INTR ODU CT-d

TO THE

R H Y T H M IC A ND METRIC

OF THE

CLASSICAL LANGUAGES .

T O WHI H A R E A D D ED C

THE LY RIC P ARTS OF THE MEDEAWOF EURI PI DES A ND THE NTIGON OF SOP O CL S IT Y T IC L A E H E , H RH HM A

S CHEMES A ND C OMMENTARY .

E N J. H I RI CH S HMI DT DR . C . N :

TRANLA TED FR OM THE GERMA N W HE ’ S IT T A UT OR S SAN TION , H H C , W J L W . OHN I LIA MS HITE PH D , . ,

A S I TA T P OFE S O O F G E EK V I I S S N R S R R IN HAR A RD U N V ER S TY .

B O S T O N

PU BLISHED BY G HE TH INN , A , CO .

1 8 8 3 . W M Aa M Con s in the W m , w 1878 W y , B Y JO N WILLIAMS ITE H H ,

In the ib i “ oflec ot th o L rar an Congress, P R E F A C E .

’ “ SC M IDT s Lei faden in der h hmik undMe rik der DR . H t R yt t ” Classischen S ra hen of which h s b ook is a rans a ion was p c , t i t l t ,

s of F V i C. . o e at i z he re s . W t t issuedin 186 9 from p g l Le p g . I is a c ompendious statement for the u se of sch ools of the principl es

es ab ishedin his ar er wor Die K uns ormen der Gr e s hen t l l g k , tf i chi c ” Poes e undhre Bedeu un the firs o ume of whi h hada read i i t g, t v l c l y “ i adn ar The f r b een publishedwhen the Le tf e app e ed. ou vol

ume s of the larger work are the following

‘ hor esan e e r e n Al eme Die Eurhythmie in de n C g g n dr G i ch e . lg ine

' uh n und er t un der R oss a - West hals h Gesetze zur F ortf ru g B ich ig g b ch p c en

' men x undS e ma a sammtlicher Chorika des A e u nn e s s . A ah . T t ch t chyl

h i darischer ini ien e z L . F . . . ema a sammtlic er P n E k . C W Sch t p ip ig

9 . ar a e 2 L e 8y o . o e . 18 6 8 . P s x 4 V g l g xiv, g “ Die an e Com ositionslehre aus de n M e s erwer en der riech tik p , i t k g

e un ex undS ema r s n ar isch n Dichtk st erschlossen . T t ch ta der ly i ch e P ”

en i o a . b e S o es undAr o nes e z . . . . o s L F C W e . ti ph kl i t ph ip ig V g l

6 a 1 8 9 . es x x ar P 5 32 XV . L e 8vo CCCLX . g , , g

Die M onodie n und echsel esan e der a s e ra die ex W n T o . g g tti ch g T t

’ undS e ma a de e a b ei ur d r r s n P r en E es . e z . ch t ly i ch ti ipi L ip ig F . C .

W. o e . 18 xx v 1 0 DXXX I . ar 1 . Pa es x I L e 8 o . V g l 7 g , 7 , V g ” Gr e s Me r e z C L . F . . . o e . 1 8 a We . P i chi ch t ik ip ig V g l 72 . ges

xxn 6 80 . Lar e 8vo , g .

Dr S m . d nowOber ehrer in the mnas um at Wismar ch i t, l gy i ,

Me enb ur b e an to s ud in a s e a wa the sub e so u ckl g, g t y p ci l y j ct f lly A vi PREF CE.

He had re medin 1866 . presented in the vol umes j ust na p S n mik and Tro vious ly unde rtake n the study of Gree k yno y ” olo ic b ut oundit imoss ib e to ro eedwi hou firs ma in a p g , f p l p c t t t k g

T he resu s care ful investigation of Gree k Rhythmic andMet ric . lt ” umes of the Kuns ormen of that inves tigation are the four v ol tf , ” e dn e hen a e in two mnasium ro andthe L itfa e . H t g v gy p

Wismar s e imens rammes the one of Husumandthe o her of g , t , p c ” “ ” w t e ro osedto do in S non mik and Tro o o ie of ha h p p y y p l g , andhas since publishedthe following :

Teub n V ol . I. Le z . Sy no ymik der griechischen Sprache . ip ig

6 . a s 6 L vc ner . 18 P e 63. ar e 8 . 7 g xvi , g ” b n e r V ol . II. e z . Teu Sy no ymik dr g iechischen Sprache . L ip ig

8 6 v Pa s 48 . Lar e 8 o. aer . 18 . e 7 g xvi , g

’ S hmids in es i a ions in h hmi andMe ri ha e Dr. c t v t g t R yt c t c v

s ussion Fromthe firs he has hadthe su or causedmuch di c . t pp t

P hrs of K6ni sber andhe has b esides man of rofessor K . Le , g g, y

s num r o an n r asin There warmadhe re n s who e be is ns i e . t , c t tly c g

h ss a andWe s a n t is mu h in whi h he a rees wi o b h h o a c c g t R c tp l,

i e i w m heir on s on A nowedin l ttl n hich he de parts fro t c clu i s . ck l g g the great work which they haddone in their study of the ancient write rs on h hm andMe ri he ro eededusin hese resu s R yt ic t c , p c , g t lt , to establish a systemfoundedmainly upon the actual study of the

Gree k oe s he mse ve urs w r p t t l s . In p uance of this he ork edth ough

Pimlar te n imes and hen as man hrou h the horuses t , t y times t g c of

Aesch us So ho es Euri ides and hanes ot u n Aris o . N i yl , p cl , p , t p t l

the n didhe begin to formulate the principles which he foundto

re ai in the omosi on of hese r a w Su h p v l c p ti t g e t ork s of art. c a

methodmust recommendi sel to honest in es i a ors t f v t g t . It w ouldnot be p rope r to make a spe cial argument here in ’ su ort of Dr m . S h idt s s s pp c y tem. The most satisfactory t est of

his theories will be to a hem Th pply t . en it will be seen how E A E PR F C . v fi

r b een un r ain All clear he has made much that has heretofo e c e t .

n Wha w b e ra e who have l ab oriously readBo ssbach a d estp l ill g t

ful that he has b rought a difficult subj ect down fromthe cl ouds andmade it easily c omprehensible e ven by beginners

h s rans a ion was made in 1874 ono n b Professor D T i t l t c j i tly y r.

Wace e e Kar emens neider of German a Co andm se f l Ri ch , ll ll g , y l .

r Riemenschnieder whose rare s ho arsh is e ua l edon D . b , c l ip q l ly y his modes re uses to let his name b e ut u on the e - ty, f p titl pa e p g , b e au se he has done so e in the enera under a n c littl g l t ki g . B ut

th ose day s when we were at work t ogether are pleasant day s to me to ook ba k u on andI ammu h more onfiden a l c p , c c t th t this is a goodtranslation than I shouldb e if he hadnot h elpedme ma e re sedb Dr S The manu s r was af erwards . m k it . c ipt t vi y ch idt h mse who made some han es anda numb er of add ons i lf, c g iti .

Since then it has b een twice revi sedby my self andfin ally sent to

ress . The roo s ha e b en o W a r W p p f v e re dby Pr fe sso . . Goodwin andPro essor J B reen u n . . G o h of s U vers andb Pr f g thi i ity, y o fessor F . D . A en of the Un ers of C n nna to e ll iv ity i ci ti , ach of whomI am rea ndeb edfor a ua e su es ons g tly i t v l bl gg ti .

So far as I am aware no e emen ar b ook in En sh , l t y gli on the

h mi and e r R yth c M t ic of the Classical L anguages has appeared s nce ossb a h andWs e al b e an he r s udes i R c tph t i t i . Such a b ook g , howe er is er ain de nee d. A r n v , c t ly st o g pe rsuasion of this has led m t e o publish thi s translati on not only here b ut al so in En land g , whe r Dr e . S mdi ch i t s lik ely to have hada fai rer hearing than in his own coun r t y . I h0 pe that the thre e inde x es that hav e b een added to th e translation andthe table of c ont ent s will mak e the b ook an eas one to use . S e fi dre ons seem nn s r Teachers y p ci c i cti u ec e sa y . w rob ab ill p ly differ in Opinion in regardto the e xt ent to whi ch such a b o k o as this shouldb e usedin school andc ollege instruc

on . B t ti u c ertainly no teach er can affordto ignore the subj ect of wh h it r ea s . W ic t t e may doubt whe ther our p upils hadb etter didthe rha sodis b ut s ar e learn to chant Homer as p t, c c ly

mar do leg than teach the mto give the quantity and k the ictus

The me od anddan e of the Greek horus as they read. l y c c

be one ore e r but it is hard e ss han a brea h of rus may g f v , ly l t c t t

t to unfo dthe heo r of its omosi ion and for the teache r no l t y c p t ,

ose unde r his instru ion a imse at eas at the h h give to th , ct gl p l t ig art of the poe t who was not only poet but also musician and i maste r of o rchest cs .

JO AMS WTE. HNWILL I HI

Ha n na Umv n s trr Cm awea , , m u we ; . C O NT E NT S.

FIRST BOOK Ph onol ogy . P A G E INTRODU CTORY REMARK S

V OWEL - ARTICULATION QUANTITY

INTO NAT I O N ACCENTUATION

K : SECOND B OO Metric .

ORI GIN O F THE FO RMS or POETRY AND MU SIC

P REL I M I NARY STAT EMENTS C O NCERNIN G THE MEASURES FUN DAMENTAL FO RMS or T HE MEASURES SHO RTENE D FINAL M EASURES ExA M P L E s or V ERSES IN T HE D I FF ERENT KINDS or MEASURE

P R O LO N G ATI O N or LON G SYLLAB LES (T omi) DO RIC MELO D IES L O GAO E D ICS

FURT HER USE or THE Two - TIMED TROCHEE S i xTE E NTH N OT ES

RECITATI V E . CH O REES METRICAL CO RRES PONDENCE

THI D B O O K R : Rhythmic .

THE RHYTHMICAL SENTENCE (Kékov) CLO SE or SENT ENCES

INTO NATI O N or SENTENCES LEN GTH or SENTENCES

SENT ENCES OCCURRIN G MO ST FRE QUENTLY INTERCHAN G E or MEASURES

THE RHYTHM I C A L PER I O D CONTENTS.

B K : FOURTH OO Typology.

Isr ao aucro ar

Tn: c rrar tv : T n:

‘ ‘ Inl Lratc Tr n . m Mam e “. Foa I. Pu t

' : ro ot s ot ( ot 11. Ta E ( M )

FO UR - L INE Gaours Il l . D

V ms I . Lu te S rsr s

Tut M ane s Trrx

Tux Cnoatc Trr s

Caon c Smoraas

FIFTH BOOK

a: Pn rons O R I G To T EI G U PI G 84 . T ACC D N H R RO N

85 ; Pu wnt s A ND Pos rwnss

Pos rrro N or we VER SE - u mas 86 . P

s s am or THE Com srormme M MB R S a . A 87 . m E E

T mLn tc PAm or r an MEDEA

T u Ln rc Pam or THE ANTIe oNE

ND Musi “. R CTERS In n or Mm tcu . A c CHA A Inna: 7 0 ml Mu s es o r HORACE

Gn u “. Is nax Fir st B ook .

N L O G Y P H O O .

marks 1 r du or R e . . Int o ct y

' I x s m rea s of the enera r n es of R Y T M C v fi t e . T e H H fi n fi, x y) t t g l p i cipl r m measuredmove me n w under e oe r andmus and hyth ( t) hich li p t y ic , e sen a r from r se s ti lly di stingui sh p oet y p o . ' e e ws h w h er a s of an ua e M ETR I C 1 r tm se . T v o o t e ma ( ) n p j, x n) Sh t i l l g g are u sedto rodu e r m M e r eref ff r i dffe en lan . ore d e s n r p c hyth t ic,th , i i t

ua e s w e e r rh t m can rema n the same et the rh mof g g , hil th i y h i ; y yth ea an ua e a so is more or e ss erfe deve o ed in ro or on as ch l g g l l p ctly l p , p p ti the or an z a on of the an ua e render os g i ti l g g s it p sibl e . A more exact de finition of rhythmic andmetric than this cannot at

resent b e ven e au se the onfus on of erms a reva s in the p gi , b c c i t th t p il

rammars ne essar ma A nu m g c ily kes any c onci se definition O b scure . ber of o s erefore w ro er elon to rammar mu s rs b e t pic , th , hich p p ly b g g t fi t

ons dered not un s has een done andthe ne essar erms a e c i ; til thi b , c y t h v

een ds n de nedw b e oss e to ds uss the ma n su e s b i ti ctly fi , ill it p ibl i c i bj ct w ou dan er of msu nders andn ith t g i t i g .

- 2 . V owe Ar i ul a io l t c t n.

1 . Every vowel in Greek andLatin is pronouncedeith er with a p ro

’ tracted ale/ mt or 37 m esckdr t o nd a e rotr action (g ) m(g f ) s und. To i ic t p of a owe th v l e sign is drawn j ust under it ; to mark its skarp sound the n u is u sedin the same s m e om ar o on . For exa e Sig ( ) p iti pl , c p - W R ULA . V EL A TI T I N 4 9 s. O C O

a in all wi , th

a a in the first syllable of p ap .

e in the Fren word l e w v) in p in e ch fi , ith

e in met.

i in i ue w p q , ith

i in n p i .

0 in mate w , ith

i n i n o n i tonat o .

n s are re ardedas r ra ed w The diphtho g g p ot ct vo el s.

The ar ous means oundin some modern an ua es for indimt 2 . v i f l g g

n the ro ra on ands ar e n n of the owe s as in En s the i g p t cti h p i g v l , gli h an e or 0 h n n w in dou n of or t e add o of a s e e . in e bli g , iti il t (cf p ith p , not w note to mar ro ra edsounds or the dou n of a onso ith ) , k p t ct , bli g c nant to s owthe s ar e n n of the re edn owe do not ex s in h h p i g p c i g v l , i t

n s a f the on Greek andLatin. I the e l nguag es the doubling o c sonant

o w h ro ra on n n f the w has nothing to d ith t e p t cti or sharpe i g o vo el . " - w findin Gree o hfoo o a and A r ma n o n i a o w Att. E. . e g k b th y , b th p j ( - he w nd of e anda are r dcmw and ic aw. In Gree ur er t t o sou s p ) {p k , f th ,

es e e des na ed dfferen e ers c and0 wen s ar 1 andto r p ctiv ly ig t by i t l tt , h h p , 7 w hen protracted.

do not ser e to ds n u s the a o e 8 . The acce nts in Greek v i ti g i h b v

the ro ra edo w can mentionedprotraction andsharpening . E . g . p t ct ( )

I be w ou a en as in dv9 onros 1 m ) ith t cc t, p , 5p ; ' 2 a e the a u e as in dvo om-ou he airr ew ) h v c t , p , p

3 a e the ra e as in r ?» din/S a ) h v g v , p ;

' 4 a e the r umfle as in r a id» hdro cra. ) h v ci c x , p , y

So the sharp 0 can

1 be w ou a en as in 6 fr ame ) ith t cc t, , ;

2 ave the a u e as in 58 aids ) h c t , g ;

8 a e the ra e as in E ) h v g v ,

The circumflex is the only accent which cannot b e usedon sharp vow els but f r a d o ifferen 4 . reason. For s see 5 , t thi , , 4 t . I is absolutely necessary to pronounce the sharp vowels in Greek or real shar andto do w ou dou n the o own onsonan ly p , it ith t bli g f ll i g c t ,

' - e . . ne ithm7 67 0 nor g ; r owwoe, b ut 7 64 0 s . — 5 OWL A TI UL TI ON . V 5 2 . E R C A

owe s a L v w ere ea e er has b ut a s n e In the case of the v l , , , h ch l tt i gl

t sounds referen e mus b e made to a ood character for b oth i s , c t g t er the owe is s ar lexic on to determine in the differe nt cases wh e h v l h p or protracted. ' ------wrd ke we te eve ro . e . e r i e e ne to. It is well to practise on o s li p y , i p g

Whoever fail s to articulate the vowel s properly will never understand

h e r of the ass a an ua es andhis no ons of e r r m t e mt ic cl ic l l g g , ti th i hyth ic , dandunnatura i er words e r oe orms wl b e or e . e . n o i . th , th i p tic f , i l f c l

In Lati n al so the sounds of the vowels must b e carefully distinguished.

- nomine a wa - i- n d e er as is o en done ko- mi nes E . . e s lzo m es w n g l y ( a ns) , v , ft ,

The a a ve mensa. where every syllable is mispronounced. bl ti was p erfectly distingui shedin pronunciation fromthe nominative of the sam or o ra n s in all e th g phy ; a d o like cases .

’ Pronou n e bene eve c , B

f ete v ‘re , p j

monere oi/we . , p ip

dends andthe ne e ns w a 5 . We in a n oe r one wor h n L ti p t y xt b gi ith

h exame er owe the firs owe as is known is e ded. E . . t e v l , t v l , , li g h t ' ’ 32 1 0 ella: una ante alias P riameza vir o den . III . f g , , is pronouncedth us

’ ’ 0 ella: un ant alias P riamefa vir o f g ,

o 0 f ellx unantalias P r lameza virg .

B o wa s owev er are wron ou the a er is the e er . For in th y , h , g , th gh l tt b tt

su a om na on as wer e in urbe for e am e is ear m oss e ch c bi ti , x pl , it cl ly i p ibl to p ronou nce sacr by itself ; it must b e pronouncedin two syllables " w a a f- soundede at the end s a at/f F na s a e s in o s cr or s er . ith h l , i l yll bl

me a so s ou dhe remarkedare rea edas endn in a owe n e l , it h l , t t if i g v l, Si c

the 772 on ve s a s nasa s un w o dto th n e . eam ly gi light l e precedi g vo el ; g . ’ ’ mus b e ronoun edas amand n in i ase e ea are Fren . a n no t p c ch Th t c ,

owe er the na owe is to b e om e e su ressed can eas b e h v , fi l v l c pl t ly pp , ily w s o n . Wo for exam w e wou dunders an e the o o h h , pl , l t dsentences lik f ll ing fromTerence ?

B omna rinci i undie p p s .

A uscultaudivi omni n j . A ne tomnia

F iliut cla in ti na r sedi o tguincer tas nup tial s. — ' I. e . rem omn m mnia e a rinci io au i a l a a ivz amo . de8 . u u ud p p sc t . j ann n m — e t o nia liamut daremin seditionem al ae incertas nu tias . fi , g p - V WE ARTICULATION. s O 6 s . L w Howthese are to b e pronouncedis shown by ords in English “ ’ nta n n a s n o a ede su as litt rin , poetry co i i g y c p t , ch g g ” id‘ in or e er s verses in w to or e . u r , , i . q g , b tt till hich e its owe e dedas in the o own “e appears to hav v l li , f ll i g

ave heardso much I must confess, that I h ,

s o e Andwith Demetrius thought to have p k thereof. ’ Mids ummer Ni /i t s Dream p , I. 1.

Truth crushedto earth shall rise again

we e ternal years of Godare hers. B au m T/ce B attle eld , fi .

w d ere ou the rhvthmseems to re u re l/zave or No one rea , ill h , th gh q i it ‘ are andMaternal b ut ra er Na me andtk el ernal . ( , , th The poe ts often indicate by an apostroph e that this half- suppressed to e r se to a news lla e as vowe l is not giv i y bl ,

’ On e mnos th Ae ean s e : thus the re ate L , g i l y l , Erring ; for he with this rebellious rout ’ Fell long be fore ; nor aught av ail dhimnow ” ’ ’ ’ 7 have built in H aav u high towrs ; nor didhe scape ” es By all his engin . MIL ON P aradise Last 4 I. 4 6 9 . T , , 7 7

‘ w an andf lame not tfiae ean andthe s e a e t e sa M Ae e . Th S ill y g , g (t v ) e ’ ’ ’ same is the case w heav n ronoun e b rawn andtowrs and sca e ith (p c ) , p ‘ a t not in w ere we sa s m a ronoun e sc e bu av ild. (p c p ) , h y i ply

at the a ostro e in s ase s n e s the ' artial su ress on and Th p ph thi c ig ifi p pp i ,

th ms e wl s u db e arefu no not e o s on of th o e o ed. i i v , h l c lly t Hence the above sente nces fromTerence shouldobviously be pro nouncedth us V V V ' ‘ " - ” R omu a mc mMarches . u cul n an a p r g A s t a dmf amm. ne t omm “ Filth ! da ‘in dit ‘ al a n r se ion g i certas nap ilas .

If the same owel o ows the rs can be om e e su ressedas v f ll , fi t c pl t ly pp ,

o la ann un anne amo n . . f d. j m e

If La n oe r is not readin the manner e la ned en u ro ti p t y xp i , th by f ll p nunciation of the na owe s on the one andw a us e omes fi l v l h , ith hi t , it b c ure rose on the o er handthe om e e su ress on of the na p p ; th , c pl t pp i fi l vowe s mak wa i a l i l es h t s re duninte l gible . I . A 7 5 3 QU NT TY .

8 . uan i Q t ty.

B uantit is unders oodthe me a asses in ronoun n 1 . y q y t ti th t p p ci g a a es are dst n u s edas lon andsho S rt. syllable . yll bl i i g i h g Syllables which endin a sharp v owel in particular can b e pronounced

l a es on the on rar w e n i Al s de er n a. r a d . o ra e r pi ly yll bl , c t y , hich ith p t ct d

v owe or d on or a onsonan re u re a on er t me for e l ( iphth g) c t , q i l g i th ir

the fo own s a es can b urr ed a n E . . e o r pronu nci tio . g ll i g yll bl h i ve very rapidly l la la la la etc tra la la a , . ,

w e the word woe re ea ed u s as o en as hil p t j t ft ,

w o oe o woe woe woe woe oe we w we etc. , ,

cannot by any means b e g ive n with equal rapidity . Howrich the Gre ek language is in short syllables is seen in words

'

ke we te el/ er o a read C te d. li p y , l y i

L on s a es are marke d s s n drawn o er em s or g yll bl by thi ig v th , h t

ne are marked s si n V in the same os on o s by thi g ( ) p iti .

a uan is nde ende n of owe - r 2 . a u a on and a con Th t q tity i p t v l tic l ti , th t sequ ently syllables as long andslzor t are not to b e confoundedwith s a e s as rotr actedandslzar and a erefore e are not to yll bl p p , th t , th , th y b e marked the same s ns can b e seen at on e romthe fo own by ig , c f ll i g considerations

S ar s wa n I. a es are a s o w en e endin a onsonan as h p yll bl l y l g h th y c t ,

’ in - e - o r e w o r o . p y , p yé

I ut h s a e a I. B t e yll bl lso that ends in a sharp vowel can b e pro nou nceda a sun n h refra n ll s we s ver o . In t e tra la la a the , ll g , y l g i s a es are s ar b ut the se ondla is u sua made on and ere is yll bl h p , c lly l g, th no reason why the o e s ou dnot dwe on not on in s n n b ut v ic h l ll it, ly i gi g, a so in s eak n u n is made e ua in me e en to t ree or more l p i g , til it q l ti v h

o er s a s s s i en n u n dla not la . th yll ble . Thi yllable s th pro o ce ( )

’ In Greek the exclamation of pain 2 é see ms ofte n to h ave been made

er e Homer It. XII. on ou the owe s re ma neds ar . F ur r v y l g , th gh v l i h p th ,

ha 6 The same 2 0 8 s 5Ww er a n was not ronoun edfi Sw. , 9 , hich c t i ly p c q

’ o urs in a fra mn of Hi onax F 4 9 er k : asf av 6 6mr o w e r . B cc g t pp ( , g ) 9 T ucmfwov

III ro ra ed a e e a r in Greek wen e . P owe s r r rdedas s o t ct v l g h t , h th y 8 A I . 9 3. QU NT TY

wt a w The same is rue e nda wordandthe next begins i h vo el . t of

he e r rst erse of the Odsse urn s es an e am e diphthong s. T v y fi v y y f i h x pl

" a r M 0 wokfn ovrov 3 l e 1mm a d:M e 90 0 i . . A vSp p , , p , 9 m

In the tragic poe ts this occ urs sometimes also in the middle of a

wr d art cu ar we n the ro ra e d owe or d on re edes o , p i l ly h p t ct v l iphth g p c

wa w r d on e . . r idv A a corre tio a on o e o . l g v l iphth g , g pq s ( ttic p )

S a es wt a ro ra ed owe are a 3 . yll bl i h p t ct v l callednatara long e th ose

wt a s a owel b ut endn in a n i r o sonan osit ons lan ae . So i h h p v , i g c t, p g '

o G ax a se. M a oJ ¢écru r ia n p p t ( a v B ) . But the fi rst of two consonants does not al ways belong to the pre “ ” cedn s a e and onse uen does not a wa s ma e os on i g yll bl , c q tly l y k p iti . In Gree k the following rules in general holdgood: w I. Pos t on is a a s aused the dou n of a onsonan A i i l y c by bli g c t , by

a w o own mute the o w . r n urre n e of t o mu es p p ith f ll i g , by c c c t , by f e Z

be a do and na all o er onsonan s w fo own , p , ) , fi lly by th c t ith ll i g a

' ' wido w flr m o Adn-w ovre v r er a r o B s, a , , p s,

5 i /w é w (Th a t / o T v civw 6 1 9 h e i . M e, yx ; 8 , d, fi f ; , n 9

The uant is dou u e ore two li uids et a s or s a e II. q ity btf l b f q , y h t yll bl l

r l - o urs er se dom ere i t o er rare I ve . The uan is cc v y l h ( n s, v y ly a r) q tity

’ m u w li i o w th o . doubt u a so wen mute cu da o s e e e. r e xvov f l l h g f ll v l , g ’ ° - - E g - a rr . w a 0 1 sr . e . tek non or f lo . e . te k on a a e . a E a a (i ) (i ) , p f (i p f ) p f

Z- wr ters were er s ron n l nedto draw . h A e . vr e (i pafa) . T ttic i v y t gly i c i both conso nants over to the following syllable . But in the ease of compoundwords where the first consonant belongs t c ‘zrw o the rs ar of the word os on a wa s resu s e . . éxlt f not fi t p t , p iti l y lt , g , V O 0 - - - - mam sin e we na ura ronoun e ek lez o not e klez o. , c t lly p c p , p

4 . The G ree an ua e on a coun of its man s or s a es ou d k l g g , c t y h t yll bl , c l be ron u wt r dt andc s is seen a so romthe p o nced i h g eat rapi i y ase . Thi l f fact that the pause betwee n the single words was very sh ort andthat

onse uent an e n re senten e soundedin omarison w an En c q ly ti c , c p ith g l s se nten a mos e s n w d a ar rom a e a e or . s e s r ous i h c , l t lik i gl Thi pp f v i facts of w c the o own are of mor an e in me r , hi h f ll i g i p t c t ic :

I. The shortening of pro tractedvowel s andof diphthongs at the end of a wordwen the ne x word e ns w , h t b gi ith a vowel :

V Avda ct mm x p p , . r . A. A I . g 3. QU NT TY

S n z es s of na and e nn n owe s II. y i i fi l b gi i g v l n ’ ‘ of K . . A. d errei. T s wh n n p n , T

This couldindeedb e readal so

’ ‘ T ot whafyx977 errei. p ns ; b ut this pronunciation is impossible in th ose cases where (the

t er a da nor s ondee wou dresu e n exame er e . . ne b i g h t , g ) i h ctyl p l lt, this verse

' ’ ' o e t V w 0 d. I 6 e a S w o w 0 8vo o s G o . 82 . if e irrep v t a fi fi , ‘ V K T V wedto read7 cam er/ a c s n e a measure e __ Here it is not allo 7 p , i c lik u uu

e B ut on the o er andthe exam e a o e rom the m oss . is i p ibl , th h , pl b v f

dnot b e ronoun ed(iii/ S a of amm s n e en the hex Odyssey coul p c p p , i c th w is ua m e n w a ro ee e oss e . Ex ameter wouldb gi ith t ch , hich q lly i p ibl a n ceptions are only app re t .

wo onsonan s w e n a wordma e os on w the III. T c t hich b gi k p iti ith

s - m- o e en s n . m w of the re edn word e . a o e con fi nal vo e l p c i g , g i p p ; v i gl

n met mes dou edin i s ase es emall the i ui ds sona ts are so i bl th c , p y l q

' ' ‘ ' ' dI. 5 6 . e . e l K ai a i vh towt Ao o wt 0 . S ahaxol o BE taha xo cn t . a iei. p p y , , i p p

It is owever to b e o ser ed a ere are e u ar reasons in Homer , h , b v , th t th p c li for the a aren dou n of the n a onsonan s A t v w o ur pp t bli g i iti l c t p p, hich cc

n It is in the e s de ree ro a e a ere was or freque tly . high t g p b bl th t th igi na s ano er onsonan efore ese onsonan s w was af er lly till th c t b th c t , hich t

r n un and w n t wr t n wards no lon er o o ed ere ore as a so o e . The g p c , th f , l i t

mma fe l awa re uen efor f re ma often a d a e . Be o k e ig (F) l y f q tly b p , X y h v

h an ta efo e and ' was r a awa of . i i dA o r 0 o a e n w c . V f ll y ( x p s p s) ; b p , p b bly ' f e do ed f e and m i va and ai o n r c . (T u o a a t pp ( a p ; p p c, mp p pp ,

i t b e V 4 30 e . . s 0 d. I . o e r ad , g

’ o e I/ Si K oc te 7r i t ahoio . ) T r e p fi np v e i. Fpnyp e m

The a o e s a e men ere ore a s n e onsonan s es e a u ds b v t t t , th f , th t i gl c t , p ci lly liq i , are somet mes dou edrefers on to the ronun at on w the Athe i bl , ly p ci i hich nians e m o edin the oems of Homer andw was m a ed the pl y p , hich i it t by

a er E w e m r n the o n in ues on r rs Cf . o e at en o l t pic it . l gth p i t q ti ,

S md Met /c m fa n aw of n a onsonan s b e ri 5 . A s ar ch i t, , i il lli g ay i iti l c t fore o er onsonan s in the same wordis er ommon in En s th c t v y c gli h , ex e a no n e c pt th t the consonant is still written though no longer pro u c d.

s is es e a fre uen in the ase of 7c efore n and) e ore 8 as Thi p ci lly q t c b 1 b f , e . . in leni /zt knave kn e al s m. g y , , if , p A I . 10 5 3. QU NT TY

made mu ess often two onso It is to be notedthat position is ch l by c

e e nn n t an the same om na on in the mdde of nants at th b g i i g , h by c bi ti i l

a word.

we in its na s a e andendn in a A wordwith a short vo l fi l yll bl , i g w e the o own word conso nant has this last sy lable long only h n f ll i g , l

wi w . . w a consonan not w e n be ns a o e . E begins ith t , h it gi th v l g

‘

woM cr 0 d. I. 1 39 p olka. , ; on the other hand: I

M vwdet It. I. 1 . fi ,

In the latter case the consonant was drawn over to the following sylla ’ - - - - ble andthe words were ronoun ed me ni n a si de . , p c

Apparent ex ce ptions occur in the case of words which have a digam ma w as is known was not in a er mes ronoun edandso a so , hich , , l t ti p c , l was not writte n

' ' ' n i cvo 1 V r e ru i v Kai. vda r ov ir a i wv dp p s 5 dx l p ,

“ ci vu evo r v re i f u r v x . r . L 0 61. I. 5 p p s P i j xf , , , pronounced

a - - - - ven- te - - clzen- kai- nos- t - as- tai- on r ny me nos p sy o r . V U

s ou dan a ura e ronun a on a ordn to the a o e 5 . Not only h l cc t p ci ti cc i g b v

r n es b e a u reda ronun at on w is nds ensa e in order p i cipl cq i , p ci i hich i i p bl to unde rs andanda so to ee the an e n r m b ut the a se ro t l f l ci t hyth , f l p nunciation of so me of the consonants andth eir combinations should in La n an also b e care fully g uardedagai nst ; as e . g . ti 0 dt sh ouldal w dt in ti a s b e ronoun ed ard e 0 in cat an me . v p c h lik ,

A correct vowel - articulation (which termit must he rememb ereddoes not re fe r to the q uantity of the vowels) is not i ntri nsically difficult it must owev r b e ac he ro er ronun e u redear . en t a on b e , h , q i ly Th p p p ci ti co mes or eas ier an the are ess one in o ue s n e remar a f th c l v g , i c it k bly fac tates the readn of erse and ere e omes more rm ed ili i g v , th by b c fi ly fix i m n i nd. 6 n . I Greek poet ry it is a fundamental pri nciple that a long syllable i n twice the time a sh t on of or e . Since English poetry is composedon the basi s of accent andnot

uant an En s man is n nedwe n readn Gree andLat n q ity , gli h i cli , h i g k i oe r to e the s a es he p t y, giv yll bl t same length anddistinguish th emonly b acce nt w is an e rror a mus b orre e a n s ca y , hich th t t e c ct d t o ce . Thi n be done onl ea n or n n a e o y by b ti g cou ti g the me sure . Sinc n whexam eter erse c. . is omosedof and v da , ea s . e . of v g , c p light h y ctyl (cf i .

monarron. 12 5 4.

d se Andin the first verse of the O ys y

U V

wokxirpmrov or u u u

v!“o

In longer words th ere can be more than one ictus . These are then

s re n t andare ds n u s ed the numer of do s set of ( litte re nt t g h , i ti g i h by b t over the syllables on which they fall . E . g .

universe L

Iaouseholder

agr iculturis t instrumentality incomp rehensibility

In no wordcan ere be more an one hie us b ut more an th th c f ict , th one of the se ond r ird rade ma o ur c o th g y cc .

- 2 . This wordictus is subordinate to the ictus of the sentence . Every simple se ntence sounds to the ear like a unit fromb eing con

ro edb a s n e e us us as a worda ears as a un rou t ll y i gl chi f ict , j t pp it th gh its s n e e i gl chi f ict us . The words of course are separatedfromone another by sh ort pauses

in Gree ver s or one s the sen en es on er ones nd a ed ( k by y h t ) , t c by l g (i ic t b the mar s of n a y k pu ctu tion) . It is by th ese ictuse s andthe pauses b etween the words that have

us een men d w ds n u ed j t b tione that sentences like the follo ing are i ti g ish

I bou ht iron tools andwa ons . e . g , , g , i

I bou ht iron tools andwa ons g g ,

Furt er the senten e r for the L has w ref h , c O u soul waiteth ord ith erence to the ictuses the notation

He re the first syllable of waiteth has only a secondary ictus in the

sente n e ou it is the r ma - e h c , th gh p i ry ictus syllabl in t e worditself. 13 4 I O A IO . g . NT N T N

the o er and om oundsen en es a e no s n e e us 3 . O n th h , c p t c h v i gl chi f ict ,

but each member has its own .

The ar ous n o u ons n or ora ons e ses andso on w v i i v l ti , i c p ti , llip , , hich

r when senten es are rou ed o et er in a er odrender the re a a ise c g p t g h p i , l

' a s en tions of the different ictuse s difficult to underst nd. A ci tific in

- ssar vestigation of th ese relations is not nownece y .

n ona on i not nd a edin ree the a en s an more 4 . I t ti s i ic t G k by cc t y

a w - a n t a s is so in oe r is to b e th n vo el rticulati on andqua ti y . Th t thi p t y seen with the utmost certainty fromthe first verse of the Iliad

’

M vwdu de 9cdH idSew A LM 0 9 . fi , , a X }

The six ictuses fall upon

ou - €L 4 1 - )w - 8€w y } , , ) ,

Of ese hree are a enteds a e s two w the r u m e one w th , t cc yll bl , ith ci c fl x , ith

the rave the rema n n re n n he s a es wt g ; i i g th e hav e o acce t . T yll bl i h out

’ ’ an us are - d - - i A t - of w two ar w. v Se 05 o€ 0 9 e ict , X , hich

a en edwt the a u r a e n The sam e andthe re s a e w ou . e cc t i h c t , t ith t cc t

is rue not on f al v The rh th o l exame ers b u t of all o er erses . t ly h t , th y

m a tuse s ave no n to do w the a en s b ut fa ar rar ic l ic h thi g ith cc t , ll bit ily

on s a es w r um ex a w ou a en u e or rave or . So yll bl ith ci c fl , c t , g , ith t cc t a so s a es wt ese a en s can b w hou m a uses l yll bl i h th cc t e it t rhyth ic l ict .

It is to b e no ed owe er a the a en s are not en re w ou tic , h v , th t cc t ti ly ith t i nfluence in those cases wh ere many sh ort syllables come together with out mx ure of on s or on w s ou mx e or s . See more i t l g , l g ith t i tur of sh t at

en S md M et i/c r 10 . l gth ch i t, ,

The ues on arise s : Were q ti h th en didthese ictuses of the words and sentence s fall in Greek prose ? It is necessary to answer the first part of the question only ; since as soon as the word- ictuses are known

i the se n - tence ictuses are al so known : for the chief ictu s of the sentence coincides with the chief ictus of that wordon which the main weight of the sen en e res t c ts .

U nfor una e s ue The t t ly thi q stion cannot b e answeredwith certainty . old ramma g rians have left no i nfor mation in regardto the ictuse s in

rose andin wr n Gree no mar w u e d a e em p , iti g k ks ere s dto i n ic t th . B ut from certai n fact s in the languag e it self it may b e concl uded

I at the uses or na e on the roo - s a e s of the words ) Th ict igi lly f ll t yll bl . ’ Olda era n formu ae es e a in es od Wle ndD a s r H s or s a o e llit ti g l , p ci lly i y , p v

s e . . . 2 3 thi , g V 5

I A ’ ' ' A T ucr ov o w8e / w c / in a e e eK a o ev crw. y ; ou or a. r t y v n ron rio . It 9 4 . m g

here is unms a a e andas in man o er a es not The alliteration i t k bl , y th pl c ,

e It de ermnes the rose uses to a e een the re sult of chanc . t i p ict h v b as follows ' t x a. x a v r moww8c ywa cc camer n v yo cvo w.

- os The ictuse s fall on root syllables only . This p ition of the ictus is natuml and s or ca ro a e s n e the same ru e o ds in the . hi t i lly p b bl , i c l h l

- othe r h ide European langu ages.

2 Soon owe e r the Gree k an ua e ended owards u n the ) , h v , l g g t t p tti g

c uses o n the on s a es wt ou re feren e to the root- s a les as i t l g yll bl , i h t c yll b s ad ot s ear een the ase how o dit e x a u . H n u b e ned a ch thi ly b c , c l pl i th t in oe tr the on s a es in ar u ar at rs e us ve in hex p y l g yll bl p tic l , fi t xcl i ly ( amcte r tro a e rame er hadthe uses ? It is m oss e a , ch ic t t t , ict i p ibl th t

he w v h one us in oe r andan er in ro t same ordcouldha e ad ict p t y oth p se .

s w a n re Thi ouldhave been contr ry to atu .

3 But earl ere e an a ur er an e name a the a en ed ) y th b g f th ch g , ly , th t cc t s a yll bles more andmore re ce ivedthe ictus . Thi s is sh own not only by t he fa t of . d a h a some mes words e dtes . 3 2 II ou e t e ct h t ti lik a ( , , ) c l h v

us on the rs s a e us as s s a e were on b ut artic ict fi t yll bl , j t if thi yll bl l g , p ularly by the i nfl ue nce of the accent upon the protraction andcouse

ue n u he owe s and e r s a es The end q tly pon the quantity of t v l th i yll bl . in - w w s on e . se r m a in ords of the rs de en . as e e om o ara e g fi t cl i , g , f c p tiv

ramma w w ra ed It os the ro ra o r as or na a a s ro . n g , igi lly l y p t ct l t p t cti ,

owe er in manv words w ere didnot ave the a en as in AGm-a h v , h it h cc t, y , ’ mp mm ; b ut th is protraction remai nedintact with out exception where the na s e wa 0 i e a s a en edas in 0 o o e tc. fi l yll bl cc t , ¢ p , ¢ p ,

At a later date the Greek l ang uage probably came to the practice of near all modern an ua es a of ma n us anda en a wa s ly l g g , th t ki g ict cc t l y co n d i ci e .

The os t on of the us in Greek words ere ore suf eredthe p i i ict , th f , f

reate st an es a ndwa m e te e h s er a s at o me o d. T e g ch g , p h p n ti c pl ly fix ne w r n es of art onse ue n de e o edat a a er da a owed p i cipl , c q tly , v l p l t y, ll the ictus in poe try to b e placedsomewhat arbitrarily as comparedwith its os t on in r p i i p ose .

“ ” “ 5 . a e re ss o ns e a en n a en ua on . anno T h t x p i lik cc ti g , cc t ti , ctc c t be use dwt re fe re n e to s re n of one w b e made ear in 5 . i h c t gth t , ill cl ” “ The bes ermto use is ntone n n t t i , i to ation. 5 . IO 5 5 ACCENTUAT N .

5 . A en uati cc t on.

Not on in s n n b ut a so in ommon s ee s ll a es re e e 1 . ly i gi g, l c p ch , y bl c iv ’

dffere n f ouo c tone . B ut in rose as in re ed b ut tones of i t pitch ( , ) p , cit (

sun oe r the n er a s e ween e se ones are ar a e not not, g) p t y , i t v l b t th t v i bl ,

ma a ra r regulatedwith strict mathe tic l accu cy as in music . In o dinary

d urse five of ese ones are dst n u s edw wl es b e under isco th t i i g i h , hich il b t

s f omEn s stoodby illustration r gli h . ” This singing in common sp ee ch b ecome s most noticeable when

n erse in a fore n a The n s ma p e rsons are h eardto co v ig langu ge . E gli h n

i as on s edat the wonder u s n n in the an ua e of the German s t i h f l i gi g l g g ,

me n in the an ua h n s man the German at the sa thi g l g ge of t e E gli h .

a he mse s n s ne er o ser e s un a ore ner makes him Th t hi lf i g ith b v , til f ig

a ra ed mta on consciou s of it by ex gge t i i ti . It is al so the case that within the b ounds of the same language this m m diff erenc e of modulation is so e ti e s very noticeable .

