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AUTHOR: 


SCHMIDT,  JOHANN  H.  H 


TITLE: 


INTRODUCTION  TO  THE 
RHYTHMIC... 

PLA  CE : 

BOSTON 

DA  TE : 

1878 


COLUMRT/\  ITNIVFRSni'  iJHl-lARlF.S 
PRESERVATION  DEPAKTMIiN'i' 


Master  Negative  # 


il!l^J(K^(APHK:^ll(:l(c)l^()R^ll;AliGE;^ 


Original  Material  as  Filmed  -  Existing  Bibliographic  Record 


887.6 
SchSl 


NNC 


Restrictions  on  Use: 


Leitfaden   in  cier  tUiyXtiin±'ic_  unci 
Metrik  cier  classischen  Spra- 


chen. 


rMg. 


l^ite. 


Schmidt,  Johann  Hermann  Heinrich,  1834- 

An  introduction  to  thc^  rhythmik  und  metric  of 
the  classical  lang-uagc;?.   To  which  are  added  the 
IjTic  {arts  of  the  ,Mer;ea  of  Euripides  and  the 
Antigone  of  Sophocles^  with  rhythnical  schemes 
and  cora-.entary.   Translated  from  the  German,  with 
the  a-jthor's  sanction,  by  Joriri  Williaiis  'nTiite, 
Boston,  Ginn  am   Heatri,  1678. 
X,  198  p. 


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John  Wluams  White 


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BORN  1864-OlEO  1905 


PROFESSOR  OF  CLASSICAL  PHILOLOGY 

IN  COLUMBIA  UNIVERSITY 

SCHOLAR      AUTHOR      TEACHiR 


AS  A  MEMORIAL  OF  HIS  LIF^  AND  WORK 

HIS  STUDENTS  AND  FRIENDS  GAVE 

HIS  LIBRARY 

TO  HIS  ALMA  MATER 

A.  D.  1907 


KAciVO?   S'   6  TTOVOS  ftOt 

OcoldLV  6ov\av  ^ep*  €YC»/. 


Jl 


INTRODUCTION 


TO  THE 


RHYTHMIC  AND  METRIC  OF  THE  CLASSICAL 

LANGUAGES. 


AN 


INTRODUCTION 


TO   THE 


RHYTHMIC  AND  METRIC 


OF  THE 

CLASSICAL  LANGUAGES. 

TO   WHICH   ARE  ADDED 

THE   LYRIC   PARTS  OF   THE  MEDEA   OF  EURIPIDES  AND  THE 

ANTIGONE  OF  SOPHOCLES,   WITH  RHYTHMICAL 

SCHEMES   AND   COMMENTARY. 

BY 

DR.  J.  H.  HEINRICH   SCHMIDT. 


Th  Ay  SLATED  FROM  THE  GERMAN,  WITH  THE  AUTHOR'S  SANCTION, 

BY 

JOHN  WILLIAMS  WHITE,  Ph.  D., 

ASSISTANT   PROFESSOR  OF  GREEK   IN  HARVARD   UNIVERSITY. 


/ 

BOSTON: 
GINN    AND    HEATH,    PUBLISHERS. 

1878. 


PREFACE. 


Entered  according  to  Act  of  Congress,  in  the  year  1878, 

BY  JOHN  WILLIAMS   WHITE, 

in  the  office  of  the  Librarian  of  Congress,  at  Washington. 


6vi 


jo.  2. 


University  Press  :  Welch,  Bigelow,  &  Co., 
Cambridge. 


Dr.  Schmidt's  '^Leitfaden  in  der  Rhythmik  und  Metrik  der 
Classischen  Spraclien/'  of  which  this  book  is  a  translation,  was 
issued  in  18G9  from  the  press  of  F.  C.  W.  Vogel  at  Leipzig.  It 
is  a  compendious  statement  for  the  use  of  schools  of  the  principles 
established  in  his  larger  Avork,  "  Die  Kunstformen  der  Griechischen 
Poesie  und  ihre  Bedeutung/'  the  first  volume  of  which  had  already 
been  published  Avhen  the  "  Leitfaden  "  appeared.  The  four  vol- 
umes of  the  larger  work  are  the  following  :  — 

*'  Die  Eurhythmie  in  den  Chorgesangen  der  Griechen.  Allgemeine 
Gesetze  zur  Fortfiilirung  und  Berichtigung  der  Eossbach-Westplialschen 
Annahraen.  Text  und  Schemata  sammtlicher  Chorika  des  Aeschylus. 
Schemata  sammtlicher  Pindarischer  Epinikien."  Leipzig.  F.  C.  "W". 
Vogel.     1868.     Pages  xxiv,  429.     Large  8vo. 

"  Die  antike  Compositionslehre,  aus  den  Meisterwerken  der  griech- 
ischen Dichtkunst  erschlossen.  Text  und  Schemata  der  lyrischen  Par- 
tien  bei  Sophokles  und  Aristophanes."  Leipzig.  F.  C.  AV.  Vogel. 
1869.     Pages  xx,  532,  CCCLXXV.     Large  Svo. 

"  Die  Monodien  und  Wechselgesange  der  attischen  Tragodie.  Text 
und  Schemata  der  lyrischen  Partien  bei  Euripides."  Leipzig.  F.  C. 
W.  A'ogel.     1871.     Pages  xxx,  170,  DXXXVII.     Large  Svo. 

"  Griechische  Metrik."  Leipzig.  F.  C.  W.  Vogel.  1872.  Pages 
xxii,  680.     Large  Svo. 

Dr.  Schmidt,  now  Oberlehrer  in  the  gymnasium  at  "Wismar, 
Mecklenburg,  began  to  study  in  a  special  way  the  subject  so  fully 


{ 


VI 


PREFACE. 


presented  in  the  volumes  just  named  in  ISGG.  He  had  pre- 
viously undertaken  the  study  of  Greek  ^'  Synonymik  '^  and  "  Tro- 
pologie/'  but  found  it  impossible  to  proceed  without  first  making  a 
careful  investigation  of  Greek  Ehythmic  and  Metric.  The  results 
of  that  investigation  are  the  four  volumes  of  the  "  Kunstformen/^ 
and  the  ^^  Leitfaden/^  He  then  gave  in  two  gynniasium  pro- 
grammes, the  one  of  Ilusum  and  the  other  of  Wismar,  specimens 
of  what  he  proposed  to  do  in  "Synonymik-"  and  "  Tro2)ologie/' 
and  has  since  published  the  following  :  — 

"  Synonymik  der  griechischen  Sprache."  Yol.  I.  Leipzig.  Teuh- 
ner.     1876.     rages  xvi,  GG3.     Large  8vo. 

"  Synonymik  der  griechischen  Sprache."  Yol.  IL  Leipzig.  Teub- 
ner.     1878.     Pages  xvi,  648.     Large  8vo. 

Dr.  Schmidt^s  investigations  in  llhythmic  and  Metric  liave 
caused  much  discussion.  From  the  first  he  has  had  the  support 
of  Professor  K.  Lehrs,  of  Konigsberg,  and  he  has  besides  many 
warm  adherents,  whose  number  is  constantly  increasing.  There 
is  much  in  which  he  agrees  with  Eossbach  and  AYestphal,  not  a 
little  in  Avhich  he  departs  from  their  conclusions.  Acknowledging 
the  great  work  which  they  had  done  in  their  study  of  the  ancient 
writers  on  Ehythmic  and  Metric,  he  proceeded,  using  these  results, 
to  establish  a  system  founded  mainly  upon  tlie  actual  study  of  the 
Greek  poets  themselves.  In  pursuance  of  this  he  worked  through 
Pindar  ten  times,  and  then  as  many  times  through  the  choruses  of 
Aeschylus,  Sophocles,  Euripides,  and  Aristoplianes.  Not  until 
then  did  he  begin  to  formulate  the  principles  whicli  he  found  to 
i:)revail  in  the  composition  of  these  great  works  of  art.  Such  a 
method  must  recommend  itself  as  one  in  tlie  very  least  degree 
empirical.  No  special  argument  in  support  of  Dr.  Schmidt's 
system  would  here  be  proper.  Tlie  most  satisfactory  test  of  his 
theories  will  be  to  apply  them.     Then  it  will  be  seen  how  clear 


PREFACE. 


Vll 


he  has  made  much  that  has  heretofore  been  uncertain.  All  who 
have  laboriously  read  Eossbach  and  Westphal  will  be  grateful 
that  he  has  brought  a  difficult  subject  down  from  the  clouds  and 
made  it  easily  comprehensible  even  by  beginners. 

This  translation  was  made  in  1874  conjointly  by  Professor  Dr. 
Karl  Eiemenschneider,  of  German  AYallace  College,  and  myself. 
Dr.  Eiemenschnieder,  whose  rare  scholarship  is  equalled  only  by 
his  modestv,  refuses  to  let  his  name  be  put  upon  the  title-page, 
because  he  has  done  so  little  in  the  general  undertaking.  But 
those  davs  when  we  were  at  work  together  are  pleasant  days  to 
me  to  look  back  upon,  and  I  am  much  more  confident  that  this 
is  a  good  translation  than  I  should  be  if  he  had  not  helped  me 
make  it.  The  manuscript  was  afterwards  revised  by  Dr.  Schmidt 
himself,  who  made  some  changes  and  a  number  of  additions. 
Since  then  it  has  been  twice  revised  by  myself  and  finally  sent  to 
press.  The  proofs  have  been  read  by  Professor  W.  W.  Goodwin 
and  Professor  J.  B.  Greenough  of  this  University,  and  by  Pro- 
fessor P.  D.  Allen  of  the  University  of  Cincinnati,  to  each  of 
whom  I  am  greatly  indebted  for  valuable  suggestions. 

So  far  as  I  am  aware,  no  elementary  book  in  English  on  the 
Ehythmic  and  Metric  of  the  Classical  Languages  has  appeared 
since  Eossbach  and  Westphal  began  their  studies.  Such  a  book, 
however,  is  certainly  needed.  A  strong  persuasion  of  this  has  led 
me  to  publisli  this  translation  not  only  here  but  also  in  England, 
where  Dr.  Schmidt  is  likely  to  have  had  a  fairer  hearing  than  in  his 
own  country.  I  hope  that  the  three  indexes  that  have  been  added 
to  the  translation  and  the  table  of  contents  will  make  the  book  an 
easy  one  to  use.  Specific  directions  seem  unnecessary.  Teachers 
will  probably  differ  in  opinion  in  regard  to  the  extent  to  which 
such  a  book  as  this  should  be  used  in  school  and  college  instruc- 
tion. But  certainly  no  teacher  can  afford  to  ignore  the  subject  of 
which  it  treats.     We  may  doubt  whether  our  pupils  had  better 


Ill 


I  • 


VI 11 


PREFACE. 


leani  to  chant  Homer  as  did  the  rhapsodist,  but  we  can  scarcely 
do  less  than  teach  them  to  give  the  quantity  and  mark  the  ictus 
as  they  read.  The  melody  and  dance  of  tlie  Greek  chorus 
may  be  gone  forever,  but  it  is  hardly  less  than  a  breach  of  trust 
for  the  teacher  not  to  unfold  the  theory  of  its  composition,  and 
give  to  those  under  his  instruction  a  glimpse  at  least  at  the  high 
art  of  the  poet  who  was  not  only  poet  but  also  musician  and 
master  of  orchestics. 

JOHN  WILLIAMS  WHITE. 
Harvard  University,  Cambridge, 
July  12, 1878. 


CONTENTS. 


FIRST  BOOK:  Phonology, 

§  1.  Introductory  Remarks 

2.  Vowel-Articulation 

3.  Quantity 

4.  Intonation 

5.  Accentuation 


Page 

3 


SECOND  BOOK:  Metric. 

6.  Origin  of  the  Forms  of  Poetry  and  Music    . 

7.  Preliminary  Statements  concerning  the  Measures   . 

8.  Fundamental  Forms  of  the  Measures      .... 

9.  Shortened  Final  Measures 

10.  Examples  of  Verses  in  the  different  Kinds  of  Measure 

U.  Prolongation  of  Long  Syllables  (tov<])      .        .        .        . 

12.  Doric  Melodies 

13.  Logaoedics 

14.  Further  use  of  the  "  Two-timed  Trochee  "     . 

15.  Sixteenth  Notes      ......... 

10.  Recitative  Chorees 

17.  Metrical  Correspondence 


7 
11 
15 


19 
22 

25 

27 
28 
34 
41 
43 
48 
49 
50 
52 


THIRD  BOOK :  Rhythmic. 

18.  The  Rhythmical  Sentence  (kwXov)    .         .        .        ...        .55 

19.  Close  of  Sentences 57 

20.  Intonation  of  Sentences 61 

21.  Length  of  Sentences 63 

22.  Sentences  Occurring  Most  Frequently 67 

23.  Interchange  of  Measures 73 

24.  The  Rhythmical  Period 79 


Hi 


il 


X  CONTENTS. 

FOURTH  BOOK:  Typology. 

Page 

§  25.   Introductory SO 

2(j.   The  Recitative  Type 83 

27.  The  Lyric  Type. 

I.    Free  Metrical  Forms 89 

28.  II.    The  Epodes  (ot  ^trtoSoi) 93 

29.  III.   Four-lined  Groups 96 

30.  IV.   Lyric  Systems .  105 

31.  The  March  Type 113 

32.  The  Choric  Type 116 

33.  Choric  Strophes    .         , 120 


INTllODUCTION 


FIFTH  BOOK;  Enrhyflimy. 

34.  The  Periods  according  to  their  Grouping    . 

35.  Preludes  and  Postludes 

3G.    Position  of  the  Verse-Pauses  .         .         .         .        . 

37.   Metrical  Agreement  of  the  Corresponding  Members 


124 
.   134 

136 
.   144 


TO 


RHYTHMIC   AND   METRIC. 


The  Lyric  Parts  of  the  Medea   . 

The  Lyric  Parts  of  the  Antigone  . 

Index  of  Metrical  and  Musical  Characters 

Index  to  the  Metres  of  Horace 

General  Index       


154 
170 
191 
192 
194 


First  Book. 


PHONOLOGY 


§  1.    Introductory  Remarks. 

Rhythmic  (^  pvOfjuK-q,  sc.  rixvv)  treats  of  the  general  principles  of 
rliytlun  (measured  movement)  which  underlie  poetry  and  music,  and 
essentially  distinguish  poetry  from  prose. 

Metkic  (t)  fi€TpLKrj,  sc.  Texvr])  shows  how  the  materials  of  language 
are  used  to  produce  rhythm.  Metric,  therefore,  differs  in  different  lan- 
guages, while  their  rhythm  can  remain  the  same ;  yet  the  rhythm  of 
each  language  also  is  more  or  less  perfectly  developed,  in  proportion  as 
the  organization  of  the  language  renders  it  possible. 

A  more  exact  definition  of  rhythmic  and  metric  than  this  cannot  at 
present  be  given,  because  the  confusion  of  terms  that  prevails  in  the 
grammars  necessarily  makes  any  concise  definition  obscure.  A  number 
of  topics,  therefore,  which  properly  belong  to  grammar  must  first  be 
considered ;  not  until  this  has  been  done,  and  the  necessary  terms  have 
been  distinctly  defined,  will  it  be  possible  to  discuss  the  main  subjects 
without  danger  of  misunderstanding. 


§  2.    Vowel-Articulation. 

1.  Every  vowel  in  Greek  and  Latin  is  pronounced  either  with  sl  pro- 
tracted {gedehnt)  or  sharp  (gescMrft)  sound.  To  indicate  protraction 
of  a  vowel  the  sign  (_)  is  draAvn  just  under  it ;  to  mark  its  sharp  sound 
the  sign  {\J)  is  used  in  the  same  position.     For  example,  compare 


4 


§  2.     VOWEL-ARTICULATIOX. 


§  2.     VOWEL-ARTICULATION. 


a  in  KpacTL^ 


4\ 


a  111  Kparos 


rj  111  yu,r;rt5 
c  in  /xcVou 

I  in  TfTo? 


I    111  Lva 


=    «  in  ak,  with 

=    a  in  the  first  syllable  o^ papa. 

=    e  in  the  French  word  fete,  with 
=    e  in  ;«<^/. 

=    i  in  jo/^w^,  witli 
=    i  in  pin. 

(J  in  a-Kwfx/xa    =    o  in  wio/6',  with 
o  in  cTKoros      =    o  in  intonation. 

The  diphthongs  are  regarded  as  protracted  vowels. 

2.  The  various  means  found  in  some  modern  languages  for  indicat- 
ing the  protraction  and  sharpening  of  the  vowels,  as  in  English  the 
doubling  of  an  e  or  a,  or  the  addition  of  a  silent  e  (cf.  piu  with  pine, 
not  with  note),  to  mark  protracted  sounds,  or  the  doubling  of  a  conso- 
nant to  show  the  sharpening  of  the  preceding  vowel,  do  not  exist  in 
Greek  and  Latin.  In  these  languages  the  doubling  of  the  consonant 
has  nothing  to  do  with  the  protraction  or  sharpening  of  the  vowel. 
E.  g.  we  find  in  Greek  both  ykCxro-a  and  "Aroo-cra,  both  Trprjcrcrw  (Att. 
irpdcraw)  and  tpia-cru).  In  Greek,  further,  the  two  sounds  of  e  and  o  are 
respectively  designated  by  different  letters,  c  and  o  when  sharp,  -q  and  w 
when  protracted. 

3.  The  accents  in  Greek  do  not  serve  to  distinguish  the  above- 
mentioned  protraction  and  sharpening.     E.  g.  the  protracted  o  (<i>)  can 

1)  be  without  accent,     as  in  avOpojiros,  r;p<o9; 

2)  have  the  acute,  as  in  dvOpw-n-ov,  Xl/jhottclv  ; 

3)  have  the  grave,  as  in  tw  dvSpe ; 

4)  have  the  circumflex,  as  in  riftw,  yAwo-cra. 

So  the  sharp  o  can 

1)  be  without  accent,  as  in  6,  rTnros  ; 

2)  have  the  acute,  as  in  o8e,  vl6s ; 

3)  have  the  grave,  as  in  ^cos  €(f)rj. 

The  circumflex  is  the  only  accent  Avhich  cannot  be  used  on  shai*p  vow- 
els, but  for  a  difterent  reason.     For  this,  see  §  5,  4. 

4.  It  is  absolutely  necessary  to  pronounce  the  sharp  vowels  in  Greek 
as  really  sharp,  and  to  do  it  without  doubling  the  follo\\ing  consonant, 
e.  g.  neither  tcutto?  nor  tottttos,  but  to-tto?. 


In  the  case  of  the  vowels  a,  t,  v,  where  each  letter  has  but  a  single 
character  for  both  its  sounds,  reference  must  be  made  to  a  good 
lexicon  to  determine  in  the  different  cases  whether  the  vowel  is  shai-p 

or  protracted. 

It  is  well  to  practise  on  words  like  TrcpicycVero,  i.  e.  pe-ri-e-f/e-ne-to. 

Whoever  fails  to  articulate  the  vowels  properly  will  never  understand 
the  metric  of  the  classical  languages,  and  his  notions  of  their  rhythmic, 
i.  e.  in  other  words,  their  poetic  forms,  will  be  forced  and  unnatural. 
In  Latin  also  the  sounds  of  the  vowels  must  be  carefully  distinguished. 
E.  g.  homines  always  /w-mi-nes  (o/aivt;?),  never,  as  is  often  done,  ho-mi-nes 

(w/xtv€?),  where  every  syllable  is  mispronounced.  The  ablative  mensa 
was  perfectly  distinguished  in  pronunciation  from  the  nominative  of  the 
same  orthography ;  and  so  in  all  like  cases. 

Pronounce  dene,  /Sevc ; 
rete,  prjrc ; 
monej'e,  ixovr)p€. 

5.  When  in  Latin  poetry  one  word  ends  and  the  next  begins  with  a 
vowel,  the  first  vowel,  as  is  known,  is  elided.     E.  g.  the  hexameter 

0  felix  una  ante  alias  Priame'ia  virgo,  Aen.  III.  321, 

is  pronounced  thus : 

0  felix  un  anV  alias  Priame'ia  viryo. 


(t 


€€ 


or 


0  felix  unantaUas  Priame'ia  virgo. 

Both  wavs,  however,  are  wronc:,  thouii^h  the  latter  is  the  better.  For  in 
such  a  combination  as  sacra  in  nrbe,  for  example,  it  is  clearly  impossible 
to  pronounce  sacr  by  itself;  it  must  be  pronounced  in  two  syllables 
with  a  half-sounded  e  at  the  end,  so  sacr^  or  saker.  Final  syllables  in 
•m  also,  it  should  be  remarked,  are  treated  as  if  ending  in  a  vowel,  since 
the  m  only  gives  a  slight  nasal  sound  to  the  preceding  vowel ;  e.  g.  earn 
must  be  pronounced  as  earn  and  ean  are  in  French.  That  in  no  case, 
however,  the  final  vowel  is  to  be  completely  suppressed,  can  easily  be 
shown.  Who,  for  example,  would  understand  sentences  like  the  follow- 
ing from  Terence  ? 

Romna  principi  audies. 

Auscultaudivi  jomni.     Anne  tomnia? 

FiUut  darin  seditionatquincertas  ntiptias. 
I.  e.  rem  omnem  a  principio  andies.  —  anscnlta.    audim  jam  omnia, 
anne  tii  omnia? — filiam  id  darem  in  seditionem,  atqne  incertas  nuptias. 


6 


§  2.     VOWEL-ARTICULATION. 


§  3.     QUANTITY. 


How  these  are  to  Ije  pronounced  is  shown  hy  words  in  English 
poetry  containing  a  syncopated  e,  such  as  "  quiv'ring,"  "  glitt'ring," 
i.e.  ''  quiv^rbif/,'^  ''  gUWrbi(/'' ;  or,  better  still,  verses  in  which  to  or 
the  appears  to  have  its  vowel  elided,  as  in  the  following : 

"  I  must  confess,  that  I  have  heard  so  much. 
And  with  Demetrius  thought  to  have  spoke  thereof." 

Mtdsumuier  Nif/ht's  Bream,  I.  1. 

*'  Truth  crushed  to  earth  shall  rise  again  : 
The  eternal  years  of  God's  are  hers." 

Bryant,  Tlie  Battlefield. 

No  one  will  read  here,  though  the  rhythm  seems  to  require  it,  thave  or 
tare,  and  theternal^  but  rather  t°have  and  tWeternal. 

The  poets  often  indicate  ])y  an  apostrophe  that  this  half-suppressed 
vowel  is  not  to  ""ive  rise  to  a  new  syllable,  as : 

"  On  Lemnos,  tJC  Aegean  isle :  thus  they  relate, 

Erring  ;  for  he  with  this  rebellious  rout 

Fell  long  before ;  nor  aught  avail'd  him  now 

T*  have  built  in  Ileav'n  high  tow'rs  ;  nor  did  he  'scape 

By  all  his  engines." 

INIiLTON,  Paradise  Lost,  I.  7-16-749. 

Still  we  say  t¥ Aegean  and  t°Jiave,  not  thaegean  and  thave  (tave).  The 
same  is  the  case  with  heavu  (pronounce  heaven),  and  towWs  and  *scape 
(pronounce  ^scape),  but  not  in  "avail'd,"  where  w^e  say  simply  availd. 
That  the  apostrophe  in  this  case  signifies  the  partial  suppression,  and 
not  the  omission  of  the  vowel,  should  be  earcfidlv  noted. 

Hence  the  above  sentences  from  Terence  should  obviously  be  pro- 
nounced thus  : 


\J  KJ 


KJ- 


Bfomu^a  priucipi  "audies.  AhschU^  aitdivi  j"omni.  anne  t^omnia?  — 
Fill" id  dar^in  seditiotf  atqu^  incertas  nuptias. 

If  the  same  vowel  follows,  the  first  can  be  completely  suppressed,  as 
j^omni.    anne  -jam  omnia,    anne. 

If  Latin  poetry  is  not  read  in  the  manner  explained,  then  by  full  pro- 
nunciation of  the  final  vowels  on  the  one  hand,  with  hiatus,  it  becomes 
pure  prose ;  on  the  other  hand,  the  complete  suppression  of  the  final 
vowels  makes  what  is  read  uuintellii2:ible. 


§  3.    Quantity. 

1.  Bv  quantitij  is  understood  the  time  that  passes  in  pronouncing  a 
svlluble.     Svllablcs  are  distinguished  as  long  and  short. 

Syllables  which  end  in  a  sharp  vowel  in  particular  can  be  pronounced 
rapidly.  All  syllables,  on  the  contrary,  Avhich  end  either  in  a  protracted 
vowel  (or  diphthong)  or  a  consonant,  rei^uire  a  longer  time  for  their 
pronunciation.     E.  g.  the  following  syllables  can  be  hurried  over  very 

rapidly  : 

tra  la  la  la  la  la  la  la,  etc., 

while  the  word  "  woe  "  repeated  just  as  often,  as 

icoe  woe  woe  woe  icoe  woe  tcoe  icoe,  etc., 

cannot  by  any  means  be  given  with  equal  rapidity. 

How  rich  the  Greek  language  is  in  short  syllables  is  seen  in  words 
like  TTcptcyeVero,  already  cited. 

Long  syllables  are  marked  by  this  sign  (— )  drawn  over  them,  short 
ones  are  marked  by  this  sign  iy)  in  the  same  position. 

2.  That  quantity  is  independent  of  vowel-articulation,  and  that  con- 
sequently syllables  as  long  and  short  are  not  to  be  confounded  with 
syllables  as  protracted  and  sharp,  and  that,  therefore,  they  are  not  to 
be  marked  by  the  same  signs,  can  be  seen  at  once  from  the  following 
considerations  : 

I.  Sharp  syllables  are  always  long  when  they  end  in  a  consonant,  as 
m  CTcp-yctr,  aTop-yrj. 

II.  But  the  syllable  also  that  ends  in  a  sharp  vowel  can  be  pro- 
nounced, as  well  as  sung,  verg  long.  In  the  refrain  tra  la  la  all  the 
syllables  are  sharp,  but  the  second  la  is  usually  made  long,  and  there  is 
no  reason  why  the  voice  should  not  dwtU  on  it,  not  only  in  singing,  but 
also  in  speaking,  until  it  is  made  equal  in  time  even  to  three  or  more 

other  syllables.     This  syllable  is  then  pronounced  la  (not  la). 

In  Greek  the  exclamation  of  pain  €  c  seems  often  to  have  been  made 
very  long,  though  the  vowels  remained  sharp.   Further  Homer,  //.  XII. 

208,  has  6(jiLv,  which  certainly  was  not  pronounced  ocfxfav.     The  same 

occurs  in  a  fragment  of  Hipponax  {Fr.  49,  Bergk) :  rjv  avrov  o<^ts  tu}v- 

TLKVTjfXLOV  S(lKVrj. 

III.  Protracted  vowels  are  regarded  as  short  in  Greek,  when  they 


8 


§  3.     QUANTITY. 


end  a  word  and  the  next  bep^ins  with  a  vowel.     The  same  is  true  of 
diphthonu^s.     The  very  first  verse  of  the  Odyssey  furnishes  an  example  : 

AvBpa  /xot  cvvCTTC,  Movaa,  iroXvTpoirov,  os  /xoAa  ttoAAo,. 

In  the  tragic  poets  this  occurs  sometimes  also  in  the  middle  of  a 
word,  particularly  when  the  protracted  vowel  or  diphthong  precedes 

a  long  vowel  or  diphthong,  e.  g.  SctXata,  Trarpwou?  (Attica  correptio). 

3.  Syllables  with  a  protracted  vowel  are  called  natura  longne ;  those 
with  a  sharp  vowel,  but  ending  in  a  consonant,  ponillone  loiigae.  So 
<f>v(T€L  or  Oe(T€L  /xaKpat  (sc.  crvAAa^at). 

But  the  first  of  two  consonants  does  not  always  belong  to  the  pre- 
ceding syllable,  and  consequently  does  not  always  make  "position." 
In  Greek  the  following  rules  in  general  hold  good  : 

I.  Position  is  always  caused  by  the  doubling  of  a  consonant,  by  A, 
fjL  V  p  (T  with  following  mute,  by  the  concurrence  of  two  mutes,  by  $  if/  ( 
{=  ks,  pSy  da),  and  finally  by  all  other  consonants  with  following  o- : 

TTttAAo),  TTcVrroj ;  —  ^eX-TiCTTO^,  Aa/i.7rw,  (nrevSu),  T€TapTO<;,  fxaa^dXr] ;  — 
€Aey;(o?,  Tvy)(dvii) ;  —  o^i'9,  Ti'i/^w,  p€$to ;  —  uA?,  eX/xLv^. 

II.  The  quantity  is  doubtful  before  two  Uqnids,  yet  a  short  syllable 

—  "^ 

occurs  very  seldom  here  (v/xvo9,  very  rarely  v-p.vo<^).     The  quantity  is 

doubtful  also  when  muta  cum  liqnida  follows  the  vowel,  e.  g.  tckvov 

(i.  e.  tek-)iou)  or  tIkvov  (i.  e.  fe-knon),  hrpa^a  (i.  e.  i7r-pa$a)  or  hrpa^a 

(i.  e.  e-TTpaia).     Tiie  Attic  writers  were  very  strongly  inclined  to  draw 
both  consonants  over  to  the  following  syllable. 

But  in  the  case  of  compound  words  where  the  first  consonant  belongs 

to  the  first  part  of  the  word,  position  always  results,  e.  g.  ckAcittw,  not 

eVActVw,  since  we  naturally  pronounce  ek-lel-po,  not  e-klei-po. 

4.  The  Greek  lanfrun2:e,  on  account  of  its  manv  short  svllables,  could 
be  pronounced  with  great  rapidity  and  ease.  This  is  seen  also  from  the 
fact  that  the  pause  between  the  single  words  was  very  short  and  that 
consequently  an  entire  sentence  sounded,  in  comparison  with  an  Eng- 
lish sentence,  almost  like  a  single  word.  This  appears  from  various 
facts,  of  which  the  following  are  of  importance  in  metric: 

I.-  The  shortening  of  protracted  vowels  and  of  diphthongs  at  the  end 
of  a  word,  when  the  next  word  begins  with  a  vowel : 

"AvSpa  p.OL  etTCTTC,   K.  T.  A. 


§  3.     QUANTITY. 


II.  "  Synizesis  "  of  final  and  beginning  vowels  : 

TrXa.y\Ori  cTret  Tpoirj^,  k.  t.  A. 

This  could  indeed  be  read  also  : 

—     ^  \^  —     — ^ — 

irXayxO-q  cVct  Tpoti;?  ; 
but  this  pronunciation  is  impossible  in  those  cases  where  (the  verse 
bein<'-  hexameter,  e.  g.)  neither  a  dactyl  nor  spondee  would  result,  as  in 
this  verse  : 

ri  £L7r€fX€vaL  SfJUDrjcTiV  ^OSv(rcrrjo<;  O^ioio,  Od.  lY.  682. 

\^  —  ^y  \y  — 

Here  it  is  not  allowed  to  read  y]  ctVe/xcmt,  since  a  measure  like  \j—\y^ 
is  impossible.     But,  on  the  other  hand,  the  example  above  from  the 

Odyssey  could  not  be  pronounced  avhpa  /xot  tw^ire,  since  then  the  hex- 
ameter would  begin  with  a  trochee,  which  is  equally  impossible.  Ex- 
ceptions are  only  apparent. 

III.  Two  consonants  which  begin  a  word  make  position  with  the 

final  vowel  of  the  preceding  word,  e.  g.  dm  o-KT/Trrpo) ;  even  single  con- 
sonants are  sometimes  doubled  in  this  case,  especially  the  liquids : 

ai€t  h(.  fiaXaKoiaL  kol  alfivXtoLcrL  Xoyoicri,  Od.  I.  56,  l.  e.  oc/x/jtaAaKOtcrt. 

It  is,  however,  to  be  observed,  that  there  are  peculiar  reasons  in  Homer 
for  the  apparent  doubling  of  the  initial  consonants  X  /jl  v  p,  which  occur 
frequently.  It  is  in  the  highest  degree  probable  that  there  was  origi- 
nally still  another  consonant  before  these  consonants,  which  was  after- 
wards no  longer  pronounced  and,  therefore,  was  also  not  written.  The 
digamma  (F)  fell  away  frequently  before  p.  Before  X,  x  ^^y  often  have 
fallen  away  (cf.  ;(Atapo?  and  Atapos);  before  jjl  and  v,  cr  was  probably 
often  dropped  (cf.  ap.LKp6<:  and  jxiKpoq,  o-jjivpva  and  fjLvppa,  etc.). 
Od.  IV.  430,  e.  g.  is  to  be  read : 

o-^  TOTC  KOLfit^OrjfjLCv  €7rt  fprjyfjuvL  OaXdcrcrrp;, 

The  above  statement,  therefore,  that  single  consonants,  especially  liquids, 
are  sometimes  doubled,  refers  only  to  the  pronunciation  which  the  Athe- 
nians employed  in  the  poems  of  Homer,  and  which  was  imitated  by  the 
later  Epic  writers.  Cf.  more  at  length  on  the  point  in  question, 
Schmidt,  Metrlk,  §  5.  A  similar  falling  a^vay  of  initial  consonants  be- 
fore other  consonants  in  the  same  word  is  verv  common  in  Endish, 
except  that  the  consonant  is  still  written  though  no  longer  pronounced. 
This  is  especially  frequent  in  the  ease  of  k  before  n  and  jo  before  5,  as 
e.  g.  in  hiiyJU,  knave,  knife,  psalm. 


10 


§  3.     QUANTITY. 


It  is  to  be  noted  that  position  is  made  much  k^ss  often  by  two  conso- 
nants at  the  bej^inniug,  than  by  the  same  combination  in  the  middle  of 
a  word. 

IV.  A  word  with  a  sliort  vowel  in  its  final  syllable,  and  ending  in  a 
consonant,  has  this  last  syllable  long  oidy  when  the  following  word 
begins  with  a  consonant,  not  when  it  begins  with  a  vowel.     E.  g. 

05  fxaXa  TToAAoL,  Od.  1 .  1 ; 
on  the  other  hand  : 

^riviv  a€t8c,  //.LI. 

In  the  latter  case  the  consonant  was  drawn  over  to  the  following  sylla- 
ble, and  the  words  were  pronounced  =  me'ni-)i\i-ei'de. 

—    \y      \y  —    \y 

Apparent  exceptions  occur  in  the  case  of  words  which  have  a  digam- 
ma,  which,  as  is  known,  was  not  in  later  times  pronounced,  and  so  also 
was  not  written  : 

(ip^'v/xct'os  pyyv  tc  {jwxrjv,  k.  t.  A..,  Od.  I.  5, 
pronounced : 

ar'ny-me-nos-vpn-tep'Sy-chen-kai-iios-to-ne-tai-ron. 

5.  Not  only  should  an  accurate  pronunciation  according  to  the  above 
principles  be  acquired,  a  pronunciation  which  is  indispensable  in  order 
to  understand  and  also  to  feel  the  ancient  rhythm,  but  the  false  pro- 
nunciation of  some  of  the  consonants  and  their  combinations  should 
also  be  carefully  guarded  against ;  as  e.  g.  in  Latin  c  and  t  should  al- 
ways be  pronounced  hard  like  c  in  cat^  antl  t  in  time. 

A  correct  vowel-articulation  (which  term  it  must  be  remembered  does 
not  refer  to  the  quantity  of  the  vowels)  is  not  intrinsically  difficult;  it 
must,  however,  be  acquired  early.  Then  the  proper  pronunciation  be- 
comes far  easier  than  the  careless  one  in  vogue,  since  it  remarkably 
facilitates  the  reading  of  verse,  and  thereby  becomes  more  firndy  fixed 
in  mind. 

6.  In  Greek  poetry  it  is  a  fundamental  principle  that  a  long  syllable 
has  twice  the  time  of  a  short  one. 

Since  English  poetry  is  composed  on  the  basis  of  accent  and  not 
quantity,  an  Englishman  is  inclined,  when  reading  Greek  and  Latin 
poetry,  to  give  the  syllables  the  same  length  and  distinguish  them  oidy 
by  accent,  which  is  an  error  that  must  be  corrected  at  once.  This  can 
be  done  only  by  beating  or  counting  the  measure.  Since  now  hexam- 
eter verse,  e.  g.,  is  composed  of  light  and  heavy  dactyls  (cf.  §  10),  i.  e.  of 


§  4.     INTONATION. 


11 


I  ^  >  I  ^  ^  etc.,  or  l  J  |  J  J  j,  that  occur  interchangeably  in 
all  the  measures  except  the  last  which  is  always  a  heavy  dactyl,  each 
of  these  measures  has  four  beats,  two  for  each  long  syllable,  one  for 
each  short  one,  e.  g. 

"kv'hpa  ixoL  I  €V-V€-Tr€  I  MoO-o-ttTTO  I  -Xvr-po-TTO  I  -vos  /la-Aa  |  iroX-Xa. 
\.i.   3         4.        1.2.3.    i.         1.2.     3.    4.         1.2.     3.      4.  1.2.      3.    4.         1.2.   3.4. 

At  the  close  of  a  verse  a  syllable  otherwise  short  can  be  regarded  long, 
and  conversely  :  syllaba  anceps,  o-vkXa/Sr)  d8ta</)0/309. 

7.  The  accents  in  Greek  cannot  be  regarded  as  marking  the  quantity, 

for 

I.  Long  syllables  can  have  any  one  of  the  accents  or  none  at  all : 

CTTCpyO),  TOl^S,  TOVf  Tt/XO). 

II.  Short  syllables,  likewise,  can  have  any  one  of  the  accents  or  none 

at  all : 

Aoyos.  Tov,  Tov  dvBpos  (cf.  §  3,  4,  L),  eyo). 

8.  From  this  it  is  clear  that  "accent"  and  "quantity"  are  not 
terms  that  can  be  used  interchangeably.  The  true  theory  of  the  Greek 
accents  and  the  correct  definition  of  the  word  "  prosody  "  (also  some- 
times confused  with  the  term  "  quantity  ")  will  be  given  in  §  5. 


§  4.    Intonation. 

1.  Tlie  syllables  of  a  language  are  tones,  in  considering  which  the 
three  same  principles  appear  which  are  found  in  music.  These  are : 
duration  of  tone  (quantity),  strength  of  tone  (intonation),  elevation  of 
tone  (accentuation). 

The  second  of  these  (intonation)  will  be  discussed  in  this  section. 

The  different  syllables  of  a  word  are  not  pronounced  with  the  same 
force,  but  rather  in  everv  word  one  syllable  has  most  weiirht,  and  to 
this  the  chief  ictus  is  given.  This  ictus  will  be  indicated  best  by  a 
dot  (•)  set  over  the  syllable  on  which  it  falls.  In  music  this  mark  (>) 
has  been  employed,  but  it  is  not  expressed  at  the  beginning  of  a  meas- 
ure, —  for  every  measure  begins  with  a  tone  more  strongly  pronounced 
or  sung. 

In  accordance  with  this  the  following  words  have  these  ictus-relations : 

wanly    I      J  or  _: 


w 


report 


or i_ 


12  $  4.    INTONATION. 

And  in  the  first  verse  of  the  OJijssey  : 

avSpa  J       1^  or  _:_  v-/ 

:> 

€W€7r€  J      J^   J^   or   -:-^\J 

0      0       9 

TroXvTpoTTOV    J^   J              j^   or   v^  _:_  V^  W 
TToWa  J     J    or  -: 

In  longer  words  there  can  be  more  than  one  ictns.  These  are  then 
of  different  strength,  and  are  distingnishcd  by  the  number  of  dots  set 
over  the  syllables  on  which  they  fall.     E.  g. 

universe  J i. 

Jioitseholder  J_  _: 

agriculturist  J \ :_ 

instrumentality  J ; >_ 

incomprehensibUity i ; \ :_ 

In  no  word  can  there  be  more  than  one  chief  ictus,  but  more  than 
one  of  the  second  or  third  grade  may  occur. 

2.  This  word-ictus  is  subordinate  to  the  ictus  of  the  sentence. 
Every  simple  sentence  sounds  to  the  ear  like  a  unit  from  being  con- 
trolled by  a  single  chief  ictus,  just  as  a  w^ord  appears  as  a  unit  through 
its  single  chief  ictus. 

The  words  of  course  are  separated  from  one  another  by  short  pauses 
(in  Greek  by  very  short  ones),  the  sentences  by  longer  ones  (indicated 
by  the  marks  of  punctuation). 

It  is  by  these  ictuses  and  the  pauses  between  the  words  that  have 
just  been  mentioned  that  sentences  like  the  followinsr  are  distinsruished  : 

/  bougJit  iron,  tools,  and  wagons,  i.  e. 

•  •  ■ 

and 

I  bought  iron  tools  and  wagons, 

•  • 

Further,  the  sentence  "  Our  soul  waiteth  for  the  Lord  "  has  with  ref- 
erence to  the  ictuses  the  notation  : 

.  *         •      ____      • 

Here  the  first  syllable  of  tcaitet/t  has  only  a  secondary  ictus  in  the 
sentence,  though  it  is  the  primary  ictus-syllable  in  the  word  itself. 


$  4.     INTONATION. 


13 


3.  On  the  other  hand,  compound  sentences  have  no  single  chief  ictus, 
but  eacli  member  has  its  own. 

The  various  involutions,  incorporations,  ellipses,  and  so  on,  which 
arise  when  sentences  are  grouped  together  in  a  period,  render  tlie  rela- 
tions  of  the  different  ictuses  difficult  to  understand.  A  scientitic  in- 
vestigation of  these  relations  is  not  now  necessary. 

4.  Intonation  is  not  indicated  in  Greek  by  the  accents  any  more 
than  vowel-articulation  and  quantity.  That  this  is  so  in  poetry  is  to  be 
seen  with  the  utmost  certainty  from  the  first  verse  of  the  Iliad: 

MrjvLV  ttCtSc,  Oea,  UrjXrfidScd)  'AxtA-iJos. 

The  six  ictuses  fall  upon : 

firj-f  -€t-,  -a,  'Xt]-,  -Sew,  -Xrj-, 

Of  these,  three  are  accented  syllables,  two  with  the  circumflex,  one  with 
the  grave ;  the  remaining  three  have  no  accent.  The  syllables  without 
an  ictus  are :  -vl  va-,  -8c,  Oe-,  IIt;-,  -id-,  'Axt-,  -os,  of  w4iich  two  are 
accented  with  the  acute,  and  the  rest  are  without  accent.  The  same 
is  true  not  only  of  all  hexameters,  but  of  all  other  verses.  The  rhyth- 
mical ictuses  have  nothing  to  do  with  the  accents,  but  fall  arbitrarily 
on  syllables  with  circumflex,  acute,  or  grave,  or  without  accent.  So 
also  syllables  with  these  accents  can  be  without  rhythmical  ictuses. 

It  is  to  be  noticed,  however,  that  the  accents  are  not  entirely  without 
influence  in  those  cases  where  many  short  syllables  come  together  with- 
out mixture  of  longs,  or  longs  without  mixture  of  shorts.  See  more  at 
length  Schmidt,  Metrik,  §  10. 

The  question  arises :  "  Where  then  did  these  ictuses  of  the  w^ords  and 
sentences  fall  in  Greek  prose  ?  "  It  is  necessary  to  answer  the  first 
part  of  the  question  only ;  since  as  soon  as  the  word-ictuses  are  know^n 
the  sentence-ictuses  are  also  knowm :  for  the  chief  ictus  of  the  sentence 
coincides  with  the  chief  ictus  of  that  word  on  which  the  main  weight  of 
the  sentence  rests. 

Unfortunately  this  question  cannot  be  answered  with  certainty.  The 
old  grammarians  have  left  no  information  in  regard  to  the  ictuses  in 
prose,  and  in  writing  Greek  no  marks  were  used  to  indicate  them. 
But  from  certain  facts  in  the  language  itself  it  may  be  concluded  : 

1)  That  the  ictuses  originally  fell  on  the  root-syllables  of  the  words. 
Old  alliterating  formulae,  especially  in  Hesiod's  Works  and  Bays,  prove 
this,  e.  g.  V.  235  : 

riKTovcriv  Sc  yvvaiKcs  eotKora  T€Kva  yov€vcnv. 


u 


$  4.     INTONATION. 


§  5.    ACCENTUATION. 


15 


The  alliteration  here  is  unmistakable  and,  as  in  many  other  places,  mt 
the  result  of  chance.     It  determines  the  prose  ictuses  to  have  been  as 

follows :  •  ,*«,,;  ■    - 

TLKTOvaiv  Bk  yuvatKcs  cotKora  rcVva  yovcvcrtv. 

The  ictuses  fall  on  root-syllables  only.  This  position  of  the  ictus  is 
natural,  and  historically  probable,  since  the  same  rule  holds  in  the 
other  Indo-European  languages. 

2)  Soon,  however,  the  Greek  language  tended  towards  putting  the 
ictuses  on  the  long  syllables,  without  reference  to  the  root-syllables  as 
such.  Had  not  this  early  been  the  case,  how  could  it  be  (.'xplaincd  that 
in  poetry  the  long  syllables  in  particular,  at  first  exclusively  (in  hex- 
ameter, trochaic  tetrameter,  etc.),  had  the  ictuses  ?  It  is  impossible  that 
the  same  word  could  have  had  one  ictus  in  poetry  and  another  in  prose. 
This  would  have  been  contrarv  to  nature. 

3)  But  early  tlicre  began  a  further  change,  namely,  that  tlie  accented 
syllables  more  and  more  received  the  ictus.  This  is  shown  not  only  by 
the  fact  that  sometimes  words  like  6ct>L<s  (cf.  §  3,  2,  II.)  could  have  the 
ictus  on  the  first  syllable,  just  as  if  this  syllable  were  long,  but  partic- 
ularly by  the  influence  of  the  accent  upon  the  protraction  and  conse- 
quently upon  the  quantity  of  the  vowels  and  their  syllables.  The  end- 
ing -a  in  words  of  the  first  declension,  e.  g.,  as  we  see  from  comparative 
grammar,  was  originally  ahvays  protracted.  It  lost  the  protraction, 
however,  in  manv  words  where  it  did  not  have  the  accent,  as  in  yX^rra, 
fi€fHfjLva  ;  but  this  protraction  remained  intact  without  exception  wher« 
the  final  syllable  was  accented,  as  in  <j>Oopa,  </>opa,  etc. 

At  a  later  date  the  Greek  language  probably  came  to  the  practice  of 
nearly  all  modern  languages,  that  of  making  ictus  and  accent  always 
coincide. 

The  position  of  the  ictus  in  Greek  words,  therefore,  suffered  the 
greatest  changes,  and  was  perhaps  at  no  time  completely  fixed.  The 
new  principles  of  art,  consequently,  developed  at  a  later  day,  allowed 
the  ictus  in  poetry  to  be  placed  somewhat  arbitrarily  as  compared  Avith 
its  position  in  prose. 

5.  That  expressions  like  "accenting,"  "accentuation,"  etc.  cannot 
be  used  with  reference  to  strength  of  tone,  will  be  made  clear  in  ^  5. 
The  best  term  to  use  is  "  intone,"  '*  intonation." 


§  5.    Accentuation. 

1.  Not  only  in  singing,  but  also  in  common  speech,  syllables  receive 
tones  of  different  pitch  (rovot,  toni).  But  in  prose,  as  in  recited  (but 
not  sung)  poetry,  the  intervals  betw^een  these  tones  are  variable,  not 
rcnilated  with  strict  mathematical  accuracy  as  in  music.  In  ordinary 
discourse  five  of  these  tones  are  distinguished,  which  will  best  be  under- 
stood by  illustrations  from  English. 

This"  sinking"  in  common  speech  becomes  most  noticeable  when 
persons  are  heard  to  converse  in  a  foreign  language.  The  Englishman 
is  astonished  at  the  wonderful  singing  in  the  language  of  the  German, 
the  German  at  the  same  thing  in  the  language  of  the  Englishman. 
That  he  himself  sings  neither  obseiTcs,  until  a  foreigner  makes  him 
conscious  of  it  by  exaggerated  imitation. 

It  is  also  the  case  that  within  the  bounds  of  the  same  language  this 
difference  of  "  modulation  "  is  sometimes  very  noticeable. 

2.  I.  The  greater  number  of  syllables  is  pronounced  in  about  the 
same  tone,  which  can  be  called  the  middle  tone. 

II.  The  svllables  w^ith  the  chief  ictus  in  English  words  have  gen- 
erally  the  Juyh  tone,  as  the  syllable  good-  in  goodness,  -treat  in  retreat. 

If  the  middle  tone  be  indicated  by  a  note  betw^een  two  lines,  and  the 
high  tone  by  a  note  upon  the  upper  of  these  lines,  the  tone-relations  of 
the  syllables  in  these  two  words  will  be  as  follow^s  : 

good  -  7ic'ss  re  -  treat 

I 


I     I 


III.  However,  if  in  an  interrogative  sentence  other  syllables  follow 
that  which  has  the  chief  ictus,  this  is  given  a  much  lower  tone,  which 
consequently  has  the  name  of  low  tone.  So  in  the  following  sentence 
these  tones  occur : 

Is        it     man  -  ly  ? 
I  1 


(The  low  tone  is  to  be  designated  by  a  note  on  the  lower  line.)     Or, 

further,   the  syllable  following  the  low  tone  has  the   high  tone,   and 

is  then  without  ictus : 

7*        it     wan  -  h/  ? 


ms-'' 


16 


§  5.    ACCENTUATION. » 


IV.  In  monosyllabic  exclamations  of  surprise,  especially  when  spoken 
in  a  tone  of  derision,  the  word  is  begun  with  the  liigh  tone,  which  then 
passes  in  the  same  syllable  into  the  middle  tone.  This  may  be  called 
X\\(i  falling  lone,  and  is  to  be  designated  as  follows : 

So! 


ffi 


Y.  Finallv,  if  a  question  closes  with  a  monosyllabic  word  which  has 
the  chief  ictus,  the  middle  tone  follows  in  this  the  low  tone.  This  may, 
therefore,  appropriately  be  called  the  rising  tone,  and  is  to  be  designated 
as  follows : 

Was     he     there  ? 


