in Classical Philology, vii. (1896), 139 ff. Anecdota varia Graeca musica metrica grammatica.
Thiemann, Karl. Heliodori Colometriae Aristophaneae quantum superest iina cum reliquis scholiis iji Aristophanem metricis. Halle, 1869. Piheinisches Museum, N.F. xxviii. (1873), 391 ff. Vergessenes. Usener, H.
Altgriechischer Versbini, ein Versiuh vergleichender Metrik.
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Johann Heinrich.
Zeitmessung der deutschen Sprache.
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Rhetores Graeci, i.-ix., Stuttgart
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Wessely,
C.
Reste griechischer Musik.
Wien, 1891.
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v.
Le Papyrus musical d'Euripide.

ff.
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vergleicheîden
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The
ii.
'
Stage
'
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An
(1891), 159 ff Harvard Studies in Classical Unrecognized Actor in Greek Comedy.

ff.
Philology, xvii. (1906), 103
464

^
White, John Williams.
Logaoedic' Metre in Greek
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ii.
Harvard
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419
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Origin and
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Form
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139
The Iambic Trimeter in Menander.

ff.
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(1909),
Scholia on the Aves of Aristophanes.

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ix.
i.
Boston, 1912.
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WiLAMOWiTZ-MoELLENDORFF, Ulrich VON.

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Philo-
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die
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xxiii.
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Sitzungsberichte
der
koniglich
ff.,
preussischen
Akademie der Wissenschaften, Jahrgang 1911, 460
504 ff., xxi. Zacher, Konrad.

Jahrbiicher
Die Handschriften und Classen der Aristophanesscholien.

fiir
classische Philologie,
Supplementband
xvi,
(1888),
502
ff.
Aristophanis Pax.
Praefatus est 0. Bachmann.

altattischen
Leipzig, 1909.
Leipzig, 1885.
ZiELiNSKi, Th.
Die Gliederung der
Komodte.
GENERAL INDEX
This Index
is
analytical,
and
is
intended to serve as a
summary statement
of doctrin
The references
are to sections.
initial
a lengthened in the thesis, 795

:
Accent. irpoai^Sla
2.
See Ictus
31, 38; Aeolic, 519, 530, 570, 572 f., 574; ionic, 422, 617; examples of iambic, 92, 289, 303, 413, 454, 469 primitive, 608 fl'., 643; in verse building, 608, 638 del quantity of a variable, 801 f. Aeolic Feet (Metres) choriamb, antiapast, diiamb, ditrochee, 19 f. undeveloped, 661 choriamb fundamental, 506, 651 Aeolic Verse: 506 ff. the dimeters, 506 polyschematist, 507 ff., 651 Glyconic, 511 f. 652 its colometrical position, 836 Pherecratean, 511, 547 acephalous Glyconic, 570 its rhythmization, 572 f. colometrical position, 841 choriamboiambic dimeter, 513 f., 516, 550, 652; development of these three dimeters, 653; diiambic dimeter, 513 fF., 657 ff., 660; ditrochaic, 517, 657 ff. the trimeter, 518 f., 654; its development, 655 f. Phalaecean, 518, 532 lesser Asclepiadeau, 518; the penthemimer, 513; catalexis in Aeolic verse, 33 f.,
:
;
Aoephalization
508, 511, 519, 570; brachycatalexis, 509, 519, 570; acephalization, 38, 519, 530, 570, 572
f.,
574
659,
irrationality, 514,
517, 519
32,
resolution, 510, 512, 515,
517, 519, 529,
663
ff.
;
protraction,
516
f.,
519,
659
rhythm, 30
526,
correspondence,
520
Aeolic combined with other rhythms,
662
Aeolic
subordinate
;
periods
and
;
hypermeters,
;
527
IF.,
542
Eupolidean,
epionicum, 530 508, 528 f. Priapean, 531 greater Asclepiadean, 532 Cratineum, 540 other combinations of dimeters, 533 ff. recitative use of
;
;
certain tetrameters
and hypermeters, 541, 690

;
the origin of Aeolic verse,

Aeolic, 20, 30, 510
ff.,
651
ff.
indicia,
662
influence of Ionian
f.
rhythm on
See Choriamb and the Introduction, pp. xi. ff. Aeschylus; metrical usages, 95 n. 2, 96 n., 98 n., 108 n., 814 n. 3 parodied, 350, 352 f. quoted or cited, 627 f., 662 his iambic lyrics, 129
514
ff.,
580
ff.,
659, 662
iywy-:^,
tempo
:
:
4.
See Time
;
Alcaeus
parodied, 532
quoted, 617, 654
Alcman
Alexis
:
quoted, 615
:
Alexander
trochaic tetrameter, 259

tetrameters, 259
;
trochaic
;
anapaestic hypermeter, 332
dactylic hexa-
meters, 366
Eupolideans, 529
:
&Xoyos, irrational
15
f.
See Irrationality
465
466
Ameipsias
:

trochaic tetrameters, 259
;
anapaestic tetrameters, 320 616; interior, 71, 206, 615
Amphis
814

:
dvdKXacns, anaclasis
terminal, 419
ff.,
f.,
617
f.,
662,
Anacreon
Anacrusis
parodied, 569
29
8, 9,
Anapaest:
515;
177, 185, 193

its
10; resolved, 11, 271 logaoedic, 382, 388

;
in iambic verse,
ff.
70,
113
;
ff.,
157
ff.,
172,
('cyclic'), 392,
394
in Aeolic verse, 510,
time in logaoedic verse, 281, 388 ff., 400; spurious (o o ) in trochaic verse, 17, 200 Anapaestic Metre 12 f. its use as a colon, 276, 613 its close, 275, 315, 329, 330 Anapaestic Verse the dimeter, 23, 270 ff. the monometer, 276, 613 270 ff. the penthemimer, 277, 394 the tripody and pentapody, 26, 277, 394 the trimeter in logaoedic rhythm, 394, cf. 276, 613 all anapaestic verse in
:
;
:
ascending rhythm, 270

word, 275
anapaestic catalexis, 33, 272

;
brachycatalexis, 35, 277

;
ff. (paroemiac), 779 ff. ; every melic anapaestic colon ends in a complete
;
no protraction in comedy, 278 anapaestic subordinate periods and anapaestic combined with other rhythms, 78, 281, 442 melic and recitative verse distinguished, 282 f., 292, 810 nature and use of anapaestic rhythm, 284 its origin, 603, 605, 607. See Commation. Nonmelic anapaestic verse: 55 ff., 690, 280, cf. 113 ff., 293 the tetrameter, 280, 305 ff. ; AaKuviKdv, 306 diaeresis and caesura, 315 ff. quantity, 792, 796, 798 used Kara crrixov, 690 how rendered, 804 its colometrical position, 835,
hypermeters, 279
;
;
837
fragments, 320
f.
;
the hypermeter, 280, 321
position, 836
irvZyo^ or fiaKpdv,
668
ff. quantity, 798 colometrical hypermeters in Aristophanes, 711

; ;
fragments, 332
dva(pd)vri/ia, irpoavatpihvrjfxa, irpoava(j)ihv7}(n'i
:
838, 849
;
Anaxandrides
trochaic tetrameters, 259 iambic tetrameters, 188 anapaestic hypermeter, 332 dactylic hexameters, 366 Anaxilas trochaic tetrameters, 259 iambic tetrameter, 188 anapaestic hypermeter, 332 enoplic-paeonic fragment, 442
: ;
Anonymus
de Musica on metrical signs of length of syllables, Anonyraus in Studemund's Anecdota Varia on ronri, 130
: :
3 n. 2
;
of pauses, 33 on pauses in the

;
hexameter, 360
Antepirrhema see Epirrhema Antiphanes iambic tetrameters, 188 trochaic tetrameters, 259 anapaestic hyperelegiac distich, 365 ; enoplic meters, 332 trimeters and hexameters, 356
: : ;
tetrameters, 490 n.
Antispast
d7r\T7
see Aeolic Feet

:
Antistrophe
:
51.
See Systematic Period under Period
see Trap&ypa<poi
:
Apollophanes trochaic tetrameter-, 259 Archilochus invented melodramatic rendering, 59 versus Archilochius, 398, 405 quoted, 365, 630 his use of irrational metres, 659
:
Archippus
Aristides
Aristagoras
:
iambic tetrameters, 188 anapaestic tetrameter, 320 on the elements of rhythm, 1

: ;
dactylic hexameters, 366

n. 1
;
the quantity of syllables, 790 n.