The rea er num er of s a es is ronoun edin a ou the I. 2 . g t b yll bl p c b t

w e a e the dl o same one can b d mi de t ne . t , hich c ll

The s l a es w the e f us in n wo II. yl bl ith chi ict E glish rds have gen

ll the b i /t tone as the s l a e oo in dn - t a era d oo ess reat in retre t. y g , yl bl g g ,

If the mdde one b e nd a ed a no e b e we en two nes andthe i l t i ic t by t t li ,

one a no e u on the u er of ese nes the one - re a ons of high t by t p pp th li , t l ti the syllables in these two words will be as foll ows

g ood near re treat

we er in an n erro a ve sen en l III. Ho e o er s a es o ow v , if i t g ti t c th yl bl f ll

a w has the e u s s is en a mu ower one w th t hich chi f ict , thi giv ch l t , hich

m So i conseque ntly has the na e of lowtone . n the following sentence the se tones occur Is it man ly I I l

The low e na n ( t one is to b e dsig tedby a note on the lower li e . ) , fur er the s a e o own the low one has the one th , yll bl f ll i g t high t , is then without ictus : Is it man lj/ f ACCE A IO . 16 9 5 . NTU T N

ma ons of sur r se es e a wen s o en monos a e a , N. In yll bic xcl ti p i p ci lly h p k

n the wordis e un w the one -w en in a tone of derisio , b g ith high t , hich th

he mdde one . s ma b e al ed passes in the same syllable into t i l t Thi y c l e allin tone andis to be des na edas o ows th f g , ig t f ll

na a ues on oses w a monos a wordw has V . Fi lly , if q ti cl ith yll bic hich

fo ws i ma tus the mdde one o n s the low one . s the chie f ic , i l t ll thi t Thi y,

fore a ro r a e be a edthe r is in tone andis to b e des na ed there , pp p i t ly c ll g , ig t w as follo s W as he we re ?

es of Gree words hadthe rs our of ese one 3 . The syllabl k fi t f th t s ; the r s n tone was e er un nown to emor e se so se domused a i i g ith k th , l l th t l m h it h ec a mar to ds n u s . S so e of t e rammar an adno sp i l k i ti g i h it ti l , g i s are sa dto a e o ser edthe r s n one in words e r é cfia were i h v b v i i g t lik mp , h

l a es hadth a the secondof the contractedsy l bl e ccent .

S n e ese ones are mu more a aren in s n n is w ref i c th t ch pp t i gi g , it ith eren e to t s t a t e re e ed e r names andso too the s ns used c hi h t h y c iv th i , ig

ese are the a en s aceenta r m cine to des na e e m. s o ac re 1r ocr ig t th Th cc t , f , p

marks or in in . ma m rom1r 6 and e . s or r s usedto W, f p 9 i f g g, , k n not he indicate tones of the voice a d t ictus . ' ' mdd e hadno s e a mar . The a u e 7r t cta The e on 0 0 t 8 0 . d i l t p ci l k c t , p 9 i , ' ’ s a f the ra e n a t t a ei f r h low one nds or the one o au. a o t e t high t ; g v , p p B p , t , which may ofte n have nearly coincidedwith the middle tone ; the cir ' ’ cumfle for he a n n All ese erms x r w tsta m m w ev t o e . , p q p p q, f lli g t th t w ere borrowedfrommus were ones were a edr évot 6 65 etc. ic, h high t c ll 5 9, It has bee n shown above that in English the ictus does not neces

l . fa u on a s a e a has the on b ut ma a e . u on y ll p yll bl th t high t e, y f ll , g , p one wt th l wt e Fro a ree erse i h e o on . mthis it is easy to see that G k v can andmust be ronoun ed rou ou w the rose a en s and p c th gh t ith p cc t , that this can be done without any conflict arising b etween the prose a ce n s andthe uan of the s a e an in oe r c t q tity yll bl s dtheir ictuses p t y .

The fo own erse mus ere ore be r d ll i g v t , th f , ea

' Av ae ot b n ire Mot? r p n , e a, 1ro X6 rpo f o , E A I 7 5 . ACC g NTU T ON .

1r p ct his o)x Ad.

Here as it ka ens the one andthe us o n de in the rs , pp , high t ict c i ci fi t

ds x measures b ut not in the f an . , fi th i th

B ut in En s as efore remarkedthe one is a mos a wa s gli h , b , high t l t l y j oinedto the ict us for the excepti ons in the case of interrogative sen tences andin some o er ns an es are of no rea m or a To th i t c g t i p t nce .

l us ra e the o own erse is a en edin readn as fo ows i l t t , f ll i g v cc t i g ll

ai fii fio in tri am/z ad van ces H l to fil e c qf w p .

\ In thi s way th ere arises a regularity in the succe ssi on of the high

m n et s is not andl owtones which very cl osely rese bles singi g . Y thi ’ er e vedin one s erna u ar w e on the o er anda readn of an p c i v c l , hil th h i g

en erse in w the a en s are o ser ed as i en a ove a ears ci t v hich cc t b v , g v b , pp

th uan is ne e ed andcon mu more e s n n . Furt er e ch lik i gi g h , q tity gl ct , sequently the ab ove hexameter in the mouth of an Englishman is

” ‘ - A v a év we 1re Mofi aa 1ro h i? r o n or (is d ha. 7roh Ni. p , , p , p h b

s readn to b e sure is not to b e en re ondemneds n e the an Thi i g, , ti ly c , i c cients hemse ves w e e r oe r was s sun or an ede m o ed t l , hil th i p t y till g ch t , pl y

n a u i r a n no to b e recom other otes th n th ose u sedin prose . B t it s as ce t i ly t mendedin verses which are recitedwith out the accompaniment of musical

all u n b ardeda a ns . instruments . Most of sh o ldfalse qua tities e gu g i t

a i he ru one i 4 . Th t the explanation of the acce nts here give n s t t e s

ro ednot on e r names andthe es mon of an u b ut a so p v ly by th i t ti y tiq ity , l various facts in the language itself can b e explai nedonly on thi s suppo

s o Th . . u . e r um ex the mar of the a n one s ands e w iti ci c fl , k f lli g t , t , g , ith fewex e ons w ar se froma un sense of an ua e or ana o c pti hich i bl t l g g by l gy, only on those contractedsyllables which b efore contraction al so had the sam e su e n f one . cc ssio o t s . E g . wA w d. . u from T l. p s ACCE U A IO . 18 9 . NT T N

s n one owe er the one was enera em Insteadof the ri i g t , h v , high t g lly

o ed as e . . pl y , , g

- - - - ' o - v é - fl mb uqr from J r t p a o p q .

That the quantity of the fi nal syllable hadan influence on the accent

e r od wr es of the pre cedi ng syllable is a common error . Still ve yb y it - he as s la i lon in uan Mmmanddvdumor e tc. a ou t e s 7 p , , lth gh l t yl bl g q ’ t a owe er the en e is a e ntedci um-ov andnot di/ O w ti y . Th t , h v , g itiv cc v , p ’ m ar ses from the a at s form omes romdy O anroo e n u, i f ct th thi c f p , it b i g an oldlaw of the Greek lang uage th at the high tone couldnot stand w an u on the rds a e romthe lost. Wen no the further back th p thi yll bl f h w n a m ast two sy a es ere o r ed it s e dits a us o ed a e . l ll bl c t ct , till h l cc t pl c

s Similarly in mo t other cases .

5 It is ere ore a rea ms a e to re ardthe r um e as a mar . , th f , g t i t k g ci c fl x k

t nf e n s a En s words e en of ro rac on. No r ue mono p t ti i q tly yll bic gli h , v t ose wt a s ar owe a e the fa n tone as breadto b e wr h i h h p v l , h v lli g , , it

t ia orde r to re resen h onun a 2 ne er Su e n t e r on 8 S. p t p ci ti Bp , v Bpfi ch ’ wrds owever of dwt a s n e one s or o are en ronoun e 8 ES. , h , t p c i h i gl t , Bp Bp

Comare o o alon ! d) dAé - éhé o ! o ! 16 p g g g y yy ( yy) , g g 7 ,

d» e ow in . Th e s wordis in no ase made s a T r 6 6. he y v l thi c h p , 7 , 7 ac en as usedto mar its dffere n ones does not aff e its ro rae c t , k i t t , ct p t

on but the worda wa s rema ns ro ra edw a e er a en ma ti , l y i p t ct , h t v cc t it y ha e n pp to have .

The Fren an ua e s ows the rea es msuse of the a en s 5 3 ch l g g h g t t i cc t ; , , ’ ande t a is a re en re dffere n sounds . ere b e no ed , h t , ti ly i t It sh ouldh tic

a J is ndeed ro ra ed b ut is not on e n ronoun ed er th t i p t ct , l g , b i g p c v y

’ ’ a d r as e . . ctc ate pi ly , g .

6 . The eor of e eva on of o o o G n a s l th y l ti t ne is calledp r s dy. ivi g y

a e anot er one an the mdde one is a edaccentin bel onen l bl h t th i l t c ll g ( ) it , deva l uation . The former expression is generally confoundedwith “ ” ” uan t and owe - ar u a on he a er t w n ona on. q ti y v l tic l ti , l tt ith i t ti

OE R ND M I O RIGI OF THE ORM OF A C. 9 6. N F S P T Y US

m e dan e ere are ree df eren mo emen s e ua mazurka a ver s c , , y i pl th th i f t v t q l “ Wt one the dan e r treads ea w the r oo w in time . i h c h vily ith ight f t , ith ' “ re i t w the e andmth ree the r foo is two mo l gh ly ith l ft, th ight t

nto os t on e ndthe ef . en the ee an e e r roe brought i p i i b hi l t Th f t ch g th i l , B e se mo emen s the me is d dedin o e ual or andso on. y th v t ti ivi t q p tions of th ree parts each .

smal ortions of me wi e r re u ar dv s on are a ed These l p , ti th th i g l i i i c ll re ara or readin ma ma nt a edes . The r n orres onds , p p p t y t chi g c p The measures eda o e in mar anddan e are to the anacrusis . cit b v ch c respectively meas ures of two p arts eaclz (equal Measures) andmeasures of ’ The Gree erm three p arts each (unequal measures) . k t inology is y cvoe ' Measures of our ar s ea are a ou the same Ic on cvo 8cm\dmov. , y e f p t ch b t u a as those of two parts ; th ese also are e qual measures. B t me sures of

ve arts eacb orma new ass : ese are now er rare b ut were fi p f cl th v y , ’ dare ca ed evo céh o mre uen amon the Gree s an s v . o freq t g k , ll y fia

If the son is to orres ondto ese dan e andmar mo e 2 . g c p th c ch v

me nts a so mus b e d ded n o measures . The e i nn n of e er , it l t ivi i t b g i g v y meas ure mus b e n oned 4 5 more or in order to a e the t i t , ) f cibly h v right relation to the more vigorous movement of the body ; the remai n ing syllables corre spondto the weaker movements .

s en is the rs re u reme n in r m a om os on a Thi , th , fi t q i t hyth ic l c p iti , th t it be dividedinto eq ual measures the fi rst part of each of which shall have

w r i edi s n of an exa er lawfor th r the us . No e e s ne n o e e a on ict , th g ct l ti of syllables to one another with reference to their length than prevails in rose were e r rela e en t does not on orm to an s r t p , h th i tiv l g h c f y t ic

a ra w a re d di ma e m ca t o . s la a s a e n 3 6 is a e er th ti l i Thi ( l y t t , ) , th t v y

i t w v on s a e s e ua o t o s or ones . l g yll bl q l h t , v

Fur er s n e the e nn n of e er measure mus b e n onedmor th , i c b gi i g v y t i t e stron the meas ure a ordn to 4 4 2 mus b e n rodu ed a gly , , cc i g , , , t i t c by

o s a l h l ng vll b e . T e short syll ables are then assignedto the lighter part of the meas ure : et a on s a e is a owed ere s n e not e er y l g yll bl ll h , i c v y

on is ne essar ven w uen o l g c ily gi ith an ictus . Conseq tly b th

v u and are ro ) J J p per measures . Song is furthe r distinguishedby an exact regulation of the relations w of its o nes . S n e no e en rose hada ar n usa i t i c , , v p v yi g ge n reference to t ese tones man s a es e h ( y yll bl . g . with the acute under certain circum

s tance s in onne te dds ourse oo the ra e in its a e so as c c i c t k g v pl c ) , ,

the art of mus c deve o ed se more andmore nde enden h re a i l p it lf i p tly , t e l

t ons of its ones were ess andess restr e d e i t l l ict by p r cedi ng usage . 2 1 s ORI IN or THE F M S or P OETRY AND M IC . s . G OR US

is r t m a s ee one dv ded n o ort ons of 3 . s en Thi , th , hy h ic l p ch , i i i t p i

e ua en h w re u ar ds r u ed uses . In son to a a n s q l l gt ith g l ly i t ib t ict g , tt i till de the exa de ermna on of h a re u ar ere is a dd t e ones . gre ter g l ity , th ct t i ti t

Son erefore is g , th , all d ded n o e ua or ons of w the sma es the 1) M etr ic y ivi i t q l p ti ( hich ll t , d measures are rs to b e ons dere . , fi t c i ) f e 2) These p ortions b ecome rlzgtlzmical in consequence o r gularly distributedictuses . d n er a s 3) Song b ecome s musical through the exactly regulate i t v l

wee i bet n ts tone s .

B ut e e mus a ns rumen s were erfe ed so a 4 . littl by littl ic l i t t p ct , th t

for a om an men and rodu edthe mel th ey ceasedto serve simply cc p i t , p c . hadthe sam ode nde e ndn arose music without words . It e i s i p e tly . Thus r m the same ones as son b ut me r a mus ear a e one hyth , t , g ; t ic lly t ly h v g w e on fo the measure o f our ar s e . . has d . We ere re b y it hil , th , f p t g , hich the duration of ab out four ei hth - notes ( I cannot well have g J ‘ J more an four s a e s s n e e r ronu n a on a wa s re u res a th yll bl , i c th i p ci ti l y q i

er a n me w e ndee da uar er- no e mus enera b e u sed c t i ti , hil i q t t t g lly for the rs two e - no es ' u not o ten u u u u fi t ighth t , ( P P, u , f ) , o ‘ ‘ since oth erwise a strong er ictus must b e given to a sh ort syllable th an

na ure s ou d av e ere is on the o er and no f u in by t it h l h ; th , th h , di fic lty ex re n me p ssi g thi s asure on stringedinstruments with eight sixteenth no es et t c. a 0

erefore vocal mu ic , s has in the nature o lan ua e considerable Th , f g g , metrical limitation s . Syllable s sung with extraordinary rapidity would not a owthe sense of the an ua b un And ese lim ll l g ge to e derstood. th itation w s ere in v ocal music alway s observedby the Greeks in the

ass a er odof e r an ua r dso on usedin mod e . s runs an cl ic l p i th i l g g T ill , , , ern mus wou d a e een a orror to the Gree s at eas in e r ic, l h v b h k , l t th i v m o a us . To s no e s m w nev er e e ss rodu ed c l ic thi bl i plicity , hich th l p c the e s ef e andan extrao dnar s on n o measures high t f ct r i ily artistic divi i i t , sen en es erses and er ods do we owe a is e t oss e for u s t c , v , p i , it th t it y p ibl in th e texts that hav e been preservedto learn the metrical value s of the s a es andto de ermne the yll bl t i entire rhythmical c onstruction . Fo f r romthe principle that the long syllable has exactly the val ue of two s or ones ere was not in e r oe r e en w en more fu h t , th th i p t y , v h lly de e o ed an ons dera e de ar ure and is e er w ere oss e to v l p , y c i bl p t , it v y h p ibl de ermne the de ree of s de a t i g thi p rture .

O n the deve o men f th o e orm r i r r 2 5 . s of oe andmus c . u e l p t f p t y , cf f th MEA RE 2 2 RE IM I AR A EME CO CER I THE . 6 7. P L N Y ST T NTS N N NG SU S

iminar Statements concernin the Measures. 5 7 . Prel y g

ulv measure s ons st n of on ands or s a es usedw 1 . O c i i g l g h t yll bl ith

w s u sed e r m r their or dinary value ill here b e di c s . Th i etrical forms a e

on one s in w the reater num er of m o ed the comm hich g b poems is co p s .

he rs no e of the measure as a read edmore 2 . T s a edis n on fi t t , l y t t , i t

t an th res dhas n e an ere ore h e e . . s ro t e e us . a t gly h t , , th f , chi f ict T k g the four- eighth measure " Av dpa p ct Ev we N d

V

In mus s us as readi unders oodis not ommon mar ed. ic thi ict , ly t , c ly k

s more s ron n oned ar of the measure was a edfléa t Thi t gly i t p t c ll s, s n e in ea n t me the oo was ere set down w e the er art i c b ti g i f t h , hil light p

f the measure dur n the u eran e of w the oo was ra sedwas o , i g tt c hich f t i , called d Jpa act ‘r ‘ " ‘ . J J J J Oéats ; Oéa'ts dacs p

Now owever is us omar to a Gems arsis and ’ l S thesis , h , it c t y c ll , , d , ,

h ree erms s andth ereby to pervert the signification of t e G k t . Thi use of these terms agrees with the modern practice of pronouncing the

more heavily intonedpart of the measure with the high - tone (the voice

being the lighter part with the middle - tone (which in con “ ” - m f e C . e w the on see s a w ne . W ras o ered o 5 3. t t ith high t l t ) ,

s ou d owever and s w b e in a ordan e w our own ra e h l , h , thi ill cc c ith p ctic

in heatin me em o the erms as e were used the Gree s g ti , pl y t th y by k

me v s e . e s e . a the downward ea thesis andthe u ward ea arsis . th l , i c ll b t , p b t

In ourse f the 3 . c o de velopment of Greek poetry the p ri ncipl e th at

on sy a es were to s andin the thesis s or ones in the arsis was l g ll bl t , h t ,

not strictl ma n a n asure ou db e e ressed v i t i ed. So that the me c l xp > not \ \ “ on e . . r our o b ut a so ly by h ( g ) , l by l (c g J . J . J a is two s or s a es a la e of the on one a ro ess Th t , h t yll bl re usedmp c l g , p c

w c is a edresoluti n w oss e to use o 8 . ur er as hi h c ll ( uflvcn s) F th , it p ibl

a lon s a e in a e of two s or ones in the ars s g yll bl pl c h t ( i ) , > J as f a ims or . d ont action s i s a l e r . ( ) , J n T hi c l c R 2 3 IMINA Y ST T MENT S CO CER I THE MEA E . s7. PREL R A E N N NG SU S

Thi s license is expressedas foll ows I N ‘ Reso u on . e . for or l ti , i J J , by L

f \ or CD Con ra on . or t cti , i b ’ ‘ J

If it is immaterial wh eth er one long or two short syllables b e em

i no m r r s ere s e a s n. lo ed s can b e ex ressed . F o thi th t ic l ig p y , thi p by I}

‘ \ S n e now in the exame er the da is the com i c , , h t light ctyl J J r mon the ea da the unu sua form ex e in the as measure , h vy ctyl l , c pt l t w ere the ea da a one can o ur the rs me n onedformmus h h vy ctyl l cc , fi t ti t

ot b e o s dereda a re n of the a er b ut dre on rar to n c n i s solutio l tt , , i ctly c t y m s the a er mus b e re ardedas a on ra on of the or er . us : thi , l tt t g c t cti f Th

J . i]

If we ons der the a ue of the measure as a r m al e emen 4 . c i v l hyth ic l t

des nedor na for dan e andmar we see at on e a in measure s ig igi lly c ch , c th t

ff r - e a It of equal length di e ent ictus r l tions c ouldneverthele ss prevail .

u u w u h f n n . t e e is possible to i to e J j ? eith er or ; i e . chi us can ou we the se ondar or b e om ara e y e ss romnent ict t igh c y , c p tiv l l p i ,

a ordn as the movemen s in the dan e andmar ou e ua in cc i g t c ch , th gh q l

v or i u a a so in mus me are more or ess ous . It s na ra s ti , l ig t l th t l ic thi

dfferen e s o da ear a v i e u ar s am u s ara er s and e t a . i c h l pp ch ct i tic , gi p c li t p

Wa z es a n n n dame n a lt h ve o ly o e stro g ictus (thi s is the fun t l

form of e r measures b ut in the o ka- maz ur a ere is ano er th i ) , p l k th th tolerably strong secondary ictus

Wa tu - d r m h t ic s relati ons prevailedin the Greek texts can b e j u gedf o

e r me r a e u ar e s If is o e f r e o u ons of the es s th i t ic l p c li iti . it p ssibl o r s l ti th i

and on ra ons of the ars s to o ur at w is er a n a the ars s c t cti i cc ill , it c t i th t i

ou dnot ave had a m If the measure a re e un or an us . c l h l tiv ly i p t t ict ,

for exam e is not on u b ut also is not et o v ous to pl , ly u , it y b i ,

b e sure a the ars s hada ron se n ar u s b ut s mus a e , th t i st g co d y ict ; thi t h v

een the ase a so the form v was a owed so a the enera b c , if l u ll , th t g l 2 } RE IM I AR A EME CO CER I THE MEA RE . 9 7 . P L N Y ST T NTS N N NG SU S

m For s n e the on s a es a e sche me of the measure was . i c l g yll bl h v

the ea er uses wou d a e een m oss e in a by the rule h vi ict , it l h v b i p ibl l- l for the us of the rs measure e Ietc. ict fi t lik G { I l 8 G

h meas ure w re uen fel u on s or s a es w e at part of t e , hich f q tly l p h t yll bl hil

hada on s la e to re ondera e to an the same time the arsis l g yl bl , p p t y great exte nt .

is ere ore oss e to de ermne the us- re a ons in the It , th f , p ibl t i ict l ti meas ure s of the diff erent rhythms by the fre quency of resolution and t contrac io n.

Not all me odies and onse uen not all erses e n w a u 5 . l c q tly v b gi ith f ll w the un n oned u . . t a s a e a n u Fre uen meas re an s . , i c i h yll bl h vi g ict q tly i t

a ermann the anacr usis part of the measure p recedes . This is c lledby H

th wn r ar of n am r me er éx a e . . s (dy powis) . T ke g e follo i g fi t p t a i bic t i t

xowiw a u- r d- dek - gb av h l \ d o l f l o J |

Jus as s erse in measure e ns w an ana rus s so can t thi v b gi ith c i ,

ffe o ma e th r m e e h e er o er. The e is t e r s n e t e rs v y th ct k hyth liv li , i c fi t syllable or syllables (for two syllables al so can constitute the anacru sis a ordn to the ndof measure e so to s ea a sor of n a on cc i g ki ) giv , p k, t i vit ti or encoura eme n to e n the r m a mo emen ro er g t b gi hyth ic l v t p p . It is the lawthat the anacrusis must not be greater than the arsis ac ordn to the ru e mus not b e s In he meas c i g l it al so t le s . t ure the arsis conseq uently the anacrusis also not or Thus w :

Aa rra ona s a e owe er w wl erea er i ti l yll bl , h v , hich il h ft b e indicate dby s mar can i m ‘ , n os ases ons u e the ana rus s as in (I; thi k t c c tit t c i , xo wcw ’ ' mrraSdtc ov a are n for V . See on s b , pp tly thi 13.

6 . Th r e g ammarians carefully distingui sh edverses with andwithout ana crusi s . Neverth eless in th ei r th eore tical systems th ey sometimes

became on usedon s er o n andmade th c f thi v y p i t, e anacrusis the first art of the mas ur e e as e . p , g .

' ' K ai 83 mxov o ~ (hav e x xh ) s e r cro at . A p d j p RCH .

> A l v | V 2 5 AME A ORM or THE MEA RE . s s. FUND NT L F S SU S

In consequence of this they distingui sh edtwo kinds of the meas

e ro ee s v and am u B ut if on the ana rus s b e ur , t ch ) i bi ( ly c i d a ed the us w fa on the rs s a e as we in the one k nd et ch , ict ill ll fi t yll bl , ll i “ h e he am erse uo eda o e s ou d of measure as in t e oth r. T i bic v q t b v h l therefore b e written

u l 4 ll

(A signifies an eighth pause) .

dis In the ase of aeons and or am . 8 is es to 7 . c p ch i bi (cf ) it b t tin uish two eses of dff eren rades w can b e al ed r mar and g th i t g , hich c l p i y

r a the rammar ans didnot make s ds n on seconda y thesis . Th t g i thi i ti cti arose from the fact that they concernedth emselv es principally with re a ions of nu m ers andne er ut the ra a a ue of e r eor es l t b , v p p ctic l v l th i th i

mor ov ut not or am a e ana rus s to the es . Pae ons e er b t t , ( ch i bi) , h v c i , dm f . 3 3 . ou se o . C 2 th gh l ,

n s o n see ur er S md Comositionslehre 4 . O thi p i t f th ch i t , p ,

n F rms f h Measures. 8 . Fu damental o o t e

Ext n o division andintonation de ermne the ara er of the 1 . e si n , , t i ch ct

a r n e r me sures . Acco di g to th i extension we di stingui sh

measure th d ca B ut e s on of e . a m a r i e t s n s . e f ivi i . g su e o s x igh h b e twofold; it can b e dividedi nto a th esis of andan arsi s of

u l and en is a eda measure or n o a es s of u , th it c ll ; i t th i andan ars s of and en is us omar to i u u I, th it c t y

a a mea h f mr is a a m s sure . T e or e n e u easure n e es s c ll it q l , i c th i andars s are e ua th a a a r i q l ; e l tter is an une qu l me su e .

F na measures of the same ex ens on andd s on ma b e dfferen i lly , t i ivi i y i t in tona n n o as e . . and i ti , g I.

We e in a - h th r ny particular measure the groundform occurs or the e u va en orms ar s n fromreso u on or ontra on is o f se ondar q i l t f i i g l ti c cti , c y

m ortan e ro ded a the dv s on of the measure andits n ona i p c , p vi th t i i i i t

on b e not ere aff d f e e . C . 3 . ti th by ct 7,

2 . The following are the fundamental forms of the measures that “ “ ommon o on e c ly cc ur . The more common re soluti ons and c tra ” tl o ns are notedin metrical andmu sical characters ; as examples

Sl m le words are en b u t were ana rus s ordnar o urs ar s of p giv , h c i i ily cc , p t erses v . E A R 26 AME A ORM OF TH ME E . 5 8 . FUND NT L F S SU S

EA L ME R E évos Za ov . A . EQ ASU S (y )

- m l dact l t itra . wv or , y ( ) J ‘j i ' da s measure w wea se on r u . It is a t s ith k c y ict

i . . The formwith contractedarsis ( is generally (b ut ia

d n u s da wv e . We s s ameds onde correctly) n p i ti g i h light ctyl , ,

ea da s andh vy ctyl ,

wv w ana aest a wa s w ana , v p , l y ith II cr usis . Cf. 10 ,

{Add} {Adefi v v v u ,

or s ondee J J , p

A measure with strong secondary ictus . It is distingui sh edfromthe anapaest especially b y its sl ower

t me a so n re uen of reso u ons and enera ab i , l by i f q cy l ti , g lly by I f 10 II . n e of ana rus s . C . se c c i , \ l l h dchoree u or , . . J O i measure with the divi sion

' rM o B U NEQUAL MEASUR ES (yevos Su m v) . w or choree.

s A measure with weak secondary ictu .

Wou ana rus s is a edtrochee cin e w ana rus s ith t c i it c ll ( ) ; ith c i ,

' xpofr os‘ fita r e v _ u | _ u

e d 0 w ib a M e r so e tr r ch r s . lv ( v ) , ( y )

u u or ionic J J F , 3 A A measure with the division andthe weakest tus i th ic n e arsis .

Wt u is a ed on i h o t anacrusi s it c ll i icus a maj ore ; with anaeru

sis ionicn mino e , s a r

, 0 6 30 l prev v v v v l

or o iambus J [j ch r measure w he ‘ 4 ith t division andstrong sec ondar tus in the ar y ic sis .

or mlo u o ss s céheaflac . J J J , (fi ) A very slow measure without resolution andwith a com arativel p y light ict us .

2 8 ExAMPLES or TnE I ERE KI OF MEA URE. s 10 . D FF NT NDS S

t in mournfu numers Tell me no l b , Life is b ut an e mpty dre amI imi bers For the soul is deadthat sl ,

he seem Andthings are not what t y .

f erses in the diff r n ds f mles o V e e t Kin o Measure. 5 10 . k a p

Daet ls are a so emn and owmeasure andare ere ore used I. y l Sl , , th f ,

es a in or oe r to deno e an e a edGod- rus n s a e of ( peci lly ch ic p t y) t x lt , t ti g t t

e s warn n s w o em me mes mnd or to re s s n earnes ness . So i , xp i g ith l t ti anacrusis occurs

’ ' t ' ( I O v x ofr ' a v x eit w ' d ds ’M. p oeiv 58to p os ia tov d3pdwe r e v

I l A I s ' I ‘ s c e xa t wei ew ohrr v xav a w e n a O o ev r arrve a a ah C v wro t v . y p p , p d s '

a . I. t . AE SCH . Ag m s r a (104 u u l v u ll

Fur her e are the measure in w the so emn re ede t , th y hich l ly cit pic hexameter (so called) is composed

" A e-ire M oii a n oh ‘ vr 3 i tta wow v8 a ct Ew cr tir o ov p p , , p , 9 p

w - ' v T oi d m e 0 d. I. I . M o i ret s ie iwmohie ov a er . 2 yx q p g p p p ll , l _

e a e u er me in amen a ons and et the re ous e emen Th y h v q ick ti l t ti , y ligi l t

e s s ere a so s n e amen a on for the deadwas a re ous c xi t h l , i c l t ti ligi a t

’ ’ ’ ’ ’ ’ ' AH e e ( i cr r vcieo cr da ev ( eva p y c p p pp s, ' " dl r vv a iév Ir vv 6Ao 1i e ra , ¢ p a ' 5 d 0 A m r v eva id fi /cRo . p { p , s n s l ' E . . ant SO . I a PH . (14 7

l

II. A na aests are the ro er mar measure and onse p p p ch , c quently occur

in the marc - son in h gs ( particular those of the Spartans) of which frag ments a e een reser e r s h v b p v d. The cho u in trag edy al so generally e nteredthe or estra in the a ch ( p rodos) andleft it (in the exodos) while rec t n ana a s t g e s, he rec a on in o ases e n in a an n i i p t it ti b th c b i g ch ti g tone . Of cou rse, as is a so the case in our own marc es th l h , e ictuses were 2 9 E XAM E OF THE I ERE K I O F MEA RE . s 10 . PL S D FF NT NDS SU

a e as an exam e the en ran e of orus markedby the tread. T k pl t c ch

’ of the Danaides in the Supp lices of Ae schylus

’ Z eb; [R V dcpik r wp evri80 t wpq pd s ' ’ - mdh ov hueh sp ay vcttov dpflevr e (in ?) wp oo r op iwv Aen r od/ap oi wv ’ ’ Neih ov Stay 8 e xiteirrov o' at

' ‘ a mi o r ov Ev i t beii o ev K . r . it. xeov yx p p q g y p , U U V U

V V

U V

It Shouldb e noticedhow great the difference is between these

ndda s w ave ana rusi s as in the e am e ed measures a ctyl hich h c , x pl cit a o e fromthe A amemnon of Aes u s w ere wou db e m oss e b v g chyl , h it l i p ibl

r for measures like u u to occu .

S ondees in w reso u ons e en of the ars s are se dom III. p , hich l ti v i l a owed are the measure u sedin re ous mns ex reme measured ll , ligi hy , t ly

w t e are e en e er a e ands ow to da d an da s . e r l , hich h y v b tt pt th ctyl Th i name arose from the drink - offeri ngs Take as an example the following from a Hymn to Helios by Diony sius :

' Efic a etr wwa a id p p s fip ,

? K a ar /“ K a t i. i. ch ro o e l y ) e m ,

ff e e o a r éu r o. m cir w p , / y , " fixe s (pdéy‘yot 1 dp vi c w' ' ' , pteM et yap 1rp os 7 find; Bait/ cw

dK e o' exé a efz air a p p e x s . 7? II 7? II

| _ 7I II

u u | _ u u

These true sp ondee s must b e carefully di stingui sh edfrom heavy

da s w are ke emin e r ou ward orm for u ctyl hich li th th i t f u ) ,

but are u ed to e ev e the resome u n f rm s solely r li ti i o ity of dactylic v erses .

We a on e on of h a m best get a cle r c c pti t e real n ture of the sp ondee fro

a fre en ur mns . ese re u om osedin s onda measure ch ch hy Th q tly c p p ic ,

ou w ess res r ons an in an en oe r A na r i th gh ith l t icti th ci t p t y . c usi s s n freq ue t . 30 EXAM E OF THE I ERE KI OF MEA RE. 9 10 . PL S D FF NT NDS SU

’ hou who didst eave Th ather s reast T l y F b ,

Wsu ime ! Eternal ord bl ’ Andcamst to aida worlddistressed nt ime In Thine appoi edt .

If this sole mn melody with its Slowtime be comparedwith the vig orous mus of a mar the dfferen e e ween s ondees andana a ic ch , i c b t p p e sts will be pe rfectly clear ; andit will further b e evide nt that spondees are

not to be s o en of as o urr n in ana aes erse in e ame er in p k cc i g p tic v , h x t ,

mete e c r r t . t i ,

IV Chorees are a somewa a ous measure ser n for he . h t viv ci vi g t ex

res s on of ndv dua fee n es e a wen e o ur w ana rus s p i i i i l li g, p ci lly h th y cc ith c i a b ar mu s iami . Wu s e e ess e o as t o h e ( ) ith t it ( r c e ) th y ch l liv ly .

" ' 4 E 9 e / 1 e 0 37rov 7 6 B n 61 v,

’ xai ¢>p €viiwerrio' xorrov ’ 6 a e / o 8 ?y evew fipt t v . ’

E a . IV . a t I. m n A R SO I . B (5 17

' i , - A t (xi/Lar inn-0 961 6 6716 xoovds r pocfioii

/ r ims (tuft cs wimp /cu of; Sl app iidav . t ' ho. I. s . Id. C r 6 6 7 ( ,

l l — v l

l l _ v l

The measure e omes somew a more a ous as is re uen b c h t viv ci if, f q tly

the case reso u on o Com are the son e ween An one and , l ti ccurs . p g b t tig Ismcne in A es . Se w e in the me r a s em I . 6 her e t. 9 X r . 2 ch p p ( t ic l ch ,

each erse be n d ded e wee n the two s n ers the omma wl b e v i g ivi b t i g , c i l usedto de no e the v t point of di i sion.

' ' ‘ A . 8 x v . Se t 8 ave . 0 pi 8 z a es I. p w s

. G A t e de orra . o I. p h éwov s . p fis

A . » ix : 60 . in k pva . I. in 7 g

v i u v v l

u v u u v l , | XAM ES on THE DIFFE REN KI or MEA RE 31 10 . g E PL T NDS SU .

he ionic measure is u sedin v n ex ress on to a re V . T gi i g p i g atly

d In s measure th ex edframe of mn . e ouds ou of V or cit i thi l h t ict y ,

he ee n of o at de eran e from rea dan er rea s f or t or . f li g j y liv c g t g , b k th

he en us asm moreover of the r es e sses of Ba us andof no s T th i , , p i t cch i y

a s drinkers is exp ressedby it . B ut it l o b eautifully expresses that deep

a oudfor re s u i nner anxiety which cries l c e .

h o own in w is ex ressed er a n of r Cf. t e o f ll i g, hich p c t i ty vict y

' ' Her ep a xev ”Ev 6 7repcr e7r‘rohts 53817

aa-[h e me o r a'ros e is dvr fn' o ov efr ova uS av B p p y X p , ’ ' f n o eL ou d ef a h tvoSeo wp o xedq p / p xp g . P ' AE . ens . I t . SCH . s r a (6 5 II

K I]

f a o h own in w the s out of o of the r d C . s t e o es ue Da l f ll i g , hich h j y c

' ai k f rt wh n a ernate w e r d n des X . rea s o o s a en ants ( ) b h , i g lt ly ith th i tt

' ’ ’ K n- K fi ds? eo- X . v tdo 8 0 6 G o 38 eii b w p g n n s q p v . ' " Silva-rat yap A tds dyxw‘ra O' ij v Hpgv ' ’ T te‘ra t 8 a iohop n‘rts

96 6 3 oc 377 i M / 2 9 py s (TQ 0 9 .

M er oixo woc SE

' AE S C . u l . IX . t S H pp s r . 8 1035 , (

u u l u u 7\

u u | U V 7\ H

l u u

A d oree is su st utedin the as erse a ra of w mr ich b it l t v , p ctice hich o e ereaf er h t .

V I. Ckoriambi are u d se especially for the expre ssion of the highest de ree of des a r and nd na on andare a t to form er on ers g p i i ig ti , p v y l g v es . e do not of en o u Th y t cc r . ERE KI OF MEA RE 2 EXAM E O F THE I . 3 9 10 . PL S D FF NT NDS SU

wn Take for illustration the follo i g

' Oc [l ama p iv airriis mio wc in e}: p eva. ' ' ' ’ ' ' ht iir a av fur M oc ovo e o'i v 7 0 60 8 {7 9 6 oi 8 68 er c o p wx p '

Se t. III. ant. 92 9 A ESC II. p V y (

Ion erses o ten w r o o o am . Anacrusis is not allowed. ic v f f ll ch i bic

e n s a es of mndbut ose ess o en an These also denote viol t t t i , th l vi l t th r are expre ssedby choriambic ve ses .

’ ' e i et o o 6 o A c d év onrv 85 m} . T o s iwvoeer a; w p , p g ¢ ' ' ' ' ’ x l Oirr d1ro dmtov9 5 n k e w3 n-o al oi?“ So oiw ¢ f (i p .

t i I v i r c A v I s ‘ s s s v ou r o wv ou-r om WG OM L 8 chmm p o w. '

R . . e . st . SO PH O d II. r B (4 83

v v ll

f e in a In a on ers a Dieho ees ons s o or es rs . e su e V II. r c i t ch p i l g v cc s sion of such small measures as or u with ictuses of equal

B ut s wou r e ed un weight wouldb e tiresome . thi ldb e eli v by iti ng th em in a rs in a measure u I w h is to b e arefu ds n p i u , hic c lly i ti

uishedromthe su ess on I u w ere o use s o f the on g f cc i , h b th ict l g s a es ave the same em as s and erefore the two measures yll bl h ph i , th ,

n a o d de a se do ot ppear as a unit . It seems natural t ivi ries of four or

six am n h r e am wo o dic o ees so a the a o e es in IV . u dbe i bi i t , th t b v x pl l gi ven : " ' a 6mm7 6 8a v6v ( 6

u u u ll ’ ’ A e ai a b a r- 9 W p r 0 6 {m6 x9ov6s Tp ocpoil

v § _ v _ u I _ v I N

This division of iambic andtrochaic verses i nto diehoree s is the reason or t ca no n e . f lli g . g an iambic verse of six measures an hex

ameter b ut r me er s n e it is d ded us , t i t , i c ivi th

In e manner we s ea of a ro a e rame er w en om lik p k t ch ic t t t , h c posedof ei t s n e tro ees f g . e . our d ees . ut be h i gl ch , i itroch B if it observedthat in on g c ore erses as for e am e the e a od the rs rdand l h ic v , x pl h x p y , fi t , thi , ft m fi h easures na ura a e a ea er us an the se ond our and t lly h v h vi ict th c , f th , E OF THE DI ERE KI O F M EA RE 33 EXAM . 10 . PL S FF NT NDS SU s x w b e seen a the dfferen e e ween _ u _v I _ u II i th , it ill th t i c b t I I and u v A es in a on in the wa in w t e u I ll li , f ct , ly y hich h y are written for

u u _ _ u l l I u .

S n e now the rs me odof wr n is ne essar in man ore i c , , fi t th iti g c y y ch ic s ro es as for exam e in the ase of en a odes e t ph , pl c p t p i lik u u I u I

_ v I II w er a n a e not the va ue of t ree fu u I , hich c t i ly h v l h ll dichorees s n e so n om e e a measure as the as wou d en des ro , i c i c pl t l t l th t y the r mand onse ue n the me od a so — it is es to ado en hyth c q tly l y l , b t pt g erall the f rs me odof wr n name as orees w can b e done y i t th iti g , ly ch , hich

w ou d u r ore he re r ase ffi . We s a e e e t in e e v y c ith t i c lty h ll , th f , giv p f 3 eren e to the d s on n o measures andon in a s n e ns an e c ivi i i t 8 , ly i gl i t c d de n o m r In the ase of a d s on n o 2 3 2 easu es . , ) ivi i t c ivi i i t measures the v erses are nameddfferen : dme er e ra od tri i tly i t t t p y,

me er exa od e rame er o a od. t h p y , t t t ct p y

In e manner is us omar w ess reason to re ardtwo ana lik it c t y , ith l , g

i m e a a h e ra od aest c easur s s a s n e one so e . . t e p i gl , th t g t t p y

is also calleddimeter .