3.  The  syllables  of  Greek  words  had  the  first  four  of  these  tones; 
the  rising  tone  was  either  unknown  to  them,  or  else  so  seldom  used  that 
it  had  no  special  mark  to  distinguish  it.  Still,  some  of  the  grammarians 
are  said  to  liave  observed  the  rising  tone  in  words  like  rt/xw/xc^a,  where 
the  second  of  the  contracted  syllables  had  the  accent. 

Since  these  tones  are  much  more  apparent  in  singing,  it  is  with  ref- 
erence to  this  that  they  received  their  names,  and  so  too  the  signs  used 
to  designate  them.  These  are  the  accents,  accentus  from  accinere,  Trpoa-- 
o,8iai,  from  7rpo9  and  ioSrj,  i.  e.  marks  for  singing,  or,  maiks  used  to 
indicate  tones  of  the  voice  and  not  the  ictus. 

The  middle  tone  had  no  special  mark.  The  acute,  Trpoo-wSia  d^ela, 
stands  for  the  high  tone ;  the  grave,  Trpoawhta  papela,  for  the  low  tone, 
which  may  often  have  nearly  coincided  with  the  middle  tone ;  the  cir- 
cumflex, 7^pocra)8m  Trcpio-TTOi/lcH  for  the  falling  tone.  All^  these  ^terms 
were  borrowed  Irom  music,  where  high  tones  were  called  tovol  o^cI?,  etc. 

It  has  been  shown  above  that  in  English  the  ictus  does  not  neces- 
sarily M\  upon  a  syllable  that  has  the  high  tone,  but  may  fall,  e.  g.,  upon 
one  with  the  low  tone.  From  this  it  is  easy  to  see  that  a  Greek  verse 
can  and  vind  be  pronounced  throughout  with  the  prose  accents,  and 
that  this  can  be  done  without  any  conflict  arising  between  the  prose 
accents  and  the  quantity  of  the  syllables  and  their  ictuses  in  poetry. 

The  following  verse  must,  therefore,  be  read  : 

'Av    -    dpa       fxoi     ?u     •     v€    -    Tre,     Uov     -     <ra,       tto  -  U    -    rpo  •  ttov, 


:j-— ^ 


$  5.    ACCENTUATION. 


17 


6$         fid    '    Xa      iroX  -  Xdt 

^    \ 


Here,  as  it  happens,  the  high  tone  and  the  ictus  coincide  in  the  first 
measures,  but  not  in  the  fifth  and  sixth. 

But  in  English,  as  before  remarked,  the  high  tone  is  almost  always 
joined  to  the  ictus;  for  the  exceptions  in  the  case  of  interrogative  sen- 
tences and  in  some  other  instances  are  of  no  great  importance.  To 
illustrate,  the  following  verse  is  accented  in  reading  as  follows  : 


Jfail 


to 
I 


the      chief    ucho       in       tri  -  umj)h      ad 


van 


ces. 


In  this  way  there  arises  a  regularity  in  the  succession  of  the  high 
and  low  tones  which  very  closely  resembles  singing.  Yet  this  is  not 
perceived  in  one's  vernacular,  while  on  the  other  hand  a  reading  of  an- 
cient verse  in  which  the  accents  are  observed,  as  given  above,  appears 
much  more  like  singing.  Further,  the  quantity  is  neglected,  and  con- 
sequently the  above  hexameter  in  the  mouth  of  an  Englishman  is  : 

" \v  •  Spa    fJLoi   iv  -  v€  -  TTiy  MoD-(ra,    iro  -\v  -  rpo  -  ttov,  6s     fj.d  -  Xa  ttoX  -  Xa 


^  ^  ^>  ^  ^"^  ^  ^ 


-H#- 


jdizj^: 


M-jf. 


\     \ 


# 


This  reading,  to  be  sure,  is  not  to  be  entirely  condemned,  since  the  an- 
cients themselves,  while  their  poetry  was  still  sung  or  chanted,  employed 
other  notes  than  those  used  in  prose.  But  it  is  as  certairdy  not  to  be  recom- 
mended in  verses  which  are  recited  without  the  accompaniment  of  musical 
instruments.     Most  of  all  should  false  quantities  be  guarded  against. 

4.  That  the  explanation  of  the  accents  here  given  is  the  true  one  is 
proved  not  ordy  by  their  names  and  the  testimony  of  antiquity,  but  also 
various  facts  in  the  language  itself  can  be  explained  only  on  this  suppo- 
sition. The  circumflex,  the  mark  of  the  falling  tone,  stands,  e.  g.,  with 
few  exceptions  which  arise  from  a  blunt  sense  of  lano:ua2:e  or  bv  analofrv, 
only  on  those  contracted  syllables  which  before  contraction  also  had 


the  same  succession  of  tones.     E.  sr. 


TL 


pno 


from 


Tl 


fid 


w. 


^  fr^m^m  u  jw«ie3!iM»*i.i9*'!*w«* 


18 


§  5.    ACCENTUATION. 


Instead  of  the  rising  tone,  however,  the  high  tone  was  generally  em- 
ployed, as,  e. 


"S- 


TL     -     fJ-U  -   fl7]V 


from 


i     '     Tl 


:.=^=2=^^^       .^--> 


fXa     -     6     -     fJLTjV. 

^   N   1 


That  the  quantity  of  the  final  syllable  had  an  influenee  on  the  accent 
of  the  preceding  syllable  is  a  common  error.  Still  everybody  writes 
7\;;;TTat  and  avOpojiroL,  etc.,  although  the  last  syllable  is  long  in  yxun- 
tity.  That,  however,  the  genitive  is  accented  dvOfjw-rrov,  and  not  avOpui- 
TTov,  arises  from  the  fact  that  this  form  comes  from  dv^pwTroo,  it  being 
an  old  law  of  the  Greek  language  that  the  high  tone  could  not  stand 
farther  back  than  upon  the  third  syllable  from  the  last.  AVhen  now  the 
last  two  syllables  were  contracted,  it  stdl  held  its  accustomed  place. 
Similarlv  in  most  other  cases. 

5.  It  is,  therefore,  a  great  mistake  to  regard  the  circnmflex  as  a  mark 
of  protraction.  Not  iufn-ciuently  monosyllabic  English  words,  even 
those  with  a  sharp  vowil,  have  the  falling  tone,  as  dread,  to  be  writ- 
ten  in  order  to  represent  the  pronunciation  ^pc8,  never  ^p^8.  Such 
words,  however,  are  often  pronounced  with  a  single  tone,  fiptS  or  (SpkB, 


Compare  (/of  =  yw,  (/o  along  I  =  yw  aXoyy  (eXoyy),  go  f  go!  -  yoS, 


yw. 


The  vowel  in  this  word  is  in  no  case  made  sharp,  yo,  yo.  The 
accent,  as  used  to  mark  its  dift'erent  tones,  does  not  affect  its  protrac- 
tion, bnt  the  word  always  remains  protracted,  ^vhatever  accent  it  may 

happen  to  have. 

The  French  language  show^s  the  greatest  misuse  of  the  accents ;  t,  P, 
and  e,  that  is,  are  entirely  different  sounds.  It  should  here  be  noticed 
that  e  is  indeed  protracted,  but  is  not  long,  being  pronounced  very 

rapidly,  as  e.  g.  ete  =  et<\ 

6.  The  theory  of  elevation  of  tone  is  called  prosody.  Giving  a  syl- 
lable another  tone  than  the  middle  tone  is  called  accenthig  {hdoneu)  it, 
accentuation.  The  former  expression  is  generally  confounded  with 
"quantity  "  and  "vowel-articulation,"  the  latter  with  "  intonation." 


Second  Book. 


METRIC. 


§  6.    Origin  of  the  Forms  of  Poetry  and  Music. 

1.  In  the  oTrkoTToua  in  II.  XVIII.  5G7  sq.,  there  is  a  beautiful  pic- 
ture of  an  old  national  dance  (6  XtVos) : 

TrapOevLKoi   Se   kol   rjtOcoL   araXa   <f>pov€OVT€<; 
xAe/CTot?   €v  TaXapoLort   <f>€pov  fxeXtrjSia   KapTTOv. 
irajJLV  8'   €1'  fxeccroLcn   Trats   cfyopfxtyyi  Xtyeiry 
lfjL€p6ev  KiBapL^€,   Xivov  8'  VTTO  KaXov  aciSci/ 
XeTTTaXey]   cfxDvfj '    rot   8e  prjcrcrovT^.^   afxapTrj 
pioXirfi  T    LvyfJLiZ  Tc  TTOcrt  aKatpovT€s  eTTovro. 

A  yonth  standing  in  the  middle  sings  a  song  and  accompanies  it  with 
his  lyre ;  round  about  him  dance  yonng  men  and  maidens  and  join  in 
his  song.  They  dance  chiefly  to  the  music  of  the  song,  while  the  single 
lyre  is  of  little  significance  and  serves  only  to  accompany  it.  And  such 
is  the  origin  of  all  music  and  singing  in  regulated  measure  (metre) : 
both  have  their  source  in  the  dance  and  march. 

Of  the  simplest  sort,  and  yet  of  the  exactest  regularity,  are  the 
movements  of  soldiers  in  marching.  AVhen  marching  in  order  they  first 
tread  all  at  the  same  time  with  the  left  foot,  and  then  again  all  at  the 
same  time  with  the  right.  The  time,  or  in  other  words  the  step  to  the 
music,  is  kept  with  the  left  foot.  This  makes  the  tread  of  the  left  foot 
the  more  prominent  (although  theoretically  it  is  no  heavier  than  that  of 
the  right  foot),  and  thus  the  time  is  divided  into  exactly  equal  portions, 
to  the  first  half  of  w^hich  the  natural  tendency  is  to  give  the  greater 
weight,  left,  rigid  \  left,  rigid  \  etc. 

The  movements  of  a  dancer  are  somewhat  more  complicated ;  but 
these  too  have  a  regular  succession.     To  illustrate,    in   the  *'polka- 


\ 


20      §  6.     ORIGIN   OF   THE   FORMS   OF   POETRY   AND   MUSIC. 

mazurka,"  a  very  simple  dance,  there  are  three  different  movements  equal 
in  time.  With  "  one  "  the  dancer  treads  heavily  with  the  right  foot,  witli 
"  two  "  more  lightly  with  the  left,  and  with  "  three  "  the  right  foot  is 
brought  into  position  behind  the  left.  Then  the  feet  change  their  role, 
and  so  on.  By  these  movements  the  time  is  divided  into  equal  por- 
tions of  three  parts  each. 

These  small  portions  of  time  with  their  regular  division  are  called 
measures,  ttoSc?,  pedes.  The  preparatory  tread  in  marching  corresponds 
to  the  anacrusis.  The  measures  cited  above  in  march  and  dance  are 
respectively  measures  of  two  parts  each  {equal  measures)  and  measures  of 
three  parts  each  (unequal  measures).  The  Greek  terminology  is  ycVo5 
Icrov,  ycVo?  hnrkdaiov.  Measures  of  four  parts  each  are  about  the  same 
as  those  of  two  parts  ;  these  also  are  ec[ual  measures.  But  measures  of 
five  parts  each  form  a  new  class  :  these  are  now  very  rare,  but  were 
more  frequent  among  the  Greeks,  and  are  called  yeVos  ry/xioAtov. 

2.  If  the  song  is  to  correspond  to  these  dance  and  march  move- 
ments, it  also  must  be  divided  into  measures.  The  beginning  of  every 
measure  nuist  be  intoned  {\  4,  5)  more  forcibly  in  order  to  have  the 
ri"-ht  relation  to  the  more  vigorous  movement  of  the  body ;  the  remain- 
ing  syllables  correspond  to  the  weaker  movements. 

This,  then,  is  the  first  requirement  in  rhythmical  composition,  that  it 
be  divided  into  ecpial  measures  the  first  part  of  each  of  which  shall  have 
the  ictus.  Now,  there  is  need  in  song  of  an  exacter  law  for  the  relation 
of  syllables  to  one  another  with  reference  to  their  length  than  prevails 
in  prose,  where  their  relative  length  does  not  conform  to  any  strict 
mathematical  ratio.  This  law  (already  stated  in  §  3,  6)  is,  that  every 
long  syllable  is  equal  to  two  short  ones,  _  =  w  w. 

Purther,  since  the  beginning  of  every  measure  must  be  intoned  more 
strongly,  the  measure,  according  to  §  4,  4,  2,  must  be  introduced  by  a 
lon<r  svUable.  The  short  syllables  are  then  assigned  to  the  lighter  part 
of  the  measure ;  yet  a  long  syllable  is  allowed  here,  since  not  every 

Ion"-  is  necessarily  given  with  an  ictus.     Consequently  both  '^     ^ 

»                 ----  '  #     #     # 

(_:_  w  w)  and  'I      I  {- )  are  proper  ^/^   measures. 

Song  is  further  distinguished  by  an  exact  regidation  of  the  relations 
of  its  tones.  Since,  now,  even  prose  had  a  varying  usage  in  reference  to 
these  tones  (many  syllables  e.  g.  with  the  acute  under  certain  circum- 
stances —  in  connected  discourse  —  took  the  grave  in  its  place),  so,  as 
the  art  of  music  developed  itself  more  and  more  independently,  the  rela- 
tions of  its  tones  were  less  and  less  restricted  by  preceding  usage. 


§  6.     ORIGIN   OF   THE   FORMS   OF   POETRY  AND   MUSIC.     21 

3.  This,  then,  is  rhythmical  speech,  one  divided  into  portions  of 
equal  length  with  regularly  distributed  ictuses.  In  song,  to  attain  still 
greater  regularity,  there  is  added  the  exact  determination  of  the  tones. 

Song,  therefore,  is 

1)  Metrically  divided  into  equal  portions  (of  which  the  smallest,  the 
measures,  are  first  to  be  considered). 

2)  These  portions  become  rhythmical  in  consequence  of  regularly 
distributed  ictuses. 

3)  Song  becomes  musical  through  the  exactly  regulated  intervals 
between  its  tones. 

4.  But  little  by  little  musical  instruments  were  perfected,  so  that 
they  ceased  to  serve  simply  for  accompaniment,  and  produced  the  mel- 
odies independently.  Thus  arose  music  without  icords.  It  had  the  same 
rhythm,  the  same  tones,  as  song ;  but  metrically  must  early  have  gone 
beyond  it.     While,  therefore,  the  measure  of  four  parts  e.  g.,  whicirhas 


the  duration  of  about  four  eighth-notes  (^  ^  ^  ^^),  cannot  well  have 
more  than  four  syllables,  since  their  pronunciation  ahvavs  requires  a 
certain  time,  —  while  indeed  a  quarter-note  must  generally  be  used 
for  the  first  two  eighth-notes.  ^j  ^  \  __^^^  „ot  often^w  w  w  w), 
smce  otherwise  a  stronger  ictus  must  be  given  to  a  short  syllable  than 
by  nature  it  should  have;  there  is,  on  the  other  hand,  no  difficulty  in 
expressing  tins  measure  on  stringed  instruments  with  eight  sixteenth- 
notes  (  !-■  ^~^^^ 

^  «  #  #  #  #  #  #■' 

Therdore,  vocal  muuc  ha,,  in  the  nature  of  language,  couMerable 
metncal  lanUat.ous.     Svllables  sung  with  extraordinary  Hipiditv  wonld 
"o  allow  tl,e  sense  of  the  language  to  be  understood. "  And  th'ese  lim- 
.  ations  were  ,n  vocal  music  always  observed  bv  the  Greeks  in  the 
classical  per.od  of  their  language.    Trills,  runs,  and  so  on,  used  in  mod- 
ern mus.c,  would  have  been  a  horror  to  the  Greeks,  at  least  in  their 
>ocal  music.     To  this  noble  simplicity,  which  nevertheless  produced 
the  highest  effect  and  an  extraordinarily  artistic  division  into  measures 
sentences,  verses,  and  periods,  do  we  owe  it  that  it  is  yet  possible  for  us 
1"   he  texts  that  have  been  preserved  to  learn  the  metrical  values  of  the 
s.Mlal)les  and  to  determine  the  entire  rhythmical  construction, 
^orfrom  the  principle  that  the  long  syllable  has  exactly  the  value 
ot  two  short  ones,  there  was  not  in  their  poetry,  even  when  more  fullv 
<  evcloped,  any  considerable  departure,  and  it  is  eveowhere  possible  to 
determine  the  degree  of  this  departure. 

On  the  development  of  the  forms  of  poetry  and  music,  cf.  further  §  25. 


22    §  7.    PRELIMINARY  STATEMENTS  CONCERNING  THE  MEASURES. 


§  7.    Preliminary  Statements  concerning  the  Measures. 

1.  Only  measures  consisting  of  long  and  short  syllables  used  with 
their  ordinary  value  will  here  be  discussed.  Their  metrical  forms  are 
the  common  ones  in  which  the  greater  number  of  poems  is  composed. 

2.  The  first  note  of  the  measure,  as  already  stated,  is  intoned  more 
strongly  than  the  rest,  and  has,  therefore,  the  chief  ictus.  Take  e.  g. 
the  four-eighth  measure : 

"Av  -  5pa   fxoi        if 


J 


^  N 


# 


w 


# 


w 


V€ 


\ 


^ 


ire 


/ 


v^ 


In  music  this  ictus,  as  readilv  understood,  is  not  commonly  marked. 

This  more  strongly  intoned  part  of  the  measun;  was  called  ^cVt?, 

since  in  beating  time  the  foot  was  here  set  down,  while  the  lighter  part 

of  the  measure,  during  the  utterance  of  which  the  foot  was  raised,  was 

called  (Xpert?  : 

8pa     /JLOL 


&u 


iv   - 


V€ 


N    ^ 


7re 

\ 


0         9         9 

< . ' 

Now,  however,  it  is  customary  to  call  ^cVt?,  arsis,  ami  ap<rts,  thesis, 
and  thereby  to  pervert  the  signification  of  the  Greek  terms.  This 
use  of  these  terms  agrees  with  the  modern  practice  of  pronouncing  the 
more  heavily  intoned  part  of  the  measure  with  the  high-tone  (the  voice 
being  "  raised  "),  the  lighter  part  with  the  middle-tone  (which  in  con- 
trast with  the  high-tone  seems  a  "lowered"  tone).  Cf.  §  5,3.  We 
shoidd,  however,  and  this  will  be  in  accordance  with  our  own  practice 
in  beating  tinu»,  employ  the  terms  as  they  were  used  by  the  Greeks 
themselves,  i.  e.  call  the  chwnicard  beat  thesis,  and  the  npKanJ  beat  arsis. 

3.  In  course  of  the  development  of  Greek  poetry  the  principle  that 
]ou2:  syllables  were  to  stand  iu  the  thesis,  short  ones  in  the  arsis,  was 
not  strictly  maintained.     So  that  the  ^/g  measure  could  be  expressed 

not  onlv  bv    I      N  (e.  g.  tolto),  but  also  by  'N     ^     N  (e.  g.  StoVt). 

*■*■##  9       0       9 

That  is,  two  short  syllables  are  used  in  place  of  the  long  one,  a  process 
which  is  called  resolution  (8taAuo-ts).  further,  it  was  possible  to  use 
a  long  syllabh^  in  place  of  two  short  ones  (in  the  arsis),  e.  g.  |  J 
(as  kCivoi),  for    |      ^.     This  is  called  contraction. 

9      9    9 


§  7.   PRELIMINARY  STATEMENTS  CONCERNING  THE  MEASURES.   23 


This  license  is  expressed  as  follows : 

Resolution,  i.  e.  ^    ^  for  J,  by 


or  \^ 


Contraction,  i.  e.  I    for     ^    N,  b\    *  *  or  c^ 


If  it  is  immaterial  whether  one  long  or  two  short  syllables  be  era- 
ployed,  this  can  be  expressed  by  dm-   For  this  there  is  no  metrical  sign. 

Since,  now,  in  the  hexameter  the  light  dactv^  '  '^  "^  is  the  com- 
mon,  the  heavy  dactyl  the  unusual  form,  except  in  the  last  measure 
where  the  heavy  dactyl  alone  can  occur,  the  first  mentioned  form  must 
not  be  considered  as  a  resolution  of  the  latter,  but,  directly  contrary  to 
this,  the  latter  must  be  regarded  as  a  contraction  of  the  former.    Thus: 

!    1 


or 


not 


1 

#  #  # 

1 

'  r 

•    9  d 

1 

\-/N^ 


V-V/ 


V-yV/ 


J      J. 

u 


or   _  ^^!^  \  __  \^  I 


4.  If  we  consider  the  value  of  the  measure  as  a  rhythmical  element 
designed  originally  for  dance  and  march,  we  see  at  once  that  in  measures 
of  equal  length  different  ictus-relations  could  nevertheless  prevail.  It 
is  possible  to  intone  J  ^  either  i.  o  w  or  J-vvw;  i.e.  the  chief 
ictus  can  outweigh  the  accuudary,  or  be  comparatively  less  prominent, 
according  as  the  movements  in  the  dance  and  march,'  though  equal  in 
time,  are  more  or  less  vigorous.  It  is  natural  that  also  in  music  this 
difference  should  appear  as  characteristic,  and  give  it  a  peculiar  stamp. 
AValtzes  have  only  one  strong  ictus:  ^  _  _  (this  is  the  fundamental 
form  of  their  measures),  but  in  the  polka-mazurka  there  is  another 
tolerably  strong  secondary  ictus:  J ^. 

What  ictus-relations  prevailed  in  the  Greek  texts  can  be  judged  from 
their  metrical  peculiarities.  If  it  is  possible  for  resolutions  of  the  thesis 
and  contractions  of  the  arsis  to  occur  at  will,  it  is  certain  that  the  arsis 
could  not  have  had  a  relatively  unimportant  ictus.  If  the  Vg  measure, 
for  example,  is  not  only  ^  w  w,  but  also  ^  _,  it  is  not  yet  obvious,  to 
be  sure,  that  the  arsis  had  a  strong  secondary  ictus ;  but  this  must  have 
been  the  case,  if  also  the  form  kj  ^  ^  was  allowed,  so  that  the  general 


24   §  7.   PRELIMINARY  STATEMENTS  CONCERNING  THE  MEASURES. 

scheme  of  the  measure  was  ^^  Ovi/.     For  since  the  lonp^  syllables  have 
by  the  rule  the   heavier  ictuses,  it  would  have  been  impossible  in  a 


measure  like 


etc.  for  the  ictus  of  the  first 


part  of  the  measure,  which  frequently  fell  upon  short  syllables  while  at 
the  same  time  the  arsis  had  a  long  syllable,  to  preponderate  to  any 
great  extent. 

It  is,  therefore,  possible  to  determine  the  ictus-relations  in  the 
measures  of  the  dilferent  rhythms  by  the  frequency  of  resolution  and 
contraction. 

5.  Not  all  melodies  and  consequently  not  all  verses  begin  with  a  full 
measure,  i.  e.  with  a  syllable  having  an  ictus.  Frequently  the  mdntoned 
part  of  the  measure  precedes.  This  is  called  by  Hermann  the  anacrusis 
(dvaKpouo-ts).     Take  e.  g.  the  following  first  part  of  an  iambic  trimeter : 


& 


KOLVOV 


oi'  •  TO.  -  deX  -  <pov 

\    I  ^       \ 

#  #      # 


Just  as  this  verse  in  ^/g  measure  begins  with  an  anacrusis,  so  can 
everv  other.  The  eflect  is  to  make  the  rhythm  livelier,  since  the  first 
syllable  or  syllabh's  (for  two  syllables  also  can  constitute  the  anacrusis 
according  to  the  kind  of  measure)  give,  so  to  speak,  a  sort  of  invitation 
or  encouragement  to  begin  the  rhythmical  movement  proper. 

It  is  tlie  law  that  the  anacrusis  must  not  be  greater  than  the  arsis  ; 

according  to  the  rule  it  also  must  not  be  less.     In  the  */g  measure  the 

arsis  =  ^/g,  consequently  the  anacrusis  also  =  ^ 

Thus 

\jo  \ c^  I  —  w^  etc.,  not 

—  cx^  etc.,  or 


/s. 


not  Vs  w"  Vs- 


Ky\~/ 


*^>v^ 


K./^^ 


An  irrational  syllable,  however,  which  will  hereafter  be  indicated  1)V 
this  mark,  >,  can  in  most  cases  constitute  the  anacrusis,  as  in  a>  kolvuv 
avTaSeXcfiov,  apparently  —  for  \y.     See  on  this  §  13. 

C.  The  ijrammnrians  carefully  distinguished  verses  with  and  without 
anacrusis.  Nevertheless  in  their  theoretical  systems  thev  sometimes 
became  confused  on  this  very  point,  and  made  the  anacrusis  the  first 
part  of  the  measure,  as  e.  g. 

Kat  Srj  TTLKovpof;  warTi  Kap  KCKX-qa-oixai.      ArcII. 

>_:_|'^_L.I*^-:_|v-/_:-|w_i-|v^_i_ 


§  8.    FUNDAMENTAL  FORMS   OF  THE   MEASURES. 


25 


In  consequence  of  this  they  distinguished  two  kinds  of  the  ^/g  meas- 
ure, trochees  (-i-  ^)  and  iambi  (w  _i-).  But  if  only  the  anacrusis  be 
detached,  the  ictus  will  fall  on  the  first  syllable,  as  well  in  the  one  kind 
of  measure  as  in  the  other.  The  "  iambic  "  verse  quoted  above  should 
therefore  be  written  : 

>':-i-v^|-:-wI_:_v>'I_i_wl_:_v>'|_i_AII 

(A  signifies  an  eighth  pause). 

7.  In  the  case  of  paeons  and  choriambi  (cf.  §  8)  it  is  best  to  dis- 
tinguish two  theses  of  different  grades,  which  can  be  called  primary  and 
secondary  thesis.  That  the  grammarians  did  not  make  this  distinction 
arose  from  the  fact  that  they  concerned  themselves  principally  with 
relations  of  numbers,  and  never  put  the  practical  value  of  their  theories 
to  the  test.  Paeons,  moreover  (but  not  choriambi),  have  anacrusis, 
though  seldom.     Cf.  §  23,  3. 

On  this  point  see  further  Schmidt,  Compositionslehre,  §  4. 


§  8.    Fundamental  Forms  of  the  Measures. 

1.  Extension,  division,  and  intonation  determine  the  character  of  the 
measures.  According  to  their  extension  we  distinguish  ^j^,  */g,  ^/g, 
^/g  measures.  But  the  division  of  e.  g.  a  measure  of  six  eighths  can 
be  twofold ;  it  can  be  divided  into  a  thesis  of  ^j^  and  an  arsis  of  ^/g, 
J_  w  _L  w  I,  and  then  it  is  called  a  ^^/g  measure  ;  or  into  a  thesis  of  */g 
and  an  arsis  of  2/g  (4/^  +  2|^^^^  ±  J_  vv  w  |,  and  then  it  is  customary  to 
call  it  a  3/^  measure.  The  former  is  an  equal  measure,  since  thesis 
and  arsis  are  equal ;  the  latter  is  an  unequal  measure. 

Finally,  measures  of  the  same  extension  and  division  mav  be  different 
in  intonation,  as  e.  g.  X  _:.  |  and  -L  _L  |. 

Whether  in  any  particular  measure  the  ground-form  occurs  or  the 
equivalent  forms  arising  from  resolution  or  contraction,  is  of  secondary 
importance,  provided  that  the  division  of  the  measure  and  its  intona- 
tion be  not  tliere])y  aftected.     Cf.  §  7,  3. 

2.  The  following  are  the  fundamental  forms  of  the  measures  that 
commoidy  occur.      The  more  common   "resolutions"  and   "contrac- 
tions "   are   noted   in   metrical   and   musical   characters ;    as   examples 
simple  words  are  given,  but  where  anacrusis  ordinarily  occurs,  parts  of    ' 
verses. 


•i^ 


26 


5  8.     FUNDAMENTAL   FORMS   OF  THE   MEASURES. 


A.    Equal  Measures  (ycVos  to-ov). 

J.    -Lviyw  or  J      r",  dactyl  {etTriTo), 

It  is  a  */8  measure  with  weak  secondary  ictus. 

The  form  with  contracted  arsis  (-L  ^)  is  generally  (but  in- 
correctly) named  spondee.  We  distinguish  light  dactyls,  J-  c/  ^, 
and  heavy  dactyls,  -L  ^.  _^ 

II.   _L  o  w,  _L  _L,  vL  w  _L,  or  #  •     •  *    anapaest,  always  with  ana- 
crusis.    Cf.  §  10,  II.       ''-I      ' 

eAcXcv,  cAcA-cv  wv./:  —  ww|  —  .... 

III.  _L_L  or    I      I,  spondee  {kHvol). 

A  ^/4  measure  with  strong  secondary  ictus. 

It  is  distinguished  from  the  anapaest  especially  hy  its  slower 
time,  also  by  infrequency  of  resolutions,  and  generally  by  ab- 
sence of  anacrusis.     Cf.  §  10,  III. 

IV.  J_wJ-w  or    I      ^  J      ^,  dichoree  (cVrpcVco-^c). 
A  ^/g  measure  with  the  division  ^/g  4-^/8- 

B.    Unequal  Measures  (ycVo?  StTrAao-tov). 
Y.   J_  v:/  or  J      ^,  choree. 

A  ^/g  measure  with  weak  secondary  ictus. 

Without  anacrusis  it  is  called  trochee  (cTttc)  ;  with  anacrusis, 
iambus  : 

KpuLTO';  ySia  T€  w  :  —  w  1  —  v>'  I  ... 
resolved  (O  v^  o).  frihrach  (Acycrc). 

YI.     J-J-OW    or  /OW/C  ICKACtTTCTc). 

^       ^       (g    0  ^  ^ 

A  3/^  measure  with  the  division  2/^  +   i/^  and  the  weakest 

ictus  in  the  arsis. 

AVithout  anacrusis  it  is  called  ionicus  a  majore ;  with  anacru- 
sis, ionicus  a  mlnore  : 

cT€/3ofxaL  fjikv  TTpooSiaOaL  kj  \j  '. \^  \^  \ ... 

VII.    -Lw>^_L  or    '  choriamhus  (cKTocVouat). 

#     #  #     #  ^11^ 

A  3/4  measure  with  the  division  ^/^  -|-  1/^  and  strong  sec- 
ondary ictus  in  the  arsis. 

YIII.    ^ (  .  molossns  (BovX^crBaL). 

A  very  slow  ^/^  measure  without  resolution  and  with  a  com- 
paratively light  ictus. 


§  9.     SHORTENED  FINAL   MEASURES. 

1 

C.      QUINQUEPARTITE   MEASURES    (ycVos  ry/XtoAtOv). 

IX.    ±  vy  _L  or  J     ^  ^    paeon  (JSovXofiaL). 

A  ^/g  measure  with  the  division  ^/g  -h  ^/g. 

The  names  of  the  forms  are  : 

J_  vv  J_,  amphimacer  or  cretic  (ySouAo/xat). 
J^\y  <j  \j,  paeon  prirtius  ilKTpiircT^). 
O  w  w  J-,  paeon  quart  us  (KaraAeyo)). 
vL  w  w  O  w,  resolved  paeon  (Tra/acycVcro). 

X      ^  _L  w  or   J      I  bacchlus. 

A  ^/g  measure,  usually  with  anacrusis : 


27 


§  9.    Shortened  Final  Measures. 

1.  Before  the  characteristics  of  the  different  measures  are  given,  it 
should  be  remarked  that  the  final  measnre  of  a  series,  and  especially 
of  a  verse,  whether  sung  or  recited,  may  be  incomplete,  and  end  with  a 
pause  instead  of  the  arsis.  This  pause  is  denoted  in  music  and  in 
metric  by  different  characters  according  to  its  length; 

the  eighth-pause   7,  A  5 

the  quarter-pause  \*,  a  ; 

the  3/g-pause       X\  V  '■> 

the  half-pause     -"-,  y. 

2.  To  close  a  series  with  a  shortened  measure  is  called  KaraATyft?, 
and  the  verse  itself  so  closing  is  called  catalectic  {(Tri)(p^  KaToXrjKTiKoq^ 
fiiTpov  KaToXrjKTLKov).  If,  ou  thc  other  hand,  the  verse  closes  with  a  full 
measure  it  is  called  acatalectic  (aKaTakrjKTo<;), 

E.  g.  the  following  verse  is  acatalectic  : 

AvSpa  p.OL  cvvcTTC,  Moi^cra,  TroXvTpOTrov,  o?  fxaXa  TvoXXa 

\y     \J  I w  w|    v^    wll v^*^l  —    v^w| II 

Catalectic,  on  the  other  hand,  is : 

vvv  8*  cTTtKCKAo/xcVa     Aesch.  Suppl.  I.  str.  a  (v.  41).. 

A  11 


KJ      \J 


WW 


In  the  following  strophe  the  first  and  third  verses  are  acatalectic,  the 
second  and  fourth  catalectic  : 


28     $  10.    EXAMPLES  OF  THE   DIFFERENT   KINDS   OF  MEASURE. 

Tell  me  not  in  mournful  numbet-s, 

"  Life  is  but  an  empty  dream  !  " 
For  the  soul  is  dead  that  sliimbei-s, 

And  things  are  not  what  they  seem. 

Lo)i(jfellov). 

—  w|  —  \j  \  \j\  \^ll 

—  w|  —  \j\  w|  A II,  etc. 


§  lu.    Examples  of  Verses  in  the  diflferent  Kinds  of  Measure. 

I.  Dactyls  are  a  solemn  and  slow  measure,  and  are,  therefore,  used 
(especially  in  choric  poetry)  to  denote  an  exalted,  God-trustinj^  state  of 
mind,  or  to  express  warnings  with  solemn  earnestness.  Sometimes 
anacrusis  occurs : 

Kvptos  €i/xt  Opo^lv  o^Lov  KpaTO^  aLCTLOv  avSpwv  CKTcAccor  • 
crt  yap  OcoOev  Karairvua  TrttOoj  \k0\7rav,  dkKav  <TVfX(f)VTO<;  aio)v. 

Aescii.  ^//am.  I.  sir.  a  (104-  107). 


w  w 


w  \^ 


—  w  v^  I  —  A 


Further,  they  are  the  measure  in  which  the  solemnly  recited  epic 
hexameter  (so  called)  is  composed : 

"AvSpa  fiOL  ew€7r€,  Movaa,  TroKvrpoTrov^  os  p.d\a  iroXXa 
TrXdyx^T)  cVct  TpOLrjs  upov  irroXuOpov  ^Trepae.      Ocl.  I.  1,  2. 

—  ww|  —  wwl  —  K^,  KJ  W  \y  \y  \  ww| II 

—  ^^1—      —     I— ,  v^wll_Ww|_Vyw| II 

They  have  quicker  time  in  lamentations,  and  yet  the  relicrious  element 
exists  here  also,  since  lamentation  for  the  dead  was  a  religious  act : 

AA.X   €/JL€  y  d  cTTovdccrcr*  dpapev  <jipiva<;, 
a   iTVVy  alkv   Irvv  6Xo<f)vp€Tai, 
opvL<i  drv^ofxiva^  Atos  dyytXoq. 

Soph.  FJ.  T.  ant.  a  (147-149). 

—  wwl   \J  \J   \   \^  \J   \   ^V^ll 

—  v-/w|  —  wwl  —  >^vy|  v-/wll 

WV^I    KJ  K^    \    V^wl    \^wll 

II.  Anapaests  are  the  proper  march  measure,  and  consequently  occur 
in  the  march-songs  (in  particular  those  of  the  Spartans)  of  which  frao-- 
ments  have  been  preserved.  The  chorus  in  tragedy  also  generally 
entered  the  orchestra  (in  the  parodos)  and  left  it  (in  the  exoclos)  while 
reciting  anapaests,  the  recitation  in  both  cases  being  in  a  chanting  tone. 
Of  course,  as  is  also  the  case  in  our  own  marches,  the  ictuses  were 


§  10.    EXAMPLES   OF  THE   DIFFERENT   KINDS   OF  MEASURE. 


29 


marked  by  the  tread.     Take  as  an  example  the  entrance  of  the  chorus 
of  the  Danaides  in  the  SuppUces  of  Aeschylus : 

Zevs  pXv  d<j)LKT(Dp  eTTtSot  7rpo<f>p6vuy; 

aroXov  rjixercpov  vdtov  dpOevr 

(iTTo  Trpoa-TOfXiuiV  AeTTTOi/ztt/xa^a)]/ 

Nct'Aov  •   Stav  8*  eKXeLTTovcraL 

yOova  (Tvy)(opTov  2vpta  <^cvyo^€V,  k.  t.  X. 


:  w  w  — 

\j  \j  :  —  \j  \j 


__       1    WW_1_ 
__       l_^    Wl_ 


It  shoidd  be  noticed  how  great  the  difference  is  between  these 
measures  and  dactyls  which  have  anacrusis,  as  in  the  example  cited 
above  from  the  Agamemnon  of  Aeschylus,  where  it  would  be  impossible 
for  measures  like  vi/  w  _L  to  occur. 

III.  Spondf^es,  in  which  resolutions  even  of  the  arsis  are  seldom 
allowed,  are  the  measure  used  in  religious  hymns,  extremely  measured 
and  slow,  to  which  they  are  even  better  adapted  than  dactyls.  Their 
name  arose  from  the  drink-offerings  ((nrovSal).  Take  as  an  example 
the  following  from  a  Hymn  to  Helios  by  Dionysius : 

Eu^a/aetTaj  Tras  alB-qp, 

yrj  /cat  ttovto*;  kol  irvoiai, 

ovpeay  T€/X7r€a  (Tiyaro), 

yX^'-  ^BoyyoL  r  opviBmv  • 
5  p,iXXu  yap  7rp6<s  y  rjfjid<;  jSatveLV 

4>ot^os  aKepacKo/xas  cv;(atTas. 

I |__|_All 

1 |__|_All 

v^wl  wwl I  —  A    II 

I |__|_AII 

5 I I  _  _  I  _  _  II 

V^'V^I    Vyv^^'l I 11 

These  trne   spondees  must  be  carefully  distinguished   from  heavy 

dactyls  which  are  like  them  in  their  outward  form  ( for  _  w  w), 

but  are  used  solely  to  relieve  the  tiresome  uniformity  of  dactylic  verses. 

We  best  get  a  clear  conception  of  the  real  nature  of  the  spondee  from 
church  hymns.  These  are  frequently  composed  in  spondaic  measure, 
though  with  less  restrictions  than  in  ancient  poetry.  Anacrusis  is 
frequent. 


^0    §  10.    EXAMPLES   OF  THE   DIFFERENT   KINDS   OF  MEASURE. 


The  melody  is : 


Thou  who  didst  leave  Thy  Father's  breast. 

Eternal  ^Vord  sublime! 
And  caui'st  to  aid  a  world  distressed 

III  Thine  appointed  time. 


-rdrcnlrnrii^rlz: 


fel-iiiii 


.^FfS*S-£E3--g|-^g^g^gE3E 


"p: 


i:z:§'±~c'- 


If  tills  solemn  melody  with  its  slow  time  be  compared  with  the  viir- 
orous  music  of  a  march,  the  difference  between  spondees  and  anapaests 
will  be  perfectly  clear;  and  it  will  further  be  evident  that  spondees  are 
not  to  be  spoken  of  as  occurring  in  anapaestic  verse,  in  hexameter,  in 
trimeter,  etc. 

IV.  Chorees  are  a  somewhat  vivacious  measure  servii!<;  for  the  ex- 
pression of  individual  feeling,  especially  when  they  occur  with  anacrusis 
(as  iambi).     Without  it  (as  trochees)  they  arc  much  less  lively. 

-bo-a    oirov  TO  oiivov  cv, 

Kai  <f)p€VU}V  eiTLCTKOTrOV 

Oct  fx.t.v€Lv  KaOrifxevov. 

Aesch.  E/nn.  IV.  mtt.  /3'  (517-519). 

_wf_w|_vy(_AII 

_w|_w|_v^|_All 

_wl_w|_w|_Ali 

At  aifxaT   iKTToOivO    vtto  ^Oovo^  Tpo<f>ov 
Ttras  <l>6vo<:  TTiTnjycv  ov  SiappvSav. 

Id.  Cho.  I.  sfr.  y  {6(j,  67). 
v^:  —  wf_wf_v>|_w|_>^|_A  II 
w:_w|_w|_w|_w|_v^|_All 

The  measure  becomes  somewhat  more  vivacious  if,  as  is  frequentlv 
the  case,  resolution  occurs.  Compare  the  song  between  Antigone  and 
Ismene  in  Aesch.  Sept.  IX.  pr.  (902-904),  where  in  the  metrical  scheme, 
each  verse  being  divided  between  the  two  singers,  the  comma  will  be 
used  to  denote  the  point  of  division. 

A.    8op\  8*  €K'ai'C9.       I.    Sopl  8*  Wav€<;. 
A.    fiiXeoTTovoq.       I.    fieXeoTraOrj^. 
A.    LTio  SuKpva.       I.     tTW  ydo9. 
w  :  vy  v>  vy  I    — ,    vy  I  w  vy  x^  I  A  II 


Kj  :  \^  \^  \j 


— ,      v-/  I  V^  v^  v^  I  A   II 

vy  w,  w  I    _   w  I  _  A  II 


$  10.     EXAMPLES   OF  THE   DIFFERENT   KINDS   OF  MEASURE.    31 

V.  The  ionic  measure  is  used  in  giving  expression  to  a  greatly 
excited  frame  of  mind.  In  this  measure  the  loud  shout  of  victory, 
or  the  feeling  of  joy  at  deliverance  from  great  danger,  breaks  forth. 
The  enthusiasm,  moreover,  of  the  priestesses  of  Bacchus  and  of  noisy 
drinkers  is  expressed  by  it.  But  it  also  beautifully  expresses  that  deep 
inner  anxiety  which  cries  aloud  for  rescue. 

Cf.  the  following,  in  which  is  expressed  certainty  of  victory : 
JleirepaKCV  fxlv  6  TrcporeVroXt?  i^Srj 
ySao-t'Actos  o-Tparo^  ct?  avTLTropov  yctVova  ^(Lpav, 
Xivohio-puD  G)(<ihia.  TTOpOfJLov  a/xcti//as. 

Aesch.  Fers.  I.  str.  a  (65  -  67). 


WW 


A   II 


A 


A 


Cf.  also  the  following,  in  which  the  shout  of  joy  of  the  rescued  Da- 
iiaides  (X.)  breaks  forth,  who  sing  alternately  with  their  attendants  (0.): 

X.    KuVptSos  8*  ovK  d/xcAct  Oeo-fios  oh    €v<f>pu)v, 
Si'i/arat  yap  Ato?  ay^LOTa  crvv  Hpa* 

tUt at  8     aloXofJLYjTL^S 

^€o?  epyois  €7rt  aefivoiS' 

5  0.    McraKotvot  Be  <^tAa  /xarpl  irapucTLV 

7rd^o9,  a  T   ovh\v  airapvov 
reXiOei  OiXKTopi  Ilet^ot. 
BihoraL  8     Apfxovia'i  jxoip    A<^/jo8tTa 

ij/eSvpOL  TpijSoL  T   "EpOJTlOU. 

Aesch.  Suppl.  IX.  str.  /?'  (1035  - 1042). 


KJ 


w  w  I  

WW!  

w  w  I  

w  w  I  

w  w  I  

w  w  I  

w  w  I  

w  w  I  

_w| 


w  w 
w  w 

A 

A 

w  w 

A 

A 

w  w 


_  A    II 
_  A    II 


A   II 


A 


__    A     II 

A  dicliorec  is  substituted  in  the  last  verse,  a  practice  of  wliicli  more 
hereafter. 

VI.  Choriamhi  are  used  especially  for  the  expression  of  the  highest 
degree  of  despair  and  indignation,  and  are  apt  to  form  very  long  verses. 
They  do  not  often  occur. 


OT* 


32    §  10.     EXAMPLES   OF  THE   DIFFERENT   KINDS   OF   MEASURE. 

Take  for  illustration  the  followiiiir  : 

IlatSa  /j.€v  avra?  ttoo-lv  avra  B^^iva 

Aesch.  Sejjt.  VIII.  ajiL  y  (929-933). 


—  II  _  w  w  _  I  _  w... 


Anacrusis  is  not  allowed.  Ionic  verses  often  follow  clioriambic. 
These  also  denote  violent  states  of  mind,  but  those  less  violent  than 
are  expressed  by  clioriambic  verses. 

AcLva  fX€V  ow,  ScLva  rc/ad^ct  (To<fi6s  OLU)voO€Ta<:  • 

ovT€  SoKovuT   ovT  d7ro(f>d(rKovO' '   o  TL  \€$(o  8'  d-n-opu), 
7r€TO/xat  8*  Ikiria-LV  ovt   ivOdh^  opuiu  ovt   oTriVto. 

Sopii.  Occi.  R.  II.  stt\  P  (483-486). 

—  ^vy_|_wvy_ll__ww_|_ww_l| 

^^: ww| wv^ll w^i^VII 

^  II.  BicJiorees  consist  of  chorees  in  pairs.  In  a  long-  verse  a  succes- 
sion of  such  small  measures  as  J  ^  or  _  w  with  ictuses  of  equal 
weight  would  be  tiresome.  But  this  would  be  relieved  by  uniting  them 
in  pairs  in  a  ^/g  measure  :  i.  o  J_  v:/  j,  which  is  to  be  carefully  distin- 
guished from  the  succession  :  l.^\  Jlkj,  where  both  ictuses  of  the  long 
syllables  have  the  same  emphasis  and,  therefore,  the  two  ^g  measures 
do  not  appear  as  a  unit.  It  seems  natural  to  divide  a  series  of  four  or 
six  iambi  into  dichorces,  so  that  the  above  examples  in  IV.  would  be 
given : 

Eo-^     OTTOV  TO  BcLVOy  €V 

_w_w|_w_A  II 
At  aifxar  iKTroOevO*  vtto  )(9ov6s  rpo^ov 

^•— ^  —  ^  I  _w_w  I  _w_AII 

This  division  of  iambic  and  trochaic  verses  into  diehorees  is  the 
reason  for  not  calling  e.  g.  an  iambic  verse  of  six  measures  an  hex- 
ameter,  but  trimeter,  since  it  is  divided  thus : 

v^:_wl_v^|_w|_w|__w  |-_AII. 

^  In  like  manner  we  speak  of  a  trochaic  tetrameter,  when  composed  of 

eight  single  trochees,  i.  e.  four  ditrochees.     But  if  it  be  observed  that 

in  long  choreic  verses,  as  for  example  the  hexapody,  the  first,  third,  and 

fifth  measures  naturally  have  a  heavier  ictus  than  the  second,  fourth,  and 


$  10.    EXAMPLES   OF  THE   DIFFERENT   KINDS   OF  MEASURE.    33 

sixth,  it  will  be  seen  that  the  diflerence  between  _^|  —  w|_wI_A[l 
and  —  v^  —  ^1— ^  —  '^^  lies,  iu  fiict,  only  in  the  way  iu  wliicli  they 
are  written ;  for 
J_wl_^-^l-^v^I  —  All  is  exactly  equal  to_Lw_^w!_Lw-L-AIi 

Since,  now,  the  first  method  of  writing  is  necessary  in  many  choreic 
strophes,  as  for  example  in  the  case  of  pentapodies  like  w  :  _  w  I  _  v^  I 
_  ^  I  _  v^  I  _  A  II,  which  certainly  have  not  the  value  of  three  full 
diehorees,  since  so  incomplete  a  measure  as  the  last  would  then  destroy 
the  rhythm  and  consequently  the  melody  also,  —  it  is  best  to  adopt  gen- 
erallv  the  first  method  of  writing,  namely  as  chorees,  which  can  be  done 
in  every  case  without  difficulty.  We  shall,  therefore,  give  the  pref- 
erence to  the  division  into  ^/g  measures,  and  only  in  a  single  instance 
(§  23,  2)  divide  into  ^/g  measures.  In  the  case  of  a  division  into  ^/g 
measures  the  verses  are  named  differently :  dimeter  =  tetrapody,  tri- 
meter =  hexapody,  tetrameter  =  octapody. 

In  like  manner  it  is  customary,  with  less  reason,  to  regard  two  ana- 
paestic measures  as  a  single  one,  so  that  e.  g.  the  tetrapody 

Ow  :  'i^^  Ow  I  ^^  WW  1  "ii^  WW  I  ^^^ 
is  also  called  dimeter.  " 

VIII.  The  Molossiis,  like  the  spondee,  was  used  in  solemn  religious 
melodies.  Only  a  single  refrain  in  this  measure  has  been  preserved,  in 
Eur.  Ion,  I.  125  -  127  and  141  -  143  : 

*12  Ilatar,  ui  Yiaidvy 
cuaiwF,  cuatojv, 
ctry?,  w  Aarov?  Trat. 

I II 


II 


IX.  Paeonics  denote  extreme  excitement  of  mind,  either  finding  vent 
in  overwhelming  enthusiasm,  or,  on  the  contrary,  manifesting  itself  in 
great  uncertainty,  wavering,  and  helplessness.  They  are  sometimes 
used,  therefore,  in  the  urgent  prayers  and  entreaties  of  those  who  have 
been  forsaken.  Since  this  measure  is  seldom  used,  particular  atten- 
tion should  be  directed  to  its  quantities.  Measures  like  _  w  _,  —  ^ 
v^w,  www ,  wwwww  should  be  coimted  off  accurately  : 

^ovX-Ofxaty  /^ovXojxeOa,  etc. 
1.2.   3.   45.      12.   3.  4.  5. 


w 


w  c/  v-/ 


I 


ft 


3i 


§  11.     rROLOXGATIOX   OF  LONG   SYLLABLES. 