(
the the
7
foot, 5 n. 3
the dactylic metre, 14
the 'cretic'
;
w ^
;
),
355 n.
compound
foot,
22 n.
the dochmius, 624

;
tempo, 4
arsis
;
and
thesis,
catalexis, 33, 788 ascending and descending rhythm, 29 XP^''^ kv6s, 31 hypercatalexis, 36 n. caesura in the trimeter, 130 brachycatalexis, 35 n. on logaoedic verse, 375 n. diplasic rhythm; caesura in the hexameter, 360
; ; ; ;
GENERAL INDEX
213
;
467
;
isomeric rhythm, 284, 343

for
hemiolic rhythm, 446
ionic
rhythm, 425.
Not authority
Aristoiiymus
:
an
ictus,
28
anapaestic tetrameters, 320

;
on the iambic trimeter and trochaic tetrameter, 259 the enoplius, foot,' 664 fragments, iambic tetrameters, 188 trochaic anapaestic tetrameters, 320 paroeraiacs, 274 proceleusmatic cola, 304 dactylic hexameters, 366 versus Archilochius, 398 paeonic fragments, 436, 439; anapaestic-paeonic fragment, 442; Aeolic dimeters, 511 f., 549 f., 552, 555, 559 Aeolic tetrameters, 529, 533, 536, 538 Aristophanes of Byzantium 831 Aristophon trochaic tetrameters, 259
:
Aristophanes
647
;
the Glyconic as a
;
'
tetrameters, 259
;
on the rhetorical period, 39 n. iambic rhythm, 79 trochaic, 213 the trochaic tetrameter, 246, 259 Homer and the hexameter, 356 liis definition of parodos, 674 use of the terms (popriKd^ and iXevd^pio^, 425 tvOovaiaaTiKbt, 446 Aristoxeuus on the elements of rhythm, 1 n. 1 his definition of rliythm, 2 on ascending and descending rhythm, 29 the primary time, 2 the syllable as a measure of rhythm, 3 n. 1 diseme, triseme, tetraseme, pentaseme time and syllable, 3, cf. 780 the simple foot, 5, 6, 7, 8, 9 his 'cretic' ( - v^ - ^ ), 355 n. on the irrational metre, 15 f., 391 the compound foot, 21, 22 n., 23, 664 protraction in iambic and trochaic metres, 780, 789 protraction in the choriamb, 34. Not authority for an ictus, 28 Arsis, Upais defined, 7 of simple feet, 8, 9, 10 its relative length, 8, 29 f. prefers short syllables, 8 in protraction, 31 f. absolutely omitted in catalexis in many rhythms, 33, 66, 201, 272, 335, 779 ff. of the metre, 12 irrational, 15 ff., 63, 65, 198, 200 shortened in iambic and trochaic metres, 75, 223 ff. of the compound foot, 21 ff. of the simple foot in logaoedic verse, 388 ff., 400 the primitive variable element in Ionian verse, 18, 27, 70, 113, 375 ff., 382, 386, 392, 603 ff. Asclepiadean lesser, 518 greater, 532
Aristotle
:
; ; ; ;
;
d(TTpo<pa
709
:
Athenaeus Axionichus
Bacchius
:
cited, 567, 575,

:
775
8, 9,
:
447
f. tf.
Bacchylides 639
his use of irregular forms in prosodiac-enoplic verse, 819

f.,
quoted
or cited in illustration of this form of verse, 480

f.,
484
of
ff.,
631
ff.,
635, 637,
644,
646, 812, 814, 817, 821
ff.
The use
35,
cvfJie'ia
in the British
Museum
papyrus, 860
:
Brachycatalexis
the nature of the process,

;
37
in anapaestic verse,
277
dactylic, 338
logaoedic, 381
Aeolic, 509, 519
Caesura,
rofxri:
defined, 56
not in melic verse, 132

;
in the trimeter, 130
ff.,
166
controls the form of the trimeter, 101, 109, 116

266, 315
ff.,
in tetrameters, 180, 183, 254,

;
318
in the hexameter, 360

f.
;
'trochaic' in dactylic verse, 360
penthemimeral, 130, 166, 360 f. hephtliemimeral, 130, 166, 360 f. medial,

ff.
;
;
137
Callias
f.,
166
;
tetremimcral, 137
f.,
166
octahemimeral, 137
f.,
166
triemimeral,
138, 364
:
cretic,
138
;

f.,
Catalexis:
the nature of the process, 31, 33
37,
608
;
marks the
close of a
in iambic verse, 66 f., subordinate period or hypermeter, 43, 735, 775, 788 trochaic, 201 f., 209 ; anapaestic, 272 f., 779 ff. dactylic, 335 74, 779 ff.
;
468

logaoedic, 380 vi., 384 482, 484, 486, 479, 485
:
vi.
;
ionic,
418
paeonic, 437
prosodiac-enoplic, 476
f.,
Aeolic, 508, 511, 513, 519
Choerileum 490 n. Choeroboscus paeonic feet e^dffrjfioi, 231 on the dochmius, 624 spurious in prosodiacin iambic and trochaic verse, 71, 206, 662 Choriamb See Aeolic Feet and Aeolic Verse enoplic verse, 630, 643, 64S, cf. 814 ff.
:
Choriambo-iambic
Xp^vos
:
see Aeolic Verse
see
:
Time
;
Colarion
838, 849
:
Colometry
Colon, kQXop
of Aristophanes by Heliodorus, 832 f. Aristophanes of Byzantium, 831 defined, 22 cola a irovs awderos, 21
:
colometrical texts
made by
cola, 25
;
classified,
23
mixed
metrically defective cola,

building, 608.
31
the colon a constituent element of the subf.

;
ordinate period and hypermeter, 39
synaphea of
cola,
44
reduced in verse-
See Colometry.
fi'. ;
Comedy:
distinguished its structure compared with that of tragedy, 61, 665 from modern comedy, 666 oldest Attic comedies short, 665 its freedom of composition, 688 technically a constituent parts, 668 ff. form, 667 classification of its variety of its ver.se, 689 688 irolriiJ.a yeviKws /jliktov, structure of its periods, 720 periods, 692
;
ff".
ff".
fi".
ff".
Commation,
810
KOfi/xdrLov
first
part of the parabasis, 293, 298, 668
how
rendered,
Commentary
Coronis
:
of Heliodorus Composite Lyrics 587 if.