I I he M la din mn e I . T o sses i e the s ondee was use so e r ous V , l k p , l ligi m e odes . On a s n e refra n in s measure has ee n reser edin l i ly i gl i thi b p v , — ur I . E . an, I 125 12 7 and14 1 143

9 r I Q IIata on II V, atav,

f 3 e vatw e atw v, v v

x 9 a as wA “ a ar ov frat . m, s

IX . P aeonics deno e ex reme ex emen of mnde t er ndn en t t cit t i , i h fi i g v t in o erwe mn en us asm or on the on rar man fes n se f in v h l i g th i , , c t y , i ti g it l

rea u n er a n wa e some mes er n and e essness . e ar g t c t i ty , v i g , h lpl Th y ti used erefore in the ur en ra ers anden rea es of ose who av e , th , g t p y t ti th h een f en orsa en . S n e s measure is se dom u sed ar u ar a b k i c thi l , p tic l tt

on s ou db e dre edto its n easures e u u ti h l i ct qua tities . M lik u u u u u , v u u u u sh ouldb e countedoff accurately

odh o at ovhdt eea etc. B p , B f ,

. 5 3. 1 2 . 3 4 . .

U U U U 4 RO O A IO or O AB E . 3 s 11. P L NG T N L NG SYLL L S

d> 6vr ur ov Kai et/ oil war/85m) ? p , y ' 0 90 1 3if; 7rpof cvos‘

‘ 511 530 7 0 3 fl w9 7 mi 9 99. ’ 7 6V Ewan! exfiokaig

' ri er/ a Svo oems pp v . ' it S l . AE C . III. st a 4 S H pp r . ( 18

I_ v _ I_ u _ |l

I_ u _

I_ v _

I_ v _

Aristophanes has frequently empl oyedthis measure with exceedingly

t . in c . IV . s 2 99 0 m a effe as e . . A k r 3 1 co ic l ct, g ( )

’ - — 0 6K a vaoxrio oy at p7782r Aéye FLO" o b W. — ' " the p q u o qxci ( re Kh ea wos en Markh amov “ w O L ’ L WG ' Ka ' r T L r ta xar ar q O V UO L r vp ra . _ I. II

_ I_ I_ v _ H

B ocob a w are se dom nde enden u sedin rea num er . y X , hich l i p tl g t b , deno e a mu s ron er un er a n andwa er n an the aeon s t ch t g c t i ty v i g th p ic ,

n a su r andalso asto ishment nd rp ise .

' ' ‘ ‘ dai t < £ f ti 6 1 AE . P rom. 115 . Tf r 68 m} . 1r o r 1rra c3 s x , s p p p / 77 59 SCH

v

’ B / m M . Er a ti e) 7 5 e e ” . n o r at . l fi f , y w s

fwa i 'o ' a ov (i wr . O , , Stio

‘ ' ‘ I . 63 e h O x ei of a T L ci ai. dvm , p y p x s ' - Nun 6 r te / im 3 dE . t . a ( o I am. s r 9 9 p r96 9 . V (78

V V I _ A II

u z v v v ll > : u v

9 11. P rolongation of Long Syll ables (f wd)

1. The o own are tw f ll i g o lines of a common ball ad:

Andover the meadows the mowers c m a e, Andme rry their voices rang ; etc

If the s a w es the c e c uses are mar edwe ha e yll bl ith hi f i t k , v

6 RO O GA IO OF O AB E . 3 5 11. P L N T N L NG SYLL L S

dr ons dera on is ear a the ro on a on of Greek te xts is un e c i ti ) , it cl th t p l g ti

ed ound The of the notes must have bee n limitedby fix b s . Greeks in

words at eas in the er odof e r ass singing ne ve r ignoredthe l t p i th i cl i cal literature they didnot go so far as to engraft upon meaningle ss

of wh was of no onse uen e an o er texts the understandin ich c c , v , g q

th o id ot ere ore e e n s a e e . e d n . artificial music . Th y , th f , giv l g yll bl g

e ordnar s or s a es w a ordn to the value of ight i y h t yll bl , by hich cc i g

w o e n e w our notation the re wouldhave arisen a h l ote (a ) . Th y ent

rea an the no e andwen a no e seems to no further lly th t , h t

l a on er no es an s e er o a o ur . occur it is on y pp rent . N l g t th thi v cc

r t m a me - a ues ere ore of Gree oe r andcon The hy h ic l ti v l , th f , k p t y , se ue n a so of Gree o al mus e ressedin mus a andme r a q tly l k v c ic, xp ic l t ic l

ara ers are the ol own ch ct , f l i g

s wa was remo edthe er rea sameness wi ll 4 . In thi y v v y g t h ch a me odes mus a e hadif omosedon of an n er an e of uar er l i t h v , c p ly i t ch g q t

- ut howis oss e to de ermne in the ex s the andeighth notes . B it p ibl t i t t

a ue of the lon s la es we n ese a ues c an b e so df eren ? v l g yl bl , h th v l i f t Wt of r m andr m is a sort of a edma e e are rea n ti g hyth ic , hyth ic ppli th mat c mus ere ore b e oss e to finds m e ande a aws i s . It. t th f p ibl i pl x ct l , which in the different cases will leadwith certainty to a knowledge of th v le The d w s of arr n at is e al ue of the long syll ab s . ifferent ay ivi g th knowledge are briefly as follow 1) If it is possible from the sum total of the metrical facts to de er mne in wa measure a son is wr en wl be r to adm t i h t g itt , it i l ight it at all o n s on er no e s if us the e ua of the measures is p i t l g t , th q lity preserve d.

2 In s wa r m a ser es of ar ous orms w ar se w ) thi y hyth ic l i v i f ill i , hich

a e all e r ed ara e h v th i fix ch ct r . Just as the kindof measure in general mus be su e dto the mean n of the ex so a so mus the me r a t it i g t t , l t t ic l formof the ser e s b e ada ed i in to ts mean n . We er e se are i pt i g h th th co f n lict or agree ment will make it possible to determine whether we a e om nedr or no h v c bi ightly t. 1 P L NGA’I‘IO 3 1. RO O N or AB E 7 LONG SYLL L S .

3) Oth er qu ite positive grounds for determi ni ng the value of the

n s l a e s are ven in B ook on Eur m i o . n 4 l g y l bl gi V ( hyth y 3 37 .

e se os ve ex erna h ose as 4 rounds . e . edon form mu s ) Th p iti t l g , i t b , t b e substantiatedby reasons fromwithin ; the thought of the forms in

ndre edr t mmu s b n e th m music a cit hy h t e clear . Si c e u sic of the Greeks was e ss om e andeas er to b e unders ood an modern mu s ere l c pl x i t th ic , th must hav e arise n among them a limitednumb er of forms which were

edin e r w o e oe a r n the en r n us th i h l p tic l lite ature . I g e al co formity of their entire literature to these laws lies the mai n proof that they are a v lid.

The u se of h on er n w a ned. I is m 5 . t e l g otes will no b e expl i t eces sary to presuppose that the reader already u nderstands the nature of

the r m a sen en e for w see e ow 18 . hyth ic l t c , hich b l ,

S o i oundin the o own nds 6 . n h n t s y c p e occurs t e ofte est . I f f ll i g ki of measure

r 1. Very frequently in clzorees (syncopatedch orees) in ch o ic lyrical

oe n i h a m e of the erse andsen p try . Sy cope n t e next to the l st easur v (

en e ves a melan o ara er if ese s n o a edsen e n e s t c ) gi it ch ly ch ct , th y c p t t c

n of Su co stitute the main body of a strophe or of a great er part it . ch “ sentences or verses may b e named falling sentences or verses .

’ Hvoai 8 gi7rdEr pvp dvo s p ohofio at

Kaxdo oho V O ‘ T LOG ‘ Si c-o o c x a fi S, pp , A w 3 A A - I ' w e K a n wv a ci dei o rwv ve v r t. ew ar Bp p ¢ s, n ah /l y nx?) xp dvov r teeio at ' ’ ' / w 7 0 8 K ar e awov (iii 90 9 A et v . 1 4 9 , f py ’ 2 1 t . 9 A . . 1 E S C H Agam . s r 8 (

I L_‘ I_ I_ v I

I I_ I_ I_ u I

I__u I_ I

I L — I I_ u I

I L _ I_ I_ u l

ers in w s n o e o urs in the next to the as measure and A v e hich y c p cc l t , in w the as measure is at the same me ull is ada edto the hich l t ti f , pt ex re ss on of the unex e edando er ower n as in the as erse of p i p ct v p i g , l t v

a u ra n erses of six measures of s sor w ana ru s s the bove ill st tio . V thi t ith c i are calledc/i oliambie halting iambi andwere u sedin entire poems w om effe es e a the old am o ra ers Hi onax and ith c ic ct , p ci lly by i b g ph pp

i i i fa e Ananiu s a er B ab r us n h s s . , l t by bl E 38 RO O A IO or N AB . s 11. P L NG T N LO G SYLL L S

xé ( la w7 5mm A 15 i mépat yvvat s 3 , ' iav dwy ydp g r ts xaixcfiepg r e yxv .

u I_ I I— V Il— I

u l | _ v | l

“ me er An example of the halti ng t rochaic tetra t

N. defu 86 et ibvs. A Zap t p ill xpdp to; u s x p

d n o dichorees in a e of orees e er In case the verse is divide i t pl c ch , ith d i a e of a b e s n o a e . e . n part of the measure my y c p t , i pl c

_ v _ u l can occur

Wt re eren e ere ore to eir na measure ere are Remark . i h f c , th f , th fi l th the following kinds of verses (andlikewise sentences)

atalectic as e . 1 . A c , g

fvp flohei ¢épwv (pép ows.

2 . Catalectic

A / er 6 evou « ak a . Kai. K s K Fallin 3. g v I v It I A ll ’ O i mdvohflos ar ms.

u u ll

'

AN. 36 fip épat ywamds cla w fidwr at .

“ h so- a ed aroemiac c ao a wa ere ore mar II. T e c ll p ( h s, y th f , ch

verse an anapaestic verse of which entire march - songs were com “ ” osedhas ee n re ardeda a n r m The round- ormhas p , b g f lli g hyth . g f bee n thought to b e : v u U V I_ \ J U II_J I

But s is ear erroneous for orms e the o own o ur : thi cl ly , f lik f ll i g cc

' 8a 1ra 0 w T . 0 cv v do tov (ic in . EU R . I /i . aur 13 p g p ,

in w the as two s or s a es a owno su r o hich l t h t yll bl ll ch w} . paroemiac is pronouncedwithout syncopation

v v

it sounds mu more war e and orous andis es e a ada edto ch lik vig , p ci lly pt

ive for e and e to the mar - son s in w is usedas in the g c lif ch g hich it , followi ng fragment of Tyrtae us 39 11 RO O A IO OF O AB E . . P L NG T N L NG SYLL L S

d) En dp ‘rag ( flail/ 8pm) ' Koii OL war e wv n oh tar dv p p , ' hatci éu te r o dheo de j n p fl , ’ - ddpv 6 efir éhnws n oiM omes p i) (fieldeo eat {aids

d wdr tov wd of: y p p E pr a.

U V I I I I I

V V I I I v u I I

How dragging andunwarlike would these verses b e if th ey were m re ardeda fa n r m. The auses oreo er at the ose of a g lli g hyth p , v , cl e ch

h de mar e erse dur n w t e so r s w ou s n n e the v , i g hich l i ch ith t i gi g , giv

s is s more i necessary rest to the voice . Thi till ne ce ssary n the parodos

de odos of A ra ed w ere on se ons ose w an s erse . x ttic t g y, h l g cti cl ith thi v

' Teha olwe 7rai 7 -7 d bt ii‘rov u , 79 p g p ’ Bah a a/ O9 3 wv ddov ot toihov m x fi p yx , " ’ ”EV cf) 7rp of0 ' 0 ' ov1 emxa ipw ’ " O ? 3 dr awa k in/ i) A t69 i) Caner/i) ; ’ ’ Ao o9 6K A di/ (163V K axdfi ov s em y p flfi, ’ p eyav 6K vov 3x0) K ai n ecpéflma a t

/ “ e w 7 eh e ia . SO . A . fi r m19 (h: 9 PH j 134 89 .

U V V V V V

V V V U I- V V V V

_ V V

f f . C . urth er 31

II a a owedin v ar ous a es et is not I. In d o e is ctyls sync p ll i pl c , y

It is mos wor of no e frequent in the next to the last measure . t thy t “ ” he e e a verse for a h n a v erse . T t t e endof a sentence withi l gi c , “ exam e w un edw the ero exame er forms a k ndof pl , hich it ith h ic h t i ” s or s ro e the ds on of w e e e s are om osed ons s s h t t p h , i tich , hich l gi c p , c i t

of two sen en e s of re measures ea ea of w ends w s n t c th e ch , ch hich ith y

o e as in the fo own ra men O f Solon c p , ll i g f g t

' ' Hohho h o ii K a KO t daeoi 66 7reV OV‘rat i EV w we m. p , y , ' e (IM ful fil? aff rois of) Btap etd/ op ea. 40 RO O GA IO OF O G AB E . 9 11. P L N T N L N SYLL L S

' ' '6v o irrov 81rd7 6 Ev Eflredov aid 1179 dpcrfis 1 , ” p , ' ' ‘ ~ wv M e hut E es. xpvip ar a 8 dvapanr or «if oa x I

u II_ V U _ V V I_I II I , I I

_l |I_ u _ u II I. v I , I q

f a erse K of ourse can b e wr e n in a e of At the close o v , c , itt pl c

NO o e r cases of s n o e an e se o ur for ose oundin IV . th y c p th th cc , th f

dffe en rom o e i r logamdic ve rse are not at all i r t f th s n cho eic . According to 9 only the last measure of every verse can b e incom

is of ourse rue of aeon andb acchiic erses as we as le te . s p Thi , c , t p ic v ll e If nowa aeon erse ends in a measure w on one s l the r s . of t , , p ic v ith ly y

a e s can b e en the a ue of five e s Ior us ou l bl , thi iv v l ighth ) , th gh it g L ’ is quite as correct to regardwhat is lacking suppliedby a pause

_ v _ I|_7I II ewse I , lik i

u

u IL_J /\ II

P olon atiou of the on s l a es of the es s a wa s to the a ue 7 . r g l g y l bl th i ( l y v l of four eighth s) occurs

1 in ionics were a aren measures e _ v v a e the ) , h pp t lik h v value u v v . E ae ‘n'o w aAofO' 'a p I ov 8 cfipv p o O O s wohtawoptevas m'eiip an Aciflp tp A I y o 7r o o ( c pay oun u aAcr s. '

AESC . II P ers . . n I a t. y (10 8 I L J q X II K II I_ _ 7I I|

m a s u s on of w w b e en in 2 in docl m d s 2 3 4 . ) , i c i hich ill giv ,

U nder no r ums an es is a owa e to assume a u 8 . ci c t c it ll bl p a se in the

d e a e r w m d of se to om e e a measure . For s n e w i l v by hich c pl t i c , ith fe we e t ons ere is no ed a e in the mdde of the erse at xc p i , th fix pl c i l v w a words a e nda a se mus re uen ere a e o urred hich h ll , p u t f q tly th by h v cc

' in the m de f a w f had ee l owe t ll m d o ord. I s n a da a us a e i l thi b l , it t h v bee n a oweda so a te r s or s a es so a we s ou db e a e to ll l f h t yll bl , th t h l bl d ’ re a . A o a g r e . g cy na i s a paeon B ut l uckily the Greek s

never did s . Hadthe done so ere wou dbe no Gree me r thi y , th l k t ic andr m s n e a mos e er f a l w hyth ic , i c l t v y verse o a lyric l song wouldal o the mos ar edarran emn t v i g e ts . IE 41 12 ME O . g . DORIC L D S

Me di s 12 Dori o e . . c l

a me odes ons s n of an un ro en n er an 1 . D ctylic l i c i ti g b k i t ch ge of

and rare w s n e measures of wou dne essar J J? J , ly ith i gl A l c ily a e een monotonous andwou d ave ossessed t e e and ar h v b , l h p li tl lif v iety .

It is rue a e r measured owerfu mo emen ou d a e rodu ed t th t th i , p l v t c l h v p c a great effect ; yet thi s effe ct must have been so much the greater d w h w n m re e ser es n er ene . No e ua measures of he o liv ly i i t v , q l J o The ree s are extl emely common in all music . G k too u sedthemfre ‘ N u en e t v er se domin mmeda e su ess on |I tly , y l i i t cc i q y J O J . h b ut enera 1n su a wa a the ea er meas , g lly ch y th t h vi J ‘ I \ I wedthe h ell er . s u u re follo v J J IJ I I “Thi s c J . J J ess on is ex eedn ommon in our own me odes b ut the on erse c i c i gly c l i , c v

\ dthe e arran emen : e tc. is rare an Gre s ne er used g t I , , , k v J J I J ‘ I nd h e The e er measure ou dnot e t e s r es . it at all . liv li c l i

a i The so- a We will call this form of me sure the D or c. c ll edDoric ‘ f m a n en es of and strophe s consi st o rhyth ic l se t c J J I J J I pure he da sen en es e . . o ur e ctylic t c , g J D I Jn I J JI T y cc chi fly 1) in a great numb er of the tri umphal odes of Pi ndar ;

of s era of the ra ed 2) in the ch oruses ev l t g ies .

The wr ers on me r who ds n u s edon on ands or s l it t ic , i ti g i h ly l g h t y \ \ lab les na ura wro e ser es e or , t lly t i lik J J I JJ J J J J in thi s way imaginedthat there was some such measure as u calledEwir p vros 86157 €p 0 53 The fact that in measures like L_u Ith esis andarsis are not in the ’ ’ r h ra o the ra io in the ev o ia-ou e n 2 2 can b e ex ressed ig t ti ( t y s b i g ) p ,

m e f I II ou r e . e . . s th gh i p ctly , by i I Thi m n n a the ea s o ly th t sh ort syllable has app arently the value of a long .

N 3 a I ( 7 I I ' Ecrr wav 9p er/roe; av e/r o wor e Whetma at 3 I C I A ' o ms co r m8 ov amwv v Sa rwv xpn , p 3 I O u tw 7ra 1 w/ € v 8 1 V 6 Aa . l flp , ¢ 9

36 o w 77 0 ' 0 ' / e t 7 19 cu 7r a0 0 1 eht of ve fi t or. t p , p y p g a ’ fia r epwv dpxai Kdywv

I ‘ A T eM e rat Ka t mo r ov 3 1< o / p t v He y(fl ats dp er a ts.

OZ. . si . PIND . X r ORI ME O IE . 42 9 12 . D C L D S

t_u | I_ v I

t_u l I- v v l I_ q _ K II I II_ v _ v II

L _v l I L- V I- K II

I—v l

It has a r ead ee n see n in 4 4 a the enden in Gree 2 . l y b , , th t t cy k

l a e s a ea was to e the on s er n ona on us . If now giv l g y l bl h vi i t ti (ict ) , ,

amn da t s not ana ae s s were the ars s a so has a romnen o g c yl ( p t , h i l p i t

easures of the orm w W us we on e e m ere ne essar ict ) c c iv f J? J , hich c y to ma e the me ode s more ar ous ese ou dnot a e een we ex k l i v i , th c l h v b ll w _ re ssed the s a e s v as e . . Aé o az s n e in su p by yll bl , g by y a , i c ch a u se a Greek wouldalways have been i nclinedto give the last syllable

a ur din a a s ron tus and ere onfuse the me s e . An e se t g ic th by c , f ct , th

w e e e r an measure s e re ard e r so e ress din ua e . Wa h ly v xp th i l g g h t th ey

w o s l a s e . . e diddo as to use ree s r e M r s . In s ase th h t y l bl , g y thi c it was very easy to dwell with the voice on the last syll able for a c ompara

e on t me w ou n it a ea er us rou ro ra ed tiv ly l g i , ith t givi g h vi ict th gh p t ct

a din he a f a art cu at on. us en a aren r ra s s n t e o d s i l i Th , th , pp t t ib ch t pl c ctyl , a f w s nd a d u n n re uen ase o e er. s is e e s n e i q t c , h v Thi b t i ic t by u i c here the short syllable is really employedotherwi se than in its general

h w ema n use . T e no es o e er r t , h v , i IJ J ' ' i Ta » w ' h xeo de oot m , K a et doi. a u xi. 8? Sp v y x ; p n (inflowzdp ap ow I A I I ( v xep t 8 Ap ¢1r p vwv xoheov yvp vov r waa a wv ¢ao ~yavov Q A g I g I I Q A I I c e? eta u a ea ' a r o a omctov me wa / w of ; v wt m s. y p ga r9 opus ; ' ' ’ ( 3 w x a £ (i m o 6 w dta 680 or t v 91 9 8 dvip v p 9 /Mfi p . '

P . Nm I. e . r . IND q y .

v u > l It u

_v u l_ v u l_ v u Il_ u

t_v I Il _ u v Il l— V I -

I_ u u IL_. v I_ 7\ ll

The notes are

. ; J J J J? J J‘ J J . “

J . J JEJ J‘IJ .

oexoamcs. 44 9 13. L

It ma be as edwh all o aoed measures anno b e rra ona y k , y l g ic c t i ti l ,

s eadof for the mos ar on ose in the e e n a es viz . the i n t , t p t , ly th v pl c ,

e o a mus a wa s a d se o nd four and s x . Be ause Gr e c , th , i th c k v c l ic l y p i strict regardto the te xt ; the poet was not only composer b ut also

re c ter andin re a on a su e ss on of none b ut on s a es wou d i , cit ti cc i l g yll bl l

a e s med e s ondees and een ea andmeasured necessarily h v ee lik p b h vy ,

w e in o nse uen e of. the eav er uses of the arse s the r min hil , c q c h i ict , hyth logaoedic verse ought to be come not less b ut more vivacious than in

he rst rdand th measures on r u edto s s n e ore . T ch ic fi , thi , fif c t ib t thi , i c

a s a e e ade the mo emen er by me ns of the ir short yll bl s th y m v t light .

The s orts owe er e the same ea er n ona on . h , h v , k pt h vi i t ti

A na o ous to the su e ss on in Dor me odes I I the l g ly cc i ic l i v , su e ss on ere is a wa s the ea er measure in o ases cc i h l y v I I, h vi b th c ,

w e r m ure e en in mere re ted oe r o o n the e er eas . v ly ci p t y , f ll i g liv li , light

es de n in o a 3 . B i s this there occurs q uite freque tly l g oedic melodies “ ” t e fo m - da h ano r r of measure the so cal ed i. e . t e no e h , l cyclic ctyl , t su ess on a u En re ser es can e ressed the s es . cc i Ij J, xp by yll bl u ti i be om osedof t ese measures w en oo e da ser es c p h , hich th l k lik ctylic i ; b ut the sum of the facts in a stroph e alway s enables us to determine wat we a T e . he on s a e ronoun edandsun more ra dl h h v l g yll bl IS p c g pi y, and o e erw the ne s or w oses al its a ue andb e t g th ith xt h t, hich l h f v l

m - o es a no e has the me on of a uar er no e . e e c t , fi , ti ly q t t Th r

' ' ore s om na on of ese two s a es was a edr o aio Stm o f thi c bi ti th yll bl c ll p x s yp s, ” two- med ro “1 1 ee . It can b e wr en metr a so a the ti t ch itt ic lly , th t cyclic dactvl is to be expressed — v u

Irrational as well as rational ch orees can b e interchangedwith these

da t s in an order so a he can o ur w en in onne cyclic c yl y , th t t y cc , h c ction w ese a so as rst and ith th , l fi thirdmeasure — _ 3 I w u l

a I a l q _ V II

4 . S n e now on ra edmeas r uen a so amon i c , , c t ct u es occur freq tly l g l oga oedics and a too in all t e measures a , h a e s o aoed e the th t pl c , l g ic h v followi ng forms ; O AOE 45 13. IC L G D S .

The se ondar us is wan n of ourse in s n o a edmeasures c y ict ti g , c , y c p t , by m e ome s so mu the more ar ed which the rhyth b c ch v i .

m es of the rea ar e of o aoed me od A s exa es . So A . a pl g t v i ty l g ic l i , cf ph t.

IV . III. I. , ,

S n e at rs an e wa has een s a ed on ern n the o a e 5 . i c fi t gl c h t b t t c c i g l g o dic measure andits dffe re n forms see ms to b e somew a ar rar is i t h t bit y , it

ro er a erta n ma n roofs b e ven as r e as oss The p p th t c i i p gi b i fly p ible .

est es of the e or owever w b e the ra a a a on of b t t th y , h , ill p ctic l pplic ti it , af er is orou u nders ood to df eren o aoed om os on t it th ghly t , i f t l g ic c p iti s .

f a 2 2 11 . But o . so l ,

If b e ns s edu on a e er on s a e mu I. it i i t p th t v y l g yll bl st have had

a the a ue of two s or s fo ows a wou d a e een im ex ctly v l h t , it ll th t it l h v b

oss e e en a own ana rus s e er to re e rh m a or to s n p ibl , v ll i g c i , ith cit yth ic lly i g any stroph e whatsoever. Thi s can easily b e shown fromthe two verses that follow ' ' Tt oi Geo-méréta A s Si efn' e 7rer a s, k / g p ’ ' dppm' dpp ‘é‘rwv r eh eo avr a ( bo a/ [owe xepmv '

SO . ed. R 1 1 . . a 6 PH O . m (4 3

If ese erses b e d ded n o so- a edfee ere resu s e en ana th v ivi i t c ll t , th lt , v if crusis b e al owed as is ro er the fo own l , p p , ll i g v

In musical characters thi s wouldb e E ‘ NW‘ ‘ J J JJ J J J J J I J‘J\ J‘ J ! J ! J

There is no musician in the worldwho wouldregardit p ossibl e to a It is e ua m oss e to re e execute su ch a combination of b rs . q lly i p ibl cit

d. And et wou such verses if the v al ue of the notes b e ob serve y it ld

more dff u an e se . If on have b een easy to cite verses mu ch i ic lt th th , not on the o er handthe fo own val ues b e en the s a les, th , ll i g giv yll b ly

as r m a andm ress e b ut will the musician regardb oth verses hyth ic l i p iv , du e it will al so b e possible to recite th em in such a way as to pro c a beautiful effect — v i _ u I 1_ I v u — u u m Locaos cs. 46 s 13.

E J‘ IJ IJ fi J‘ IJJ JJ‘ JJ J7 J J T . . J JJ‘ JJ‘ IJTfi J‘ IJJ JJ‘ JJ J J‘Z I

r o of the orre nes It s ou d e a e o s of the eor . This is a n g tiv p f c ct th y h l , moreo er be r e mar ed a the eo e of all ands re e o aoed s in v , k th t p pl l cit l g ic

wa E e n s o ars do so owe er fa se the a ues ma b e w this v. v ch l , h v l v l y hich

e / they give the notes upon paper . Th y never re cite as they have theo rize d b ut in a ual r e re te orre ou e do so uncon , ct p a ctic ci c ctly , th gh th y

It is a o e er ano er ues on wet er a ordn to the sciousl . y lt g th th q ti h h , cc i g

eo r es a a e re a edthe s ro es a e een ro er d ded th i th t h v p v il , t ph h v b p p ly ivi As t o not. w nto ve rses e tc. r o s ere a e een as man e s as i , , thi th h v b y vi w s an he u mos onfus on has r e r dt re a ed. it , t t c i p v il

s r o of the II. A po itive p o f correct ness of the forms of the measures that have bee n given is the fact that in the antistrophe an apparent

e . ca a d (i . n n often does standas the equivalent of v in the

s ro e andvice versa. s ro es on u t ph , Thi p v c cl sively that and v

ave the same me - a ue u h ti v l , .

'

mare 0 . . Co So . A nt. V. t . and n s r a t. a . 3 810 an p g ph , v ( d82 8)

' ' ’ " ' x iivr a air . a . o or w e; M . 6 n a xofr a A tda 51 a de y y s s { y r.

' ' ' ' ant. a . n er ata kaxrr a Sdaa t v Kat vwd m axo p B n , p flp T ptevav _ v I_ v I _ v I_ > I I_ > I

And ewse in numer ess o er a ses . C orees a so des nedfo lik i b l th c h , l , ig r re a on as e . . the ommon r me er are an cit ti , g c t i t , additional proof of “ ” s . If w thi e say here that spondees occur in place of iambi the , wor ds are ma e ningless ; unless o ne is ready to affi rm seriously that 4 is e ua t q l o 3 .

III. The da is w cyclic ctyl like ise usedas the equivalent of u and s ndeeddoes not o ur of en in r s ro es Thi i cc t ly ic t ph , be cause w is omara v c p tively so vivacious a measure that if any oth er he u sed for t he me od see ms to b e e ssen a mod it l y ti lly ified. It does occur , owe er in the r me , er, es e a in t a of the omedans h v t i t p ci lly h t c i , the da o ue of w ose dram w i l g h as as distinguishedfromthat of the tragedians rea er g e ne ss . s by t liv li Thi is seen in the fi rst verses of the Clouds of Ar sto anes . W ( re ere n e to the ara er or in . 2 see i ph ith f c ch ct v , A A A - A A 0 Z n ; aa th en 7 6 t a B , xpw r a wvvxr ow30 0 V I ' ' ' wr a c avr ov ofiderr o p dny ep u ycwia cr at ’ ’ ’ ’ Kai. i v al/Mu aiAcxr d p p y p v voc fixovo cyu: E I O AO C . 13. L G D S

> i q — > I_ u I — > I I— A II

0) u I

It is beyondquestion that the different forms of measure that occur — ere u and u the r ra u does not ha h , , u u u ( t ib ch , u u , p

en to o ur ere a e the same me - a ue s n e the ndof erse p cc h ) h v ti v l , i c ki v

ma ns the same owe er mu the forms of the measures an re e . i , h v ch ch g

a t ere is a s ron se ondar us on th e ars s of h IV . Th t h t g c y ict i t e loga oedic measure is roved rs the orres onden e of and p , fi t by c p c u in s ro e andan s ro he and en the fa a the c da t ph ti t p ; th by ct th t yclic ctyl , — v u is adm edas a orm of the measure For if we dwe for a , itt f ll

considerable length of time on a note like andth en p ass rapidly

over the se onds or one the rdno e of w e the a ue of s c h t , ak’ thi t t ic v l thi ,

is na ural made romnen a is is ven a s ron se ondar I, t ly p i t , th t , gi t g c y \ \ b a i er mmon in he m f ll n u s . s r s o t us o a na o s ict Thi , J fi J , v y c ic ti ,

v in re a on e ses in andmu s a e ee n u sed the Greeks . E en r t h b by v cit ti , v — which v u interchanges with u andwith are to- day so pro

n un d o ce .

So ere ar ses the o aoed measure a measure of er ve th i l g ic , v y li ly

hara er w ds n u s e s rom the ess a ous orees and c ct , hich i ti g i h it f l viv ci ch

If the su e - ma er of oe r in lo aoed still less vivacious dactyls . bj ct tt p t y g ic

measure b e ons dered w b e seen t a has the same s r ted c i , it ill h t it pi i

ara er a ds n u s e s the measure w is an add ona roof ch ct th t i ti g i h , hich iti l p

f h o r o t e c r ectne ss of the th eory .

w a edto the rodu t ons of the Gree oe s . s eor en V Thi th y , h ppli p c i k p t , sh ows a regularity in th eir rhythmical construction anda beauty of From erse to composition which mu st remove the last trace of doubt . v

erse w e a andform orres ondandare l ed v e s e how ex ctly th ought c p , fi l with wonder at those mighty masters who were at once p oets and

mus an mo eov r the rue dv s on of the s ro es n o s . Wa r e ici h t , , t i i i t ph i t

erses is w b e so o ou s if the ar ous r er a andru es are are v , ill bvi v i c it i l c To make su an u o ser ed a in no ase can ere b e dou . f lly b v , th t c th bt ch

a a on as the one su es eda ove in de a l is e ondthe rov n e pplic ti gg t b , t i , b y p i c

of a mere I he reader is referredfor s to the ar er ntroducti on . T thi l g

o umes of r S mdmen nedin the Prefa e . v l D . ch i t tio c “ — ” 43 W ME ROC EE. S THE T O I 9 H . FU RTH ER U E OF T D T H

“ - 4 o timedTro hee. 9 1 . Further Use of the Tw c

dn a a 3 . Cf. the re e ra r p c i g p g ph ,

In unms a a aeon stro es measures e u w 1. i t k bly p ic ph , lik v , ith — ‘ _ v se dommet. We ma the a ue of v . . are v l , i c J J J? l y conclude that they do occur only whe n there are the most certain in dications a the erse is not ore for e nera erses e th t v ch ic ; , g lly , v lik have the notat ion _ v It not

do s U n u edl su a a n mea ure o urs i Ar . IV nt. bt y ch p eo ic cc n E9 . a (684

' ' ‘ E vp c 8 o n avovpyos 3r epov 1r oAv n avovp'ytats I f f o ' K h ' a o t xexao u cvov at. So owt n oextAoe p f y , s C I i 9 C WWW a t vhow. p

v q _ v u u |I_ u u u — u v u I_ u u

u I_ v II — 2 . u te as se domdo on measures of the orm v v v . e Q i l i ic f , i .

o ur. H 5 , cc J ( I d I S I Y p svatov o ; 7 0 7 a reppevre

a ofmv defde y p fip w.

' A ns - on. A I . I I. ant. a 0 g (7 7, v u i II _ _ H q , i. e .

' ‘ ‘ JJ EJB J B IJ J JI II

Con ern n t ( g he na measure of the rs erse c i fi l fi t v cf. 23 , ,

8 . The m co bination is as re uen in the m J? f q t usic of all nations

athe rin u from l G g p a l the lower ground; arrown in to w N i g here the sat assemled y b , Low vo u , ptuous mus c windin tremb ed l i , g, l . EN O 15 IX E E . 5 . S T TH N T S

- u l I

q _ u I_ I_ — q _ v I_ I_ I_ u II — _. II u I v u I_ I_. I u

w ou us ma b e rea ednot on as s or s but Syllables ith t ict y t t ly h t ,

- h half short s ( for ) . 3 '

15 . Sixteenth No s te .

f the s x een - no e has a read een e a nedname 1 . ne u se o O i t th t l y b xpl i , ly in the troclzaeus dismas in the forma on f rs of a da 13 ti , i t cyclic ctyl , “ “ 3 en of an rra ona aeon 14 and en of an irration ) th i ti l p , th al on 14 i ic ,

B es des s two un eds x een s o ur nowand en in ore i thi , it i t th cc th ch ic \ f r ormn w re edn on s a e w masures . e o s o e e . , i 5 J, f i g ith p c i g l g yll bl h l ser es of w ou ward a ear e rea da s or i J 5 , hich t ly pp lik l ctyl cyclic a e on ven to th a e w e ut ro do not e e r . W da s b e wr ctyl , p b bly b l g l tt ill it two a f- s or s so so a w h l h t , th t J E '

A . m in AE C . V nt a 9 8 a . 9 9 A fine exa ple occurs S H g I . ( 7 3)

, ’ ' Heueo at 8 cirr d dr wv vdm‘ ov aif rda r‘ v dnP a p p , p p s ’ ’ r ev 3 dvev Kupas cia ’ Gpfivov Ep wuos aff rodfda xr og za weev of) 7 6 a dv gxwv th e 955o op oio og

I_ I_. v I

_ L. I_. u I u I

_ _ __ce I. I co I I

I_ I_ v I t

a) w The om na on . e . a u a m 2 . s too easure c bi ti u u , i IIE , q ick

for . th e Greek s ; to understandthe words (for we are nowalway s speak

in of oca mus on wou ds ar e a e een oss e if e had g v l ic ly) l c c ly h v b p ibl , th y “ een ronoun edso u k erefore the rocel eu s a ic as b p c q ic ly . Th cyclic p m , g t s ormhas een amdd t u n a d wor n e oes no o r . An e e o r thi f b , cc xc pti h ly thy

of no e w b e ons der edin 1 4 . tic ill c i 7, t i 3 . I s not inc onsistent to regardthe combination of syllables v u — in the am r me er on the one andas u u in ri s ro es in i bic t i t h , ly c t ph

ore measure on the o er a ch ic th s a) . For in the last the character

of the measure is verv arefu re ser d e . The om na on u c lly p v c bi ti u , — wh en it is to b e regarded u u in a choreic stroph e or part of a c aac1rxr rvn cnomnas. 5 0 9 1 .

dera e num er and enera on strophe hardlv e ver occurs in consi bl b g lly ly , — ke v u ed e rse . erses I whe re there 15 a tra nsition i nto logao ic v V li

— — II dfa r de s ro the un of the I v u I v v I I woul i ly t y ity A ll meas ure is b eau ,

it for a om nat on ke anno in the tifullv adaptedto ; c bi i li J E c t ,

f t n s ave a s ron secoudzn us 0 11 the as s o1 s l nature o hi g , h t g y ict l t h t y

to b e eard. n lable which is pronouncedso rapidly as scarcely h O f s sor the on en s examination it will b e see n that in all verse s o thi t c t t

the a o e erse e . . m . In correspondexactly to the rhyth a) b v v , g ,

i E t tiO aur odfda xr os £0 1 0 90 Opfivov p V S , the heavy complai nt of the ch orus th at breaks forth impetuously is adequately expre ssedfirst b v the strong ictus placedeach time on The na measures 1_ andthe n by the q uick move me nt of a) . ( fi l are in strong contia st to th ose that precede . )

In the am r me er 0 11 the o er andthe a aren da a i bic t i t , th h , pp t ctyl th t — somet mes o urs is not to b e re arded m b ut u u s n e the tri i cc g , , i c w me er is ia its ara er more or ess o aoed . It b e no ed t ch ct l l g ic ill t ,

urt er a in the so e mn r me er of ra ed the a aren da o urs f h , th t l t i t t g y pp t ctyl cc

mos t a in ro fr m s s ru e was al c lv p pe r names andthen o neces ity . Thi l - s r t o s t ic ly b erveduntil the time of Euripide s b ut he is somewhat freer .

The ro r e t 0 11 the o er and of the admss on of the e p p i y , th h , i i liv ly cyclic da n o omed is o o ctyl i t c y bvi us.

9 16 . R eeitative Chorees.

l . The om na on of s a es _ u owe er ma b e c bi ti yll bl I I, h v it y re ardedmus a w e t er as 1_ u I or as I ne er g ic lly , h h I u I , v

the less a wa s u s as a measure w w re eren e to its s l l y p t l t th t hich , ith f c y lables is ea e r a d , n e ss ra d an the o r i r fre uen in h vi l pi th the . It s ve y q t

re a ve orees ot am and ro ees b ut on the o er and cit ti ch , b h i bi t ch , , th h ,

o urs e r se domamon orees t a wre n he am tri cc v y l g ch h t e sung . I t i bic mete r, e n se ondandfour m s r me er , ea u es in the ro a e ra th thc c th , t ch ic t t t “ ” also the s ma b e rra ona . d ixth , y i ti l , i c . an apparent spon ee .

(b x wd o v (1 67 6815).t damp/1) ; xdpa

' ' , ' dp ofo a 5 r t Z eus r aw(in O ldfrrov xa xfbv

ME RICA CORRE O E CE. 5 2 I 17 . T L SP ND N

tri al Corres onden e. 9 17 . Me c p c

n s as do modern na ons The Gree s e nera dv ded e r so , , 1. k g lly i i th i g ti a orres ondn to f. e i nto portio ns called strophes (c x ctly c p i g a n the same m d each other rhy thmically andmetrically andh vi g elo y . me a i These us ually corres pondso exactly that at the sa pl ces n the

me orm o the measure occur e . . the one s ro e strophes ( be sa f f ; g t ph ,

v w e t ons anno a e a da w ere the o er with ery fe exc p i , c t h v cyclic ctyl h th

has a o ree e tc. ch ,

e re are owever two e e ons to s ru e 2 . Th , h , xc pti thi l

Two s or s ma in mos ases orres ondto the s m e on . 1. h t y t c c p i pl l g

co r dn a erse e Ac i gly , v lik may in anv one of the stroph es al so read

= _ u wh mu u u .

u a orre s onden e is nd a ed wr n the one o er the o er S ch c p c i ic t by iti g v th , as h re L U u II w s ows a the on had e v I I u , hich h th t l g two tones which in the following strophe fell to the two sh orts that took its place . In like manner the followi ng cases may occur u u

k J _ w u u t _ A V se dom e c. , l ,

he An a ona s a e in t ars s ma orres ndto a ra ona . II. i rr ti l yll bl i y c po ti l Four case s of this occur

e on ma orres on to he s f e A . Th l g y c p d t h ort in the arsis o th measure s oree s andlo aoed s e n usedto modera e the too (ch g ic ) , b i g t

e mo e ment of a ore ser e s or to s owmore ds n the liv ly v ch ic i , h i ti ctly

eav er se ondar tus of the o aoed : h i , c y ic l g ic

_ u l _ C I

B . In e ua measures ommon in Dor me ode s ess of en in q l (c ly ic l i , l t the ase of true da s the s or w h is a owedon a oun f the c ctyl ) , h t , hic ll cc t o wea ctus of the ars s ma answe r to the rea on k i i , y l l g _ - l u I_ Z IL_u I_ 7i Il.

C . Short andi rrational syllable s may correspondin every anacrusis ; a so in the arses of the do m on ern n w see 2 3 4 l ch ii (c c i g hich , ) a 3 1 ME R ICA CO R RE O E E 5 3 C . t 7. T L SP ND N

In the da in a few ases a s or s ands in a e of D . cyclic ctyl c h t t pl c — for v u It is en more onv e n e n the i nitial long u u u . th c i t to write

3 u s n e the u nusua va ue of the s a e s is es e a no eab e u , i c l l yll bl p ci lly tic l

The no es re ma n the same e en the a ai ent tri l h in the fi1 st. b ac t i , v pp

the n havin the value of . g 0 : f

If b e o served a the va ue of s ands e ween and it b th t l f t b t J f , ‘ is clear that the sh0 1 t syllable couldj ust as well b e u sed111 its place ( I ‘

fo B ut u e natul all s wa a o ded for I) as the long (J i I) . q it y thi s v i as mu as oss e e au se on the one and didnot so eas al ow ch p ibl , b c h it ily l the h eavy ictus andon the oth er handstoodtoo near the following

w was to ave on a rdof its a ue s or . h t, hich h ly thi v l ( R ) O I

B ut under no r ums an e s ma the ro on ed on s a 1_ 3 . ci c t c y p l g l g yll ble (

’

or LA b e re a ed two s or s . If t erefore e . . a ore ser ) pl c by h t , h , g ch ic ies to b e divided_ v I

II wou dnot b e at all oss e for two s or s a es in , it l p ibl h t yll bl the

n to he se on h antistroph e to corre spo d t c dlong . For t e metrical cor

respondence m is an impossibility .