€V(j€/3rj^  7rp6$€i/o<: ' 
rav  cf>vyd8a  fxrj  7rpoS<p9, 
rav  €KaO€v  iKpo\al<^ 
SvcrOiOLS  op/jLuav. 

Aesch.  Sfippl.  Iir.  sir.  a  (418-422). 


§  11.     PROLONGATION   OF  LONG   SYLLABLES. 


35 


v-/     

\^    

www 
www 


w 
w 
w 


w 


—  w     _     I  _  w  __  II 

Aristophanes  lias  frequently  employed  this  measure  with  exceedingly 
comical  effect,  as  e.  ^r,  in  jck.  IV.  str.  (299-301): 

OvK  avaa-xno-opLat'   jxt^Sc  Aeyc  p.oi  (tv  Xoyov 
ojs  p.€p.LcrrjKd  o-c  KAcwio?  m  paXXov,  oy 
KaTaT€p.(o  TOLOTLV  iTTTTcvtrt  KaTTiyxara. 

w  w  w  II 


w 


w 


w 


www      


—  www  II  —  wwwl  w   


www 


w 


v^ 


X.  Bacchll,  which  arc  seldom  independently  used  in  great  number, 
denote  a  much  stronger  uncertainty  and  wavering  than  the  paeonics,' 
and  also  astonishment  and  surprise. 

Tts  d^w,  tU  oS/xtt  irpoaiTrra  p!  d^iyy^^;;     Aescil  Prom.  115. 

w  i w  I ,  w  II w  I A  II 

B.    Srcm^w;    rLp€$o);    ycXw/tat  TroAiVat?. 
eTraOoVy  w,  SvaroLara. 

r.    tw,  (0,  /xcyaAa  TOi  Kopat  8ucrTu;(Cts 
Ni;kto9  dri/xoTrei/^cr?.      Id.  Eum.  V.  «/;•.  a   (789  -  792). 

^: ^1 ,  wii  —  w| A  II 

w:ww__w|     _    _AII 

^  ••     —    —  w  I  w  w  _,  w  II w  I  __    V     II 

>-^^  —  w|    _    —  All 


§  11.    Prolongation  of  Ikmgr  Syllables  (rov^J). 

1.  The  following  are  two  lines  of  a  common  ballad: 

And  over  the  meadows  the  mowers  came, 
And  merry  their  voices  rang  ;  etc. 

If  the  syllables  with  the  chief  ictuses  are  marked,  we  have : 


No  attempt  is  made  in  the  above  notation  to  express  the  metre  of  the 
lines.     The  long  (_)  marks  simply  the  syllables. 

"Without  regard  either  to  the  anacrusis  or  to  the  final  measure  of 
the  verse,  which  latter,  according  to  §  9,  can  be  shortened,  there  are 
seen  to  be  within  the  verse  rhythmical  divisions  of  sometimes  two, 
sometimes  three  syllables.  But  it  would  be  impossible  to  sing  the 
above  words  in  measures  like  the  following,  which  constantly  vary, 
beiiif  sometimes  equal  and  sometimes  unequal : 

^1    !!^!    M^l!^        etc. 

s^  0  &       &  &  &       #  #       #  •  •  • 

We  do  not,  moreover,  even  recite  the  wjrds  so,  since  we  involuntarily 
pronounce  these  rhythmical  divisions  as  measures  of  equal  length : 
And  I  over  the  j  meadows  the  |  mowers  |  came ; 

i.  e.  four  divisions  equal  in  time.     How,  now,  is  this  equality  in  time 
produced?     The  music,  expressed  in  ^/g  time,  is : 


J 


In  the  measures  of  two  syllables  the  syllable  with  the  ictus  is  given 
double  time,  and  thereby  equality  of  the  measures  is  obtained. 

2.  The  last  measure,  moreover,  has  set  against  it  only  the  word  ra)?(/. 
In  measures  of  this  sort,  consisting  of  only  a  single  syllable,  it  is  possi- 
ble either  to  prolong  the  syllable  until  it  becomes  equal  to  the  other 
measures,  or  else  to  make  a  pause  after  it,  as  here. 

Cases  similar  to  this  will  often  occur,  if  the  song  is  recited  so  as  to 
observe  the  rhythm  of  the  melody,  a  thing  that  the  Greeks  always  did. 
For  otherwise  the  splendid  creations  of  their  poets  would  have  become, 
when  recited,  mere  prose. 

3.  In  the  Greek  language  there  can  be  given  to  the  lorif/  syllable 
which  begins  the  measure,  and  so  constitutes  the  thesis,  in  poetry  as  well 
as  in  music,  a  value  greater  than  that  of  two  shorts  :  this  is  called  pro- 
longation,  rovrj.  Moreover,  the  long  syllable  may  fill  out  an  entire 
measure,  so  that  it  comprehends  in  itself  both  thesis  and  arsis  :  this  is 
called  syncope. 

In  this  way,  therefore,  there  arise  notes  of  greater  value  than  the 
quarter-notes.  But  since  Greek  music  always  remained  essentially  a 
vocal  music  (at  least  only  this  can  be  had  in  mind  when  the  rhythm 


■ 


Ill 


36 


§  11.  PROLONGATION  OF  LONG  SYLLABLES. 


$  11.  PROLONGATION  OF  LONG  SYLLABLES. 


37 


Ml 


of  Greek  texts  is  under  consideration),  it  is  clear  that  the  prolongation 
of  the  notes  must  have  been  limited  by  fixed  bounds.  The  Greeks  in 
shigiug  never  iiz:iiored  the  iconh ;  at  least  in  the  period  of  their  classi- 
cal literature  they  did  not  go  so  far  as  to  engraft  upon  meaningless 
texts,  the  understanding  of  which  was  of  no  consequence,  an  over- 
artificial  music.  They  did  not,  therefore,  give  the  long  syllable  e.  g. 
the  value  of  eight  ordinary  short  syllables,  by  which  according  to 
our  notation  there  would  have  arisen  a  whole  note  (22).  Thev  went 
no  further  really  tlian  the  */g  note,  and  when  a  ^/g  note  seems  to 
occur  it  is  only  apparent.     No  longer  notes  than  this  ever  occur. 

The  rhythmical  time-values,  therefore,  of  Greek  poetry,  antl  con- 
sequently also  of  Greek  vocal  music,  expressed  in  musical  and  metrical 
characters,  are  the  following: 

_P  eighth-note    w 

quarter-note 

^/g  note        L_ 


r. 


half-note 


^/g  note 


^ 


4.  In  this  way  w\is  removed  the  very  great  sameness  which  all 
melodies  must  have  had,  if  composed  only  of  an  interchange  of  quarter 
aiul  eigiith-notes.  But  how  is  it  possible  to  determine  in  the  texts  the 
value  of  the  long  syllables,  when  these  values  can  be  so  different  ? 

AVe  are  treating  of  rhythmic,  and  rhythmic  is  a  sort  of  applied  mathe- 
matics. It  must  therefore  be  possible  to  find  simple  and  exact  laws, 
which  in  the  different  cases  will  lead  with  certaintv  to  a  knowledsre  of 
the  value  of  the  long  syllables.  The  different  ways  of  arriving  at  this 
knowledu:e  are  bricHv  as  follow : 

1)  If  it  is  possible  from  the  sum  total  of  the  metrical  facts  to 
determine  in  what  measure  a  song  is  written,  it  will  be  right  to  admit 
at  all  points  longer  notes,  if  thus  the  equality  of  the  measures  is 
preserved. 

2)  In  this  way  rhythmical  series  of  various  forms  will  arise,  which 
have  all  their  fixed  character.  Just  as  the  kind  of  measure  in  general 
must  be  suited  to  the  meaning  of  the  text,  so  also  must  the  metrical 
form  of  the  series  be  -adapted  to  its  meaning.  Whether  these  are  in 
conflict  or  agreement  will  make  it  possible  to  determine  whether  we 
have  combined  rightly  or  not. 


3)  Other  quite  positive  grounds  for  determining  the  value  of  the 
long  syllables  are  given  in  Book  Y.  (on  "  Eurhythmy  "),  in  §  34-37. 

4)  These  positive  external  grounds,  i.  e.  those  based  on  form,  must 
be  substantiated  by  reasons  from  within ;  the  thought  of  the  forms  in 
music  and  recited  rhythm  must  be  clear.  Since  the  music  of  the  Greeks 
was  less  complex  and  easier  to  be  understood  than  modei'u  music,  there 
must  have  arisen  among  them  a  limited  immber  of  forms  Avhich  were 
used  in  their  whole  poetical  literature.  In  the  general  conformity  of 
their  entire  literature  to  these  laws  lies  the  main  proof  that  they  are 
valid. 

5.  The  use  of  the  longer  notes  will  now  be  explained.  It  is  neces- 
sary to  presuppose  that  the  reader  already  understands  the  nature  of 
the  rhythmical  "sentence,"  for  which  see  below,  §  18. 

6.  Syncope  occurs  the  oftenest.  It  is  found  in  the  following  kinds 
of  measure : 

1.  A^ery  frequently  in  chorees  (syncopated  chorees)  in  choric  lyrical 
poetry.  Syncope  in  the  next  to  the  last  measure  of  the  verse  (and  sen- 
tence) gives  it  a  melancholy  character,  if  these  syncopated  sentences 
constitute  the  main  body  of  a  strophe  or  of  a  greater  part  of  it.  Such 
sentences  or  verses  may  be  named  "  falling  "  sentences  or  verses. 

Ili/oat  8    aTTo  %Tpv[Lovo%  ixoXovaaL 

KaKOCT^^oXoL,  VT^(TTlS€<S,   SvCTOpfJiOL, 

j^poTuiV  aAat,  v€a>v  re  koL  irctcr/xaTwv  d^ciSet?, 
TraXLfJLjJL-qKTj  ^povov  TiOcLcraL 
5  TpLl3iD,  KaT€$aLVOV  av6o<;  Apycuov. 

Aesch.  Jgam.  I.  str.  8'  (192-197). 


yy  : 

\j 

\y  : 

v> 

w  : 

v/ 

\y  : 

L_ 

\y  : 

vy 

w 


^  1 

KJ 

w 

V/ 

\y 

L_ 

\y 

—  \J 

w 

v./* 

w 


_  A 
_  A 

w 

_  A 
<^ 


A  II 


A  verse  in  which  syncope  occurs  in  the  next  to  the  last  measure,  and 
in  whieh  the  last  measure  is  at  the  same  time  ftill,  is  adapted  to  the 
expression  of  the  unexpected  and  overpowering,  as  in  the  last  verse  of 
the  above  illustration.  A^erses  of  six  measures  of  this  sort  with  anacrusis 
are  called  choliambic  ("  halting  iambi ")  and  were  used  in  entire  poems 
with  comic  effect,  especially  by  the  old  iambographcrs  Hipponax  and 
Ananius,  later  by  Babrius  in  his  fables. 


i? 


38 


§  11.     PROLONGATION   OF  LONG   SYLLABLES. 
OTOV  yct/xr/  rts  KaKcf>ef)7]  reOvrjKViav.      Ill  PP. 


w  : 

^  : 


w 
w 


w 

w 


An  example  of  the  "  halting^ "  trochaic  tetrameter  : 

€apL  fiXv  )(p6iJLLo<;  aptcTTo?,  di/^i'tt?  8c  ^cl/jlCjvl.      A\. 


v^*  w  w 


>^    M^  V^  Vw/ 


W 


^^ 


vy 


V^* 


111  case  the  verse  is  divided  into  dichorees  in  place  of  chorees,  cither 
part  of  the  measure  may  be  syncopated,  i.  e.  in  place  of 

_  w  _  w  I  can  occur  either  i w  or  _  w  i — 

Remnrh'.    AVith  reference,  therefore,  to  their  final  measure  there  are 
the  following  kinds  of  verses  (and  likewise  sentences): 

1.  AcatalediCj  as  e.  ^. : 


2.   Catalectic : 


^Uyu/ioAct    <l>€pWV    <f>€pOVTi. 

_wl_wI_v^|_AII 

Kttt     K€v6s    K€v6v    KttAci. 


3.  Fa  Hi. 


)ig : 


\j 


\j 


4.   IlaJthig 


-  I  _  A  II 
ovK  di'okf3o<s  ccrrat. 

8v     rjfxepat  yvvaLKO's  clcnv  ^6icrrat.      An. 


II.  The  so-called  pni'oeniiac  (ot/xo9,  a  waj/ :  therefore,  "march- 
verse"),  an  anapaestic  verse  of  which  entire  march-songs  were  com- 
posed, has  been  regarded  a  "  falling  rhythm."  The  ground-form  has 
been  thought  to  be  : 

ww:  —  ww| v-/wIl_iI 

But  this  is  clearly  erroneous,  for  forms  like  the  following  occur : 


KJ  \J 


WWWWWWV^W  


TToSa  TTapdiviov  ocriov  ocria?.     EuK.  I  ph.  Tanr.  130, 

in   which  the  last  two   short  syllables  allow   no   such   rovri.     If  the 
paroemiac  is  pronounced  without  syncopation  : 


KJ  \J 


\J  W 


\J  \J 


it  sounds  mnch  more  warlike  and  vigorous,  and  is  especially  adapted  to 
give  force  and  life  to  the  march-songs  in  which  it  is  used,  as  in  the 
following  frngment  of  Tyrtaeus  : 


$  11.     PROLONGATION  OF  LONG  SYLLABLES. 


39 


AycT,  oj  STTctpTas  €vdvSpov 
KOvpoL  Traripiiiv  TrokiaToiVj 
Aata  fikv  LTvv  Trpoftdkco-Ofy 
Sopv  8'  cvTok/xo)^  TraAAoiTCS 
fxr]  <jiU^€.iTUaL  Td<i  ^was  • 
ov  yap  irdrpLOV  to.  27rapra. 

--lA 
_-l7C 
_-|  A 
__|  A 
__l  A 


\j  \j 


W  V-/ 


—  ^w  I  _    _    I 

How  dragging  and  unwarlike  would  these  verses  be  if  they  were 
regarded  a  falling  rhythm.  The  pauses,  moreover,  at  the  close  of  each 
verse,  during  which  the  soldier  inarches  without  singing,  dve  the 
necessary  rest  to  the  voice.  This  is  still  more  necessary  in  the  parodos 
and  exodos  of  Attic  tragedy,  where  long  sections  close  with  this  verse. 

TcAap.oji/tc  Trat,  rvys  dfxcpLpvTOv 

SaAa/xti/os  €x^u)V  ftdOpov  dy^^idXoVy 

ae  jj,€V  €v  TTpdcra-ovT   CTrtp^atpoj  • 

crk  8'  OTav  TrXyyrj  Atos  ^  ^afx€vr]<s 
5  Aoyos  £K  Aat^ao)!/  KaKoOpov^  iinpri, 

^iyav  OKVov  l^oi  koI  Tretfio/S-qixat 

TTTTjvrj^  d)S  oyu/Att  ir^Xuas,      SoPH.  Jj.  134  sq. 


v^'wl  —    —    I  ww|  

Ww|    WVs^l    v^v^l    

-  I^ww! I  7\ 

I  wv^l  v-^w|  

wwl  —  \^v_/|  ww|  

v-/wi  I    WW I  

_    I  _  w  w  I  _    _     I  A 


Cf.  further  $  31. 

III.  In  dactyls  syncope  is  allowed  in  various  places,  yet  is  not 
frequent  in  the  next  to  the  last  measure.  It  is  most  worthv  of  note 
at  the  end  of  a  "  sentence  "  within  a  verse.  The  elegiac  verse,  for 
example,  which  united  with  the  "heroic  hexameter"  forms  a  kind  of 
short  strophe;  the  "distichon,"  of  which  elegies  are  composed,  consists 
of  two  sentences  of  three  measures  each,  each  of  which  ends  with  syn- 
cope, as  in  the  following  fragment  of  Solon  : 

IIoAAot  fji€v  TrAovTcrcrt  /caKot,  dyaOoi  Sk  TrcVorrat  • 
clAA  rjix€L<s  avTols  ov  hLaiiu\l/6p,(.6a 


t 


I 


:\ 


4 


40 


§  11.    PROLONGATION  OF  LONG  SYLLABLES. 

T^s  ap€T7j<i  rov  ttXovtov,  circt  to  ixkv  Ifnre^ov  aUt, 
^T^/xara  8    dvOpioTrwv  dAAoTC  aAAos  cx^'* 

I i  —  w,  v^ll  v-zwl  wv/| II 

I I  L_J.         II    Wwl    V^w|l_jII 


w,  v_/ 


wv^l  —  v^wl II 

v^  V^*    I   Vy  W    I   l_l    II 


At  the  close  of  a  verse  _  A,  of  course,  can  be  written  in  place  of  i— i. 

IV.  No  other  cases  of  syncope  than  these  occur,  for  those  found  in 
loiiraoedie  verse  are  not  at  all  different  from  those  in  choreic. 

According  to  §  1)  only  the  last  measure  of  every  verse  can  be  incom- 
plete. This  is,  of  course,  true  of  paeonic  and  bacchic  verses  as  well  as 
of  the  rest.  If,  now,  a  paeonic  verse  ends  in  a  measure  with  only  one  syl- 
lable, this  can  be  given  the  value  of  five  eighths  (I    J  or  uj),  though  it 

is  quite  as  correct  to  regard  what  is  lacking  supplied  by  a  pause  : 

—  \j  —  |_w_|l_A  II,  likewise 

w  : w  I w  I  -_  ^v  II  or 

^^  : w  I  L_I  A  II 

7.    Prolongation  of  the  long  syllables  of  the  thesis  (always  to  the  value 

of  four  eighths)  occurs 

1)  in  iouicSy  where  apparent  measures  like  —\j\j  have  the  value 

I — I  w  w« 

"YijxaBov  8*  evpvTTopoLO  OaXd(T(Ta<; 

'TToXLaLvofjLeias  Trvci'/xaTt  Xd/Spoj 

icropdv  TTovTLOV  dX(To<;. 

Aescii.  Pn-s.  I.  at/t.  y  (108-111). 


w 

w 



\j 

^ 

w 

vy 

1    1 

v^ 

v^ 

w 

v_/ 

\y 

v-/ 

A    II 


A 


2)  in  clocJtmii,  a  discussion  of  which  will  be  given  in  §  23,  4. 

8.  Uruler  no  circumstances  is  it  allowable  to  assume  a  pai(se  in  the 
middle  of  a  verse  by  which  to  complete  a  measure.  For  since,  with 
few  exceptions,  tliere  is  no  fixed  place  in  the  middle  of  the  verse  at 
which  a  word  shall  end,  a  pause  must  frequently  thereby  have  occurred 
in  the  middle  of  a  word.  If  this  had  been  allowed  at  all,  it  must  have 
been  allowed  also  after  short  svllables,  so  that  we  sliould  be  able  to 
regard  e.  g.  Xcyo/xat  as  a  paeon  (w  w  A  _).  But  luckily  the  Greeks 
ttevn'  did  this.  Had  thev  done  so,  there  would  be  no  Greek  metric 
and  rliytlnnic,  since  almost  every  verse  ^  f  ;i  lyrical  song  woidd  allow 
til!    most  varied  arranircments. 


§  12.    DORIC   MELODIES. 


§12.    Doric  Melodies. 


41 


1.    Dactylic   melodies    consisting   of  an   unbroken  interchano-e   of 


J  *  «  ^^^^  J  J'  T'li'^b'  ^^'ith  single  measures  of  J,  would  necessarily 
Ihiv.'  been  monotonous,  and  would  have  possessed  little  life  and  varietv. 
It  is  true  that  their  measured,  powerful  movement  could  have  produced 
a  great  effect ;  yet  this  effect  must  have  been  so  much  the  greater 
when  more  lively  series  intervened.  Now,  equal  measures  of  '  ^ 
are  extremely  common  in  all  music.  The  Greeks  too  used  them  fre- 
quently, yet  very  seldom  in  immediate  succession  •  '  N  '  I  \  , 
^  ^  '  ^  i  ,  but  generally  in  such  a  way  that  the  heavier  meas- 
ure  followed  the  livelier :  1  1^  I  I  M  ^  !  I  Ml.  This  suc- 
cession  is  exceedingly  common  in  our  own  melodies,  out  the  converse 
arrangement :  J  J  |  J  J^  L  <^'tc.,  is  rare,  and  the  Greeks  never  used 
it  at  all.     The  livelier  measure  could  not  end  the  series. 

We  will  call  this  form  of  measure  the  Doric.  The  so-called  Doric 
strophes  consist  of  rhythmical  sentences  of  I  r  !  I  J  I  and  pure 
dactvlic  sentences,  e.  g.  '         .     iney  occur  chiefly 

1)  in  a  great  number  of  the  triumphal  odes  of  Pindar; 

2)  in  the  choruses  of  several  of  the  tragedies. 

The  writers  on  metric,  who  distinguished  only  long  and  short  syl- 
lables, naturally  wrote  series  like  ^    '     |    |   I     I      ^    ■     I    I  II    or 

*^  ^  ^      e.     ^  0   9     '     0,     &  #    W  II 

i—  ^  I I  I—  ^  I II    in  this    n as  .    _  vy w ,  and   so 

imagined  that  there  was  some  such  measure  as  _  w ,  which  they 

called  c7rtrptro9  SevTepoi;. 

The  fact  that  in  measures  like  i_  w  I  thesis  and  arsis  are  not  in  the 
right  ratio  (the  ratio  in  the  yeVos  ta-ov  being  2  :  2)  can  be  expressed, 

though  imperfectly,  by  _  >,  i.  e.  _  >  I I  _  >  I II.     This 

means  only  that  the  short  syllable  has  apparently  the  value  of  a  long. 

Eo"Ttv  dv^pojTTOt?  dv€fxii)v  oT€  TrActoTa 
^p>;o-i?,  €(TTLv  8    ovpavLoiv  vSuLToyv 

0/jL/3pL(DV,  TratSojv  vcc^cAa?. 
€t  Se  (Tvv  TToi/o)  rt?  cv  7rpda<roi,  /JieXiydpves  vpivoi 
5  vcTTcptjJV  ap^at  Xoyojv 

TeXAerat  Kal  ttlo-tov  opKtov  /xcyaAats  dp€ra7<;. 

TiND.  OL  X.  str. 


i 


I 


-  ^^afcWt«fflWiWitoiiiiii^ 


fiM 


I  $ 

If! 


1*1 


II 


42 


§  12.     DORIC   MELODIES. 

w| [  ww|  —  ww| II 

w| |_Ww|    KJ    KJ    \    A     II 

w\ l_v^w|_A   II 

w|l_w|    I—  k^    I II \y  \j  \ 

w  I I     l_  w     I  _  A   II 

\j  \ I     I —  y^     ll —  wll  —  wwl  


\J  \^ 


II 


_  w  w  I  _  A   II 

2.  It  has  already  been  seen  in  §  4,  4,  2),  that  the  tendency  in  Greek 
was  to  j^ive  the  long  syllables  a  heavier  intonation  (ictus).  If,  now, 
among  dactyls  (not  anapaests,  where  the  arsis  also  has  a  prominent 

ictus)  we  conceive  measures  of  the  form  wliicn  were  necessary 

to  make  the  melodies  more  various,  these  could  not  have  been  well  ex- 
pressed by  the  syllables  v:^  w  — ,  as  e.  g.  by  Acyo/xat,  since  in  such  a 
case  a  Greek  would  alwavs  have  been  inclined  to  give  the  last  syllable 
a  strong  ictus  and  thereby  confuse  the  measure.  And,  in  fact,  these 
measures  were  hardly  ever  so  expressed  in  their  language.  What  they 
did  do  was  to  nse  three  short  syllables,  e.  g.  Xc'ycrc.  In  this  case  it 
was  very  easy  to  dwell  with  the  voice  on  the  last  syllable  for  a  compara- 
tively long  time,  withont  giving  it  a  heavier  ictus  through  protracted 
articulation.  Thus,  then,  apparent  tribrachs  stand  in  the  place  of  dactyls, 
an  infrequent  case,  however.  This  is  best  indicated  by  \j\j>,  since 
here  the  short  syllable  is  really  employed  otherwise  than  in  its  general 

use.     The  notes,  however,  remaii'  ^  ^     J  ' . 

Ta)(y  Sk  Ka8/x€tW  ctyot  ;(aAK€ots  dOfjooL  arvv  ottXols  e^pafiov 
€v  X^P'-  ^     AfL(^LTpvuiV  Ko\i.ov  yvjxvov  TLVacroTijJV  cfyacryavov 
lk€t\  o^'ctats  dvLaL(TL  TVTTCis.    TO  ydfj  oLKUOv  7rt€^€t  irdvO '  6/xcus  • 
€v6v9  S*  dirrifUMV  Kpahia  Ka8os  dfxf^  dXXorpiov. 

PiND.  Nem.  \.  ep.  y. 
ww>! 1l_w  1 !!_wwf  —  v^wI_wwI_aII 


_  \j 

I v^ 


WW 


WW 


.    w 

w  w| 
w    I 


w 
w 
w 


_A  II 

II 

_  A  II 


w 


All 


notes  are 


#    0 


#    # 


#    # 


0    W    0        0    0    0     0    0    0 


Jr 


J.       .^1  J  J   " 

J.    J'iJr 


!  .     1 
#  *# 


Jjl 


I     MUM     ^|Jr 

#.       0    \  0   0       I  #.       0    \  S    ^ 


i 


§  13.     LOGAOEDICS. 


43 


3.  This  same  nse  of  a  short  syllable  as  a  long  arsis  sometimes 
occurs  among  dactyls  in  the  apparent  measure  _  w,  of  the  value  of 
__  >,  not  1—  w.     This  use  is  clear  when  the  strophe  apparently  has 

_  w,  while  the  antistrophe  in  the  same  place  has ;  this  case  is  to 

be  marked  by  _  >.    So  in  Doric  strophes  there  occurs  not  infrequently 
the  series  l_w|_>  |l_w| II,  etc. 


§  13.    Lo^aoedics. 

1.  In  the  preceding  paragraph,  "Doric  melodies,"  dactylic  series  of 
somewhat  complex  construction,  have  been  treated.  There  is  still  a 
measure  to  be  considered  among  chorees,  which  has  the  value  of  au 
ordinary  choree  as  respects  length,  but  not  the  same  ictus  relations.  It 
was  found  that  in  the  ^/g  measure  the  ictus  rehitions  were  -L  w,  O  w  v:/, 
13ut  there  is  also  a  ^/g  measure  with  the  ictuses  : 


w,  w  w  w, 


or,  which  is  the  same : 

_L  w,  w  w  w. 

This  is  the  lofjnoedlc  measure.  The  name  arises  from  the  apparently 
irregular  interchange  in  this  sort  of  verse  of  different  forms  of  measure 
(or,  according  to  the  old  theory,  of  really  different  measures),  which 
made  the  verse  seem  like  prose  (Aoyo;). 

2.  According  to  §  12,  2,  and  §  4,  4,  2),  the  Greeks  were  inclined  to 
put  a  heavier  intonation  on  the  long  syllables.  If,  therefore,  it  is 
desired  to  express  a  heavier  secondary  ictus,  J-  w  in  distinction  from 
_L  w,  this  is  best  effected  by  having  a  long  syllable  on  which  this  ictus 
shall  fall ;  this  long  syllable  has  then  the  time-value  of  only  a  short : 
but  a  stronj^er  intonation.  This  syllable  also  is  denoted  by  >,  to  show 
that  an  apparent  long  syllable  is  given  the  time  of  a  short  one,  as  e.  g. : 

_w|_>l_w!_All 
The  measure  _  >  is  an  "  irrat'onal  choree  (trochee)." 

It  is  used  interchanirenblv  with  _  w.  The  two  togctlKr,  the  choree 
coming  first,  are  then  similar  in  form  to  the  so-called  eVtVpiTos  6€i'r€po<;, 
_  w  _  >,  or  possibly  _  >  _  >.      The  succession  _  >  _  w  is  not 

allowed.     Whether  now  the  appanMit  _  w  I j  _  w  !  _  A  i  is  to  be 

regarded   as  a    Ooric   series  l_  w  ! !  l_  w  I  _  A   II    or  a  loiraoedic 

_  w  '  _  >  !  _  w  I  _  A  II  is  to  be  judged  from  tlie  sum  total  of  the 
facts,  from  wlii.li  it  i-  alwavs  to  be  determined  whether  a  series  is  in 
^/s   ^^^'  ^.  8   i^^'iisure. 


) 


U 


§  13.     LOGAOEDICS. 


It  may  l)e  asked,  why  all  loi^^aoedic  measures  cannot  be  irrational, 
instead  of,  for  the  most  part,  only  those  in  the  even  places,  viz.  the 
second,  fourth,  and  sixth.  Because  Greek  vocal  music  always  paid 
strict  regard  to  the  text ;  the  poet  was  not  only  composer  but  also 
reciter,  and  in  recitation  a  succession  of  none  but  long  syllables  would 
necessarily  have  seemed  like  spondees  and  been  heavy  and  measured, 
^vhile,  in  consequence  of  the  heavier  ictuses  of  the  arses,  the  rhythm  in 
logaoedic  verse  ought  to  become  not  less  but  more  vivacious  than  in 
choreic.  The  first,  third,  and  fifth  measures  contributed  to  this,  since 
by  means  of  their  short  syllables  tlicy  made  the  movement  lij^hter. 
The  shorts,  however,  kept  the  same  heavier  intonation. 

Analogously  to  the  succession  in  Doric  melodies  l_  v^  | I,  the 

succession  here  is  always  _  w  I  _  >  |,  the  heavier  measure  in  both  cases, 
even  in  merely  recited  poetry,  following  the  livelier,  lighter  measure. 

3.    Besides  this  there  occurs  quite  frequently  in  logaoedic  melodies 
another  form  of  measure,  the  so-called  "  cyclic  dactvl,"  i.  e.  the  note 

succession  ^  -  ^     'xpressed  bv  the  syllables  _  v^  w.    Entire  series  can 

be  composed  ol  tliese  measures,  which  then  look  like  dactylic  series ; 
but  the  sum  of  the  facts  in  a  strophe  always  enables  us  to  determine 
■what  we  have.  The  long  syllable  is  pronounced  and  sung  more  rapidly, 
and  together  with  the  next  short,  —  which  loses  half  its  value  and  be- 
comes a  i/iG  "o^^''  g^'  —  ^^^^  tl>^'  time  only  of  a  quarter-note.  There- 
fore this  combination  of  these  two  syllables  was  called  rpoxaios  SLo-rjfxo^j 
"two-timed  trochee."  It  can  be  written  metrically  -w,  so  that  the 
cyclic  dactyl  is  to  be  expressed  : 

Irrational  as  well  as  rational  chorees  can  be  interchanged  with  these 
cyclic  dactyls  in  any  order,  so  that  they  can  occur,  when  in  connection 
with  these,  also  as  first  and  third  measure  : 

i  _  A  II 


> 
> 


> 


\J 


4.    Since,  now,  contracted  measures  occur  frecpiently  also  among  loga- 
oedics,  and  that  too  in   all   the  places,  logaoedic  measures  have  the 


following  forms 


-^y    - 

_    <      N 

m 

vi/  w  vl/    ~ 

#     0 

_  r"    \ 

• 

•                • 

It 


§  13.     LOGAOEDICS. 


45 


The  secondary  ictus  is  wanting,  of  course,  in  syncopated  measures,  by 
which  the  rhythm  becomes  so  much  the  more  varied. 

As  examples  of  the  great  variety  of  logaoedic  melodies,  cf.  Soph.  Jrit. 
L,  II.,  III.,  IV. 

5.  Since  at  first  glance  what  has  been  stated  concerning  the  logaoedic 
measure  and  its  ditl'erent  forms  seems  to  be  somewhat  arbitrary,  it  is 
proper  that  certain  main  proofs  be  given  as  briefly  as  possible.  The 
best  test  of  the  theory,  however,  will  be  the  practical  application  of  it, 
after  it  is  thoroughly  understood,  to  different  logaoedic  compositions. 
But  cf.  also  §  22,  11. 

I.  If  it  be  insisted  upon  that  every  long  syllable  must  have  had 
exactly  the  value  of  two  shorts,  it  follows  that  it  would  have  been  im- 
possibh',  even  allowing  anacrusis,  either  to  recite  rhythmically  or  to  sing 
any  strophe  whatsoever.  This  can  easily  be  shown  from  the  two  verses 
that  follow  : 

Tis,  ovTLV   a  ^ecTTrtcVcta  AcXc/)!?  cittc  Trerpa 
apprjT  apprjTiJiV  TeXiaavra  (jiOLVioicn  ^apcriv ; 

Sopii.  Oed.  R.  II.  str.  a  (403-465). 

If  these  verses  be  divided  into  so-called  feet,  there  results,  even  if  ana- 
crusis be  allowed,  as  is  proper,  the  following : 


\j 


\J  I  ww|  —     \J     I  —  \J 

I |_wwl_w 


\j  \  —  \j 


In  musical  characters  this  would  be : 


#      *  0     a     O   '   &     Q     &         9     0 


'       \   '   ■  %  "  '        "I 

0  0     e  0     #  #    i 


\  \ 


m   & 


@    # 


#   0 


0   0 


0     0 


There  is  no  nmsician  in  the  world  who  would  regard  it  possible  to 
execute  such  a  combination  of  bars.  It  is  equally  impossible  to  recite 
such  verses  if  the  value  of  the  notes  be  obseiTcd.  And  yet  it  would 
have  been  easy  to  cite  verses  much  more  diflficult  than  these.  If,  on 
the  other  hand,  the  following  values  be  given  the  syllables,  not  only 
will  the  musieian  regard  both  verses  as  rhythmical  and  impressive,  but 
it  will  also  be  possible  to  recite  them  in  such  a  way  as  to  produce 
a  beaut  if  id  eft'ect : 


_>  l_>l-^wl_w,  li— v/l_v^ 


L_  I  _  A  I! 

L_  1  _  A  II 


_U' 


46 


§  13.     LOGAOEDICS. 


I  € 


\i 


m 


t| 


N: 


# 


^ 


W 


s 


A 


9  # 

\  I      I 


\  I'    '    \         \ 

#  &    S         0    0 

\  "    !    N  '    I    \ 


This  is  a  negative  proof  of  the  correctness  of  the  theorv.  It  should, 
moreover,  he  renuirked  that  tlie  people  of  all  lands  recite  loi^aoedics  in 
this  way.  Even  scholars  do  so,  however  false  the  values  niav  be  which 
they  f,nve  the  notes  upon  paper.  They  never  recite  as  they  have  theo- 
rized,  but  in  actual  practice  recite  correctly,  though  they  do  so  uncon- 
sciously. It  is  altogether  another  question  whether,  according  to  the 
theories  that  have  prevailed,  the  strophes  have  been  properly  divided 
into  verses,  etc.,  or  not.  As  to  this  there  have  been  as  many  views  as 
writers,  and  the  utmost  confusion  has  prevailed. 

IE.   A  positive  proof  of  the  correctness  of  the  forms  of  the  measures 

that  have  been  given  is  the  fact  that  in  the  antistrophe  an  apparent 

(i.  e.  —  >)  can  and  often  does  stand  as  the  equivalent  of  _  w  in  the 

strophe,  and  vice  versa.     This  proves  conclusively  that and  _  w 

have  the  same  time-value,  _  >  =  _  v^. 

Compare  e.  g.  Soph.  J,it.  V.  sfr.  and  ant.  a,  v.  3  (810  and  828) : 
sir.  a.       kovttot'  avOcs  '   dXXii  /jj  6  TrayKotra?  "AtSa?  fwo-ai/  dyet 
ant.  a  .      TrcTpata  pXacrra  hdaacrcv,  Kai  viv  o/xjSpoL  ra/co/xeVai/ 
i.  e.  —  ^  I  —  w  I  -w  w  I  L_  II  _  >  I  _  >  I  -^  ^  I  _  A  II 

—  w  I  _  >  I  -  -v..  w|l_||_w  I_>I^^w|_AII 

And  likewise  in  luunberless  other  cases.  Chorees,  also,  designed  for 
recitation,  as  e.  g.  th(i  common  trimeter,  are  an  additional  proof  of 
this.  If  we  say  here  that  "  spondees  occur  in  place  of  iambi,"  the 
words  are  meaningless;  unless  one  is  ready  to  affirm  seriously  that 
4  is  equal  to  3. 

Hi  The  cyclic  dactyl  is  likewise  used  as  the  equivalent  of  _  w  and 
—  >.  This  indeed  does  not  occur  often  in  lyric  strophes,  because 
-^  v^  is  comparatively  so  vivacious  a  measure  that  if  any  other  be  used 
for  it  the  nielody  seems  to  be  essentially  modified,  'it  does  occur, 
^^;'^'^'^^'  ^'^  ^'^^'  "'meter,  especially  in  that  of  the  comedians,  the 
dialogue  of  wlio..  .hamas  was  distin-uMir,]  (vnu  that  of  the  tragedians 
by  great,  r  livrlin.ss.  This  is  seen  in  the  first  verses  of  the  Clourk  of 
Ari.stoplianes.     (W  ith  reference  to  the  character  .o  lu  v.  2,  see  ^n  15.) 

-i  /er  lj(urt\(i\  to  xprjfjid  rwv  wkto)v  oaou 

a77€f)(ivTin- '    ovdeTToO'  y/fxifxi  yeryVf rat ; 

Kttt  firji'  TTaXui  y    aXcKTpvoios  {jKoVij    iyuj  • 


\ 


1. 


<»  :    _  w 

>  i   _  ^ 


$  13.     LOGAOEDICS, 

_>|_w|    _>|_wI_AII 

-^w|_w|     _w|_vy|_AII 
_    vy|_w|v^w>|_vy|_AII 


47 


It  is  beyond  question  that  the  ditferent  forms  of  measure  that  occur 
here,  _  w,  _  >,  ^  w  >,  and  —\y  w  (the  tribrach,  www,  does  not  hap- 
pen to  occur  here)  have  the  same  time-value,  since  the  kind  of  verse 
remains  the  same,  however  much  the  forms  of  the  measures  change. 

IV.    That  there  is  a  strong  secondarv  ictus  on  the  arsis  of  the  loga- 

oedic  measure  is  proved,  first  by  the  correspondence  of  w  and > 

in  strophe  and  antistrophe ;  and  then  by  the  fact  that  the  cyclic  dactyl, 
— w  w,  is  admitted  as  a  form  of  the  measure.     For  if  we  dwell  for  a 

considerable  length  of  time  on  a  note  like    i^  and  then  pass  rapidly 

over  the  second  short  one,    ^,  the  third  note  of  twice  the  value  of  this, 

r,  is  naturally  made  prominent,  that  is,  is  given  a  strong  secondary 

ictus.    This  bar,  \         is  verv  common  in  the  music  of  all  nations, 

and  must  have  been  used  bv  the  Greeks.  Even  in  recitation,  verses  in 
Avhich  — w  w  interchanges  with  —  w  and  with  —  >  are  to-day  so  pro- 
nounced. 

So  there  arises  the  logaoedic  measure,  a  measure  of  very  lively 
character,  which  distinguishes  it  from  the  less  vivacious  chorees  and 
still  less  vivacious  dactyls.  If  the  subject-matter  of  poetry  in  logaoedic 
measure  be  considered,  it  "vvill  be  seen  that  it  has  the  same  spirited 
character  that  distinguishes  the  measure,  which  is  an  additional  proof 
of  the  correctness  of  the  theory. 

Y.  Tiiis  theory,  when  applied  to  the  productions  of  the  Greek  poets, 
shows  a  regularity  in  their  rhythmical  construction  and  a  beauty  of 
composition  which  must  remove  the  last  trace  of  doubt.  From  verse  to 
verse  we  see  how  exactly  thought  and  form  correspond,  and  are  filled 
with  wonder  at  those  mighty  masters  who  were  at  once  poets  and 
musicians.  What,  moreover,  the  true  division  of  the  strophes  into 
verses  is,  will  be  so  obvious  if  the  various  criteria  and  rules  are  carc- 
fullv  observed,  that  in  no  case  can  tliere  be  doubt.  To  make  such  an 
application  as  the  one  suggested  above,  in  detail,  is  beyond  the  province 
of  a  mere  Introduction.  The  reader  is  referred  for  this  to  the  larger 
volumes  of  Dr.  Schmidt  mentioned  in  the  Preface. 


I 


gg?S!«5ssaisaMaM 


if 


48      §  14.     FURTHER   USE   OF  THE    "TWO-TIMED   TROCHEE," 


^    I 


Further  Use  of  the  ''Two-timed  Trochee." 


Cf.  the  preceding-  paragraph,  3. 

1.  Ill  uiiinistakably  paeonic  strophes,  measures  like  _  v^  _  w,  with 
the  value  of  _  v^  -v>,  i.  e.  J  ^  "^  ,  are  seldom  met.  We  may 
conclude  that  they  do  occur  uuijy  winii  tliere  are  the  most  certain  in- 
dications that  the  verse  is  not  choreic ;   for,  <,^enerallv,  verses  like 


have  the  notation 
not 


v^ 


w 


KJ 


^ 


w 


-  W  w  w  

v>  !  _  w  I  _  w  I  _  A  !l, 

—  w  — vy  I  \y I 


Undoubtedly  such  a  paeonic  measure  occurs  in  Ar.  Ffj.  lY.  ant.  (GS4 
-  G87j : 

Ecpc  0    o  TTavovpyo^  €T€pov  TToXv  TravovpyLais 

jxeL^ooTL  K€Ka(Tfjiivoy,  Koi  SoXoiai  TrotKt'Aot? 

prj/jLaa-Lv  0^  ai/xi'Aots. 


V^  O'  w 

www 

w     


www 

w    

w     


WWW] 

w  — w  I 


w 
w 


2.    Quite  as  seldom  do  ionic  measures  of  the  form  -\-'  _  w  w,  i  c. 

■I  I  mmm.- 


#.#     #     #  # 


occur. 


*V*      '  *  '    »    »      / 

l/X€VaLOV  09  TOT    €7r€p/)€7r€ 

ya/x f3poL(TLV  act'^eii/. 

Aescii.  J^.  in.  anL  a  (707,  708). 
^^:— w_ww|_w_AII 

w  w  I  _    _  A     II,  i.  e. 

##•#.####       a     0     0    '   [ 
I      ,       «.  ,, 

0      0      9   9         #      #    Ml 

(Concerning  the  final  measure  of  the  tirst  verse,  cf.  j  23,  2.) 

3.    The  combination  ^Fj  is  as  !r.  (luent  in  the  music  of  all  nations 

u:=  111  ihu  puetry  and  iiium,  ,,f  ,1,^  Hivrks.  "  Superfluous  "  syUables  are 
treated  in  a  -.iinilar  uay  in  nur  nritation  of  En-lish  poetry.  For 
example  : 

Then,  methonirlit.  I  Im.u.]  a  li.iiliu  sound, 

Gatheriiii:-  nn  tV  un  ;i!!  th,   !■  werjL'round  ; 

Nan-owiiisx  in  to  \\!i. k    tdcy  sat  assi-mhlcd, 

Low,  voluptuous  music,  windiii^;;,  tr.  luLir.i. 

Tennyson,. 


§  15.     SIXTEENTH   NOTES. 


49 


_  w 
-w  w 
-\u  w 


_  wI_wi_wI_All 

_    w|_w|_w|_AII 


w 


w       — W  \J 


\J 


\J 


w 


\J 


w 


'W 


Syllables  without  ictus  may  be  treated  not  only  as  shorts,  but  also  as 
half-shorts  "  (^^  for    N. 


§  15.    Sixteentli  Notes. 

1.  One  use  of  the  sixteenth-note  has  already  been  explained,  namely 
in  the  trochaeus  disemns  in  the  formation,  first  of  a  cyclic  dactyl  {\  13, 
3),  then  of  an  "irrational"  paeon  (§  14,  1),  and  then  of  an  "irration- 
al" ionic  (§  14,  2). 

Besides  this,  two  united  sixteenths  occur  now  and  then  in  choreic 

measures,  i.  e.    «-  for    ^  formini?  with  precediu":  lonff  syllables  whole 

series  of  '^,  Avhieh  outwardly  appear  like  real  dactyls  or  cyclic 

dactyls,  but  probably  do  not  belon^j^  even  to  the  latter.  We  will  write 
two  half- shorts  a>,  so  that  —  w  =  -—  . 

'  0       0    9 

A  line  example  occurs  in  Aescii.  Ay.  IV.  ant.  a  (987-993): 

T\.e.v6op.aL  8*  ctTT*  ofJLixoLTiov  vooTor,  avTop-apTv;  wv 

Tov  8    av€v  Xvpa<s  oyao)?  vfxvio^et 

Oprjvov  'Eptvt'o?  avToSL^aKTOs  ecrioOev 

OvjjLos,  ov  TO  TTav  c^wv  €A7rt8os  cfyiXov  Opd(TO<;. 

_w|_w|_w|     L_      ll_w|_w|_w|_AII 
_wi_w|_w|_w|      l_      |_AII 
_a)|_a)|_a)|_<a|     L_     |_AII 
_w|_w|_w|     L_      ll_w|_wl_w|_AII 

2.  The  combination  www,  i.  e.  Jj      ■-•.  was  too  quick  a  measure 

for  the  Greeks  ;  to  understand  the  words  (for  we  are  now  always  speak- 
ing of  vocal  liUL-sii'  oiilyj  would  scarcely  have  been  possibk-,  if  ihey  had 
been  pronounced  so  quickly.  Therefore  tlit-  cyclic  "proceleusmatic,"  as 
this  form  has  been  named,  does  not  occur.  An  exception  hardly  worthy 
of  notice  will  be  considered  in  s^  17,  4. 

3.  It  is  not  inconsistent  to  regard  the  coinbiuatiou  of  syllables  _  ww 
in  the  imiliic  trimeter  on  the  one  hand  as  — w  w.  in  Ivrie  strophes  in 
choreic  nica-urc  on  the  other  as  __  co.  For  in  the  last  the  character 
of  the  measure  is  verv  earefnllv  ])reserve(l.      The  combination  _  w  w, 

I.  «  1  7 


when  it  is  to  be  regarded   -^  w  in  a  choreic  strophe  or  part  of  a 


50 


§  16.     RECITATIVE   CHOREES. 


strophe,  hardly  ever  occurs  in  considerable  number,  and  generally  only 
where  there  is  a  transition  into  logaoedic  verse.  Verses  like  -^  w  | 
-^w|-^w|-vywIi_|_AII  would  fairly  destroy  the  unity  of  the 
measure,  while  a  verse  like  —  wI_a>I_a)I_a)li_|_AII  is  beau- 
tifully adapted  to  it;  for  a  combination  like  I  P3  cannot,  in  the 
nature  of  things,  have  a  strong  secondary  iclu^  un  uie  last  short  syl- 
lable which  is  pronounced  so  rapidly  as  scarcely  to  be  heard.  On 
examination  it  will  be  seen  that  hi  all  verses  of  this  sort  the  contents 
correspond  exactly  to  the  rhythm  _  <o.     In  the  above  verse,  e.  g., 

the  heavy  complaint  of  the  chorus  that  breaks  forth  impetuously  is 
adequately  expressed  first  by  the  strong  ictus  placed  each  time  on  _, 
and  then  by  the  quick  movement  of  w.  (The  final  measures  l_  |  _  A  II 
are  in  strong  contrast  to  those  that  precede.) 

In  the  iambic  trimeter,  on  the  other  hand,  the  apparent  dactyl  that 
sometimes  occurs  is  not  to  be  regarded  __  <o,  bnt  -^  w,  since  the  tri- 
meter is  in  its  character  more  or  less  logaoedic.  It  \\  ill  be  noted, 
finthcr,  that  in  the  solemn  trimeter  of  tragedy  the  apparent  dactyl  occurs 
almost  only  in  proper  names  and  then  from  necessity.  This  rule  was 
strictly  observed  until  the  time  of  Euripides,  but  he  is  somewhat  freer. 
The  propriety,  on  the  other  hand,  of  the  admission  of  the  lively  cyclic 
dactyl  into  comedy  is  obvious. 


§  10.     Recitative  Chorees. 

1.    The  eoiiihiiiation    of  .-^vllaMcs  —  \^  \ |,   linwpvcr  it   ninv  be 

re-anlrd  musically,  wlictlir-r  a<  l_  w  ' |  or  as  _  w  i  _  >  |,  never- 

tli.!r<.  aiuays  puN  last  that  mfasur.'  which,  with  ivfrivnee  to  its  svl- 
lahh's,  is  iicavicr  and  l.'ss  ra])id  than  the  otlicr.  It  is  \vv\  !r.(jii,  nt  in 
recitative  chorees,  both  ianihi  and  trochees,  but,  on  thr  oth.r  ham!, 
occurs  very  schh)ni  among  clion-cs  that  were  sunu".  In  thr  iambic  tri- 
meter, then,  the  second  and  t'onrth  measures,  in  the  trochaic  tetrameter 
also  the  sixth,  may  be  ■'irrational,"  i.  e.  an  apparent  spondee. 

(0  KotKU'  avT(ihiX(^ov    liTfXYjvrjf;  Knpa 


>  :  _ 


v_-' 


w 


\j 


>  i  .- 


V-.  !  __  A  li 


up    otati    o  TL  /j€vq  Twy  utt    OtdtTTor  KaKu)]/ 

>;-w|_>|__v_.I_v^|__^!A!! 


§   16.     ■RECITATIVE   CHOREES. 