:
830
ft".
see Kopuvls
Correspondence: of strophe and antistrophe and of subordinate periods, 51, 463,^ structural types, 694, 700 fif., 705, 715 ff.,* 69, 204, 224 f., 443, 520 ff., 525 its musical significance, 730 f., 765, 722 ff., 736 ff., 764 f., 767 f., 774, 778 777 in non-melic parts of comedy, 668, 670 f., 675, 677 tetrameters, 259 anapaestic tetrameters, Crates iambic tetrameters, 188 trochaic Pherecrateans, 547 dactylic hexameters, 366 306, 320
;
540 called adopted a new form of the prosodiac tetrameter, 630 ff., 647 Cratinus paeonic verse 'Cretic,' 445; fragments, iambic tetrameters, 188; trochaic
:
: ;
Cratuieum
anapaestic tetrameters, 306, 320 paroemiacs, 274 dactylic simplified logaoedic fragments, 405, 407 paeonic fragfragments, 479, 495, 630, 490, 502 Phalaeceans, prosodiac-enoplic 445 ment, Cratineans, 540 Priapeans, 531 Eupolideans, 529 518 Cratinus the Younger trochaic tetrameter, 259 dactylic hexameters, 366
.
tetrameters, 259
hexameters, 366, 356

;
Cretic
'
see
'
Paeon
Cyclic
see Anapaest, Dactyl
Dactyl
trochaic verse, 205, 250, 264, 268 396; its time in logaoedic rhythm, 342, spurious ( o o ) in iambic and anapaestic verse, 11, 17, 65, 388 ff., 400 107 ff., 153 ff., 171, 176, 185, 193, 271 its use as a colon, 337, 613 its close, 336 12 ff. Dactylic Metre the the monometer, 337, 613 the dimeter, 23, 333 ff. 333 Dactylic Verse 396 the penthemimcr, 338, 396 the trimeter tripody and pentapody, 26, 338, all dactylic verse in descending in logaoedic rhythm, 396, cf. 337, 613 rhythm, 333 dactylic catalexis, 33, 335 brachycatalexis, 35, 338 a melic no protraction in comedy, 339 dactylic colon often ends witliin a word, 336
:
8,
9,
10
resolved,
ff.
11,
334
in
logaoedic, 386, 388

;
('cyclic'), 392,
ff".
GENERAL INDEX
;
469
subordinate periods and hypeiineters, 340 dactylic combined witb other rhythms, 342; nature and use of dactylic rhythm, 343; travestied, 349 ff., f. 352 its origin, 608 ff. Non-melic dactylic verse 55 f., 690, 341, 356
;
:
ft'.
the hexameter, 14, 55

794, 799
;
f., 341, 356 ff. caesura and diaeresis, 360 ff. quantitj', used Kara arlxov, 690 how rendered, 804 its colometrical position,
;
; ;
835
ff.
elegiac distich, 365

:
fragments, 366
Dactylo-epitritic
504, 812
Dactylo-trochaic
a misnomer, 399
Debate:
Diaeresis,
61. 665,
670
:
If.,
687
fl'.,
dialpea-is
defined, 56; not in nielic verse, 132; in iambic verse, 179

ff.,
183 ; trochaic, 244, 253 360 ff.
266
anapaestic, 315
ff.
bucolic in the hexameter,
Diiamb
Dimeter
603
see Aeolic Feet

:
deiined,
cf.
ff.
13
forms, 37,
ff.,
608
;
an isomeric colon, the primitive, 600

ff.
;
21,
ff,
;
23,
its
25
its successively
reduced
60S
in Aeolic verse, 651
development in Ionian verse, the fundamental colon in all rhythms

448,
475,
except dochmiac, 62, 197, 270, 333, 376 f., 416, 430, primitive source of the metro and simple foot, 664
506
the
on the anapaest, 284 authority for the term 'cyclic,' on the period, 697 Dioxippus : trochaic tetrameters, 259 Diphilus trochaic tetrameters, 259 dactylic hexameters, 366 prosodiac tetrameter, 495 Diplasic simple feet, 9 compound feet, 22 f. ; tripodies, 26
Dionysius of Halicaruassus
389, 391
;
: ;
characterizes ionic rhythm, 425
diirXrj
see Trapdypa<pos
dLTToBia
:
Dipody,
12
:
dippvdfiov,
Tpippvdfxov, TerpappvO/Mov
433
colometrical position, 840.
See Paeonic
Verse
Diseme
Distich
time, syllable, 3 a part of the debate, 670

;
f.
not marked
off
by the
SiirXij
from the pre-
ceding song, 850

Ditrochee
:
elegiac,
365
see Aeolic Feet

; ;
458 f. an octaseme phrase, 461 ; forms used by Aristophanes, 460 regarded as a metre, 462 its source, constitution, and name, 623 ff. 458 ff. the dimeter and monometer, 462 Dochmiac Verse their colometrical
:
; :
Dochmius
position, 839
correspondence, 463
dochmiac periods, 464

281,
dochmiac com-
bined
with
other
rhythms,
51,
;
78,
466,
471
burlesque
rhythm
in
comedy, 290
Dyad: monostrophic,
periods,
cf.
701
of
217, 452
;
ff. monostrophic grouping of two intermediate two subordinate periods, 767

;
Duo
lyrical,
59
examples, 83, 217, 238, 452,
etc.
simulated, 597
ff.
Ecphantides
fiddfcTii
:

;
834, 836
ey
dadeafi irapd, 844

(Kdecrei,
^KOeffis
834
:
f.
cKKelfievos
equivalent to iv
:
834
Elegiac Distich
Elision
:
365
;
without effect on pauses, 141 position of elided syllables in the MSS., 323 n. Embateric anapaestic periods, 284, 292, 306, 321 Emendation often unwarranted, 51, 463, 583, 205, 224 editors often disposed to emend merely for metrical reasons, 106, 120 iv. n., 121 iii. n., 125, 307 f., 316 f., 323, 550
:
470
Encomiologicum
Enoplius
:

:
483
n.
see Prosodiac-enoplic Verse

:
iiriKdiffis, iTrelff0ffi<!
:
843
Ephippus anapaestic hypermeters, 332 Epicharmus metrum Epicharmium, 259

:
Epicrates

:
530 Epirrhema, Antepiirhema of the parabasis, 668 verse employed, 246, 251, 253 how rendered, 806 Episode: 61, 666, 682 f., 687 Epitrite 6, 503, 812 Epodic grouping of systematic periods, 694, 716 triadic, tetradic, etc., 54, 740, triadic grouping of intermediate periods, cf. 580 745 epodic grouping of subordinate periods and hypermeters, cf. 736 triadic, 737 tetradic, 741 ff., 748 ff. pentadic, 751, 756 f., 759 ff. hexadic, 755, 758 summary, 764 Eriphus trochaic tetrameter, 259 Eubulus trochaic tetrameters, 259 anapaestic hypermeter, 332 dactylic hexameters, 356, 366 ; paeonic fragment, 439 Euphanes trochaic tetrameter, 259 Eupolidean 508, 528 f., 541 used Kara <ttIxov, 690 how rendered, 805 Eupolis iambic tetrameters, 188 trochaic tetrameters, 259 anapaestic tetrameters, 320 dactylic hexameters, 366 ionic tetrameter, 423 paeonic tetrameters, 439 prosodiac tetrameter, 495 ; Aeolic dimeters, 547, 549 f. tetrameters, 529 f., 533, 541, 540 Euripides: metrical usages, 95 n. 2, 96 n., 98 n., 108 n. his use of iambo-trochaic rhythm, 368 f. his freedom of form in Aeolic verse, 511, 585 his monodies, 590 f., 593, 596 parodied, 288, 374, 683, 493 travestied, 586 quoted, 646, 817 Evangelus : trochaic tetrameters, 259
: ; ;
Epionicum
Exode:
Foot,
61, 666, 685
ff.,
810
TTOi/s:
ff.
simple, affwdeTOi, 5
compound,
;
crivOeros,
21
ff.
its parts. 5, 7
ff.
;
a rhythmical combination of syllables, 6
in Ionian verse, 8
;
in Aeolic,
;
19
f.
its
classification,
by length, 8
by rhythm, 9
spondaic, 10
double,
12
historical relation of the simple to the