The ro on e d on s a es of t ree andfour mes anno more p l g l g yll bl h ti c t ,

over b e re a ed an o er om na on f s a s o es e . , pl c by y th c bi ti yll bl , g . U U U

a t ou L . _ u and u u u a e the same tl me - v a u L_ l h gh , , h v l e . “ ” Through p rolongation a syllable or t one receive s an uncommon

we w wou db e os in the re so ut o n u ight , hich l l t l i or u u u and the result of this wouldbe that the melodies wouldnot exactly cor

es on r p d.

4 . P ndar has two ns an es of somew a reer orres on i i t c h t f c p dence .

e h u s I. H as several times edin logaoedic stl ophes an apparent

m u _ a us f0 1 a t1 ib rach . e . orres ondn to u u u e u m i b , i g , i . . . > ‘ c p i l he i e th us ari ses the measure \ ' J J f . 1 C 0 . . t I s r . V . 9 : fl, ' ' Es Ep aV OV qbchaV r e Efmh ov

' and t V an . 9 B , . ’ a ac p x p a r ap O V Kar o. push?) that is

‘ u u O I U IL IU U V I- L A II.

I. I In two places he has v u co (a cyclic proce leu smatic) answering ' to the a aren da h . ne of t e ase is P O s m. a) XI. ctr . a . 5 pp t ctyl c y , v

' ' p ar pi r ap M ehtaV xp v a ewV és ddv r ov Tp t7r63wV ME RICA CO RRE O E CE. 5 4 5 17 . T L SP ND N

' 5 nt. a . anda , v

1 ' fx d a . 5¢po 05Wispdv 11119611 6 1 s Kai pood v

v Iv v _ > It thet is

a in mndas he om osed a erse w w or The poet first h d i , c p , v ith u u

te to use o er om na wi th so ; b ut he didnot h esita th c bi tions of syl himin one of the an s ro to es . s o urred e . lubles when the e cc ti t ph , i

The ase is df eren fromw a wou d a e een w andv v m. c i f t h t it l h v b if these measures hadbee n usedindependently through out in all the > s ro es w ere e ro a wou d a e hadthe no es \ and t ph , h th y p b bly l h v t J J ‘ N w e ere mus a e hadthe no es andin J I 5 , hil h t h v t J G, me had the sa . v o t the rs ones ou d a e e . v or b h fi t t c l h v pitch , g

which makes the two eighth - notes ab out the same as

u - n e the si ngle q arter ot .

de s enera su e ma he remar ed a o 5 . To on u er c cl thi g l bj ct , it y k th t th combinations of notes in measure s than th ose that have b een given can not be inferredfromthe texts that have come down to us ; andthat they wouldconflict with the principles of the writers on rhythmic and m r who e en redu e the num er of orms s more ou wr n e o . t ic , v c b f till , th gh gly

The Greek o moser was at the same t me oe anddidno o en e to c p i p t, vi l c his s e ve n i Modern om osers on the on rar ds os ee n mus . e p ch ic c p , c t y , i p of the e s o f son s in the mos ar trar manner so a er fre t xt g t bi y , th t v y quently there arise entirely different mu sical measures fromwhat the ’ e au o m e rns s a ad n r z es . For exa B u e s t xt th i pl b ll b i , , g

0 wert thou in the cauld ast bl , O n onder lea on onder lea y , y ;

M a de to the an r a rt y pl i i g y i , ’ ’ I dshe er hee I dshe e h t t t r t ee etc. l , l ; ,

u u u l L I v v v l _ u l

’ Mendelssoh n s music begi ‘ M ‘ J M . ? J J J J T . — — — that is _v v v — v t v I v v v g . ThirdB ook .

R H Y T H M I C .

1 mi al Sen n K x . Th Rh th 8 e y c te ce ( a ov) .

asur a e r m a w as a m r a a u Me e s a as e e e . 1 . h v hyth ic l ll t ic l v l The do r ne of e r u se s e on s ro er to r t m w ea es ct i th i ict b l g p p ly hy h ic , hich t ch us how ese sma dv s ons of the erse a n exa the same a ue th ll i i i v , h vi g ctly v l in me orre s ondto one ano er in us ut to the con titu . B s ti , c p th ict fix

on of t ese measure s to de ermne w a en no es s a s andin ti h , t i h t giv t h ll t t em is the ro n e of me r w ea es u s the u se of the s a e s h , p vi c t ic, hich t ch yll bl

u m n n the r m a of s ee for s r ose . Fro s o n o o p ch thi p p thi p i t , ly hyth ic l

a u f h ma ure s w e v l es o t e e s ill b e r garded.

M easure s are su smal dv f m a e r on nued 2 . ch l i i sions o ti e th t th i c ti re e on w ou se ara on n o wel - div ded rou s ou dnot a e p titi , ith t p ti i t l i g p , c l h v

su f ede er fo dan e mar The dan e es e a wou d av e fic ith r c or ch . c p ci lly l h

een no n e se an a ser es of a wa s e ua mo emen s in w h b thi g l th i l y q l v t , hic ’ no art u d a d a ou erefore a as in o e een s ed. It ame a c l h v b i pl y c b t , th , th t

s oken an ua e the wor ds were u n ed n o ramma a se n en es so p l g g it i t g tic l t c , in the rhythmical language of song the measures were u nitedi nto

r m a sen en e nd ur er on we s a see the un on of ese hyth ic l t c s . A f th h ll i th

se n en e s n o er d he o l own orres onden es erefore can o s . T t c i t p i f l i g c p c , th , b e tracedout

No ll a e . 1 . S te . 1 . y bl

M a r 2 . e sure Wo d. . 2 .

m ramma a sen en e . 3 . R a sen e 3 G hyth ic l t nce . . tic l t c

mma al er od. m 4 . Gra 4 . Rhyth ical p eriod. tic p i R MICA E E CE. 5 6 5 18. THE HYTH L S NT N

ramma a se n en e sounds to the car as su 8 . A g tic l t c ch

a us w is ven to one of the words the 1) fro mthe princip l ict hich gi , dar ictuse s of the othe r words be i ng only secon y . In the sente nce Caes ar eware of Brutus , b , we have the ict uses — Q

d u us has the r n al us of the sen en e so a the T he wor Br t p i cip ict t c , th t “ e mare ou has the e word- us in eware ne er sy llabl , th gh it chi f ict b , v theless appears in the sentence as a syllable with secondary ictus only . w e mma a sen en es are un ed n o a er odea If t o or mor gra tic l t c it i t p i , ch

of emhas its own e us e . . th chi f ict , g

Caesar eware of B rutus ec us Brutus oves thee not , b ; D i l , that is

It is customary to distinguish the ictus- syllables of single sentences

er or o wer B e ond s the re a ons of the tuses in by high l tones . y thi l ti ic

ramma a er ods are mu on usedin o se uen e of the e ses g tic l p i ch c f c n q c llip ,

n or ora on etc. a ma s o ur . i c p ti , , th t y cc

2 T he sen en e anno e s a s is so in the ) t c c t ov r tep fixedlength . Thi na ure of the ase s n e in a s m e sen en e ere can b e b ut one sub t c , i c i pl t c th

e e tc. For the se n en e Go dandr e d not ma e one a jc t , t c l ich s o k h ppy is really an elliptical contraction of two sentences : Golddoes not ma e one a and R es do no ut on s k h ppy ich t make one happy . B till o er r ounds a xed en anno b n too on sen th g fi l gth c t e overstepped. I l g tenoes the syllable with the chief ictus wouldno l onger appear as such w ith sufficient di stinct ne ss : the voice wouldhave to admit in other

aces one or more s a es w e ua e m as s u ose a we pl yll bl ith q l ph i . S pp th t o nst h “ c ruct t e sentence : A n occurrence in all resp ects exceedingly dis tress in ha - g s cast the entire p ap ulation of this worldrenownedcity into ” Me most extraordinar excit men — e t andunwantedalarm. Were ere y h h is the s n e ef tus W i gl chi ic ? ouldnot every one divide this sentence i nto three groups andgive each of these three groups its own chief ictus ? A n occurr n i e ce n all resp ects exceedingly distressing

has cas t the enti e - r p op ulation of t/zis worldrenownedcity I into tire most extraordinar excite ment an unwan d l y d te a arm. 5 7 C O E OF E E CE . s 19 . L S S NT N S

n en e en is a r m a anoma w a oodwr ter Such a se t c , th , hyth ic l ly , hich g i — e dom andon for a xed ur ose for rose will allowhimself s l ly fi p p , p , t m too is on ro ed the r n es of r . , c t ll by p i cipl hy h

d fro m th 3) Every grammatical sentence is di stinctly separate e ere are dffere nt de rees Of se a re mai ning se ntences by_a pau se . Th i g p d ds n u s ed the omma o on e r o etc. n w are , , ratio , hich i ti g i h by c , c l p i

Ge ne rally the p eriodshows that a sentence is not further closely con

w w a fo ows b ut s is not ne e ssar the ase . nected ith h t ll , thi c ily c

A /z tb mical sentence is a ser ies o almost alwa s e ual meas ures 4 . r y f y q , ‘ a n n o w/zicli app ear as a unit throng/z tb e eb ief ictus tb atf lls o o e f tb ern .

A fir edlengt/z cannot be overstepp ed. R bytbmical sentences were or iginally sep aratedf romone anotlzer by

u Tb c auses wit/tin tb e er iods b ad a terwards their r e ular p a ses . p p f g

te man sentences l o the mi lzt be an n p laces ; af r y a s y g w ti g .

e re se m es the on u f h F or Thi s clos ly bl c st r ction o t e p eriodin prose . eve n the want of rhythmical pause s has th ere its exact analogy in the

om ex on e au se of th m case of p eriods c pl ly c structed. B c e di splace ent of th eir p arts manv se ntences in such periods cannot b e accurately sepa

ratedby pauses .

19 . C ose of Senten s l ce .

All me ode s ons s of su r m a sen en es as ese w 1 . l i c i t ch hyth ic l t c th ith

i f n fixedsucce ss on o to es . The rhythmical se ntence corresp onds in general to the line in an

e Engli sh stanza. Th line is eith er completely i solatedby a pau se at

its ose or is ose u n edto the fo own ne the au se e n cl , it cl ly it ll i g li , p b i g h h a mus . . of t e ne scarcely notice ble . T e ic e g li s

We ha e li dandlov e d o ether v ve t g Through many a changing year

han in ear We ha e ive dandlov edto ether hrou h man a c . v l g T g y g g y

In s ase the f rs ne is se ara edfrom the se ond a ause thi c i t li p t c by p , th ough it is true that the first note Of the se condline falls in the last

measure of the rs fi t . t’ 9 C O E or E E CE . 0 8 9 1 . L S S NT N S w The re lation is diffe re nt in the follo i ng

Wo er i s andother hearts hen th l p

v sha Their tales of lo e ll tell .

W the i s and oth e r hearts he r tal es of ove sha te . h en o r l p T i l ll ll

He re the anacrusis of the secondli ne constitutes the arsis of the final

rs s is er ommon b ut it a so O en a ens meas ure of the fi t . Thi v y c ; l ft h pp

ne e nds w ul measure andthe se ond e ns im that the fi rst li ith f l , c b gi

l measure mediately like wise with ful .

are ommon in Gr r dd ll t ese re a ons ee oe . But in a on 2 . A h l ti c k p t y iti it is allowedto begin a newrhythmical sentence in the middle of a

w a r Th wn en r th four w rdw ou an ause e e . e o l o a e e o ith t y p h t v f l i g, th , case s full y stated

ere is a ause of unfixed en t a er the se n en e then it can I. Th p l g h ft t c ; stitutes a verse wliose close is alwa s to be reco nized the o own , y g by f ll i g facts

1 The sen en e ends w the endof a wordthe nal owe of w ) t c ith , fi v l hich is d sel omelided.

2 u i a owedw the e nn n of th x en e ) Hiat s s ll ith b gi i g e ne t sent c .

3 The as s a e is o variable val ue 0 1 90 1 ddwic o o s llaba ) l t yll bl f ( t p p e, y an the s l a e ma a e the a ue of a s or one the cc s . e . on p ) , i l g yl bl y h v v l h t , short of a long . (pp owidos cr repq' deis I sbrraltap ov p f p tp vav fl m‘ O 1 frrw at r o otk o . 5 m. r o V Vr n p p , s V t ' . . s r . A Escu Ag II. 7 ( 15 30

I L I

I_ v l

I L.

' At the ose of the se ondverse fdv has the a ue of a on s a e cl c v l l g yll bl , t ou the ne t word 51rd be ins w a w h gh x ( ) g ith vo el .

e e II. Th s n en e mus ndeedendw a om e e wordb ut t c t i ith c pl t ,

I) the fina sv llahle anno b e ance s so a e . a s o s a e l c t p , th t . g h rt yll bl co u dnot be usedas a on on l l g e .

2 H atus is wt ve r f w ) , y e e x e ons d i i h c pti forbide n . ,

9 OS or E E CE . 60 s 1 . CL E S NT N S

“ nder the re a which it will be discussed more at length u cit tive tvpes . a w e wsen e n e ma e n an w ere w n ord. IV . T he n t c y b gi y h ithi

e re re ardis no on er a dto ramma a s ee : the l l e r the refo , l g p i g tic l p ch , g mnan andwt n the ounds of the mta ons ven music is predo i t , i hi b li i ti gi

w w u re eren e to the s in Book arranges its note s at ill itho t f c poken

T s ra e ou d a e ar sen on in a an ua e wose words word. hi p ctic c l h v i ly l g g h were spoke n ve ry rapidly eve n when separatedb v marks of punctu ation. f ose of the sen en e needs no es e a name s n e the This sort o cl t c p ci l , i c

- au It i melo dy is not affe ctedby the abse nce of the wordp se . s obvious

a n in s ara ra Wen o er i the se ondEn s us r o e . n g . c gli h ill t ti thi p g ph , h th " s e tc t a the me od wou dnot b e af e ed if in a e of the lip , h t l y l f ct , pl c wor ds that fall to the last two notes of the secondfull b ar andthe first

ote of the rda sin le words ou do ur if a were oss e . In n thi , g h l cc , th t p ibl Gree k poetry that was sung the caesura certainly didnot signify a

In a verse ere ore ke ause . p , th f , li

_ v l w v l

ne w art o f the me od e ns us a er the omma we s al use if a p l y b gi j t ft c , h l ” the e ress on aesura no ma er w e er a wordendat s o n xp i c , tt h th thi p i t ” h m wa w r ard a as of daeres s in the or not. In t e sa e e e e y g it c i i ,

ram e ro a et e er . . t ch ic t t g ,

e en the firs se e e i d v if t nt nce nds n the middl e of a wor .

If on the o e r and the rs sen en e endw a s n o a ed , th h , fi t t c ith y c p t measure 1 1 so a two eses ome o e er w ou n er , th t th c t g th ith t i t ve nin ars s as in the o own exam e romAes us we a e w a g i , f ll i g pl f chyl , h v h t “ ” “ ” ma b e a ed h r rea . u er e G ee y c ll b k S ch v ses are asy nartete . T k e re ss on is mf md ' xp i x ov vdpr mm.

O I A I 0 Due: 82 m8os dp lv vp ov r eheo crtcppwv ' ' M ' - fimhhao cv f pmre lgas dr fp wo w{Jo r epcp xpdvcp I xa t uvea' rtov A l o f e,

’ ' ’ wao a o eva 7 6 wt on ov éh o e ci‘ w a p y i cp lp p s q r s f low s . '

A . A E I . ant. 0 SCH g . II a (7 0

| _ v |

L. _ l l . I O A 6 1 20 . IO or E E E NT N T N S NT NC S .

In as nar e e erses a so as we l as in ose wt aesura or daeres s y t t v l , l th i h c i i , the rs sen en e ma ende er w a word as in the erse fi t t c y ith ith , v ,

’ ’ 0 63 wdocfiev f v e a ‘ wa d ti - s c O c a. uwv p j p y , np xp p fip , A ' A . a E C . I nt . . 8 168 S H , g , ( or in the mdde of a wordas in the orre s ondn erse i l , c p i g v ,

" ’ ' ’ Z eu 77 0 1 co n v cl 7 63 din ( lh ov s, , p A A ’ E C . I. l . a r . 3 16 0 S H g [ ( ,

ese exam es e n the orres ondn v erses of s ro e andan Th pl , b i g c p i g t ph ti s ro e a so s ow a the ara er of the me od is in no res e t ph , l h th t ch ct l y p ct

an edw e er the rs sen en e ends w a wordor in the md ch g , h th fi t t c ith i dle

f M ark n the a e w ere the rst sen en e e nds w a o it . i g pl c h fi t c ith wordby a o on the fo own no a on s o ws the two erses exa e ua : c l , ll i g t ti h v ctly q l

2 . In ona on of Sen n s 0 t ti t e ce .

he s en e of Gree r mwas ear redu edto s s ems 1 . T ci c k hyth ly c y t philo

Here as in a mos all the s en so a deve o ed. es ns eadof phic lly l p , l t ci c , i t simply a state ment of the facts anda development of categories from the fa s the a e or e s were de e o eda rior i andthe a s hadto ct , c t g i v l p p , f ct b e n er re edin a ordan e w ese o a re neds em i t p t cc c ith th l gic lly fi ch es .

The sen en e s ke the measures were d ded n o e ua une ua t c , li , ivi i t q l , q l, n u e andq ui q epartit .

The e ua sen e n e s were the d od ons s n of 1 1 andthe q l t c ip y , c i ti g , e ra od of 2 2 measure s the une ual the r od of 2 1 and t t p y , ; q , t ip y , , the exa od of 4 2 the u n ue ar e the en a od of 3 2 . h p y , ; q i q p tit , p t p y , ’ A ordn to s d s on em and(ii ‘ L were a a n d n cc i g thi ivi i d ; pO S g i i sti guish ed.

Ea hadits xednu m er of measures as o ows ch fi b , f ll

D od : 9éa had 1 measure ' t had 1 mea ure s s . ip y , d s

e ra d measures o 2 2 measures . T t p y ,

r d measures ma o 2 1 e sure . T ip y ,

Hexa od 4 measures 2 measures . p y ,

Pen a o d 3 measures 2 measure s . t p y ,

No w a ordn to s dv s on ere ou to b e an exa re u a on , cc i g thi i i i , th ght ct g l ti of the uses of the sen en e so a in the ase of e ua d s on ict t c , th t c q l ivi i , h e . . t ere shou db e on two s ron uses the s ron er on the es s g , l ly t g ict , t g th i , the weaker on the ars i s . 2 x onarron or E E CE . 6 9 so. m S NT N S

dp

In the case of unequal division th ree sente nce - ictuses were dis

w s ron er ones for the es s anda wea er one for the tin uishedt o , g , t g th i k

arsis e . . , g v u l u u l v v ll

t dats Oéa s p .

' was s more ar ed in u n ue ar e sen en s The relation till v i q i q p tit t ce . Beyondthis it was not fix edwhether a sentence shouldb egin with th a us or e rs s e . th w he s ron er . e ea er . e . t the thesis (i . t g ict ) i (i k )

he arran e men ere ore of the sen en e w re eren e to its ones T g t , th f , t c , ith f c t might be u u | _ u v | v v ll

t Wa dpa s r.

deedwas re ardedthe more mm d s as sor n o on. An thi l t t , i , g c

B ut in a ua ra e the oems were re edwt ose uses 2 . ct l p ctic p cit i h th ict

dfferen assa e s rom ed The which the feeling in the i t p g p pt . p oet mark ed

mne er for the e nor the mus al no e s in w ard more the ith t xt ic t , hich h ly

of the measures were en and e e w t an the uses s not a a s . h ict giv , th l y

An ddou t ess dfferen re ters n onedthe sen en es df eren ea b l i t ci i t t c i f tly, ch

w n f v ew rr w e n romhis o n o o o e . No one o e er a d b i g f p i t i c ct , h v , p i a ten on to hiloso hic eor es of w t ere ore ere is ere need t ti p p th i , hich , h f , th h

n If the uses of the measures are o ser edan of b ut r e men o . d b i f ti ict b v , the s a es are ve n e r rue me r a v alue the orre n ona on yll bl gi th i t t ic l , c ct i t ti of the sen en e w owas a ne essar onse n e t c ill foll c y c que c .

It s ou dhe re mar ed owe er a is not es e s e a in h l k , h v , th t it b t , p ci lly

oe ms of s m e ons ru on to ut the ea es n he s p i pl c t cti , p h vi t ictus o t fir t

m su . fo o wn ea re . E . the g ll i g,

’ " ‘ WK OL tMG O V 8190514 1 1 A o§ fr a p , ¢p shouldb e u l i u l w v l u l u “ or some n thi g like it . B ut in ch oric stroph es it is well alway s to give the s ron es us to the rs measure es e a the sen en e does t g t ict fi t , p ci lly if t c n b v ot e in a erse . g E. g .

' K i ui ri o ‘ ' t p e m,9ac 58tov xp ofros aiO tov dvdpdw ’

AE C . A . . st a. 104 I r . S H g ( , V V l — V V I

O t e h r sugge stions in regardto the position of the sentence - ictus

m e r a s b e made b ut no edru e s can b e en. ight p h p , fix l giv 63 1 LENGTH or E E CE . . 5 2 . S NT N S

1 L f n en es. 2 . ength o Se t c

Wose de n on w b e more fu en ur er on The erse 1 . v , h fi iti ill lly giv f th ,

ll b e arefu ds n u s e dfromthe r t m a sen e n e must fi rst of a c lly i ti g i h hy h ic l t c . In Engli sh as well as in Greek p oetry th ere are lines (verses) composed ’ i r f on fe e . he s o es o L ows oem f two sen en es as . n t The o t c , g t ph g ll p , ” B elfry of B rug es

In the market- place of Bruges stands the belfry oldandb rown ’ hr c re uilded sti l i watches o er h w hr ce consumedandt e t t e to n . T i i b , l

I_ u

l _ v

Each of the se lines consist s of two sentences of four measures each .

B ut some mes the sen en es are wr en se ara e as nde ende n ne s ti t c itt p t ly i p t li ,

v n if e ha e no me r a aus s e wen em a d e e e e s e . . ose e th y v t ic l p b t th , g th cit in 19 1 , W hen other lips andother hearts ” heir tales of ove sha l tel T l l l, w are se ara ed no mus a au se as has er n wn e ee s o . hich p t by ic l p , th b h

B e ore ro eedn to the us ra o ns t a fo ow s ou db e re f p c i g ill t ti h t ll , it h l markedthat in modern mu sical comp osition the nu mber of measure s of the re ed oemis of e n ar rar dmn s edor ncreased ou cit p t bit ily i i i h i , th gh ne er e ondthe he xa od It anno b e adm ed a t s ar rar v b y p y . c t itt th t hi bit y

ra e ex s edamon the Gree s hadwe s ou dnot b e a e to p ctic i t g k ; if it , h l bl sh owthe beautiful conformity of th eir poetic creations to the laws of m s a om os on u ic l c p iti .

Over h l over da e i l, l , hrou h ush throu h r er T g b , g b i ,

O ver ark over a e p , p l ,

hrou h flo ou h fi e odthr r . T g , g ’ i summr N M d e kt s Dream II 1 . ia , .

It wou db e oss e to wr e c o s o I 7? II ou is er l p ibl it , th gh it v y questionable wh eth er the notation

v u w ere ere is no no ea e au se e ween the sente n es is not re h th tic bl p b t c , p f

ra e was a owed . In Greek w fewe e ons no ar rar ause c bl , ith xc pti , bit y p ll u n the erse had ome to an nd til v c e . r E E CE . Gt 5 2 1. LENGTH q S NT N S

ol own a e ra od b ut a so a one . ofte n f l i g t t p y , l l

he r vers rus into the sea T i h , By castle andtown they go ; The wi nds behi ndthe mmerrily w O W e NGF LL O The ir noisy trump ts blo . L E .

u u — u i v u

a to thee the s r t ! H il , bli pi i

B rdthou never wert i , That fromheaven or near it Pourest thy full heart

n of un emedi dart HEL E L . In profuse strai s pr tate . S Y

v l

u l — v l u u l ; u ll

V I

v l

d the mos ommon sen en e . C. Tke tetra o p y, t c t c

Nowthe un r on roars h g y li , Andthe wolf behowls the moon ;

W he heav ou hman snores h st t il y pl g ,

w as fordone All ith weary t k . ’ idsum r lzt s r amV M me M D e . g , . 2

U |

u l

“ D . The enta od mos nown as an erse in w the p p y, t k bl k v , hich

En s dramas mon w gli h com ly are ritten.

Now fa r o ta our nu t a hour , i Hipp ly , p i l D raws on space : four happy days firing in Anothe r moon b ut 0 meth nks hows ow ; , i , l

h s oldmoon wanes ! she n ers m des res T i li g y i ,

ike to a ste - dame or a dowa er L p , g , ’ on wither n u L g i g o t a young man s revenue . ’ m i mm Ni ht s Drea I. l . M ds u er g ,

“ E. TIM M e ad ommon a l edthe xandri erse mos p y , c ly c l Al e na V , t used the Fren in e r ra ede by ch th i t g i s .

’ Oui e vicns dans n , j so temple adorer l Etemel ’ Je v ens , oelon usa e ant ue et so enne i l g iq l l,

Cé é rer avee vous la famense ournée l b j ,

0 0, car la moat na la loi é n nous fut donn e Kae m . Si , . r E 6 5 1 E o E CE . s 2 . L NGTH S NT N S

In En s oe r s verse is se dom used e ause eav and gli h p t y thi l , b c h y

It loses the S enser an stanza the ot er e verse s of dra n . ggi g c p i , h ight w h are enta ode s andis fo undo as o na amon the e n a hic p p i , cc i lly g p t ’

odies o f the ank v erse of Shakes eare . Po e s nes the se ondof p bl p p li , c w i se f an A e xandr ne w b e re a e dto mnd hich s it l l i , ill c ll i

A ne edless A exandrina e nds the son l g,

i h ike a woundedsnake dra s its s ow en th a on Wh c l . g l l g l g

The first stanz a of the Faerie Queens ends

u l icll kni ht he seemedandfa re didsitt F l y g , i ,

one f ni ht usts andfierce encounters fit As or k g ly gi t.

V i

h am Gree oe r has t e s e sen en es . B ut a en a od or 2 . k p t y t c p t p y a hexa od if ons st n of on measures ke the u or p y , c i i g l g li u

or u wou db e too on a sen en e one in w u u u ) , l l g t c , hich

wou db e dffi u to let on a s n e ef Th it l i c lt ly i gl chi ictus b e heard. e ancie nt writers on rhythmic saw thi s andformulatedrules for the allowedlength of the sentences as determi nedby the length of the ma u e e r dv s on of the sen e n es m e v in e s r . or o er a ded Th i i i i t c , i deter mn n e r en w ere ere were the eas use s a is in i i g th i l gth ; h th l t ict , th t the ase of e ua dv s on the sen en es were a owedto b e of mted c q l i i i , t c ll li i ex en on the rea es e n t was a owedin u n ue ar e dv s on t t ly ; g t t l g h ll q i q p tit i i i , wh e n the differe nt grades of intonation gave the sente nce the app ear

- ance of a well dividedu nit .

The ru es of the an en wr ers on s su e can b e a e ed n a l ci t it thi bj ct cc pt i t ct , s n e e armon ze wt the a s are n eren ro a e and av e i c th y h i i h f ct , i h tly p b bl , h thei r analogies in the p oet ry of oth er nations .

If the eighth - note or common short syllabl e b e nameda mora

évos the ru es are as o ows (Xp ) , l f ll

1 Sentences e uall divided . e . e ual sen ences see 2 0 1 can be ) q y (i q t , , ) extendedonly to 16 morae

2) Unequal sentences to 18 ;

3 uin ue a t te nt nc o ) Q q p r i se e es t 2 5 .

According to this

I. Choree s andlogaoedics can b e extendedto series of six measures

6 z 18 morae ( X ) .

aet l a II. D y s ndanapae st s to pentap odies (5 X 2 0 morae) so a so D or rou s an n l ic g p dspo dees . E or E E CE . 66 9 2 1. L NGTH S NT N S

aeon s andb acchn to r odes 3 X 15 morae the III. P ic t ip i ( ) ;

is not a owed 4 2 0 morac w e eeds the ex tetrapody ll ( X , hich xc tent grantedto eq ually dividedse nte nces) ; b ut the pentapody again is o a allowed(5 X 2 5 mr e) .

V o am anddichorees to r odes 3 X 18 I . Ion s r ic , ch i bi , t ip i (

morae) . . m The ana r us s is not re onedin ese es a es . S n o a ed 3 . c i ck th ti t y c p t

mea r a 1_ measures are of ourse re onedas u su es s e . . I , c , ck f ll , g u

A f r measure s of ree morae ea 12 morae . e . ou . v I ll, i th ch

m er of r m a andmus a se n en es is ere ore 4 . The nu b hyth ic l ic l t c , th f ,

er mted and et in onse uen e of the man me r a orms w v y li i , y , c q c y t ic l f hich the measures a om ose emma assume e are of the rea es th t c p th y , th y g t t variety . Many of th ese forms are very frequent andch aracteri stic ; th ese have

f es nams re am re e ved ar u ar names . Some o e e a uous and c i p tic l th big , are t a ar t am uou wl t ere ore not o be used. ose e no s b e , h f , Th th t big il

ve n in the nex ara ra gi t p g ph . It sh ouldb e rememberedthat long andsh ort syllables cannot b e assumeda t easure f . e pl . I e . g the choreic s ries

V _ — V is en we are not under an r ums an es to n giv , y ci c t c thi k of

since the irrational measure cannot standin the oddplace

16 ere is no n to do ere ore b ut to w , Th thi g , th f , rite

or be tter

The aws d m l eter i ni ng the length of the sent ence that have been given a bove are provedto b e valid: 1) by the fact that the entire literature

re se nts no fa s t a on rad t e m 2 e r n eren ro a t p ct h t c t ict h ) by th i i h t p b bili y , the t w se n e nce s hich they auth orize being exactly adaptedto the proper e xpression of the necessary musical th ought ; 3) by the important re sults in Eur t m se e B ook w . ar se rom hy h y ( V ) hich i f th em. It is not to be feared ere ore a the de ermna on of , th f , th t t i ti the length of the sen

6 3 E E CE OCC RRI G MO RE E . 5 22 . S NT N S U N ST F QU NTLY

' iambelc us ia eh e oc IV . The g ( p fi y )

i ' ' - N . t ta m. I . O r v . P . e def ray fi vpaxoa o dv p y IND s r a .

not n re ue n use of the dact lic di od is a so to b e V . The i f q t y p y l man o er sen n es o ur noticed; in addition to th ese y th te c cc .

i t A na aest c sen ences . 3 . p “ ” ns u e a e u ar e e wi b e se ara e Since the se co tit t p c li typ , th y ll p t ly

treatedin 31 .

S ondazc sentences . 4 . p

Pure spondees seem to have occurredmost in tetrapodies andtri

m e e 10 III. odies . For an e a se p x pl , , S ondees wt ana rus s a ar e of ana aes s a re uen o curs p i h c i , v i ty p t th t f q tly c in tra monodes e s e a in Eur des anno b e rea edin a mere gic i ( p ci lly ipi ) , c t t t

In rodu on wose m s ndeed or dthe ds uss on of the con t cti , h li it i f bi i c i l struction of monodies at al .

l i C we enten . 5 . r c s ces

ore s ro es were es e a er e ed Aes e c Ch ic t ph p ci lly p f ct by chylus . Th y on s s a m e f e ra odes nd a i t l ost entir ly o t t p i a hex podies. The most note worthy forms are f t . e h e e A ra odie . W T p s y th s are call edtetrapodies andnoh imeters is e di 0 V II a ne n 1 . xpl i ,

I u I u 5 II a a a e ro a dm v I , c t l ctic t ch ic i eter .

' ' ’ K oh tdo r e f om AE C P o s r oc. . m II. t . x S H r . s r B

I I II mu more ommon a a e ro a v v ( ch c ) , c t l ctic t ch ic dimeter. ' ' i ‘ o n ty obr wo. / e w. I A . d. t p dy v g I. an . y

u u I u A m I I a dme er . v ll, i bic i t ’ 37ré Ka kde r 6 milt . e Id. S t. fi s s w p IX .

II and II a n di , f lli g m e ers . The rs of ese two orms the one w ana rus s was mu t fi t th f , ith c i , ch use dunder the nam , e of ia o in s or oems fin ufls, h t p by the Anacreontic w r rite s .

hen ar ous o er orms o ur w reso ut on and s n o e as e . . T v i th f cc ith l i y c p , g

' ' pi nt 8 dxoiiorat at y ou ’ ' c t va wx et p p p mp pes . d ' I . A . II. ant. 4 5 9 g y ( , E E E O C RR I MO RE E 69 2 . C s 2 S NT N S C U NG ST F QU NTLY .

’ ’

I. a 3 S u l . 3 Id. n 60 90) 3 Gi 1 w. t. e 23 g , p pp

' X . x Se t. I . K a oi Id. r n pdxeto ac ar r s. p p

E IL_IL_IL . ll ' ' ' t 710 I. t . a k Id. 0 o U r o to . . s r 7rp60 1 epv r. p

'

I. t . Id. A . V I s r a dnfhaxos efip wemdr ov . g

9 H I 0 1) 7 6 1 11 614 6 77 1. 86 4 t. I. ’ ' ' 41 t . i Eam. III. s a 3 6 o Id. r 7 63 eho n a axon . p g, p ( ,

a o mm ms w an x dies . See 10 V II. The o on or B . He p ( , ) c f , hich y one w eas name for mse f are in Aes us : ill ily hi l , , chyl u ’ ’ " ’ 7 69 ) 6 0 o a O w a e o o u . 1. ev l II. str 61 3 p y v idp s p vos S pp . V 3

’ ' Au a m / 6 0 dvev d i ( . A I . ant. a T V 8 p s p s nn 98 g . V

v

, ' i ’ da 3 5 n e 63 cin e a / a I) I an v o v I . . t. f p fi s 7 (b n w. 8

' A ) n ha dv z ov G n h u II. t . a ; y x o w i I . s r

u

’ ’ Nn oii a 8 dmoio - o wdo n o u . h . st . or p s I r B u

9 1 w 0) e L K d . . Sa a M st ai. o wt Ih , n y m/

I i 6 . on c sentences

and

o ambic n 7 . Ck ri se tences.

D odes are more re u n an ip i f q e t th tripodies .

8 D i . cno V II. reic sentences are n udedunder ore . 10 i cl ch ic ; cf ,

’ ’

9 . P aeonzc sentences are rare in A es us andare for the mos ar chyl , t p t d od s me wa ess e . In Ar s o anes es des the d od andthe so ip i i t ph , b i ip y h t l

ommon r od the F e am es see 10 en a od a so o urs . or c t ip y , p t p y l cc x pl , , I I V I .

Th a 10 . b c e cl mw are rare o ur a mos on as d odes . , hich , cc l t ly ip i 70 s E E CE occnname MO RE E . 9 a . S NT N S ST F QU NTLY

s ar e The orms of lo aoedic sentences s owthe rea e . It 11 . f g h g t t v i ty must here suffice to give a selection merely . — Su a one is v I II the versus Adonius w Di odies . , , A . p ch v V hich closes the Sapphic strophe .

Tr odies . B . ip

a a rst P kerecm c t lectic ll , fi m ter , ' ‘ I. ant. U R . B acon. fivpmirovov xiixhwp a . E fi ' ,

t . / A . IV . s r r SO . ami oy aiAu ov . PH j B — — a u u V II a a e 3 I u v I secondPherecra , c t l ctic ll , a le n, '

ant. A . IV . 7 0 4 869 860 ¢0 pov dr av . SO PH. j B ' ' t ’ I. r . Id. A nt. s éxettr rwv dvep wv . B

es ese ere o ur orms w two da s w anaem Besid th th cc f ith cyclic ctyl , ith

sis andw s n o e as e . . , ith y c p , g — w u I v v I II

3 R . Rise . I. n o?) mpaytwv ¢opou EU s str .

v z

' ? ' ' rr H ootdav Ih. fl s ( Io e i. av

u 3L_I u I ll '

d I . t A . V s . a mimp f pvx p cvos . SO PH . j r

F na man sen en e s o ur w ou da s b ut en fre i lly , y t c cc ith t cyclic ctyl , th ' w a uen m . i i A . r r s s . st . 40 q tly ith t ib ch ; thi for e g s foundn j III. r 7 ( 3)

C . Tet a o i r des . e The round rm are p Th se are the commonest . g fo s

|I rst Gl , fi y

’ viiv a e oi act o iia a . t . c A . . s r y p p p x p t SO PH . j V

o t l a ov ciaov év o i. A p x pd NA CR .

_ 3 I and _ 3 second I ll , ' Gl conic the ata e orm a ed y ( c l ctic f c ll al so Avaxp cdwa ov dmd aBov) .

' U 61 57 6 f wo w e . . 14 . M P?) 7 p pdp y ANA CR f r .

The aca a ec c ormse domo t l ti f l ccurs.

Fa in te ra odes are re uen s ll g t p i f t, a q ll i d xGmt Adcii/a s . SO . G . I . . x v PH od 0 . II str [7 — This mus not be i eda Pharecratean 3 v V t v I ) . 22 E E CE OCC RRI M OS RE E 71 5 . S NT N S U NG T F QU NTLY .

Fur er se era da s re uen o ur in su ess on in th , v l cyclic ctyl f q tly cc cc i ;

dee d ll f measures ma ons s of em e en a our . , v y c i t th — — w i t— I v u I q _ II

i

6 6 . SO A k ei d. 0 et . . II n a a t. fvv y v ner 7 8 m e PH j .

On the o er andwa a ear to b e ore sen en es are oundin th h , h t pp ch ic t c f

d s a o aoe ro es s e . l g ic t ph , g u q q I 1 er op ocov we 'r e n ovn av o cdna doo m/ om; or av ’

I. st . A nt. II r a 5 6 SO . 8 PH ( ,

E ur de s is e ondall o ers r in orms wi he usedfor the ipi b y th ich f , h ch purpose of bringing vari ety into successions of series which woul dother

wse a e een too un form A s an exam e a e the o own i h v b i . pl t k f ll i g

C a i f 1 s\ H3v s €V ov eO' w eu‘r o w p , f I ( K dcao wv Sp op acwv " web -7 n cdoo e ve cdo e wv 7 , fip s x

e v a- e w i. po yp v v

(Li a T a oxr ovov w oi ov oi w n p y , nq y x p , C y l 1 ( A ( f /£ 1 0 a o en. ta c a . f 9 s p v y ,

B acon. I. e 5 p . (13 — q L . — q _ u I l_.

v q

— - v u Iq w u l w u ll

u f u q L_ Iv u v Iv q u I A ] We ShouldOb serve al so the tetrapody ’ “ ‘ V I l II er ov II a th/t ecov V I u u V , p p p f , which was much used(in unvarying form) in the construction of

oe r strophes (in Aeolic p t y) . ’ ' 7 &7 L EV e‘ hoi a e tv r (i. cre w )a { a , ’ w ’ a t 8 di e 863 d a S O . s t 1 t eo r oi o v . APPH p , n And the two tetrapodies which occur in the Al cai c strophe

2 9 4 II. , , )

3 3 II A lcaiens enneas llabns u I V , y ,

V II A lcaicus decas llabns. I V , y

, ’ (ii B ifx c ( d ax o 8 oi w'r ov x , p pp v p ’ / L oft owéva xap evocg ”5 6150 97714 A C .

Pen a odes were usedin Aeo r oe r in the rea men of its t p i lic ly ic p t y , t t t

a or e su e s in the fo own forms f v it bj ct , ll i g 2 E E CE OCC RRI G MO RE E . I 2 . S NT N S U N ST F QU NTLY

' - II n kendecas llabum v v | _ v I— V I_ V Pkalaecé m y . ' ' lt m T tr o cvct dvao a Aer y d. Sco u . “M e p y , /

— mhendeca ll b u Sa kicu s a nm. v I 3 I v u I v I ll , pp y i ‘ ts/Mia i} A t oSfra . S O . r ou m, pp APPH

f s erse 2 9 5 dma n o IL . The Sapphic strophe is constructe i ly thi v , , ) w to re a The last ve rse of this stroph e shows that e are not g rd2) a

he ne to the as measure I_ 3 he xapody with sy ncope Of t xt l t u I A II o w we na ura n ne L. t w v v I I ) , hich t lly i cli

_ u I_ 3 |

' ’ ’ ‘ 9 w0 1 5 0 ie c e». M dSardin es r rcp drr dip ofv 9 9 p SAPPHO .

measure s n e does not ose the erse anno The short in the fifth , i c it cl v , c t

ar dedas on and onse uen anno ons u e a measure be reg l g, c q tly c t c tit t by its elf. — ’ 3 v II A lcazcumdodec ll v I I as abum. 3) v I I v v v , y

( M ri a de én bm. AL C . 16112 0 13 dyvo. “ a n E g — 3 v u u A A lcaicum n a ll b u ke dec s a um. I I I I ll, y

’ ' 'i e A : fi m mv . of xp ) xax oimdy ov e rp y LC .

