The Lyric Metres of Euripidean Drama the Lyric Metres of Euripidean Drama of Euripidean Metres Lyric The

The Lyric Metres of Euripidean Drama The Lyric Metres of Euripidean Drama of Euripidean Metres Lyric The Frederico Lourenço Frederico Lourenço Frederico IMPRENSA DA UNIVERSIDADE DE COIMBRA COIMBRA UNIVERSITY PRESS Versão integral disponível em digitalis.uc.pt Each volume in this series is first submitted to a panel of independent referees. Author Frederico Lourenço Title The Lyric Metres of Euripidean Drama Publisher Centro de Estudos Clássicos e Humanísticos da Universidade de Coimbra (1st ed./ 2011) Academic Co-ordinator Maria do Céu Fialho Editorial Board José Ribeiro Ferreira, Maria de Fátima Silva, Francisco de Oliveira and Nair Castro Soares Technical Director of the Collection Delfim F. Leão Design Rodolfo Lopes, Nelson Ferreira Printed by Simões & Linhares, Lda. Av. Fernando Namora, n.º 83 Loja 4. 3000 Coimbra ISBN: 978-989-721-001-3 Digital ISBN: 978-989-721-002-0 DOI: http://dx.doi.org/10.14195/978-989-721-002-0 Legal Deposit: 337871/11 © IMPRENSA DA UNIVERISDADE DE COIMBRA ©Centro de Estudos Clássicos e Humanísticos da Universidade de Coimbra © Classica Digitalia Vniversitatis Conimbrigensis (http://classicadigitalia.uc.pt) POCI/2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, photocopying, or otherwise, without the written permission of the publisher, except for educational purposes, namely e-learning environments. Versão integral disponível em digitalis.uc.pt CONTENTS Preface 9 Metrical Symbols 13 Abbreviations and References 16 Part I. Euripides’ Use of Lyric Metre 17 1. Introduction 19 1.1. Phrasing 20 1.2. Lyric metre and dramatic effect 30 1.3. Note on Rhesus and Iphigenia at Aulis 33 2. Trochaic 35 2.1. Trochaic dimeter 36 2.2. Syncopated dimeters 38 2.3. Lecythion 40 2.4. Longer trochaic cola 43 3. Anapaestic 45 3.1. Anapaestic monometer 48 3.2. Anapaestic dimeter 49 3.3. Paroemiac 50 4. Dochmiac 53 4.1. Breuis in longo and hiatus 58 4.2. Split resolution 58 4.3. Word-end after long anceps 58 4.4. Admixture of iambic metra 59 4.5. Syncopation 59 4.6. Repertory of Euripidean dochmiacs 60 4.6.1. With short ancipitia 60 4.6.2. With long first anceps 61 4.6.3. With long ancipitia 62 4.6.4. With long second anceps 63 4.6.5. Hypodochmiac 63 4.6.6. Kaibelianus 64 5. Dactylic 65 5.1. Hexameter 66 5.2. Pentameter 66 5.3. Tetrameter 67 5.4. Dimeter 69 5.5. Andromache’s elegiacs 69 6. Enoplian 71 6.1. ‘D’ 71 6.1.1. ‘Dx’ 72 6.1.2. ‘xD’ 72 Versão integral disponível em digitalis.uc.pt 6.1.3. ‘xDx’ (erasmonidean) 73 6.1.4. ‘sp + D’ 73 6.1.5. ‘— D + ba’ 73 6.1.6. ‘D + ba’ 73 6.1.7. ‘ba + D ∪’ 73 6.1.8. ‘D + cr’ 73 6.1.9. ‘x D + sp’ 74 6.2. Praxillean 74 6.3. Cyrenaic 74 6.4. Diomedean 75 6.5. Alcaic decasyllable 75 6.6. ‘T’ 76 6.7. ‘A’ 76 6.8. Enoplian paroemiac 77 6.9. Ibycean 77 6.10. Hagesichorean 78 6.11. Rarer enoplian cola 78 6.11.1. Cola beginning with double short 78 6.11.2. Cola beginning with single short 78 6.11.3. Cola beginning in dactylic movement 79 6.11.4. Cola beginning ‘— — ∪ ∪ — ...’ 79 6.12. Enoplian dicola 79 7. Dactylo-epitrite 81 7.1. Phrases beginning with ‘D...’ 82 7.2. Phrases beginning with ‘x D’ 82 7.3. Phrases beginning with ‘e...’ 83 7.4. Phrases beginning with ‘x e...’ 84 7.5. Phrases beginning with ‘— d...’ 85 7.6. Cola with iambic constituent elements 85 7.7. Cola with enoplian constituent elements 85 8. Ionic 87 8.1. Lengths consisting of full ionic metra 87 8.2. Syncopated lengths 88 8.3. Anacreontic 88 8.4. Lengths with ‘iambic’ prefixes 89 9. Aeolic 91 9.1. Glyconic 91 9.2. Pherecratean 95 9.3. Telesillean 96 9.4. Hipponactean 98 9.5. Hagesichorean 100 9.6. Pendent aeolic octosyllable 102 9.7. Ibycean 102 9.8. Dodrans 104 9.9. Aristophanean 105 9.10. Reizianum 107 9.11. Adonean 108 9.12. Wilamowitzian 108 Versão integral disponível em digitalis.uc.pt 9.13. Heptasyllable 110 9.14. Hexasyllable 111 9.15. Aeolic compounds 111 9.16. Choriambic cola 114 9.17. Iambo-choriambic phrases 115 10. Repertory of Iambic Cola 117 10.1. Iambic monometers 117 10.2. Iambic Dimeters 118 10.3. Lyric Trimeters 123 10.4. Longer cola 128 Part II. Scansions 129 Cyclops 133 Alcestis 137 Medea 147 Heraclidae 155 Hippolytus 161 Andromache 173 Hecuba 183 Supplices 193 Electra 203 Heracles 215 Troades 229 Iphigenia in Tauris 247 Ion 259 Helena 275 Phoenissae 289 Orestes 307 Bacchae 321 Iphigenia in Aulide 335 Rhesus 349 Phaethon 357 Hypsipyle 361 Cresphontes 365 Erechtheus 366 Telephus 367 Bibliography 369 INDEX LOCORVM 381 INDEX RERVM 447 Versão integral disponível em digitalis.uc.pt O triunfo da ἱστορία sobre o