:
compound
foot, 664.
;
See Colon
Fragmenta Incertorum Poetarum

259
7^cos
;
iambic tetrameters, 188

;
trochaic tetrameters,
;

isomeric,
9,
dactylic hexameters, 366
Eupolideans, 529
iaov,
9,
19,
22
f.
diirXdaiov
diplasic,
9,
22
f.,
26;
TifxioXiou,
hemiolic,
24, 26
Glyconic
see Aeolic Verse
Ileliodorus
f. extant Metrical Scholia on Aristophanes, pp. on the iambic and trochaic monometer, 195, 269, 838 the catalectic trimeter as the final colon of an iambic hypermeter, 194 his agreement with R and V, 326 on the dactylic metre, 14 ; his use of the term iiriKii, 345 on paeonic verse, 433 the paeon as a wovs i^dayj/jLos, 231 the name paeon, 231, 445 rejects the paeonic pentameter, 24, 435 on dochniiac cola, 467, cf. 464 the iambic and trochaic element in prosodiac and enoplic verse, 503 the prosodiac and enoplius, 504 f. the prosodiac as a period, 647 the acephalous Glyconic and Pherecratean, 573, 841 the tetrameter as a colon,
: ;
his Colometry, 832

:
397
ff.
His doctrine
433,
cf.
83
the parts of the parabasis, 668,
cf.
456
f.
to dvTi<rTpo(pov ev
GENERAL INDEX
5(Xf/<t,
471
;
700
f.,
cf.
468
irepiKoirri,
classilication of periods,
692
f.
705; his use of the term Trepio5os, 49, 58 on the systematic period, 48, 695 the sub;
;
ordinate period and liypermeter, 698

721, 723
fiiXoi,
the intermediate period, 45, 728

;
the
structure of the systematic period, 723

tf. f.
;
ditferentiation of strophe
;
tf., 727 his methods of analyzing it, and epirrhenia, 806 use of the term
;
808
indentation of
feet,
lines,
834
ff.
use of
(rrj/xela,
846
tf.
Hemiolic
simple
compound
;
feet,
22
paeouic pentameter, 24,
435
pentapodies, 26
Hepliaestion
his catalogue of 'feet,' 6
on the
;
'epitrites,' 6, 503,
812
the colon,
u.,
21
his definition of catalectic cola, 33

;
on brachycatalexis, 35
;
203
n.
;
(Ithyphallic), 609
hypercatalexis, 36 n.
;
the quantity of syllables, 790 n.
syllaba anceps, 43 n.
in the trimeter, 131
;
o-tLxos,
56
vtripfifTpov,
n.
;
57 n.
dffvvdpTrjra,
504
caesura
X-qKi'diov,
609
the derivation of the word paroemiac,

;
273
TO
n.
the continuous use of the paroemiac, 274

;
the proceleusmatic, 304
'ApiffTO(pa.veiov,
;
306, 314
398
34,
n.
'
305 the close of the anapaestic tetrameter and rb i\.aKuviKbv, the rhythms employed in the Margites, 356 logaoedic verse, 375 n., episynthetic verse,' 399 the catalectic ionic tetrameter, 423 major
; ; ; ;
ionic fragments in eaily lyric verse, 617
paeonic verse, 433
;
'
paeonic catalexis,
cretic,'
437; unusual resolution of the

;
i)aeoii,
;
436; the name
445; the
bacchius, 447
the
Theopompeum, 439
;
;
the source of a celebrated prosodiac

;
If., 817, 643, 647 f. the iambelegus, 481 the encomiologicuni, 637 choriambic catalexis, 34, 508 resolution of the 569; his use of the word polyschenuitist,' 652; regards the acephalous Glyconic as ionic, 573 on the Sapphic hendecasyllable, 654 n. the Pindaric hendecasyllable, 654 n. the Phalaecean, 654 n. the lesser Asclepiadean, 654 n. the epionicum, 530 the Priapean, 531 the greater Asclepiadean, 532 the choriambo-iambic tetrameter, 533 the Cratineum, 540 the dochmius, 624; the parabasis, 668 n. the ni'iyos, 668; the verse employed in the Old and in the New Comedy, 688 his treatises irepl lloiri/xaros, 692 f. on (TV(TT7]/j.a = Trepiodos, 696 ra Kara Si^x^""' o-vraTrodidbfjieva, p.oi'oaTpo(piKd, 701 darpocpa, 709 700 ava-Trjfxara e^ 6/toiwf, 714 iroiriij.aTa a difficulty iu lyric analysis, 721 triadic, tetradic and longer fiiKTd, 715 systematic periods, 715, 719, 740, 745 f. Hermippus iambic tetrameters, 188 trochaic tetrameters, 259 anapaestic tetrahypermeters, 332 dactylic hexameters, 366 Aeolic dimeters, 575 meters, 320 Herodotus the first extant author to use the term hexameter,' 14 Heroic Line the hexameter.' See Dactylic Verse Hexad monostrophic, 51, 701 hexadic grouping of subordinate periods, 740, 755, 758, 764 in iambic verse, 76 Hexameter trochaic, 210 anapaestic, 279 simplified
tetrameter, 630
n.
;
483
rb llivdapiKov,
choriamb,
'
'
'
logaoedic,
cf.
cf.
406, 410, 412, 414

;
free ionic, cf.
429
paeonic, 439
dochmiac,
468
:
prosodiac-enoplic, 489
Aeolic, 542.
See Dactylic Verse
Hexaseme
Hiatus, 43
foot, 8,
;
19
;
may
indicate the close of a suliordinate period, 735
weak or improper,
;
797
Hymns:
Delphian, 777 n., 783 n. to Helios and Nemesis, 779 n., 782 ff. to the Muse, 789 n. Hypercatalexis: the nature of the process, 36 f., 488 in the penthemimers, 513, in prosodiac verse, 476, 480, 482, 632. 642 203, 395, 277, 394, 338, 396 the iambic penthemimer as a formative element, 638, 642 Hypermeter defined, 40 indications of its close, 43 f. never ends within a word, constituent element of the intermediate and systematic period, 45, 47 44
; ; ;
;
472

composed in many different rhythms, 76, 210, 279, 340, 423, 440, 542. Non-melic 55, 57, 710 ff. iambic, 77, 190 ff., 712, 804 trochaic, 211, 267 F., no recitative trochaic hypermeters in the later plays of Aristo713, 804, 808
: ; ;
phanes, 267
anapaestic, 280, 321
ff.,
711, 804, 810
Iamb
8,
resolved, 11, 64
;
.
irrational, 15 ff., 63, 186 f resolved, 65; protracted, 32, Iambic Metre: 12 f. 72 ff. its arsis shortened, 75 the trimeter, 23, 67, 76, 126 ff. Iambic Verse 62 ff. the dimeter, 23, 62 ff., 76 the penthemimer, the tripody and pentapody merely apparent, 26, 68, 393 36 the iambic element in simplified logaoedic verse, 393 in prosodiac verse, 633 ff., 638, 650 all iambic verse in ascending rhythm, 62 iambic catalexis, logaoedic metres, 70 choriamb, 71 correspondence, 69 33, 66, 779 ff. iambic subordinate periods and hypermeters, 76 the melic tetrameter, 184 nature and use of iambic iambic combined with other rhythms, 78, 281
;
: :
fl".
rhythm,
77
79,
213, 284; its origin, 605