’ f s the A ai s ro he was ormed 2 9 4 O thi lc c t p f , ,

In or oe r the o aoed en a od is om ara e n re uen ch ic p t y l g ic p t p y c p tiv ly i f q t , andyet it occurs in many forms q q —q

WU I L . IWV I t_ I_ A II

‘rdiv u / fl o wA nt/ adv 61rdKh o é/av p g yZ p , ’ ' “ a e a ‘ 69 r y 6 p y s ” 0 9 defa .

SO . . I A I. str . 22 5 PH j ( , — v u |

' ' ' ’ (7 mé ui n mien) r exvov e dy m y , , n . N {p63 of) ydp 2x0 ) Kar axpv¢ofw l . Co . I. Id Oed. (2 16 and

E. Logaoedic hexap odies likewise occur in various forms andsome

wha more re uen an en a odie Tw l u r t f q tly th p t p s . o il st ations fromthe andthe A ntigone will suffice — V V V _ v I I I L. I_ A ll

> | w u l _ v

' N v / - M ri e. i iS at wv 671 0 1; u afw f p , p p v ' ' o ' c et wor t r 8 d mp f § ywv frp axohfi.

A . I. e . 194 j p ( , 73 INTERCHANGE OF MEASURES .

— ll v u I l_. I_. A

— ‘— u I_ > I q V V I L . — u I_ > I q

I J? a w l a ' ' s w e c a ov es o un Ka K V a vmos a way . m , y

0 3 a div 06 590 / 36 m dr ag 9 y p p , ’ 1 ' / w ' tzr t e 6 érri h do ov . 0 13331 eM e e y t 6. 9 fi g a '

n III. s A t. t r . a (5 82

r h n e f M asur s 23. Inte c a g o e e .

S n e uan is not to an ons dera e ex en an e emen in 1 . i c q tity y c i bl t t l t modern an ua es ese an ua e s are not ade ua e to the ex ress on of l g g , th l g g q t p i

ure s of ar n me r a orm the rhythmof serie s consisti ng of meas v yi g t ic l f s .

Of e n erefore in order to rea unders andn of r m a a s t , th , t t t i gly hyth ic l f ct ,

- we shall b e compelledto resort to dance melodies .

“ ' The Rheinlander is distinguishedfrom oth er dances by being

in f m ome of the m co mposedof measure s of chang g or . S easure s

a e on one ef us o ers a s ron se ondar us so a e h v ly chi ict ; th t g c y ict , th t th y

w measure are dv ded so to s ea n o t o s . i i , p k , i t There follows the first part of the best known dance of this sort

metrical characters

G/ u q G/ u co wIG/ u w ( o x/ A ll

The dfferen an es of dre on in s dan e are a owedas is i t ch g i cti thi c ll ,

nown on at the uses s is the e u ar andor na si k , ly ict . Thi p c li igi l g nificance of the u ut e a so d rmne the hara er of the ict ses. B th y l ete i c ct mus andmoreo er e xer the rea es n en e u on the me r a ic , v ci se g t t i flu c p t ic l

orms of the measures andcan ere ore in urn emse es b e de er f , th f t th lv t mned rom e i f th se . 74 I ERC A E O F MEA RE . s as . NT H NG SU S

I e k oe r sen e n es of n er an n and measures 2 . n Gre p t y t c i t ch gi g , h a r w ere e re dichore es are er o mmon. T e e c. on cs and i . i i , v y c l tt , h th y p

omna e to the e us o n of on s are eas ds n u s ed roms m e d i t xcl i i ic , ily i ti g i h f i pl

b the on ana rus s of two s or s la es as e . . the ser es choree s y i ic c i h t yl bl , g i

is not to be classifiedas a) II V , i _ _ A ll v .

' This substitution of the dichoree for the ionic is calledavdxhams

f an f the na reon oems are wr ten C . . o A (breaking up ) . 30 M y c tic p it in this rhy thm. In these melodies the i ntermixeddichorees can h ave the forms

6 f ' l . I . ant : c e C . Su X . a 7 8 p uh o o ow s offi c e . AE S H pp v u v I A II

The choriambus al so (a measure with still oth er ictus- relati ons) is somet mes adm edt ou v er se dom and u e as se domthe two i itt , h gh y l q it l ' m d a i Aes edana rus s is s n or om e s n . Se t. V I. str . a ti c i horte ed itt , ch p 72 0 ( ) I I “tr uca r av whemoucov app ,

were the ra n m e A es u i ds e h re forms occur in unusual u b r. chyl s s i pos d to e n his on s ro es w su h seemn rre ul ar ser es for b gi i ic t ph ith c i gly i g i , w se S m / e dt Metri r 14 10 . hich ch i , , ,

If now it b e addedt a the on measure es des s adm res , , h t i ic b i thi its o

at on of its on s and on ra on of its s or s w l b e see n a l i l g c t cti h t , it il th t

on c melodies ma be of e eedn ar o n h i i y xc i gly v i us metrical forms . I t e f w ollo ing series the measures are arr angedaccording to the frequency of their occurrence

6 1718 0 8 147 88 . measures 8 l i J'? tJ J‘ J )

u w u 5 IJ N . W W ‘ ' v w J E D v J J J ?

— V B TJ w w w ‘ D ? ? — v IJ J J J J .

76 i NTEc ANGE OF MEA RE . 5 as. SU S

u u Iv u _ u || u u

_ Iu v v _

B ut the an e of measures of une ua en is of u e 4 . i nte rch g q l l gth q it

’ an t e rcck oetr on one sen en e w su n er o h r kind. In G p y ly t c ith ch i t

- an e o urs the ao- callcddockmius 86 tos the round ormof ch g cc , ( xp ) , g f

wn s or ened a a w a s s w o o oree . If i . e . b cchi us ( ith an cru i ) ith f ll i g ( h t ) ch se era do m f w e ano er in a erse e are enera se v l ch ii ollo on th v , th y g lly p arated aesura by c ,

Resolution is frequent ; the commonest formis less frequent are u

v i u u u v A II u q , etc.

The ana rus s can as usua be rra ona e en w en serv n as a c i , l , i ti l, v h i g s or to the r d a so the s or of the a us s n e e e n oree . So h t p c i g ch l h t b cchi , i c

ser e i he ere ore it v s n a certain sense as anacrusis to t ch oree . Th f dochmii like the following are found

u u

A ordn Se dl er who eve n more an the an en wr ers on cc i gly i , th ci t it me r ves ever on e e n w en rra ona the a ue of a me r a t ic gi y l g , v h i ti l , v l t ic l

on e ts r - two dfferen orms all of wi owe er are l g , xhibi thi ty i t f , h ch , h v , by no m i eans n use .

A more accurate state ment of the facts is made in the Gr iec/sisclze

Metrik 2 2 fromw the f All orms of ol wn a en. , I , hich lo i g table is t k f w no ustra on is ven in s a a in u se for reasons hich ill ti gi thi t ble re not ,

en in the Metri/r. giv Three of the illustrations are in parentheses . These pare ntheses showthat in the correspondi ng strophe anoth er form of the meas ure o urs an the one en in the a e the a er sl cc th giv t bl , l tt ip

n n o use rou the care essnes ordn of pi g i t th gh l s of the poet . Acc i gly , the r - two orms w a e een su dto e s on n ne een thi ty f hich h v b ppose xi t , ly i t in f a occ ur (andsome of ese er se dom e udn the ree in ct th v y l ) , xcl i g th aren ese s w o ur ea b ut on p th hich cc ch ce . ER A E OF MEA RE 7 7 I C . s 23. NT H NG SU S

' e? d A . st . duc al y r xg g . V . r Z ’ I

86 si) . E am cv i 11 ( . . str . or. yé 2 , p V t o a xd. E nin I ( e v o I. p p p B o v .

‘ “ ' ) } m . E a t . otol 86 n m. . s r , a a V 8 ,

" c é “ e o do a . A . u v S V . nt u u I m p p p p s g a . s ’

L EV 0 6 . A . t o s . u u u I y wdde v [ V g V . r y ' II /2 i. 0 . I ii xo owo 0 V . st u u I Bap dt s r . a m ( si) lan d 6; oixefv . E n . V . u u I p , 7

u ih a oihu. K ai. B acon. I n u u u e o e X . a t u I p y p y .

- He c. F u u nd. r r . IV u u u u 0 571 0 7 6 8 . V v u u I

v u v u > I ' VI t a [ L s r . ' ’ ‘ u R e 8 7. ovro . 0 0 . u u u u u Iu . v qSos ep cw oimirp v ’ u u A a v 6 . a u u u v Iu r wA mon oir op a mr i p d 6. t ‘ ‘ n e I 0 . h to r ovg I2 mm Dthoivwv . 7 . V

‘ v E el . t Ka e r a a . . IV u u u u Iu . 64? h e r df ro

u u > u u q .

’ 7 d) t IV . st . e Se . r u u u i p dw. p [5 '

/ V I. u d Or . (m m0 1) duo evag .

U U U - U U U Hz . . . k h . 3a}. mi e t o ev V I. (L s é pp V ’ I II . . . u u v B ac ll . u v s do 6 Soix va . a . i v 1 s y , s p V

v u u _ > b u 6 6 6 t e z xha' av dhot7 o . 7 7 mi s C . ( p yy l yf p '

U U oa Se t. II. str . a . [x p ,

,

nt. ccfi . I. a 8 65mvdp tna . B a V

v 7 5 gha e 7 6m Tro. . k 7 9 lx g,

' n 5 ( 3 6) r at 7 tva . A nt. III. a t. a (7 7159 , V , [12 89 )

' t III. s r . A nt. 6 6 . U U 6 67 ri e . 7 7 . ( 669 7 p V

U U . [BC 78 rNTERcHANGE or MEA RE . 5 23 . SU S

B ut s oul db The se nte nce rarely cl oses with ful l measure . it h e observedthat in the bacchiic measure the first syllable may absorb the

se cond: _ A II v z u v I .

can o ur owe er on w en a er stron em as s res s on Thi s cc , h v , ly h v y g ph i t

s s ab e as in cr es of ain and o andin ose words wose as thi yll l , i p j y th h p

f. E So . le e on. C c. sron rs expressedmainly by their r petiti ph V . str ( 12 32 - 1234)

v I II

' ' ' Iui ovar , y ,

6 o ( dw 0111 6. l. dr r v ovai. 0 e y , p b , andin the antistrophe (12 5 3

' 0 1rd Ecot ; p , ' ’ 7ra 3 6 1rds av 1rp 61ror. p w 6 w61rcw

We rome am es e ese ou e can o a n are r e in e , bt i f x pl lik th , th gh th y b i f x

e n some dea of the e a a reemen of ou and ormin Gree t t , i x ct g t th ght f k

undreds of the mos ar ous sor s m d e r . Man b e a dd o Cf. p t y y h t v i t ight e .

dMono i Cb mositionslehre 4 5 an den 8 6 . p , , , , ,

ma sen en es o ur in the o own s 5 . Doch i c t c cc f ll i g til l different forms a so ou rare : l , th gh ly

measure ma b a aeon I. The rs e aeonic doclzmins in w fi t y p (p ) , hich

the n ma b e an n case a acrusis y w ti g .

w o a 81 7 1 386 1 6V 6 6 e f aj t v v w. S t. 7 IV . t x p ) 2 [ x p s r . 3 v

II. The am/zidoc/tmins ons s s of two u n ue ar e measures p c i t q i q p tit , w en ose a r ar e meas e hich cl t ip tit ur .

' a / W a ’ Sat y Su haxov . A C Ea w ES II. m. I. t l ppq s r . 3

See for s S md Eu h tkm r ie . 24 8 were s er remar a e thi ch i t, y , p , h thi v y k bl ormis e a ned f xpl i .

I - I I. In the inverteddochmius the three timedmeasure precedes the

fiv - m e ti ed.

' ‘ ’ in ?) ( éva rnrc) A év . BSO l o A II. E a s I. s r . n. t pp , fi B v q u v u _ Il F urther than this Greek poet ry andGreek vocal music didnot allow nte r an e of measure i ch g s . In thi s the Greek practice is in strong corr trast w the modern ith . HE R MICA ERI 79 24 . T O s HYTH L P D .

mi 2 4 . Th e Rh th a Peri y c l od.

n the re edn ara ra s has een s own how ommon 1 . I p c i g p g ph it b h c

s ee is made r t m a 1 d dn n o smal ar s a ed p ch hy h ic l , ) by ivi i g it i t l p t , c ll

measures a are e a e ua to one ano er and 2 un n , th t x ctly q l th ; ) by iti g

n o sen en es w on one ef Th r these measures i t t c ith ly chi ictus . e wo d andthe simple sentence correspondgrammatically to these two divi

o O Win r t m a as in ommon s ee the sen en e s a r si ns . N hy h ic l c p ch t c e

A ndthe r t m a er odis no more o unitedinto periods . hy h ic l p i rec gniz

a e means of one ef u s an the ramma a 18 bl by chi ict th g tic l , B ut the grammatical p eriodis a unit not only because of the l ogical

onne on of its mem ers b ut a so e ause of the manner of e r ar c cti b , l b c th i

an emen ere are in art u ar two orms of arran emen : h r g t . Th p ic l f g t t e

b n obsta mal a . am c an lzoric e . a o os is . p , g , efi A B A B

andthe entastic e . . ama bonos mal tots otsta , g , e/ . A B X B A

A a n the dff eren sen en es in the ramma a er od a g i , i t t c g tic l p i h ve a fixed ra o of en s n e at eas er on and er or sen en ti l gth , i c l t v y l g v y sh t t ces are un edin a er odon u nder en ond M or ons . eo er the ose of it p i ly giv c iti v , cl su a er odis marked a on er ause w is nd a ed ch p i by l g p , hich i ic t by the mr f un ua a k o p ct ti on .

r m a dmu 2 . The er o s of ourse owa mu rea er con hyth ic l p i t , c , Sh ch g t

orm to law. s is seen 1 in the exa wa i w r f ity Thi , ) ct y n hich it g oups its forms not ndeeda ordn to the , i cc i g part s O f the sentences (as above in the La n exam es w ere the o ti pl , h p sition Of the predicate andobj e ct

ar es b ut a ordn to the sen v i ) , cc i g tences th emselves ; 2) in the strict mta on of the li i ti length of the sentence s ; 3) in the fact that even if the

er odis not a wa s osed a on au se s au se is s enou p i l y cl by l g p , thi p till gh to ve the music a sa s a or ose an b e in the gi ti f ct y cl . Thi s c e se n even

m e r m of the re ed Si pl hyth cit p oem.

The eor of r m a er ods er iodolo owe er if is to b e th y hyth ic l p i (p gy) , h v , it

om re ens e anno b e en w o f he c p h iv , c t giv ith ut a previ ous discussion o t df eren es f e o o r . We r e efore ro eedto a new su e i f t typ p t y , th , p c bj ct , ” o o in w w b e ds ussedthe es emse es andthe typ l gy , hich ill i c typ th lv ,

orms of the er ods w re a in m f p i hich p v il th e . Four th Book .

T Y P O L O G Y .

In du tor . 25 . tro c y

r andmus had e r or n in dan e andmar 6 1 . Poet y ic th i igi c ch ,

w en the orms hadon e een foundwen the son des ned B ut h f c b , h g , ig

r na for a oman men e ame in se a sour e of easure to o igi lly cc p i t, b c it lf c pl w e o e e endn the Ireare r en re andd e d nd e . Son s arose , th it g v l p i p tly g m an men s dan m n which were no longer acco p i t to ce or arch . Si ce the

of wr n was not et nown or rema nedfor a on me the os art iti g y k , i l g ti p sess on of a ver few me odes were ro a a edoral as son s of the i y , l i p p g t ly g

eo e andwere omosed s n e thev were the ossess on of w o e p pl , c p , i c p i h l

m e era n wn ndea u an w r es in ed or s n o a s to nders d. It as t ib , fix f g lly k y t na ura at ese forms s ou d ose mu w en e no on er ser ed t l th th h l l ch , h th y l g v

n m s er e af e the s as a basis for complex dances . Ma y u ical s i s f ct . feeling

w w t man men to th dan eas n ou dno b e a a o e e . pl i gly , hich l fit cc p i t c

n w nde n he ree na on e o er na ons en arose a e e . T G Th t cy k ti , lik th ti , hadits era of eroes dur n w a er ar ous s ru es ame n o h , i g hich ft v i t ggl it c i t

osse ss on on ue s of ermanen a es of res den e andes a s ed p i by c q t p t pl c i c , t bli h its nde e nden e a a ns o er na n he r re o e ons of s i p c g i t th tio s . T ich c ll cti thi t me were reser edin rea oems in w was no on er oss e i p v g t p , hich it l g p ibl

’ ’ that a well - roundedmelody shouldb e repeatedadznfi nztumwithout w w e and ea ne s . W sa r s the oss of the me od the oem as a so ti ty i ith l l y, p l

no on er dv ded n o stro e or ot erwse l g i i i t ph s . Thi s was i nevitable . F h i the narrative wouldhave been dividedi nto parts in too complex a

manner to be ada edto w o e masses of eo e a manner too wh pt h l p pl , , , ich

wou d a e affe ed the narra r emn l h v ct tion . So the poems we e sol ly

c anteda ordn to the fee n of ea re In s wa ere h cc i g li g ch citer. thi y th arose rccitativc oe r e s e a th da p t y , p ci lly e epic andthe di ctic . I RO C O R A EME CO CER I Y O O . § 25 . NT DU T Y ST T NTS N N NG T P L GY

Wen the art of wr n ame n o more enera u se the e e n s of h iti g c i t g l , v t

drawn n o the r e of r m a narra the day al so were soon i t ci cl hyth ic l tion. The subj ect s presentedwere more the humorous andinstructive and

Su se uen the s n n one dsa earedin re a less the h eroic . b q tly i gi g t i pp cit

n s m e ecl ma ion on w e e assedo er o d a t . ti , hich littl by littl p v i t i pl Meanwhile the oldmarch anddance melodies were not neglected;

th a er were de e o edin forms more andmore om ex as the e l tt v l p c pl , m w h th n wors of the ods the es a s etc. e a e e reas n hip g , f tiv l , , b c it i c i g an w re nemen of u s oms more andmore m or . B ut the con fi t c t i p t t , ith

em oraneous er e on of mus a ns rumen s andes e a w th t p p f cti ic l i t t , p ci lly ith e

de e o men of the drama urel r ca o a mu s was a so fur er v l p t , p y ly i l v c l ic l th

a an ed s founda e u ar de e o men in the so o monod of dv c . Thi p c li v l p t l ( y)

m The re u ar dan e of the oru s was wan n ouse the dra a. g l c ch ti g ; c

on was not ne essar q ue ntly a strict divi sion of the compositi c y . Thi s monody was sung by artists who made it th eir e sp ecial study ; con

se uen the oe om oser cou da ow mse the om e e s er q tly p t c p l ll hi lf c pl t t lib ty .

The om e on amon the oe s of s e o was rea so a e c p titi g p t thi p ch g t , th t th y

’ soon e an to s r e s m for effe the a ra ons of ure art e n b g t iv i ply ct , tt cti p b i g n o n e a a eo e wt o u t lo ger so p owrful s at an earlier dy. A p pl i h c rr p ed

a r dssonan f s e nds easure in r s o ora u e s etc. andin es a er t t fi pl t ill , c l t , , i c , t w the effe of armon is so mu the a r n even unin re e . A ter hich ct h y ch g t , ruptedsuccession of measures was no longer pleasi ng ; th erefore the

dO ll ml l an a h nv dd m d er t e er e o mii e c. ar C amhidoch t ose . In , l t i t ch ii , p , , e manner the re u ar of the er odo o was of en ro en down lik g l ity p i l gy t b k ,

a the eau of order ar s n rom aos m b e so mu the th t b ty , i i g f ch , ight ch m ar n for r ore a e as a so a ous o er reasons. pp t, l v i th

The as er odof oe r r era ure has l t p i p t y has b een reach ed. A ich lit t

een o e edin w the a er oe s ean w ou rea e ower of b c ll ct , hich l t p t gl ith t c tiv p

wn e o m mu its dan n e r o . R us wors wt its so e n s th i ligi hip , i h l ic , ci g

oruses et h a mu f wars andunder c. as ds earedin the wd u o ch , , i pp il t lt the n u n f u the ex of the oe s i fl e ce o a destructive phil osophy . B t t ts p t

a e een sa ed m h v b v fro the great fl ood. The more complex rhythmical compositions of the oldp oet s are no longer at all understood; andso a return is made to the simply con

s ru edna ona son s of ar r da ut the me ode s emse ves t ct ti l g an e lie y. B l i th l h are wan n andthe oems are onse uen on de a med. T e ti g , p c q tly ly cl i poet composes slavishly according to model s of sh ort andlong syl lables andma e s erses me an a w ou re eren e to e r e n , k v ch ic lly ith t f c th i b i g sun He a owsome . s n o a di s ema sm andin order to s g f ll i t y ch ti , h t n f a m masur s B ut a o rt e o es r orous in the forms of the e e . hi g , b c ig th t MEN rronoe r 853 ouucr oar STATE TS C N T . 9 as. xNTu CON ER ING

s to unders andthe r mis s own for ns an e his a se he fail t hyth h , i t c , by f l

i h o n of ewof a Hora e a Ca u s f the caesura. s s t e u use o Thi p i t vi c , t ll , h w m andin general of t e hole later ti e . Le t us now reviewthe ge nesis of the poetic typ es as shown in the w follo ing table .

II. I.

me Dan e odes . March melodies . c l i

ure r a me odes . III. P ly ly ic l l i

M ono i . d i v o r es . ec tati c e . IV . B p t y V

B V III. I . B . .

n o m de ama B e omes a er a so de ama r Degenerates i t si ply cl c l t l cl to y . r to y poetry .

f the oe rodu ons of ree era ure nowe s n 2 . I p tic p cti G k lit t xi ti g sh ould be consideredonly in the order of the times in which they were writ

te n we s ou d ome to the o os e on us on. B ecitative oe r , h l c pp it c cl i p t y,

ower u deve o edin the rea na ona e s Homer He s odAre p f lly l p g t ti l pic ( , i , ti

i om r en ure r a o r e nus Stas nus es s . e a ars , , c fi t Th p ly ly ic l p t y pp wt a The rs mar me odes were wr e Ga ns A r o us etc. n i h lli , chil ch , fi t ch l i itt

nda ou the same me we ear of the by Tyrtaeus for the Spartans . A b t ti h

rs o o dan e me ode s ose name of ma r m os ons . e . A n fi t ch ic c p iti (i c l i ) , th ly lc andStesich dassume ere ore the o own de e o orus. We s ou h l , th f , f ll i g v l p ment i ative oe ec t r . I. B p t y

II. re r oe r Pu ly ly ic p t y .

III. V . Mar . I or ch melodies Ch ic song . an e m (D c elodies . )

But s ewis en re uns en s n e does not ex lain the thi vi ti ly ci tific, i c it p ac f ts . The epics appear first in literature only because th eir contents

‘ were dee medwor of reserv a ere were dan e me odies b ore thy p tion. Th c l q/ ese b ut the oems a an w th , p ccompanying themwere i nsignific t andso ere os l t . O nly wh e n the choric dance was dev elopedin more perfect forms didwr te rs of rea e r a en e a e emse es to or om os on i g t t l t b t k th lv ch ic c p iti , and e n e r oems were reser w can th th i p p ved. So e only conj e cture what th e original dance melodies were fromthe forms which have come from t em n o re i a ve and r e r h i t c t ti ly ic po try . Fo thi s reason recitative poetry m us b e ons dered rs andthe ds uss on of the dan e me odes the t c i fi t , i c i c l i , ar st ca arran edson of the orus rese dto the r e e s . ti i lly g g ch , v v ry la t

84 HE an ATrvn E . 9 as. T c TYP

l

In ate r oe ry ar u ar amon the Romans s n e the de er l p t , p tic l ly g , i c liv y

w dto ramma a ons u was de amator str te r re ard as a r on . cl y , ic g p i g tic l c t cti

e w rd- aesura was here ore se domom ed anda mos on in Th o c t f l itt , l t ly

me prope r na s .

All ot er aesuras an ose en in 19 2 III. are M . I. R E h c th th giv , , w e ure orma on e t ons andare a o e er ou a ue . See L rs p ly f l c c p i , lt g th ith t v l h ,

De A ris tarclzi studiis Homer icis 2 ed. . 394 s . , p q

a u e ss is a knowede of the dfferen names REM . II. Eq ually v l el l g i t of the he xame te r according to the number of light or heavy dactyls in

In the e nu ne old oe r more da t we e u edin e it . g i p t y light c yl s r s liv ly des r on more eav ones in ra e but un ons ous andthe oe c ipti , h y g v , c ci ly ; p t was far fromre n n u on e r fi i g p th i use .

t oc a t t II. The k ic e amet w ae r er . w r a ra ode di r e . t o o e s , i t ch ic t t p i ith

' ' Toio ' dvdanrowt A i o) mil s p m n ,

' " f ve rat Ovr rois (Swi : Z e b £71 é ' v (i y y r , m ; fip pq n) , ' ' xai ( ovcficn {mo t e a AR . pp tors ymp wcrwEpyp o w. CH l — > l l — > l l

As ma be seen from s e am e the rs sen en e or inal a owed y thi x pl , fi t t c ig ly ll ma mr n n the se ondwere the o e asses ny o e irratio al syllables tha c , h v ic p on more to the lightly close . The t rochaic tetramete r first occurs in the iamb ographers (Archilo

us t en as me re of the da o ue in the drama fromw was ch ) , h t i l g , hich it . ate r mo e a m e n the namn l r ndmore excludedby the iambic tri et r . O i g of ese two nds of erse of 1 . 0 V II. th ki v , ,

T ia rs b ut III. he mbic tr imeter o urr n rs in the am o ra e , cc i g fi t i b g ph

a er the reva n erse in the da o ue of the drama ons s s of six l t p ili g v i l g , c i t

am measures w as is s own the admss on of the rra ona i bic , hich , h by i i i ti l s a e n o the e en measures on are un ed n o ree d odes yll bl i t v ly , it i t th ip i

a l i v ; 3 | u ¢ 3 |

This mode of writi ng has exactly the same value andsignificance as the other

v l é a l 85 THE RECI A IVE E . s 26 . T T TYP

“ “ d Cf al ede t er r me er or e a o . . 10 So the verse is c l i h t i t h x p y , I V I .

me er dfferen romthe rema n n erses a were re ed The tri t , i tly f i i g v th t cit ,

a n n s is ro ed is not to be dividedinto two rhythmic l se te ces . Thi p v

r a n i r ro es Here a wa s beyondquestion by its el tio s n ly ic st ph . it l y answers to genuine hexap odies like

nm aka d ded n o e ra od d od never to a verse that is u i st bly ivi i t t t p y ip y .

Its en moreo er is in s r a ordan e w the f B oo . (C . k V ) l gth , v , t ict cc c ith rules statedin 2 1 .

It is not to b e den ed owe er a in de ama on the erse is er i , h v , th t cl ti v v y eas d dedinto two ar s a s or ause enera ily ivi p t by h t p , g lly a less often 3

But thi s divi sion is in no sense nece ssary (th ough it does harmonize w the r m 3 I E} I l 3 I _ u I H and ith hyth , u , u ) , ,

onse uen l the omss on of the ause is u e as re uen ere as c q t y, i i p q it f q t h

a of the word- aesura in the exame er In the r me er owe er th t c h t . t i t , h v , su a aesura m a e een ex e ed s n e s was in the s r ch c ight h v b p ct , i c thi t ict sense re ed e cit po try . The relation in the first ten verses of the A ntigone is as foll ows ’ 9 K O LV OV ai r ddelu ov K af a p p , ’ ’ ’ ’ ’ dp ofa d(in Z eb; 7 6311 owr O idtrrov Kaxdw t A s A a; I a 0 7r0 tov ovxt vcpv er t {m aul Tenet ’ ofidév ydp dhyewdu 0 63 aims dir ep v s v« w I 9 3 c A 3 our a wxp ov our an noy 6 0 9 ovrocov ou ? ’ 7 63V 0 6 V 7 6 K ci dw0 13K fin-om e d) K axd p y w. A I A i 9 I I K at vvv r t r om dv a o' t war/ 37 m? woket K fipvy/xa Heir/ a t T OV o r p a 'rrn/ dv w v I s ' I ' excts T L K GLO TlK OU O aS 77 h avdavet

’ I A a A I ' ‘ ’ 7T 0 § OU G ( tA’ O T GL OV T a 7 10 V 6 0 o wKaK a p T fi X X p , a a a

s wl ser e as a e of the enera ase ou ommon the rs Thi i l v typ g l c , th gh c ly fi t

sor of erse o urs in rea er ro or on a r t v cc g t p p ti th n he e . E 86 THE EECITAT V E . 9 as. T TYP

wou dseem owe e r a in re a on ere was ear a enden It l , h v , th t cit ti th ly t cy

the rs and our measures n to put the two chief ictuses upon fi t f th , givi g

e two r odes the ve rs the appearance of bei ng dividedi nto t ip i

me odandis in on wever anno ave een the or na , T his ho , c t h b igi l th c flict , in the erse n o d odes . Nev ert e e ss re a on with the division of v i t ip i h l , cit ti , the ve rse must ofte n have been unconsciously dividedinto two such

a s is roved the fre ue n eq ual parts of th ree measures e ch . Thi p by q t cl ose in the thought at the endof the thirdmeasure andthe fact that the cyclic dactyl occurs oftenest in the fourth measure :

a e r me a so was us de a med andso ere arose the In a much l t ti l it th cl i , th

ern A e andrine erse 2 1 1 E . mod l x v , , ,

V The tetrameter season em o edin ar u ar Ananius con I . , pl y p tic l by , si sts of two trochaic tetrapodies with diaeresis the secondhas halting

ose 11 6 I. cl , , )

" ' ' E a t i t! dxto dw'r os dveia SE e uxbm p p xp l s p , g x q ’ ' ' / ' 7 6 V xal dw8 (ida wdp tmov Kapis 5K owxer) ; (IniM ov ANA N .

The choliambas tr imeter scaz on 11 6 ons s n of two V . , , , c i ti g

m r odes the se ondw a n ose . ia bic t ip i , c ith h lti g cl

’ Q ” V UK e wxa o e me a aw E yap O 8 s w xA. w ’ Sau eiav of) a cfwc Sof axov 35 , x y q pp [ 7 m

j i ’ ‘ I - ‘ x r ov fre Sa Sav a e w our aa epnm. s s g ’ l ‘ G M a (I) m. L T m m. HIP o PO N. p ds, ? p X p 567

' The erse named the oldwr ers on me r e of cr r a u VI. v by it t ic f p pov p r ' ‘ i r oo-vM r x iov t év ov ons s s of a o aoed e ra od of ree c e, y i mfm , c i t l g ic t t p y th

c da s andan rrat ona oree as na measure o owed yclic ctyl i i l ch fi l , f ll by a f a n ore e ra od. It a wa s has daeres s ando urs on lli g ch ic t t p y l y i i , cc ly in the com w ic riters . E I A IVE E 87 THE R C . 26 . T T TYP

' - K d7r a aimoath ?) Be qSep et r tdfiaahkov ai cra x v p69 i r ?)

9 I I I 3 3 A I - I / ha a ov e tcr ov r e van a to w8 ar de tk og ctr7 3 . acr q p y p 7, 9 f V V A A 3 A ' Tr At o K a t qSKop ov a¢90 vov we r e n ap e wat am r a s apy vo w. R C ATIN . — w u l w u l u u — — w u l u u l u u

he metrumCratineam ons s s of a rs Gl on anda com V II. T c i t fi t yc ic

ra od enera wth daeres s nd a ed the ose mon ch oreic tet p y , g lly i i i i ic t by cl

It is one of the sor s of v erses w w the oe addresses of a word. t ith hich p t the public in the parabasi s of c omedy .

, ’ , ' ' Eff e K LO O O G ZT dva ai 3 (t a x CR A T . i X f x p , IN

' ' ' / ‘ / i Id k id i o . . Trail T a. r o a rdT e r Trait T a (popnrd. p r q q x pq

The metramE a olideamis ke the metrain Cratineamin e er VIII. p li v y

res e ex e a the rs sen en e is a tlzirdG on . Its use is p ct , c pt th t fi t t c lyc ic

the same .

' r am-ota e L i a K e bahi v (ii i/ de mi s é en'r o at s y [ l g y r p n ,

' ' ' ' hei i m édots K tvecr wKocr t ocr al/ SGA O L fol p s, fi , p f Q s, I 9 A I I 3 A K a t ave wvwv K akv t a t p f T npw g . CR ATIN.

v l

— U L ”_ u — — u — A l u l U I I u l l l .

h t P ia ea o a d e au e was e s e a u sedin IX . T e rs r s s e s fi p , c ll b c it p ci lly

P r a ean sa r son s e on s ere as me re of the old ara as s . i p ty ic g , b l g h t p b i I con The ot er two Pr a e ven e ow ave u e the same use . t h i p i , gi b l , h q it . D aeres s s s s of two f rs G on s one a a e andone fa n . i t i t lyc ic , c t l ctic lli g i i is enera ndi a ed the ose of a word g lly i c t by cl .

" dhhdSia tr a v 37 V exam o f K oh ax eg 71' d finds

' ’ ' ’ ' ” / h efoaev dM oiK ov O a G dis £0 e da mT a K O/L l/IOI.

’ ' (iii/ S e a ar - wt t ih ov do éo' r w p c p t a. “EV at s o ; ' ’

dM oT tos r dn o t dv e 7 6 K ci ov aiJr oiJ. p , p t S fw l EU P . Co .

w u _ u L l| | l , less frequ ently _ V v l THE RECI A I E E. 88 9 26 . T T V TYP

he secondP ria eus ons s s of two se ondG on s, one a a X . T p c i t c lyc ic c t

lectic andone falling .

' ' ' ‘ ' - - i Vi . CB AI IN. fipto mo a “iv irpt ov hemoi) p txpdv ohmc/ e

he thirdP r ia ean ons s s of a a a e rdanda al n XI. T p c i t c t l ctic thi f li g n secondGlyco ic .

' ' m/150 0 1) . EU FR R I r oi} veov A i O O . of: fleflrykos (I: r eXcr ai.

_ u l — v l

F na for the ass er odthe ana aestic tetrameter is to b e XII. i lly cl ic p i p din h edw e the Pr a e was use t e ara as s . It ons s s notic , hich lik i p i p b i c i t d h na aes e ra o . T e erse has e of a full anda falling a p tic t t p y v ca sura.

' ' cini i xoi iar aa dat r ots er e ow' t O oicrw M an xp ) f fip p X p ,

r e ai / e A wv f al i xa 50 7 i ; da s r e t l S d , W da eiiet p y ] y!) p ) p , , ’ ’ - aiw d‘ ta M ove Cwa r elder e de ' e f) ywv v p y p i mfr x p vo v. AR R . . AN

- v u _ ll

The name is derivedfromthe fact that the measures were unitedtwo

measu e andtwo into an r .

ll ll .

In the A e andr an me ur er two on d odes wer III. e X l x i ti , f th , i ic ip i unitedwithout anacrusis andwith great license (especially in the occur

' n f a as s n he so- a edSotadeu re ce o an cl i ) i to t c ll m.

' ’ ’ ! 7 e a- Kai K akb ht v r dwvr n v v o o ov . 63m p i , fi p

’ ' o w8 dadv o f) SeSO ev v ( tihao v e o avr m y fi p n p fi.

s I I t 1 on x wet wa a 0 m-o exa o S rm o. xa o p ; T r v p r m v .

XIV . The Galliambie an en us as me re oundes e a in , th i tic t f p ci lly the poems sung to Cybele by her priests (the consists of two ionic a dipodies with nacrusis . The pure formis : K- ll . 5 1r o av6n r ofrro dtddo xwv 027 0 81 0 to r p ¢ 7; B r iv .

The ana rus s is re uen on ra ed ess o en the ar c i f q tly c t ct , l ft sis of the second measure HE R IC E 9 2 T . 9 7. LY TYP

ll . ' A ' k t oA Kea. K a at; Ewea n ar ayeir at K a x p cir a .

The formwith dichorees (which may b e resolved) is more frequent

ll . i abi cap ita M aenades vi j aci unt iieder gerae .

Ca u us has e u s a oemin s me re carm. 6 3 wh is of t ll l ft p thi t ( ) ich , t o He has u seda s ereo edform nd ourse des nedfor re a n . a c , ig cit i t typ , w s orm can be has de viatedfromit only in a fe verses . Thi f gathered fromthe first five verses of the p oem:

Sup er alta veolus A ttis celer i rate maria P li rygiumat nemus citato cup ide p ede tetigit

adiit ae o aca silvis redimita loca deae g p ,

timulatas ioi arenti rabie va as animis s f , g ,

i on ili devolvit ile acute sib p dere s cis .

This is the metrical model ; b ut the Romans certainly recitedquite df eren viz i f tly,

(7)

na a r e f Ana reon ma b e men on XV . F e s o edw a so b e i lly v c y ti , hich l

on s to the resent e ou was sun : l g p typ , th gh it g

u l u u u l L I

I v e avavrer op at 877 7rpo g Ohvpt'lrov mep vyeo m K ov cfiatg ’ ’ ’ ° cr z e - 6 orr of) d é o a i v . 8rd. 7 V Zp y p p i e e9e1\ o v vnfid

It is wor of no e a e m 4 . thy tice that no verses in quinqu p rtit easure r i r a dto d o u n e e oe r . Paeon s e a are ar e a m cc cit tiv p t y ic , lik b cchii , h cl i , andare u sed erefore w ou e e on as a so the do m on in , th , ith t xc pti ( l ch ii) ly

oems des nedto b e sun p ig g .

27 . The L ri T y c ype.

I. FRE M ETR L F R E ICA O M S .

1 . Be ore a n u the r e ro er a me r a ense w f t ki g p ly ic typ p p , t ic l lic hich was deve o edin mus b e ns dered l p it t co i . To recitative p oetry th ere properly b elong only the dactylic hexame ter ro a e rame er and am r me er The rema n n erses , t ch ic t t t , i bic t i t . i i g v enumeratedin the preceding paragraph were borrowedfromly ric p oetry at a a er s a e of its de e o men w e e on of the ana aes l t t g v l p t, ith xc pti p tic THE RIC E. 90 9 27 . LY TYP

- he erses orr w me er w was or na a mar me od. T o ed tetra t , hich igi lly ch l y v b ds fro mly ric poe try are logaoedic ; andlogaoedic verses are i tingui shed

mof e r measures w can b e a a nedon b y variety in the for th i , hich tt i ly by

a freer t reatment of the quantity of syllables . e n re mar edin 2 0 2 a the erses of r It has al ready be k , , th t v ly ic

oe tr ro e r ons s n in enera of on one sen en e se domhad p y p p , c i ti g g l ly t c , l wn r o e the o o e ses e . . the chie f ictus on the fi rst measure . T giv f ll i g v g this intonation ’ " i ' / A c oSt ov dealt 0 .1 r a Hoc uiOp bp ,

l drrhoxe Macro al (r e A ids do , p , , ’ w Sti Tr a Ga r f a r (ii/fa n. ma oT Vt ov p ; p p i g , , p , _ u | u | etc.

In th d wouldb e altoge th er unnatural . e melo y also all effect would

ave ee n os the verse had e un w an es e a s ron us h b l t , if b g ith p ci lly t g ict

The r m a sen en e e omes a un rou its andclosedfeebly . hyth ic l t c b c it th gh one e us let s andw ere i ma e a as the ramma a chi f ict , it t h t y, x ctly g tic l u a h se nte nce may have its chief ict s t t e most different places .

n ma b e u sedfor the a The following musical se tence e . g . y b ove strophe

' ' ’ IIoc Kt M O or O - var ~ dc p d. d A ¢p6

andso on.

The rs meas ure a ear a ms e an t i me r al s o a rus s . I s fi t pp l t lik c i t ic ly ,

e r fo f ee e re used er r . In the old r oe s ma b e not on a th , v y ly ly ic p t it y ly

oree ro er u b ut a so an rra na ree an nver ed ch p p ) , l i tio l ch o i t

oree w e r a n not an am us v or e e n a s or ened oree ch ( c t i ly i b , v h t ch

wv — h . s as een named the basis a name w w b e re a ned. ( ) Thi b , hich ill t i

' B ut it must be notedthat the basi s forms an inherent part of the r mandis not s m n rodu or he an en s emse es hyth i ply i t ct y to it . T ci t th lv unde rstood alms measure so a w em é t r ati in by B , , th t ith th B a s n era gen l .

The se ondG on for e am e had o r dfferen orms c lyc ic , x pl , f u i t f by han e in the as s viz c g b i ,

’ iw V U m ! ’ ir e dwaki x AN. 7 . 12 . v l ll p ip zv axn v . f ' w v ‘ d. . I3 ih w K . m v ai. a I r l v l fi yey v evos . f ' iw V U 3 / 7r 9 t 1 . a et o 7 60 Id. r . 3 l l p m p s 9 . f ' W ' V l v v V A de c t . 4 5 . hv u SA P P II. r l l ll . 0 . y x , f

2 THE R IC E. 92 9 7. LY TYP

MetrumGratineum

w v l - v l

MetrumEup olideum

— — ll — V _ B a i V v l l I I u l A ll

V

V V V

P r iap eus secundas A ll

V V V

P riap e us tertius A ll

u v u

5 d» esi n/oz xar e di Tr b 1 d ihmdé d g , p p e n ; pm '

r t O V i 7 6V A ttivmr ov T6V éxde xawoi e . n fi, ] p tl y b Na . AR . 5 18 sq.