51 


w  TTarpas  Qrjprjs  cvoiKot,  Xercro-cr ,  OtStVou?  o8e, 
o§  Toi  KXeiv  alvLyixaT  tJSt/  Kat  KpaTidTO^  7]V  avr)p, 
CIS  o(TOV  KkvScDva  8civ^s  o-u/x<^opttS  eX.rjXv6€v. 

Soph.  Oed.  R.  1524  5^. 

_v^|_>|_wl_>ll_wl_v>l_wl_All 
_^|_wl_vy|_>ll_wl— v^l— ^1  —  All 

2.  It  is  further  to  be  remarked  concerning  the  tragic  trimeter,  that 
it  adnuts,  though  seldom,  the  cyclic  dactyl  in  each  of  the  five  complete 
measures,  though  generally  only  in  case  of  proper  names.  Its  occur- 
rence also  in  the  first  and  fifth  measure  is  rare,  since  thereby  the  char- 
acter of  the  verse  would  have  been  too  considerably  changed. 
TIkvov  TV(j>Xov  yipovTO<;  ^AvTiyovq,  rtms 
)(0)pov<i  d<^ty/>L€^',  7]  TLVwv  av^piov  ttoXlv; 

Soph.  Oed.  Col.  1,  2. 


w  : 
>  : 


_wI_v^|-wwI_w|_AI! 
_w|_wl   _>l_wl  —  All 


The  dissyllabic  anacrusis  is  also  allowed,  as  e.  g.  Aesch.  Pers.  327 

KlXlkmv  cTrapxo"?^  ^^^  "^^'VP  '^^^i^^TOv  ttovov 
i\Opoi<;  7rapacr;(a)V,  €VKXeoj<;  aTTtoA-CTO. 

a)i_wl_w.l_w|_>l— v^l— All. 


Put  cyclic  proceleusmatics  are  not  to  be  admitted,  and  sucli  a  tri- 
meter as 


v^ 


v^  v^wwvyvy V/ O' 


slioiild  not  be  divitlcd 

but 


v^ 


V.-'     i 


W      V^  v^  0)    1  —  \J 


w  i  v_^  w  w  1  —  \y 


-  w   !  _, 
w  !  _  A  II. 


The  cyclic  dactyl  and  the  tribrach  occur  much  more  frequently  in  the 
trimeter  of  comedy,  ^yhich  thereby  becomes  much  more  lively  (cf.  s}  15, 
3).     The  irrational  choree,  moreover,  may  be  resolved  and  appear  as 


w  \y 


(. 


^,  the  last  eidith  beimr  expressed  by  a  long  syllable) 


'I 


oi;  tou  • 


w  Zev  f^aa-tXev,  to  X^^Vf^^  '^<"-"'  vvktmi'  oaov 

airepavTOV.    ov^IttoO'  i)p.ipa  yevqa^Tai; 

Kdl  p.7]v  TTuXaL  y   aXiKTpvovo<;  r^Kova   eyw.     Ar.  rsub.  1-4. 


> 
> 


V7 


w  I    _  >  !  _w  !  _  A 

w  !     _    w  I  _w  !  _  A 
w!v^^>l ^!  —  A 


o: 


§  17.    METRICAL  CORRESPOXDEXrF, 


i  t 


Metrical  Correspondenee. 


1.  The  Giveks  ircncrally  divided  their  sounds,  as  do  modern  nations, 
into  portions  called  strophes  (cf.  §  33,  1),  exactly  correspondin^r  to 
each  other  rh\  tlnnieally  and  metrically  and  havinjr  the  same  melody. 
These  nsnally  correspond  so  exactly  that  at  the  same  places  in  the 
strophes  f/ie  .same  forms  of  the  measure  occur;  e.  pr.  the  one  strophe, 
with  very  few  exceptions,  cannot  have  a  cyclic  dactyl  where  the  other 
has  a  choree,  etc. 

2.  There  are,  however,  two  exceptions  to  this  rnle: 

I.  Two  shorts  may  in  most  cases  correspond  to  the  simple  long. 
Accordingly,  a  verse  like 

_w|_wI_wI_AII 

may  in  any  one  of  the  strophes  also  read 

where  \j  \j  \j  — \j. 

Such  a  correspondence  is  indicated  hy  writing  the  one  over  the  other, 
fis  here :  _w|va^wI_w|_AII,  which  shows  that  the  long  had 
two  tones  which  in  the  following  strophe  fell  to  the  two  shorts  that 
took  its  place. 

In  like  manner  the  following  cases  may  occnr:  _  \j  \^,  ^a^  v  y 
—  s^  w,  seldom  \^^  w  w,  etc. 

ir.  An  irrational  syllable  in  the  arsis  may  correspond  to  a  rational. 
Fonr  cases  of  this  occnr  : 

A.    The  lo!ig  may  correspond  to  the  short  in  the  arsis  of  the  ^/^ 

measnres  (chorees  and  logaoedics),  being   nsed   to   moderate   the  too 

lively  movement  of  a  choreic  series,  or  to  show  more  distinctly  the 

heavier,  secondary  ictns  of  the  logaoedic : 

_wl   _  ^|_w|_AII, 

-All. 


> 


w 


v^ 


B.  In  eqnal  measnres  (commonly  in  Doric  melodies,  less  often  in 
the  case  of  true  dactyls),  the  short,  which  is  allowed  on  account  of  the 
weak  ictus  of  the  arsis,  may  answer  to  the  real  long  : 

_  >  !l_w|_  A   II. 


\J 


C.    Short  and  irrational  syllables  may  correspond  in  every  anacrusis  ; 
also  in  the  arses  of  the  dochmii  (concerning  which  see  §  23,  4) : 

_AIL 


> 


\y 


w 


^  l_v^|_w  |_AII. 


§  17.     METRICAL   CORRESPONDENCE. 


53 


T)     In  the  cvclic  dactvl  in  a  few  cases  a  short  stands  in  place  of 


the  initial  long 


\j  \j  "u 


for 


Kj. 


It  is  then  more  convenient  to  write 


dw 


^^Kj,  since  the  unusual  value  of  the  syllables  is  especially  noticeable 
hi  the'  first.  The  notes  reinain  the  same,  even  the  apparent  tribrach 
then  having  the  value  of  ^  -     ^^ .  ^ 

If  it  be  observed  that  tlic  uuuc  of  ^f^  stands  between  J  and  ^  it 
is  clear  that  the  short  syllable  could  just  as  well  be  used  in  us  piace  [J^ 
for  ^}  as  the  long  (J  for  >).  But  quite  naturally  this  was  avoided  as 
iiiueh*  as  possible,  because 'on  the  one  hand  it  did  not  so  easily  allow 
the  heavy  ictus  and  on  the  other  hand  stood  too  near  the  following 
short,  wiiich  was  to  have  only  a  third  of  its  value  (^^  =  Vs  J;)- 

3.  But  under  no  circumstances  may  the  prolonged  long  syllable  (l_ 
or  U)  be  replaced  by  two  shorts.     If,  therefore,  e.  g.  a  choreic  series 

__  ^ ^  _  w  _  vy  _  is  to  be  divided  __w1l_I_v^I— ^1— ^1 

_  A  !l,  it  would  not  be  at  all  possible  for  two  short  syllables  in  the 
antistrophe  to  correspond  to  the  second  long.  For  the  metrical  cor- 
respondence X_^  is  an  impossibility. 

The  nrolon^'-ed  long  syllables  of  three  and  four  times  cannot,  more- 
over,  be  replaced  by  any  other  combinations  of  syllables,  e.  g.  l_  , 
^^^  althouMi  L_,  —  vy,  and  v^  v^  ^  have  the  same  time-value. 
Throu'ii-h  "prolongation"  a  syllable  or  tone  receives  an  uncommon 
weight,  which  would  be  lost  in  the  resolution  (_  w  or  w  w  v^  =  l_),  and 
tlie"result  of  this  would  be  that  the  melodies  would  not  exactly  cor- 
respond. 

4.  Pindar  has  two   instances   of  somewhat   freer   con-espondence. 
I.    He  has   several  times  used  in  logaoedic   strophes  an  apparent 

iambus  for  a  tribrach,  i.e.  ^—  corresponding  to  o  w  w,  i.  e.  woo. 
There  thus  arises  the  measure    [^    I   U  ^^^^t  does  not  occur  elsewhere. 

Cf.  01.  I.  sir.  i8',  V.  9  : 

£9  epavov  (f>iXav  re  'XlttvXov 

\y  \j  \j  \ v^1l_1wv>w|  —  A  II 


fxa)(atpa  Tafxov  Kara  fxeXyj 


\y  — 


v^ 


w  v^  w  I  _  A  II, 
www  I  -i_  A  II. 


and  a?it.  /?',  v.  9  : 
that  is 

\y  CTO  I  _:_  w  1  1-1- 

II.    In  two  places  he  has  w  w  o)  (a  cyclic  proceleusmatic)  answering 
to  the  apparent  dactyl  —  o.    One  of  the  cases  is  Pi/(h.  XL  sir.  a ,  v.  5 : 

fxarpl  Trap  McAtav  xp'^(re(DV  h  aSvTov  Tpnro^oiv 

_w|_a>l_>lL_llwww|-^v^l_All 


ff 


54 


$   17.     METRICAL   CORRESPONDENCE. 


and  ant.  a',  v.  5  : 

o<jipa  OefMLV  Upav  YlvOOivd  t€  kol  opBohiKav. 

.  _v^|w^a)|_>|l_llw^w|  — w  w  I  _  A  II 

that  IS 

_w|^:^a)|_>lL_llwwwI-w^I_AII 

The  poet  first  Imd  in  iniiul,  as  he  composed,  a  verse  with  v:/  w  w  or 
with  _  o) ;  but  he  did  not  hesitate  to  use  other  combinations  of  svl- 
labk's  when  these  occurred  to  him  in  one  of  the  antistrophes,  i.e. 
w  _  and  v^  w  o).  The  case  is  different  from  wliat  it  would  have  been 
if  these  measures  had  been  used  independently  throughout  in  all  the 
strophes,  where  they  prolmbly  would   have  had   the   notes  JS  J  and 

#  \^  *~  ''^''^^  here  vv_  must  have  had  tlie  notes  ^  H,  and  in 
^  ^  <o  l>oth  the  first  tones  could  have  had  the  same  pitch,  e.  g. 
I__ !»  #     »  ^    .^  ^\■\Mi  makes  the  two  eighth-notes  about  the  same  as 


the  single  quarter-note. 

5.  To  conclude  this  general  subject,  it  may  be  remarked  that  other 
combinations  of  notes  in  measures  than  those  that  have  been  given  can- 
not be  inferred  from  the  texts  that  have  come  down  to  us  ;  and  that 
they  would  conflict  with  the  principles  of  the  writers  on  rhythmic  and 
metric,  who  even  reduce  the  number  of  forms  still  more,  thou"-h  wron^Hv. 
The  Greek  composer  was  at  the  same  time  poet,  and  did  no  violence  to 
his  speech  even  in  music.  Modern  composers,  on  the  contrary,  dispose 
of  the  texts  of  songs  in  the  most  arbitrary  manner,  so  that  verv  fre- 
quently  there  arise  entirely  different  uiusical  measures  from  what  the 
text  authorizes.     For  example,  Burns's  ballad  begins, 

0  vveit  thou  ill  the  caiild  blast, 

On  yonder  lea,  on  yonder  lea ; 
My  plaidie  to  the  angry  airt, 

I  'd  shelter  thee,  1  'd  shelter  thee ;  etc., 

i.  e.  w  :  __  w  I  _  w  I  ~L^  I  _ 

K>  :  —  w|  —  \y  \ w| 

Mendelssohn's  music  bcirins  : 

'        \      \      \      \  "«"        I  \    '       \        V      '        \ 

that  is 


V 

V 


# 


V^  \^  V-/  Vw/   i    —\^ 


v^ 


w 


I 


Third  Book. 


RHYTHMIC. 


§  18.    The  Rhytliinical  Sentence  {kC)Xov), 

1.  Measures  have  a  rhythmical  as  well  as  a  metrical  value.  The 
doctrine  of  their  ictuses  belongs  properly  to  rhythmic,  which  teaches 
us  how  these  small  divisions  of  the  verse,  having  exactly  the  same  value 
in  time,  correspond  to  one  another  in  ictus.  But  to  fix  the  constitu- 
tion  of  these  measures,  to  determine  what  given  notes  shall  stand  in 
them,  is  the  province  of  metric,  which  teaches  us  the  use  of  the  syllables 
of  speech  for  this  purpose.  From  this  point  on,  only  the  rhythmical 
values  of  the  measures  will  be  regarded. 

2.  Measures  are  such  small  divisions  of  time  that  their  continued 
repetition,  without  separation  into  well-divided  groups,  could  not  have 
sufficed  either  for  dance  or  march.  The  dance  especially  would  have 
been  nothing  else  than  a  series  of  always  equal  movements,  in  which 
no  art  could  have  been  displayed.  It  came  about,  therefore,  that  as  in 
spoken  language  the  words  were  united  into  grammatical  sentences,  so 
in  the  rhythmical  language  of  song  the  measures  were  united  into 
rhythmical  sentences.  And  further  on  we  shall  see  the  union  of  these 
sentences  into  periods.  The  following  correspondences,  therefore,  can 
be  traced  out : 


1.  Note. 

2.  Measure. 

3.  Rhvthmical  sentence. 

ft. 

4.  Ehythmical  period. 


1.  Svllable. 

ft 

2.  Word. 

3.  Grammatical  sentence. 

4.  Grammatical  period. 


56 


§  18.     THE   RHYTHMICAL   SENTENCE. 


3.   A  grammatical  sentence  sounds  to  the  ear  as  such 

1)  from  the  principal  ictus  Avhich  is  <riven  to  one  of  the  words,  the 
ictuses  of  the  other  words  being  only  secondary. 

In  the  sentence 

Caesar,  beware  of  Brutus, 
we  have  the  ictuses  : 


-»  — > 


The  word  "Brutus  "  has  the  principal  ictus  of  the  sentence,  so  that  the 
syllable  -icare,  though  it  has  the  chief  word-ictus  in  *'  beware,"  never- 
theless appears  in  the  sentence  as  a  syllable  with  secondary  ictus 
onlv. 

If  two  or  more  grammatical  sentences  are  united  into  a  period,  each 
of  them  has  its  own  chief  ictus,  e.  jr. 


that  is 


Caesar,  beware  of  Brutus  ;  Decius  Brutus  loves  thee  not, 


It  is  customary  to  distinguish  the  ictus-syllables  of  single  sentences 
by  higher  or  lower  tones.  Beyond  this  the  relations  of  the  ictuses  in 
grammatical  periods  are  much  confused  in  consequence  of  the  ellipses, 
incorporations,  etc.,  that  may  occur. 

2)  The  sentence  cannot  overstep  a  fixed  length.  This  is  so  in  the 
nature  of  the  case,  since  in  a  simple  sentence  there  can  be  but  one  sub- 
ject, etc.  For  the  sentence  "  Gold  and  riches  do  not  make  one  happy  " 
is  really  an  elliptical  contraction  of  two  sentences  :  "  Gold  does  not 
make  one  happy  "  and  "  Riches  do  not  make  one  happy."  But  on  still 
other  grounds  a  fixed  length  cannot  be  overstepped.  In  too  long  sen- 
tences the  syllable  with  the  chief  ictus  would  no  longer  appear  as  such 
with  sufficient  distinctness  :  the  voice  would  have  to  admit  in  other 
places  one  or  more  syllables  with  equal  emphasis.  Suppose  that  we 
construct  the  sentence  :  ''Jn  occurrence  in  all  respects  exceedingly  dis- 
tressing has  cast  the  entire  population  of  this  world-renowned  city  into 
the  most  extraordinary  excitement  and  unwonted  alarinJ"  —  Where  here 
is  the  single  chief  ictus  ?  Would  not  every  one  divide  this  sentence 
into  three  groups  and  give  each  of  these  three  groups  its  own  chief 
ictus  ? 

An  occurrence  in  all  respects  exceedingly  distressing  | 
has  cast  the  entire  population  of  this  world-renowned  city  [ 
into  the  most  extraordinary  excitement  and  umconted  alarm. 


§  19.     CLOSE   OF   SENTENCES. 


57 


Such  a  sentence,  then,  is  a  rhythmical  anomaly,  which  a  good  writer 
will  allow  himself  seldom  and  only  for  a  fixed  purpose,  —  for  prose, 
too,  is  controlled  by  the  principles  of  rhythm. 

3)  Every  grammatical  sentence  is  distinctly  separated  from  the 
remaining  sentences  by  a  pause.  There  are  difterent  degrees  of  sepa- 
ration,  which  are  distinguished  by  the  comma,  colon,  period,  etc. 
Generally  the  period  shows  that  a  sentence  is  not  further  closely  con- 
nected  with  what  follows,  but  this  is  not  necessarily  the  case. 

4.  A  rhythmical  sentence  is  a  series  of  almost  always  equal  measures, 
which  appear  as  a  unit  through  the  chief  ictus  that  falls  on  one  of  them. 

A  fixed  length  cannot  be  overstepped. 

Rhythmical  sentences  were  originally  separated  from  one  another  hy 
pauses.  The  pauses  within  the  periods  had  afterwards  their  regular 
places;  after  many  sentences  also  they  might  be  wanting. 

This  closely  resembles  the  construction  of  the  period  in  prose.  For 
even  the  want  of  rhythmical  pauses  has  there  its  exact  analogy  in  the 
case  of  periods  complexly  constructed.  Because  of  the  displacement  of 
their  p:\rts  many  sentences  in  such  periods  cannot  be  accurately  sepa- 
rated by  pauses. 


§  19.     Close  of  Sentences. 

1.  All  melodies  consist  of  such  rhythmical  sentences  as  these  with 
fixed  succession  of  tones. 

The  rhythmical  sentence  corresponds  in  general  to  the  line  in  an 
English  stanza.  The  line  is  either  completely  isolated  by  a  pause  at 
its  close,  or  it  is  closely  united  to  the  following  line,  the  pause  being 
scarcely  noticeable.     The  music  e.  g.  of  the  lines 

"VVe  have  lived  and  loved  together 
Through  many  a  changing  year 
is  as  follows : 


§ 


-0'  # 


V  hy 


We  have  hved  and  loved  together     Through  many      a  changing  year. 

In  this  case  the  first  line  is  separated  from  the  second  by  a  pause, 
thouQ:h  it  is  true  that  the  first  note  of  the  second  line  falls  in  the  last 
measure  of  the  first. 


58 


§  19.     CLOSE    OF   SENTENCES. 


The  relation  is  different  in  the  follow  i 


iiiir : 


"VVhcu  other  lips  and  other  hearts 
Their  tales  of  love  shall  tell. 


giefM^^ 


r: 


#..0. 


IJ^SHil 


^Vheii  other   lii)s  and     oth  -  er  hearts  Their  tales  of  love  shall  tell. 

Here  the  anacrusis  of  the  second  line  constitutes  the  arsis  of  the  final 
measure  of  the  first.  This  is  very  common ;  but  it  also  often  happens 
that  the  first  line  ends  with  full  measure,  and  the  second  begins  im- 
mediately likewise  Avith  full  measure. 

2.  All  these  relations  are  common  in  Greek  poetry.  But  in  addition 
it  is  allowed  to  begin  a  new  rhythmical  sentence  in  the  middh;  of  a 
word  without  any  pause  whatever.  The  following,  then,  are  the  four 
cases  fullv  stated  : 

I.  There  is  a  pause  of  unfixed  length  after  the  sentence  ;  then  it  con- 
stitutes a  verse^  whose  close  is  always  to  he  recognized  by  the  following 
facts  : 

1)  The  sentence  ends  with  the  end  of  a  word,  the  final  vowel  of  which 
is  seldom  elided. 

2)  Hiatus  is  allowed  with  the  beginning  of  the  next  sentence. 

3)  The  last  syllable  is  of  variable  value  {o-vX\a/3yj  aSLd(f>oposy  st/llaba 

ance/js),  i.  e.  the  long  syllable  may  have  the  value  of  a  short  one,  the 

short  of  a  long. 

A^yjyoLVw,  (f>povTLSo<;  (TT€prjO€L<; 

OTTtt  r/aaTTOj/xat,  ttltvovto*;  olkov. 

Aescii.  Jr/.  VII.  str.  y  (1530-1532). 

_wl    L_    |_w|_wIl_|_A11 

_wl    L_    |_w!_w|l_I_AII 


w 


w 


At  the  close  of  the  second  verse  ^v  has  the  value  of  a  long  syllable, 
though  the  next  word  (o7ra)  begins  with  a  vowel. 

11.    The  sentence  must  indeed  end  witli  a  complete  word,  but 

1)  the  final  syllable  cannot  be  anceps,  so  that  e.  g.  a  short  syllable 
could  not  be  used  as  a  long  one. 

2)  Hiatus  is,  with  very  few  exceptions,  forbidden. 


I 


§  19.     CLOSE   OF   SENTENCES. 


59 


Such  a  sentence,  consequently,  cannot  end  the  verse.     This  sort  of 
close  is  called  diaeresis  (Statpco-ts). 
The  following  is  an  example ; 

Svo-avefjiov  (ttovw  /3p€>ov(nv  dvTtTrX^cs  aKxat. 

Soph.  Ant  III.  str.  a  (591,  592). 


\j  :  —  ^ 


\j 


w 


v^'. 


\y 


w  1 


!  L_  1  _  A  II. 


III.   The  sentence  ends  with  the  thesis,  to  which  the  following  sen- 

tence  furnishes  the  arsis.* 

This  sort  of  close  is  called  caesura  {rofLrj). 

This  caesura  is  well  known  e.  g.  in  the  hexameter,  which  consists  of 
two  sentences  of  three  measures  each.  The  last  measure  of  the  first 
sentence  is  not  metrically  complete  without  the  arsis,  which  is  regarded 
as  a  sort  of  anacrusis  to  the  second  sentence ;  a  new  word  begms  after 
the  third  thesis,  yet  not  necessarily  immediately,  since  it  may  begin 
after  the  first  short  syllable  of  the  arsis.  Therefore,  if  the  caesura  is 
indicated  by  a  comma,  either 


and 
or  also 


_v:x/i_CA:>l— ,  v>v^ll_^^l  —  ^>^l " 

_  <JO  1  —  CTZ/  1 11 


vyv-/ 


\y\^ 


KJ,    W 


The  first  sort  of  this  caesura  is  called  "  masculine  caesura,"  as  e.  g. 

_v^wl_wwl_,  _1!— wwl_^w! 11 

The  second  is  called  "  feminine  caesura,"  as  e.  g. 

"AvSpa  /Aot  cvi/cTTC,  Moro-tt,  TroXvVpoTTov,  OS  /xoXa  TToXAa. 


\j  \j  \  wwl  ^,  ^ 


\J  KJ    \    \J  ^    \ 


In  this  way  two  sentences  are  very  beautifully  united  with  each 
other,  the  second  linking  into  the  first.  In  the  music,  also,  sentences 
are  united  in  the  same  way,  as  is  to  be  seen  in  songs  like  the  one  cited 
above  :  "  We  have  lived  and  loved  together,  through  many  a  changing 
year."  This  would  have  been  regarded  by  the  Greeks  as  one  verse, 
divided  by  a  caesura  into  two  members  (musical  and  rhythmical  sen- 
tences),  like  the  heroic  hexameter.  Though  in  the  melody  a  new  series 
of  tones  begins  with  the  word  "  through,"  still  metrically  it  belongs  to 
the  first  sentence,  whose  final  measure  is  not  complete  without  it. 

The  caesura  is  of  more  weight  in  melic  than  in  merely  rhythmical 
verse,  but  is  still  of  especial  importance  in  recitation,  on  account  of 


GO 


§  19.     CLOSE   OF   SENTENCES. 


which    it   will    be   discussed    more   at   length   under  the    "recitative 
types." 

IV.    The  new  sentence  may  begin  anywhere  within  a  word. 

Here,  therefore,  regard  is  no  longer  paid  to  grammatical  speech :  the 
music  is  predominant  and,  within  the  bounds  of  the  limitations  given 
in  l^ook  II.,  arranges  its  notes  at  will  without  reference  to  the  spoken 
word.  This  practice  could  have  arisen  only  in  a  language  whose  words 
were  spoken  very  rapidly  even  when  separated  by  marks  of  punctu- 
ation. 

This  sort  of  close  of  the  sentence  needs  no  especial  name,  since  the 
melody  is  not  affected  by  the  absence  of  the  word-pause.  It  is  obvious 
e.  g.  in  the  second  English  illustration  in  this  paragraph,  *'  When  other 
lips,"  etc.,  that  tlie  melody  would  not  be  affected,  if  in  place  of  the 
words  that  fall  to  the  last  two  notes  of  the  second  full  bar  and  the  first 
note  of  the  third,  a  single  word  should  occur,  if  that  were  possible.  In 
Greek  poetry  that  was  sung  the  caesura  certainly  did  not  signify  a 
pause.     In  a  verse,  therefore,  like 


—  \j 


v^  I  _,  w  II  _  w  I  _  w  I  L_  I  _  A  II, 


if  a  new  part  of  the  melody  begins  just  after  the  comma,  we  shall  use 
the  expression  "caesura,"  no  matter  whether  a  word  end  at  this  point 
or  not.  In  the  same  way  we  regard  it  a  case  of  "  diaeresis,"  in  the 
trochaic  tetrameter  e.  g., 

—  w|_w|_wl_w,  Ii_^|_w|_w|_AII, 

even  if  the  first  sentence  ends  in  the  middle  of  a  word. 

If,  on  the  other  hand,  the  first  sentence  end  with  a  syncopated 
measure  (§  11,  3),  so  that  two  theses  come  together  without  inter- 
vening arsis,  as  in  the  following  example  from  Aeschylus,  we  have  what 
maybe  called  "break."  Such  verses  are  "  asvnartete."  The  Greek 
expression  is  o-rixoi  aa-wdpr-qTOL. 

Who  d€  Krj^o<i  dp\Bo)Wfjiov  rcXea-a-Lcfypoiv 

MrjVLS  ^Xa(T€V  TpUTTc'lJaS  aTLjJLUXTiV  V(TT€p(0  )Q)UVO} 
KUL   $VV€<JTLOV   At09, 

Trpaoaofx.eva  to  vv/jl(I>6tl\\i.ov  /xeAos  iK<f>dTV)^  rLOVTa<:. 

Aesch.  Jg.  III.  ant.  a  (700-70G). 


wl 
wl 

wl 


wl 
I 

wl 


_  w  I  _  A  II 


w  I  _  w  I  _  w  I  _  A  II 

Kj\       L_       l_wI_w|_vyI_A 
\J   \  wl   wl   V^li 


I 


§  20.     INTONATION   OF   SENTENCES. 


61 


In  asvnartete  verses  also,  as  well  as  in  those  with  caesura  or  diaeresis, 
the  first  sentence  may  end  either  with  a  word,  as  in  the  verse, 
Ou8*  oo-rts  TTttDOt^ci/  ^v  /x€yas,  tra/x/xaxo)  Opd(T€L  ^puW, 

Aesch.  ^^.  I.  a^/^./?' (168,  169); 
or  in  tlie  middle  of  a  word,  as  in  the  corresponding  verse, 

Z€V9,  OO-TtS  TTOT    €OTlV,  d  To8'  a^Toi  </,tXoV  KCKXT^/iO^O), 

Aesch.  Ag.  I.  sir.  /^  (160,  161). 
These  examples,  being  the  corresponding  verses  of  strophe  and  anti- 
strophe,  also  show  that  the  character  of  the  melody  is  in  no  respect 
chan<^ed,  whether  the  first  sentence  ends  with  a  word  or  in  the  midc  le 
of  it°  Marking  the  place  where  the  first  sentence  ends  with  a  word  by 
a  colon,  the  following  notation  shows  the  two  verses  exactly  equal: 

and     .1,1 


_  w  I  _  w  I  — ^ 


_wl_v.l-v.l-  A 


§  20.     Intonation  of  Sentences. 

1  The  science  of  Greek  rhythm  was  early  reduced  to  systems  philo- 
sophically  developed.  Here,  as  in  almost  all  the  sciences,  instead  of 
simplv  a  statement  of  the  facts  and  a  development  of  eategories  from 
the  facts,  the  categories  were  developed  a  priori,  and  the  facts  had  to 
be  interpreted  in  accordance  with  these  logically  refined  schemes. 

The  sentences,  like  the  measures,  were  divided  into  equal,  unequal, 

and  quinquepartite.  ^    ^         ,.  -,    .    i         wi 

The  equal  sentences  were  the  dipody,  consisting  of  1  +  1,  and  the 
tetrapody,  of  2  +  2  measures;  the  unequal,  the  tripody,  of  2  +  1,  and 
the  hexapodv,  of  4  +  2  ;  the  quinquepartite,  the  pentapody,  of  3  -f  2 
According  to  this  division  ^cW  and  apcrts  were  again  distinguished. 
Each  had"its  fixed  number  of  measures,  as  follows  : 


Dipody  :       ^eo-ts  had 
Tetrapody : 
Tripody  : 
Hexapody : 
Pentapody : 


C( 


(< 


(( 


(C 


(( 


ti 


(( 


(( 


1  measure, 

2  measures, 
2  measures, 
4  measures. 


apcris 
tt 


had 


(( 


(( 


<( 


<( 


C( 


(C 


<( 


1  measure. 

2  measures. 

1  measure. 

2  measures. 
2  measures. 


3  measures, 
Now,  according  to  this  division,  there  ought  to  be  an  exact  regulation 
of  the  ictuses  of  the  sentence,  so  that  in  the  case  of  equal  division, 
e.  g.,  there  should  be  only  two  strong  ictuses,  the  stronger  on  the  thesis, 
the  weaker  on  the  arsis. 


62 


$  20.  INTONATION  OF  SENTENCES. 


vy  \y 


_:_  v^  II 

-:-  ^  ^  \  —  w  v^  II 


Oeais 


dpais. 


In  the  case  of  unequal   division  tliree  sentence-ictuses  were  dis- 
tinguished, two  stronger  ones  for  the  thesis,  and  a  weaker  one  for  the 


arsis,  e.  g. 


\y  w 


w  w 


W    KJ 


e^ais 


&p<T(.S. 


The  relation  was  still  more  varied  in  quinquepartite  sentences. 
Beyond  this  it  was  not  fixed  whether  a  sentence  should  begin  with 
the  thesis  (i.  e.  the  stronger  ictus)  or  the  arsis  (i.  e.  the  weaker). 
The  arrangement,  therefore,  of  the  sentence,  with  reference  to  its  tones 


miglit  be : 


_:_  w  w 


\J  \J  \  .S-\J  \j 


dpais  6i<ns. 

And  this  last  sort,  indeed,  was  regarded  the  more  common. 

2.  But  in  actual  practice  the  poems  were  recited  with  those  ictuses 
which  the  feeling  in  the  different  passages  prompted.  The  poet  marked 
them  neither  for  the  text  nor  the  musical  notes,  in  which  hardly  more 
than  the  ictuses  of  the  measures  were  given,  and  these  not  always. 
And  doubtless  different  reciters  intoned  the  sentences  ditfcrently,  each 
being  from  his  OAvn  point  of  view  correct.  No  one,  however,  paid 
attention  to  philosophic  theories,  of  which,  therefore,  there  is  here  need 
of  but  brief  mention.  If  the  ictuses  of  the  measures  are  observed,  and 
the  syllables  are  given  their  true  metrical  value,  the  correct  intonation 
of  the  sentence  will  follow  as  a  necessary  consequence. 

It  should  be  remarked,  however,  that  it  is  not  best,  especially  in 
poems  of  simple  construction,  to  put  the  heaviest  ictus  on  the  first 
measure.     E.  g.  the  following, 

TroLKiX60pov\  aOdvar  'A^poStVa 
should  be  -i.w|_Lw|-k/w|_i.w|_Lv^II 

or  something  like  it.  But  in  choric  strophes  it  is  well  always  to  give 
the  strongest  ictus  to  the  first  measure,  especially  if  the  sentence  does 
not  begin  a  verse.     E.  g. 

Ki'ptos  ci/xt  OpocLV  68iov  Kparos  OLorLov  uvBpMV  cVrcXcojv. 

Aesch.  Jf/.  I.  str.  a  (104,  105). 
~^^I  —  v^wf_wwl_vywl!_:_wv^| |_vyw|_All 

Other  suggestions  in  regard  to  the  position  of  the  sentence-ictus 
might  perhaps  be  made,  but  no  fixed  rules  can  be  given. 


§  21.    LENGTH  OF  SENTENCES. 


63 


§  21.    Length  of  Sentences. 

1     The  verse,  whose  definition  will  be  more  fully  given  further  on, 
must  first  of  all  be  carefully  distinguished  from  the  rhythmical  sentence 
Z  English  as  well  as  in  Greek  poetry  there  are  lines  (verses)  composed  . 
of  two  sentences,  as  e.  g.  in  the  strophes  of  Longfellow's  poem,     The 

Belfry  of  Bruges  " : 

In  the  market-place  of  Bruges  stands  the  belfry  old  and  brown ; 
Thrice  consumed  and  thrice  rebuilded,  still  it  watches  o'er  the  town. 

__wl_wl_wl_w,ll_wl_wl       wl       All 

Each  of  these  lines  consists  of  two  sentences  of  four  measures  each. 
But  sometimes  the  sentences  are  written  separately  as  independent  lines 
even  if  they  have  no  metrical  pauses  between  them,  as  e.  g.  those  cited 

in  ^  19    1  ■ 

^        '      '  « AVhen  other  lips  and  other  hearts 

Their  tales  of  love  shall  tell," 
which  are  separated  by  no  musical  pause,  as  has  there  been  shown. 

Before  proceeding  to  the  illustrations  that  follow,  it  should  be  re- 
marked that  in  modern  musical  composition  the  number  of  measures  ot 
the  recited  poem  is  often  arbitrarily  diminished  or  increased,  though 
.ever  bevond  the  hexapody.  It  cannot  be  admitted  that  this  arbitrary 
practice  'existed  among  the  Greeks ;  if  it  had,  we  should  not  be  able  to 
show  the  beautiful  conformity  of  their  poetic  creations  to  the  laws  ot 
musical  composition. 

A.     The  dlpody. 

Over  hill,  over  dale, 
Through  bush,  thi-ough  brier. 
Over  park,  over  pale, 
Through  flood,  through  fire, 

Midsianmer  Kiffhfs  Dream,  II.  1. 

00   1  C'O   1  — 

It  would  be  possible  to  write  ^  =  _  cx>  1  _  7CI1,  tl,ough  it  is  very 
questionable  whether  the  notation 

v^vy:_v/wl_,-l 1_,wv^l-w^l-.  etc., 

where  there  is  no  nolieeable  pause  between  the  sentences,  is  not  pref- 
erable. In  Greek,  with  few  exceptions,  no  arbitrary  pause  was  allowed 
until  the  verse  had  come  to  an  end. 


Oi 


B. 


§  21.     LENGTH   OF   SENTENCES. 

The  tripody,  often  followiunr  a  tetrapody,  but  also  alone. 

The  rivers  rush  into  the  sea. 

By  castle  and  town  they  go ; 
The  winds  behind  them  merrily 

Their  noisy  trumpets  blow.  —  Longfellow. 

\j\    —   vy|_w|_vy|__ 
w  :  — w  \j  \ \j  \ 

Hail  to  thee,  blithe  spirit ! 

Bird  thou  never  wert, 

That  from  heaven  or  near  it 

Pourest  thy  full  heart 

In  profuse  strains  of  unpremeditated  art. 

_  w  I    _  w  I  _  w  II 

_  w  I  _  v^  I  _  A  II 

-V.  w  I  _  w  II 

_  w  I  _  A  II 

-  w|__w|_wI_AII 


Shelley. 


\j 


\j 


C.    Tlie  tetrapodi/,  the  most  common  sentence. 

Now  the  hunirry  lion  roare, 

And  the  wolf  behowls  the  moon  ; 
Whilst  the  heavy  plouirhman  snores. 

All  with  weary  task  fordone. 

Midsummer  Nif/hVs  Dream,  V.  2. 


T).    The  peritapodf/,   most  known  as   "  blank  verse,"  in  wliicli  the 
English  dramas  commonly  arc  written. 

Now,  fair  Ilippolyta,  our  nuptial  hour 
Draws  on  apace :  four  happy  days  brintr  in 
Another  moon  ;  but  O,  methinks,  how  slow 
This  old  moon  wanes !  she  lingers  my  desires, 
Like  to  a  step-dame,  or  a  dowager, 
Long  withering  out  a  young  man's  revenue. 

Midsummer  Ni(/ht^s  Dream,  I.  1. 
w  :  v^  I 


v-/ 


KJ 


\j 


E.    The  hexapody,  commonly  called  the  "Alexandrine  Verse,*'  most 
used  by  the  French  in  their  tragedies. 

Oui,  je  viens  dans  son  temple  adorer  r:fiteniel 

Je  viens,  selon  I'usage  antique  et  solennel, 

Cele'brer  avec  vous  la  famcuse  jonrne'e, 

Ou,  sur  le  mont  Sina,  la  loi  nous  fut  donne'e.  —  Racine. 


I 


§  21.     LENGTH   OF   SENTENCES. 


65 


In  Enolish  poetry  this  verse  is  seldom  used,  because  heavy  and 
di..icr.an.r"  It  closes  the  Spenserian  stanza,  the  other  eight  verses  of 
^vhidi  a^re  pentapodies,  and  is  found  occasionally  among  the  penta- 
podies  of  the  blank  verse  of  Shakespeare.  Pope's  lines,  the  second  of 
which  is  itself  an  Alexandrine,  will  be  recalled  to  miml : 
A  needless  Alexandrine  ends  the  song, 
AVhich  like  a  wounded  snake  drags  its  slow  length  aloug. 

The  first  stanza  of  the  "  Eaerie  Queene  "  ends  : 

Eull  iolly  knight  he  seemed,  and  faire  did  sitt. 

As  one  for  knightly  giusts  and  fierce  encounters  fitt. 


\j  \  —  ^ 


KJ 


\J 


\J 


_  V.^    1    _   W    1    —  V^ 


_w  I  - 


2     Greek  poetry  has  the  same  sentences.     But  a  pentapody  or  a 
hexapodv,  if  consisting  of  long  measures  like  the  ^8  (-  -  ^  ^ J^l 
_  V.  w  I  or  _  w  _  v^),  would  be  too  long  a  sentence,  —  one  m  which 
it  would  be  ditticult  to  let  only  a  single  chief  ictus  be  heard.     The 
ancient  writers   on  rhythmic  saw  this  and  formulated  rules  for  the 
allowed  length  of  the  sentences  as  determined  by  the  length  of  the 
measure      Their  division  of  the  sentences  (§  20),  moreover,  aided  m 
determining  their  length ;  where  there  were  the  least  ictuses,  that  is  in 
the  case  of  equal  division,  the  sentences  were  allowed  to  be  of  limited 
extent  onlv ;  the  greatest  length  was  allowed  in  quinquepartite  division, 
when  the  different  grades  of  intonation  gave  the  sentence  the  appear- 
ance of  a  well-divided  unit.  ^   i  •  .    ^ 
The  rules  of  the  ancient  writers  on  this  subject  can  be  accepted  intact, 
since  they  harmonize  with  the  facts,  are  inherently  probable,  and  have 
their  analogies  in  the  poetry  of  other  nations. 

If  the  eighth-note  or  common  short  syllable  be  named  a      mora 
(xpovos),  the  rules  are  as  follows: 

1)  Sentences  equally  divided  (i.  e.  equal  sentences,  see  §  20,  1)  can  be 
extended  only  to  \^  morae  ; 

2)  Unequal  sentences  ^o  18; 

3)  Quinquepartite  sentences  to  2o. 

According  to  this : 

I.  Chorees  and  logaoedics  can  be  extended  to  series  of  six  measures 
(6  X  ^/8  =  IS  morae). 

IL  Dactyls  and  anapaests  to  pentapodies  (5  X  Vs  =  20  morae); 
so  also  Doric  groups  and  spondees. 


66 


§  21.     LENGTH   OF   SENTENCES. 


III.  Paeonics  and  baccliii  to  tripodies  (3  X  ^/g  =  15  morae);  the 
tetrapody  is  not  allowed  (4  X  ^/g  =  !^0  niorae,  which  exceeds  the  ex- 
tent granted  to  equally  divided  sentences);  but  the  pentapody  again  is 
allowed  (5  X  ^/g  =  25  morae). 

IV.  Ionics,  choriambi,  and  dichorees  to  tripodies  (3  X  ^/g  =  13 
morae). 

3.  The  anacrusis  is  not  reckoned  in  these  estimates.     Syncopated 

measures  are,  of  course,  reckoned  as  full  measures,  as  e.  g. w  I  l_  | 

^  v^  I  _  A  II,  i.  e.  four  measures  of  three  morae  each  =  12  morae. 

4.  The  number  of  rhythmical  and  musical  sentences  is,  therefore, 
very  limited,  and  yet,  in  consequence  of  the  many  metrical  forms  which 
the  measures  that  compose  them  may  assume,  they  are  of  the  greatest 
variety. 

^lany  of  these  forms  are  very  frequent  and  characteristic  ;  these  have 
received  particular  names.  Some  of  these  names  are  ambiguous,  and 
are,  therefore,  not  to  be  used.  Those  that  are  not  ambiguous  will  be 
given  in  the  next  paragraph. 

It  should  be  remembered  that  long  and  short  syllables  cannot  be 
assumed  at  pleasure.     If  e.  g.  the  choreic  scries 


\y  — 


\y 


v^ 


v^ 


is  given,  we  are  not  under  any  circumstances  to  think  of 

wi  _>  I 


w 


Ky 


\y 


since  the  irrational  measure  cannot  stand  in  the  odd  place  (§  13,  2 ; 
§  16,  1).     There  is  nothing  to  do,  therefore,  but  to  write 


or  better 


\j 


v>'  :  L_     L_ 


w 


w 


w 


KJ 


|_v^Il_|_  A  II. 


The  laws  determining  the  length  of  the  sentence  that  have  been  given 
above  are  proved  to  be  valid :  1)  by  the  fact  that  the  entire  literature 
presents  no  facts  that  contradict  them  ;  2)  by  their  inherent  probability, 
the  sentences  which  they  authorize  being  exactly  adapted  to  the  proper 
expression  of  the  necessary  musical  thought ;  3)  by  the  important  re- 
sults in  Eurhythmy  (see  Book  V.)  which  arise  from  them.  It  is  not  to 
be  feared,  therefore,  that  the  determination  of  the  length  of  the  sen- 
tences of  which  a  description  follows  in  §  22,  rests  upon  arbitrary 
grounds. 


§  22.     SENTENCES   OCCURRING  MOST   FREQUENTLY.         67 

§  22.    Seiiteiices  Occurring  Most  Frequently. 

1.   Dactjjlic  sentences. 
Pure  dactylic  strophes  consist  ofteuest  of  tripodies  and  tetrapodies ; 
the  pentapody  occurs  less  often ;  still  less  often  the  d.pody  (only  as 

"  interlude,"  see  §  32,  4).  . 

The  pentapody  as  an  independent  verse,  with  contraction  of  the  arsis 
allowed  only  in  the  first  measure,  is  called  2a,r<#,««.  Tc<rcrap.(rKa.8«a- 
oa^Ua/Sov.  —  Tlieocr.  Id.  29  is  composed  of  such  sentences. 

3.   Boric  sentences. 
The  chief  sentences  of  yyhich  Doric  melodies  are  composed  are  the 

following  : 

I.    The  dactylic  tripody : 

C,^  8'  £Vc5poi;o-€  /3oao-at?.      PiND.  OL  VIII.  ep.  ^. 
Or  catalectic  ^  w  ^  I  _  v.  ^  1  _  A  II,  to  be  written  within  the  verse 

thus,  _  v^  v^  1  _  v^  ^  I  L-J  II. 

Ktova  SatjULOVtW.     lb.  fit/*,  p  • 
It  may  here  be  remarked  in  general  that  catalexis  is  essentially  the 
same  yvhether  it  occurs  at  the  close  of  a  verse  or  within  it  (the  last 
being  technically  a  case  of  syncope,  §  U,  3);  so  that  it  will  be  sufficient 
to  note  the  first  only  in  the  different  kinds  of  sentences  to  be  euu- 

mcrated. 

II.  The  epitritic  (Doric)  dipody  and  tetrapody^: 

L_  w  I II  or  L_  w  1  —  A  II,    ^ 

L_wl__lL_v^l--ll  or  L_wI__|L_wl-.A  II,  botli  sentcn- 
ces  also  with  anacrusis. 

III.  The/r5^  encomiologicum  : 

and  the  second  encomiologicum  : 

Both  sentences  also  catalectic. 

"Yicrriv  avOpiirrroL<;  avifjioyv  ore  TrXctora 
•YpYJo-LS,  ccTTtv  8'  ovpavLO)V  vScxTcav. 

PiND.  01.  X.  str.  a. 


68 


§  22.  SENTENCES  OCCURRING  MOST  FREQUENTLY. 


IV.  The  iamheJegns  (ta/x^cAcyos)  : 

ii—v^l I  v^vo'I \j  \j  \  A  II 

Kkeivav  ^vpaKocrcrav  Odko<;  ^Oprvyia.      PiXD.  Ne7n.  I.  sir.  a. 

V.  The  not  infrequent  use  of  the  dadi/Uc  dipody  is  also  to  be 
noticed ;    in  addition  to  these  many  other  sentences  occur. 

3.    Anapaestic  sentences. 

Since  these  constitute  a  peculiar  "  type,"  they  will  be  separately 
treated  in  §  31. 

4.    Spondaic  sentences. 

Pure  spondees  seem  to  have  occurred  most  in  tetrapodies  and  tri- 
podics.     Por  an  example,  see  §  10,  III. 

Spondees  with  anacrusis,  a  variety  of  anapaests  that  frequently  occurs 
in  iviv^xc  monodies  (especially  in  Euripides),  cannot  be  treated  in  a  mere 
Introduction,  whose  limits  indeed  forbid  the  discussion  of  the  con- 
struction of  monodies  at  all. 

5.    Choreic  sentences. 

Choreic  strophes  were  especially  perfected  by  Aeschylus.  They  con- 
sist almost  entirely  of  tetrapodies  and  hexapodies.  The  most  note- 
worthy forms  are : 

A.  Tetrapodies.  Why  these  are  called  tetrapodies  and  not  dimeters 
is  explained  in  §  10,  YII. 

—  w|  —  w!_w|_wll,  acatalectic  trochaic  dimeter. 

KoA;^t'8os  T€  yas  Ivoikol.     Aescii.  Prorn.  II.  str.  (^  (415). 

—  wl— ^1— v^l  —  A  II  (much  more  common),  catah'ctic  trochaic 
dimeter. 

fjidvTLv  ovTLva  \piyiiiv.      Id.  Ag.  I.  ant.  y  (185). 

w:_w|_v^|_v^!_AII,  iambic  dimeter. 
cTTci  KttT^A^cs  €s  ttoXlv.     1(1.  Sept.  IX.  ep.  (992). 

w:_v^I_w|l_|_AII  and  _  w  |  _  w  I  l_  |  _  A  II,  fallins:  di- 
meters.  The  first  of  these  two  forms,  the  one  with  anacrusis,  was  much 
used,  under  the  name  of  i7/xta/xy3os,  in  short  poems  by  the  Anacreontic 
writers. 

Then  various  other  forms  occur  with  resolution  and  syncope,  as  e.  g. 


Kj  : 


\j 


\j 


_  A 


/jtcVet  8    aKoicrat  Tt  /xou 


/xcpt/xva  WKT7Jp€cf)€<;. 

Id.  Ag,  II.  ant.  y  (459,  4G0). 


§  22.     SENTENCES   OCCURRING   MOST  FREQUENTLY. 


69 


wiL_lL_l_wl_All 

iSiaOoy  8'  €is  vf^piv.     Id.  Suppl.  I.  ant.  €  (112). 

^  i  L-  1  _  vy  1  L_  I  -   A   II 

7rpoK€t(7at  KaraKxas.      Id.  Sept.  IX.  pr.  (965). 

>   :  L_  1  L-  1  L_  I  L_  II 

irpocTTepvoL  aroXfioi     Id.  Cho.  I.  str.  a  (29). 

wwwj-^l-^l-All 
<^AaKOS  cVcvco-raroi;.      Id.  Ag.  VII.  str.  a  (1452). 

To8€  /xcXos,  TrapaKOTTci.     Id.  Eum.  III.  str.  a  (341,  342). 

E.    Hexapodies.     (See  §  10,  YII.)     The  common  forms,  whicli  any 
one  will  easily  name  for  himself,  are,  in  Aeschylus : 

'wi_v..l_w|_wl-v.l_wl_All 
TT^^ev  8c  /.ot  ycVotr  ^v  aWepo,  ep6vos ;     Suppl.  YII.  str.  P  (792). 

Tov  8'  5v€v  Xvpas  o/.o)s  vp.v^hu.     Ag.  IV.  ant.  a  (990). 

v.:_w1l_1_v^1-v.1l_1_A1I 
o[m^  8'  6  7rpea-/5r9  T6h'  cTttc  </>a)v^v.      lb.  I.  ant.  8'  (205). 

W  i  L-  1  L_  1  _  v^  1  -  W  I  I-  1  _  A  II 

Atos  TrXayav  €>i;(nv  c^Tretv.      lb.  II.  «^r.  a   (367). 

wi_w!l_l_v^lL-|_wI_All 

XiTToro-a  8*  do-roTo-tv  do-TTto-ropag.      lb.  s/r.  ^  (403). 

[(i)  tw,  8w/xa  8w/xa  KoX  7rpo/xot.      lb.  (410). 

6.   Ionic  sentences 

and 

7.    Choriambic   sentences. 

Pipodies  are  more  frequent  than  tripodies. 