:
f.,
613
f.
See Acephalization.
;
Non-
melic iambic verse

;
55
ff.,
77, 95
ff.
its
logaoedic element, 382

ff.,
the trimeter,
pure, 95, 144

feet,
ff.
;
irrational
f.,
and
trisyllabic feet, 96
ff.,
145
ff.
;
ff.
combinations
ff.,
of triple
123, 153
124
163
S.
tribrach, 100
123, 150
'dactyl,' 107
spoken and melic trimeters comquantity, caesura in the spoken trimeter, 130 ff., 166 pared, 126 ff., 186 f. how rendered, 803 ; its the stock verse of comedy, 687, 690 791, 795, 796 the tetrameter, 77, 167 tf. used Kara (ttIxov, 690 colometrical position, 835 ff. diaeresis the recitative tetrameter, 168 ff. its colometrical position, 835 ff. compared with melic and melodramatic tetrameters, 186 f. and caesura, 183 the melodramatic tetrameter, 173 ff., 804 diaeresis and caesura, 179 ff. comcomic fragments, 188 the pared with melic and recitative tetrameters, 186 f. the hypermeter, 190 ff., 712, 836 f. protracted tetrameter, 189, 690
anapaest, 113
;
ff.,
123, 157
ff.
lambelegus
481 n.
:
lambo-trochaic Verse Ictus: 28

Indentation
:
367
ff.
831, 834
:
ff.
Indivisible Period
773
; ;
its influence on Aeolic verse, 20, 30, 510 ff., 603 ff. feet, 8 ff. 514 ff., 580 ff., 659, 662 f. See Arsis minor and major, 8, 9, 29 'ionic' forms in prosodiac-enoplic verse spurious, 630, 643, 648, 814 ff. the dimeter, 23, 416 the trimeter, 23, 417 the minor, 416 ff. Ionic Verse ionic minor ionic verse in ascending rhythm, 416 monometer rare, 417 ionic subordinate anaclasis, 419 ff. protraction, 32, 424 catalexis, 33 f., 418 its the nature of ionic rhythm, 425, 616 periods and hypermeters, 423 ionics, 428 trace of primitive major 428 iv. free f. origin, 615 ff., 422, cf. recent disposition to enlarge the ionic cola in Aristophanes, 618, cf. 416 n. range of ionic verse, 814 Irrationality: its rhythmical effect, 15, 129, 228; modern views, 16; historical iambic verse, 63, 65, 73, 97, 129, 146, 169, 174, 184, 186 f., significance, 18 ionic, 422 dochmiac, trochaic, 198, 200, 247, 256, 261, 268 191, 193 459 prosodiac-enoplic, 478, 650, 815 Aeolic, 20, 514, 517, 519 Isomeric simple feet, 9, 19 double feet, 12 compound feet, 22 f. Isyllus: 814 see Trochaic Verse Ithyphallic, 'l$v<pa\\iK6v
Ionian Verse:
Ionic
GENERAL INDEX
KOfifidriov
:
473
see
Comniation
f. ;
Kopiovh
846, 857
position, 859
f.
\elfiM.a:
31,
:
784
f.,
787 n., 788

syllables,
\T)Kieiov
609 n. 790
ff.,
Lengthening: quantitative, of short

Line
:
795, 796
see (ttIxos
:
Logaoedic Verse
375
ff.
its origin, 604,

;
60S, 613
;
its
name, 375
n.
simplified
logaoedic verse, 392

;
ff.
its
'inventor,' 398
f;euerally called 'dactylo-trochaic,'

;
399 logaoedic verse distinguished by variability of the arsis, 375 its component metres in ascending rhythm, 376 the in descending rhythm, 377 distinctively logaoedic metres (v^w and v^ ^ w v> w
; ; ,
^w
v^
w
378
;
w), 376
f.
occurrence of the
first
two
in iambic verse, 70, 185, 113,

;
logaoedic cf. 515 of the last two in trochaic, 205, 250, 268, 386 examples in ascending rhythm and deductions, 379 ff. in descending rhythm and deductions, 383 ff. time of the component simple feet ('logaoedic anapaest,' 'logaoedic dactyl'), 388 f., 391 various modern views, 390 logaoedic trimeters, 389 'cyclic' anapaest and dactyl, 389 ff. resolution, 380, 384, 393, 395 brachyprotraction, 32, 380, 384 catalexis, 33, 380, 384 catak'xis, 35, 381 hyjêrcatalexis, 36 f., 385 time of cola in simplified verse, 400 forms of purely iambic cola, 393 of anapaestic, 394 of trochaic, 395 of dactylic, 396; laws governing the combination of cola, 401 ff., 404 versus Archilochius, 398, 405
177, 193, 382,
cola,
;
;
;
X670S ttooikSs
9
;
Lysippus
trochaic tetrameter, 259 trochaic tetrameter, 259
anapaestic tetrameter, 320
Magnes
fiaKp6v
:
see Trviyos
:
;
Melodramatic rendering, 59 f. trimeter, 803 iambic tetrameter and hypermeter, 804 /bU\os in Heliodorus, 808 f. how written, 830 ; melic rendering, of parabasis, 668 59, 805 ff., 810 Menander his constitution of the trimeter, 144 ff. of the trochaic tetrameter, 260 ff. structure and composition of his plays, 665, 688 fragments, trochaic tetrameters, 259 ; anapaestic hypermeter, 332 dactylic hexameter, 366 Mesodic grouping of systematic periods, 54, 694, 718, 740 of intermediate periods, cf. 415 of subordinate periods, 736, 739 summary, 764 dactylic Metagenes trochaic tetrameters, 259 anapaestic tetrameters, 320 hexameters, 366 fieTaffTaffii 676 n. 3 Metre a subordinate unit of measure, 13, 606, 664 in melic dactylic verse, 13 f., 333 ; irrational, 15 ff. Aeolic 19 ; fiirpov as a technical term, 848 Metrical Form as a means of comic effect, 93, 94, 113 n., 129, 290, 301, 349 ff., of other special 356, 374, 426, 428 f., 455, 564, 569, 585, 586, 591 f.. 598 f. effect, 168, 173, 191, 192, 229, 245, 367 f., 455, 463, 526, 551 ff., 558 ff., 565, 567 f., 566, 671, 804 Metrical Scholia pp. 397-421
; :
Metrical Signs
/uL^Tpov
:
of length of syllables, 3
of pauses, 33
848
:
Mingling of Styles
20, 30, 659, 662
f.
Mnesimachus
fjiovdi
:
728
474
Monody
:

59,
:
368
f.
590
ff.
Monometer
anapaestic and dactylic, 276, 322 ff., 337, 613 iambic and trochaic recognized by Heliodorus, 195, 269 ionic, 417 dochmiac, 464 colometiical position uncertain, 838
; ; ; ;
Monostrophic
systematic periods, 694; dyads, triads, etc., 51, 701 of intermediate periods, cf. 217, 452 ; of subordinate periods, 767
: :
ft".;
f.
grouping
Nicophon
Nicostratus
anapaestic tetrameter, 320 trochaic tetrameters, 259

:
Non-antistrophic
systematic periods, 694, 706

if.,
Non-melic:
Octad
verse, 55
690,
ff., 710 ff. 692; systematic periods, 694, 706, 710
ff.
monostrophic, 51, 701 its colometrical use, 842 of the forms of Greek poetry, 600 ff., 664 Oxyrhynchus Papyri quoted or cited, 3 n. 2, 34, 355
:
ofioltas
Origin
n., 780,
860
8, 9; their probable origin, 619 ff. the probable relation of the cretic to the paeon, 620 resolution of the cretic, 436 paeon and cretic in paeonic- trochaic verse, 223 ff. the cretic of Aristoxenus {- ^ - ^), 355 n,, 622 apparent cretic in other forms of verse, 72, 207, 223 ff. Paeonic Verse 430 ff. its name, 445 the dimeter, SippvOfiov, 23, 430 f., 433 the
;
;
Paeon and Cretic:;
'
'
trimeter,
435 840
23, 432 ft'. ; the monometer, 434 ; the pentameter, 24, the tetrameter in Heliodorus, 433 the colometrical position of cola, paeonic verse in descending rhythm, 431, 621 paeonic catalexis, 33 f.,
Tpippvd/xov,
; ; ;
437 correspondence, 443 paeonic subordinate periods and hypermeters, 439 f. frequency of the variable syllable and hiatus, 43 synaphea, 444 paeonic
;
;
combined with other rhythms, rhythm, 446. See Bacchius