U l _ V | - U l _ v l _ v

-w u | t_

In or oe r w was a om an ed dan n the as s 8 . ch ic p t y , hich cc p i by ci g , b i

For ere the measures mus a e an exa en t e . no admissibl h t h v ct l gth ,

fr or the dance will b e but a planless moving of the ch orus to and o.

The rrlcic ere ore rs of all is not a owa e under an r um py th f , fi t , ll bl y ci c s an - m moreo er demands a so a s r es . The s r dan e r t c t ict c hyth , v , l t ict me n s ro erefore the lody according exactly in strophe anda ti t phe . Th measures must a ordme r a e rra ona measures ma ndeed cc t ic lly . Th i ti l y i correspondto the rational andtwo sh orts may standas e qual to the s m e on ya! and w s n e in s n n two s or no es i pl l g ) , i c , i gi g , h t t which fall to two syllables in the strophe can without difficulty b e transferredto a long syllable in the anti stroph e (j ust as every circum

fle eds a i w ut x yll ble n prose has t o notes) . B it is impossible for a proper and an n erted oree to orres ondme r a i v ch c p t ic lly . For how could > P and adm the same me od ? Conse uen in c or J ‘ I J it l y q tly h ic 93 II. THE EPODEs.

“ r a me r a orres onden e e y . D is a o e er nadmss e poet y t ic l c p c lik lt g th i i ibl ,

few a es were o urs are in orru assa es w andthe very pl c h it cc c pt p g , hich dd are t erefore to b e emen e . , h , B ut validobj ections couldnot b e made to a corresp ondence like

W e ere not on the en of the measures is e a re w s n , i c h ly l gth x ctly p

er edb ut a so the as two e - no es can eas b e un ed n o a s v , l l t ighth t ily it i t

Andso in fa an n er ed oree orres onds to a tri single syllable . ct i v t ch c p r an ur des F r a brach several times in the choruses of Pinda dE ipi . o n

e am e see 1 4 I. x pl 7, ,

Wt s e e on v _. at he e nn n of a o aoedc erse is i h thi xc pti , t b gi i g l g i v

i L. 1 B a d m r i n C . enera to b e d ded 1. E a es o u n 2 2 1 g lly ivi u x pl cc , ,

2 . L ri c n e 8 The y c Type ( onti u d) .

’ I T E n vrc oi I . H EPo Es (oi e pd) .

r w a ro r a edto se the s m 1 . In re a e oe es cit tiv p t y, hich pp p i t it lf i pl t

orms o urs the mos r m e sor of r m a er od the re a f , cc t p i itiv t hyth ic l p i , cit

v e erse s ons s s of two sen en es w e er a e e ua en ti v ; thi c i t t c hich ith h v q l l gth , “ or the se ondof w i a a e or a n or is e en s or ened c hich s c t l ctic f lli g, v h t

h des an en re measure . In t e o r oe r as u a edin ar by ti l t ly ic p t y , c ltiv t p ticular Ar o us a s e is a en owarda ur er de e o men by chil ch , t p t k t f th v l p t .

The erse is no on er an nde enden er od no w s andn the v l g i p t p i , t ith t i g pau se that closes it andthe fact that it may consist of two sentences ; b ut a new erse fo ows somet mes in u e a dff eren r m w v ll , i q it i t hyth , hich is e er to roundoff the me od of the rs or to ons u e a on ras ith l y fi t , c tit t c t t

In s wa the two are un ed n a to . o n or an w o e w has it thi y it i t g ic h l , hich

xedme od a re urns w e er r w m a fi l y th t t ith v y ep etition of the t o rhyth s . “ ” In ons der n the es nown e od e w a e 2 . c i i g b t k p ic stroph s hich h v ” een reser edwe na ura e n w the ds on w ons s s b p v , t lly b gi ith i tich , hich c i t “ “ of two da erses the ero andthe e e a exame er ctylic v , h ic l gi c h t

versus ele iacus . The a er is u sua b ut erroneous a ed enta ( g ) l tt lly , ly , c ll p

e An exam h ad met r . e as a re een n in I e 11 6 II . pl l y b giv , , The distich on was a melody u sedchiefly to express sorrowor lamen

i he o - tat on . Not on t s a ede e es owe er were wr t en in t s ly c ll l gi , h v , i t hi r m b ut a so man of the mar al son s of Callinu s r aeus Ar hyth , l y ti g , Ty t , chi

a he i i nom o us ndT o n s . L a er was u sedmore andmore n l ch , g t it g ic

m ose oems o d rs Theo nis and en So on andman o ers . p , c p fi t by g th by l y th

F na was fre uen em o edin umorous o e - son s as a er in i lly , it q tly pl y h l v g , l t THE RIC E . 9 1 9 28 . LY TYP

ms e er e ess a wa s mro d. ese oe er the A urora of Ovi Th p , n v th l , l y i p p ly i re taine dthe name of elQ es .

e re we re o er me odes a so w were usedfor om effe 3 . Th th l i l , hich c ic ct,

u ar ose in w the dfferen e of the erses in me re or in partic l th hich i c v t ,

ar edds ar in e r en e ressedthe n e nded on ras in a m k i p ity th i l gth , xp i t c t t

a e In ese the on er erse ma fo owthe s or er e mnn r. a liv ly th l g v y ll h t , by

The earer e e s a which a comic effect is p roduced. h xp ct fter the first s r a s l s or er one to ol ow a sa s a or ose e n com hort ve se ti l h t f l , ti f ct y cl b i g w ut on the on rar the monl a a nedin s a . B se ondis made y tt i thi y , c t y , c u su ess ons of erses are rea a o n much the l onger. S ch cc i v lly c nti uing

dsor . i the une e e c. d I . se ries of comic effects of xp ct t (C e O r . I 2 5 5

Sedscitis ease notissimumr idiculi enus cumaliudexs ectamus aliud g , p , dicil ur . ) Since the rich epodic literature of the Greek s has b een lost with the e ce on of a few ra men s the e odes of Hora e mus b e used n x pti f g t , p c t i il us ra n The orms he has em o edare the fo own l t tio . f pl y ll i g

he iambic u m x I. T ro ons s n of an a e a od andan g p , c i ti g i bic h p y iambic tetrapody . 3

V V I_

B eatus ille ui rocul ne otus , g p g , utp risca gens mortalium

II. The irst P llziambic rou ons s n of a da erse f g g p , c i ti g ctylic v

r odes e ame er andof an am e ra od t ip i (h x t ) i bic t t p y .

E 5 . p . 1

1: No. erat et caelo f ulg ebat luna serene

inter mino a i r s dera.

III. T he secondP lbiamb ic rou ons s n of an iam r me er g g p , c i ti g bic t i t o l own the da e ame er f l i g ctylic h x t . _ W

v i

E p . 16 .

A ltera amteritur bell is civilib j us aetas,

out: at i sa Re ina vi ibu p r s r ail .

“

29 THE me E . 96 9 . Ly TYP

WI

_ u I_

Aacnrn. f r .

' 5 7 0 20 9 yap gbtAcin rros pm

-“ xapdiqv a ve eels ’ w z e woM ijv xar dxhiwdup dr v x vev .

of s rou Hora e see 29 3 III. For the remodelli ng thi g p by c , , ,

V ar sor Of ree- nede ode has een reser ed I . A peculi t th li p b p v

- sto anes Ran V I. 416 4 18 Ari ph , ( ) 3

C — v — 3 — v — A a I_. I I I l 1l

e 7 1- K B odheo d87 0 . owfi i ' o mbdxwp ev ApxeSnp ov ’ ’ i e of 39 émems dv Oi m3¢w dap r epas.

29 L ri T e ontinu . The y c yp (c ed) .

- F R GR . III. O U LINED OUPS

is not mr - n d rou s are the re ail 1 . It e e c an e a our e by h c , th t f li g p p v

s is no a ing formin Greek poetry that was desig nedto be sung . Thi t

the ase a so in En s B su a rou n s mme r ou db e bly c l gli h . y ch g pi g y t y c l attainedalong with varie ty ; andthus the wh ol e made a satisfactory

mress on w e the me od s ossessedin se enou of ariet i p i , hil l y till p it lf gh v y not to be resome on nued e on ti by c ti rep titi .

In Aeo A ae us Ana reo a dIon r oe r n S o etc. an lic ( lc , c , pph , ) ic ly ic p t y four- ned rou s were dev e o edin r r B ut s n e e a li g p l p g eat va iety . i c littl th t is e n re has ee n reser ed mus suf e to e ome a ua n edw ti b p v , it t fic b c cq i t ith

ese rou s as oundi - de e nden n Hora e . Wa Hora e has n th g p f c h t c i p tly or nate dor an edwi igi ch g ll be pointedout andbriefly discussed. 2 . Firstf or mof constr uction : the same verse occurs four times with out a ch n e . Wg hethe r Horace has here followedthe model Of Greek p oets cannot he er a n de ermn dbut s i e s ro a e . c t i ly t i , thi p b bl The repetition of exactly the same verse approaches the usage of rec ta e oe r to w c ere is e e in a i tiv p t y , hi h th h r a further corresponde nce th t UR— I E R 9 7 III. O O F L N D G UPS . the verses are independent p eriods consisting Of two or three sentences a e ch . ar Th ere are two v ieties of thi s group .

e A scle adean rou ons s n f I. The l sser i o our lesser A s le i p g p , c i ti g f c p a a de n verses . The versus A sclep iadeus minor consi sts Of two catale ctic Ph erecratean

erses a se ondanda rs w daeres s v , c fi t , ith i i — a l q L. II

Horace is p eculiar in always beginning the first Pherecratean with an

rra ona measure so a his s ro e reads i ti l , th t t ph > I > I — > v u L _ ll I I , > I

’ s re u ar resu s romHora e s noran e of the r m Thi g l ity lt f c ig c hyth . He mus Of ourse a e fe the r m as we as we b ut he made a t , c , h v lt hyth ll ,

on ess on in s ons an u se O f the a aren s ondee to the me r c c i , thi c t t pp t p , t i cal eor s s Of his da who on erned emse ve s w o w on s th i t y, c c th l h lly ith l g

nds or s he a n an ua e moreo er is r in on a . T L s a es h t ti l g g , v , ich l g yll bl ,

v y r i or ne b ut relati el poo n Sh t o s .

In order to v e a earer dea O f the for e Of the four- ned rou gi cl i c li g p, certai n pri ncipl es andthe u se of certain geometrical figures must b e “ ” r on Eur m . introduc edf omB ook V . hyth y

The A sclep iadean was originally a p eri odconsisting O f two logaoedic

r s is nd a ed trip odies corresp onding to each oth e . Thi i ic t by

La er two of s er ods were un edin a rou nd a ed t the e p i it g p , i ic t by

in w the ur e at the e s ows howthe en re erses w are hich c v l ft h ti v , hich nowon su ordna e er ods or rou s orre s ond the ur es at the ly b i t p i g p , c p ; c v r howthe rs andse ondsen e n e s in the rs erse orre s ond ight , fi t c t c fi t v c p

' n ese w respectively to th e first andsecondsentence s in the seco d. Th t o THE RIC E . 98 9 29 . LY TYP

e ua were not ere nde enden v ses thou h metrically exactly l , h i p t e r , g q e rou the me od O f the e we ose un ted n o a s n , p io ds but e r cl ly i i t i gl g p l y r , me od of - so the he ke no e . Per a s a first verse not e ndi ng with t y t h p l l y

t a of the rst b ut on ana o ous . the seco ndwas not ide ntical with h t fi , ly l g

n us un edthe scheme of the en re rou wou dbe Four verses be i g th it , ti g p l

a {3

heme . 34 3 4 . Concerning this sc cf , , d The melody might also be arrange 3}

3 0 3 0 - 0 0 3 0

e the rs two erses orres ondedto the as two . i . . fi t v c p l t 0 carm. III. 3 An example is foundin Hor .

Ez egi monumentumacre p erennius

re ali ue situ ramidumaltius g g p y ,

uadnon imber edaa non A uila imotens q , q p p assii diruere aut i nnumer abilis

It is worthy O f note here that the groups are not separatedby punc

B ut s suc a - ned rou s s ou db e tuation. till h division into four li g p h l

made e ause in all the odes Of Hora e the o a nu m er Of erses is , b c c t t l b v

d s e our w a fe wex e ons w e re n er o a on is o ous . ivi ibl by f , ith c pti h i t p l ti bvi

II. The reater A scle iadean rou ons s n Of our reater A scle g p g p , c i ti g f g v edof a a a p iadena erses . The versus A sclepiadeus maj or is c ompos c t

eot e se ondPberecr atean a a a e A donic anda a a e rs l i c , c t l ctic , c t l ctic fi t

_V l

w daeres i m su e is a wa s ith i is n both places . In Horace the first ea r l y rra ona cf undr i ti l ( . e so that his strophe has the form

THE RIC E. 100 9 as. LY TYP

d er od ; 34 3 . A palino ic p i , cf ,

IV . . arm. 7 Hon. c

u ere nie ce redeunt am ramine c mis Dif g , j g g p arboribusque comae mul at terra vices et decrescentia ripas

flumina p raetereunt.

Of w the T he reater Sa hic rou : a rou is re ea ed II. g pp g p g p p t hich

eus . aoed tetra od the se onda irdP r iap first verse is a falling log ic p y, c th measure were is Horace has here also alway s usedthe irrational h it al owed so a his rou has the orm l , th t g p f

WV I- v Il

I 8 . m. . HO R . cu

L dia die er omnes y , , p

te deos oro S be r ia cur ro eres amando , y p p p erder e cur ap ric-um

ode it camum atiens ulveris at ue solis r p , p p q

l a edic A rchiloclzian ou as used Horafie i III. The o o r s g g p , by ,

- f Cf. are u 8 II . h n th wse four ned. 2 4 I He as u ed e se ond i li c lly , , it c

O f the ree verses in the thirdA rchiloc/zian rou to the rs s n e th g p fi t , i c

s ll aba ance s nor biatus o urs he w ne er e wee . ith y p cc b t n the two T t o. linedepodie group so arising is repeated

3 5 - . U I_3 I-_V I_v IL I A ll 11 O R- I E RO 101 1 . F U L N D G UPS .

H R . Ca . I. 4 O rin .

olvitur acris li ienis rata vice v er is et Favoni S g , tralzuntgue siccus mac/i inae carinas

ac ne ue amstabulis audet ecus aut arator i ni g j g p g ,

n at a lbica ee p r a c nis a ntp ruinis .

Hora e mu s ae readthe da s as for is m oss e a c t h v ctyl cyclic , it i p ibl th t he Sh ouldhave uniteda purely dactylic anda purely choreic sentence

n one r wa done b the oman o e se . Wa he has done ere s R s er i t v h t h y v y

ommon e en in exame er so a e r SOle o n Of a reemen c ly v h t , th t th i p i t g t

he form with the Greeks was the sch eme Of the syllables . T s O f thi s s eme were no on er sun b ut on re ed andin de ama on the ch l g g , ly cit ; cl ti n difference between long andsh ort syllable s is not so great . O ly he who fee s oe r andson nse ara e and us ras s the ou Of l p t y g i p bl , th g p th ght th f m a a e or s re es w me r a ur . , cit ith t ic l cc cy

The f our - linedA lcmanian group consist s Alcmanian

r f . 3 I . ou s un ed. C 2 8 V g p it , ,

W— I_ W I_ — I_

I R . a m. HO C r . 7 .

Laudabunt alii clar amRb odon aut Mgtilenen aut Ep /zeson bimarisve Corintb i moenia vel B accb o Tb e b as vel Ap olline DeQJb os

n i ne aut bessal Teme i s g s T a p .

he in fian in A l n V . T terc g g sc ep iadea group : a group is repeate dcon s s n of a se ond on andthe esser A e ad n H r i ti g c Glyc ic l scl pi ea . e e al so

Hora e has re u ar u sedthe rra ona measure wen a owed c g l ly i ti l h ll . 2 THE Lr l c E. 102 s 9 . n TYP

— v u | _ > I — v v | _

Cam. I. 3 . Hon.

iva aiem I ri Sic te d p Q/p ,

atres Helenae l ucida caldera ciof r , , ventommgue regatp ater

obstrictis aliis p raeter Iapyga.

o onstruction two nde enden rou s w con f c i p t g p , hich

te a sor of an es s to ea o er are un ed. stitu t tith i ch th , it

s an e oward rea er ar e This i an important adv c t g t v i ty .

e c ntract A scle ia ean rou the rs er od I. Th o ed p d g p fi t p i consists of two esser As e adean erses the se ondof two se ond l cl pi v , c c

The ormi of which the first is falling . f n Horace is

— v v | l. — v v |

11 . 4 4)

Hon. m. I . Ca . 5

QM multa gracilie te p uer in row p erf ume liquidic arget odoribus,

rato P rrha sub ant g , y , ro cuiflaeamreligas comam

II. Th e Alec ia group the first periodconsist s of two A lcazci bende

' eac llabi the o her of an A lca ’ y , t icuc ennemllabua andan A lcaicua decaeyl

3

a — V — — | a, | v u

a V — a l i a

104 29 THE e c E. s . TYP

I. 24 . am. Hon. C

Quis deriderio s itp udor aut modus tamcari cap itis P raecip e lugubres

tus Mel omene cui li uidam ater cau , p , q p

vocemcumcit/ mmdedit.

b cus minor ar mo e common Sa loic rou . the Sa i E v £ c II. Th pp g p pp ( d

- min ree mes w os n Adon . The or Hora e 18 xaa nSM afiov) th ti , ith cl i g ic f c

V | — > l

V | | _ u |l — v u | _

2 = éw¢p6¢x6m

m. I. 2 . Hon. Ca

Jamsatis terr is nivis atgue dime grandinis misitp ater et r ubente

de xtera sacras j aculatus arces terrait urbem.

he aes re a so the se ondmeasure is a wa s rra ona . T ura He l c l y i ti l c , w a wa s o urs has not the eas to do w the r m b ut hich l y cc , l t ith hyth , ra er ds ur s w en o ser ed s nce the da is ere dis th i t b it h b v , i cyclic ctyl th by

he s in a e r memered. T er es S o s n e a e not d ded n o two b v pph , i c th y ivi i t

se n e n e s are na ura w ou is aesura andthe se ondmeasure t c , t lly ith t th c , c w na is not al ays irratio l .

' ’ Homdde ov derivati A 0 8vra p ¢p ,

- 7m? A u} ; dol eR ho“ Aio o o ai 0 , yu 6, " - 1 f de mo L ovfaun 86 m fl in t/ La Gfi ov p 5p p m p , , p , that is

That the last sentence is not to b e written separat ely is shown by various examples both in Sapph o andHorace (th ough th ey are compara tivel ewer in the a er in w the as sen en e s ou db e y f l tt ) , hich , if l t t c h l wr te n se ara e the rd erse woul it p t ly , thi v dendin the middle of a word.

I I A - ' Gu ~ ' a va cu p ct rev/woe ic es eeoww

( a y « a do n évawi 0 m mp , s o; 7 1. f Mam mt wh o'wv ddv t an/ f iv er , h ; inmxozia .

Iliae damsc nimiumguerenti

actat ultoremva ue et j , g sinistr a

' labitur rs a Jove non robante ux o p p rius amnis .

Hon. a C rm. I. 2 . 19 . , v RIC EM 5 IV . . LY SYST S

ere is o ous a the las erse is not to b e wr en H it bvi th t t v itt ,

labitur rip u Jove non p robante u i :corius amn s .

6 It is ere ro er to re a u a e the a s w ow a th . h p p c pit l t f ct hich Sh th t e odes of Horace were intendedonly for de clamation andwere written a er en me r a mode s the oe not e n o erned a me ft giv t ic l l , p t b i g g v by lody n o edto mee wh ose de ma ds he endeav r t .

he rra ona oree is rea edas a ds n form f I. T o measure i ti l ch t t i ti ct ,

the ra ona o a n on ex e on ree e its a . f s e s e O . 2 I. i c ly by c pti ti l ch t k pl c ,

nd . V . and II. a II ; 3, ; 5 ,

II Hora e usedall da s as as is to b e seen rom i . h s con c ctyl cyclic , f s ru on of the lo aoedic A rclzilocli ian rou 3 t cti g g p ( ,

h l aic ou 4 II. he u es da r III. In t e A c r s e es s andin the corn g p ( , ) i i ,

on a w ou r m S kic rou 5 II. aesura o e ardto the r m pp g p ( , ) c , b th ith t g hyth of the er v se .

30 . The L ri T e con lu d y c yp ( c de ) .

C M IV . LY R I SY STE S .

We sawin 2 6 howtwo r m a sen en es are un ed n o 1 . hyth ic l t c it i t the s m es er od the re a ve v erse en in 2 8 howfromtwo i pl t p i , cit ti ; th ,

nde ende n erses w ma e a sor of on ras to one ano er a i p t v , hich k t c t t th ,

m n h am ara ra was s own unifiedrhyth ical group arises . I t e s e p g ph it h how ree v erse s standn in a eaut fu re a on to one anot er ma th , i g b i l l ti h , y

n a it was seen in 2 9 b e un ed o a carefu roundedw o e . F n it i t lly h l i lly , howfour verses are un ed n o a rou the dv s on of w is de it i t g p , i i i hich

a a er pendent upon determi nedlaws andtherefore has a fixedch r ct . The lyric sy stems to which we nowproceedmay b e characteriz ed as a succe ssion of verses which neith er of th emselve s constitute rhyth mical p eriods (since th ey do not consi st of an antecedent andcouse

uen sen en e formn an an es s to one ano er as is the ase in q t t c i g tith i th , c re ta ve erses nor a ear as we - rounded un ts w en u n edin ci ti v ) , pp ll i h it

on er s r e m in the same l g e ies . Th se sy ste s are successions of v erses mas r n e u e ons s n enera or nal a wa s of a n e sen e e . , c i ti g g lly ( igi ly l y ) Si gl t c

ou some mes arran edin four- ned rou s the four erses s and Th gh ti g li g p , v t in no re a on of an es s to one ano er s n e e are all con l ti tith i th , i c th y s ru d t ct e alike . They are j ust as clearly distinguish edal so from the THE R IC E. 106 9 30 . LY TYP

n of the our- neds ro es 2 9 s n e the first formof co nstructio f li t ph , i c

mse es . verse s have no antitheses wi thin the lv h erses o e This reg ular move ment is often variedby giving t e v ( r s nten B ut in do n s no ed r n e is ces ) a diffe re nt met rical form. i g thi fix p i cipl

E e n w ere our-l ned rou s see mto be ormedno exa obse rve d. v h f i g p f , ct

s onden e in - ase ere is an dffere n e at all in e r metrical corre p c , c th y i c th i

m If for e am e two me ms re va s amon e . r al me r ca for , , t i l , p il g th x pl t ic

rms a andb n er an e the rs s s em the rs a are n rou fo , , i t ch g , fi t y t ( fi t pp t g p )

a e in the firs erse the forma w e the se ondhas the form6 may h v t v , hil c , is ere ore ear a ese s s e ms didnot a e e a t etc. It , th f , cl th t th y t h v x c ly the same melody ; they are rather compositions in which a musical

mes re ea ed some imes ar edb ut on no ed r n theme was someti p t , t v i , fix p i ciple . s s e ms o ar s of emare moreo er of en osed sen These y t r p t th , v , t cl by

e noe s of ed orme s e a a l n sen en es or ose of a ess t fix f , p ci lly by f l i g t c by th l

ese na sen en e s are some mes a sor of numbe r of measures . Th fi l t c ti t

ut e postlude sometimes they constitute real antitheses . B ven

n the as ase no s ron er od re a on ar ses s n e on the as i l t c t gly p i ic l ti i , i c ly l t

erse or se n en e of a ser es has its an es s w e ea of the erses v ( t c ) i tith i , hil ch v

w d a e on th o ns ru on were er od . (se ntence s) oul h v e, if e c t cti p i ic This

ie u is in a w be rememeredthe ease in the e od ro s . f ct , it ill b , p g p

F na the erses ma b e more ose onne edwt one ano er i lly , v y cl ly c ct i h th , andsink i nto merely subordinate sentences not separatedby v erse

auses a ause o urr n on at the endof a rou of se era s u p , p cc i g ly g p v l ch w a sen e n es . s o e er does not ve r se to erse in the ro er t c Thi , h v , gi i v p p e or su a s nse . F ch union of sent ences i nto a line (mixos) has no rhyth ’ mca dv s on w n se is not a cr ov andse era su nes i l i i i ithi it lf ( n p ) , v l ch li un tedto one ano er ons u e n i th c tit t o period.

In e er ase ere ore the s stemis ds n u s ed romthe rou v y c , th f , y i ti g i h f g p

ha n no s r re u a eda s f se ra en en es n e by vi g t ictly g l t ntithese . I ve l s t c u it wi ou ause s the do not ons u e rue erses b ut on lines w th t p , y c tit t t v , ly , hich

is not oss e to rou n o er it p ibl g p i t p iods .

In the r s s e m ere ore the sen en e is rea the es ly ic y t , th f , t c lly high t r y mca u h th i l nit .

In onse uen e of s ese s s e ms anno b e usede her in the c q c thi , th y t c t it c or uses of the dramas or as mar - me odes s n e e are a o et er h ch l i , i c th y lt g h unada tedfor dan in andm p c g arching . Neither are they foundin the monodes of A i tra ed on a coun of e r un orm nor in the i tt c g y c t th i if ity , im ct 33 4 A s n e is m oss e for ex emen dee as p a , , , i c it i p ibl cit t , p p n s o , or s ar con ras s to b e e re ssedb y m e are used e . i h p t t xp th Th y ,

THE RIC E. 108 9 so. LY TYP

drin ker/ e ras yahnvy

' {36 1rd) ; V fia a a ’ ‘ {86 1rd) s y epavos T a dul t» ; 8 ch ant/16 ir av

' u oxiimet . xapr ois yaio. p ' ovii 4 a Bp op tov mpaqhtv T /

riM ov Kur dM m. Kar i). ch

1 ' nadduhv 131 010 6 K apvrds.

u u § _ u _

u u 5 _ u _

v v u u

u u 5 _ u _

u w

u u u u u u

u u § _ u _

v u f _ u _

u u v u K ll

' v u u v 7\ il

S O N RM or O ST R on n o 3 . EC D FO C N UC TI ON : a divi si i t groups is indicatedby the p unctuati on ; b ut that th ese are not genuine

rou s in w the same me od is e xa l re ea ed b ut are ra er g p hich l y ct y p t , th sy ste ms in which the singer himself changes the mel ody fromone sys

te mto ano er is s own e ac as in the Ana reon s e r rre th , h , x tly c tic , by th i i g ularity in the interchange of metricfl forms where such interchange

occ urs . I EM 109 LY R O . IV . SYST S

Four - linedfiemiambic systems

A nacr eont. 13 .

O i pk v K ahiyv K uflfiflnv ” 7 511 fip idnhv v A T-r ev

’ cv oiip ea tv Bo dwr a

F o x a / Aey v o tv e p t nuns.

, o i SEK h oip ov n ap fixeats Sacpq ép O Lo (D0 48 M AOV moi/ r es iidwp

‘ 63 1 ptep q drcs 18 0 0 0 .

3ydi 83 7 0 13 A nafou K ai T o?) [s tip ov K op eo geis'

’ ’ K ai 7 179 ep fis ér a tpns

L a l/ 90m) [ vaat.

Four - linedA nacreontic systems

A nacreon.

l1 t 0 2 ptEv initial 73817

' c K oi e h eurcdv Kp tira cpo pn r , ' , ’ ’ me xap t eo v a 8 of O 5317 ' ’ n oi a ak eO l. 8 p , wp

, ‘ykv xep oii 3 O ffi cer s i7 o 9 ’ fltdr ov xpdvos h eh emr av

Std dvamahiiéw ' Toi r a ov BeBO LK aJs. Gour d. p p

’ ’ A lf8€wydp GO' r t

I s I 9 9 v os a ah er 8 es aur ov p x , py ] I f f K a fiodoc K a t yap cr ovp ov A a a K ar afioivr t p r) dv finv s.

V U : _ U _

U U : _ U _

_ u u 3_ u . 110 THE RIC E . 9 30 . LY TYP

E_ u _

It is clear that the first verse in the secondsystemhas not the same melody with the corresponding verse in the first andthird; likewise that the thirdverse in the thirdsy stemhas not the same melody with the thirdverse in the first andsecond: these verses do not correspond t a me ric lly .

R T O : erses of e ua en b ut 4 . a an FO RM O F O T of C NS UC I N v q l l gth ,

dffe ren metr a form o ur in a edorder so a ere resu s s i t ic l , cc fix , th t th lt y

e ms of our or six erses ese owe er are ds n u s ed romthe t f v ; th , h v , i ti g i h f groups of 2 9 by the fact that their verses are alway s composedof a

s n se n e i gle t nce . The first sentence s of the systemare disti nguishedfromth ose that

o ow e n me r a b ut e a f ll by b i g t ic lly ( not rhythmically) longer . G ner lly e e t er a e ana rus s or e se end ull w e the sen en es at the th y i h h v c i , l f , hil t c c ose are a a e a l n l c t l ctic or f l i g .

I. Three full trochaic tetrapodies unitedwith one catalectic trochaic te trapody in a four- linedsy stem

v _ 3 _ u v _3 | _ u

' Hark: ®pyximr t 81; as

M 51! (g s l e 5 yp um. fi r ' hen} ; ba i- et Soxc w g y s, a s 83 ’ p. chdiv ciBévat o o¢6v ;

II. A catalectic anda fallin first Glyconic alternately g , unitedin a four- linedsystem

w u l

“ V U l

2 THE RIC E. 11 5 30 . LY TYP

111 vm. 1 11. E9 . ( — “ U V v l all U V — WU v | _ 3 ll u u

’ ’ ’ E cu d r v 51' s miwcs dve uflrm868111 0 5 cr drawe 0 mast y x ; px i , p p

d pa n ipawov . i ' ' m cinra af ur oe ( I awaiti g /0 s r e ui cts arrar ui evos ode 7 6V r e p y y , n x p d p , m ’ ' ' - ' d n O 1 x r a 6 voil 86 c on wa wti 5 . M ovr dt i. cx r e p W y p

5 4. n. v . 3 111. R a m(

‘ — u | A fi u v u l

' ’ Tairra hi 7r ‘ / ’ p p6s (it 35169 cO r t voiiv zXOWOS K ai ¢péva9 Kal R OM ?! r ept

' ' “ crnx vh vdcwairrdv al el wds T ax 6 3 71 101 0 1 oi p p 7 0 0 1 7 0. r xov d ov i; yeypap ' r t vvv ’ - ' ( bro w{tr ri ms M O 31! ta - m - , d x6p 7 6 52 pi e ramp ecj xo eat r pds r d 31 THE MARC E 3 5 . H TYP .

31. The Mar h T c ype.

The ara er s s of the mar e are so a ura e and ar 1 . ch ct i tic ch typ cc t ly Sh ply

m r a andr m al a e r re o n on i de ned o e s eas . fi , b th t ic lly hyth ic ly , th t th i c g iti y They are the followi ng

The measure Of the mar e is w ou ex e on the ana ae I. s ch typ ith t c pti p t , the ethical force andmetrical form of which h ave already been con

i red 0 II. and 11 I de 1 6 I . s , , , ,

All ana ae s sen en e s are a d h an I. e If t e ex dth I p tic t c t etr po i s . t t e me od a e ess an our measures ere is a au se in the s n n l y h v l th f , th p i gi g un l the four measures are made om e e ti c pl t .

ll rse w av III. A ve s hich h e th eir four measures expre ssedin words

a a The as measur i m are c t lectic . l t e s co pletedby the anacrusi s Of the nex erse un a erse fo ows of dfferen me r a form name a t v , til v ll i t t ic l , ly

aroema w the rou is ed I os 11 6 I . p i c , by hich g p cl , , )

If a erse ons s s of two or t ree measures the ause in the s n n v c i t h , p i gi g

see II. as s un the e s s of the four measure is rea edits ars s ( ) l t til th i th ch , i

e n fur n s ed the ana rus s Of the nex r b i g i h by c i t ve se .

h na ur a s a From III. ere a r es s me r a r n e IV . t t lly i thi t ic l p i cipl , th t

ese v erses ea of our measures mus endw a fu wordthe th , ch f , t ith ll , fi nal vowel of which may b e elided; andthat no hiatus is allowedb e

s f e erse and he e nn n f th nex s is tween the cl o e o on v t b gi i g o e t . Thi

h ae sura us the ru e w re u a es t e 19 2 III. j t l hich g l t c , , , The apparent dipodies andtripodies that occur are of course not sub

e ct to s ru e s n e ere is a on ause e ween emandthe j thi l , i c th l g p b t th following verse .

All ese e u ar es an in he oses rela on to the ur 2 . th p c li iti st d t cl t ti p

f th mar me ode s If name the so der is to ose o e emse es . p ch l i th lv , ly , l i mar to the son the fo l own ond ons mus b e met : ch g , l i g c iti t

1 The son mus b e dv ded n o exa e ua measures to the ) g t i i i t ctly q l ,

uses of w he is to a ict hich tre d.

2 e se measures mu s b e ds n dv ded n o e ua a es ) Th t i ti ctly i i i t q l h lv ,

es s andars av n t the one us mu s s o a s ron us . B u th i i , b th h i g t g ict ict t e eedthe o er in we in order t a the so der as he mar e s ma xc th ight , h t l i ch y, in o ser an e of em readsomew a more eav wt the one foo b v c th , t h t h ily i h t,

somew a more w the o er andma a wa s eas knowfrom h t lightly ith th , y l y ily

th me o w w i at an ar u ar u e l dy itself ith hich foot he s to tread y p tic l ict s.

h measure i th a ae n the da SO t e s e an s ot . p t , ctyl HE MARC E. 5 31. T H TYP

It is not owe er a so u e ne essar a all measures s ou d 3) , h v , b l t ly c y th t h l measur have two stro ng ictuses ; it is sometime s sufficient for a e to 7T For on e a n the r mo e men v l one us as e . . . ha e on v ict , g c h vi g ight v t,

a e no ms a e on the e us is ear mar ed the soldier can mk i t k , if ly chi f ict cl ly k

erses ere ore ke the fol own re uen o ur by the melody . V , th f , li l i g f q tly cc

sen en es mus all un orm ons s of our measures a 4) T he t c t if ly c i t f , th t the equal division may be sustained: 2 eighth - notes 2 eighth - notes 1 measure ; 1 measure 1 measure half of the sentence ; 2 meas u s 2 ea u e th w sen en e n in s wa wou d h re m s r s e hole t c . O ly thi y l t e

v a mo e me nt re min uniformthroughout . 5) There can b e no pauses afte r the verses at will ; for if this were done the me ou dnot be e andre u ar mar n wou db e at an , ti c l k pt, g l chi g l

e nd.

6 But is moss e on a oun of a of rea to s n and ) it i p ibl , cc t l ck b th , i g mar at on e for an rea en t f m ere ore a ar ch c y g t l g h o ti e . Th f pp ent d odes o owthe e ra odes in on mar me odes were ere is ip i f ll t t p i l g ch l i , h th a ause in the s n n for two u measures the mar n on nu n p i gi g f ll , chi g c ti i g .

O r the mar son ons s s en re of a aren r odes a er w ch g c i t ti ly pp t t ip i , ft hich

e re is a ause of a u measure as is to b e seen in the o lown th p f ll , f l i g e numera n tio . Th dff 3 . e i erent march melodies are

I. The aroemiac the ana aes i r d. p , p tic t po y The following march song - i ar rov of r aeus in w h ‘ ( nB ép ) Ty t , hich t e older form of the anapaests w ou reso u on of the es s re a s is om s f m ith t l ti th i p v il , c po edo paroe iacs

" ' A e r (I) Errdr a i / y , p s elic t 8pm: ' xoii mr ar e wv woltta p p r fiv,

Mu ity in wWO dAccree dp p B , ’ Sdv ' p 8 £ 137 d d owGS

p i) ¢cf8w€at 7 69 {was

0 15 d wdr tov “r : ‘s-(i y p p dE mp . I I. Ano er mar me od of r aeus ew th ch l y Ty t , lik i se Of anapaests in the o der form ons s s of re l , c i t gularly interchanging acatalectic tetrapodies andao- a ed ar mac oe s . Su a m c ll p i ch co bi nation is to b e regardeda period ve rse of two sen e n es andha ( ) , s een namedthe ana aestic te a t c b p tr meter .

" do Emi u h aw i ' c ke r. xoi ot w m or l. r dv A t o xt a p , g c v cn v .

THE C O RIC E . 116 9 32 . H TYP

ms or 7r 0 0 '0 8ta IV The éwivrlttos verse for the march under ar p ” “ The ana r s d. u s nés ( verse for processions ) is an apparent tripo y c i

may be irrational . ’ w13111180 4; dyaOea; ’ Wpar aydv dw efipv xdp

(I)

‘ lfite IIatoiv.

u v u v u x l l ,

u v u W |l _ v u > l l ,

_ v u m W l I ,

er me odes an the ana aes i m o ous be us ed 4 . Oth l i th p t c ight bvi ly

f he me od we e o a d oman men to the mar . I t r oe for as acc p i t ch l y l g ic, — e am e on two n s wou db e ne essar to s n so ra d a x pl , ly thi g l c y , i g pi ly th t

measure wou do u the ime of b ut one s e andto d de the each l cc py t t p , ivi

' w n a u u measures into tetrapodies ithout interveni g p uses . B t s ch an a com an men wou db e ill su edto the s ead mo emen of mar n c p i t l it t y v t chi g,

nn b e re ardeda e mar me d NO ds u andit ca ot g charact ristic ch lo y . i c s s on of ourse can ere b e made of mar es the mo emen s of w i , c , h ch v t hich were n o edandw were in a a ordn to the an en ew i v lv , hich f ct , cc i g ci t vi ,

dan s an ma mus ra er e r es . We see f th c th ch t k or these rather in the f the drama choruses o .

32 . The Chori T c ype.

1 . Who nows we er in the o u ar son k h th p p l g,

’ ' fl A i c m r v im. Ocoio w

T er i Live (r ot a 3 a m / , y p 8 ” ' ' orpnmp y ekos‘ dv9p167roww

' chuwais‘ Myupais defe at ’ Q oii oc 83 M in 0 dvat ef fi g p , ' M f n 86 O u fi s 0 1 veovtn v e . pn , i .

w u l — — u i v u l v u l t > 5 — > f v u l THE C ORI 11 32 . C E 7 t H TYP .

ere has not een reser edone of the O de s dan e me odes s u a th b p v l t c l i , ch s

Homer des r es the L nus dan e to a e een see 6 We a c ib i c h v b ( , h ve a s sternatic su e ss on of erse s Of e ua en to w the s n e g cc i v q l l gth , hich i g rs — dan e in a r e or ra er mar b ut not w a firm read c ci cl , th ch , ith th t t of

has its es ex re ss on in ana a st the warrior which fitt t p i p e s .

u ar dan e is not ne essar B ut s r on nuou s . 2 . thi ci c l c c ily c ti After the singing of two sentences th at corresp ondto each other the dancer may

ome to a s ands l . s ve s r se to the erse the s m e s er od c t ti l Thi gi i v , i pl t p i ,

a r didno beyondwhich recit tive poet y t go .

’ A a n dur n the s n n of a se ond erse the s n ers ma re urn g i , i g i gi g c v i g y t in the o osite dre on to e r or na os t on the dan e mo m pp i cti th i igi l p i i , c ve ents andthe melody Of the se condverse exactly corresponding to th ose of the first.

Two v erses so orres ondn to one ano er ons u 3 . e nex to th c p i g th c tit t , t e s n e erse the s m e s for mof er odada edto or e s me ode i gl v , i pl t p i pt ch tic l i s .

he u But th e dan e ma b e ur er ar ed. T r ar dan e rs to the c y f th v i ci c l c , fi t r and e n to the ef u s de s r edma of ourse b e re ea edat ight th l t, j t c ib y, c , p t pleasure ; b ut after it has b een executedonce the dancers may al so advanc e towardone anoth er fromb oth side s of the curve while a third

erse is sun and en w e a four erse is sun se ara e fromone v g , th , hil th v g , p t

n a a n so a e ome to e r or na a In s as a o er es . e th g i , th t th y c th i igi l pl c thi c

f v e a i on r e of the son mu s av e our rses s e . he c tr t the s o . n t as ed t ph g t h , g

A scle iadean rou 2 9 4 in w the a om an n movemen s p g p , , hich cc p yi g t of the dance wouldb e — — > v v L _ ll v u l l , — u v _ u

— V V l - V I

ul dan e to the r . {g}Circ ar c ight

u dan e h e . {2}Circ lar c to t e l ft

1 mar Forwa d . r II. ( ch R eturn .

Wou mus b e ith t doubt the verses which corresp ondto one another t

rou ou f u h um er of meas o e a en . mus a e t e same n th gh t q l l gth (i e . t h v b ure s andthe same duration) ; for otherwise the dancer wouldnot b e a e to re urn a bl t gain to his original position . HE CHO RIC E. 118 5 as. T TYP

- w h t is not ne essar a the dan e b e co e ens e t e son . 4 . I c y th t c xt iv ith g

u rou se era e rses and en the dan er ma ome It may co nti n e th gh v l v , th c y c In s wa the A scle iadean to a standduring a short postlude . thi y p

i u ons s s of t ree erses of six measures ea o owed Glycon c gro p c i t h v ch , f ll by a verse of four measures

4

T he as erse is a ostlude émfimév dur n w the dan er mus l t v p , p , i g hich c t have paused; for there is no corresponding verse during the singing

of w the same mo emen in re ersedorder ou dhave a en a e hich v t v c l t k pl c ,

so t at the dan er wou darr his or na os on In th h c l ive again at igi l p iti . e first three verses the dancer probably movedforwardduri ng the first

senten e a warddur n the se ond c , b ck i g c

wa 3 F or rd.