8.  DicJioreic  sentences  are  included  under  choreic;  cf.  §  10,  \  iL 

9.  Taeonic  sentences  are  rare  in  Aeschylus,  and  are  for  the  most  part 
dipodies.  In  Aristophanes,  besides  the  dipody  and  the  somewhat  less 
common  tripody,  the  pentapody  also  occurs.  Por  examples,  see  ^n  10, 
YIII. 

10.  The  baccUi,  which  are  rare,  occur  almost  only  as  dipodies. 


70 


§  22.  SENTENCES  OCCURRING  MOST  FREQUENTLY. 


11.    The  forms  of  logaoedic  sentences  show  the  greatest  variety.     It 
must  here  suffice  to  give  a  selection  merely. 

A.  Dipodles.    Such  a  one  is  -^  v^  I  _  v^  II,  the  versus  Adonius,  which 
closes  the  Sapphic  strophe. 

B.    Tripod ies. 

-v>  w  I  _  w  I  _  w  II,  catalectic  ^  w  |  _  w  |  __  A  II,  frst  Fherecra- 

tean,   ^€p€KpdT€LOV. 

(Svpa-oTovov  KVKXw/xa.     EuR.  Bacch.  I.  ant.  ^  (123). 
alXiyov  olXlvov.     Soph.  JJ.  IV.  str.  ^  (G27). 

_  d  I  -^  w  I  _  v^  II,  catalectic  —  -^  I  -^.>  v^  I  _  A  II,  second  Pherecra- 
tean^  Api(TTo<^a.vuov. 

7rat8os  hv(Tcf>opov  arav.      SoPH.  JJ.  lY.  ant.  ^  (643). 
ixOtoTojv  dv€/jL(Dv.     Id.  Jnt.  I.  str.  /?'  (137). 

Besides  these  tliere  occur  forms  with  two  cyclic  dactyls,  with  anacru- 
sis, and  with  syncope,  as  e.  g. 

-v^  w  I  -^  ^  I  _  A  II 
Trov  (T(f>ayLojv  ecftopoi ;      EuR.  Ji/ies.  1.  str.  (30). 

w :  -^  w  I  -^  w  I  _  A  II 

Tts  eto-'  cVt  UavOoiSai';      lb.  (28). 
V.  i  i_  i  -^  vy  I  _  A  II 
TToVcu  Tpvxop-€vo<s.      SoPll.  r//'.  IV.  s/r.  a  (005). 

Finally,  many  sentences  occur  without  cyclic  dactyls,  but  then  fre- 
quently with  tribrachs  ;  this  form  e.  g.  is  found  in  JJ.  III.  str.  y  (403) : 

w:w^^|_>|_AII 

C.    Tetrapodies.    These  are  the  commonest.    The  ground  forms  are : 

-^w|_w|_w|_v^!l  and  -v^w|_wI_w|_AII,  first  GJy. 
conic.  -      V     ,     X     , 

vvv  yap  cfiOL  /xcAct  x«pcv(rat.      SoPH.  JJ.  V.  str.  (701). 
(TifxaXov  €l6ov  iv  X^^P^-      AXACR. 

_d|-v^w|_vyl_wll    and    _d|-A^w|_w|_AII,    second 
Git/conic  (the  catalectic  form  called  also  "AvaKpeovTctov  oKToxrvWa/iov). 
a-ffiaiprj  Sr/'re /a€  7rop(f>vp€r].      AxACR./y.  14. 
The  acatalectic  form  seldom  occurs. 
Falling  tetrapodies  are  frequent,  as 

_  e  I  -V.  w  I  L_  I  _  A  II 

Xa  ykavK^liVL?  \\Odva.     SoPll.  Oed.  C.  III.  str.  [^  (706). 
This  must  not  be  regarded  a  Pherecratean  (—  d  I  -^^  v  I  _  w). 


I 


^'A 


§  22.  SENTENCES  OCCURRING  MOST  FREQUENTLY.    71 

Further,  several  cyclic  dactyls  frequently  occur  in  succession;   in- 
deed, even  all  four  measures  may  consist  of  them. 


\j 


\j 


iwakyclv  fiera  rovSe  tuttcis.     Soph.  JJ.  II.  ant.  (255). 
On  the  other  hand,  what  appear  to  be  choreic  sentences  are  found  in 
logaoedic  strophes,  as  e.  g. 


w 


KJ 


\^ 


w 


\y 


A  II 


ojxoLOV  wcTTe  TTOVTiav  olSjJia  Sva-TrvooLf;  oTav  .  .  . 

Soph.  Jnt.  111.  str.  a  (586,  587). 

Euripides  is  beyond  all  others  rich  in  forms,  which  he  used  for  the 
purpose  of  bringing  variety  into  successions  of  series  which  would  other- 
wise have  been  too  uniform.     As  an  example  take  the  following : 

HOV?  £V   OVpCCTLV^   €VT    OV 

Ik  Oidaoiv  Spo/JLatuyv 

upbv  ivSvTov,  ay p€v(i)v 

alfxa  TpayoKTovov,  wfiocfiayov  X^P^^t 

l€fxevo<;  CIS  opca  ^puyta,  Ai;Sta. 

Bacc/i.  1.  ep.  (135-140). 


— <y  \j  I  — \^  vy 

— v^   w  I  —  vy 

^^  W  W    I  — KJ  W    I       W 

—\J    W    I  — 'U  V_/    I  — \^    W 


A  II 
_  A  II 
_  A  I! 
_  A  II 
-^  wll 


w  w  w     w  v_/  w 


wl_  A]] 


\y  :  \j  ^  y^  \       I — 

"We  should  observe  also  the  tetrapody 

'^  :  —\j  \j  \  — w  I  —  w  I  —  w  II,  fiirpov  IlpaltXAetov, 

wliich   was   much   used   (in  unvarying   form)   in  the  construction   of 

strophes  (in  Aeolic  poetry). 

TrXr^pr;?  fxlv  i<fiaLV€T   a  aeXdwaj 

at  8'  o)?  TTcpt  fScoixov  icTTdOrjcrav.      SaPPHO. 

And   the   two   tetrapodies   which   occur   in  the   "  Alcaic   strophe " 
(I  29,4,11.): 

•^i  —  w|  —  w|_v^I  —  v^ll,  Jlcaicus  enneasyUahus, 
and  —\j  Kj  1  —\^  \j  \  —  \j  \  —  w  II,  Jlcaicus  decasyllahus. 

w  BuK^t,  cfidpjjLaKOv  8    dpicrrov 
OLVov  IvuKapiivoi^  pL^BvaOrfv.     Alc. 

D.    Pentapodies. 
Pentapodies  were  used  in  Aeolic  lyric  poetry,  in  the  treatment  of  its 
favorite  subjects,  in  the  following  forms : 


72 


§  22.  SENTENCES  OCCURRING  MOST  FREQUENTLY. 


1) 


> 


w 


KJ 


W 


W 


II,  Phalaeceum  JiendecasyllaLum. 
IlaAAa?  TpiToyivf.C,  avaacr  ^A6r)va.     Scholium. 

2)  \j  \ '^1  — \^  \j  \ w  I w  II,  Sapphicum  hendecasyllahum. 

iroLKiXoOpov,  aO('xi/ar  'Ai^poStra.      SaPPIIO. 

The  Sapphic  strophe  is  constructed  inainly  of  this  verse  (§  29,  5,  II.). 
The  last  verse  of  this  strophe  sliows  that  we  are  not  to  rcii^ard  2)  a 
hexapody  with  syncope  of  tlie  next  to  tlie  hist  measure  {— ^  I  —  ^  I 
—\j  w  I  _  w  I  1—  I  —  A  II),  to  which  we  naturally  incline : 

_w|_dl-^w|_w|_wll-v^wl_wll 
irvKva  Stvewrcs  irrip   ojr  wpdvoj  ai^€pos  Slul  /xccrcroj.      SaPPIIO. 

The  short  in  the  fifth  measure,  since  it  does  not  close  the  verse,  cannot 
he  regarded  as  lon<^,  and  consequently  cannot  constitute  a  measure  by 

itself. 

3)  >^  : ^^  I w  I  —\y  w  I  —  vy  I  —  w  II,  Alcaicum  dodecasijllahum. 

'IottAok'  ayva  /x€AAt;(0/x€i8€  ISuTT^ot.      Alc. 

4)  Kj  \ w  I '^  I  —\j  w  1 \j  \ A  II,  Alcaicum  hendecasi/llahnm. 

ov  )(pr]  KaKOiCTL  Oi'ixov  iTTLTpeir-qv.      Alc. 
Of  this  the  *'  Alcaic  strophe  "  was  formed  (§  29,  4,  II.). 

In  choric  poetry  the  lou^aoedic  pentapody  is  comparatively  infrequent, 
and  vet  it  occurs  in  many  forms  : 

-^Ky\^JKj\^JKj\^JKj\—    AW 


^ 


V^ 


A 


Twv  jjLCydXoiV  AavaCov  vtto  K\r]L,ofJi€V(iVy 


vOi 


*Jt, 


Tav  o  />t€ya?  jxvuo<i  ae^ct. 

Soph.  JJ.  II.  sir.  (225,  226). 


w   I  — v>  wll—jwwv^I  A  II 


wfxoL  c'yo>,  Tt  ndOw,  tIkvov  ifxav ;  — 
uAA'  ipu) '    ov  yap  t^o)  KaraKprcfiav. 

id.  Ucd.  LuL  1.  (216  and  218). 

E.    Logaoedic  lied-apodies  likewise  occur  in  various  forms  and  some- 
what more  frequently   than   ])tiitapodies.     Two  illustrations  from  the 

AjdX  and  the  .liiiajune  will  suilii'e  : 

L_     I  _  A  II 


\j 


\J      I 


'  _  A 


dAA'  (Ira  Cu  ertpai^wF,  ottoi;  p^aKpatiov 
iTTijpLL^ii  77i)T(.  Tad    dyonno  (r^oAa. 

Jj.  1.  pjj.  (194,  195). 


§   23.     INTERCHANGE    OF   MEASURES. 


73 


>  :  —K^  w  I  —\y  w  I  —  w  I   —  w 

_    w  I    _    >   I  -WW  I  -WW 


w 


_  A 
_  A 

w 


€v8aLfJLOV€<;,  olcn  KaKUJV  aycucrros  anDV, 
ols  yap  av  (TeLcrSfj  OeoOev  8o/aos,  aras 
ovBkv  cAActTTCt  ycv€as  cttI  ttXtjOos  IpTrov. 

Ant.  III.  dr.  a  (582 


-585). 


§  23.    Interchange  of  Measures. 

1.  Since  quantity  is  not  to  any  considerable  extent  an  element  in 
modern  lan^uap^es,  these  lans^uages  are  not  adequate  to  the  expression  of 
the-  rhvthm  of  series  consistinii:  of  measures  of  varyiu":  metrical  forms. 
Often,  therefore,  in  order  to  treat  understandingly  of  rhythmical  facts, 
we  shall  be  compelled  to  resort  to  dance-melodies. 

The  "  Rheinljinder "  is  distinguished  from  other  dances  by  being 
composed  of  */§  measures  of  changing  form.  Some  of  the  measures 
have  only  one  chief  ictus ;  others  a  strong  secondary  ictus,  so  that  they 
are  divided,  so  to  speak,  into  two  ^/g  measures. 

There  follows  the  first  part  of  the  best  known  dance  of  this  sort : 


r|=_: 


ii-fiiiii^iiti::-^" 


#-#- 


-111!: 


In  metrical  characters  : 


CO 


wwww|wv-/a)a)^^wa)a)i^ia)V,^.a)ii 
wwww|wwci)co|wwcuci)ivya)\_y    A  II 

The  different  elianges  of  dirertinn  in  this  dance  are  allowed,  as  is 
known,  only  at  the  ictuses.  This  is  the  peculiar  and  oriiiiiial  sig- 
nificance of  the  ictuses.  But  they  also  determine  the  character  of  the 
music,  ;ind  moreover  exercise  the  greatest  influence  upon  the  metrical 
forms  of  the  measures,  and  can  therefore  in  turn  themselves  be  deter- 
miued  from  these. 


/  1 


§  23.     INTERCHANGE    OF    MEASURES. 


2.  In  Greek  poetry  sentences  of  interdiaiiiring  ^/g  and  ^/^  measures, 
i.  e.  ionics  and  dichorees,  are  very  common.  The  latter,  where  they  pre- 
dominate to  the  exclusion  of  ionics,  are  easily  distin^'uished  from  simple 
chorees  by  the  ionic  anacrusis  of  two  short  syllables,  as  e.  g.  the  series 


is  not  to  be  classified  as 
but 


v/  \y 


K^ 


\y 


\y 


to  : 


w 


KJ 


.    W     1 


V^ 


A   II. 


This  substitution  of  the  dichoree  for  the  ionic  is  called  dvaKXaa-Ls 
{hreakbig  up).  Cf.  §  30.  Many  of  the  Anacreontic  poems  are  written 
in  this  rhythm. 

In  these  melodies  the  intermixed  dichorecs  can  have  the  forms 

—  >  _  w  I  and  I w  I  or  _  w  i — 

ToSe  /ActXto-o-oi/Tcs  ot'8a5.      Aksch.  Suppl.  IX.  ant.  a  (1030). 

KJ    \J    \   >  \J    \ A    II 

The  clioriambus  also  (a  ^/g  measure  w  ith  still  other  ictus-relations)  is 
sometimes  admitted,  though  very  seldom  ;  and  quite  as  seldom  the  two- 
timed  anacrusis  is  shortened  or  omitted,  as  in  Aeseli.  Sept.  VI.  atr.  a 

TretppLKu  Tav  wA€(tlolkov, 

Kj  ':  wl I  WW  |l_jAII 

^^]l(  n  flu  rare  forms  occur  in  unusual  nund)er.  Aeschylus  is  disposed 
!•)  I'ruin  hi<  ioiiic  strophes  with  such  seemingly  irregular  series,  ibr 
whidi  M  .'  Schmidt,  M(4nk,  \  14,  10. 

ir.  !!n\v,  1!  \)v  added  that  the  ionic  measure  besides  this  admits  reso- 
lution ui'  lis  loniTb  and  cuntraelion  of  its  shorts,  u  will  Ix;  seen  that 
ionic  inclo(!ic=;  mnv  br  of  (ATecN-liiiLi'ly  v;irioii=^  motrirni  fnrm>.  Tn  tlie 
IbilouinLi'  series  the  measures  are  arranmcl  aecord;ii_;  to  tlie  frequency 
ot  their  oeeurrence  : 


)j/e(/-s//rrs\ 


w  w 


w   w 


V,' 


d 


Vy 


n 


__  >  _ 

_   w  1_ 


C  ' 

8 


measures. 
\       \ 


\j  \u  \j  \^ 


\ 
\ 


w   w   w   w   w   w 


KJ    \^    \J 


W 


'<J 


w  w 


J ."  J 


§  23.     INTERCHANGE   OF   MEASURES. 


75 


It  should,  however,  be  remarked  that  forms  of  such  varied  character 
as  those  in  the  example  given  above  occur  only  in  Aeschylus,  and  there 
for  peculiar  reasons.     Tor  these,  see  Schmidt,  Metrik,  I.  c. 

The  following  sentences,  common  in  the  lyric  poets,  should  be  noted: 

1.     ww: wwIl_iA!1,  Tt/xoKpcoi'TCtoi'. 

^iK€ko<;  K0fx\l/6<;  avrjp 

ttotI  tolv  fxaT€p   €<^a.      TiM. 

2.    ww: w  w| A  II,  ionicus  anaclomenus. 

'Atto  /xoucrtKojy  [xcXdOpwy 

XoyLKol  V€OL  JJLOXCLTC.        AXACR. 

A  good  example  of  the  interchange  of  the  measures  occurs  in  Pers. 
I.  ep.  (93-100). 

AoXojjLTjTLV  8'  aTTarav  Oeov  tls  dvjjp  Ouaroq  aXv^et; 
Tt?  6  KpaiTrro)  7ro8t,  Trr/ST^/xaros  cl'TtcttJs,  avaco-wv ; 
(fiiX6cf>p(x)v  yap  irapao-aivei  fSporov  €t?  apKuas  aras, 
oOev  ovK  ecTTLV  V7r€p0€v  dXv$avTa  cf>vyeLV. 

A  II 

A  II 

A  II 

A  II 


w  w 

w  w 

\J  w 

w  w 


w  w 

w  w 

w  w 

w  \y 


w 

V^   II                w   w 

w 

W    II             WW 

w 

\   J      W                             K  J      \  J 

I I     w, 


W    II    __ 


w   w 


L_J 


An  example  that  illustrates  the  resohitioiis,  contractions,  and  pro- 
longations that  may  occur  is  found  in  Eur.  BaccJi.  HI.  ep.  (570-573). 
8ta/5as  'Actov  ctXtcro-o/xe'va?  Maa'ada?  a^^t 
Ai'8tttr  re,  rov  CL'Sat/xovta^  oXf^oSorav 
Trarepa  re,  rov  eKXvov  (.vltt—ov  )(^uipav 

vSaCTLV   KaXXL(TTOi(TL   XL77aiV€iV. 


w  w 

w  w 

w  w 

yj  w 


wv^l v/\._>  —  wv^ 

I !  ww| WW      I WW 

wwwwwwl —      I A    II 

__        __        —Il^wwI A   II 


A  II 
A  II 


■    The  rhythm  of  an  enthusiastic  song  like  this  will  not  appear  unless 
the  time  of  the  syllables  is  <'-iven  with  accuracy. 

3.    The  interchange  of  paeonic  and  bacchiic  measures  is  analoirous 
to  tliat  just  described.     A  beautiful  example  occurs  in  Pindar  01.  II. 


.5/r. 


a  : 


Ai'a^i(j)6pfiLyy€<;  vjxvol., 

TLi'CL  0(.w,  TLV   r^pcoa,  TLva  6    dvopa  KcXao^copei' ; 

T]TOL  Wura  pev  Ato?  •     OXvp-Tna^a  8    €0"racrev   HpaKXe?/? 

aKpouwa  7ToXip.ov. 


76 

w  : 
w  : 


§  23.     INTERCHANGE   OF   MEASURES. 


—  w     __  I  _  w     _ 
v.^   W  w  I  w 

—  v^      —  I  —  www 

—  v.>'     —  I  w  w  w  


^w   w  w 

—  www 


w   w 


w 
w 


4.  But  the  interchange  of  measures  of  unequal  length  is  of  quite 
another  kind.  In  Greek  poetry  only  one  sentence  with  such  inter- 
chanire  occurs,  the  so-called  dochmins  (8ox/xtos),  the  ground-form  of 

uhich  is:  .  ,       *  „ 

w  : w  I  _  A  II, 

i.  e.  a  bacchius  (with  anacrusis)  with  following  (shortened)  choree.  If 
several  dochmii  follow  one  another  in  a  verse,  they  are  generally  sep- 
arated by  caesura, 

w  ;  —  w  I  _,  w  II w  I  _  A  II. 

Eesolution  is  frequent;  the  commonest  form  is 

w  :  w  w  w  I  A  II, 

less  frequent  are  .  ,        .  „ 

^  w  :     _     w  w  w   I  _  A  II, 

wiwwwwwl  A  II, 

^^  :  w  w  w  w  w  I  w  w  A  llj  etc. 

The  anacrusis  can,  as  usual,  be  irrational,  even  when  servinir  as  a 
short  to  the  preceding  clioree.  So  also  the  short  of  the  baccliius,  since 
it  serves  in  a  certain  sense  as  anacrusis  to  the  choree.  Therefore 
dochmii  like  the  following  are  found  : 


w 


_  A 


>  i w  I  _  A  II 

^  ': w  I  _,  >  II  _ 

w  i >  I  _  A  II 

>  i >  i  _,  >  11 w  1  _  A  II. 


Accord iniily  Seidler,  who  even  more  than  the  ancient  writers  on 
metric  gives  every  long,  even  uiin  irrational,  the  value  of  a  metrical 
lono-,  exliibits  thirty-two  (liUfiriiL  forms,  ail   ul'  u  Inch,  however,  are  by 

no  iiiiaii'-  ill  u>('. 

A  iiKMv  ;!C(>iiratf  ^tatriiicjit  of  llic  fact<  i--  made  in  the  Grif^chische 
M-fnL\  \  -I'l,  Iroiii  which  \\\v  tollowiH--  tahlc  i-  laki-n.  Ali  rnrins  of 
which  no  illustration  is  i^ivcn  in  this  table  aic  noi  \\\  use,  for  reasons 
given  in  the  Mrfr/k.  Three  of  llie  illii-tration<  arc  in  parentheses. 
I  lic-e  parentheses  show  that  in  the  coiTcspondinLT  •-!  i-npln-  anollier  form 
of  the  niea-nre  oecnrs  than  the  one  uivcii  in  the  tahlc,  the  latttr  >lip. 
])inu-  into  n^,-  tlironu-|i  the  carelessness  of  the  poet.  AcconlinL:l\ ,  of 
the  thirty-two  forms  which  have  been  siipposed  to  c\!>t.  only  nnicteni 
in  fact  oeenr  (and  some  of  these  very  seldoan,  excluding  the  three  in 
parentheses  which  occur  each  but  onee. 


§  23.     INTERCHANGE   OF  MEASURES. 


■// 


li 


I.    a.  w 

b.  > 

c.  w 

d.  > 

II.    a.  w 

d.  >  '■ 

C.  w 

d.  > 

III.    a.  w 

b.  > 

c.  ^ 

d.  > 

lY.    a.  w 

b.  > 

c.  w 

d.  > 

Y.    a.  w 

b.  > 

c.  w 

d.  > 

YI.    a.  w 

b.  > 

c.  w 

d.  > 

Vli.    a.  w 

b.  > 

c.  w 


MIL 


a.  w 

b.  > 

c.  \J 

d.  > 


w 

> 

> 

\j  \y  — 
WW  — 
w  w  __ 
WW  — 

www 
www 
www 
www 

www 
www 

www 

www 

WW 

WW 

WW 


w 

w 

> 
> 

w 
w 
w 
w 

w 
w 

w 

w 

w 

w 

> 


w 

w 

> 
> 

w 
w 

> 
> 


hvcraXyei  tvx^.     Jg.  Y.  str.  C  (1165). 
Iv  ya  TaBc,  <t>€v.      Euin.  Y.  str.  a  (781). 
(fyepoLfxav  fioaKav.     Eum.  II.  (264). 
olol  Sa,  </>ev  <i>€.v.     Eum.  Y.  str.  p  (841). 

_.  7rT€po(p6pov  BifjLas.  y/y.Y.  flw^.  r  (1147). 
_.  fjLLo-oOeov  fxev  ovv.  J  (J.  Y.  str.  y  (1090). 
_.  /?a/3u8iKos  Hotva.  C/^0.  YI.  «//'.  a  (936). 
_.     d)ei},  Kara  yas  otKctv.  Eum.Y.  str. p  (838). 

[(1198). 

J fxcydXa  jjLcyaXa  kol.     Bacch.  IX.  ant, 

I ovTTOTe  8ta  (^pcvos.     Here.  Fur.  lY. 

1  _.  [(745). 


[YII.  str.  a  (1314). 
w  w.  v€0os  lixov  drroTpoTTov.  Oed.  R. 
1  w  w.  Tav  XnroTrdTOpa  A.t7ro!ya/xdv  0  a 
TrActcTTov?  I  eKav€v 'EXXdvo)v.  Or.^  .  (1305). 
1  w  w.  St*  €/xc  KarcSTjcraro.  //f/.  lY.  (687). 
1  w  w. 


_.     Vu)  7rp6p.ax  €p.Cyv.    Sept.  lY.  str.  /T  (482). 
(jKviJivov  hv(T€X€va^.      Or.  \  I.  (1388). 


w    w   !> 


w  w 

w  w 

w  w 

w  w 


w  I  w  w.      8ta  TTvAa?  euoXcv.      Hipji.  A  .  (586). 
w  I  w  w.      £15   ydov,    ih   haKpva.      Bacch.  A  III. 
(1162). 

>  I  w  w.      (ore   T€    o-i'ptyye?   l\KX<xyiav   oXoirpo- 

>  I  w  w.  \joi.     Sept.  II.  sir.  a,  205.) 


flf.    >  i- 


_wiww.    rad'e^oJi'd/xi/i-a.     Bacck.Yl.  a}d.(l(n()). 

__    w    ^    W    W.      TOV/XOV  Tt9  TtS   iXa\X^   TCKOS,    CVV€7r€.       TrO. 

IL  (247). 

_  >  !  w  w.     (rt  (/)TJ?  a.  Ttai,  riva.      Jnt.Wll.  ant.  a, 

[12s9.) 


w    w 


_wwwlww.      (Ocu-i  t6t   apa  t6t€.      Jii/.WU.sh: 

_  ^  ^  ^  I  ^  ^.  L/J'.  1^ '3.) 

w  w  >  i  w  w. 

w  w  >  !  w  w. 


78 


§  23.     INTEi:( K  Wr.R    OF   MEASURES. 


«  24.    THE   RHYTHMICAL   PERIOD. 


79 


The  sentence  rarel}'  closes  with  full  measure.  But  it  should  be 
observed  that  in  the  bacchiic  measure  the  first  syllable  may  absorb  the 
second : 

v-/  :  i_j  v^  I A  II. 

This  can  occur,  however,  only  when  a  very  strong  emphasis  rests  on 
this  syllable,  as  in  cries  of  pain  and  joy  and  in  those  words  whose  pas- 
sion is  expressed  maiidy  by  their  repetition.  Cf.  Soph.  Elec.  V.  atr. 
(1232-1234): 

w  :     1—1    w  I  _  A  II 

v^  i v>  I  _,  w  II vy  I  _  A  II 

Iw,  yovat, 

yovai  (Tio/JLaTOiv  cjiot  <^tA.TaTwi/, 
and  in  the  antistrophe  (1253-1255): 

6  TTu?  av  TrpcVot  7rap(av  IwIttclv  .  .  . 

We  can  obtain  from  examples  like  these,  thonp^h  they  are  brief  in  ex- 
tent, some  idea  of  the  exact  agreement  of  thought  and  form  in  Greek 
poetry.  Many  hundreds  of  the  most  various  sorts  might  be  added.  Cf. 
Comjjositiondehre,  \  4,  5,  and  Monodien^  §  8,  6. 

5.  Dochmiac  sentences  occur  \\\  the  following  still  different  forms 
also,  thouiiii  rarelv : 

I.  The  first  measure  may  be  a  paeon  {paeonlc  dochmlus),  in  which 
case  the  aiinrrnsis  may  be  wautin^:. 

i7r€v)^(:jjLaL  8/)  Tw8e  filv  evrvx^t^-     Sept.  W  .  sir.  p  (481). 
v/:^w_|_,  >llv^v^_w| A  II 

II.  The  amphidochmius  consists   of  two    quiiiqucpartite  measnres,  ■ 
whicli  enclose  a  tripartite  measure. 

€Tv\j/€v  Slkui'  6L(f)fn]XaTov.     Aesc  11.  L'ui/i.  I.  i//.  13'  (15G). 
w: w!  '^l  w II 

See  for  this  Scluiiidt,  EarlijtJiuiU-,  p.  248,  wherr  this   vt  ry  rriiiarkal)le 
form   is  {'X[)laiiic(l. 

[II.  fu  {\\v,  iiu't-rti'd  dochiniHH  tiic  tlin'c-tinicd  nicasiiri^  priTcdcs  the 
five-tinifd. 

i'TTo  cj)f)eva<;,  vtto  Xof^or.      Aescii.  Fni/f.  I.  sfr.  [^  (l'")!'}. 
kj:  \j\j\j\\j\j\y  !l 

Further  than  this  Gn-ek  poetry  and  (jrcck  vocal  niiHic  did  not  allow 
intcrcliange  of  measures.  In  this  the  Greek  pnietiec  is  in  strong  con- 
trast with  the  modem. 


/€- 


i 


§  24.    The  Eliytlimical  Period. 

1.  In  the  preceding  paragraphs  it  has  been  shown  how  common 
speech  is  made  rhythmical,  Ij  by  dividing  it  into  small  parts,  called 
measures,  that  are  exactly  equal  to  one  another ;  and  2)  by  uniting 
these  measures  into  sentences  with  only  one  chief  ictus.  The  word 
and  the  simple  sentence  correspond  grammatically  to  these  two  divi- 
sions. Now  in  rhythmical  as  in  common  speech  the  sentences  are 
united  into  periods.  And  the  rhythmical  period  is  no  more  recogniz- 
able by  means  of  one  chief  ictus  than  the  grammatical  (^^  IS,  3). 

But  the  grammatical  period  is  a  unit  not  only  because  of  the  logical 
connection  of  its  members,  but  also  because  of  the  manner  of  their  ar- 
rangement. There  are  in  particular  two  forms  of  arrangement :  the 
anaphoric,  e.  g.  aiua  bouos,  obda  maUjicis. 

AB      AB 

and  the  chlastlc,  e.  g.  ama  bonos,  malejicis  obsta, 

A  B 

X 

B  A 

Again,  the  different  sentences  in  the  grammatical  period  have  a  fixed 
ratio  of  length,  since  at  least  very  long  and  very  short  sentences  are 
united  in  a  period  only  under  given  conditions.  Moreover,  the  close  of 
such  a  period  is  marked  by  a  longer  pause,  which  is  iuduuted  by  the 
mark  of  punctuation. 

2.  The  rhythmical  period  must,  of  course,  show  a  much  greater  con- 
formity to  law.  This  is  seen,  1)  in  the  exact  way  in  wliieh  it  groups 
its  forms,  not  indeed  according  to  the  parts  of  the  sentences  (as  above 
in  t1ie  Latin  examples,  where  the  position  of  the  predicate  and  olijrct 
varies),  but  according  to  the  sentences  themselves;  2)  in  the  strict 
limitation  of  the  length  of  the  sentences  ;  3)  in  the  fact  that  even  if  the 
period  is  not  always  closed  by  a  long  pause,  this  pause  is  still  enouuh 
to  give  the  music  a  satisfactory  close.  This  can  be  seen  even  in  the 
simple  rhythm  of  the  recited  poem. 

The  theory  of  rhythmical  periods  {pniodologij).  however,  if  it  is  to  be 
comprehensive,  cannot  be  given  without  a  previous  discussion  of  the 
different  types  of  poetry.  We,  therefore,  proceed  to  a  new  su1)ject, 
'•iVDolo'i-v  "  in  which  will  be  discussed  the  tvpes  themselves,  and  the 
forms  of  the  periods  which  prevail  in  them. 


rourtli  Book. 


TYPOI   OGrY 


§  2r>.     Introdiictorv. 

I.  ruilry  and  music  had  their  origin  in  dance  and  marcli  (j  C,  1). 
1)11!  win  11  the  forms  had  once  been  found,  when  the  sonjr,  desiii-iied 
oriuinally  for  accompaniment,  became  in  itself  a  source  of  pleasure  to 
the  hearer,  —  th(;n  it  gn  w  and  developed  independently.  Songs  arose 
which  utir  111)  lonirer  accompaniments  to  dance  or  march.  Since  the 
art  of  u  riling  was  nol  }el  knuun,  or  remained  lor  a  long  linic  ihe  pos- 
sessifiM  of  a  very  few,  melodies  wcn^  propn'jated  orally  as  songs  of  the 
people,  and  were  composed,  since  tluy  wire  the  po->('<sioii  of  whole 
triix's,  in  fixed  forms  generally  known  and  easy  to  understand.  It  was 
natural  that  these  forms  should  lose  much,  when  tiny  no  lonirer  ser\  t  d 
as  a  basis  lor  coinijlcx  (hmccs.  ^lanv  mn>ical  series  atleet  the  feelin"'S 
pleasingly,  which  would  iH)t  be  a  fit  aceoinpaiiiment  to  the  dance. 

Then  arose;  a  new  tendency.  Tiie  Greek  nation,  likt-  other  nations, 
had  its  era  of  heroes,  during  which  after  various  struggles  it  came  into 
possession  by  cou([uest  of  ])ermauent  places  of  residence,  and  established 
its  iiulependence  against  other  nations.  The  rich  recolleclions  of  lliis 
time  were  pi-escrvcd  in  great  poems,  in  which  it  was  no  longer  pr)vv;l)](3 
that  a  well-rounded  nu'lody  should  be  repeated  a//  nijiiiitihii  witiiout 
satiety  and  wcariiu'ss.  Willi  the  loss  of  tlu;  melody,  the  ])oein  was  also 
no  longer  divided  into  strophes.  This  was  inevitable.  J'or  olherwise 
the  narrative  would  have  bi'cn  divided  into  ])arls  in  too  com])l(  \  a 
manner  to  be  adapted  to  whole  masses  of  people,  a  manner,  loo,  which 
would  have  jitfeeted  the  narration.  So  the  ])()eni>  Avere  solemnly 
chanted  according  to  the  feeling  of  each  reciter.  In  this  wav  there 
arose  recitative  poetry,  especially  the  epic  and  the  didactic. 


§  25.     INTRODUCTORY    STATEMENTS    CONCERNING    TYPOLOGY.    SI 


1 


When  the  art  ui'  writing  came  into  more  general  use,  the  events  of 
the  dav  also  were  soon  drawn  into  the  circle  of  rhuhmieal  narration. 
The  subjects  presented  were  more  the  humorous  and  instructive  and 
less  the  heroic.  Subsequently  the  singing  tone  disappeared  in  recita- 
tion, which  little  by  little  passed  over  into  simple  declamation. 

Meanwhde  the  old  march  and  dance  melodies  were  not  neglected; 
the  latter  were  developed  in  forms  more  and  more  complex,  as  the 
Avorship  of  the  gods,  the  festivals,  etc.,  became  with  the  increasing 
retinement  of  customs  more  and  more  important.  But,  with  the  con- 
temporaneous perfection  of  musical  instruments,  and  especially  with  the 
development  of  the  drama,  purely  lyrical  vocal  music  was  also  further 
advanced.  This  found  a  peculiar  development  in  the  solo  (monodyj  of 
the  drama.  The  regular  dance  of  the  chorus  was  w^anting;  conse- 
quently a  strict  division  of  the  composition  was  not  necessary.  This 
monody  was  sung  by  artists  who  made  it  their  especial  study ;  con- 
sequently the  poet  composer  could  allow  himself  the  completest  liberty. 
The  competition  among  the  poets  of  this  epoch  was  great,  so  that  they 
soon  began  to  strive  simply  for  effect,  the  attractions  of  pure  art  being 
no  longer  so  powerful  as  at  an  earlier  day.  A  people  with  corrupted 
taste  finds  pleasure  in  trills,  coloraturcs,  etc.,  and  in  ilissoiiances,  after 
which  the  effect  of  harmony  is  so  much  the  greater.  An  even,  uninter- 
rupted succession  of  measures  was  no  longer  phrasing;  therefore  the 
doehinii,  and  later  the  inverted  dochmii,  amphidochmii,  etc.,  arose.  In 
like  manner  the  rcg-ularity  of  the  periodology  was  often  broken  down, 
that  the  beauty  of  order,  arising  from  chaos,  might  be  so  much  the 
more  apjiareut,  as  also  for  various  other  reasons. 

The  la^t  p(  riod  of  poetry  has  been  reached.  A  rich  literature  has 
been  collected,  in  which  the  later  poets  glean  without  creative  power  of 
their  own.  Keligious  worship,  with  its  solemn  music,  its  dancing 
choruses,  etc.,  has  disappeared  in  the  wild  tumult  of  wars  and  under 
the  influence  of  a  destructive  philosophy.  But  the  texts  of  the  poets 
have  been  saved  from  the  great  flood. 

The  more  complex  rhythmical  compositions  of  the  old  poets  are  no 
louii-er  at  ;dl  understood ;  and  so  a  return  is  made  to  the  simply  con- 
structed  national  somrs  of  an  earlier  dav.  But  the  melodies  themselves 
are  wanting,  and  the  poems  are  consequently  only  declaimed.  The 
poet  composes  slavishly  according  to  models  of  short  and  long  syl- 
lables, and  makes  verses  mechanically  without  reference  to  their  being 
siiii"-.  He  falls  into  a  drv  schematism,  and  in  order  to  show  some- 
thiic'-  of  art,  becomes  rigorous  in  the  forms  of  the  measures.     But  that 


Jr'oiirth   Hook. 


TYPOLOGY. 


-•o*- 


§  'l'>.     Introductory. 

1.  Poetry  and  iniisii'  had  their  oi\ii-iii  in  tiaiice  and  iiiareh  (^  H,  1). 
]>ut  when  the  foriiis  had  onei'  l)eeii  fouiid.  when  the  >(U!li-.  (h'siuiifd 
oriii'iiially  tor  aeeompaiiiineiit,  heeaiiie  in  it-dt"  a  soiircH;  of  pleasure  to 
the  hearer,  —  tlien  it  lirew  and  devcdoped  iudepeuihiiily.  Soiiii-.s  arose 
whieh  were  no  h)nu-er  aeeompaniiiieiits  to  (hmee  or  inarch.  Smee  the 
art  of  writinii:  ^V[is  not  yet  known,  or  remained  lor  a  hmi;-  time  the  pos- 
session of  a  very  few,  nudodies  wt-rc  ])r()pau-ated  orallv  as  sonizs  of  tlie 
people,  and  were  composed,  since  they  were  the  jjossession  of  whole 
tribes,  in  fixed  forms  u'cnerally  known  ;ind  easy  to  nn(hrstand.  It  was 
iiatnral  that  these  forms  should  lose  much,  when  thev  no  longer  served 
as  a  basis  for  complex  dances.  Many  musical  series  atlVct  the  letlinus 
pleasinu'ly,  which  wouUl  not  be  a  tit  acconqKiniment  to  the  dance. 

Then  arose  a  new  tendency.  The  (Jreek  nation,  like  other  nations, 
had  its  era  of  heroes,  durinii:  which  after  various  struiz-ules  it  came  into 
possession  by  concpiest  of  ])ermanent  places  of  residence,  and  established 
its  independence  ai^-ainst  other  nations.  The  rich  recollections  of  this 
time  were  preserved  in  u'reat  poems,  in  which  it  was  no  Ioniser  possil)!,' 
that  a  well-rounded  melody  should  hv  repeated  r/d  nijiiiitinii  without 
satiety  and  weariness.  AVith  the  loss  of  the  melody,  the  poem  was  also 
110  lonirer  divided  into  strophes.  This  was  inevitable.  For  otherwise 
the  narrative  would  have  been  divided  into  parts  in  too  comph  x  a 
manner  to  be  adapted  to  whole  masses  of  people,  a  manner,  too,  which 
would  have  affected  the  narration.  So  the  poems  were  solemnly 
chanted  accordini;-  to  the  feeling-  of  each  reciter.  In  this  wav  there 
arose  recitative  })oetry,  especially  the  epic  and  the  didactic. 


§  25.     INTRODUCTORY   STATEMENTS    CONCERNING   TYPOLOGY.   81 

AVIien  the  art  of  writin<,^  came  into  more  pfcneral  use,  the  events  of 
the  dav  also  were  soon  drawn  into  the  circle  of  rhythmical  narration. 
The  subjects  presented  were  more  the  humorous  and  instructive  and 
less  the  heroic.  Subsequently  the  sinj^ing  tone  disappeared  in  recita- 
tion, which  little  by  little  passed  over  into  simple  declamation. 

Meanwhile  the  old  inarch  and  dance  melodies  Avere  not  neglected ; 
the  latter  were  developed  in  forms  more  and  more  complex,  as  the 
worship  of  the  gods,  the  festivals,  etc.,  became  with  the  increasing 
rctinement  of  customs  more  and  more  important.  But.  wiili  the  con- 
temporaneous perfection  of  musical  instruments,  and  especially  with  the 
development  of  the  drama,  purely  lyrical  vocal  music  was  also  further 
advanced.  This  found  a  peculiar  develo])inent  in  the  solo  imonodyj  of 
the  drama.  The  regular  dance  of  the  chorus  was  wanting;  conse- 
quently a  strict  division  of  the  composition  was  not  necessary.  This 
monody  was  sung  by  artists  who  made  it  their  especial  study  ;  con- 
sequently the  poet  composer  could  allow  himself  the  completest  liberty. 
The  competition  among  the  poets  of  this  epoch  was  great,  so  that  they 
soon  began  to  strive  simply  for  effect,  the  attractions  of  pure  art  being 
no  hmger  so  powerful  as  at  an  earlier  day.  A  people  with  corrupted 
taste  finds  })lcasure  in  trills,  coloratures,  etc.,  and  in  dissonances,  after 
which  the  effect  of  harmonv  is  so  much  the  oTcater.  An  even,  ninnter- 
rupted  snci-ession  of  measures  was  no  longer  pleasing;  therefore  the 
dochmii,  and  later  the  inverted  dochnni,  amphidochmii,  etc.,  arose.  In 
like  maimer  the  regularity  of  the  periodology  was  often  broken  down, 
that  the  beauty  of  order,  arising  from  chaos,  might  be  so  much  the 
mon^  apparent,  as  also  for  various  other  reasons. 

The  last  period  of  poetry  has  been  reached.  A  rich  literature  has 
l)een  collected,  in  which  the  later  poets  glean  without  creative  power  of 
their  own.  Keligious  worship,  with  its  solemn  music,  its  dancing 
choruses,  etc.,  has  disappeared  in  the  wild  tumult  of  wars  and  under 
the  iniluence  of  a  destructive  philosophy.  But  the  texts  of  the  poets 
have  been  saved  from  the  great  Hood. 

The  more  complex  rhythmical  compositions  of  the  old  poets  are  no 
longer  at  ;dl  understood ;  and  so  a  return  is  made  to  the  simply  con- 
structed uiitional  songs  of  an  earlier  day.  But  the  melodies  themselves 
are  wanting,  and  the  poems  are  consequently  only  declaimed.  The 
p(M't  composes  slavishly  according  to  models  of  short  and  long  syl- 
lables, and  makes  verses  mechanically  without  reference  to  their  being 
sung.  He  falls  into  a  dry  schematism,  and  in  order  to  show  some- 
thing of  art,  becomes  rigorous  in  the  forms  of  the  measures.     But  that 


82    §   25.     rXTRODrCTOKY    STATEMENTS    COXCEKXINr.    TYPOLOGY. 


§   20.     THE    UECrrATIVE    TYPE. 


S3 


lie  fails  to  understand  tin'  rlivthin  i<  sliown.  lor  iii>^taii(M\  l)v  Ids  false 
use  of  the  caesura.  This  is  the  ])oiut  of  view  ui'  a  Horace,  a  Catullus 
and  in  u-eiicral  of  the  whoK-  later  time. 

Let    us   now   re\ii'\v   the   UTncsis   of  tln^  poi'tie  typfs  as  sh«)\\u  in  the 
followiuu"  t;d)le. 

I.  II. 

jMarcli  melodies.  Pancr  nitliulics. 


111.    Pureh  Ivrieal  uu'lodies. 


lY.    Eccitative  i)octrv. 

IV.     V^. 


\  .     Monodirs 


irr.  B. 

Degenerates  into  simply  declama-       Becomes  later  also  declamatory, 
lory  poetry. 

2.  If  tlie  poetic  productions  of  (rreek  literature  now  exi^tinir  -h.ould 
be  considered  onlv  in  the  order  of  the  times  in  which  ihev  w  (  i-e  \\i-it- 
ten,  we  should  conu'  to  the  opposite  conclusion.  Recital  ive  poetry, 
powerfully  developed  in  the  irreat  national  epics  illonier.  lle^iod,  Areti- 
uus,  Stasinus,  etc.),  cotucs  tirst.  Then  ])urely  lyrical  poetry  a])pears 
with  Callinus,  Archilochus,  etc.  The  tir>t  march  melodies  wei-e  wriiii  ii 
bv  Tvrtaeus  for  the  Si)art(ins.  And  about  the  same  time  we  hear  of  tin; 
tirst  choric  compositions  (i.  e.  dance  melodies),  tho>e  namely  of  Alcman 
and  Stesichorus.  We  should  assume,  thereibre,  the  following  develop- 
ment : 

I.    Recitative  po(  try. 

I 
I 

II.    Rurclv  Ivric  i)oetrv. 

III.    March  melodies.  IV.    Choric  soni:. 

(Dance  nieloilies.) 

But  this  view  is  entirely  unscientific,  siiu^'  it  rfor.s  not  crjija'nt  the 
facts.  The  epics  appear  tirst  in  literature  oidy  because  their  contents 
were  deemed  worthy  of  ])rc>ervation.  There  were  dance  melodies  hrfore 
these,  but  the  ])oems  accom])anying  them  were  insiu-intieant  and  so  were 
lost.  Only  when  the  choric  dance  was  developed  in  more  perfect  forms 
did  writers  of  ixreater  talent  betakt^  themselves  to  c-horic  composition, 
and  then  their  poems  were  preserved.  So  we  can  only  conjecture  \\  hat 
the  oriii'inal  dance  melodies  wen-  from  the  forms  which  have  come  trom 
them  into  recitativ(^  luid  lyric  ])oetry.  Dor  this  reason  recitative  ])oetry 
must  be  considered  tirst,  and  the  discussion  of  the  dance  melodies,  the 
artistically  arrani]^ed  son<jr  of  the  chorus,  reserved  to  the  verv  last. 


§  2G.    The  Recitative  Type. 

I.    It   mu<t  be  carefully  borne  in  mind  that  recited  poetry  was  de- 

velo})ed   from  song. 

The  simplest  way  in  which  sentences  are  united  in  a  musical  period 
is  that  two  should  correspond  to  one  another  as  antecedent  and  con- 
se(pu'nt,  the  nu-lody  of  the  second  completing  or  resolving  that  of  the 
tirM.  or,  in  other  words,  answeriug  to  it.  The  rhythmical  sense  of  the 
Creeks  inclined  either  to  give  both  sentences  the  same  length,  or  to 
shorten  the  second  by  a  measure.  They  also  fre([ueutly  shortened  the 
final  measure  of  a  sentence  (KaraAryit?).  The  two  sentences  are  sep- 
arated by  a  slight  pause,  which  appears  either  as  dlaenm  (Statpccrt?, 
^^  v.),  2,  11.)  or  as  caesura  (to/xt;,  vJ  19,  2,  III.).  At  the  end  of  the  sec- 
ond sentence  there  is  then  stronger  punctuation,  or  at  least  an  approach 
to  a  close  in  the  thought.     Tlu'  whole  is  called  a  verse  {\  19,  2,  I.). 

The  Greeks  constructed  their  verses  maiidy  of  two  tetrapodies,  or  of 
a  tetrapody  with  following  tripody,  or  of  two  tripodies. 

If  the  verse  consists  of  two  tetrapodies,  the  tirst  generally  ends  with 
full  nu'asnre,  while  the  second  sutfers  catalexis ;  or  the  second  sentence 
snlbrs  syncope  in  the  next  to  the  last  measure. 

2.    The  characteristics,  then,  of  recitative  poetry  are  briefly: 

I.  The  vcr.ses  consist  each  of  tico  sentences,  generalhj  st^parated  hj 
caesura  or  diaeresis. 

II.  There  is  no  union  of  the  verses  or  sentences  into  strophes. 

0.  The  following  are  the  different  kinds  of  verses  which  were  devel- 
opetl  in  Gri'ck  recitative  poetiy. 

1.  The  dactylic  hexauietf^r,  briefly  hexameter,  the  metre  of  epic  and 
also  of  gnomic  and  didactic  poetry.  —  It  has  the  caesura,  for  which  see 
§  19,  2,  III.,  where  also  examples  are  given. 

But,  since  Homeric  poetry  was  rather  sung  than  merely  recited,  there 
are  many  verses  with  word-caesura  wanting,  especially  if  a  proper  name 
constitutes  the  third  measure. 

u)s  i(f>(ifjir]v^  0  8e  fjL  ot/xo'la?  yfieifSeTO  fxvO(D ' 
Stoycve?  AaepTid^T],  7roXvfJLi])^av    08vcrcrev. 

Od.  XI.  59,  60. 

If  the  end  of  the  words  in  these  verses  is  marked  by  a  dot,  the  ab- 
sence of  the  caesura  in  the  third  measure  is  seen  at  once,  as  follows  : 


IM 


SI 


§   2G.     THE    KECITATIVE    TYPE. 


—  •  —     1  —  ^  \y  \l  .vyw 


Tn  lifrr  poetry,  particularly  amoDcr  the  Eomaiis,  since  the  delivery 
was  declamatory,  stricter  re-ard  was  paid  to  crraniuiatual  constructiou. 
The  word-caesura  was  therefore  seldom  omitted,  and  almost  only  in 
propir    names. 

Rem.  I.  All  other  caesuras  than  those  given  in  §  19,  2,  III.  are 
purely  formal  conceptions,  and  are  altogether  without  value.  See  Lehrs, 
De  ArUtarrhi  studli.s  Homericis,  2  ed.  p.  394  sq. 

Rem.  N  Equally  valueless  is  a  knowledge  of  the  different  names 
of  the  hexanu'ter  according  to  the  number  of  light  or  heavy  dactyls  in 
it.  In  the  genuine  old  poetry  more  light  dactyls  were  used  in  "lively 
description,  more  heavy  ones  in  grave,  but  unconsciously;  and  the  poet 
was  far  from  refining  upon  their  use. 

ir.  The  trochaic  tdramdtr,  i.  e.  two  trochaic  tetrapodies  with  cViae^ 
rests. 

ytyveTai  Ov-qroU,  okchtjv  Zcl'S  cV  rjfiepr^v  ayij, 

/cat  (fifiovtva-i  tol\  oKotots  iyKvpeoxriv  epyfiacriv.      Arch. 