Paeonic-trochaic Verse
trdXii'
: :
212, 281, 442
the nature and use of paeonic
see Trochaic Verse
as a colometrical term, 842

:
Palinodic
Parabasis
odes, 719
61, 665, 668

:
irapdypa(pos
846
f.
ff. ;
grouping of subordinate periods, 745 f., 687, 852 8nrXrj, 847 ff. sporadic use, 854
:
f.
dirXrj,
855
f.
where
placed, 859
irapaKaToKoyi)
irap^Kdeais
: :
59
f.
844 Parode 61, 665, 674 ff., 687 Parody and Paratragedy indicated by metrical form, 129, 281, 342, 511, 512, 519, 574; examples of parody, 93, 288, 349 ff., 374, 428 f., 493, 496, 497, 532, 569, of paratragedy, 94, 286, 287, 290, 465, 467, 468, 469, 470, 472, 473, 585, 586 474, 564, 592, 598 f., 803. See Metrical Form Paroemiac see Anapaestic Verse Pause final, in catalectic cola, 33 f. in brachycatalectic, 35 in hypercatalectic, due to the variable syllable or hiatus, 43 rhetorical, at the close of the 36
: ;
:
intermediate period, 45, 734 132. See Diaeresis, Caesura

:
;
after the
spoken trimeter and dactylic hexameter,
Pentad epodic, 716 pentadic grouping of subordinate periods and hypermeters, 740 f., 751 ff., 764 Pentameter in iambic verse, 76 trochaic, 210 anapaestic, cf. 288, 291 dactylic,
:
cf.
345, 347;
;
simplified logaoedic,
cf.
409, 411, 412, 413; free ionic,
cf.
429
paeonic, 439
dochmiac, 464
Aeolic, 542
GENERAL INDEX
Pentapody
:
475
;
26, 35
in iambic verse, 68, cf.
393
trochaic, 203
cf.
anapaestic, 277
dactylic, 338,
:
cf.
396
logaoedic, 379, 381, 383,

;
409, 411, 558, 592
Peutaseme time, syllable, 3 foot, Penthemimer see Hypercatalexis

:
vepiKowri,
poricope
52, 694, 705
pericopic grouping of intermediate periods,

If.
;
cf.
214, 232, 413;
of subordinate periods and hypermeters, 722, 769
dyadic,
effect of
769
Period
f.
triadic, 769,
771
tetradic
and pentadic,
769,
772; musical
pericopic grouping, 777
subordinate, intermediate, systematic, 39, 45, 47, cf. 49 verse composed Kara neploSov, 689, 691, 695. Systematic Period classification, 692 f., 694, 699; monostrophic grouping, 51, 700 ff. pericopic, 52, 705; uou-autistrophic, triadic (epodic, proodic, mesodic) and tetradic, 53, 706, 707 f., 57 f., 710 tf. their 64, 715 ft'., 719, 740 correspondence of strophe and antistrophe, 51 semeiosis, 850 IF., 855 Subordinate analysis of systematic periods, 720 if. Period defined, 39 limit of its length, 42 its relation to the hypermeter,
:
40 ; indications of its close, 43, 735 these sometimes lacking, 44, 775 f. subordinate period and hypermeter the constituent elements of systematic and
;
;
intermediate periods, 45, 47 the law which never end within a word, 44 governs their grouping, 722, 736 epodic type in triadic its proof, 723 if. grouping, 737 proodic, 738 mesodic, 739 ; the law governing the formation
; ; ;
;
of tetradic and pentadic groups, 741
epodic tetrads, 742
tf.
' ;
periodic,' 745,
;
746 Cpalinodic'), 747

proodic, 752
ff.
;
f.
proodic, 750;
;
epodic pentads, 751,756

;
hexads, 755, 758

;
summary, 764
f., 759 tf. monostrophic grouping,
767
f.
pericopic grouping, 769 S.

;
indivisible periods consisting of a single

;
period or hypermeter, 773

50, 689, 778.
periods with refrain, 774

:
grouping by
;
(ttIxoi,
Intermediate Period
defined, 45, 47, 728
its close, 45,
734
grouped commonly after the pericopic type, as ab, cf. 85, 214, 221, 230, 239 f., etc.; ABC, cf. 232, 235, 238, 411, etc.; abcd, cf. 413 ; abode, cf. 373 abcdef, cf. 374 triadic, aab, cf. 580 aba, cf. 415 mono'periodic,' aabc, cf. 429 strophic AA, cf. 217, 452. Heliodorus on the period, 49, 58, 647, 692 f., 695, 698, 700 f., 705, 717, 721, 723 tf., 728 Hephaestion, 688, 692 f., 696, 700 f., 714, 715, 719, 721, 740, 745 Dionysius and Planudes, 697. Musical signi;
ficance of correspondence of periods, 51, 730
f.,
765, 777
Phalaeceau
Pherecrates
518, 532
:
Pherecratean
:
511, 547
; ;
iambic tetrameters, 188 trochaic tetrameters, 259 anapaestic tetrameters, 320 dactylic hexameters, 366 prosodiac-enoplic fragments, 487, 495 Aeolic dimeters, 547, 549, 541 tetrameters, 529, 534, 536, 539, 554, 559, 569
;
;
;
Philemon

:
Philetaerus
Philonides
Philyllius
;

;
Aeolic dimeters,
552 Phrynichus
Pindar

;
anapaestic tetra-
meters, 320
:
ionic tetrameter, 423
paeonic fragment, 439

;
his use of the resolved Glyconic, 512

;
structure of his odes, 688, 716, 72S

;
colometrical edition of his odes, 831
parodied, 426, 493, 585

482,
484,
quoted or cited
637, 639,
in ilhistration of prosodiac-enoplic verse,
486, 633, 635,
640, 644, 646, 648, 654, 814 f., 821 ff. Planudes: 697 Plato iambic tetrameters, 188 trochaic tetrameters, 259 anapaestic tetrameters, 320 ; dactylic hexameters, 356, 366 Eupolideans, 529
:
;;
476
Plutarch
irvi-yos
:

59, 398 n.
:
or fiaKpbv
:
57, 321,
668
Poliochus
Polyzehis
:

:
see Aeolic Verse iambic tetrameters, 188 vovs see Foot Priapean 531
:
Polyschematist
Primary
see
Time
:
Proceleusmatic
occurs chiefly in anapaestic verse, 11, 271, 273, 282, 307, 330, 394
rarely in dactylic, 11, 125, 334
Prologue
61, 666, 684, 687
Proodic: grouping of systematic periods, 694, 717; triadic, tetradic, etc., 54, 740, 745 proodic grouping of subordinate periods and hypermeters, 736 triadic, 738 tetradic, 741, 745 S., 750 pentadic, 752 ff. summary, 764 Prosodiac-enoplic Verse 475 ff., 812 ff. the prosodiac and the enoplius, 475 S. the iambic and the trochaic dimeter, 478 ff. the six trimeters, 481 ff., 485, iambelegus, 481 n. 636 encomiologicum, 483 n. a prosodiac and an enoplic
; ;
;
tetrameter of fixed form, 486

33,
the twelve constituent cola, 489, 819
prosodiac
cola in ascending, enoplic in descending
rhythm, 475
catalexis in enoplic cola,