3 Re ur { t n.

Forwar 3 d.

3 Re ur { t n. 3 wa For rd. {3 e { R turn. 4 al H t .

In the same way a verse to which no other correspondedanddurin , g

the s n n of w ere ore the dan er s oods ou d e n the i gi g hich th f c t till , c l b gi ’ s ro e t s was a ed relude w0 1 81xo t ph ; hi c ll p , p 9 v .

B ut wt n a er oda so we w a e the sma es sor i hi p i l ill t k ll t t, the verse ere ou db e th c l a sentence during the Singing of which the dance d ' ease . s wou db e an interlude m xo e dt . f c Thi l , p p v O this sort is the greater Asclepiadean verse C l w v l g ll w u l g fll fi / u l — v l — A "

o mwdtxév. W e ds n u s , ere ore two sor s of sen en es i ti g i h th f , t t c , th ose that cor res ondand ose a do not the a er p th th t , l tt under the names prelude inter , ' ude and os ude or , , wo Smév w dtxov andémS td l p tl p p , p m , p u v.

cnonrc srnornns. 12 0 9 as.

i her unit o the eriodwhich ma become subordinate elements in the h g y f p , y

be comp osedof several of them.

There is an exact corres ondence the sentences in the eriodone III. p of p l to another ; andit is always the case that only sentences of equa length

correspondto one another .

The auses at the endo the verses corres ond ust as exactl as IV . p f p j y

th s ntences since the constitute imortant elements andsince other do e e , y p ,

wise the divisions of time wouldbe unequal .

' ' The sentences that corres ondare rou edin d erent wa s but V . p g p gfi y ,

a in to the strictest mathematical rinci les so that d erent sorts ccord g p p , if a of p eriods are distinguish ble .

l inte lude and ostludes are allowed. V I. P re udes r s , , p

A ordn to s the dan e me odes of or oe r are ds n cc i g thi , c l i ch ic p t y i ti guishedfroni march melodies espe cially by the fact that they allow move mn n dur n th n e dur n the ar rar ause e o e so n er s . t ly i g g, v i g bit y p

e do not a ow e en dur n s n e ar s of the son re ude Th y ll it v i g i gl p t g (p l ,

The more a ura e e on of ese re a ons w s n the cc t xhibiti th l ti , hich ig ify mos er e eur m wl din t e l b e oun h o owin oo . t p f ct hyth y , i f f ll g b k

33. Chorie Stro h s p e .

1. In r a oe r the s ro e andw h the same me od i ly ic l p t y t ph , it it l y , s e eat don to th nd r e e e of the oem. B ut in or oe r ou its p p ch ic p t y , th gh s ro es are so rea and ar edin hemse es ere i m r t ph g t v i t lv , th s an i po tant de at on fro m s s m e ru e of ons r vi i thi i pl l c t uction .

1. In the olde ncomiastic poetry generally two stroph es of the same

ormare s un stro he andantistr h en f g , p op e (a r p ocpvf anddwlcrr poclsos) th

o ows a stro e of ano er orm w is not r a dandwas a ed f ll ph th f , hich epe te c ll

- ’ d 611 86; not 6 em s s the s n a on of w i i n i n 9 ( p , ig ific ti hich s g ve s su ess on is en ma n a d ne to h . A A B t e endof the oem . e Thi cc i th i t i p , i ,

A A B etc. But ere a so o ur i P era , th l cc n i ndar eulogistic songs of sev l stro es of the same formw ou e ph ith t pode .

II. In drama oe r es e a l ra ed a s ro e andan s ro e tic p t y , p ci l y t g y , t ph ti t ph are given only once ; then followa strophe andantistrophe of different orm andso n f , o A A B B 0 0 D D , , , , etc. 3 C OR 2 1 3 . IC R O E s H ST PH S .

B ut some mes a so s ro es are foundwhi are not re ea ed ti l t ph ch p t , namely

‘ 1 a roode f n o sdé at the e nn n of the oem ) p , ; p q g, b gi i g p

A B B e , , 0 0 , tc.

2 an e ode émBég a er a s ro e andits an s ro e ) p , g , ft t ph ti t ph

A e A , B , 0 0 , tc.

3 a mesode 7 5 0 869 e ween a s ro e andits an s ro e ) , 3” 9 , b t t ph ti t ph

A B A , , , 0 0 , etc.

B s an e of s ro es o en o r m a andme r 2 . y thi ch g t ph , ft b th hyth ic lly t ically v er dfferent or oe r was a e not onl to ser e as a as s for y i , ch ic p t y bl y v b i

ar ous and om ex dan e mov emen s b ut a so to ex ress eau v i c pl c t , l p b tifully

he u the ch ange andp rogress of t tho ght .

a ar s a n d The B ut still gre ter v iety wa obt i e . stroph e might b e sep aratedfrom its an s ro e not on a mesode b ut a so sev era ti t ph ly by , l by l o er s ro es ana aes s s ems a so w were not re u ar th t ph ; p tic y t l , hich g l ly

sun b ut on re edin a s n n one m n erv ene . Here a a n g ly cit i gi g t , ight i t g i

ere re a edthe mos eau fu order as we s a b e a e to see rom th p v il t b ti l , h ll bl f

and ur des the foll owing examples in Aeschylus E ipi .

I 1448 Ag . V I (

' 0 . c u. av. 0 . cu. B an av . A . O u av av. B . c o . o n. . . . A . w

III 315 Cho. (

av. E . . E . . . B . A v . A . . a c. B . . D D F F

II 16 El . ( 7

A . B . A . B .

V 38 Cho. (7

C . B . . av. . o u A B . A . . . D D 0 110 1110 srnornns. 12 2 5 33.

f a f ourse the oruses of the dramas neednot ons s o ong 8 . O c ch c i t l is eas to findman ons s n series of stmphe s andantistroph es ; it y y c i ti g dant s ro e on to wh ere is o en added of a single strophe an i t ph ly, ich th ft

an epode .

e fo own names of the dfferen oruses of the drama on 4 . Th ll i g i t ch

d: the Attic stage shouldbe note

In tra ed ere are A . g y th

n of the orus sun w e The arodos 7 n doSoq the rs so , I. p , ) p , fi t g ch g hil ra Some mes in the r es . it is taking its place andarranging itself o ch t ti i m es n . precededby anapaests during which the ch orus arch

Stasima or ato rac son s sun romthe os on w the orus II. , / , g g f p iti hich ch

dos has taken in the paro .

The exodos 1 2 0 80 9 sun w e the oru s arran es se to III. , } 6 , g hil ch g it lf The mar se ma en a a n ro eeddur n leave the orchestra. ch it lf y th g i p c i g

a s s the recitation of anap e t .

Dance - son s bn o ar a me odies w e er dan e mo e IV . g , v in , l ith liv li c v ments than the stasima.

K o ot son s of w the ar s were sun a erna e the V . nn , g hich p t g lt t ly by

chorus andthe actor.

Son s of nd dua a ors monodies c / ( alm al ed (in ?) V I. t g i ivi l ct , , p p , c l

In the as two sor s s n e e a a re u ar or dan e ae om l t t , i c th y l ck g l ch ic c c

animent a s r d s on of the om os on e a in the orus p , t ict ivi i c p iti , lik th t ch w a m s n n Cf . . he rd o u e of ro er a ot e ess r . 2 5 1 med T p p , c y , , thi v l

‘ ' e K uns orme n name D ono en n Wl e an tti th ie M di a d echse s e der A t/ , ly g g

’ schen Tra bdie es an e a and om ete s a emen of the r n es g , giv x ct c pl t t t p i cipl

o ern n e r om os on g v i g th i c p iti .

B . The arabasis of A comed in w the orus addresses the p ttic y, hich ch

s e ators o ns s s wen om e e of se en ar s p ct , c i t h c pl t v p t

’ ' no dfl ov wa dams an éu m o n erri ua dwiar o np , p fl , p p , p df, ppm, pq s,

d i ' werr ppqp a .

I. The no dr wv ons s s of dfferen erses e ua or une ua in p p c i t i t v , q l q l

length .

II. Th e napoifiamc proper always consists of verses of the same

en usua of ana ae s c e rame l gth , lly p ti t t ters . I ' II. The ax ov or mt os a wa s ons s s f me ers p p y l y c i t o anapaestic di t , con ern n w c . 31 3 III. c i g hi h cf , ,

Fifth Book .

E U R H Y T H M Y .

din to their Grou in . 34. The Periods accor g p g

he s m s ou n is w en two r m a sen en es of e ua 1. T i ple t gr pi g h hyth ic l t c q l

e his is the stichic - eriod length correspondto each oth r . T p Z)

xmpdip cv is n oAvppddovs

/OG G ; Ran. II. t 4 Ae éva (it L V s r . 48 m s M S ( , é

4)

The same er odo urs in the o own rans a e dromthe German p i cc f ll i g, t l t f

Annie of Tharawm true - ove of old , y l , She is m wife andm oods andm o d. y , y g , y g l

V V V V

V V V V

2 . A rep eatedstichic p eriodarises when more than two sentences of the same length correspondto one anoth er

f C . the r s ly ic ystem. THE ERIO A TO IR 12 5 34 . E RO I s P DS CCORDING TH G UP NG .

, ' M a xdp tds‘ 7 oiviyp 2v ' ut/ emu k t w evr v f fi p fl p l .

n oi a SEn oAAoicrw adel p p v .

R an. XX

u u u

u u u

u u v

Illustratedby following stroph e fromL ongfellow

Maiden I wth the meek rown e es i b y , In whose orbs a shadowlies Like the dusk in evening skies l

A alinodic e iodar e w en n t a s n e sen en e b ut a m 3 . r s s o co p p i h i gl t c , f i na on o se era e n e . a rou s re ea edon e m he bi ti v l s nte ces (i . g p p t c t same order

' ( / t K d i - t a a V eo Ev vdo n oA ai. Priorr 82 i, w p o t C I 3 f o aAt a c o ovov . 6ah a Kat n ape. r v s e tn r a xp

l IV . e . PIND . O . p

l _ _ u

co

Nowlet us s n on ive the kin i g, l g l g,

And i in on li ve he G lp , l g ;

Andwhen he next doth ride a road , b , May I b e there to see I GR O I . 126 9 as THE PERIODS ACCORD ING TO THEIR UP NG

he re e on of a rou A re eated alinodic eriodis ormed t g 4 . p p p f by p titi p times

' ’ ‘ dv O amiv 7 6V eiixai dtov Op{is r p , p , ’ l r ecrr ou i e l s 7 6V ev Sa i ors dp p x , ' - Sewdv e as Ev dtpdflou; t‘" dqp o i. x p t III. s r . 64 A . 3 SO PH. j K (

is meant dochmius . )

Our hills have dark andstron defiles g ,

Wi h man an ic b ed t y y ;

ea there the rocks for funera es H p l pil , ’ Above the invader s head!

Or let the seas that uardour Is es , g l , Give burial to his dead!

Mrs Hmans . .

— v v u , |

v 5

5 . An antithe tic periodis formedby the invertedrepetiti on of single sentencu

DS A CCORDING TO TH I G U IN . 12 8 9 34 . r un PERIO E R RO P G

u

wi t— I_ u l — v l — u l — A H

— V I— v |

The alinodic antit/zetic er iod. 7 . p p 6 de d dedin o ev f sen en es e . . a c s If we suppose a series o t c , g , ivi t f w ons u es se a sma mus a d s on eral gro ups each o hich c tit t by it lf ll ic l ivi i , e d 8 or a so a b c de and we en su ose ese rou s e . . a b , , l , , if th pp th g p g , e a we a e repeatedantith tic lly , h v

I i ron an e s n e an e er od. t s s This is a palinodic tith tic p i t gly tith tic, i c the groups which are regardedas unit s (andmay consist of a single

in he rs om na on are re ea edin n er edorder . . t se n e n e e . e t c , g fi t c bi ti ) p t i v t B ut it is palinodic in that the single sentences in the group are repeated

in the same order .

The se ries a b ode adm s of s een dfferen om na ons of w it ixt i t c bi ti , hich w w w The two the rs t o the as t o andthe en are en e o . fi t , l t , t th giv b l

e reme s wou dbe rs a er odin w ea sen en e is re arded xt l , fi t, p i hich ch t c g as a group in itself (this is consequently a purely antithetic p eriod) ;

andse ond a er odin w the five sen en es o e er ons u e a c ly , p i hich t c t g th c tit t

s n e rou a ure In th e nd d our a nod er od. e s o r i gl g p ( p ly p li ic p i ) c , thi , f th ,

and f orms of the er odtwo sen en es are om ned n o a rou fi th f p i t c c bi i t g p,

andthe res are a en s n andin the s x se ent ande t t k i gly ; i th , v h , ighth ,

t ree sen e n e s are ne w In the h t c combi dandthe oth er t o taken singly .

n nt en ande e en orms of the er odt ere are t ree rou s i h , t th , l v th f p i h h g p , of which two consist of two sentences each andthe oth er of a single

sen en e in the we and r een two rou s of w one con t c ; t lfth thi t th g p , hich sists of four se nte nces andthe other of the si ngle sentence that remai ns ;

andin the our een and een two rou s ons s n one of two f t th fift th g p , c i ti g andthe o er of ree sen th th te nces . HE 34 . T S A TO TH U 12 9 PERIOD CCORDING EIR GRO PING .

2 a b 0 d e . 3 a 6 0 d e ) , , , ) , , , .

5 a 6 e de . 6 a b c d e ) , , , ) , , . 6 8 a o de . 9 a b e d ) , , ) , , 8 . 1 a b d 1 0 e. 12 a b d c e . ) , , ) , 14 a b c d e. 15 a b o e ) , ) , d.

following examples will illustrate

T I s I I I - A H } e a r o w er/ a w ov K a m r. 0 1) mowev en ap py f T e p p ovs A Q I ' I h / 7r e I oi ov a e ral. ar p rro; div 6 3 m ag p fi H mer 0 9 . 3 a I q \ / 0 v a « pal 17 yap amp er ep os 7 A’ A I 0 0 1) ta ér e o dime e a t ew p p p s, y x p , er I A I a 3 I I - ' a e o w ho wavr o O 0 (r e wav e cl, K a t r t eO T ev ; p , w; ,

I ' I wavov c T e K a t 9 a0 ec Kat K o ahmev amv . py g. p fi p E I 24 . 3 AR g. . (

U V U V

_ U U G U G 130 THE I DS ACC D NG To TH I IN . 9 as. PER O OR I E R RO P

' ’ ' ' ‘ ei ! W et. a (38 7 w dr r r w ti s 50 idv 6. in EM ovmék 7 6 p fi m, y , p ’ ' ’ f ha r dv dwa fl 867 2 c1ru 8dv wp ¢ ov y. mp ; ’ 1 fk e ' mikw i xar o tmo . l ural 30 a e wv 1 60 ; (by , m s {p s , y p , wp awV I 8 P . . 5 6 Id. ( — v v u ll

> i u ||

ur i II. ds o n A nt . V u a nodi an e er o . Very beautif l p li c tith tic p i cc V 3 , ' V I I I a fl, . . This sort of periodwas develop edin Greek p oetry andmusic into

ex eedn l om ex orms as two e am es romthe B ri ce/me of Eu c i g y c pl f , x pl f

ripides will show.

' - H60I Nifty779 dpa Oppor pécbov Ovpcro¢opcfs " ' ardu ous d) A cdwa Ko v af K wv xtat ‘ , , 6 p tb s p s ; ' '' ‘ ' w ' n i a. 8 iv r ot ok evS ea crw O)ui x s p p.1rov " adi os M a arm mea f p e, p cwv ' (rtiva ev 3& 8 so. o m miva c a d r é s v O s frr a . ax a IIte fa y p M , y fip yp c p p p , ’ , ' ’ é fl m Eth ' c e r er os et r s o flio wv do. ax ai am 1 6V 7 umv éav fi , fle x p u fi x p , p ‘ ' M 219 A tbv t atwo éva Ma wafia det 3 f p s s f , ' Av8tav r s 7 6V twm c 3 , p wf s 6& a

- war { a n 7 6V affir f p , m xmpow

B acck . 5 III . ep . (5 7

TH U . 132 9 as THE PERIODS ACCORDING TO EIR GRO PING

v v ll u v _ u l v ,

u A u

v

v v v v ,

” “ is mean the dochmius tr. e t ac a (By do . t by th r he )

It is wor of no e ha ese ma n cen er ods o romthe thy t t t th g ifi t p i , b th f

a /me of Eur des are e am es of the e er dan e me odes de B se ipi , x pl liv li c l i

33 4 the mata the er ods bedia or ema a. In all or e scri 5 , , hyp ch t hyp ch p i

are com e andin none does a re ea e d er odo ur so a ese pl x p t p i cc , th t th livelier dance melodies are recognizable dire ctly 6 0 mthe rhythmical

An e ha e e men of the a s is made for schemes themselves . x ustiv stat t f ct

the first me in the 32 andthe Monodie n 6 3 . ti 5 , , ,

f m al s eme of the er odea es the ma er at all in dou I the rhyth ic ch p i l v tt bt , ’ the onte nts of the son or to ut difierentl the na ure of the c g , , p it y, t 34 THE S A TO TH U 133 . PERIOD CCORDING EIR GRO PING .

ou ex ressed the words w urn s a means Of de ermna on th ght p by , ill f i h t i ti ; in or ema a s a s a wa s for a e er dan e mo emen f . O hyp ch t thi c ll l y liv li c v t .

h two ases uo eda o e t e c q t b v .

The lino i e ic i dar se w en an n 8 . p a dc msod p er o i s h i terlude occurs in a

- r d palinodic or palinodic antithetic p e io .

Ei SEKup ei r te or ator; O iwvo'mihwv ' g ato OiKr ov oicwv yy s , ’ o oi ' 3 S f O et r w aixoria v 7 m. 7 69

’ T eiag o iK‘r d dhdov np , p s, x ,

i hoi a oi K pm r s ndévos. l ' AES CH. Su . I. str . 8 5 pp , ( 7

WV L_ V I | | — w u | L_| u u l I_ I

f the orres ondn mem ers w Ob serve the exact agreement o c p i g b , hich an e here determines the nature Of the p eriodat the very first gl c .

’ ' K aK GW A Id> Z eii 1 1 dv rrai 7rdog . s ; p

' ' ’ ‘ o o K a Mim 7 15 dwaf emt K OL OiV Ol S yev vr i. e a p p , ’ ’ B 1 i r e mr t a . 1 9 ; ) h p x , l f K a t ”char/ a 7 6 71' w ’ dwficfiakdp edi587) ’ , ’ A : S ha ev ( al m S kof oi/Vt fi fi p , p , fi 7 p

‘ 96 0 20 11! cixép eo da ydp 815mm; pug /fo r a . 213 II. str . EU R . A le . ( UD S AND ST UD S. 134 9 35 . PREL E PO L E

v

l

A ll

. s dPostlud 5 35 Prelude an es.

he e sor s of er ods us des r e dw are th . To t e 1 ight t p i j t c ib , hich

n s a o ur in s r or oe r re udes and os ude o e th t cc t ictly ch ic p t y , p l p tl s

3 4 and V I. e f. 2 b e oin d. C j , , 7,

Pe r ods ere ore e the o own are al owedin w i , th f , lik f ll i g l , hich

udy ind es the re ude évr. the os de St a . ) ic t p l , p tlu

xa e i y voii 7 0. t s ’ nxr efib' q 77 evos A r dv dnryafda p ‘b 1rp o

' r dv Zxaflcv éxBoAais ' 8190 960 e a 5 dpp v v .

AESCH. Su l . III t pp . s r .

ll

” M a rrowdespair fiflpw6 5 m ”ows ' MW8 ip fia)“ we v ostds? ? pdp

'

Ih . W. . ma (5 2 9

V - 36 S IT OF THE S AUS S . 1 9 so. PO ION ER E P E

a ra er two er ods ere one s andone a nod There re th p i h , tichic p li ic 1) i)

If on the o er and ere s ou da ear to b e two sen en es of dif , th h , th h l pp t c

eron en s e ou dnot Of ourse orma er od b ut u e as f t l gth , th y c l , c , f p i ; , q it

erta n e o u dnot sus a n the re a on of a re ude or os ude to c i ly , th y c l t i l ti p l p tl ed the periodto which they appearedto b e j oin .

P ES standonl at tire be innin o okorie stra b es anddo I. D I RELU y g g f p , ’ not introduce eriods wit/sin themexce t in tb c no oe 33 4 A p , p np , , ,

The re ude is an n a on so to s ea to e n the dan e andat p l i vit ti , p k , b gi c ,

the same t me is an n rodu on to the o own mus w is made i i t cti f ll i g ic, hich

The me od wou db e d de more imp ressive by the contrast . l y l ivi dby

re udes w n the s ro es n o wde se ara ed ar s w is p l ithi t ph i t i ly p t p t , hich a owedon w en as in a erna e son s the s ro es ds r u edamon ll ly h , lt t g , t ph i t ib t g

the dfferen s r a i t inge s re really dividedinto independent parts .

I II . Tb e p reludes andp ostl udes must not together exceedin length the total le n th o tbe corres ondin member g f p g s.

The o l own ere ore wou dnot b e rue f l i g , th f , l t periods

5 1 . 6 ” p P0 a ta' dct. 4 .

trb h g) g c . 4 rp h 4 2 t c . 4 é’r' dac 3 t. 3 tr . 5 6m

I i t s obvious that in such cases as th ese the character of the rhyth m a er odwou db e om e e o era ed ic l p i l c pl t ly blit t .

For a u er rea men of re udes and os udes see Comositions f ll t t t p l p tl , p lehre , 36 , 10 12 .

6 36 . Position f h - o t e V erse Pauses.

1. The erse w w , e a e ounda o e 32 2 to b e m es v hich h v f b v , ) e th si pl t ormof the er od e omes se a su ordna m f p i , b c it lf b i te ember in the high er un of the r m a er od Y e ity hyth ic l p i . t not only the sentences of which erses ons s are to b v c i t e taken into consideration as corresponding quan es b ut a so the auses wh se he , o t erses . The or ns f t me titi l p ich cl v p tio O i , e re or dur w e , n son anddan e ease andw ma b e d th f i g hich g c c , hich y fille out onlv b v an n er ude at mos mus orres i t l t , t c pondj ust as exactly as P OSI ION on THE VER E— A E 137 s 36 . T S P US S .

m s e r a the rhythmical sentences the selve . Ev n in mere hythmic l recita

on ese auses w ser e as a res to the o e ome out s ar ti th p , hich v t v ic , c h ply ,

andmust b e ob served.

The ru es for the ro er lacm of the erse- auses are en e ow l p p p g v p giv b l .

Exam es w b e foundin the re edn ara ra s andin the r pl ill p c i g p g ph , ly ic

arts of the A nti one andthe M edea w are en at the e ndof the p g , hich giv

o It is su er uou s to enumerate the oss e wron a es f b o k . p fl p ibl g pl c or

The ru es nowto b e en w b e oundto the pau ses . l giv ill f b e verifiedby

r erature the wh ole ch o ic lit .

Eve e iodends with a r r ull ve se . 2 . y p f r

e are bu two da ne f er t e e ons to s ru e o in P n r . O o Th xc pti thi l , b th i the ns an es is i t c ,

3 I A I ’ 3! d A ' 3 K w da al O hv tm mom e 8 oh w ov ( a al. ar e o d . v r e vmww o v w. 6 p a fi s, p p x y '

l . II. ant. a . PIND . O V

ll L_u |

2 I 3 I. 3

. In no case may a p eriodbegin within a verse wh ose first part b elongs

me o er er odas to so th p i ,

r anno e en b e om e e on a nedwhin su a erse . Moreove , it c t v c pl t ly c t i it ch v

e two h s o the stichic eriodma or ma not at leasure, 3 . Th memer f p y y , p

- u e be sep aratedby a verse p a s . - E 8 P SITI N or THE VER E A . 18 5 so. O O S P US S

l must occur d a ause occurs at al , it In the re eatedstichic erio , f 4 . p p i p

throughout.

etc. or

i i all In the alinodic eriodthe auses mast corres ond al nodc . 5 . p p p p p g memer has a ause its orres ondn ouse a is an an e eden , Th t , if t c t b p c p i g c is a n in the one ase mus be q uent must al so h ave it ; if it l cki g c , it t lacking in the other also .

9 7 (

9 V

Moreover the auses between the two rou s ma in no case be lackin , p g p y g e e when the sentences within the group s are s p aratedby p aus s.

We cou dnot ere ore a e : l , th f , h v

In such a case as this we shouldno longer b e able to regardthe sen

tences a andb as un ed n o a rou s n e the two ar s of the rou it i t g p , i c p t g p

more wde se ara edrom h s - a s an are are i ly p t f one another by t e ver e p u e th

w - the t o rou s emse es w a e no erse ause e ween em. g p th lv , hich h v v p b t th

It s ouldfurt er b e no ed a al mos a wa s e en in the er od h h tic th t t l y , v p i

f f u me me s he w - n o o r r t t o rou s e se ara ed a erse ause . I b , g p ar p t by v p

on er er ods s b e omes l g p i thi c nece ssary . I 6 . n the rep eatedp alinodic p eriodthe p auses also mas t be rq eated l n p a i odically . Whfle r therefo e e . , , g .

— 140 O I IO or THE VER E A E . 5 so. P S T N S P US S

In a periodof six members the different arrangements of the pauses a are the o wn that re possible f llo i g .

wi d - u er ods ou md e se. A . P i th t i l pa

' ' - Phav xoi. 32 S dxovr t 37rdmi 91 p s, c ) v eov ’ ' n i - ou e aM d / m ei o o a r s i. 8150 L EV K ofrr o p y u p , [ er v, ' ' 3 dr u o cvw f y t/v bs fldh ov .

P . Ol III e IND . V . p . 3 .

u v u u l l. . u _ K ll

v v v u

v v u v L_v _ K

B . Per ods mdde - ause i i l p .

An exam e is foundin 84 5 fl , , et at.

9 » . I the alinodic antithetic e iodt p p r he p auses closing the group s corres ondantitheticall t p , he auses within the rou s al no i all y p g p p i dc g . A ll r ou s t g p mus be se arated omone another b aus p fi y p es . As l ustra ions two m i l t co binations of the periodof ten members , name 2 and ) 15) of the enumera on in 34 7 are se e ly ti ed. Q , , l ct O I IO OF THE — 36 . ER E A E 141 P S T N V S P US S .

en the same w mdd - a Th ith i le p uses.

t t the i e c. o form n

which al l the sen

tences are so a ed i l t ,

viz

E e en e am es o ur in 34 Of en ods Of ten e e een xc ll t x pl cc , 7, p , ight , ight , and wn mm r e t e ty e b e s respectiv ly .

ws the laws o 10 . In the mesodic er iodwhich in other res ects ollo p , p f f the antithetic er iodthe inter lude ma be isolatedb a ause on each p , y y p

ide o s r ma standwithin a verse or ma be in or close a verse . , g , y g Thi s is illustratedin the following p eri od 1) 2) 3)

The fundamen a r n S n e now the e O f r mis mo emen . t l p i cipl hyth v t i c , , movemen of the dan e s o s dur n the n er ude is ndfferen t c t p i g i t l , it i i t whether th ese orche stic pauses b e lengthenedby a pause in the si nging

or not. - O I IO OF THE ER E A E . 142 5 so. P S T N V S P US S

rms a e e r or e andma e sa s But also in the song all four fo h v th i f c , k ti

v a on as is ear seen romthe o low factory impres sion c en in recit ti , cl ly f f l

ing examples . i 1) “FM ¢p ovri80 s (n emes s ' v c t vav t bvrtihup o p p p ,

' drrusat n ir vowos Oixov . 51mf p n , t ' 15 30 A V II. s r . AE SCH . g . y (

v l 6

Wu l — V I I_ A II

v § _ u |

This formof the periodseems the most natural .

a A A A ' ‘ ' wa a xv xh ovo av d a. O ov KaT CiO T 2) T r wxowctv OE vr xq up xpnX p aO LV .

The . I. AR . sm II of 9 5 8 V ( ,

v 3_

Likewise in the greater A sclep iadean

' M 86 ! M o t in u dr e ov Sch/S ea vr r d ALC . 7 h p p p p chw.

— v v v g ll w v g l| l l l ,

Here it is easy to see fromthe chief ictus with which each sentence e ns a the erse is d ded n b gi , th t v ivi i to three part s ; andfromthe length of t ese se n e n es a the rs orres onds to the rdw e the sec h t c , th t fi t c p thi , hil ondo u es an nde enden a e andis on cc pi i p t pl c c sequently i nterlude .

A ' Mar e w vo oo v cc d ‘ v (3. 6d O bhv zria p xp b p , I ' - Sea frow dhafieia " / s Iva. udwses (is Op es '

P . st . a . l . III r IND . O V

5 I_v l v u | _ u u |

l— V l v u | _ u u | I]

If the firs verse is n oned ro e r t a is is en two e t i t p p ly, h t , if it giv chi f i tuses its d , s on n o two senten es e omes a c ivi i i t c b c pparent to the ear . e n wen h , t e second erse is re itedto its ose is e v d a Th h v c cl , it p rce i e th t it co rres onds to the rs sen en e of the re edn e e n rse . We t p fi t t c p c i g v h

MEM BER . 144 ME RICA AG REE MENT or CORRESPONDING S 9 37 . T L

' wwv 3) m “ Wilt?" i m x

k dn w er ov Bo u s . i e: 83 M a v cv , x n t rim , Wp M y p i p ' 3 hoe h. IV . str . 62 Id. C p 7 (

v | L.

4 = é1r.

‘ ‘ 1 i w ae a 0 2 m. T6 7 81 dr p s f s, p ' ' ' mr pbs 8 dr ip wwdpa ‘n O ct

hi Sm dvow 3mm. p u ' 3mm 8 dp av xcpdiv . '

k . Zvrerr eyd» voa qhia as 6 oip av 434 III. str . Ih . (

- II

l — v l L

rr s ondin M mb rs 9 37 . Metrical Agrm cnt of the Co e p g e e .

Notw tandn f th a 1. s ese s r ru es for the os on O e uses ith i g th t ict l p iti p , cases freq uently occur in which we are not at all able to determine with cer a nt romthe en h of he cal nes andthe os on t i y , f l gt t rhythmi sente c p iti of the auses wa sort of a er w a e p , h t p iod e h v .

. the E. g series

ma be re ardedeither a dinodie -mewdi or an et er w y g p c, antith ic p iod ith postlude A M OF CORRE O I MEMBER ME RICA T . 37 . T L GREE EN SP ND NG S

The confusion b ecomes still greater wh en the sentences are of the

so urs er re uen . SO the ser es same length . Thi cc v y f q tly i

54, 4

ma b e re ardednot on as two ds n s er ods b ut a so as a y g ly i ti ct tichic p i , l d al nod andas an an e er o . p i ic , tith tic p i

he m ha t een rea ser es ma b e s ur r B ut t li it s not ye b ched. Thi s i y till f the combinedin these two way s

4 i : u ) t p.

m In ° e ase Of su a ser es as s we s a Here we reach the li it . th c ch i thi h ll generally b e right if we ch oose that combination which is the most For the sen s wou d ere b e the a nod . en es ave natural . Thi l h p li ic if t c h the same en b ut are ar se ara ed a ause rou s are formed l gth , p tly p t by p , g p ; andit wo uldnot b e proper to classify periods as antith etic in which the

e nn n of one V erse orres ondedto the ose of the o er un ess b gi i g c p cl th , l

a s a i he s eared romthe df eren en Of the sen en e s e . . n t thi pp f i f t l gth t c , g following

But in nnumera e ases e e l s b e do In i bl c th r wi l till ubt . such cases the doubt is almost always solvedwith certainty by the metr ical f ormof I MEMB ER . 146 ME RICA A REEME or CORRESPOND NG S 9 37. T L G NT

e ra odes of dfferen To i ustra e let us a e our the sentences . ll t , t k f t t p i i t

mine . e se orms s owus at on e howto o characte ristic forms. Th f h c c b 1) — v v — v v

u | _ u | A A ll — v v | — V | A A I]

w u | _ u |

w u | _ v | A I]

same o simila o ms c r s on to one a t 17msentences of the r r f r o r e p d no her .

me odes Of ourse orres ondedto ese me r a orms . The l i , c , c p th t ic l f

he mor an e O f s ru e wl b e seen romthe e am es w 2 . T i p t c thi l il f x pl hich

o ow a e n romAr s o anes andEur des in wose dr amas o ur f ll , t k f i t ph ipi , h cc

er ods of sen en es of e ua n am es a many noble p i t c q l le gth s . Ex pl h ve been osen in w two at ree a b c or our a b cd ara e r ch hich ( ) , th ( ) , f ( ) ch ct

istic forms occur .

A Two a c t . Ch ra teris ic Fortes .

‘ ’ ' ’ M: ' s nx ovh a ' X . Z o r i y f i wi a dvfi anre w e s s r t a odo . y f fl , M x , p , }; p qs ' ’ A rr t i . n c c d r d; x xkas ' dfl wp cvac 18mg " 3 ’ t or X . c ar a t al. 7 0 91 ( I Ac e h y w.

A . 1 6 r il inroa xdl t p cv . m ' i ' ' X » a m? ti) ? a txtfi Ko iv i M y p s p dn s r e Ka SGLWCKG) ? c trr i Staxoveir at q AB . h A s . X 0 st . 1 8 II. r ( 0

u |

l

v | _ v |

V |

V i — V i L

I_ A ll — v v | L. — v v | _ v A ll A ll — u ll v v l _ u A ll

— v u | I

Th Char acteristic B . ree Ibrms .

’ N?” 815a s miwa 868 mik éfscvat d' cav'roii i ' Ka hiya Omiptov (pOp eiv Ital hdyovs dcpiim' ovs ' d3 inre ak e womiko d f r pfl i . s yhp v hp d mix r aw p nxdvo wmipov s efipnxdvovc r opiCa . E tr 5 6 R s . A . 9 . V . (7 ME RI A MEN O RRE O I R 149 3 . C A REE OF C MEMBE 7 T L G T SP ND NG S .

0 ou ha t i t . F r C rac er s ic o F rms .

’ Z nMi ye T fis eirr vxias T I ' I T O V 7T 6 0 UV 0 L er e p B , p m $77v Tpdrra wK ai fiwrfis“ fl A 3 cr e e. 86 vw avr t a w pI q fi v a e aw e M ya T l. p r eo tr a t A Thu 7 0 r v bav K ai aAaxd p q p v . a ’ r oi a 8 av lo w 0 13K éGe x s AO L. TO ydp drroc ‘riiI/ a t xalten' OV d ( ua eo v 3 0 e s i r t df. p , n X ; A , ” I “ K aLT O L 7 am erraeov

' ’ yvo wa ts ér epwv

/ rr [L ef afidM Ol T O r pdovs . 14 0 V str . 5 XI . (

_ u L. — u u |

u u u

u u u u u u

u u u

u u u u A ]

u u u w u l

u u u _ u w u l

w u l

_ u _ u l

a a e andw the se ondmeasure s n o a ed. c t l ctic, ith c y c p t

a n f lli g .

a a e andw ou s n o e . c t l ctic , ith t y c p

a a e andw the rs measure s n o a ed. c t l ctic , ith fi t y c p t

'

A B e k e x ex é K O OI oo . . p é EK f , ‘ r ov rl n a i amAa u oivw. p m l fl ’

B Sea/ oi T da we wdeo ea . . p p ' , ' ’ A OELV O r e a 3 é w ékaifvwv . p y y ,

t ( i Oapp ayfia op at .

K d B e xe xexé K od o . . fip f f f MEMBER 15 0 E RICAI. A REEME or CO RRE O I . 5 37. M T G NT SP ND NG S

' " A o er ou a ek“ . r p we

AR . Ran.

> i _

> i _

pros ymaiwv war épaw " ycwaiwv 1 ix r od wv “ 1r 81 - d. 5F or vic es a xon cl ove ;

i , s inrr v e o ail Th i p s pa.

xal r o a oa-rims mp B , ' Swab r 9 580 40 wo rap tTw ’ - - ’ iv r te r m; ice-27 marska din ow of» p s p , r exeaw; i ' ' r in o m: oi] noé 8s s , r a. ve h , p i, 58 , 0 1 Kh r imSp oo cpdy ; ’ d: firmy 6 Kspém'a ' i; {51d rrérpov Kar aa'oii

K - tixkonroc dypofldra

EUR . C cl . I. st 4 y r . ( 1

15 2 ICAI. AGREEME or CO R RE O I MEMBER . 9 37. METR NT SP ND NG S

en e of r se n en es su as ore and o aoedi d o corres pond c sho t t c , ch ch ic l g c ip

s and r ode s is s m e andeas i unders ood s n e ese sen die t ip i , i pl ly t , i c th d od ndeed e the v tt e t a is ara e r s . The te acee ha e li l h t ch ct i tic ip y i , lik

e u In o er sorts of measures er n od does not oft n O r. pe tap y , cc th v y g reat differe nces of formin correspondi ng sentences are not Often met

wt e e er a s in Dor s ro es and e en in ese m s are i h , xc pt p h p ic t ph , v th , li it

m e orres ondn to the r od u u l ser ed. For a carefully ob v ex pl , c p i g t ip y

we find b ut seldomL_u II_u |

nden e in the ase of the e ra od e tc . A a n su a orres o ll , g i , ch c p c c t t p y

RS L_V | _

ma e he o ms of w are more u b ut se dom. III the on e sur t r Occ rs l i ic , f hich

or es s ar ous ere is ess of e a me r a orres onden e e ween l v i , th l x ct t ic l c p c b t

the se n e n es an in o er r ms e ause s measure has for the t c th th hyth , b c thi a most part an enthusi stic character .

O n one n ur er needb e no ed a re ue n sen en es ly thi g f th tic , th t f q tly t c

orre s ondw are s r n df eren in e r me r a ormwere c p hich t iki gly i f t th i t ic l f , h by a s ar on ras is e ressedi e h p c t t xp n the music andin the rhythm. Wh n se ntence s with many of their measures contractedcorrespondto oth ers wt man O f e r measures reso ed su an effe e on ras is ro i h y th i lv , ch ctiv c t t p duced. Such a contrast e xi st s also wh en a series of choreic dactyls

15 orres nd t a o s o f ro ee f th r . ser es o s o e o dnar orm. ) c p i t ch i y f E g .

I 9 I A Tu rf : 7 68 i n S n n en a. np oo r ar fiptov

' ' k up8tac r epao xérrov wor fi‘rat O ' ' - A ' a wns0 A“ 3 dxekev m' o dt eo p c p o c d0 t80 . s s I I s l ‘ ‘ I 0 118 arrorrrv o as Sway Sucrxp tr wv o verpar wv '

A C . A E . str . S H g IV . a (9 75

I.

u | _ u | I_ ,

Here as a wa s the me r a orms of th , l y , t ic l f e corresponding sentences are e ac ada edto the r m x tly pt hyth ical expression of the thought con tain din t w e he ords .

LY RIC PARTS OF THE MEDE A .

I.

THE P R O A D O S .

‘ P roode 13 — , 1 138 ; andA nt 14 8 15 9 , and173 183 ; 2 04 — 2 12 .

’ Ex}\ vov c owdv M p , oor Ct floaty 7 59 81:0 7 d

I K ok fs os, O 1536 mo mov M d x fi , ' e atof Af ov érr d wni y p , f ucb kov ydp

go o) dd ' p dp ov 7 60 11 Zxkv ov 0 633

" A cts 3» Z 6) « at 8 m , i. 66 7 9 9 ,

ia dv O lav ' x , 6. Stia mvog M m “fe w

- Tic (rot wor e (in M av en

xoir as Z os (I: ar a p , p la,

Ir ania n Gavér ov “ h em-(iv

' 8iv 7 68¢ N ' p n o a ov .

( i 33 0 09 mime m a“xv

“ ”W ' W a émrov at x p

Z - a k (rm7 68¢ M OM no t e ' M?) Mav r dxov

156 ME EA I D . (131

' 116 4: fl y is ail/ wr hy dp cr epav " M at 69wv 1 ( 159 p 0 .8v ' Of cwr cl f aw,

Kai M a ( t vwv eed in pp n y. ' mim "5 WV WIIm W/ 7

o r ns (i - M u n fo rm.

vw

' 80 3mfl ips-vo w oixow

£ 0 ( AG. K ai 8 , N

mn ' ' ufo ao o. 11 xaxdv p T l. at

Tots {o ur n th/ 90 9

' iz s dhw f y p u y s 7 63 Opp ir ac.

' ‘ Ax¢1v dcov wokiitr rovov ’ dowN v d8 dea o e y , y p x p y pd. ’ o :r iwEv Ae w flp xec p oddr av K axdwp gbow ' - OcoRAu'Ici 8 ddtxa wadofio a

in t rOg a ath y (Def Li v T e p / ,

I ' ’ ' 5. WV g t flwcy EM GCS cc dwfn opov i ’ ' Sc aha b V tix ov cgb (fluvpdy

mime 1 15 7 MEDEA I. ( 31

l_ _ u _ u

u u u v u u u _ _ _ V V V \ J V

u u v _ u u u u

_ u _ u — w u _ u u u

v f u u u u u u _ u — v u

d P r o o e .

a he nds in Metrik . 6 3 n s Per I w Wes a S ec. . I. t o tph l ( p , p ) thi k th t fi

en a odes p t p i ,

u u

en os n a da t exame er of the form cl i g c ylic h t ,

and o w But su an arran emen were f llo edby an iambic pentap ody . ch g t no n more an a uodlib a we a e e ra ode s ere rou thi g th q et. Th t h v t t p i h th gh t i m er f r i ou s o II. n the sh own by the exact agreement of the me b s Pe . “ ” ma er of the ae sura femn ne ae ra The ersus ne are in tt c ( i i c su ) . v xi di ‘ h the catedin h the r . W t e text by b eing printedfurther to ight y ” p oet usedhere th ese versu s nexi is clear when we recall that ana

’ ’ aests o re ede and o owthe roode p b th p c f ll p .

tr S .

er I. P . For . 3 an a aren s onda d od mar edin the v , pp t p ic ip y ( k s eme des nedto owthe eurh m see Monodien an Wsel ch ig Sh yth y d ech

‘

e au e . 6 3 s 1 . The r mof s er odis ana aes g g , p hyth thi p i p tic . 15 8 MEDEA 11. (410

FIRST STASI MO N (4 10

' ' ' “ - x K a waf a 7ro a iiw115 woiio t ma d K ai Oi a i. vr ) uv Awma or p v x p y ,

er a s.