-^l->'-^!->,  II_w|_w|_wI_AII 

-  ^  I  -  >  i  -  ^  I-  >,  li  _  w  I  _  w  I  _  w  I  _  A  II 


— -  w  I  —  w    I  _  w  |_  >, 


Ky 


\y 


—  v^  I  _  A 


As  may  be  seen  from  this  example,  the  first  sentence  originally  allowed 
many  more  irrational  syllables  than  the  second,  where  the  voice  passes 
on  more  lightly  to  the  close. 

The  trochaic  tetrameter  first  occurs  in  the  iand)ograp]uTS  (Archilo- 
chus),  then  as  metre  of  the  dialogue  in  the  drama,  from  which  it  was 
later  more  and  more  excluded  by  the  iambic  trimeter.  On  the  naming 
of  these  two  kinds  of  verse,  cf.  §  10,  VII. 

Vi\.  The  iam/j/c  frimetn',  occurring  first  in  the  iand)ographers  but 
later  the  prevailing  verse  in  the  dialogue  of  the  drama,  consists  of  six 
iand)ic  measures,  which,  as  is  shown  by  the  admission  of  the  irrational 
syllable  into  the  even  measures  only,  are  united  into  three  dipodies  : 


> 


-1-  \j 


> 


\^ 


> 


This  mode  of  writing  has  exactly  the  same  value  and  significance  as  the 
other: 

"   v^l~^l-i-w|^d|_LwI^AII. 


e: 


§  26.     THE    RECITATIVE   TYPE. 


85 


So  tlie  verse  is  called  either  "trimeter"  or  "  hexapody."  Cf.  §  10, 
YII. 

The  trimeter,  differently  from  the  remaining  verses  that  were  recited, 
is  not  to  be  divided  into  two  rhythmical  sentences.  This  is  proved 
beyond  question  by  its  relations  in  lyric  strophes.  llcrc  it  always 
answers  to  genuine  hexapodies  like 

w:l_|i_| v>! w|l_!_AII, 

or 

w: w|_v^l_wI_vyli_|_A  11,  etc., 

never  to  a  verse  that  is  unmistakably  divided  into  tetrapody  +  dipody. 
(Cf.  Book  V.)  Its  length,  moreover,  is  in  strict  accordance  with  the 
rules  stated  in  ^  21. 

It  is  not  to  be  denied,  however,  that  in  dechamation  the  verse  is  very 
easily  divided  into  two  parts  by  a  short  pause,  generally 

di_w|_d.  |_w|_d|_w|_AII, 

less  often 

^i_wi_,  ^i_wi_ei_wi_A!i. 

But  this  division  is  in  no  sense  necessary  (though  it  does  harmonize 
with  the  rhythm,  ^  :  J_  ^  I  _,  -b,  |J_  w  I  _  d  I  _  w  I  _  A  II),  and, 
consequently,  the  omission  of  the  pause  is  quite  as  frequent  here  as 
that  of  the  word-caesura  in  the  hexameter.  In  the  trimeter,  however, 
such  a  caesura  might  have  been  expected,  since  this  was  in  the  strict 
sense  recited  poetry. 

The  relation  in  the  first  ten  verses  of  the  Antigone  is  as  follows  : 

Vl  KOivov  avTaSiXcjiov   Icr/JLrjvrj^  /capa, 
ap   OLcru    oTi  Zicl'9  tiov  air   yJibnrov  KaKujv 
OTTOiov  ov)(l  vwv  cTt  ^ioaaiv  TcXet; 
oi;0€V  yap  ccrr   aAyctvov  ovo    arr;?  arep 
5  ovT   alcr^pov  ovt  art/xov  iaO  ,  biroiov  ov 

TWV  (TUiV  T€  Kap,WV  OVK  OTTWTT     CyO)   KaKtUV. 

Kttt  vvv  TL  TovT  av  <f>a(TL  Trav^rjpnii  TroAet 
KTjpvyfxa  Ouvai  tov  CTTparrjyov  apTioi^ ; 
£^€19  Tt  KiLCTYjKOvcra'; ;    rj  ae  XavOdv€L 
10  Trpos  TOV?  </>tAoi;s  cmL^ovTa  twv  i)^Opojv  KaKo.; 

_  d,  I  _  v^  I  _  ^  I  _  w  I  _  A  II  in  2,  3,  6,  (7),  8. 
_,  d   I  _  w  I  _  ^  I  _  w  I  _  A  II  in  4,  5,  (7),  10. 
_  ^   |_v^|_d  |_w|_  A  II  in  1,  9. 

This  will  serve  as  a  type  of  the  general  case,  though  commonly  the  first 
sort  of  verse  occurs  in  greater  proportion  than  here. 


> 
> 
> 


86 


$  26.     THE    RECITATIVE    TYPE. 


It  would  seem,  however,  that  in  recitation  there  was  earlv  a  tendency 
to  put  tlie  two  chief  ictuses  upon  the  first  and  fourtli  measures,  giving 
the  verse  the  appearance  of  being  divided  into  two  tripodies  : 


> 


v^ 


> 


w 


> 


This,  however,  cannot  liave  been  the  original  method,  and  is  in  conflict 
with  the  division  of  the  verse  into  dipodies.  Nevertheless,  in  recitation, 
the  verse  must  often  have  been  unconsciously  divided  into  two  such 
equal  parts  of  three  measures  each.  This  is  proved  by  the  frequent 
close  in  the  thought  at  the  end  of  the  third  measure  and  the  fact  that 
the  cyclic  dactyl  occurs  oftenest  in  the  fourth  measure : 


^^ 


w      \y 


\j. 


Ill  'i  '  '1^'  li  ■'•''*  ^i'fie  also  it  was  thus  declaimed,  and  so  there  arose  the 
modern  Ah  \aihirine  verse,  J  -1,  1,  E. 

IV.  The  tt'trameter  scazon,  employed  in  p.irtieular  by  Ananius,  con- 
sists of  two  trochaic  tetrapodies  \\\\\\  (Iiaercs'is  ;  the  second  has  haltiii<»- 
close  {\  11,  <;,  I.): 

T(ni'  K(iA(nv  rt    ou-oje  npurToi'  K(if)i<i  cK  (rrK6/y9  (fivkXcv.      An  AX. 

V  w  V,'      __.   w   |wwvy|  —  w,   'I  \J  \  v^   [i [ 

—    ^  \  —  >  \     —    wi_w,  I1_v^1_>Il_!_ 


KJ 

Ky 


V.    The  choViamhm,  trimeter  scazon  {\   11,  <>,  I.),  consisting  u{  two 
iambic  tripodies,  tlie  scconil  with  halting  eJose. 

K/xot  yap  ovK  t6<i)K(i<;  orre  ttm  -s^Xtuniv 
haamiw  <iv  y^eifjAZii  (fn'ipfxaKov  /nyei<j 
orr   (icrKeprjdL  roe?  Troda^;  ^aaai^aiv 
CKpri/za?,  (I)s  /o/  /xot  y^tjji^TXa  f)rjyivT(iL.       JIlPPOX. 


w 


^^1    Ky 


K^' 


\y 


II 


■      ^,     .    —    ^ 


\y 

I 


A  r.  The  verse  named  1)y  the  old  writers  on  metric  l^afi^Tpov  r-fpir- 
Too-vAAaySe9,  ypiooi'  i]vh]fJi€V(n\  consists  of  a  logaoedie  tetrapodv  of  llir.c 
cyclic  dactyls  and  an  irrational  choree  as  final  measure,- — -followed  l)v 
a  falling  choreic  tetrnpody.  It  always  lu.s  diaeresis,  ai.d  uec  urs  on!\ 
in  the  coniie  writers. 


§  26.     THE   RECITATIVE  TYPE. 


87 


avTOjjLdrr]  Se  (fiipei  riBv^aWov  Kat  crc^aKOi/  Trpos  avTo 
aacfxipayov  kvtl(tov  t€  •  vairaicrLV  8  dvOepLKOs  dvrjfSai 
Koi  <j)\6fJL0V  dijidovov  u)(TT€  TTapuvai  truer L  rots  dpyovdLV. 

Cratin. 

wl-^wl-^vyl_>,  ll_w|    _    w!l_!_AI1 

"  _  >,  II  _  w  I  w  w  w  I  L_  I  _  A  II,  etc. 


\y 


w 


w 


Yir.  The  metrnm  Cratineum.  consists  of  a  first  Glvconic  and  a  com- 
mon  choreic  tetrapody,  generally  with  diaeresis  indicated  by  the  close 
of  a  word.  It  is  one  of  the  sorts  of  verses  with  which  the  poet  addresses 
the  public  in  the  parabasis  of  comedy. 

Eete  KKJdo-yaxr  dva^  X^'^p'?  ^^i^^o-K    F.Kt^avTiSrj'^.      CraTIN. 

•   _  w  !  _  w  I  L_,  II  _  w  I  _  >  1  _  w  I  _  A  II. 


^ 


Trdvra  cfioprjra  Trdvra  ToX^rjra.  Tt^^€  tw  X'^P^-      ^^I- 

_  ^  i  _  A  II 


\j 


\y 


w 


\y 


\y 


VII I.  The  metrum  JEupoUdeum  is  like  the  vietrnm  Cratuieuni  in  every 
respect,  except  that  the  first  sentence  is  a  third  Glyconic.  Its  use  is 
the  same. 

Trai'Toiot?  y€  jjurjv  K€cfiaXi]v  avOefioL^  ipeTTOfxai, 
X€LpLOi<;,  p(>8ot9,  KpLi€(Tiv  Koa"/xoo"ai'8aAots  tot?, 
Kal  (Ttfri'/x/iptot9,  aie/xcovcoi/  KaXvtc  r    >)ptvat?.       CraTIX. 

!l  _  w  I  _  w  I  _w  I  _  A  II 
i'  _  v.y  I  _  w  I  _  w  1  _  A  II 

11  \J  \  KJ  \  \J  \  A   11 . 


\J 

\J 

\J 


IX.  The  fird  Priapeus,  so  called  because  it  was  especially  used  in 
Triapean  satyric  songs,  belongs  here  as  metre  of  the  old  parabasis. 
The  other  two  Priapei,  given  below,  have  quite  the  same  use.  It  con- 
sists of  two  tirst  Glvconics,  one  catalectic  and  one  fallinii-.  Diaeresis 
is  u'enerallv  indicated  bv  the  close  of  a  word. 

dAAa  BiaLTav  rjv  i^ovcr   ot  KoAa/cc?  Trpo?  t'/xa? 
Xet()pi.€v  '    dXX    aKovcraO    w?  k(Tfxev  d-rravTa  kojluJ/ol 
di'op€<; '    orotcrt  TrpuiTa  fxkv  irat?  d/coAov^o?  Icttlv 
aAAorpto?  TO.  TToAAd,  [XLKpov  Se  to  Kapvov  avTOv. 

Eup.  Col. 
-^  w  !  _  v^  1  _  w  i  L,  !l  -^  ^  I  _  w  I  L_  I  _  A  II, 
less  frequently 

-ww1_wIl_1  _A  !1. 


v_/ 


w   I   _  v^   I   L_ 


88 


i  L'G.     Tin:    RECITATIVE   TYPE. 


X.    The  s^co //(I  Prlrrpeus  consi'SU  of  two  ^mcoiuI  Glvcoiiics,  oiil'  ruLa- 
k'Ctie  and  oiu-  t;lllill^■. 

l}f)l(TTt)<rn   IjIv    LTfHOV   XiTTTOV  /JLLKpOV   ttTrOK/Xas.         CirVTIN'. 

_   d    i    -vy  W    i    _   W    I    L_,     ii    _    d    i    -^   W    I    l_    I    _   A    il. 

XL    ^Ihv  l/i/n/  l'j-i(ijH//,s  con<:ists  of  a   catalt-ctic   third    antl   a   lalliii 
second  (Ilvconir. 

ov  ^ef^rjXo^  <T,  TiXcrat  rov  v€ov  Alovv<tov.      EuPIIOHIO. 

^w|l_|_A  II. 


cr 

O 


^     —  \y 


v-/ 


Xil.  Finally  for  the  classic  period  the  anapaestic  tetrameter  is  to  be 
noticed,  uldch  like  the  Priapei  was  used  in  the  parabasis.  It  consists 
of  a  full  and  a  falling  anapaestic  tetrapody.     The  verse  has  caesura. 

€vcliqfi€LV  XPV  KaiLaTaiTVat  roiv  t]/  frrpoto-t  ;)(opoto-ti/, 
ooTt?  uTretpo?  TottovSc  Aoyojv,  rj  yi/io/xr)  /jlj)  KaOafjevei^ 
^  yevvaciDV  opyia  Mova-uiV  firjr  tlSev  fxrjT   c;!(o/)ci;o-€i/. 

Ar.  Rax. 

_i I I I— ,  _ll_wwl_wv^!i_,|_All 

_:v^vy_| |_^w|_,  _ll |_v^w|i_i!_All 

-_i I |ww_|_,  _l! |_ww|i_j|_All. 

The  name  is  derived  from  the  fact  that  the  measures  were  uidted  two 
and  two  into  an  ^/g  measure. 

—  '• I ,  —  II  —  wv-/  —  v^w|i__i A   II. 

XIII.  In  the  Alexandrian  time,  further,  two  ionic  dipodies  were 
united  without  anacrusis  and  with  great  license  (especially  in  the  occur- 
rence of  anaclasis)  into  the  so-called  Sotadnnn. 

rjfirjv  T  iparrjv,  koI  kuXov  tjAiov  TrpocrwTrov. 

ww| "^^j  'I  —  ^  —  ^1 A   II. 

pr)(TLV  o    ayauYjv  av  SeSo/xevrjv  <f>vXa(T<T€  crairrtu. 

v^v^'l  —  wwv^'wll  —  \j  —  w| A   II. 

ov  KptVCL  8lKat'(09  TOl  KUT    BkvOpoyjTOV  f.Ka(TTOV. 

—  >_wl WW,   II KJKj\ A    II. 

XIV.  The  Galllamhic,  an  enthusiastic  metre  found  especially  in  the 
poems  sung  to  Cybele  by  her  priests  (the  yaXXol),  consists  of  two  ionic 
dipodies  with  anacrusis.     The  pure  form  is  : 

v^w: wwl ,  wwll wwIl_jA  II. 

The  anacrusis  is  frequently  contracted,  less  often  the  arsis  of  the  second 
measure : 


§  27.     THE   LYRIC   TYPE. 

__  :  \j  Kj  \j  \j  \  . , 1' \j  \j  \j  \j  \  i-^  f\  !l. 

aXs  €VT€a  TraTaycxrai  kol  x<iXKea  KporaXa. 

The  funn  witli  ditborees  (which  may  be  resolved)  is  more  fre(|uent 

_  v_/  w  w  w  I  I I  A   II. 


89 


^'  \^   .    \y  Ky  KJ 


vy 


w  w 


ndi  capita  Maenades  vi  jaciunt  hederigerae. 

Catullus  has  left  us  a  poem  in  tliis  metre  {carm.  G3j  which  is,  of 
course,  designed  for  recitation.  He  has  used  a  stereotyped  form,  and 
has  deviated  from  it  only  in  a  few  verses.  This  form  can  be  gathered 
from  the  first  five  verses  of  the  poem  : 

Super  alta  vectus  Attt-^  celeri  rate  maria 
Phrygium  ut  nemus  citato  cupide  pede  tetigit 
adiitque  opaca  silvis  redimita  loca  deae, 
stimulatns  ibifurenti  rahie,  vagus  animisy 
devolvit  He  acuto  sibi  pondere  silicis. 

This  is  the  metrical  model ;  but  the  Romans  certainly  recited  quite 
differently,  viz. : 

^: w| wIl_|_,  0)11  —  wlwwwl  —  A  II. 

XV.  Finally  a  verse  of  Anacreon  may  be  mentioned,  which  also  be- 
longs to  the  present  type,  though  it  was  sung : 

w:wwwlL_|-^w|L_ll-^yw|_w|L_|_AIL 
dvaTreTO/JLai  Srj  Trpoq  OXvfxtrov  Trrepvyioro'L  Kov<f>ai^ 
Slol  rov  epwT  '   ov  yap  ifjLol  trats  iOiXei  o^vrjpdv. 

4.  It  is  worthy  of  notice  that  no  verses  in  quinquepartite  measure 
occur  in  recitative  poetry.  Paeonics,  like  bacchii,  are  hard  to  declaim, 
and  are  used,  therefore,  without  exception  (as  also  the  dochmii)  only  in 
poems  designed  to  be  sung. 


§  27.    The  Lyric  Type. 

I.    Free  Metrical  Forms. 

1.  Before  taking  up  the  lyric  type  proper,  a  metrical  license  which 
was  developed  in  it  must  be  considered. 

To  recitative  poetry  there  properly  belong  only  the  dactylic  hexame- 
ter, trochaic  tetrameter,  and  iambic  trimeter.  The  remaining  verses 
enumerated  in  the  preceding  paragraph  were  borrowed  from  lyric  poetry 
at  a  later  stage  of  its  development,  with  exception  of  the  anapaestic 


90 


§  27.     THE    LYRIC   TYPE. 


tetrameter,  wliich  was  originally  a  march-melody.  The  verses  borrowed 
from  lyric  poetry  are  logaoedic ;  and  logaoedic  verses  are  distinguished 
by  variety  in  the  form  of  their  measures,  which  can  be  attained  oidy  by 
a  freer  treatment  of  the  quantity  of  syllables. 

It  has  already  been  remarked  in  §  20,  2,  that  the  verses  of  lyric 
poetry  proper,  consisting  in  general  of  only  one  sentence,  seldom  had 
the  chief  ictus  on  the  first  measure.  To  give  the  following  verses  e.  <r, 
this  intonation : 

UoLKLXoOpov  dOdvar  *A<^^o8ira, 
Trat  Atos  8oAo7rAo*c€,  XLoro-o/nat  crc, 
firj  fi   da-aia-L  ^rjr   ovtatrrt  Sdfxva,  Trorvta,  Ovfxov, 

—  ^  \  —  w  II,  etc. 


\j 


\j 


\y 


would  be  altogether  unnatural.  In  the  melody  also  all  effect  would 
have  been  lost,  if  the  verse  had  begun  with  an  especially  strong  ictus 
and  closed  feebly.  The  rhythmical  sentence  becomes  a  unit  through  its 
one  chief  ictus,  let  it  stand  where  it  may,  exactly  as  the  grammatical 
sentence  may  have  its  chief  ictus  at  the  most  different  places. 

The  following  musical  sentence  e.  g.  may  be  used  for  the  above 
strophe : 


Ii3=g|^i 


I 


Iloi     -     Kl     -     \6 


dpov'    a    -    66.  -  var      'A    -    0p6  -  5t    -    ra, 
and  so  on. 

The  first  measure  appears  almost  like  anacrusis.  It  is  metrically, 
therefore,  used  very  freely.  In  the  old  lyric  poets  it  may  be  not  only' a 
choree  proper  (^  w),  but  also  an  irrational  choree  (^  >),  an  inverted 
choree  (w  _,  certainly  not  an  iambus,  w  ^),  or  even  a  shortened  choree 
{yy  Kj).  —  This  has  been  named  the  basis,  a  name  which  will  be  retained. 
But  it  must  be  noted  that  the  basis  forms  an  inherent  part  of  the 
rhythm  and  is  not  simply  introductory  to  it.  The  ancients  themselves 
understood  by  pdcri^,  measure,  so  that  with  them  ySacrt?  =  ttoi-s  in 
general. 

The    second   Glyconic,   for   example,   had    four  different  forms  by 
change  in  the  basis,  viz.: 

ovT€  fjLYjv  drraXrjv  Kaa-iv.      Ay.fr.  12. 
(TTiklBiiiV  Koi  yeyav(Dfj.€vof;.      Id.fr.  13. 
efjd)^  TrapOevLoi;  TToOio.      Id./r.  13. 
aye  Sy  ;(eA.u  Bid  fioL.      SAPPH./r.  45. 


—  w 
_> 

w  


_  v>  I  _  A  II 

_  v..  I  _  A  II 

_  ^  I  _  A  II 

-  v/  I  -_  A  II 


I 


I 


I.     FREE   METRICAL  FORMS. 


91 


This  basis  is  found  also  in  the  other  logaoedic  verses  of  the  old 
Ivric  poets,  even  with  preceding  anacrusis.  The  following  examples 
from  Alcaeus  will  illustrate : 

*A(TvveTrj/xL  TU)V  dv€fJLO)V  aracTLV 

TO  pikv  ydp  evOev  KVjxa  KvXtVoerat, 

TO  8'  ivOev   dfj-ixa  8    dv  to  fxecrcov 

vat  <f>oprjp.eOa  avv  /xcAatm. 

\^\  \j  \j  \  —   \j  \  —\y  vy  1  —  w  I  —  A  II 

^i_w|_>i-ww|_.^|_All 


'HX^cs  €K  TrepdTiDV  yds  cX€</>avTtVa9 
Xd/3av  TO)  iL(f)€0<s  xP'^a-oSeTav  ex^iV 
€7r€t8^  fxiyav  dOXov  Ba^vXwi/tots 
cu/A/xax^t?  TcXccra?,  pvaao  t  Ik  ttovcov, 
KTcVvat?  avSpa  /xaxatVav  Pao-LXrjLoyv 
TrakaicTTav  diroXeiTrovTa  p.6vov  fiiav 

Tra^cW  aTTo  Trc/i-TTwv. 

I  _  w  I  _  A  II 
_A  II 
_A  II 
_A  II 
_A  II 
_AII 


KJ 

<J   

W   

\J 

_> 
W  


W  1 
WJ 
Wl 
Wl 

wl 

^1 


2.  When  lo^'aoedic  verses  began  to  be  used  also  in  recitation,  the 
basis  remained.  But  a  recited  verse,  in  w^hich  the  element  of  melody 
is  lacking,  must  follow^  the  rhythm  more  strictly,  or  it  will  else  appear 
like  a  sentence  of  prose.  Therefore  equality  in  the  measures,  at  least, 
must  be  preserved  :  a  measure  of  two  shorts  (^  ^,  pijrrhlc)  is  no  lon- 
ger admissible.     The  tri])rach,  however,  is  admitted,  but  seldom. 

Both  sentences  of  the  Eupolidean  verse  (§  26,  3,  VIII.),  as  well  as 
of  the  second  and  third  Priapean  verses  (ib.  X.,  XL),  begin  with  such  a 
basis ;  but  in  the  Cratinean  verses  (ib.  VII.)  only  the  second  sentence 
does  this,  since  the  first  begins  wdth  a  cyclic  dactyl,  which  must  be 
kept  as  characteristic  measure  of  logaoedic  verses.  On  this  ground  the 
first  Priapeus  has  no  basis. 

The  following,  therefore,  in  which  all  the  possible  forms  of  the  basis 
are  jriven,  is  a  more  accurate  statement  of  the  different  recitative  metres 
than  was  given  in  §  2G. 


92 


§  27.     THE   LYRIC   TYPE. 


Metrtim  Cratineum : 


1-^1- 


\^ 


—  > 

W  — 


-  e  1  _  ^  I  _  A  II 


\-/  w  w 
Metrum  EiipoUdeum : 


w 

__> 

V-/    

\J 

\J  \J 

KJ 

_> 

V-/    

\J 

V^    \J 

KJ 

_> 

V^    . 

\J 

V-/    \y 

> 


w 


-e|_w|-.A 


I- 


\j 


-All 


> 

v./ 


_    II    K^ 

—   > 

W   

KJ    \y    KJ 

Priapeus  secundus : 

W  1  L_  II  _  ^ 
_  > 

w  w  v-/ 

Priapeus  tertius  : 

w|l_II_w    -A^vy|i_I_AII 
—  > 

v^  

w  v^  w 

ToXrjOrj,  V7J  Tov  Aiowcrov  tov  iKOpiil/avrd  fX€. 

Ar.  iW^.  518  5^. 

—  ^f  —  ^!-^^Ii— ,  II  —  w|_w|_w  |_AII 
->|_>|-v.^|i_  ll_^|_>|__w|_All. 

3.  In  choric  poetry,  which  was  accompanied  bv  dancin?,  the  basis 
is  not  admissible.  For  here  the  measures  must  have  an  exact  len^-th 
or  the  dance  will  be  but  a  planless  moving  of  the  chorus  to  and  fro. 
The  pyrrldc  therefore,  first  of  all,  is  not  allowable  under  any  circum- 
stances.  The  strict  dance-rhythm,  moreover,  demands  also  a  strict 
melody  according;  exactly  in  strophe  and  antistrophe.  Therefore  the 
measures  must  accord  metrically.  The  irrational  measures  may  indeed 
correspond  to  the  rational  (_  ^)\  and  two  shorts  may  stand  as  equal  to 
the  simple  long  (_  \^^  and  _  wo),  since,  in  singing,  two  short  notes 
which  fall  to  two  syllables  in  the  strophe  can  without  difficulty  be 
transferred  to  a  long  syllable  in  the  antistrophe  (just  as  every  circum- 
flexed  syllable  in  prose  has  two  notes).  But  it  is  impossible  for  a  proper 
and   an   inverted  choree  to   correspond   metrically.      For  how  could 

j    ^  ^^^^^  m"  J  ''^^l"'i^  t^^^  same  melody  ?      Consequently  in  choric 


II.    THE  EPODES. 


93 


poetry  a  metrical  correspondence  like  ^  w  is  altogether  inadmissible 
and  the  very  few  places  where  it  occurs  are  in  corrupt  passages,  which 
are,  therefore,  to  be  emended. 

But  valid  objections  could  not  be  made  to  a  correspondence  like 
V.  ^  since  here  not  only  the  length  of  the  measures  is  exactly  pre- 
served but  also  the  last  two  eighth-notes  can  easily  be  united  into  a 
sin-le  'syllable.  And  so  in  fact  an  inverted  choree  corresponds  to  a  tri- 
bradi  several  times  in  the  choruses  of  Pindar  and  Euripides.     For  an 

example  see  §  17,  4,  I. 

With  this  exception,  w  -  at  the  beginning  of  a  logaoedic  vers  is 
generally  to  be  divided  w  i  l-  1.   Examples  occur  m  §  22,  U,  B  and  O. 


§  28.    The  Lyric  Type  (continued). 

II.    The  Epodes  {pi  i-n-wBot). 
1     In  recitative  poetry,  which  appropriated  to  itself  the  simplest 
forms,  occurs  the  most  primitive  sort  of  rhythmical  period,  the  recita- 
live  verse-  this  consists  of  two  sentences  which  either  have  equal  length, 
or  the  second  of  which  is  catalectic  or  "  falling,"  or  is  even  shortened 
by  an  entire  measure.     In  the  oldest  lyric  poetry,  as  cultivated  in  par- 
ticular by  Archilochus,  a  step  is  taken  toward  a  further  development. 
The  vers'e  is  no  longer  an  independent  period,  notwithstanding  the 
pau'^e  that  closes  it  and  the  fact  that  it  may  consist  of  two  sentences ; 
but  a  new  verse  follows,  sometimes  in  quite  a  different  rhythm,  which 
is  either  to  round  off  the  melody  of  the  first,  or  to  constitute  a  contrast 
to  it.    In  this  way  the  two  are  united  into  an  organic  whole,  which  has 
a  tixed  melody  that  returns  with  every  repetition  of  the  two  rhythms. 

2  In  considering  the  best  known  epodic  "strophes"  which  have 
been  preserved,  we  naturally  begin  with  the  "  distichon,"  which  consists 
of  two  dactylic  verses,  the  "heroic"  and  the  "elegiac"  hexameter 
(versus  elegiacus).  The  latter  is  usually,  but  erroneously,  called ;../e/«- 
meter.     An  example  has  already  been  given  in  §  II,  6,  III. 

The  distichon  was  a  melody  used  chiefly  to  express  sorrow  or  lamen- 
tation.  Not  only  the  so-called  elegies,  however,  were  written  m  this 
rhythm,  but  also  many  of  the  martial  songs  of  Callinus,  Tyrtaeus,  Archi- 
lochus,  and  Theognis.  Later  it  was  used  more  and  more  in  gnomic 
poems,  composed  first  by  Theognis  and  then  by  Solon  and  many  others. 
Finally,  it  was  frequently  employed  in  humorous  love-songs,  as  later  m 


94 


$  28.     THE   LYRIC   TYPE. 


the  Amoves  of  Ovid.     These  poems,  nevertheless,  always  improperly 
retained  the  name  of  "  elegies." 

3.  There  were  other  melodies  also,  which  were  used  for  comic  effect, 
m  particular  those  in  which  the  difference  of  the  verses  iu  metre,  or 
a  marked  disparity  in  their  length,  expressed  the  intended  contrast  in 
a  lively  manner.  In  these  the  longer  verse  may  follow  the  shorter,  by 
which  a  comic  effect  is  produced.  The  hearer  expects  after  the  first 
short  verse  a  still  shorter  one  to  follow,  a  satisfactory  close  being  com- 
monly attained  in  this  way.  But,  on  the  contrary,  the  second  is  made 
much  the  longer.  Such  successions  of  verses  are  really  a  continuing- 
series  of  comic  effects  of  the  unexpected  sort.  (Cic.  de  Or.  II.  §  255  : 
Sed  scltis  esse  notmlmim  rldiculi  f/euus,  cum  allud  exspedamus,  aliud 
dic'Uu7\) 

Since  the  rich  epodic  literature  of  the  Greeks  has  been  lost  with  the 
exception  of  a  few  fragments,  the  epodes  of  Horace  must  be  used  in 
illustration.     The  forms  he  has  employed  are  the  following : 

I.  The  iambic  group,  consisting  of  an  iambic  hexapody  and  an 
iambic  tetrapody. 

^i-v^|_^|_w|_d|_wI_All 
^i— w|_e|_w|_AII 

Ep.  2. 
Beatus  ille,  qui  procul  negotiis, 
nt  prisca  gens  mortalium  .  .  . 

II.  The/rst  Vgthiamhic  group,  consisting  of  a  dactylic  verse  of  two 
tripodies  (hexameter)  and  of  an  iambic  tetrapody. 

—  '^^^  I  —  vX>  I  — ,  C73;  II ^u:z>  j ^  \^  I II 

ei-w|_d|_w|_AII 

Ep.  15. 
Nox  erat  et  caelo  fulgehat  luna  sereno 
inter  minora  sidera. 


ITT.    The  second  Pgihiambic  group,  consisting  of  an  iambic  trimeter 
following  the  dactylic  hexameter. 


K.A^ 


di 


\J 


> 


,    ^A^     !I    V-A^     [    V^   V_/    I II 

_v..|_d|_w|_AII 


Ep.  16. 
Altera  jam  teritur  belUs  civllibus  aetas, 
suis  et  ipsa  Roma  viribus  ruit. 


11.     THE   EPODES.  ^^ 

IV.   The  Alcmanian  group,  consisting  of  a  dactylic  hexameter  fol- 
lowed  by  a  dactylic  tetrameter. 


\y^^ 


\.y^ 


\y^ 


w  v^ 


Z^  1  —  v-/  ^ 

II 


11 


Ep.  12. 
Quid  tlbl  vis  muller  nigris  digmssima  barris  ? 
tnunera  cur  miJd  quidve  tabellas  .  .  . 

V  Horace  has  not  used  groups  of  two  verses  eaeh  in  ^vluch  the 
loucer  follows  tlic  shorter,  but  by  uniting  two  sueh  has  for«>ed  four- 
linell  groups  of  this  kind.     Cf.  f  29,  3,  II.  and  V. 

4  Bv  a  further  developmeut,  three  verses  are  united  in  a  gi'oup 
aeeordiii  to  the  following  law  :  the  group  begins  with  a  long  verse, 
followed  by  a  second  that  is  shorter  and  in  different  measure.  The 
thinl  verse  reconciles  this  opposition,  either  returning  to  the  measure  of 
the  first  verse  or  having  a  greater  length.     There  are  three  kinds : 

I.  The  first  Jrchilochian  group,  consisting  of  a  dactylic  hexameter, 
an  iambic  tetrapody,  and  a  catalectic  dactylic  trimeter. 


\J^^ 


_uw|_^:a^1I  —  ^^1— ^^ 


11 


> 


\J 


> 


\j  y^  \  —.\J  ^ 


_^1_A 
_  A   11 


Ep.  13. 
Jlorrida  tempestas  caelum  contraxit  et  imbres 

nivesque  deducunt  Jovem. ; 
nunc  mare  nunc  siluae  .  .  . 

II.    The  second  ArcJdlochian  group,  consisting  of  an  iambic  hexapody, 
a  catalectic  dactylic  trimeter,  and  an  iamhic  tetrapody. 


>  : 


>  : 


W  1  - 


d 


w 


d 


_wl_A 


A  11 
_A  11 


Ep.  11. 
Pecti,  nihil  vie  sicut  antea  juvat 

scribere  versiculos 
amore  perculsum  gravi. 

Ill  The  ihird  Archllocldan  group,  consisting,  in  the  original  form,  of 
a  dactylic  tetrapody  with  the  last  measure  always  a  dactyl,  a  trochaic 
tripody,  and  a  falling  iambic  hexapody. 


wsam 


96 


$  29.     THE   LYRIC   TYPE. 


\y^^ 


y^\^ 


^  \y 


v-/ 


w 


> 


w 


> 


w  I  _  w  I  L>  I  _  A  !l 


Archil,  fr. 

KupSirjv  cAvcT^cts 
TToAAryi/  KaT  (jL^kvv  ofifxaTiov  e)(^ev€v. 

For  the  remodelling  of  this  group  by  Horace,  see  §  29,  3,  HI. 

IV.   A  peculiar  sort  of  three-lined  epode  has  been  preserved  in 
Aristophanes,  Ban.  VI.  (410-418): 

^i_w|_w|L_|__AII 
-  w  I  _  w  I  i_  I  _  A  II 


> 


OS  €7rT€Trj<:  WV  OVK  €(f>V(T€  <f)pdT€pa^. 


§  29.    The  Lyric  Type  {continued). 

III.    Four-lined  Groups. 

1.  It  is  not  by  mere  chance,  that  four-lined  groups  are  the  prevail- 
ing form  in  Greek  poetry  that  was  designed  to  be  sung.  This  is  nota- 
bly the  case  also  in  English.  By  such  a  grouping  symmetry  could  be 
attained  along  with  variety  ;  and  thus  the  whole  m'ade  a  satisfactory 
impression,  while  the  nu'lody  still  possessed  in  itself  enough  of  variety 
not  to  be  tiresome  by  continued  repetition. 

In  Aeolic  (Alcaeus,  Anacreon,  Sappho,  etc.)  and  Ionic  lyric  poetry 
four-linc'd  groups  were  developed  in  great  variety.  But  since  little  that 
is  entire  has  been  preserved,  it  must  suffice  to  become  acquainted  with 
these  groups  as  found  in  Horace.— What  Horace  has  independently 
originated  or  changed  will  be  pointed  out  and  briefly  discussed. 

2.  First  form  of  construction  :  the  same  verse  occurs  four  times  with- 
out change. 

Whether  Horace  has  here  followed  the  model  of  Greek  poets  cannot 
be  certaiidy  determined,  but  this  is  probable. 

Tlie  repetition  of  exactly  the  same  verse  approaches  the  usage  of 
recitative  poetry,  to  uhich  there  is  here  a  further  correspondence  in  that 


in.    FOUR-LINED   GROUPS. 


97 


the  verses  are  independent  periods  consisting  of  two  or  three  sentences 

each. 

There  are  two  varieties  of  this  group. 

I.   The  lesser  Asclepiadean  group,  consisting  of  four  lesser  AscUpia^ 

dean  verses.  ,      .    -r.i 

The  versus  Asclepiadeus  minor  consists  of  two  catalectic  Pherecratean 

verses,  a  second  and  a  first,  with  diaeresis  : 


> 


Horace  is  peculiar  in  always  beginning  the  first  Pherecratean  with  an 
irrational  measure,  so  that  his  strophe  reads  : 

_  >   I  _^  ^  1  L_,   II  -^  W  1  _  W  I  _  A  II 


_  >   1  -^  W  1  L_,   II  -V.  W  1  -  ^  1  -  A   II 
_  >  1  -^  w  1  l_,  II  -v^  v^  I  -  ^  I  -  A  II 

__  >  1  _^  ^  1  ,__  Jl  -v^  w  1  _  w  1  _  A  II 

This  reo-ularity  results  from  Horace's  ignorance  of  the  rhythm.  He 
must,  of  course,  have  felt  the  rhythm  as  well  as  we,  but  he  made  a 
concession,  in  this  constant  use  of  the  apparent  spondee,  to  the  metri- 
cal  theorists  of  his  day,  who  concerned  themselves  wholly  with  longs 
and  shorts.  The  Latin  language,  moreover,  is  rich  in  long  syllables, 
but  relativelv  poor  in  short  ones. 

In  order  \o  give  a  clearer  idea  of  the  force  of  the  four-lmed  group, 
certain  principles  and  the  use  of  certain  geometrical  figures  must  be 
introduced  from  Book  V.  on  "  Eurhythmy." 

The  Asclepiadean  was  originally  a  period  consisting  of  two  logaoedic 
tripodies  corresponding  to  each  other.     This  is  indicated  by 

3/ 

Later  two  of  these  periods  were  united  in  a  group,  indicated  by 


in  which  the  curve  at  the  left  shows  how  the  entire  verses,  which  are 
now  onlv  subordinate  periods  or  groups,  correspond ;  the  curves  at  the 
right,  how  the  first  and  second  sentences  in  the  first  verse  correspond 
rt^spectively  to  the  first  and  second  sentences  in  the  second.    These  two 


98 


$  29.     THE   LYRIC   TYPE. 


verses,  though  metrically  exactly  equal,  were  not  here  independent 
periods,  but  were  closely  united  into  a  single  group,  the  melody  of  the 
first  verse  not  ending  with  the  key-note.  Perhaps  also  the  melody  of 
the  second  was  not  identical  with  that  of  the  first,  but  only  analogous. 
Four  verses  being  thus  united,  the  scheme  of  the  entire  group  would  be 


Concerning  this  scheme  cf.    §  34,  3,  4. 
The  melody  might  also  be  arranged 


\ 


or 


i.  e.  the  first  two  verses  corresponded  to  the  last  two. 
An  example  is  found  in  Hor.  carm.  III.  30  : 

£xef/i  moHumeyiinni  aere  perennius 
regalique  aitu  pt/ramidum  altius, 
quod  non  imher  edax,  non  Aqidlo  impotens 
posslt  diruere  aut  innunierabUls  .... 

It  is  worthy  of  note  here  that  the  groups  are  not  separated  by  punc- 
tuation. But  still  such  a  division  into  four-lined  groups  should  be 
made,  because  in  all  the  odes  of  Horace  the  total  number  of  verses  is 
divisible  by  four,  with  a  few  exceptions  where  interpolation  is  obvious. 
^  ir.  The  greater  Asclepiadean  group,  consisting  of  four  greater  Ascle- 
piadean  verses.  The  versus  Asclepiadeus  major  is  composed  of  a  cata- 
lectic  second  Pherecratean,  a  catalectic  Adonic,  and  a  catalectic  first 
Flierecratean  : 


\j 


Kj 


_wI_A  II, 

with  diaeresis  in  both  places.     In  Horace  the  first  measure  is  always 
irrational  (cf.  under  I.),  so  that  his  strophe  has  the  form  : 


III.    rOUR-LIXED   GROUPS. 


99 


11 

11 


__  >  1  -^  w  1 1-,  II  - 

_  >  I  -V.  W  1  L_,  11  ■ 
_  >  1  -^  v^  1  L-,  11  ■ 
_  >   1  -W  W  1  L_,   11  ■ 

The  division  of  the  greater  Asclepiadean  verse  is : 


w  1  _  w  1  _  A  11 

w  1  _  w  1  _  A  11 

w  1  _  v^  1  -  A  II 

w  1  -  v./  I  -  A  II 


:) 


i.  e.  the  first  and  third  sentences  correspond,  while  the  middle  one  has 
a  series  of  tones  of  its  own.     Cf.  §  34,  6. 

Since  here,  as  in  the  preceding  case  (L),  the  verses  are  no  longer 
independent  periods,  hut  have  become  subordinate  members  m  the 
crveater  whole,  the  division  of  the  entire  group  is : 


or 


1.  e. 


Hor.  corm.  I.  !!• 
Tu  ne  quaesieris,  scire  nefas,  quern  mild,  quern  tibi 
fnem  di  dederint,  Leuconoe\  nee  Babylonios 
tentaris  mmeros.      Ut  melius,  quidquid  erit,  pati  ! 
sen  plures  hlemes  sen  trihuit  Jupiter  ultimam 

3  Second  form  of  construction  :  an  epodic  group  is  repeated.  Here 
Horace  seems  to  be  for  the  most  part  the  originator,  since  among  the 
Greeks  these  epodic  groups  were  not  united. 

I.  The  dactylic  ArcUilochian  group :  the  repeated  group  consists  of 
a  dactylic  hexameter  and  a  dactylic  trimeter. 


— .  w^ 


WW    11    _   C^    I    —  V^  ^ 


II 


_  A  II 

— ,  ^^^ 
-Al 


ooll  —  ^7::^1— ^^1 


100 


§  29.     THE   LYRIC   TYPE. 


A  palinodic  period,  cf.  §  3-i,  3. 

HoR.  carm.  IV.  7. 

Diffitgere  nlves,  rede wd  Jam  gramina  campis 

arboribusqne  comae  ; 
mutat  terra  vices  et  decrescentia  ripas 
jlimina  inaetereunt. 

II.  The  greater  SappJdc  group :  a  group  is  repeated  of  wliieh  the 
first  verse  is  a  fallinnr  locraoedic  teiropodi/,  tlie  second  a  third  Priapeus, 
Horaee  has  here  also  always  used  the  irrational  measure  where  it  is 
allowed,  so  that  his  group  has  the  form : 


-  w  Il_I_  A 


-  >  I  -^  w  I  L_,  !! 
w  I  _  w  i  L_  1  _  A  II 
> 


W  I  — .  W      L_ 


w 


\J 


\J 


_  W      L_ 


I -A  II 
I^A]] 


HoR.  carm.  I.  8. 

Lgdia,  die,  per  omnes 
te  deos  oro,  Sgbarin  cur  properes  amando 

perdere;  cur  apricum 
oderit  campum,  patiens  pnheris  atque  solis  ? 

III.  The  logaoedic  Archilocldan  group,  as  used  by  Horace,  is  like- 
wise four-lined.  Cf.  carefully  §  28,  4,  III.  He  has  united  the  second 
of  the  three  verses  in  the  third  Arcliilochian  group  to  the  first,  since 
neither  f^jllaha  anceps  nor  Jdatus  occurs  between  the  two.  The  two- 
lined  epodic  group  so  arising  is  repeated  : 


t\ 


_  v^  I  __  ^  I  _  ^  I  _  ^^^   II  —  W  I  __  w  I  L_  f  _  A   II 

"  —  wl_ei__wi__wii_i_Aii 

-^|_v^|_v^|_v^j|_^|_^|l_i_a|| 
^:_w|_e|_w|__w|L_|__All 


III.    FOUR-LINED  GROUPS. 


101 


HoR.  Carm,  I.  4. 

Sohitiir  acris  hlems  grata  vice  veris  et  Favoni, 

trahuntque  siccas  machinae  carinas  ; 
ac  nequejam  stabuUs  gaudet  pecus  ant  orator  igni, 

nee  prata  cauis  albicant  pruinis. 

Horace  must  have  read  the  dactyls  as  cyclic,  for  it  is  impossible  that 
he  should  have  united  a  purely  dactylic  and  a  purely  choreic  sentence 
into  one  verse.  What  he  has  done  here  was  done  by  the  Romans  veiy 
commonly  even  in  hexameter,  so  that  their  sole  point  of  agreement 
with  the^  Greeks  was  the  scheme  of  the  syllables.  The  forms  of  this 
scheme  were  no  longer  sung,  but  only  recited ;  and  in  declamation  the 
difference  between  long  and  short  syllables  is  not  so  great.  Only  he 
who  feels  poetry  and  song  inseparable,  and  thus  grasps  the  thought  of 
the  forms,  recites  with  metrical  accuracy. 

lY.   The  four-lined  Alcmanian  group   consists  of  two   Alcmanian 
epodic  groups  united.     Cf.  §  28,  3,  I\. 


HoR.  Carm.  I.  7. 

Laudahunt  alii  claram  Rhodon  aut  Mytilenen 

aut  Epheson  bimarisve  Corinthi 
moenia  vet  Bacclio  Thebas  vel  Apolline  Delplm 

insignes  aut  Thessala  Tempe. 

Y.  The  interchanging  Asclepiadean  group :  a  group  is  repeated  con- 
sisting of  a  second  Glyconic  and  the  lesser  Asclepiadean.  Here  also 
Horace  has  regularly  used  the  in-ational  measure  when  allowed. 


10;i 


f  29.    THE   LYRIC   TYPE. 


>I 
>l 

>l 
>l 


Ky 


\j 


All 

A  II 


w 


v-/ 


_AI1 
_AI] 


Carm.  I.  3. 

>S'/c  /^  <//y«  potens  Cypri^ 
sic  f rat  res  Ilelenae,  lucid  a  siderUy 

ventorumque  regat  pater 
obstrictis  aliis  praeter  lapyga. 

4.  Third  form  of  construction  :  two  independent  groups,  wliicli  con- 
stitute a  sort  of  antithesis  to  each  other,  are  united. 

This  is  an  important  advance  toward  greater  variety. 

I.  The  contrasted  Asclepiadean  group :  the  first  period  consists  of 
two  lesser  Asclepiadean  verses,  the  second  of  two  second  Glyconic 
verses,  of  which  the  first  is  falling.     The  form  in  Horace  is: 


_> 
_> 


w 


_  > 
_  > 


\J 


w   I  _  v^  I   _  A   II 

^|_w|_Al] 

.-All 
_^|_AI] 


I. 


II. 


) 


HoR.  Carm.  I.  5. 

Quis  multa  gracilis  te  puer  in  rosa 
perfusus  liqnidis  urget  odor  id  us, 
grato,  Fijrrha^  sub  antro  ? 
cuifiavam  religas  comam  .  .  .  ? 

II.  The  Alcaic  group  :  the  first  period  consists  of  two  Alcaici  hende- 
casyllabi,  the  other  of  an  Alcaicus  enneasgllabus  and  an  Alca'icus  decaayl- 
lab  us. 


> 


\J 


KJ 


\J 


> 
> 
> 


v^ 


w 


_  A  II 
wl-AH 


w 


w 


I. 


II. 


'\J  \J  \  -^  \^ 


\y 


I 


') 

1) 


III.     FOUR-LINED   GROUPS. 


103 


HoR.  Carm.  I.  9. 

Fides  ut  alia  stet  nive  candidum, 
Soracte,  nee  jam  sustineant  onus 

silvae  laborantes  geluque 

fiumina  constiterint  acuto. 

Horace  has  introduced  diaeresis,  which  has  nothing  to  do  with  the 
rhythm.    It  does  not  occur  in  Alcaeus,  as  the  following  strophe  shows: 

^€LfxwvL  /xox^cvvTCs  /xeyaXo)  p.dXa ' 
TTcp  fxkv  yap  avrAos  lorTOweSav  €\€Ly 

Aat<^os  Sk  TTOLV  ^dSrjXov  t^^y} 

Koi  XaKtScs  fJiiyaXai  Kar   avro. 

III.   The  ionic  group :  the  first  period  consists  of  two  ionic  dipo- 
dies,  the  second  of  two  ionic  tripodies. 

I.     2' 
2' 


w  w  1 A   II 

wv^  I A  D 

w^j v^oj A    II 

wwl wwl aI 


D 


II. 


•) 


HoR.  Carm.  III.  12. 

Miserarum  est  neque  amori 
dare  ludum,  neque  dulci 
mala  vino  lavere,  aut  exanimari 
tnetuentis  patruae  verbera  linguae. 


5.  FourtJi  form  of  construction :  a  period  of  three  equal  verses  is 
closed  bv  a  fourth  as  a  sort  of  postlude  (eVwStKov),  which  may  also  be 
united  to  the  third  verse  without  pause.     Cf.  §  35,  I. 

I.   The  Asclepiadean  Ghjconic  group :  three  lesser  Asclepiadean  verses 


with  closins:  Glyconic. 


->l- 
—  > 


w  I  —  V  I  —  A  11 

7 

.,11     ^  w  1  -  w  1  -  A  11 
.,  II  -^  ^  1  _  w  1  -  A  II 

_  N^  I  -  AH 


I 


3 
3 

4   =    iTlfihlKhv. 


10^  §  29.     THE   LYRIC   TYPE. 

HoR.  Carm.  I.  24. 
Quis  desiderio  sit  pador  ant  modm 
tarn  cari  capitis  ?     Praecipe  lugubres 
cantns,  Melpomene,  cni  liquidam  pater 
vocem  cum  cithara  dedit. 

II.    The  common  Sapphic  group :  the  SappJiicus  minor  {^a-n-ffuKov  eVSc- 
Ka(Tv\\a/3ov)  three  times,  with  closiui^  Adonic.    The  form  in  Horace  is : 

V^    I   —   >    I   _,    ^A^    I    W    I   W   " 

_>    I. 


\y 


_^|_> 


•^^vy 


\y\^ 


KJ 


V^- 


KJ 


\y 


-\y  w 


_wl 


) 
) 

2    :=    ilTifdlKOV. 


HoR.  Carm.  I.  2. 
Jam  satis  terris  nivis  atque  dirae 
(jrandinis  misit  pater  et  rubente 
dextera  sacras  jaculatus  arces  terruit  urbem. 

Here  also  tlie  second  measure  is  always  irrational.  The  caesura, 
which  always  occurs,  has  not  the  least  to  do  with  the  rhythm,  but 
rather  disturbs  it  when  observed,  since  the  cyclic  dactyl  is  thereby  dis- 
membered. The  verses  in  Sappho,  since  they  are  not  divided  into  two 
sentences,  are  naturally  without  this  caesura,  and  the  second  measure 
is  not  always  irrational. 