;
477, 484, 486
f.
in iambic
;
and
trochaic, 479, 485

;
hypercatalexis in
prosodiac cola, 476, 482

631, 638, 642
;
in iambic, 480
the nature of hypercatalexis, 488,

cola, 478,
irrationality in iambic
and trochaic
;
650
protraction,
480
periods, 489
variant forms of cola, 491, 818 ff. prosodiac and enoplic subordinate ff., 495 f., 502 clioerileum, 490 n. prosodiac and enojdic periods
; ; ;
its origin
combined with periods in other rhythms, 492 and constitution, 503 ff., 630 ff., 633
812, 813
ff.
:
character of this verse, 650
ff.,
643
ff.,
647
f.
other views,
Trp6ad(ri%
31
:
Protraction, Tovr,
31
f.,
f.,
34
f.,
in iambic verse, 72
ff.,
614, 780
f.
trochaic, 207
ff.
logaoedic, 379
20, 516
f.,
383
393, 395; ionic, 424
prosodiac-enoplic, 480; Aeolic,
518
f.,
572, 659
Quantity
3
:
Qulntilian
rules, 790 ff. on the dochmius, 624

;
p makes position, 796 Recitative rendering, 59

:
iambic verse,
226, 806,
77,
16S
ff., ff.,
186
f.,
189, 191, 712, 804, 805

;
trochaic, 211, 245
ff.,
807, 260
267, 713, 808

ff'.,
anapaestic, 280,
282, 810, 305
ff.,
321
ff.,
711
dactylic, 341, 356
365
Aeolic, 527, 541, 805
774 Reizianum colon, 570, 742 Resolution: 11, 17, 614; in iambic
: :
Refrain
verse,
64
f.,
;
67,
72; trochaic, 199
f.,
202
f.,
207
anapaestic,
11,
271
dactylic,
;
11,
334
logaoedic, 380,
;
384, 393, 395
ionic,
436
dochmiac, 459, 626
prosodiac-enoplic, 478, 815
Aeolic, 20, 510,
512, 515, 517, 519, 529, 659
Rhythm
defined, 1, 2 (xpSvuv rdîs) to, pvdfLiôixiva, 1 n. 1 the rhythmical value of the syllable in poetry, 3 of the foot, 5 all feet rhythmical, 6 ; their
:
;
rhythmical rhythmical
29
;
classification,
9,
19
the colon a larger rhythmical unit, 21 l

23,
classification of cola,
25
ascending and descending rhythm,

ff.
the former the
rhythm
of the primitive dimeter in Ionian verse, 603

;
development of descending rhythm, 608 ff. verse in ascending rhythm, iambic, 62, 79; anapaestic, 270, 284; logaoedic, 376, 378 f., 392, 401; minor ionic.
GENEEAL INDEX
416, 425
;
477
;
prosodiac, 475, 478, 481, 485, 486, 489, 631, 650
verse in descend-
ing rhythm, trochaic, 197, 213; dactylic, 333, 343; logaoedic, 377 f., 383, enoplic, 475, 478, 483, 485 f., bacchiac, 8, 447 paeonic, 431, 446 392, 401 the satisfaction of the rhythm the rhythm of Aeolic verse, 30 489, 643, 650
; ; ; ;
;
by means of lengthening in protraction, 31 by means of a pause in catalexis change of rhythm may indicate the close of a and acephalization, 33, 38 the combination of cola in ascending and subordinate period, 43, 735 descending rhythm in an iarabo-trochaic systematic period, 367 in a simplified
;
;
loo-aoedic period, 404
in a prosodiac-enoplic period, 491
intentional disturb-
the choriamb ance of the rhythm a similar manifestation in iambic and trochaic verse, 71, 206, 826
in prosodiac-enoplic verse, 491, 818
if.,
829
'S,air<pLKhv
(KKaLdfKajvWaôv
617,
ff.,
:
532
617
n.,
Sappho: quoted, 615,

Scene: 61, 666, 679
cf.
654
687 Scholia in Aeschylum on the dochmius, 624 on general, on Av. 851 ft'., 93 metrical, pp. 397-421 Aristophanem Scholia in on Ban. 1264 ff., 349 on Av. 209 ff., 285 the trochaic tetrameter, 213 on Thes7n. 1015 ff., 374 on Vesp. 291 ff., 426 ; on the choerileum, 490 n. on
:
on Pax 775 ff., 497 ; on Aves 904 ff., 585 ff., 493 on Ach. 1190 ff., 598 on Ran. 678, 709 on the dactylic metre, 14 on the Scholia in Hephaestionem 355 n.; on the term 'logaoedic,' 375 n.; on anaclasis, 419 Sec Choeroboscus 630 n. 2. 585 metrical, 648 Scholia in Pindarum
Eq. 1264
;
on Han. 1309
(
ff.,
586
cretic
;
v.^
),
on the prosodiac,
Scolium, CK6\iov 532, 567, 775, 568, 618 Seikelos : 3 n. 2, 8 n., 781, 785 See KopuivU, !rapdypa(pos 831, 846 ff. Semeiosis Shortening quantitative, of long vowel or diphthong, 797
: :
:
ff.,
801
f.
Simonides
Sophocles
:
cribbed by Aristophanes, 451 metrical usages, 95 n., 96 n., 98 n., 108 n.

;
parodied, 496, 709
quoted
or cited, 654, 657, 659, 662, 716
his use of the spondaic Gl3-conic, 511
Spondee: 10; spondaic anapaest,

anapaestic verse, 282
;
10, 271, 277,
311;
cf.
its
;
effect
in comedy,
301,
spondaic dimeter in melic its occurrence in 455

;
;
in melic verse, spondaic dactyl, 10, 334, 358 f. non-melic verse, 307, 330 343, 394; 'spondaic' protraction in iambic and trochaic verse, 74, 209;
spondaic Glyconic, 511 f. Stasimon 61, 666, 682, 687

:
Stesichorus
<rTt7Aii?
:
parodied, 497
8 n., 625, 781

'
a-rlxoi,
line
'
56
f.
composition Kara
ff.
;
<ttIxov,
688
ff.
colometrical usage, 830

;
f.
indentation, 834
spurious
ffrlxot
in the
MSS., 195, 269, 322, 326
the
stichic period, 50, 778
iambic tetrameters, 188 trochaic tetrameters, 259 Strophe and Antistrophe 51. See Systematic Period under Period not in itself a proper measure of rhythm, 3 metrical signs of its regulated Syllable never resolved, 17 irrational, 15 f. the element of the foot, 5 length, 3 quantity of syllables in comedy, 790 ff. variable (syllaba anceps), 43, 735
Strattis
: ; : : ;
;
Symmachus
Synaphea
(Tixyrnixa.
:
832
44
in the sense of dipody, 12
firipp7}fiaTiKr] crvi-vyia
in Hephaestion, 696
:
;
Syzygy, ffvivyia
of the parabasis.
478
668, 852
;