' ' 95 6 W8 t iv 86m ooked dv o 8p o p B , ’ ' ' dv 8 £5 0 » c 3 civ tor citv o r sv/ ovtn chair s r ims dpape . r x B p j (pap at ' " at r h vaucei » éva p er as . yu q y ' i l a xa I . 0 15x67 1 Bvo xeM OOS Myo. yv v s f“

' " ’ d v a i ’tfi ’ M ofio m SE wohatyevewv Afifovo orSci r v ndv Cp l dal.

mi a cirrur r o v v .

' d c Afi ‘ vai . a of: yhp iv p cr pq. y p q p s ‘ ' ’ " Gr ac e Oér mv doc zv (Doi o dr -rw eek ewv ' errei oivr oi o av fi g, y j p p xq fip vov ' ' ' ’ A r c ' ax 3 6 po €vmv y wa p pOs 3 althv x 4. 11t [Aév dy e répav d pt r e p oipav

' 2 15 8 ix [LEV oixwv r ar pqiwv érhwcras ' ' w O x a 8i 8t815sa O LO acro. dwov W , 9 Wp | ? q p

r ér a évrl 83 iv val u dovi r d dvd ov p r f e e x , ; p ’ K ofr as Ohi o ao a Aexr ov p , ' 5 r dh u va w a 82 or a , dy s x p s

dr aws ac tives.

' ’ ' ' , Bc ax c 8 dxow a t 0 58 hr (1 13 fi p x p s, 231 9 ’ ' / I. r . c cfi i t ct aide i devr fi p y ap , p a 8 v r a . . ( mi 8 0 67 6 war irs 86 m Sun-r ave eac io'wom p p , , p pp

5 ma fiatrtku a xpctov wv

160 652 MEDEA III. ( 7

SECOND STASIM O N (62 7

’ ' 1 3pm : ilp p hi dyav (1 06c 0 5x n r8of tav ' ' ' 0 58 dcrdv m c8wxavdv8 do tv ( i 8 (Dd p p p s M m.

K éwt : s om (IM O. cv a t o w p , x p c vr s . ' ’ ’ ' r or w8cmrow err c oi v 'cwv p v , , p xp q ' ' ' 5 Té uw3 x 6 ; u » i c ao a< w

' Er c oc 85 e orwS omiI/a M a xoiM ' ' py h op pnp . wr ov Oedw ' ' ' 8c wor dov d d dxde r p q W s s o r a. r e vein y m p ; G " ' ’ up bv éxvrkrifao ér cp ou; erri Aéxr pmg ' ’ ' woo aihm8u m e r c arrr olte o p fi p c, p v s 8 ' 5 ' Ethni c o c ffo o oéit wv x L ite vvatxdi fi u pp p xq y v .

’ ’ - ’ 3 ' 0 war ic 3: r c civ a 8 - p , p , p ) 731 k yev ocptav ' ’ ’ T8v ds avfa s { e non 8v e f nx mr ar ov a idiv obcr dr ar ov dew x p , p x v . G i O ’ av n) G VGT ? wdpos 80 +“t Q ' ' u c av team ww o 0wv 8 0 5K p p p x M os 81rep9€v i)

i 33 0 5 mk e, 0 5 arv r es ( m 9 M 5 n a. 0 a 8etv6r ar a ’ wadew v . ’ ' - da wroc GM O 8 » w ' x p , m dp wr t

i ' p ) thaws r c av xafla av av p p atéavr a M p8a (ppevtbv 5 dv owl-or 8 - A 0 1 04 . ME EA III 62 16 1 D . ( 7

'

tr a . S .

v u u u

v u u u | _ u u u u | _ u u

u l _ _ L_v

’

S tr . . B

— u | L _| v u |

— ( 0 Wk} _ u l > I v u u v u

(0 WV _ u l — u u u _ u

’ l is a a ns a o i r me odes a n sen n . s In str . ccur n Do ic l i f li g t e ce s Thi g i t

in ndar 6 w i an en u sa u ur P Nem I . s e o o s . I I. E ci t g , th gh it cc i , V p , hich to b e written 162 ME EA Iv 824 D . (

IV .

TE IR D STASIMO N (824

w o O A LO T eef r o ahat v I. pcx 8m. B

K v cra t8e axof wv {s a ai. c s p p , p s

w a a7r0 97 r 0 v r cirr o evoc x p s p 7 q c p ,

/ 2 th Aa rr ar ofr ov Kh a 8. 66 8 n 9, p p ' ’ ’ Batvovr es a idep os 6 0a 7r0 9 dyvcitg ' ' ivvca IItep t8as M ofio' as Aéyovm

‘ ‘ favOcIv Apptoviav gbvr eilo a t

’ - Toi) xaM tvafov r (in 0 K ncptcroii ' r dv K ur p tv Khfifov mv dgbv crcr oy evav ' ’ i a K / xa p v ar ameiicra t p erpta tc dvsp wv ' ’ ’ ’ Airpats del 8 emfiakk op evav ’ ' i t xa r awv £ 86 817 fio8ewv rrhdxov dvdewv " ' ' ' ' ‘ r . a oc t 7m e d p q. p 8p ov s n cy rretv 3pwr as

wavr ofas der a‘ v c p s f v pyofis.

1153 0 81} ie éb w “ 9 p v or aptéiv flmiM/ s i) 95w rrdp mp dc o' e xtép a ' Tdv wat8oker et av 3 p 5a , ’ r dv oix éo iav p er M o w ' ( We / at exé r wv wka oiv d y ,

a mi /a t 6v0 v ol ov al a d ¢ p . i p ) 1rp09 yovdr wv a c 7rdvr wg , r aw? 0 ixfi eiio cv ) p , 1 r ek va

116c - ' ' ' O tic Os if e s; i ct t r e ' p ) ap ) x p , nvov, aeeev x a 8f . r e A / ct p q nd,

' 1ra i 8wv ixcr av xr avévr wv , 7 5 7 50 1 xépa ¢owiav

V 9 6 164 MEDEA . ( 7

FOUR TH STASIMO N (976

WM Nilv {An ofnrért p 0 4. ofiaérv ar cixowc yap is thrivov

856m 860 mm; dr av

' I

M 8 d i « Ki 91 0 “ T8? A L80 . { 6 p mp p. 5

« t d t de p or 0 5r xcpo v .

’ ’ ‘ ' Haif -( m a I. xdpts dp fipdo uic r rycz wcvrhov ' Wtir t uxr dv r e mé¢avov weptficaflat ' 1 w c x ' r c os 8 i e . vu o o c t p s $ 7 p p p wfo t . r oiov ( is lpxos ma sirat A I I 5 can p o cpav Gavar ov 8m avos ar av 8

of”:

' v 2 8 3) r aM v I?) xaxdvv c e , p p m8 ulwr u afwmv q p , mwiv 0 5 nar ct830 s

’ 5M6 v w a ' o r . oo of cts ouh i t 0 p fi p , c r 0 7 1. 6 Odva fi y xp 8 7 v r ov. ’ Mm e of a 80 Ww s a ot ct p p p x .

’ 8 M e rw cv o ac 83 0 V 61 0 (5 p 7 9 , r ofkatva 7raf8wv af e or m c s, w “

' r fkva vv ¢c8iuwIvcxev mv dc w p or. oh m c , p iuv dvdp ws

m. £119 0 t s afaris m axi o m. ME EA V 976 16 O D . (

I tr S .

| L_u | 7T

II.

L_v |

| _ u u

L_v L_v

I

tr . S . B — w u v u u l u

u L.

— — - — mE v v | u u v u l u u |

v l 1251 166 MEDEA w. (

mmatic son of the C orus w r me ers s o en in ar Ko g h , ith t i t p k p t by sons of Medea ( 12 5 1

P6 r e Kai m ai X . p tp i;

' ' - dia l “Nov xa rt8cr I e r dv ; ,

5&0 waixa a iv ( ort/ {av v y , p p A O I 3 I r lxvoc; r p oo flah a v X‘P o vr oxr ovow ’ ‘ ' 5 T6; 0 8; ydp curr; xpvcrea; ‘yova; ' ho mev 8 a i ar t mfr va v w , y ' ' Q dflos int dvepwv .

I I ' Aw cvcs xar ci e mr dvravo'ov 0 1 o i y , py , , w qS v av ’ i E tvi) v {mdhaor dw p p v .

' 5 Mafrav 6 00 9 3 r ew v p x pm , ' d ' ar av a. cv os hatov 8r exe (I) p p y G s, mavt év Mwofn a 2 v rh7nd8wv

1“? dcvwr air av c o v f io flltofv. ' 5 A cac ia r i O 'O t cv6 v a iJ , ¢p B p ; xéko; wpm frvct xal 8vo p €viis ‘Pdvo; dy eifler at

M 5 7 5-9 39 0 7 0 39 ’ b o e d edo a u y ) p r irri aiav a5r o 6vr at vvc p y ¢ s f p88. Oeoacv ’ cwi 86 m 6 7 p ; x7.

' O ' II. a . of oc, r t n o? bii w p g y pmrp ; xep ac; ’ ‘ H. 0 5K ” 3 OBCM i owe r dM i GO O d p m m O. y p .

I 95 1 168 MEDEA V . (1

' d Hop cAOw m ' p mr cxvocc. ' ' m ovr t d ' Ncu sr a Galas 7 5m iv 8c p , p c , 5 y ' v s 30 ddw 55W e Wp Wi a7

' ’ ' ' a t r ew v TaAaw «is; d 1 0 001 r cr os 1 r s X . , p 7 p )

’ ' ei dp or ov aimixu p t noipa Kr t v c.

' b wdo R 10 Miav 81) wh imp iav r c v p s ' ’ ' ' n iv c l/b i e a ak eiv r exvocs ywai p s x p fl , i ' ’ ’ vei 'av cx 96 6 V 89 i A t89 l vd) p a o , ) ' 86Wvwéfevrq t dze 8mp ofr wv dAp . ' ’ " Hir vet 8 dr dkatv ( S fi p av ¢dv¢p ' 6 6 r tw y 80 0 0 3 , ' i rre r ctvao a 7rovr £a 7r68a We p s ,

' - Wr e wai80 1v m 9avoi30 arro rat . 80 0

A O ' ‘ cvoc a i 8cw6v (I) atmirv Ké o Tl. 8mow y r v n ; yw x s

r o ov ohnfirr v ,

' a 7 x xof 8o u Bpmois zpcf s 058 ) a .

mm K o ata .

We m as ight sume that two trimete rs of the b oy s hadfall en out after ' the firs er odof omma a and en un e the rs two omma a t p i k , th it fi t k t in o a s ro e andthe ne two ro B ut i a t t ph xt into the antist phe . n th t case the assignment of the stroph e p artly to the boys andpartly to the c orus wi e the w o e of the an w nedto the h , h l h l ti strophe ouldb e assig

horus wou dbe rre u a M r on fre r . o eo er o ot o ur not c , l i g l v , K p y cc ly quently in Euripides b ut also in Soph ocl es which begin with strophes andendwt né ara . f. Oed C . l dP il Co . I. n h i h p p a . V . EA V I 1 51 169 MED . ( 2

m ’ K o m a a .

Ch . I u II. (IO , u .

A 1]

u | A ll

u u u

mm ’ K o a y .

K omma THE LY RI PARTS OF E I C TH ANT GONE .

THE PAR O D O S (vv . 10 0

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o w( 010 p 5 9, ’ ' ' ' 3 9 1ror d) va ea; é e a; ite ha ov A t xaiwv 15 e a & q , xp p p B q p , p p fi é pwv

' [A OAOIJO' a ’ T0v x Acti acrrn v Am69€v «Mir a Bafvr a wavaayta

' ' ' o 8a 1r 68 o tov O v r e i xtv a aa a ah t i M p p p f p p fi x vq .

“ ' ' 0 9 id; dy er epa78 Hokvvetxovc ’ ’ ac dp i; vecxewv ef dy cfichéywv ' df ca M arv

’ ’ - ale 18 9 es civ fir e évrr a y p , ' ' Acvxr; i dvos wr e v t o r e avo } x p y y s, ’ 11' o p eG 81r ’ i v 9 { imroxd/ mts K 0 p159

' ' 8 {sn i dafi mv ovuio ' wwd p y p m a umtxavchv mid?

émafrrv kov Or dt a / , ' - ' ' w ' tv 1r0 0 ' p de r{ aw0.24 6e evvo tv W y p 1 y Aq O Ofivai r e K ai a r e

IND L / a. mipywv ' ' ’ U mxdwo H ato~ ro a r v ty . r oi 8 ¢ o; 514 432 vGrr £7 697) ' ' mira os‘ A ¢o - y p s, (twat( fli Svo ec wta 8 dxo p x p p p vr t .

' Z tir a - - s £ 4 6. X y p { 7 a y uIo o mxdmrov; ' fin c c oat a Kat p x p , 0 4m; 30 t8

' wo lt dsar w[ i. n oa vwcr o cvov / p p ;

2 17 ANTIGONE 1. 0 00

’ ' woii xava 0 157K 0 7rra9 xp xfi p ,

‘ ’ . Avn n mos‘ 8 b ri yé mfo' e ‘rawa eeis ' 6 a o cv “by (S ”M 0 5 59 7 67 p wy q. ( pud ' ’ ’ - i é ez - B wv {vi {mt t aro l o f wv ave wv . afxcé p e x y

f - mka il ol a 6 6 m u. c m5. a y y p 9 g I 3 V f ax0ewes“ won moo; wove aurov Z ip/ i 7 pm? r dyxahxa

wh i , 6 W e flw8) waf o 7 s p m p , p

, ' p 'frrpés' T e p ads gbuwe M 1 9 afrroiv

' , Stxpar eig Aéyxas' M o at/T zxe‘rov ’ ‘ d K owof) p ep os p cfiw.

' ’ e ‘ K9 AM ?J. yap ti p yak cfivvp os 77 5 f a ’ 7 ?wokvapp dn p dwcxap eio a ®7§B

tr S . W V _ _ V V V V

— — — Wu u u u l l u u U — V

Str . 3 .

e II. n e a ed er od o ten o e in s wa w P r . I Soph ocl s log o ic p i s f cl s thi y ith h nd a ore sen en e e omn ess va ous owardt e e . ch ic t c , b c i g l vi ci t

h - n as ostlude is Per . d ius 2 2 11 III. T e so a e versus A ch c ll , ) p no ewor t thy .

These three periods are b ut little separatedfromone anoth er by

un ua on see S md Eurh t/zmie 13 p ct ti ( ch i t, y , , 832 174 ANTIGONE 11. (

Fms 'r Su smox (332

' x fiBb ' M dm' ov Setvor e ov wak e B M 7 6. Scwé, o p p

fo 11611 7 0 97 0 mi wok e ?) mfpa v mir ror) xecp cp p 9

' cl r c a v foun v p , p fip x

'' . fl tnw r ofS ww p fi p ,

¢ 211! fnrc r' dr av Pay 5 0 Ew83 7 p , dx wdr av ’ ’ ‘ w a ( i e ra" M y evuwapérp v er s s s,

-f w w sm ug yet a o v .

K ampovo uwr e (fxfikov opvfewv dp cbzflakchv ’ xai wv ( 1 eo wowov 1 eivakfav vmv q p m, ¢ ' Er apawz Sm odoia 'rms “ WM dwip ' 5 xpa 'rt? 83 p nxavazs dypatikov ' ' 9 1 5 o t o m af'ra M a cau e 9 va. 9 79 p fl , x

farm o e-r d w m. rBuA4hv ( olf y ¢ W, " 0 13 1 dx r a afr m p fi r pov .

' K ai t Oé a K fl fi yp ai. civq wev

’ ’ ; mu do ' wo - M y r p ov s: opyas eSLSdf ar o K ai duo av 1l a w 6 4 14.9m Ka t Sum a 66 15 c ar p fip 4 7 B ] ,

Wn 7 6 ' avde‘v p qx ' ' ' ” ’ ’ ' ’ r f vac tnré {AmB v wor k er xa xov M x p w p , m e1r eo flkf w N ’ OW7 édwv flovos 96 6 V 7 3v0 xov m p x p 85 m,

5 32 176 ANTIGONE 111. (

SECOND Smsmox (5 82

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' A a A w l px ca 7 a afi8am86wocx v opwp a . ’ ara 111 wf ”p a v mi. 7p mow ' ’ - dwaA/Mio o u cveav cvo dA/V e efr et y y g , p ' 06 1 1 0 f ec Ari - 8 , a 6W 68 a w. v 9 ) fm , x y p ép

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’

Str . a .

— w u l v u l A ll — v u |

— u u |

u _ u _ u L_ l I | ,

I L_

u l L_

III.

- u u u l L .

A 1] 31 178 ANTIGONE IV . (7

Tami) Su smox (781

” ' - xa're a av B ms 89 iv K n amwfma s T mdm p x , p jy , " éwv a iu 51 iv M ami e metal} x s ' ’ -on to {v ‘r a ovo owafikafs 0 0 31 69 8 {M i mi ; yp p , ' ' R af cr 0 87 domain » ! 0 686 9

' ’ ' ' ' v b r M dmnv 6 8 E am e v ev . 5 0 50 w p , x p p q

' ' 3 éva wa amr i 3e Eb Kai 8cxatwv 6. k ¢p s p gq i v : 110 2 7 68! vefxos dv8pc3v ffivmy ov zXfl S T apaffag ' ‘ N 8 év a w‘ Ae cxi wv { e o efikéx'r ov u é. py ys B f p p p s p ' ' a ' 113V al wv 1ra e8 os vfip ¢ s, p q p p ’ 5 yap eimrafga 06 89

' v II V I L_ w u — W _ u _ u |I v u _ u V v , I _ II v L_ I “ v u w u

I_ A ll

180 v 303 ANT IGONE . (

'

1. i. et a AM 8. 1 0 xa K . /M 9,

1 82 fip or oi Kai 001 71 0 7 0 6 9 . ' 3 6 1 0 2 i0 0 9€0 ¢ xat r oa. M4 ? 9 9 ' ' fz ' 3,m Aaxcfv p ey dxo a ac.

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( T W 0 1) 0 1) 0avoww. O wo w “ C’ ( ,

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h W/ V 3 A LB dO ov Wy 9 9 B p ' ' 1r oa e1re0 ' e (I) ‘rexvov woktiv p 9 , , . ’ ' i m c ov 8 émn va k rp fi s m fifi ov .

" ’ B / e ' ‘ ‘ A . il 0 0 0 0 9 dky wmdras ep oi ”( pf/ WM

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. Eé a v 31! £ 5 X fi p 80 ,8c ’ xpdf os 8 81 0: xpdf o9 p ixi e r apafiar 8v ofi ap fi ' ' - ' 0 3 8 airré vurr0 9 (BMG 6 02 y 197 .

" ' A . Axhavr os ( ul e dw év ' o , M s p atos ay p ac 1 M ¢pwv

' 31 d 686V

0 8x6 1 ". m. p 1 680 M awd8o9 ip8v

8 m 06 ° p ” p m8piiv f akafva ’ 5 7 8v 8 l v 0 - yb 01 m M awav 0 08t h M A I O E v 303 181 NT G N . (

t ’ S r . B .

V I L. I

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L.

l L. w u l _. u

u _ u I _ u | L_.

_ u _ C I Il

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= 6 é1r.

t ' S r . y

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_ u

u u u v

E o d p . _ u f . u u u u q Iq u

_ w _ w I_ u ll

u u u _ u I_ u “

u |I u q _.

' tr a w f f m y on s s oru s e ns s . se n e n es o ke or G Thi ch b gi ( ) ith t c li ( l c ic ) , th en b ecomes more vari edby the interchang e of se ntence s of differe nt '

en r f fo m str. s st . and na ose s w ser e s o ke r l gth ( fi lly cl ith i li ( y , The first stroph e andthe b eginning of the secondare in logaoedic m easure . Af er e se ome ore er ods w e ome more v e t th c ch ic p i , hich b c li ly towardthe cl ose in consequ ence of the occurrence of the three choreic h w da s . We a a e i st St simon a ove o e r ad seen in the F r a ctyl h v l y , b , ch oreic dactyl s were introducedto reliev e the otherwi se too great re ose of ore ser es p ch ic i . 182 v1 044 ANT IGONE . (

Founm Su smon (944

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x r w v 6 é c f o v. “M ai 3. 9 b y

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h 9 I ° I I 5 avflnpov p en/ 0 9 nu t/ 0 9 a rev p al/ Law

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5 33 0 dpa1'8v was ' Apax9§ v if éypfas 8dp ap1 0 9

M y Wé oww6 p ,1.”d xii

a e M ai a ‘ : W ms w M fl mp

1 184 ANTIGONE V II. ( 115

V II.

Hrr oacnmu (1115

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Hokvmd vho wé wa ¢ 9 y , ' afipéf wv ivréwv ’ ' Etxxzéwow ®1 afa9 éwa xo'n' oiiw dmds‘ , 7fi g y

Tau ix wwfiv 1 39639 61rcp1

a ( rim“ a n p p p vi g. ' ml W00 LaLa ' E t -rm , 9 fi s x

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’ ' 18; fi weuiwaw o of- da y vv cwv p x p y v , x

df wv 80 0 30 136111 q , wag A 069 7 611030 15 ap o¢dwy€ M 0 0 29 M mméhow

M ai a:at awé at m o dovo-L , p w M x p 115 185 ANTIGONE V II. (1

— mE u u L_ I_A II

_ V _ U

_ U

_ U I A ll

“ U V

u II_ u ,

’ r S t . B .

— 3 l_ V u u — 3 u v — v u

u f _ u _ u q L . — v v _ u l L . I_ A II

The antithetic constru ction of the periodis e spe cially adaptedto ' r e ma a In So o e s the ma or of the or ema a ons s hyp o ch t . ph cl j ity hyp ch t c i t of an t e er ods w it is not oss e to su ose oul d a e ti h tic p i , hich p ibl pp c h v come ab out by mere ch ance . ’

In arran er ods a ov e om a a efu In Str . a n the re r 3 . gi g p i b , c p c lly 7 ,

den e o f and5 s ows a the er od I. a rre s on . er. W P the ex o 2 , ct c p c h th t p i ' n b e re ardeda ost ude tr v . 6 an o In S . is ure an e . p ly tith tic B, c t g p l ,

v 3 and4 s o ws he r since the almost exact metrical agree ment of v . h t i

n corresp onde ce . 1261 186 ANTIGO NE V III. (

V III.

THE Exonos (12 6 1

’ '

K. Io1

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188 19 0 1 V II 231 11 1 1 0 1 1: I. (1

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, 3 68 O13K 611 N ov K . 1

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"

. I K n n 11 01,

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' e . Mil kmn: 1 r 81 X af ra . 1 v wpoxeLp evwv 1 1 x0 ?) ' 1 11 160 0 1 11 . an d 1 8v8 f? e 1 p y p xp ) p ék w.

’ ' . w X vvv poa nfxov p n8ev 619 wewpwaévns ’ otmion Ow-0 3 0 1 - - n 9 0 1m¢ p89 6 M ay16. I O E VIII 1261 189 ANT G N . (

y a a ’ ' A ou av d'ra d/ mr K . r wv I S oSu W e P y A Q ‘ ' 3 (T) mu 1 oi éKcov K ar eK aI/ ov 9, , x , I 9 I ’I I 3 V (7 6 1 av w oc e k e og ouS e w p p , x

’l A A I - 7r 0 e ov IM) 71 K/\ Ow 7r o 710 1 € 0 V 1 1. l. . p s p p p , 9 ’ A 3 I 3 K ‘ Ae za T dV c o w 1 6. a n u oc xp x p , p l 3 I ' I ' I o ka ‘ 710 130 0 9 3v0 K0 /u 0 1 s eco n ro .

' S tr . y .

_ U

_ V

U _ U U V _ V

a V V U W _ u u v v v

_ U NE III 1 6 190 ANTl GO V . ( 2 1

E x o do s

Throughout this entire chorus the dochmu are distinguist by the

ae We e e e o e th of the e u a a. e ae a oe abse nce r g l r c sur h r , th r f r , c sur d s

to occur has not bee mar ed. happe n , it n k

'

t . S r . a

f m b e h o o e o . a 3 f t e re e W3 nd4 . In co se e e o n qu nc c r sp nd nc , v ust h o T e e la e ha e no infre regarde d a catalectic bacc ic dip dy . h s syl bl s v t quently such value .

’ tr S . B .

We must not re a . 5 a m g rd v doch ius with following choreic tri

S a ve e ou b e a o e e m It i e a im uch rs w ld lt g th r unrhyth ical . s qu lly pos

e to ose o s of two o m the e o of an ear - of sibl supp it c nsist d ch ii , s c nd unh d

Cf . Eurh tkmie 18 5 . It is m a me e am c mete ic y , , si ply li i bi tri r, wh h probably was not sung but recited :

u l — A ll

'

tr . S . y

' '

tr me e o . S . an str c o e the a 7 d . a l se with xactly s p ri d

F INDEX TO THE METRES O HORACE .

METRE S .

— ' ’ is to a a a s . Th e a e is a e in n . Non . Iho reference p r g r p h p g dd d p are th eses

Iam T me e 2 6 3 III. bic ri t r § , ,

Iam o e 3 I. bic Gr up w, ,

F st iam ou s 3 II. ir Pyth bic Gr p m, ,

Se o am o 28 3 III c nd Pythi bic Gr up § , , .

’ Al maman o 2 c 8 3 IV . Gr up § , ,

F o ia o I e 4 . irst Archil ch n Gr up w, ,

Se o h o an o e 4 II c nd Arc il chi Gr up w, , .

Le e e a ea o 29 2 I ss r Ascl pi d n Gr up § , , .

ea e c e ade a o 29 2 II Gr t r As l pi n Gr up § , , .

a t l c o ia G o 29 3 1 D c y ic Ar hil ch n r up § , , .

ea e Sa i o 2 1 Gr t r pph c Gr up § 9, 3, 1.

o aoe A o ian o 29 3 III. L g dic rchil ch Gr up 5 , ,

F ou - i e A l cmanian o 29 3 V r l n d Gr up § , , I .

I e a n s e a e a o 29 3 nt rch ngi g A cl pi d n Gr up § , , V .

on a e e a ea o 29 4 I. C tr st d Ascl pi d n Gr up § , ,

a o 2 9 4 l ic Gr up II. A c § , ,

Io i o 2 9 4 n c Gr up § , , III.

e a ean n o o 29 5 I. Ascl pi d Glyc ic Gr up § , ,

ommo Sa i o 2 9 I C n pph c Gr up § , 5 , I.

i F our o l inedTrochaic Group

Cons sts of a a ale i ha c e a anda a lec h a iamb exa e ea e . i c t ct c troc i t tr pody c t tic ic pody, r p t d . de . . oo . de . M e tre B ook . O M etre . Ode . M e re B k O Book . t

0 0 0 0 0 0

0 I 0 0 0 0 0 0 .

0 0 0 0 0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 .

0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

8 V III . 9 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 X V I.

0 0 0 10 v . 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 IX . 11 XIX .

12 V X III .

3 X V 1 .

14 X V L

15 X V L

Sa a e a e . 0 0 . C rm n ccul r XIX

1 10 . Epod. II

11 V II. 12 13 . 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 1 0 0 0 0 0 0 0 0 15 16 0 0 0 0 0 0 0 0 0 0 0 . GENERAL INDEX .

mb er re ere nces are to a e s. Th e l e tte rs s . s . lace af e the nu a Non . The f p g q or qq , p d t r of

c wi n showt a the s ub e re e e to exte nds n o th e follo n age a es . Th e I ge, h t j t f rr d i t g p or p g m wo in b lack le e andis e n re esen e in th e b th e e e en e b i portant rd is tt r, oft p r t d ody of r f r c y

- m e m tan e e enc e . a das h The heavy faced nume ral marks th e or i p or tr f r

e ame 8 d11 ca a e e e 2 7. a ae e 8 an 4 . A t l ctic v rs , An p stic t tr t r, sq

e a s of E s oetr 10 dwa rl a 123. Acc nt, b si ngli h p y, ppnp ,

not to be f e a An s o e 120 and12 3. con ound d with qu ntity, ti tr ph , e A e 12 11 in late e e e 6 s . a o ; Gr k coincid s with ntith tic p riod, q ; p lin dic

2 - 14 affe e a e 1 8 s . e se a se ictus, ; not ct d by qu ntity p riod, qq ; v r p u in

of fi a s a e 1 s e - 8 . e 139 . se a se in n l yll bl , p riod, q v r p u

not ma f r a e 140 e o o a o . Acc nts, rks pr tr ction p linodic p riod, sq s a of o e m r e 4 (ii S 12 3. h rp ning v w ls , ; nor of p i, ua 11 a 13 o a o s 9 s c 5 . a q ntity, _nor of inton tion , ; Ar hil chi n gr up , q ; d ctylic 6 e c 1 a i a e o 99 s . aoe o but of pit h , ; d riv t on of n m gr up, q ; log dic gr up, f 16 no fl o e ee and 0 s . , con ict b tw n, 10 q

a s 16 . 0 qu ntity or ictu , 7 .

A cce ntnation 15 s . b e con a cm 2 2 , qq ; not to Arsis ( p ) , . f e a 18 u ith i t ti , . e a ea o esse 97 s : o nd d w n on on , Ascl pi d n gr up l r, q a A e e 16. 9 ea e 8 s . e ut c nt, se esse r 97 s . c c gr t r, q ; v r , l , q , dnins A o 70. ea e 98 s . i er a , gr t r, q ; nt ch nging ee me me a of es o 1 01 s . Agr nt, tric l , Corr p nd , as e group q ; contr t d group, Me 1 e 44 s . 102 ing mb rs, qq G o o 103 . ; lyc nic gr up, sq m e o , 10 2 s . a Al i gr up q A e e e ses 60 s . syn rt t v r , q A l caicumdodecas llab umand o s y b nd a corre tio 8 . Attic p , cas lab nm fl , 72 . Al eai cns enneasyll ab us anddecas lla Ba 27 and34 9 y chius, ; 6 inter hange c , c

bus, 71. of ae 75 . , with p on , sq

Al - cmanian o 95 fo e woa adla , 101. e cic 1 gr up ur lin d, p q , 6 . B o , A m hidochmi us 78 . B p as s 90 s . , i , qq m ma e 2 7 . A phi r, B eak e e 60 . c r , d fin d , a e o 10 An cr ntics, 7. ac s 2 4 n ru i , q . o a o of a A s s 1 . C , pr nunci ti n , in L tin , 0 Ava l on 4 “, 7 . ae s a C ur , 59 . ’ A m eem ov (in wa én a v p o 70 . a a e fi , C t l tic ver e 2 7. c s ,

a ae s , as and28 as s e a a e An p t ; u d in C t l xis 27. , a c mel des 113 m h i , . Chol iamb ns m r o m 3 . and86 , 7 sq .

196 GENERAL INDE X.

19 s . 5 5 . s of mea e 2 5 M e efi e , 3 ; Intonation 11 . ; sur s, ; tri , d n d qq , qq c

M e a o e s e e 5 2 s . ces 6] s . , qq of se nte n , q tric l c rr pond nc e e es me m s 8 o ee 92 s . a e Inve rte d dochmiu , 7 ; ch r , q gr m nt of corr ponding

f w he rs 144 s . Ioni 26 and31 inte rchange o ith , q q c, d33 e M o oss s 26 an . e 74 o s 74. l u , dichor , f rm of,

M o o 8 1 122 . I se e e s 69 o 10 3. n dy, onic nt nc , gr up,

M o a 6 5 . I e nus 75 . , onicus anacl om , r

M s of the f s of 19 s . re e 43 s . , ; Irrational syllable 2 4 c o , ; u ic , origin orm qq , h q s e ta 2 1 a s of vo meas ures whe re allowe d in ree i in trum n l, limit tion

cal 2 1 e e o e 80 s . tativ e verse 50 choree resolve d , ; d v l pm nt of, qq , ;

n o e 5 1 es o e e of i c m dy, corr p nd nc N e G e e o a m s 36 use a 5 2 s . o andrational syllables in rsis, q t s of r k v c l u ic, ;

of th e o e 37 . x ee 49 l ng r, sqq ; si t nth,

sq .

T 12 3. “i, ' dl r oe a 16 . égeia, p m ,

ae o 2 and33 e a e of P n, 7 int rch ng with

a s 75 . iwo 19 117. A s , ; b cchiu , e se a eas e of 40 Lo aoe se e e 70 s . ae o g dic nt nc s, qq P nic v r , fin l m ur , ;

f 44 se e es 6 9 s 78 . 43 s . o ms o L o aoe ; , ; t c , ch iu , g dics, qq f r n n do m ' s re e S s a o e 125 e e a e proof of cor ctn ss of chmidt P lin dic p riod , ; r p t d 126 a e e eo of 45 . e th ry , sqq p riod, ; ntith tic p riod,

d e 133 s . 2 8 s . eso L ri e 89 s . s e s 105 . 1 y c typ , qq ; sy t m , sqq qq ; m ic p riod , q ;

e se - a se e 138 e se v r p u in p riod , v r

V 115 122 . a se e e a e e 138 s . W, ; p u in r p t d p riod , q ;

Ma e a a e s of 113 e se - a se a e e rch typ , ch r ct ri tics , ; v r p u in ntith tic p riod ,

140 - ffe e e es 114 s . s . e se a e in mes di r nt m lodi , qq ; q v r p us odic me es iffe e a e e e e 143. lodi wh r ind r nt from d nc p riod , e 120 es . a a a 12 2 . l i , P m od r b sis, M ea e s e e 20 e a e a a o os a a aes the of sur , d fin d , ; q u l, un qu l , P r d , n p ts in , Attic and e a e 2 0 and26 s . a e 115 122 quinqu p rtit , q tr g dy, . e of has an us 2 0 and2 2 a ema 38 s . 114. b ginning , ict , P ro i c, q ; e a s a e e s e a s of 2 e e the p li i ry t t t c c i , Pa e , 7 ; r m n m n on rn ng us s, m rk n v r in

22 s . a e a s 2 5 l e of a e se 40 o of qq ; fund m nt l form of, midd v r , ; p sition ,

s . s e e a 2 7 . e xa 136 s . q q ; hort n d fin l , sq m qq

es 2 8 s . a ema s e e 2 0 . pl of, qq ; fin l r rk con P d s, e r fo ms of 5 4 a e ame e e e a ao- a e 93 c ning r , ; rhythmic l P nt t r , l gi c c ll d , a e of 5 5 e a e of 3 s e a o 64. v lu , int rch ng , 7 qq . ; P nt p dy, fo ms f o o 74. e o 79 a o to o r i nic, P ri d , ; cc rding gr uping, M d eso e 12 1 . 2 a in e ea e , 1 4 sq q . ; l st group r p t d M e o e o 12 s . a d e e o e e 1 7 o 39. s dic p ri d , q ; p lin ic n v r inc mpl t ,

e od - 133 s . e se a se e o o o 79. p ri , q ; v r p u in P ri d l gy,

e d - ' 141 s . e se a e m wrm l v r oac ala 16 . p rio , q q v r p us in p p q , p p , a od e io 143 h e ndecas l 2 P hal ae ce um lab um . p lin ic p r d , . y , 7 m“ 1 18 . e e a e a s andse o 70 . M , Ph r cr t n , fir t c nd, R 9 GENE AL INDEX. 7

3 s . Se e e a 5 5 s o o o . a Ph n l gy , qq nt nc , rhythmic l , qq ; gr m matical e wi o 11 122 . e 5 6 s . a v y s, 5 d fin d , q ; rhythmic l e e f rr S 2 5 7 se o 5 7 . o é es 0 . d fin d, ; clo , sqq ; int ,

f a 6 1 s . s 6 1 he o s o 19 s . P e t , ; ti f, q ; ivi i f, ; o try , origin of f rm qq n on o d on o

se s 6 1 s . n e es s e 63 s . e e e 80 s . ictu f, q ; l th f, ; d v lopm nt of, qq ; g n i of o g o qq e e e s 82 s 65 s . s fre . ul f l th f, q ; t typ of, r or ng o mo

e a e es 6 7 s . es P os o es 8 . u t v i ti f, qq ; hi h t , q n r o g iti n , rul for a ses b e s s e 106 . P os e 118 134 s . a rhythmic l unit in lyric y t m , tlud , qq ; p u S a e e s 3 s e 143 s . h p i f v l , q . for , q r n ng o ow q

' d m H thh to ér ov 1 Sota e u 88 . u e v . p g , u p , 7 , S a se e e s o 68. P e e 118 134 s . a se s a e p ic t c , ; , nd n n r lud , qq p u ft r a d 14 S e e s 26 n 2 9 . 3 sq . pond , S s 12 2 a a . Pr ia e us s 87 se o and t im , p , fir t, c nd third, S e 12 4 e ea e e 88 . tichic p riod , r p t d p

d12 4 - — o o a o s a e rio s . e se a se e s 34 s . , q v r p u in p riod, Pr l ng ti n oflong yll bl , qq s and 40 137 e se - a se e ea e e in ionic dochmii, . v r p u in r p t d p d 1 P o a o th e e s 4 rio 38 . r nunci ti n , of vow l , ; of ,

th e e e o e s an S e 5 2 12 0 s . eu lid d v w l dsyllables of troph , ; choric, qq ; in mia i a e co st c e 12 0 s . 123. 5 s . p t y, q ; L tin po try, q o r

o 12 1 S a a a e s 5 8 . o e . Pr d , yll b nc p , n or Smév 11 134 s S a e s ands 7 nature 8 . yll bl , long hort, ; , p g , qq n 0 0 ' 0 8ta xd 11 s s l on ae 8 e a e a e s 6 . po ition g , ; r l tiv v lu p ,

-( mm ands 10 a a « oo 8 e e e a e of a f l h t, k f i r p 9 , Gr k quiv l nt L tin o ong or m r o r accentu s' 16 tional 2 4 a 34 , . , ; prolong tion of long,

s . a s e e a e oso 18 . qq ; l f t i i v lu f Pr dy , w or d rm n ng o 3 o a 6 s . s as n a s s 42 o o e s 3 s . long, q ; hort lo g r i , Pr tr cti n of v w l , qq “ - s . a s s 49 . 9 1 s . q ; h lf hort , Pyrrhic, q S 3 o e 5 37 s . am andse o ync p , ; qq Pythi bic group, first c nd, S z e s s as a o a 94. yni i proof of r pid pr nunci in ee 9 tion Gr k , .

S e 105 s . a e e 7 a s 7 in yst ms , lyric, qq Qu ntity , d fin d, m rk of,

- e e e e a a 7 s . d p nd ntofvow l rticul tion , q es 8 e a e and f a o a 10 . ul f, l tiv , f l , r o r o ong T, pronunci tion in L tin

s s a es 10 . 6 4. h t yll bl , e a o or T tr p dy, Th e si s 22 ; primary andse cond R e a e e 0 e . r ae s and a 8 83 a 25 . cit tiv po try, ; typ , sqq y in p on chori mbi, '

a a e s s 83. Tt o x eovr etov 75 . ch r ct ri tic of, p p , R e s 2 2 s . o Tom 34 s . oluti n , qq i, qq

R 3. o e a s e and e e a hythm , T n , dur tion , tr ngth, l v R 5 5 t e e 3 s . 11 fiv e b e s she hy hmic , d fin d , qq tion of, to di tingui d,

' R e a s e e 5 5 s . e 15 s . na es in ee 16 hythmic l nt nc , qq ; p riod , qq ; m of Gr k ,

79 . a 6 e 2 51 . Tribr ch , ; in com dy, 6 4. Tripody, Sa ea e 100 o a e a e e so a e pphic group , gr t r, common Tr ch ic t tr m t r, why c ll d,

1 4. 0 32 84. group,

Sa hicumh endecas ll ab um 2 r o aio Si o 7 . 44 48 . p p y , p x s mp s, ,

S az o e a e e 86 e e 86 . o e e e of a s 2 5 c n , t tr m t r, ; trim t r, Tr ch , id ntity with i mbu , 198 GENERAL mor a

e a to o ee o a ac u V e e efine 5 8 a a e e 60 s . q u l ch r with ut n r sis, rs , d d, ; syn rt t , q ; “ 26 and30 two- me o ee iffe e om e e e 63 e a ; ti d tr ch , 48 . d r nt fr s nt nc , ; r cit

e ita ve 83 s . 9 s fi ve 83 c W. . qq ; y . 8 . ; . ar r c ti l ric qq s V we - ma o a o . e 113 . o 1 a 3 r h, sqq ; ch ric, 16 sqq. l rticul ti n, sqq T o o 80 s V o e o a e 3 s a 3 o e yp l gy , qq . w ls, pr tr ct d, ; h rp, pr p r

o n a o of 3 . o f 5 . pr nu ci ti n , sqq ; d ubt ul, 1m 132 ; sq .

THE END .