WoiKiKod^ov  aOdvar  *A<5f)poStTa, 

Trat  A  to?  SoAoVAoKC,  AtVcro/xat  or€, 

fj.y]  /x   aa-atcn  firjT  oviaLdL  Sa/xt'a,  irorvia,  Ov^ov, 


that  is 


> 


\j 


_  w  I  __  v>  II,  etc. 


That  the  last  sentence  is  not  to  be  written  separately  is  shown  by 
various  examples  both  in  Sappho  and  Horace  (though  they  are  compara- 
tively fewer  in  the  latter),  in  which,  if  the  last  sentence  shouhl  be 
written  separately,  the  third  verse  would  end  in  the  middle  of  a  word. 

4>atV€Ttti  /xoi  Krjvo<i  t(Toq  OioLoriv 

€flfX€V  iiiVrjpy   OCTTL^   ivaVTLOS  TOL 

travel,  KOL  TrXacTLOv  aSv  (fi(i)V€Lira<s  viraKovu. 

Iliae  dum  se  tiimium  querentl 
jactat  ultorem,  vagus  et  sinistra 
labitur  ripa  Jove  non  probante  nxorius  amnis. 

HoR.  Carm,  I.  2,  v.  19. 


f 


IV.     LYRIC   SYSTEMS. 


105 


Here  it  is  obvious  that  the  last  verse  is  not  to  be  wTitten,  — 

labitur  ripa  Jove  non  probante  w- 
xorius  amnis. 

6.  It  is  here  proper  to  recapitulate  the  facts  which  show  that  the 
odes  of  Horace  were  intended  only  for  declamation  and  were  written 
after  given  metrical  models,  the  poet  not  being  governed  by  a  melody 
whose  demands  he  endeavored  to  meet. 

I.  The  irrational  choree  is  treated  as  a  distinct  form  of  measure, 
since  only  by  exception  the  rational  choree  takes  its  place.  Cf.  2,  I. 
and  II.;  3,  Y.;  and  5,  11. 

II.  Horace  used  all  dactyls  as  cyclic,  as  is  to  be  seen  from  his  con- 
struction of  the  logaoedic  Archilocliian  group  (3,  III.). 

III.  In  the  Alcaic  group  (4,  II.)  he  uses  diaeresis,  and  in  the  corn- 
won  Sapphic  group  (5,  II.)  caesura,  both  without  regard  to  the  rhythm 
of  the  verse. 


§  30.    The  Lyric  Type  {concluded). 

lY.    Lyric  Systems. 

1.  We  saw  in  §  26  how  two  rhythmical  sentences  are  united  into 
the  simplest  period,  the  recitative  verse;  then  in  §  28,  how  from  two 
independent  verses,  which  make  a  sort  of  contrast  to  one  another,  a 
unitied  rhythmical  group  arises.  In  the  same  paragraph  it  was  shown 
how  three  verses,  standing  in  a  beautiful  relation  to  one  another,  may 
be  united  into  a  carefully  rounded  whole.  Finally,  it  was  seen  in  §  29 
how  four  verses  are  united  into  a  group,  the  division  of  which  is  de- 
pendent upon  determined  laws  and  therefore  has  a  fixed  character. 

The  lyric  systems  to  which  we  now  proceed  may  be  characterized 
as  a  succession  of  verses  which  neither  of  themselves  constitute  rhyth- 
niical  periods  (since  they  do  not  consist  of  an  antecedent  and  conse- 
quent sentence  forming  an  antithesis  to  one  another,  as  is  the  case  in 
recitative  verses),  nor  appear  as  well-rounded  units  when  united  in 
lonfjer  series.  These  svstems  are  successions  of  verses  in  the  same 
measure,  consisting  generally  (originally  always)  of  a  single  sentence. 
Though  sometimes  arranged  in  four-lined  groups,  the  four  verses  stand 
in  no  relation  of  antithesis  to  one  another,  since  thev  are  all  con- 
structed  alike.     They  are  just  as  clearly  distinguished  also  from  the 


100 


§  30.     THE   LYRIC   TYPE. 


first  form  of  construction  of  the  four-lined  strophes  (§  29,  2),  since  the 
verses  have  no  antitheses  within  themselves. 

This  regular  movement  is  often  varied  by  giving  tlie  verses  (or  senten- 
ces) a  different  metrical  form.     But  in  doing  this  no  fixed  principle  is 
observed.     Even  where  four-lined  groups  seem  to  be  formed,  no  exact 
metrical  correspondence,  in  case  there  is  any  difference  at  all  in  their 
metrical  forms,  prevails  among  them.     If,  for  example,  two  metrical 
forms,  a  and  b,  interchange,  the  first  system  (the  first  apparent  r/ro/(jj) 
may  have  in  the  first  verse  the  form  a,  while  the  second  has  the  form  6, 
etc.     It  is,  therefore,  clear  that  these  systems  did  not  have  exactly 
the  same  melody;    they  are  rather  compositions  in  which  a  musical 
theme  was  sometimes  repeated,  sometimes  varied,  but  on  no  fixed  prin- 
ciple. 

These  systems  or  parts  of  them  are,  moreover,  often  closed  by  sen- 
tences of  fixed  form,  especially  by  falling  sentences  or  by  those  of  a  less 
number  of  measures.  These  final  sentences  arc  sometimes  a  sort  of 
postlude  (cTTwStKoV),  sometimes  they  constitute  real  antitheses.  But  even 
in  the  last  case  no  strongly  periodic  relation  arises,  since  only  the  last 
verse  (or  sentence)  of  a  series  has  its  antithesis,  while  each  of  the  verses 
(sentences)  would  have  one,  if  the  construction  were  periodic.  This 
is  in  fact,  it  will  be  remembered,  the  case  in  the  epodic  groups. 

Pinally,  the  verses  may  be  more  closely  connected  with  one  another, 
and  sink  into  merely  subordinate  sentences  not  separated  by  verse- 
pauses,  a  pause  occurring  only  at  the  end  of  a  group  of  several  such 
sentences.  This,  however,  does  not  give  rise  to  a  verse  in  the  proper 
sense.  For  such  a  union  of  sentences  into  a  li/ie  (crrtxos)  has  no  rhyth- 
mical division  within  itself  (is  not  a  fiirpov),  and  several  such  fines 
united  to  one  another  constitute  no  period. 

In  every  case,  therefore,  the  si/steni  is  distinguished  from  the  p-onj) 
by  having  no  strictly  regulated  antitheses.  If  several  sentences  unite 
without  pauses,  they  do  not  constitute  true  verses,  but  only  li/ies,  which 
it  is  not  possible  to  group  into  periods. 

In  the  lyric  system,  therefore,  the  sentence  is  really  the  highest 
rhythmical  unit. 

In  consequence  of  this,  these  systems  cannot  be  used  either  in  the 
choruses  of  the  dramas  or  as  march-melodies,  since  they  are  altogether 
unadapted  for  dancing  and  marching.  Neither  are  they  found  in  the 
monodies  of  Attic  tragedy  on  account  of  their  uniformity,  nor  in  the 
KOfifxoL  (§  33,  4,  A,  v.),  since  it  is  impossible  for  excitement,  deep  pas- 
sion, or  sharp  contrasts  to  be  expressed  by  them.     They  are   used. 


IV.     LYRIC   SYSTEMS. 


107 


consistently  with  their  nature,  only  in  simple  songs  for  the  people  like 
those  of  Anacreon  and  his  imitators,  and  then  in  comic  songs  of  Attic 
comedy.  Some  of  the  lyric  systems,  however,  are  very  similar  to 
irenuine  lyric  groups,  e.  g.  those  given  below  in  4,  I.  and  II. 

The  following  are  the  different  forms  of  construction  of  the  lyric 
systems. 

2.  First  form  of  construction  :  a  succession  of  verses  consist- 
ino-  of  only  one  sentence,  either  of  like  form  or  of  different  but  not 
regularly  changing  forms. 

I.  The  hemiambics,  iambic  falling  tctrapodies,  the  metre  of  several  of 
the  songs  formerly  ascribed  to  Anacreon. 

d  i  _  w  !  _  w  1  L_  I  -  A  11 

Anacreout.  19. 

'H  yrj  fxiXaiva  TrtVct, 
TTLvei  §€  ^ivhfi^  av  yrjv, 
TTtVet  OdXacraa  8    arpas, 
6  8*  "^Xtos  OdXaacrav, 
rov  8'  yXiov  creX-qvYj. 
TL  fxoL  ^(ix^o-0\  haipoL, 
KavTco  OiXovTL  irivuv; 

II.  The  Anacreojitics,  ionic  dipodies  with  or  without  anaclasis. 

A.  The  verses  with  dichorees  in  unbroken  succession: 

Anacreout.  48. 

AoTC  /i-ot  Xvprjv  'Ofxrjpov 
€t)OVLr)<;  dvevde  xop^rj?. 
ff)€p€  fJLOL  KvireXXa  Oeo-jXiov 
<f>€p€  fjiOL  vo/jiov^;  Kepacrcroi, 
IxSvoiV  OTTO)?  xPp^vcroi, 

VTTO  (TU)(t)pOVO?  ^€  Xv(T(TrjSy 

/ji€Ta  f^appLTow  dctSoJV, 

TO  TrapOLVLOV  l3oT](T0). 

S6t€  fxoL  Xvprjv  ^Ofxripov 
<l>ovir]'S  avcuOe  xopST]<s. 

B.  The  pure  forms  and  those  with  a  diehoree  in-egularly  inter- 
changed : 


108 


$  30.     THE   LYRIC   TYPE. 

v^w:_w_wf A  II 

^^:  —  >  —  w| A  II 

^^  : ww| A  II 

Anacreout.  37. 

Idc  TTcus  ^avivTO<;  rjpog 
XdpLTes  fjoSa  fipvovcTLv  • 
L0€  7ra)9  KVfxa  BaXdacTrj^; 
ttTTaAwcrat  yaXrjvyf  • 
t8c  TTcos  vrjo-aa  KoAu/x/?a  • 
lOe  TTojs  y€pavo<;  oSeva. 
d(f>€kws  8*  iXafiif/e  TtTav 

V€<f)€\C)y  (TKial  SovoivTaL. 
Ta  /3f)OTU)v  8'  tXafXipcv  €pya. 
Kap7roL<;  yaia  TrpoKVTrT^L. 
Bpopiov  (TTpa<f)lv  TO  vdpa 
Kara  <f>vXXov  Kara.  K\wva 
KaOeXiov  7JvOl(T€  Kapiroq. 


WO':  —  w  w  I  . 

KJ  \J  \    KJ   w  I  . 

w  w  : w  w  I  . 

w  w  :  —  w  w  I  . 

wo: w  ^y  I  _ 

^  ^^  :   —  w  v^  v^  w 
w  w  :  __  ^  __  v^  j  _ 

w  w  :  —  w  w  I  _ 

w  w  :  __  w  __  w  I  _ 

— -  * w  w  I  _ 

w  vy  :  —  w  w  I  _ 

wo: w  w  I  _ 

v.^  w  : w  w  I 


-_  A  II 
--A  II 
-_  A  II 

-_  A  II 

-_  A  II 

A  II 

--A  II 

.  —  A  11 

.-A  II 

.-A  II 

-A  II 

-A  II 

-A  II 


3.  Second  form  of  construction  :  a  division  into  four-lined 
groups  IS  indicated  by  tlie  punetuation ;  but  that  these  are  not  ^^enuine 
groups  in  whieh  the  same  melody  is  exaetly  repeated,  but  are%-ather 
systems  m  wlueh  the  singer  liimself  changes  the  melody  from  one  svs- 
tem  to  another,  is  shown,  exactly  as  in  the  Anacreontics;  by  their  irr^c.. 
ularity  m  the  interchange  of  metrical  forms  where  such  interchan:;e 
occurs.  ^ 


IV.     LYRIC   SYSTEMS. 

I.    Four-lined  hemiatubic  systems : 

Anacreont.  13. 

Ot  pkv  KaX7]v  Kv/Sr'ilSrjv 
Tov  yptOrjXvv  Attlv 
cv  OVpCCTLV  /3oQ)VTa 
XeyovcTLV  €Kp.avY]vaL. 

oi  8c  KXapov  Trap   o;^^ats 
8a</)vi7<^opoio  ^ol/Sov 
A.aXov  TTLovTet;  {'Swp 
fi€pr}v6T€<i  /SoQyaLV. 

iyoi  Se  Tov  Avatov 

Koi  TOV  p,VpOV  KOp€(TU€L^ 

KOL  Trjs  €prj<;  eTaLprjs 
OeXo)  OeXoi  jxav^vai. 

II.    Four-Uued  Anacreontic  systems : 

Anacreon. 

IloXtot  pkv  rjplv  -^hr] 
KpoTaf^oi  Kapr)  re  XevKOVf 
-^apUaaa  8    ovKeO    rjftrj 
TTCtpa,  yr)paXeoL  8*  6^6vt€<s, 

yXvKCpOV  8     0VK€TL  TToXXo'S 

/Slotov  )(p6vo<s  XcXctTTTat  • 
8ta  TavT   dva<TTaXvt,oi 
Oapia  TdpTapov  B^Solkws. 

*At8c(0  yap  €0-TL  8ctv6s 
ftv;)(09,  dpyaXerj  8'  €9  avTOV 
KdOoho^  '    Kal  yap  eTOipov 
KaTa/SdvTL  p.r]  dva/Srjvai. 


109 


_  w  _  w  ! A  II 

__  A  II 

__  A  II 

__  A  II 


Kj  \j  : 

w        w 

\j  Kj  : 

w       w 

KJ  w  " 

w       \J 

\^  w  : 

\y  —  w 

p-^v 


110 


§  30.     THE   LYRIC   TYPE. 


IV.    LYRIC   SYSTEMS. 


Ill 


w  w  :              w  v^ 

A 

w  w  :        w \y 

,   .     A 

w  w  :         \^ \^ 

A 

w  v/  :  vy w 

A 

^^•'—  w_w| A  II 

^  ^  :  —  w__w| A  II 

ww: wwl A  II 

^^  :  —  v^_w| A  II 


It  is  clear  that  the  first  verse  in  the  second  system  has  not  the  same 
melody  Avith  the  corresponding  verse  in  the  first  and  third ;  likewise 
that  the  third  verse  in  the  third  system  has  not  the  same  melodv  with 
the  third  verse  in  the  first  and  second  :  these  verses  do  not  correspond 
metrically. 

4.  Third  form  of  constructiox  :  verses  of  eqnal  length,  but  of 
different  metrical  form,  occur  in  a  fixed  order,  so  that  there  "'result  sys- 
tems of  fonr  or  six  verses ;  these,  however,  are  distinguished  from  the 
groups  of  §  29  by  the  fact  that  their  verses  are  always  composed  of  a 
single  sentence. 

The  first  sentences  of  the  system  are  distinguished  from  those  tliat 
follow  by  being  metrically  (but  not  rhythmicallv)  lon-er.  Generally 
they  either  have  anacrusis,  or  else  end  /nil,  while  the  sentences  at  the 
close  are  catalectic  or  falling. 

I.  Three  full  trochaic  tetrapodies  united  with  one  catalectic  trochaic 
tetrapody  in  a  four-lined  system  : 


> 

> 
> 


w 

v^ 
w 


—  O  I  _  ^  I  _  A    II 


^nacreon. 

IltoAc  SprjKLrj,  Tt  Srj  fi€ 
Xoiov  o/x/xacrt  /SXiirovcra 

VT/Acw?  (t>€Vy€L^,   8oKC€tS  Sc 

/x  ovSkv  ciScVat  (To<f)6v ; 

II.   A  catalectic  and  a  falling  first  Glyconic  used  alternately,  and 
united  111  a  four-lined  svstcm  : 

-^^w|_w!__^|_AII 

-^  w  I  _  w  I  L_  I  _  A  II 
-v^w|_w|__vy|_AII 
-v^  ^  I  _  w  I  !_  I  _  A  II 


Anacreont.  66. 

*HSi'/xeX^s  'Ava/cpcW, 
r]8viJi€Xr}<s  8c  ^awtfiii)  • 
TlivSapLKOv  Be  fJiOL  yutcXos 
crvyKepdcras  tls  cyp^cot. 

in.   Five  hemiambics  and  a  falling  first  Glyconic  united  in  a  six-  , 
lined  system : 


w  : 

W                W       1 

_  A  II 

\y  : 

x.  y              \.y       I 

A  II 

\j  : 

KJ               V-/       1 — 

A  II 

Ky  : 

W               W       1 — 

A  1 

Kj  : 

\y               \J       \ — 

-All 

— v-/  \y           y^     \ — 

_  All 

Anacj-eont.  38. 

Eyw  yipoiv  jxev  €ljjll, 

V€0)V  nXioV  8c  TTLVtx)  • 
KaV  fX€V  Bei]  )(Op€V€iVf 

HeiXrjvov  iv  piicTOLcn 
^t/xoi'/xci^os  ^opevau), 

(TK^TTTpOV  €)((DV  TOV  aCTKOV, 

5.  Fourth  form  of  construction  :  several  sentences  ending  full 
are  united  in  one  verse  and  closed  by  a  catalectic  or  a  falling  sentence ; 
—  or  catalectic  sentences  are  in  this  way  closed  by  a  falling  sentence. 
The  final  sentence  may  of  itself  constitute  a  verse  ;  so  likewise  the  pre- 
ceding sentences  may  be  divided  into  verses,  the  last  of  which  is  some- 
times united  with  the  final  sentence  in  one  verse.  The  final  sentence 
further  may,  in  place  of  being  catalectic  or  falling,  be  shortened  by  one 
or  two  measures. 

We  give,  in  what  follows,  systems  from  Aristophanes  aiTanged  ac- 
cording to  their  length. 

I.    JS-^.TII.  (973-976.) 


> 
> 


W  I  L_  II  _  d 


\J 


ei 


W 


l_v^|_All 


l^l_At 


HSio-Tov  <^aos  T^ftcpas  ^crrat  Totcrt  Trapovcn  7ra<nv  kol  rots  athiKvovfJievoLS, 
y]v  KXeW  atroXyjTaL, 


112 


§  30.     THE   LYRIC   TYPE. 


II.    ^j/.  YIII.  (1111-1120). 


> 


KJ 
V/ 


>    'I 


> 


> 
> 


wi_wi_eii 


> 


> 


W 


V^ 


> 


V^ 


\^ 


HvSpa  Tvpavvoi^. 
aXX   €virapayoryo<i  c7,  ^om-cfo/xci^o?  t€  \aLp€L<s  KcIf aTraroj/xevos,  7r/3os  toj'  tc 
XiyovT  act  K€\rfva<i '   6  vov^  8c  crov  Trapwi/  d7ro8r;/x€t. 


III.    i?a;/.  YIII.  (534-541). 


> 


W  I  O   I  W  1 

w  w  v^  I  o-  I  V^ 

-v^l_ei_wi_ 


> 


> 


> 


> 


v^  I  ^^  e  I  _  w  I  _  ^  ii 

-dUw|_dll_w|__dl_v^|__Al| 


> 


^:=^^    I 

> 

_  Ky 


> 

\y 


-At 
-At 
-At 


Taura  ftev  Trpos  di/Spos  cVrt  voOt'  c;(oi'tos  Kat  <f>p€va^  kol  iroAAa  7rc/3t- 
ttcttAcvkotos, 

/xcraKuXiVSctv  avTov  aUl  irpos  Toi'  cv  Trpdcro-ovTa  Totxov  jioAAoi'  ^  ycypap.- 
fievrjv 

€LK6y   ea-TiivaL,  Xa^6uO'  eV  cr;^>>a.      to  5c  /xcra(rrp£<^ecr6'at  irpos  ro  /xaA- 
^aKoSTepoi/ 

3c^'to9  Trpos  dvSpos  i(TTL  Kat  </)i'o-ct  ©i/pa/xcVous. 


> 


WW 


w 

w 
w 


WW 


IV.    ^c/i.  IX.  (836-841). 


> 

Ky 
> 

> 

> 


w  I  —  O  I  __  w     _ 


—   ^  l  —  O  |__w  I 


w 
w 
w 


> 

w 

> 

\y 


w  I  W 

w  I  w 


> 

w 


-At 
-At 


w 


I_wl| 


EvSaifiovcl  y  diSpwrrfy;  •   o^k  ^Kovca?  ot  7rpo/3aLvu 

TO  7rpay/xa  roC'  ^oi^Acr/xaros ;    Kapirwo-crat  ya/)  dv/^p 

cV  rdyopa  KaOr}/jL€vo<;  • 

Ka;/  cio-tV/  Tts  KrT/o-ta? 

^  (rvKocfxivTrjs  dAAo?,  olpa^t^mv  KaO^huTOH,. 


§  31.    THE   MARCH   TYPE. 


113 


§  31.    The  March  Type. 

1.  The  characteristics  of  the  march  type  are  so  accurately  and  sharply 
dctined,  both  metrically  and  rhythmically,  that  their  recognition  is  easy. 
They  are  the  following  : 

I.  The  measure  of  the  march  type  is  without  exception  the  anapaest, 
the  ethical  force  and  metrical  form  of  which  have  already  been  con- 
sidered, §  10,  II.  and  §  11,  6,  II. 

II.  All  anapaestic  sentences  are  tetrapodies.  If  the  text  and  the 
melody  have  less  than  four  measures,  there  is  a  pause  in  the  singing 
until  the  four  measures  are  made  complete. 

III.  All  verses  which  have  their  four  measures  expressed  in  words 
are  catalectic.  The  last  measure  is  completed  by  the  anacrusis  of  the 
next  verse,  until  a  verse  follows  of  different  metrical  form,  namely  a 
paroemiac,  by  which  the  group  is  closed  (§  11,  6,  II). 

If  a  verse  consists  of  two  or  three  measures,  the  pause  in  the  singing 
(see  II.)  lasts  until  the  thesis  of  the  fourth  measure  is  reached,  its  arsis 
beinir  furnished  bv  the  anacrusis  of  the  next  verse. 

IV.  From  III.  there  naturally  arises  this  metrical  principle,  that 
these  verst's,  each  of  four  measures,  must  end  with  a  full  word,  the 
final  vowel  of  which  may  be  elided ;  and  that  no  hiatus  is  allowed  be- 
tween the  close  of  one  verse  and  the  beginning  of  the  next.  This  is 
just  the  rule  which  regulates  the  caesura,  §  19,  2,  III. 

The  apparent  dipodies  and  tripodies  that  occur  are  of  course  not  sub- 
ject to  this  rule,  since  there  is  a  long  pause  between  them  and  the 
following  verse. 

2.  xVll  these  peculiarities  stand  in  the  closest  relation  to  the  pur- 
pose of  the  march  melodies  themselves.  If,  namely,  the  soldier  is  to 
march  to  the  song,  the  following  conditions  must  be  met: 

1)  The  song  must  be  divided  into  exactly  equal  measures,  to  the 
ictuses  of  which  he  is  to  tread. 

2)  These  measures  must  be  distinctly  divided  into  equal  halves, 
thesis  and  arsis,  both  having  a  strong  ictus.  But  the  one  ictus  must 
exceed  the  other  in  weight,  in  order  that  the  soldier  as  he  marches  may, 
in  observance  of  them,  tread  somewhat  more  heavily  with  the  one  foot, 
somewhat  more  liirhtlv  with  the  other,  and  mav  alwavseasilv  know  from 
the  melody  itself  with  which  foot  he  is  to  tread  at  any  particular  ictus. 
So  the  measure  is  the  anapaest,  not  the  dactyl. 


lU 


§  31.     THE   MARCH   TYPE. 


3)  It  is  not,  however,  absolutely  necessary  that  all  mensures  should 
have  two  strong  ictuses;  it  is  sometiuK^s  sufficient  for  a  measure  to 
have  only  one  ictus,  as  e.  g.  _  A.  For  once  having  the  right  movement, 
the  soldier  can  make  no  mistake,  if  onlv  the  chief  ictus  is  clearlv  marked 

*■'  •» 

by  the  melody.     Verses,  therefore,  like  the  following  frequently  occur : 

4)  The  sentences  must  all  uniformly  consist  of  four  measures,  that 
the  equal  division  may  be  sustained  :  2  eighth-notes  +  2  eighth-notes 
=  1  measure;  1  measure  +  1  measure  =  half  of  the  sentence;  2  meas- 
ures +  2  measures  =  the  whole  sentence.  Only  in  this  way  would  the 
movement  remain  uniform  throughout. 

5)  There  can  be  no  pauses  after  the  verses  at  will;  for  if  this  Avere 
done,  the  time  could  not  be  kept,  and  regular  marching  would  be  at  an 
end. 

6)  But  it  is  impossible,  on  account  of  lack  of  breath,  to  sing  and 
march  at  once  for  any  great  length  of  time.  Therefore  apparent 
dipodies  follow  the  tetrapodies  in  long  march  melodies,  where  there  is 
a  pause  in  the  singing  for  two  full  measures,  the  marching  continuing. 
Or  the  march  song  consists  entirely  of  apparent  tripodies,  after  which 
there  is  a  pause  of  a  full  measure,  as  is  to  be  seen  in  the  following 
enumeration. 

3.    The  different  march  melodies  are  : 

I.  1l\\g paroemac,  the  anapaestic  tripody.  The  following  march  song 
{ififSaTijpiov)  of  Tyrtaeus,  in  which  the  older  form  of  the  anapaests 
without  resolution  of  the  thesis  prevails,  is  composed  of  paroemiacs : 


VA^ 


V./V^ 


\_/V/ 


I  A 

AycT,  w  STTcxpra?  €vdv8pov 
KovpoL  irarepuyv  TroXiaraVy 
Aata  ^Iv  Itw  TTpopdXccrOc, 

hopV  8*  Cl'T0A/A(09  TTaAAoi/TCS 

ov  yap  TTixTpLOV  TO.  ^Trdpra. 

ir.  Another  march  melody  of  Tyrtaeus,  likewise  of  anapaests  in  the 
older  form,  consists  of  regularly  interchanging  aeatalectic  tetrapodies 
and  so-called  paroemiacs.  Such  a  combination  is  to  be  regarded  a  period 
(verse)  of  two  sentences,  and  has  been  named  the  anapaestic  tetrameter. 


K./^^ 


V^^^ 


\^--^ 


^y^ 


V-A^ 


\.^Vv^ 


_  ^x?  I I  A, 

Ay€T   (L  ^TTapras  IvottXoi  Kovpot,  ttotl  rav  "Apcoq  Ktvaaiv. 


§  31.     THE   MARCH  TYPE. 


115 


Piobably  four  such  verses  were  united  in  a  gi'oup,  after  which  a  long 
pause  occurred  of  about  four  measures.  In  the  Attic  comedy  the  ana- 
paestic tetrameter  plays  a  chief  role  in  the  parabasis  proper,  where  it 
was  seldom  wanting.     Resolution  of  the  thesis  occurs  here. 

w  ueya  crc/xvat  Nc</)€Aat,  cf>av€pu)^  rjKOVcraTe  fJLOV  KaXicravroq. 
•^a-Oov  cf)u)vrj<:  dfxa  Koi  (SpovTrjs  fJivKr)(TafX€vrj<;  Oioa-iirrov ; 

Ar.  Nub.  291  sq. 


:  \j  w 


' I ll_v^v^|_ww| lA 


W  v^ 


III.  In  the  parodos  and  exodos  of  Attic  tragedy,  if  anapaests  occur, 
the  succession  of  common  tetrapodies  is  usually  broken  at  intervals  by 
a  single  apparent  dipody  and  is  finally  closed  by  a  paroemiac.  This  is 
such  a  melody  as  was  probably  often  sung  by  soldiers  on  the  march. 
A  somewhat  long  pause  is  made  after  the  paroemiac,  perhaps  of  exactly 
four  measures.  A  corresponding  close  in  the  thought  is  always  marked 
by  the  punctuation.     An  example  occurs  in  the  Persae  of  Aeschylus 

(v.   55   sq.): 

TO  fia)(aipo(l>6pov  t   Wvos  €K  Tracrr;? 

*Acrta9  cTrerat 

BeLvai<s  f3a(nXe(i)<;  vtto  7ro/x7rat9. 

roLovS*  dvOos  Hcpo-tSos  atas 

OL)(€Tai  dvdpiov, 

ovs  TTcpt  Traora  -^duyv  Act  tarts 

Opeij/aa-a  ttoOu)  crriveTat  jxaXepio 

TOKces  8'  dXoxoi  0'  r]p€poX€y^bv 

TCtVovra  xpo^^v  Tpofx^ovraL. 


_  II  _  vy  w 

_  II  w  w  _ 
_  II  w  w  _ 


w  w  I I  , 

.  A   IVl  A, 

.WW  I 1  A   II 

_  1  w  w  _  I  — , 
-A    I  VI  A, 

I  w  w  _  1  — ,  etc. 


In  comedy  a  part  of  the  parabasis  (in  the  broader  sense)  was  composed 
of  these  tetrapodies,  and  was  called  Trvtyos  or  p.aKp6v,  because  it  was  all 
to  be  recited  in  one  breath,  except  when  the  occasional  apparent  dipody 
allowed  a  short  rest  toward  the  end  of  the  system;  yet  even  this  does 
not  always  occur. 


116 


$  32.     THE   CIIORIC   TYPE. 


IV.  The  cVoTrAto?  ("  verse  for  the  marcli  under  arms  ")  or  Trpoa-cSia- 
K05  ("  verse  for  processions  ")  is  an  apparent  tripody.  The  anacrusis 
may  be  irrational. 

Tov  EAActSos  ttya^cas 
(TTpaTayov  oltt  €vpv)^opov 
^TrapTas  v/JLvrjcrofjiCVf  a> 
lrJL€  Ilatai'. 


>  •  _ 

>  II  _ 
_ll_ 

>  II  _ 


vy  w  I  

W  W    I   L_J 


W  W    I   L_l 

W  W    I   1 I 


A 
A 


w  w  I  L_l   I    A, 

I  i-i  I  V  II. 


4.  Other  melodies  than  the  anapaestic  might  obviously  be  used 
as  accompaniment  to  the  march.  If  the  melody  were  logaoedic,  for 
example,  only  two  things  would  be  necessary,  —  to  sing  so  rapidly  that 
each  measure  would  occupy  the  time  of  but  one  step,  and  to  divide  the 
measures  into  tetrapodies  without  intervening  pauses.  But  such  an 
accompaniment  would  be  ill  suited  to  the  steady  movement  of  marchin^^ 
and  it  cannot  be  regarded  a  characteristic  march  melody.  No  discus- 
sion, of  course,  can  here  be  made  of  marches  the  movements  of  which 
were  involved,  and  which  were  in  fact,  according  to  the  ancient  view, 
rather  dances  than  marches.  We  must  seek  for  these  rather  in  the 
choruses  of  the  drama. 


§  32.    The  Choric  Type. 

1.    AVho  knows  whether  in  the  popular  song,  — 

Q   AlV€  TTaCTL  OiOLCTLV 

Tcrt/xcv€,  (TOL  yap  cScD/cav 
TrpiDTw  fxeXos  avOpii)7rot(TLV 
^ODvat?  Xiyvpals  dcto-at  • 
^ot/3os  8e  KOTO)  cr*  dvaipu, 
Movo-at  Se  crc  OprjviovdLV,  i.  e. 


>  i 

>  i 


-W  w  !  L_  I  _  A  II 

-^  W  I  L-  I  _  A  II 

_    >  I  L_  I  _  A  II 

--  >  I  L_  I  _  A  II,  etc., 


§  32.     THE   CHORIC   TYPE. 


117 


there  has  not  been  preserved  one  of  the  oldest  dance  melodies,  such  as 
Homer  describes  the  Linus  dance  to  have  been  (see  §  6,  1)?  We  have 
a  sijstematic  succession  of  verses  of  equal  length,  to  which  the  singers 
dance  in  a  circle,  —  or  rather  march,  but  not  with  that  firm  tread  of 
the  warrior  which  has  its  fittest  expression  in  anapaests. 

2  But  this  circular  dance  is  not  necessarily  continuous.  After  the 
singing  of  two  sentences  that  correspond  to  each  other  the  dancer  may 
come  t'o  a  standstill.  This  gives  rise  to  the  verse,  the  simplest  period, 
beyond  which  recitative  poetry  did  not  go. 

Airain,  during  the  singing  of  a  second  verse  the  singers  may  return 
in  the  opposite  direction  to  their  original  position,  the  dance  movements 
and  the  melody  of  the  second  verse  exactly  corresponding  to  those  of 

the  first. 

3.  Two  verses  so  corresponding  to  one  another  constitute,  next  to  the 
sin"-le  verse,  the  simplest  form  of  period  adapted  to  orchestic  melodies. 
But  the  dance  may  be  further  varied.  The  circular  dance,  first  to  the 
right  and  then  to  the  left,  just  described  may,  of  course,  be  repeated  at 
pleasure;  but  after  it  has  been  executed  once  the  dancers  may  also 
advance  toward  one  another  from  both  sides  of  the  curve  while  a  third 
verse  is  sung,  and  then,  while  a  fourth  verse  is  sung,  separate  from  one 
another  again,  so  that  they  come  to  their  original  places.  In  this  case 
the  strophe  of  the  song  must  have  four  verses,  as  e.  g.  in  the  contrasted 
AscJepiadean  group  (§  29,  4,  I.),  in  which  the  accompanying  movements 
of  the  dance  would  be 

_AI1 

_wl_Al] 

All 

_A]] 


_> 
_> 


__  > 
—  > 


\J 


\J 


v^ 


I. 


( 


3Circidar  dance  to  the  right. 
]'^[ Circular  dance  to  the  left. 


II. 


( 


4     Forward  march. 
4     Keturn. 


Without  doubt  the  verses  which  correspond  to  one  another  must  be 
throughout  of  equal  length  (i.  e.  must  have  the  same  number  of  meas- 
ures and  the  same  duration) ;  for  otherwise  the  dancer  would  not  be 
able  to  return  again  to  his  original  position. 


118 


$  32.     THE   CIIORIC   TYPE. 


4.  It  is  not  necessary  that  the  dance  be  co-extensive  with  the  soiio-. 
It  may  continue  through  several  verses,  and  then  the  dancer  may  come 
to  a  stand  during  a  short  postlude.  In  this  way  the  Asclepiadeau 
Ghjconic  group  consists  of  three  verses  of  six  measures  each,  followed 
by  a  verse  of  four  measures  : 

>3 


The  last  verse  is  ti  postlude,  Ittio'^lkov,  during  which  the  dancer  must 
have  paused;  for  there  is  no  corresponding  verse  during  the  singing 
of  which  the  same  movement  in  reversed  order  could  have  taken  place, 
so  that  the  dancer  would  arrive  again  at  his  original  position.  In  the 
first  three  verses  the  dancer  probably  moved  forward  during  the  first 
sentence,  backward  during  the  second  : 


3    Forward. 


( 


g 


(ii 


Ilcturn. 

Forward. 
^    Return. 
3    Forward. 

3  Return. 

4  Halt. 


In  the  same  way  a  verse  to  which  no  other  con'csponded,  and  during 
the  singing  of  which  therefore  the  dancer  stood  still,  could  begin  the 
strophe ;  this  was  called  prelude,  TrpoioSiKov. 

But  within  a  period  also  —  we  will  take  the  smallest  sort,  the  verse 
—  there  could  be  a  sentence  during  the  singing  of  which  the  dance 
ceased.  This  would  be  an  interlude,  /xco-jj^St/coV.  Of  this  sort  is  the 
greater  Asclepiadeau  verse  : 


> 


\-/ 


—\J  KJ 


^^ 


W 


_  A 


( 


2  fieo-ifidiKdu. 
3 


We  distinguish,  therefore,  two  sorts  of  sentences,  those  that  cor 
respond  and  those  that  do  not,  the  latter  under  the  names  prelude,  inter 
lude,  and  postlude,  or  TrpowStKov,  />tco-a)StKoV,  and  cVwStKoV. 


§  32.     THE   CHORIC   TYPE. 


119 


5.  The  lyrical  groups  which  have  been  discussed  in  §  29  will  give 
us  some  idea  of  the  simple  dances  described  above.  These  groups  arose 
as  dance  melodies.  At  a  later  day  they  were  cultivated  both  in  the  old 
forms  and  in  others  also  that  were  less  strict.  Then  they  Avere  purely 
lyrical,  i.  e.  were  sung  to  the  lyre  without  dance  accompaniment.  For 
the  rhythm  of  the  dance  has  also  its  place  in  the  melody  itself.  Or 
is  the  mere  melody  of  a  dance,  as  we  sometimes  hear  it  at  a  concert, 
nothing  without  the  accompanying  dance  ?  The  melody,  certainly,  gets 
its  peculiar  character  not  only  from  the  different  sorts  of  measures 
with  their  various  ictus-relations,  but  also  from  the  grouping  and 
arrangement  of  the  sentences.  There  are  many  figure-dances  in  which 
the  different  movements  are  well  expressed  by  the  melody.  And  what 
appears  at  first  sight  to  be  simply  accompaniment  produces  an  effect  as 
a  musical  form  when  given  alone. 

6.  The  choruses  that  at  the  religious  festivals  of  the  Greeks  executed 
skilful  marches  and  dances  to  the  accompaniment  of  song,  that  cele- 
brat(.'d  the  deeds  of  the  gods,  and  in  the  drama,  especially  in  tragedy, 
delivered  splendid  poetical  and  musical  compositions,  not  standing  still 
but  with  regular  and  symmetrical  movements,  —  these  choruses  were 
composed  of  men  who  not  only  were  acquainted  with  strict  tactic 
order  as  soldiers,  but  also  belonged  to  the  better  classes  and  were  of 
refined  and  cultivated  tastes.  It  is  not  possible  that  when  such  men 
danced  and  marched  to  the  mnsic  of  such  songs  the  most  beautiful 
symmetry  and  perfect  order  should  not  have  prevailed  in  all  their  move- 
ments. Nay,  we  must  suppose  that  this  chorus-dance  was  developed 
to  the  hiirhest  dej^ree  of  art,  in  which  form  alone  it  could  have  kept 
pace  with  the  swift  advance  of  poetry  and  music.  Some  of  the  move- 
ments were  executed  without  change  of  position,  but  in  these  too  a  per- 
fect symmetry  must  have  prevailed. 

And  so  in  fact  it  was.  The  rhythmical  division  of  the  strophes  that 
have  been  preserved  gives  the  most  certain  evidence  of  this.  And  even 
in  mere  recitation  these  rhythmical  forms  are  of  the  highest  effect. 

7.  The  chief  laws  which  hold  good  in  the  rhythmical  composition  of 
choric  strophes  are  the  following : 

I.  Ui-erf/  verse,  as  is  the  case  also  in  lyrical  strophes,  ends  icith  a 
pause  during  which  song  and  dance  cease,  hut  which  may  have  been  filled 
out  by  brief  instrumental  music  analogous  to  the  interludes  beticeen  tJie 
lines  of  church  hymns  as  sung  in  Germany. 

II.  These  verses^  though  themselves  rhythmically  divided,  nevertheless 


120 


$  33.     ClIOllIC   STROPHES. 


become  subordinate  elements  in  the  Jiigher  unity  of  the  period^  tchich  may 
be  composed  of  several  of  them. 

III.  Thei'e  is  an  exact  correspondence  of  the  sentences  in  the  period  one 
to  another ;  and  it  is  always  the  case  that  only  sentences  of  equal  lenyik 
correspond  to  one  another. 

IV.  The  pauses  at  the  end  of  the  verses  correspond  just  as  exactly  as 
do  the  sentences,  since  they  constitute  important  elements,  and  since  other- 
wise  the  divisions  of  time  would  be  unequal. 

V.  The  sentences  that  correspond  are  grouped  in  different  ways,  but 
according  to  the  strictest  mathematical  principles,  so  that  different  sorts 
of  periods  are  distinguishable. 

VI.  Preludes,  interludes,  and postludes  are  alloiced. 

Accordini^  to  tnis,  the  dance  melodies  of  choric  poetry  are  distill- 
guislied  from  march  melodies  especially  by  the  fact  that  they  allow 
movement  only  duriiii^  the  song,  never  during  the  arbitrary  pauses. 
They  do  not  allow  it  even  during  single  parts  of  the  song  (prelude, 
etc.). 

The  more  accurate  exhibition  of  these  relations,  which  signify  the 
most  perfect  eurhythmy,  will  be  found  in  the  following  book. 


§  33.     Choric  Strophes. 

In  lyrical  poetry  the  strophe,  and  with  it  the  same  melody,  is  repeated 
on  to  the  end  of  the  poem.  V>\xt  in  choric  poetry,  thongh  its  strophes 
are  so  great  and  varied  in  themselves,  there  is  an  important  deviation 
from  this  simple  rule  of  construction. 

I.  In  the  old  encomiastic  poetiT  generally  two  strophes  of  the  same 
form  are  sung,  strophe  and  antlstrophe  {(Trpo<f>^  and  avTia-Tpoffios) ;  then 
follows  a  strophe  of  another  form,  which  is  not  repeated  and  was  called 
17  cVwSo's  (not  6  cVwSos,  the  signification  of  which  is  given  in  §  28). 
This  succession  is  then  maintained  to  the  end  of  the  poem,  i.  e.  JJB, 
AAB,  etc.  But  there  also  occur  in  Pindar  eulogistic  songs  of  several 
strophes  of  the  same  form  without  epode. 

II.  In  dramatic  poetry,  especially  tragedy,  a  strophe  and  antistrophe 
are  given  only  once ;  then  follow  a  strophe  and  antistrophe  of  different 
form,  and  so  on : 

J  A,  BB,  CC,  DD,  etc. 


\  33.     CHORIC    STROPHES. 


121 


But  sometimes  also    strophes  are  found  which  are  not  repeated, 

namely : 

1)  ^proode,  rj  7rpoa>8os,  at  the  beginning  of  the  poem  : 

A,  BB,   CC,  etc. 

2)  an  epode,  rj  cVcoSo?,  after  a  strophe  and  its  antistrophe : 

A  A,  B,  CC,  etc. 

3)  a  mesode,  rj  /xccrwSos,  betAveen  a  strophe  and  its  antistrophe  : 

A,  B,  A,  CC,  etc. 

2.  By  this  change  of  strophes,  often  both  rhythmically  and  metrically 
very  different,  choric  poetry  was  able  not  only  to  seiTC  as  a  basis  for 
various  and  complex  dance  movements,  but  also  to  express  beautifully 
the  change  and  progress  of  the  thought. 

But  still  greater  variety  was  obtained.  The  strophe  might  be  sep- 
arated from  its  antistrophe  not  only  by  a  mesode,  but  also  by  several 
other  strophes;  anapaestic  systems  also,  which  were  not  regularly 
sung  but  only  recited  in  a  singing  tone,  might  intervene.  Here  again 
ther°e  prevailed  the  most  beautiful  order,  as  we  shall  be  able  to  see  from 
the  following  examples  in  Aeschylus  and  Euripides. 

Ag.  VII  (1448  sq.). 

A.     CV.   (TV.     A.    (TV.    B.  (TV.   (TV.  B.  (TV.     (TV.        C.     (TV.   (TV.      C.     (TV. 


Cho.  Ill  (315  sq.). 


A    B.      A.  (TV.  C.     B.   C.  cv.  B.   E.      B.  (tv.  F.     E.   F.  G.H.H.G.  I.I.  K.K.^r.. 


El.  II  (167  sq.). 
A.  B.         A.  B. 


Cho.  V  (738  sq.). 
A.  (TV.  A.  B.  C.  B.  D.  (TV.  B. 


T>2 


$  33.     CIIORIC   STROPHES. 


3.  Of  course  the  choruses  of  the  dramas  need  not  consist  of  a  lono- 
series  of  stroplies  and  antistrophes ;  it  is  easy  to  find  many  consisting 
of  a  sinf,de  strophe  and  antistroplie  only,  to  which  there  is  often  added 
an  epode. 

4.  The  following  names  of  the  different  choruses  of  the  drama  on 
the  xVttic  staj^e  should  be  noted : 

A.    In  tragedy  there  are  : 

I.  The  parodos,  rj  TrdpoSo^,  the  first  song  of  the  chorus,  sung  while 
it  is  taking  its  place  and  arranging  itself  in  the  orchestra.  Sometimes 
preceded  by  anapaests  during  which  the  chorus  marches  in. 

II.  Staslma,  o-Tairifia,  songs  sung  from  the  position  which  the  chorus 
has  taken  in  the  parodos. 

in.  The  exodos,  rj  €$oSo<;,  sung  while  the  chorus  arranges  itself  to 
leave  the  orchestra.  The  march  itself  may  then  again  proceed  durin"- 
the  recitation  of  anapaests. 

I\  .  I)nnce-so)ig.%  vTropxw^ra,  m(;lodies  with  livelier  dance  move- 
ments than  the  stasima. 

Y.  Ko/x/xoi,  songs  of  which  the  parts  were  sung  alternately  by  the 
chorus  and  the  actor. 

VI.    Songs    of    individual    actors,    monodies,    fiovwSiai,    called    dTro 

In  the  last  two  sorts,  since  they  lack  a  regular  choric  dance  accom- 
paniment, a  strict  division  of  the  composition,  like  that  in  the  chorus 
proper,  was  not  necessary.  Cf.  §  25,  1,  med.  The  third  volume  of 
the  Kfoist/ormen,  namely  Die  Monodlen  mid  IFechselgesmnje  der  Atti- 
schen  Tragiidie,  gives  an  exact  and  complete  statement  of  the  principles 
governing  their  composition. 

B.  T\\ii  parabasis  of  Attic  comedg,  in  which  the  chorus  addresses  the 
spectators,  consists  when  complete  of  seven  parts  : 

KOfxfxdrLov,  7rapa/?ao-t9,  fxaKpov,  (TTpoc^T/,  impprjixa,  avTi(npo<jiO<;^ 

dyTiTTLpprjfjLa. 

T.  The  KofxfxdTiov  consists  of  different  verses,  equal  or  unequal  in 
length. 

II.  The  7rapd/3a(n<s  proper  always  consists  of  verses  of  the  same 
length,  usually  of  anapaestic  tetrameters. 

III.  The  fj.aKp6v  or  Trvtyos  always  consists  of  anapaestic  dimeters, 
concerning  which  cf.  §  31,  3,  III. 


§  33.     CHORIC   STROPHES. 


1-23 


IV.  and  VI.  (TTpo<t>ri  and  6.vTLiTTpo<t>os,  named  also  (o8^  and  dvra^S^, 
are  a  regular  lyrical  song. 

V  and  VII.  The  cVtppry/xa  and  dvT€7rLppr}fia  generally  consist  of 
trochaic  tetrameters,  and  were  delivered,  along  with  L,  II.,  and  111., 
by  the  leader  of  the  chorus  (Kopv<#)aros). 

^  Moreover,  songs  and  dance  melodies  occur  in  Attic  comedy  in  various 
other  places. 


M     h 


Fifth  Book. 


EURHYTHMY. 


§  34.    The  Periods  according  to  their  Grouping. 

1.   The  simplest  grouping  is  when  two  rhythmical  sentences  of  equal 
length  correspond  to  each  other.     This  is  the  stlcJdc  period  : 

Aci/xwms  dj'^c/xwScts.     jRan.YlL  str.  (448,  449). 
>  i  —  v^  I  _  w  I  _  w  I  _  A  II  4\ 

ft 

The  same  period  occurs  in  the  following,  translated  from  the  German : 
Anui'^  of  Tharaw,  my  true-love  of  old, 
She  is  my  wife,  and  my  goods,  and  my  gold. 

Longfellow. 

—  ^wI_vywI_wwI__AAII  \. 

—  wv^|_ww|__ww|_AAII  4/ 

2.   A  repeated  sticMc  period  arises  when  more  than  two  sentences  of 
the  same  length  comspond  to  one  another : 


°) 


Cf.  the  lyric  systems. 


■1 

a/   etc. 


§  34. 


THE   PERIODS   ACCORDING  TO   THEIR  GROUPING.     125 

MuKctptos  y  ai/^P  ^X*^*' 
^vvcfTiv  r]Kpil3o)fX€vr]v. 
rrdpa  8c  ttoXXolctlv  /xa^ctv. 

Ban.  XX.  (148-2  - 1484). 


v^wv^l->  l-wl- AD 
Illustrated  by  the  following  strophe  from  Longfellow : 

T^Iaiden  !  with  the  meek  brown  eyes, 
In  whose  orbs  a  shadow  lies 
Like  the  dusk  in  evening  skies ! 

__  v^  1  _-  w  1  _  w  1  _  A  !l 
_w|_w!_v^l-All 
_v^l_w|  _wl_  A]] 


4 
4 
4 


*) 


3    A  pallnodlc  period  arises  when  not  a  single  sentence  hut  a  com- 
Mna'tion  of  several  sentences  (i.  e.  a  "  gronp  "),  is  repeated  once  in  the 


same 


order : 


li 


a^ 
b> 


etc. 


O) 


^vovrai  ^€  KOi  viois  cv  ai/8pa(n  TroXiai 
Oaak  Kal  iraph  rov  ciXtKtas  hiKora  ^ovov. 

^  PiND.  01.  IV.  ep. 


l_^l_wl_,wll_v.lwwwl-All 

l^wwl--wl_,wll-wl_wl_-A]] 

Now  let  us  sing,  long  live  the  king, 

And  Gilpin,  long  live  he  ; 
And,  when  he  next  doth  ride  abroad, 

Mav  I  be  there  to  see  ! 


\j  : 


wl 
wl 


_wl_w|_.v^  11-^1-^1-^" 
_wl_wl_,wll-^l-^l-A]] 


HO     §  3i.     THE   PERIODS   ACCORDING   TO   THEIR   GROUPING. 