as
name
of a
main
division of comedy, 61, 666, 677

p.
f.,
687.
For a
special use of the
term by Heliodorus, see

tetrameters,
399
tetrameters,
Teleclides
trochaic
259
anapaestic
320
dactylic
hexameter, 366
Telesilla
:
quoted, 573
Tempo
Tetrad
719, 740
monostrophic, 51, 701 tetradic grouping of mixed systematic periods, of intermediate periods, cf. 429 of subordinate periods and hyper; ;
meters, 741
:
ff.,
764
; ;
as a melic period, in iambic verse, 76 Tetrameter trochaic, 210 anapaestic, logaoedic, cf. 887 279 dactylic, cf, 344, 347 simplified logaoedic, cf. 406, ionic, 423 paeonic, 439 dochmiac, 464 408, 409, etc. prosodiac-enoplic, For non-melic tetrameters, see Iambic Verse, Trochaic 489 Aeolic, 542, 527 if. Anapaestic Verse, Aeolic Verse Verse,
; ;
; ;
Tetraseme time, syllable, 3, 31 foot, 8 Theophilus trochaic tetrameters, 259 Theopompeum 439 Theopompus iambic tetrameters, 188 dactylic hexameters, 366 Theopompeum, 439 defined, 7 of simple feet, 8, 9, 10 its relative length, 8, 29 f. Thesis, Oiacs indicated by GnyiJirj, 8 n. not stressed in Greek, prefers the long syllable, 8
:
; : :
:
28
how
affected
;
by protraction, 31
rarely shortened, 27, 75, 227
f.,
620
of
the metre, 12
of the
compound
;
foot,
21
tf.;
its stability,
27
f.,
388, 391, 603.
See Resolution
Time, xp^^ primary, 2 diseme, triseme, tetraseme, pentasenie, 3 in the sense of an irrational syllable, 15 f.; in paeonic-trochaic verse, 224 f., of tempo, 4 228 f., 620; logaoedic, 388 If.; simplified logaoedic, 400; xP^vo^ kv6s, 31 f.,
'
33
f.,
:
38
xP'^^'os woSi/cdj,
(= syllable), 29
(== arsis, thesis)
Timocles
Tofiri
:
see
Caesura
T0V7)
see Protraction
:
Triad monostrophic, 51, 701 monostrophic grouping of three subordinate periods, 768 triadic grouping of mixed systematic periods, 715 ff., 740 of intermediate of subordinate periods and hypermeters, 737 ff., 764 periods, cf. 580, 415 Tribrach: defined, 11; in iambic verse, 64, 100 ff., 150 ff., 170, 175, 185 f., 193;
;
trochaic, 199, 248, 257
f.,
262, 268
logaoedic, 380, 884, 393, 395
prosodiac-
enoplic, 478, 815
Aeolic, 20, 510, 512, 515, 517, 519
Triclinius: 833
Trimeter
186
481
a diplasic colon, 21
fl'.
;
f.,
28, 25
ff.
:
verse, 611
f.
;
in Aeolic, 654
;
trochaic, 202, 210

;
dactylic, 340
primitive, 600 its development in Ionian melic trimeter of iambic verse, 67, 76, 126 f., logaoedic, 379 f., 383 f., 389, 393,
; ;
;
394, 395, 396

ff.,
ionic,
;
417
paeonic, 432
f.,
f.
489, 636
Aeolic, 518
654
ff".
dochmiac, 464 prosodiac-enoplic, used in stichic periods, 50, 778 non;

;
melic as constituent of the hypermeter, 57, 190 ff., 267 ff. spurious in the MSS., 322. For the spoken trimeter, see Iambic Vers:; Trio lyrical, 59 examples, 86, 287, 500 not in iambic verse, 68, cf. 393 nor in trochaic, 203, cf. 395 Tripody : 26, 35
; : ; ; ;
;
dactylic, 338 Tiiseme time, syllable, 3, 31 foot, 8 Trochaic Metre 12 f.; irrational, 15 ff., 198 arsis shortened, 223 ff., 227 ff., 620 f.
in anapaestic, 277
:
resolved, 200
protracted, 32, 207
ff.;
Trochaic Verse: 197
ff.;
the dimeter, 23, 197
ft'.,
210
the trimeter, 23, 202, 210;
GENERAL INDEX
the pentheiiiiiuer,
verse,
;
479
;
the tripody (Ithyphallic) and pentapody merely apparent, 2G, 203, 200, 395
36 f., 203 the trochaic element in simidiiied logaoedic 395; in enoplic verse, 645 f., 650; all trochaic verse in descending rhythm, 197 trochaic catalexis, 33, 201 f. correspondence, 204 logaoedic choriamb, 206 trochaic subordinate periods and hypermeters, metres, 205 the melic tetrameter, 256 ff. paeonic-trochaic verse, 223 trochaic 210 combined with other rhythms, 212, 442 nature and use of trochaic rliythm, Non-melic trochaic verse, 55 ff., 211, 226, 213; its origin, 608 ff., 613 f. the tetrameter, 244 ff., 260 ff., 806 diaeresis and caesura, 253 ff., 690, 244 ff. 266 used Kara arlxov, 690 its character, 246, 259 colonietrical position, 835 comic fragments, 259 the hypermeter, 211, 267, 713, 808, 836 Trochee: 8, 9; resolved, 11, 199
;
;
11".
Verse: fundamental principles,

;
1 ff. its source a primitive dimeter and trimeter, 600 ff., 611 f. their development by Ionian bards, 603 ff., 613 ff. iambic, trochaic, 197 ff., 608 ff., 613 f. anapaestic, 270 ff., 605, 62 ff 605 f., 613 f. d.ictylic, 333 ff., 608 ff., 613 f. logaoedic, 375 ff., 604, 608 ff., 607, 613 f. 613 f.; ionic, 416 ff., 615 ff.; paeonic, 430 ff'., 619 ff.; dochmiac, 458 ff., 623 ff.; prosodiac-enoplic, 475 ff., 630 ff. development of the primitive cola in Aeolis, melic verse (chiefly periodic), 691 651 ff. Aeolic verse, 506 ff. non-melic
; ;
, ; ;
(chiefly stichic),
55
ff.,
690;
126
ft'.,
(rrixoi,
'verses,' as
;
distinguished from melic

of rendering, 59
f.,
periods, 56
the non-melic hypermeter, 57

,
modes
f.,
803
ff.
spoken
verse, 77, 95 ff
144
ff,
186
803.
See mAoj, Melodramatic,
Recitative
Versus Archilochius
398, 405
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&
R. Clark, Limited, Edinburgh.
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THE VERSE OF GREEK COMEDY

BOMBAY CALCUTTA MELBOURNE

THE MACMILLAN COMPANY

CO. OF CANADA. Ltd. TORONTO

JOHN WILLIAMS WHITE

AN Ay'naio MAN0ANeiN nepi pyOmcon

THOMAS DWIGHT GOODELL

GRATEFUL ACKNOWLEDGMENT OF HIS CONTRIBUTIONS

developed and complex

the islands of the

the coast of Asia,

perfected during centuries of practice

guided by that intuitive apprehension and appreciation

their metrical constitution

are the laws

by which they are combined

did particular phrases come

tribute to a juster understanding of their art

THE VERSE OF GREEK COMEDY

Aristoxenus, Aristides, Heliodorus,

long way, but the journey

Aristoxenus to Aristides, a rhythmician of inferior authority, is a The statements of is worth making.

This fact will perhaps be regarded the reconstitution of the text of

chapter of this book.

to the practical test

applicability to the poets themselves.

Their application to the

recorded in the second and fourteenth chapters

inclusive of this book.

ceeded but here our ancient authorities give

Logaoedic rhythm, for example,

common rhythms with which we

the conviction that an accurate

and precise knowledge of the

in attempting to differentiate his style

THE VEKSE OF GKEEK COMEDY

four newly-discovered plays of

are submitted to the

It would, perhaps, be indecorous to

the emenders of Aristophanes hither to trial at the bar

of his usage, but the process

and may be recommended

treacherous ground, on which

behooves one to walk been paid by

investigators to the fact that the problem

which the odes of

of Pindar and of the odes of the Greek dramatic poets.

form of the text

the sole means to an answer.

was sung was repeated

in the singing of its

there between subordinate periods

exceptions, the last metre of the

colon of a subordinate period

variable syllable or hiatus."

apt to be divided into intermediate melodic

groups similarly arranged.^

the legitimate assumption that

the correctness of his statements.

and the plays themselves confirm I have applied the principles

outlined above to the comedies of Aristophanes in the eighteenth

chapter of this book with results that seem to

THE VERSE OF GREEK COMEDY