μῦθος Preface This book is the first complete survey to appear in print in more than a hundred years and the first ever to be published in English (or any modern language, for that matter) of Euripides’ metrical practice in the songs of all his extant plays and longer lyric fragments. Schroeder’s Euripidis Cantica was long overdue for an update, not least because Euripidean (and indeed metrical) studies have changed beyond all recognition since 1910. The following names speak for themselves: Barrett, Dale, Diggle, Itsumi, Kannicht, Kovacs, Mastronarde, Matthiessen, Parker, West and Willink. The aim of the present book is to build on these scholars’ contributions to Euripidean studies and offer students of Greek tragedy a handy Nachschlagewerk based on what will unquestionably remain, for a long time to come, the standard edition of Euripides: James Diggle’s Oxford Classical Text. In attempting to understand the metre of Greek tragic lyric we are immediately faced with a number of difficult problems. On p. 1 of her enduringly valuable Lyric Metres of Greek Drama, A. M. Dale wrote that ‘choral lyric was so elaborate and delicate a structure that even among the Greeks comprehension waned simultaneously with the art of composition.’ Perhaps the main problem presented by the lyrics of Greek drama – other than the fact that the text is garbled in so many places – is that the work of dividing into cola what had previously been written out as prose was undertaken during the Hellenistic period, at a time when the decline in comprehension had already set in. Today’s supreme authority on Greek metre puts it very clearly: ‘the study of traditional colometries has so far failed to support the idea that because the Alexandrians were so much closer in time to the date of composition they 9 Versão integral disponível em digitalis.uc.pt Parte I necessarily possessed crucial knowledge that we do not. The evidence points rather in the opposite direction’ (Parker 1997: 95; see further Parker 2001, Itsumi 2007 and Battezzato’s ideally balanced account of the problems in Battezzato 2008 and 2009b: 14-18). This leaves us with a dilemma. On the one hand, every Greek scholar today would agree (I hope) that it would be pointless to return to the original pre-Hellenistic format and simply print the lyrics of tragedy or comedy as prose: for ‘colometry’ (whatever its faults) does help the reader understand the rhythm of what (s)he is reading. Parker herself, in her edition of Alcestis (2007), neither prints the lyrics as prose nor in Boeckh-style Pindaric periods, but continues to divide them into cola. Finglass’s innovative colometry in his brilliant Cambridge editions of Sophocles’ Electra (2007) and Ajax (2011) is colometry none the less. But on the other hand, acceptance that the stasima and other lyrics of tragedy are best read κεκωλιcμένα raises the uexata quaestio: ‘what is a colon?’ For the purpose of this book, ‘colon’ is defined quite simply as anything that is printed as a lyric line in West’s Aeschylus, Lloyd-Jones and Wilson’s Sophocles, Diggle’s Euripides and Wilson’s Aristophanes, because the basic rule of my study was to observe, describe and interpret (uncoloured by any axe-grinding of my own) the very same phenomena that present themselves to any other reader of the standard editions of Greek drama. But that, of course, does not answer the question. What is a colon? Admittedly, an answer that would allow consensus of opinion is difficult to find. But some things seem certain. For instance a ‘glyconic’ (whatever Euripides himself might have named it) is indoubtedly a real colon, because even when there is a sequence of two or three of them and even when one or more of them overlap into the following line it is a clearly defined length: oo — ∪ ∪ — ∪ —. The same applies to several other cola, which (apart from the issue of how best to name or classify them) are indisputably real lengths. But in identifying and labelling cola in strings of repeated metra (anapaests, dochmiacs, etc.), there is good reason to be sceptical of ‘cola’ created by the traditional divisions. If we must carry on using labels such as ‘2δ’ or ‘2 an’, it is best to make it clear at the outset that they are only shorthand for ‘δ δ’ or ‘an an’: there is probably no such thing as dochmiac or anapaestic ‘dimeters’ (see West 1977). With regard to notation and terminology, in notating nameless cola I have refrained from introducing coinages of my own and have instead culled what seemed most useful from Maas’ ‘D/e’ and Dale’s ‘ds’.

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