4.    A  repeated palinodk period  is  formed  by  the  repetition  of  a  o-roup 
several  times  : 


Opa5  rov  OpaarvVf  tov  ivKaphiov, 
Tov  €v  8a/ots  arp€(TTOi'  ixd^iw;, 
€V  a<j>6/SoL<;  /x€  Orjpal  Sclvov  xepaq ; 

Sopii.  Jj.  III.  str.  ^  (304-3GG). 


_,  w  !l 


-_A  II 
_A  II 
-AH 


( 


(do.O. 
(do 
(do.    .^, 

(do.  ,.^'5 
ido.-^-' 


(By  "do  "  is  meant  dochmius.) 


Our  hills  have  dark  and  strong  defiles, 

With  many  an  icy  bed ; 
Heap  there  the  rocks  for  funeral  piles, 

Above  the  invader's  head  ! 
Or  let  the  seas,  that  guard  our  Isles, 

Give  burial  to  his  dead  ! 

Mrs.  He  mans. 

w:_wl_w|_w|_,  wI-v.w|_^|_AII 
^;— ^l-^|-v>w|_,  w|_w|_w|_A!l 

5.   An  antithetic  period  is  formed  by  the  inverted  repetition  of  sin-le 
sentences :  ° 


§  34.    THE   PERIODS   ACCORDING  TO   THEIR   GROUPING.     127 

'laXro?  Ik  hofxoiv  e/Srjv 
^oav  Trpoirouiros  oji'xctpt  (tvv  kottw- 
-rrpiiru  7rapr]U  c^otvtot?  afivyixols, 

Aesch.  Cho.  I.  5-^/.  a  (22-25). 


v^y^wl   WWV^Iv^W^l—  AD 


_AI1 
All 


Through  the  bright  battle-clime. 
Where  laurel  boughs  make  dim  the  Grecian  streams, 
And  reeds  arc  whispering  of  heroic  themes, 

By  temples  of  old  time  .  .  . 

3Irs.  Ilemans. 

6.   A  mesodic  period  arises  from  the  inverted  arrangement  of  the 
sentences  about  an  interlude  {\   32,  4). 


a 
b 
a 


) 


Til  ne  quaesieris,  scire  nefas,  quern  inihi,  queui  tihi, 

^  ^  I  .     . .  .  I  .       II  _  >  V  .  I  L_.  II  -^  w  I  —  w  I  -  A  II 


\j 


O 

2 
3 


^ 


"kp,r)XO-vCi  <j)povTL6o^  arreprjOeU 

evTrdXafiov  /xcpt/xvav, 

07ra  rpaTTW/xat,  ttltvovto^  olkov. 

Aesch.  Jff.  VII.  str.  y  (1530-1532). 

-^  w  I  _  w  I  I-  !  -  A  II 
w:_w1l-1_w1_w1l>1-AI1 

liPa^  8^  afxaxov  a^dfiarov  ^TroXefiov  rb  irplv 

8t'  WT0)V  <^p€i/os  TC  5a/xtas 

TTCpatvov  vvv  d(^t(TTaTat  * 

<i>oPCtTai  U  Tts  •   TO  8'  ^v-rvx^lv 

To8*  cV  Bporol<i  Oco?  TC  Ktti  Oeov  irXiov. 

Id.  ao.  I.  ««^./r(54-60). 


I'd 


128     $  34.     THE   PERIODS  ACCORDIXG  TO   THEIR   GROUPIXG. 


w:l_|_w|_w|_w|_AII 
w:L_|L_|_w|_vyI_AII 

wiL_|_V^|_w|_w|_AII 


-w  |_A 


-w|_AJ] 


7.    The  pallnodlc  antithetic  period. 

If  we  suppose  a  series  of  sentences,  e.g.  abode,  divided  into  sev- 
eral groups  eacli  of  which  constitutes  by  itself  a  small  musical  division, 
e.  g.  ab,  cd,  e,  or  also  a  be,  de,  and  if  we  then  suppose  these  groups 
repeated  antithetically,  we  have 

1)  (a  and 


This  is  a  palinodic  antithetic  period.  It  is  strongly  antithetic,  since 
the  groups  which  are  regarded  as  units  (and  may  consist  of  a  single 
sentence,  e.  g.  e  in  the  first  combination)  are  repeated  in  inverted  order. 
But  it  is  palinodic  in  that  the  single  sentences  in  the  group  are  repeated 
in  the  same  order. 

The  series  abode  admits  of  sixteen  different  combinations,  of  which 
the  first  two,  the  last  two,  and  the  tenth  are  given  below.     The  two 
extremes  would  be,  first,  a  period  in  which  each  sentence  is  regarded 
as  a  group  in  itself  (this  is  consequently  a  purely  antithetic  period); 
and  secondly,  a  period  in  which  the  five  sentences  together  constitute  a 
single  group  (a  purely  palinodic  period).     In  the  second,  third,  fourth, 
and  fifth  forms  of  the  period  two  sentences  are  combined  into  a  group, 
and  the  rest  are  taken  singly ;  and  in  the  sixth,  seventh,  and  eightli, 
three  sentences  are  combined  and  the  other  two  taken  sin-ly.     In  the 
ninth,  tenth,  and  eleventh  forms  of  the  period  there  are  three  groups, 
of  which  two  consist  of  two  sentences  each  and  the  other  of  a  sinMe 
sentence;  in  the  twelfth  and  thirteenth  two  groups,  of  which  one  con- 
sists of  four  sentences  and  the  other  of  the  single  sentence  that  remains; 
and  in  the  fourteenth  and  fifteenth  two  groups,  consisting  one  of  two 
and  the  other  of  three  sentences. 


§  34.    THE   PERIODS   ACCORDING  TO   THEIR  GROUPING.    129 


1)  a,  b,  c,  d,  e. 
4)  a,  b,  cd,  e, 
7)  a,  bed,  e. 

10)  a,  bo,  de. 

13)  a,  bode. 

16)  abode. 


2)  ab,  0,  d,  e. 

5)  a,  b,  0,  de. 

8)  a,  b,  ode. 
11)  ab,  0,  de. 
14)  a  bo,  de. 


3)  a,  bo,  d,  e. 

6)  a  bo,  d,  e. 

9)  ab,  od,  e. 
12)  abod,  e. 
15)  ab,  ode. 


15) 


16) 


The  following  examples  will  illustrate  : 

*Ht  (TV  TTtO-TCuW  d/X€p7€t  TWV  f  cVwV  TOt'S  KapTTl/AOVS 

7rpwT09  <5v   6  8*  'iTTTToSa/AOV  Xci/?€rat  ^CW/X€VOS. 

dXA*  c<j!)ai/>7  yap  avqp  €T€po<s  ttoXv 

croi)  /xtapwrepos,  cocrrc  /xc  ^ip^iv, 

OS  o-€  7rai;cr€t  Kat  7rdpct(Tt,  8^X09  Icrnv  avToOev, 

iravovpyia  T€  koL  Opdaa  Kat  KO^aXtKCv/xacrtv. 

Ar.jF^.  1.(324-332). 


I 


I 


v>  :  


w|_>  l-w|_>, 

w  I  w   I  —  v^  1  —  >, 

\^w|  wv^l  —  WW! 

v^wl  wwl  —  wwl 

w  I  _  >  1  —  v^  I  —  ^, 

W   I   _   W    1   _  W   1  L_,   !1  - 


_wl_>l_v^!-All 
_wl_  w  l_wl_Al 
.wwll 

_w|_wl_w|_All 
w|_wl_w  |_A]] 


130     §  34.    THE   PERIODS   ACCORDING   TO   THEIR   GROUPING. 


rtroch.  4 
4 


dact. 


iamb.  4 
4 


X. 
T. 
X. 


EvBaifJLOVLKio^  y  6  Trpeo-jSvrr)^,  oaa  y  wB*  tSctv,  to,  vvv  tciSc  Trparrct. 

TL  ^tJt\  (TrciSav  vvfxcfiLov  jJi   6pur€  Xa/XTrpov  ovra; 

f>/A.(ijTos  ecrct,  yepwv,  a*0t?  reos  0}V  ttoAiv,  fivpio  KaTttXctTrro?. 

Id.Fax.\l.  (856-8G2). 


> : 


w 

Vw/ 

w 


>I_W 
w  l_> 


^   I 


w 

w 
w 


w  I!  -^  w  I  L_  I  _  A 

W  I  L_  I  _  A   II 

wll  -^w  |l_  I_  A 


Very  beautiful  palinodic  antithetic  periods  occur  in  Ant.  V.  (^,  YII. 
)S',  YIII.  a. 

This  sort  of  period  was  developed  in  Greek  poetiy  and  music  into 
exceedingly  complex  forms,  as  two  examples  from  the  Bacchae  of  Eu- 
ripides will  show. 

Ilo^t  Nv(n79  apa  ra?  B-qporpo^ov  6vpcro(f>op€i<s 

Bidcrov^^  0)  AtOKucr*,  rj  Kopv4>at5  KtopiJKiat?  ; 

Td)(a  8    iv  Totg  TroXvScvSpecrcrtv  'OAt'/xttou 

BaXdfioLSj  €vBa  ttot  ^Op(ji€v<;  KtBapL^ojv 

crvva.y€.v  Zkvopta.  ^ovcrat?,  crvva-yev  B^pa<s  aypioraq.    fxdKap  <S  Tlicpi'a, 

(rip^Tai  a  Euio?,  i^^ct  re  •)(op€V(TOiv  afia  fiaKX^vfiaaiy  rov  t  wKvpoav 

8ta/?as   A$Lov  €tAto-(rojLteva?  MatvaSa?  afct, 

Ai»8tav  TC,  Tov  ciiSat/xovta?  oX/^oSorai/ 

TTttTCpa  T€,   TOV  €kXvOV   CL'tTTTTOl'  ^(UpttV 

rSacrtv  KaAAtcrrotcrt  AtTratVctv.  Bacch.  III.  ^jo.  (557  —  575). 


§  34. 


THE   PERIODS   ACCORDING  TO   THEIR  GROUPING. 


131 


wwl v.^wi 

wwl v^^ 

wv^l ^^ 

ww! ^^ 

wwl WW  11 

ujwwl ww!l_ 

1  L_J  W  W   1 


v^  v/  1  i_j  A  11 

w  w  1  1—1  A  II 

A  II 

A  II 

\j  \j  \ WW 

ww| WW 

w  w  1 A  II 

vy  w  I  I— J  A   II 


WW 

WW 


A 
A 


|__A 


'kvoLcrrpriaari  viv  cm  rov  ev  yrvatKOK-t/xo)  oroXa 
MatmSojv  [o^]  Karao-KOirov  Xvo-crcoSr;. 
fxdry)p  irpoird  viv  XcrKots  diro  irirpas 

8o/ccvovTa,  Maivdo-tv  8'  aTn'o-cf 

Tts  o8'  6pet8pd/xwv  />ta(rTT)p  Ka8/x€tW 

C9  opos  €S  opo9  c/xoXcv  £|AoX'  w  BctKxat; 

Tts  apa  VLV  €TeK€v  ; 

ou  yap  c^  at/xaro?  yi'vatKtov  c<^v  • 

XcatVas  8^  7€70V  oS'  ^^  Topyovoyv  Atpvoro-5v  ycVo?. 

i?«ccA.  TL  5/r.  (979-991). 


I  If 


132     $  34.    THE   PERIODS   ACCORDING  TO   THEIR   GROUPING. 


\j  : w|w^,wiiww  —  \j 


!! 


> 
> 


I  _  w  II  _ 

_w|i-!_wl-wll >I_AII 

w  I  _,  >  li  __  v^  w  w  I  _  A  II 

w  v.^  _  w  I  —  A  II 

vy|_wli >|_AII 

w  w  _  v^  I  _,  >  II >  I  _  A  II 

wwwwv^wlv-zww,  'iww  >'|_ 

\j  \y  \j  ^  KJ   I  —  A  11 

'       •  '         w  II w  I  _  A  II 


w 


1- A 


A  II 


vy 


\J    I    >w'    W,    w    II v^    I    ,    '^    " 


AD 


(By  "do."  is  meant  the  docJmilus ;  by  "tr."  the  trochee.) 

It  is  worthy  of  note  that  these  niaf]:nificcnt  periods,  both  from  the 
Bacchae  of  Euripides,  are  examples  of  the  livelier  dance  melodies  de- 
scribed in  §  33,  4,  the  hyporchemata.  In  all  hyporchomata  the  periods 
are  complex  and  in  none  does  a  repeated  period  occur,  so  that  these 
livelier  dance  melodies  are  recognizable  directly  from  the  rliythmical 
schemes  themselves.  An  exhaustive  statement  of  the  facts  is  made  for 
the  first  time  in  the  ComposUiousle/u'e,  §  32,  and  the  Monodien,  §  6,  3. 
If  the  rhythmical  scheme  of  the  period  leaves  the  matter  at  all  in  doubt, 
the  contents  of  the  song,  or,  to  put  it  differently,  the  nature  of  the 


§  34.     THE   PERIODS   ACCORDING  TO   THEIR   GROUPING.     133 

thought  expressed  by  the  words,  will  furnish  a  means  of  determination ; 
ill  hyporchemata  this  calls  always  for  a  livelier  dance  movement.  Cf. 
the  two  cases  quoted  above. 

S.   T\\t  palinodic  mesodic  period  arises  when  an  interlude  occurs  in  a 
palinodic  or  palinodic-antithetic  period. 


from 


from 


Et  hi   KVp€L  TLS  TTcXa?   OtWVOTTo'XwV 

€yyat09  olktov  ata>v, 
Sofao-ct  TLV  aKOvcLV  07ra  ra? 
Tr]p€La<;,  fxrJTtSo<;  otKrpas,  aAdxov, 
KLpKrjXaTa^  ot/Sov'O?. 

Aesch.  Siippl.  I.  str.  ^  (57 


-62). 


> 


> 


■wwl 

_  w! 

_  wl 

_  ^\ 


\y  \  —  w 
w  I  _  w 


^l-^w|_  A 

_Ail 

-w  v^  I  _  A  il 
_1-^^|_  A 

-AD 


Observe  the  exact  agreement  of  the  corresponding  members,  which 
here  determines  the  nature  of  the  period  at  the  very  first  glance. 

A.  *Ia>  Zev  Tts  av  irw?  Tropo?  KaKlhv 
yivoiro  Kal  Xvai?  rvx^^  &  Trapeort  KOtpavots; 

B.  c^cto-t  Tt5 ;    17  T€/XtO  Tptx", 
Koi  fjieXava  (ttoXov  TreTrXixyv 
a/>t(/)i/?aXoj/AC^'  rjBrj; 

A.      ^Xa  fjiiv,  cI>lXol,  ^Xd  y  dXX'  o/xws 
Oeoio-iv  €vxd)fi€(TOa-   OcCjv  yap  Swa/xt?  fX€yL(TTa. 

Eur.  ^/c.  II.  «^r.  (213-219). 


I'll 
T  ] 


i 


134 


> 


§  35.  PRELUDES  AND  POSTLUDES. 


L_  I  _  W 

\y  \  —  v^ 

— vy  w  I  —  w 


I  L_,  II  _  .^  I  _  w  !  _  A  !! 

'  _  w  I  L_,  II  _  v^  I  _  W 
_  w  I  _  A  II 

_  w  I  _  A  II 

L_  I  _  A  II 

i_.  II  _  w  I  _  w  I  _-  A 


_wI_A 


> 


\J 


w     w 


_-  A 


§  35.    Preludes  and  Postludes. 

1.  To  the  cv^ht  sorts  of  periods  just  described,  which  are  the  only 
ones  that  occur  in  strictly  choric  poetry,  preludes  and  postludes  may 
be  joined.     Cf.  §  32,  4,  and  7,  VI. 

Periods,  therefore,  like  the  following  are  allowed,  in  which  irp.  (rrpoiD- 
SiKov)  indicates  the  prelude,  cV.  (cVwSikov),  the  postlude. 


7rp. 

") 

a/ 


eTT. 


a 

b 
a 
iir. 


) 


^p6vTL(TOVj   KOL  y€U6v  TTavStKCUS 
rav  <l>vydSa  fir]  Trpodo)?, 
Suor^t'ots  op/xevav. 

Aescii.  SuppL  III.  str.  a  (418-422). 


w_l- 

v^ I  _ 

w  w   v^ 
www 

w_l_ 


_  I  _  w  _  11 


w 

w_ll 

w  _ 

w  _ 


"AXcro-ov  dv^pwv  v/3piv  €v  crTvyrjcra^ ' 
Xi/xva  8*  tjji/SaXc  TTopt^vpoctSct 

lb.  lY.  «^r.  a  (529 


-531). 


II 


§  35.     PRELUDES   AND   POSTLUDES. 

wi— w|l_|-^w1_w|i_1_AII 

l_1^1^w1-wwIl_I_AII 

-^  W  I  _  W  1  L_  I  _   A  H 


135 


;) 


6^ 

4  --  irr. 


Tt  /xc/AOva?  tIkvov  ; 
p.r}TL  (T€  0vpLO7r\r]0r](;  hopLiJiapyo<;  ara  <|)ep€Ta>-   KaKOi)  8* 

£K/8aX*  €pu)TOS  apvav. 
^  Id.  /S^/?^.  V.  str.  a  (686  -  688). 

vy'iww  —  w! A  11 

>  i  w  w  _  w  I  _  >,  II  w  w  _  w  1  _  >,  11  w  w  _  w  I  _  A  II 

-W  W   I   _-  W   I   L_   I   -  A  ]] 

do.=  Tp. 

doA 
do.< 
do/ 

log.  4  =  iir, 

2.   Preludes  and  postludes,  however,  are  admitted  only  as  follows  : 

I.    The  prelude  and  postlude  must  each  consist  of  a  single  rhyiJunical 

sentence. 

Periods,  therefore,  like 


irp. 


I 


\  =  iir. 


do  not  occur.  The  choric  song  does  not  serve  as  an  accompaniment  to 
the  dance  only  ;  it  is  as  well  a  melody  the  relation  of  whose  parts  must  be 
characterized' in  the  musical  composition  also  by  perfect  proportion  and 
symmetry.  If,  now,  two  rhythmical  members  appear  to  introduce  or 
close  a  period,  they  form  by  themselves,  if  of  equal  length,  a  stichic 
period ;  the  first  sentence  is  then  the  musical  antecedent,  and  the  sec- 
ond is  the  consequent  which  brings  the  first  to  a  satisfactory  close.  In 
such  a  case,  therefore,  it  would  be  wrong  to  write  the  series  aa  be  be 


II 


I 


136 


§  36.     POSITION    OF   THE    VERSE-PAUSES. 


There  are  rather  two  periods  here,  one  stichic  and  one  palinodic : 

1)    ^\  2) 


If,  on  the  other  hand,  there  should  appear  to  be  two  sentences  of  dif- 
ferent lengths,  they  could  not,  of  course,  form  a  period ;  but,  quite  as 
certainly,  they  could  not  sustain  the  relation  of  a  prelude  or  postlude  to 
the  period  to  which  they  appeared  to  be  joined. 

II.  Preludes  stand  only  at  the  beginning  of  choric  strophes,  and  do 
not  introduce  periods  tcithin  them,  except  in  the  Kofx^fiot  (J  33,  4,  A,  V.). 

The  prelude  is  an  invitation,  so  to  speak,  to  begin  the  dance,  and  at 
the  same  time  is  an  introduction  to  the  following  music,  which  is  made 
more  impressive  by  the  contrast.  The  melody  would  be  divided  by 
preluchjs  within  the  strophes  into  widely  separated  parts,  which  is 
allowed  only  when,  as  in  alternate  songs,  the  strophes  distributed  among 
the  difierent  singers  are  really  divided  into  independent  parts. 

III.  The  preludes  and  postludes  must  not  together  exceed  in  length  the 
total  length  of  the  corresponding  members. 

The  following,  therefore,  would  not  be  true  periods  : 


5  —  Trp. 
4  =  irr. 


'{ 


6  =  Trp. 
2 


!) 


3 

5  =^7r. 


dact.  4  =  CTT. 

troch.  4\ 
troch.  4/ 

dact.  3  —  iir. 


It  is  obvious  that  in  such  cases  as  these  the  character  of  the  rhyth- 
mical period  would  be  completely  obliterated. 

For  a  fuller  treatment  of  preludes  and  postludes,  see  Compositions- 
lehre,  §  36,  10-12. 


§  36.     Position  of  the  Verse-Pauses. 

1.  The  verse,  which  we  have  found  above  (§  32,  2)  to  be  the  simplest 
form  of  the  period,  becomes  itself  a  subordinate  member  in  the  higher 
unity  of  the  rhythmical  period.  Yet  not  only  the  sentences  of  which 
verses  consist  are  to  be  taken  into  consideration  as  corresponding  quan- 
tities, but  also  the  pauses  which  close  the  verses.  The  portions  of  time, 
therefore,  during  which  song  and  dance  cease,  and  which  may  be  filled 
out  onlv  by  an  interlude  at  most,  must  correspond  just  as  exactly  as 


§  36.     POSITION   OF  THE   VERSE-PAUSES. 


137 


the  rhvthmical  sentences  themselves.  Even  in  mere  rhythmical  recita- 
tion these  pauses,  which  serve  as  a  rest  to  the  voice,  come  out  sharply, 
and  must  be  observed. 

The  rules  for  the  proper  placing  of  the  verse-pauses  are  given  below. 
Examples  will  be  found  in  the  preceding  paragraphs,  and  in  the  lyric 
parts  of  the  Antigone  and  the  Medea,  which  are  given  at  the  end  of  the 
book.  It  is  superfluous  to  enumerate  the  possible  wrong  places  for 
the  pauses.  The  rules  now  to  be  given  will  be  found  to  be  verified  by 
the  whole  choric  literature. 

2.   Every  period  ends  with  a  full  verse. 

There  are  but  two  exceptions  to  this  rule,  both  in  Pindar.  One  of 
the  instances  is,  — 

Ovkvinria  Jlv^ol  T€  viKuivTCo-oni/.    6  8'  oA^tos,  ov  <^S|xai  Karcxovr  dya^at. 

PiND.  01.  YII.  ant.  a. 


>iL_w| 

_A]] 


KJ 


]]_wwl— W^l 11_V^W 


\J  W 


A-    2\ 

V 

II.    3\ 


In  no  case  may  a  period  begin  within  a  verse  whose  first  part  belongs 
to  some  other  period,  as 

■  11. 


I.     (a- 


n.    D 

^lorcover,  it  cannot  even  be  completely  contained  within  such  a  verse. 

I. 


3.    The  ttco  members  of  the  stichic  period  may  or  may  not,  at  pleasure, 
be  separated  by  a  verse-pause. 


D 


"3 


1*1 


t 

id 


i 


138 


§  36.     POSITION   OF   THE   VERSE-PAUSES. 


4.    In  the  repeated  stickle  period,  if  a  pause  occurs  at  all,  it  must  occur 

throughout. 

etc.  or 


a< 


i 


not      a 
a 

• 

a 


a     etc. 
a 

a 


5.  In  the  palinodic  period  the  pauses  must  correspond  palinodicalhj . 
That  is,  if  an  antecedent  member  has  a  pause,  its  corresponding  conso- 
quent  must  also  have  it ;  if  it  is  lacking  in  the  one  case,  it  must  be 
lackini^r  in  the  other  also. 


Moreover,  the  pauses  between  the  two  groups  may  in  no  case  he  lacking 
when  the  sentences  icithin  the  groups  are  separated  hg  pauses. 
We  could  not,  therefore,  have : 


In  such  a  case  as  this  we  should  no  longer  be  able  to  regard  the  sen- 
tences a  and  b  as  united  into  a  group,  since  the  two  parts  of  the  group 
are  more  widely  separated  from  one  another  by  the  verse-pause  than  are 
the  two  groups  themselves,  which  have  no  verse-pause  between  them. 

It  should  further  be  noticed  that  almost  always,  even  in  the  period 
of  four  members,  the  two  groups  are  separated  by  a  verse-pause.  In 
longer  periods  this  becomes  necessary. 

6.  In  the  repeated  palinodic  period  the  pauses  also  must  be  repeated 
palinodicalhj. 


While,  therefore, 


e.  ST. 


a 
b 

a 
b 


and 


a 
b 
a 
b 


II 


§  36.     POSITION   OF  THE  VERSE-PAUSES, 
are  proper  periods,  on  the  other  hand  the  repeated  period 


139 


a 
b 

a 
b 

a 

b 


fi 


is  not  a  true  one.     There  must  either  be  no  pause  in  the  last  group, 
or  else  a  corresponding  pause  must  occur  also  in  the  first  two  groups. 

7.    In  no  case  in  a  repeated  period  may  the  last  group  be  incomplete. 
Such  a  period,  therefore,  as  the  following  is  impossible : 


The  proper  grouping  of  the  strophe  of  Pind.  Nem.  TIL,  which  has 
been  supposed  to  contradict  this,  is  as  follows : 


I. 


\j 


w     _ 


\j 


\y 


v^   I  w  w  w 

_A]] 


_wl_wl_A 


\^ 


II. 

5         w 

III.  > 
> 
> 


v^  1  _  w  1  _  A  11 
-v.wl_wl 


-w  vy  I  _  W  I  L_  I  _  W  II 
_    vylL_l_w!lwWwl-v^wl_wl_W 

-^w1l_1_v^!—  ^I^^^l— ^^2 
-wwl_w|l_llwwwIv^wwl_wl_All 

^irA^wl—WJl—llv^Wwl        _wl—  All 

-v>wl  _wl_w]] 


W 


\J 


d 


II.     4 
3 


III. 


3 

4 

6  £7r. 


v> 


8.  In  the  antithetic  period  the  pauses  must  correspond  antithetically. 
That  is,  if  a  pause  follows  an  antecedent  member,  it  must  precede  the 
corresponding  consequent,  and  vice  versa. 

Antithetic  periods  may  be  divided  into  two  classes,  those  with  and 
those  without  middle-pauses. 


140 


§  36.     POSITION   OF  THE   VERSE-PAUSES. 


^  30.     POSITION    OF   THE   VERSE-PAUSES. 


141 


M 


111  a  period  of  six  members  the  different  arrangements  of  the  pauses 
that  are  possible  are  the  following 


'S- 


A.   Periods  without  middle-pause. 


rXavKol  8e  8paK0VT€?,  cVct  KTicrOtj  viov 
TTvpyov  i(raXX6fx€V0L  Tpu<i,  ot  hvo  fxkv  kolttctov, 

avOi  8'  arv^ofjiivu}  i/^v^tAS  fidXov. 

PiXD.  01.  YIII.  ej).  p. 


W   W    I    V-.*  W    I    

w  v-/  I  w  vy  I  


.  w     1     _   A    il 
.  w    I    ^  A   11 


B.   Periods  with  middle-pause. 


An  example  is  found  in  §  34,  5,  et  al. 

9.  In  the  palinodlc  antithetic  period  the  pauses  closing  the  groups 
correspond  antithetically,  the  pauses  loithin  the  groups  palinodically. 
All  groups  must  he  separated  from  one  another  hy  pauses. 

As  illustrations  two  combinations  of  the  period  of  ten  members, 
namely  2)  and  15)  of  the  enumeration  in  §  34,  7,  are  selected. 


Then  the  same  with  middle-pauses. 


etc.  to  the  form  in 
which  all  the  sen- 
tences are  isolated, 
viz. : 


Excellent  examples  occur  in  §  34,  7,  of  periods  of  ten,  eight,  eighteen, 
and  twenty  members  respectively. 

10.  In  the  mesodic  period,  which  in  other  respects  follorcs  the  laws  of 
the  antithetic  period,  the  interlude  may  be  isolated  by  a  pause  on  each 
side,  or  may  stand  within  a  verse,  or  may  begin  or  close  a  verse. 

This  is  illustrated  in  the  following  period  : 

a^  a 

The  fundamental  principle  of  rhythm  is  movement.  Since,  now,  the 
movement  of  the  dance  stops  during  the  interlude,  it  is  indifferent 
whether  these  orchestic  pauses  be  lengthened  by  a  pause  in  the  singing 
or  not. 


It 


142 


§  36.     POSITION   OF   THE   VERSE-PAUSES. 


But  also  in  the  song  all  four  forms  have  their  force,  and  make  satis- 
factory impression  even  in  recitation,  as  is  clearly  seen  from  the  follow. 

ing  examples. 

1)  ^hiJir}\avoi  (ftpoin-iSos  OT€pr)0€i<i 

iVTrdXa/xov  fxepL/xvav, 

o7ra  TpaTTw/xat,  TrtrvovTOS  olkov. 

Aesch.  Jf/.  VII.  sir.  y  (1530-1532). 

■      w|l_|_v.|_w!l_|_AI1  6 

w  I  _  w  I     L_    I  _  A  II  4 

wl     L_i_w|_v.|L_|_Al]  6- 

This  form  of  the  period  seems  the  most  natural. 

2)    'ETrto-KOTTCti^  8c  7rai/Ta;(r)  KVKXovcrav  ofifia  XPV  X^P^^  KaTaa-Tacnv. 

All.  T/iesm.  YIII.  a  (958,  959j. 

_w  I  _w  1_  A  I 


\j  : 


\j  : 


w  : 


w 


v^  I  _  w  I  _,  w  II  _  w  I  _  w,  II  —  w 


) 


Likewise  in  the  greater  Jsclepiadean  : 

Mrj^ev  akXo  <^i;TCi'<rr/9  Trporepov  SevSpeov  a/JLTriXio.      AlC. 


\y 


-Kj  \y 


\y 


\y 


\j 


A  II 


3> 

2 

3> 


Here  it  is  easv  to  see  from  the  chief  ictus  with  which  each  sentence 
begins,  that  the  verse  is  divided  into  three  parts ;  and  from  the  length 
of  these  sentences,  that  the  first  corresponds  to  the  third,  while  the  sec- 
ond occupies  an  independent  place  and  is  consecpiently  interlude. 

3)  Marcp  u)  ^pv(TO(TT€(j)dva)v  deOXiov  Ovkv/JLiria^ 

SeaTTOLV  dXaOiia^ '    Iva  fiavrwi  dv^p€<;  .  .  . 

PiND.  01.  VriL  sfr.  a. 


vy 


_  A 


--I 


2 


o 


If  the  first  verse  is  intoned  properly,  that  is,  if  it  is  given  two  chief 
ictuses,  its  division  into  two  sentences  becomes  apparent  to  the  ear. 
Then,  when  the  second  verse  is  recited  to  its  close,  it  is  perceived  that 
it  corresponds  to  the  first  sentence  of  the  preceding  verse.     We  then 


§  3G.     POSITION   OF   THE   VERSE-PAUSES. 


143 


see 


that  the  second  sentence  of  the  first  verse  stands  alone,  and  is  con- 
sequently interlude. 

4)  BovXaV  T€  Koi  TToXifXiDV 

PiND.  PytJi.  YIII.  sir.  a. 


>  i  _  w  1  -v^  ^  I   -  A  II 


\j 


\j 


\j 


\-Kj\-   M 


2 
3- 


It  is  seen  from  the  length  of  the  sentences  that  the  second  sentence 
in  the  second  verse  corresponds  to  the  first  verse  :  consequently  the  first 
sentence  of  the  second  verse  stands  unconnected  and  must  be  interlude. 

In  the  palinodic  wemlic  period,  on  the  other  hand,  there  must  be  some 
pause  at  the  interlude,  since  otherwise  the  groups  would  not  be  dis- 
tinctly   separated,    such   separation  being  required   by  the   palmodic 

principle. 

U  Prelude  and  postlude  may,  at  pleasure,  be  immediately  connected 
without  a  pause  ivith  another  sentence  or  may  be  separated  from  it  by  a 

^'^The  reason  has  been  given  above  (10)  in  treating  of  the  interlude. 
Periods  like  the  following,  therefore,  may  occur : 


^m: 


Trp.         2)     fi  =  "^P- 


3) 


4)    a 
b 


) 


a- 

c  =  eTT. 


For  example : 

1)     '^O?  t59  6c^l(;>8cos  v\6v  iTor^  Yopyovo%  ^  ttc^AV  d/.^l  KpowoTs 
Dayao-ov  l^v^ai  TroOiis^v  cVa^cv.      PlND-  01.  XIII.  ep.  y. 

>: 


\j 


\j 


-^  w  1  _  >,  II  _  ^  1  -  ^ 

^AD 


3  =  'Tp. 

3 
2 

2 
3 


2) 


riaXat^^ovos 

T€KO?,  kXvOl  jxov  irpo^povL  Kap^ta, 

JleXacryiov  dva$. 

Aesch.  Suppl  II.  str.  a  (347,  348). 


paeon.  =  "Jrp. 

do. 
do. 

do. 


:) 


f 


4] 

4i 


Ui  §  37.  METRICAL  AGREEMENT  OF  CORRESPONDING  MEMBERS. 

3)  "Ettcit'  iTrefiinrjcrdfxrjv  aficiXL^iDV 

TTOVWVf  fJi€yaLf}(i}  8c  8u(r</)tA€9  ya/xyjXev/x ,  aTr€V)^€T()V  Sojxol^. 

Id.  C/ioejJi.  IV.  6//-.  y  (G23  -  625). 


w 
w 


W    I    1—    I     _    W    I    —   >s^ 


) 


A  I! 


wl_w|_w|_A]] 


6 

6 

4  =  iir. 


4) 


To  Trav  aTtfJLU)<;  cAc^a?,  oIjxol. 
Trarpos  8    dri/i.wrrti'  dpa  tlctcl 

€KttTt  8    ajjcav  )(€po>v. 

CTTCtT    eyo)  vo(T<f>L(Ta^  oXoifxav. 

II).  III.  */a  t  (134-438). 


w 

W 

Vo/ 

W 

W 

v/ 

W 

w 

W 

.   v../ 

w 

v/ 

\J 

v/ 

\J 

A 

\J 

_A 

\J 

....  vy 

A  II 
A  II 


Ii_l_  AD 


6  =  Trp. 


§  :n.    Metrical  Agreement  of  the  Corresponding  Members. 

I.  Notwitlistuiuling  these  strict  rules  for  the  position  of  the  pauses, 
cases  frequently  occur  in  which  we  are  not  at  all  able  to  determine  with 
certainty,  from  the  leni^rth  of  tlie  rhythmical  seuteuces  and  the  position 
of  the  pauses,  what  sort  of  a  period  we  have. 


E.  g.  the  series 


8 

• 

4 
4 

• 

8 

4 


may  be  regarded  either  a  palinodic-mesodic,  or  an  antithetic  period  with 
postlude  : 


37    METRICAL  AGREEMENT  OF  CORRESPONDING  MEMBERS.  145 


or 


The  confusion  becomes  still  greater  when  the  sentences  are  of  the 
same  length.     This  occurs  very  frequently.     So  the  series 


4 
4 

4 

4 


may  be  regarded  not  only  as  two  distinct  stichic  periods,  but  also  as  a 
palinodic,  and  as  an  antithetic  period. 


1)  : 


i) 

;) 


4 

4 
4 


But  the  limit  has  not  yet  been  reached.    This  series  may  be  still  further 

combined  in  these  two  ways  : 

5)   i> 
4 


4/ 

4  =  iir. 


Here  we  reach  the  limit.  In  the  case  of  such  a  series  as  this  we  shall 
generally  be  right  if  we  choose  that  combination  which  is  the  most 
natural.  This  would  here  be  the  palinodic.  For  if  the  sentences  have 
the  same  length,  but  are  partly  separated  by  a  pause,  groups  are  formed; 
and  it  would  not  be  proper  to  classify  periods  as  antithetic  in  which  the 
beginning  of  one  verse  corresponded  to  the  close  of  the  other,  unless 
thi"s  appeared  from  the  different  length  of  the  sentences,  as  e.  g.  in  the 
following : 


4 
5 

• 

6 

4 


^ 


But  in  innumerable  cases  there  will  still  be  doubt.     In  such  cases 
the  doubt  is  almost  always  solved  with  certainty  by  the  metrical  form  of 


i'\ 


>i*. 


146  §  37.   METRICAL  AGREEMENT  OF  CORRESPONDING  MEMBERS. 

tJie  sentences.     To  illustrate,  let  us  take  f(3ur  tetrapodies  of  different 
characteristic  forms.     These  forms  show  us  at  once  how  to  combine. 


1) 


2) 


3) 


\J 

\J 

W 

_    w 


w 


w 


.   ^ 


v^ 


w 


Kj 


_  A  II 
_  A  II 
_  A  II 
_AI] 

_  A  II 
-A]] 
_  A  II 
-AD 

-_  A  II 
_  A  II 
_  A  II 
-AH 


IL 


D     "!) 


The  sentences  of  the  same  or  similar  forms  correspond  to  one  another. 

The  melodies,  of  course,  corresponded  to  these  metrical  forms. 

2.  The  importance  of  this  rule  will  be  seen  from  the  examples  which 
follow,  taken  from  Aristophanes  and  Euripides,  in  whose  dramas  occur 
many  noble  periods  of  sentences  of  equal  lenj^ths.  Examples  have 
been  chosen  in  which  two  («<^),  three  {abc),  or  four  (abed)  character- 
istic forms  occur. 

A.    Two  Characteristic  Forms. 

A.    TL  SrJT .,  iTreiSav  ras  Ki^^Xas 
oTTTtOjLtcVas  '•SrjTC ; 
X.    ot/xat  crc  Kat  tovt   €V  Acyctv. 
A.    TO  TTvp  vTrocrKaAeuc. 

X.    ^Kovo-a?  C09  p.ay€LpiKws  Koyux|/w9  T€  Kat  8€t7n'7;riKw9  atrrw  ^iaKov^iraL ; 

Ar.  Ach.  Xri.  str.  (1008-1017). 

-,  >  II  _  w  I  _  >  I  _  v^  I  _,  >  I!  _  ^  1  _  ^  I 
_  A  II  i_  I  _  A  II 

_  A  II 
_  A  II 
_    A  II 


> 

> 
> 


> 


_    > 
_    > 

_    > 


W 

V^ 

w 


w 


-,  >  II  -  w  I  _  >  I  _  w  I  _,  > 


\y 


I- AD 


§  37.   METRICAL 


AGREEMENT  OF  CORRESPONDING  MEMBERS.  147 


IK 


> 
> 


a  =  catalectic  or  acatalectic. 


b  =  fallinor. 


I 


"Ay  cia  vvv  rdv  (rKW/x/xaTcov  diraAAayeVrcs  rj^rj 
{-/xer?  €7r'  aAX'  cTSo?  Tpe7rccrO\  l^u)  8'  iwv  tj^t]  XdOpa 
PovX^aopat  Tov  gco-Trorov  AaPwv  Ttv   aprov  Kat  Kpea? 

UaO-0>M€VOS  TO  AotTTOV  Ol^TW  Tw  KOTTO)  ^UVCtVat. 

An.  Flat.  I.  ej}.  (31G-321). 


_> 
_> 
_> 

w 


w 

KJ 

w 
w 


w 


w 


w 


_  W   1  _  >,  II  -  v^   1  - 


w 

_> 
_> 


w 


A  II 
A  11 
A  II 

AH 


a  =  catalectic  or  acatalectic. 


b  =  falling?. 


*AAA',  w  XapiTipt^rj 

Koi  %p.LKvO€  Kol  ^pOLKT]?,   eiTOV  KaT€7r€tya)V, 

o-avTio  TTpocrex^ov,  ottws  prjhev  TrapaxopSuL^ 


ojv  Set  cr   aTToSetcat* 


5 


10 


OTTO)?  8c  TO  0-Vp(3o\oV 

XopovTG^  CTTCtra  TrXr](TLOL  KadeSovpeB  ,  w? 

ttV  ^CtpOTOVW/ACV 

aTravc/  ottoo"  av  Ocry 
TO.?  r]p€Tepa<;  <^tAa9. 
Kat  TOt  Tt  Xcyo) ;    cfycXov?  yap  xp?)V  p   ovopd^eiv. 

An.  Fed.  I.  str.  (293-299). 


148  $  37.   METRICAL  AGREEMENT  OF  CORRESPONDING  MEMBERS. 


10 


> 
> 
> 
> 

> 

> 
> 


'  Ky  I 

w  I 


I  _  A  II 

I  _,  w  II 
I  _,  >  II 
I  _  A  II 
I  _  A  II 
I  _  w  II 
I  _  A  II 
I  _  A  II 
I  _  A  il 
I  _,  >  II 


w 


KJ 


\y 


_  A  II 
A  II 


l_ 


l_  A  II 


—KJ  W 


I- AD 


B.    T/iree  Characteristic  Forms. 

N9i/  St;  o-€  iravra  hu  kolXidv  iiUvai  crcavroO 
KOL  Xyjfxa  OovfHov  (fiopelv  Koi  Aoyov?  acf>vKTOv'S 
OTOLG-L  TOvS'  vTTep/SaXei.      iroiKt'Ao?  yap  uvrjp 

KUK  tCjV  dfXr])(aVU}V  TVOpOVS   €V\k7JxdyOV^  TTOpL^CL. 

All.  JSq.  Y.  str.  (756-759). 


37     xMEIRlCAL  AGREEMENT  OF  CORRESPONDING  ISIEMBERS.  149 


> 
> 

> 


_wl_wl_wl_,  > 

O-   I    W   I    ^   I    I— , 

—  W  I   —  w  I  W  I   L_, 

—  wl  —  wl  v^l  ,  > 


_  W  I  _  w  I  L_  I  _  A  II 
_  W  I  _  W  i  L_  I  _  A  II 
_  w  I   _  w  I   1_  I   _    A    II 

_wl  _w  I  i_l  __  A  ]] 


5 


10 


10 


C.    Four  Characteristic  Forms. 

ZrjkCo  y€  Trj<;  evTVXiLCL^ 
rov  TTpea/Svv,  ol  iMereaTrj 

$r}pC)V  TpUTTOiV  KOL  pLOT^S  ' 
€T€pa  8c  VVV  dvTLfJia6u}V 
rj  piiyoi  TL  /xcTaTTCcretrat 

'Eirt  TO  Tpv(fidv  KOL  fxaXaKOv. 
rdxa  8'  av  icrw?  ovk  kOiXoi. 

To  yap  ttTTOcrr^i/at  ^aAeTrov 
^I'crcos,  Tjv  f-xoL  Tt?  act. 

Katrot  TToAAot  rairr'  hraBov  ' 
^v6vT€<s  yvw/xats  erepoyv 
^cra^aAAovTO  rov?  rpoTrors. 

Ar.  Fes/?.  XIV.  str.  (1450-1461). 


> 
> 
> 

> 


> 


w    I 

_  w  I  _  w  1 

_  w   I     1—  1 

www!      I —  I 

w  w  v^  I  v^  w  w  1 

\^  vy  w  I        I —  I 

»^  \^  v^   I          I I 

www!   —  >"  I 

V>'  w  V^   I      w  ' 

L_  I  _> 
L_  I  _> 
L_         I      W 


_  A  II 
_  A  II 
_  A  II 

_  A  II 
_A]] 
_  A  II 
__AJ] 
_  A  II 
-AH 
_  A  II 
_  A  11 


II. 


a4 
a4 


) 


III.  c4 


c4\ 
c4>' 


IV. 


d4\ 

d'r 


d4 


) 


a  =  catalectic,  and  with  tlie  second  measure  syncopated. 

I)  =  falliiiir. 

c  =  catalectic,  and  without  syncope. 

d  =  catalectic,  and  with  the  first  measure  syncopated. 

A.      BpeKCKCKcJ  Koai  Kodi, 
tovtI  Trap'  vfxuiv  Xafx^avm. 
B.      8eiva  rdpa  Treio-o/ico-^a. 

A.  8eivoT€pa  8*  eytoy',  iXavvcDV 
5                        €t  EiappayrjaoixaL. 

B.  /3peK€K€K€^  Kodi  Kod^. 


9\ 


I 


150  §  37.  METRICAL  AGREEMENT  OF  CORRESPOiNDlNG  MEMBERS. 


f  37.   METRICAL  AGREEMENT  OF  CORRESPONDING  MEMBERS.  151 


10 


10 


10 


A.  ot/xw^er  •    ov  yap  /xot  jxikii. 

B.  dAAa  jxy^v  KeKpa^ofiecrOd  y', 
oTTOcrov  rj  (f>df)vy^  av  rjfjiCjv 

f^p€K€K€K€$  Kod$  Kod^. 

A.       ^p€K€K€K€^  KOa^  Kod$. 

TOVTUi  ydp   ov  VLK7](T€T€. 

Ar.  Jlau.  I.  (251-2G3). 


>     I  _ 


w  w  w  I    w 

>  i  _  w  I  _> 

KJ       I      W 

W      I  Vw/  \^  W 

V-/       I      Ky 

v^  vy  w  I    w 

>  i  _  w    I  _  > 

\y    \    w 

^^  W  W    I      W 

—  w    I    w 

w  w  w  I    \y 

v-^  v-/  v^  I    v^ 


>  i_ 


w 


> 


w    I 

w  I 
w  I 

v^   I 

w  I 
w  I 

v^    I 
w    I 

w  I 

w    I 

w  I 


,  A  II 

A  II 

KJ  II 

W  II 

A  II 

A  II 

A  II 

w  II 

w  II 

A  II 

A  II 

A  II 
AU 


Ila  /xot  yci/j/atcov  Trarcpojv 

yCFVUtW  t'  CK  TOK'ttSwV 

7ra  Srj  fioL  vl(T€L  (TKoiriXov^;  ; 

ov  Tad    vTTrjvepos  uvpa 

Kat  iroirjpa  f^ordva, 

mi'dev  0^  v8u)p  iroTa/xuiv 

€V  7n(TTpaL<:  Ketrat  TrcAa?  avrpiov^  ov  croi  fSXa)(al  tckcW; 

ij/vTTa,  o-v  TaS*  ov,  kov  raSe  vc/xct, 

ov8'  a*  kAitvi/  hpoa^pdv; 

oj  I'TTay   a>  Kepdara 

7]  pnl/M  irlrpov  Kara  crov 

Kv/cAojTTos  dypo^dra 

fxy/Xopara  (TTacnuipov. 

Euii.  Ct/cl.  I.  sir.  (41-53). 


I  _ 


5 


_>  I 

>  i  _  w  I 

l_  I 

>i        L_  I 

_>  I 

>•  :  w  w  w  I 


I   _ 


10 


/w  I 
>    I 


>  ! 

>  I 

>  I 

w    I 

>  I 
w  I 

>  I 


d  I 


> 


> 
> 


I  -_ 


l_    I  _ 


— \^  \J  I 

-^w  I 

-WW     I 

w  w  w  I 

-WW     I 


I  _ 


W     I 
w    I 


A  II 

A  II 

A  11 

A  II 

A  II 

A  II 

.  II 

A  II 

A  II 

A  II 

A  II 

A  II 
AH 


->l-.>l 


—  A 


3.  In  tlie  last  example  (ef.  also  Compositioyislehre,  §  32,  2)  a  falling 
verse  corresponds  as  consequent  to  a  catalectic  as  antecedent.  This 
case  is  very  frequent.  Cf.  the  examples  in  §  34,  8.  The  converse 
docs  not  occur  so  frequently.  Other  sentences  dissimilar  in  form  to 
one  another  often  con'espond.  This  is  true  especially  in  long  repeated 
periods,  which  would  be  too  uniform  if  the  metrical  constitution  of 
the  sentences  remained  always  the  same. 

The  laws  governing  the  metrical  correspondence  of  two  of  the  com- 
monest rhythmical  sentences,  the  choreic  hexapody  and  tetrapody,  are 
developed  in  the  Compositionslehre,  §  18  and  §  19.  Logaoedic  sen- 
tences of  the  same  len":th  wdth  these  show  the  same  relations.     The 


f  1 

t; 


152  §  37.   METRICAL  AGREEMExXT  OF  COKRESPOxNDlNG  MEMBERS. 


correspondence  of  short  sentences,  such  as  choreic  and  logaoedic  dipo- 
dies  and  tripodies,  is  simple  and  easily  understood,  since  these  sen- 
tences have  little  that  is  characteristic.  The  dipody  indeed,  like  the 
pentapody,  does  not  often  occur.  In  other  sorts  of  measures  very 
j^reat  diiferences  of  form  in  corresponding  sentences  are  not  often  met 
with,  except  perhaps  in  Doric  strophes ;  and,  even  in  these,  limits  are 
carefully  observed.    For  example,  corrcspondiiij^  to  the  tripody  —\j\j\ 

_  w  w  I II  we  find  v^  w  I w  w  I  i_j  II,  but  seldom  l_  w  I  l_  w  I 

II,  etc.     Aj^ain,  such  a  correspondence  in  the  case  of  the  tetrapody 

as  L_wl Il_wI II  and  —  wwl  —  wv^l  —  v^*^! II 

occurs  but  seldom.  In  the  ionic  measure,  the  forms  of  which  are  more 
or  less  various,  there  is  less  of  exact  metrical  correspondence  between 
the  sentences  than  in  other  rhythms,  because  this  measure  has  for  the 
most  part  an  enthusiastic  character. 

Only  one  thing  further  need  be  noticed,  that  frequently  sentences 
correspond  which  are  strikingly  different  in  their  metrical  form,  whereby 
a  sharp  contrast  is  expressed  in  the  music  and  in  the  rhythm.  When 
sentences  with  many  of  their  measures  contracted  correspond  to  others 
with  many  of  their  measures  resolved,  such  an  effective  contrast  is  pro- 
duced. Such  a  contrast  exists  also  when  a  series  of  choreic  dactyls 
(5  15)  corresponds  to  a  series  of  trochees  of  the  ordinary  form.     E.  g. 

TtTTTC  /xot  To8'  e/x7re8a)9  Stifia  7rpoarTaTr]pLOV 
KapSta?  Tcpao-Koirov  TTorarat; 
fjiavTLiro\€L  8*  aKeAcvcrros  aifiLcrOos  dot8a  ; 
ovS'  arroTTTVcras  ^lkov  SvcrKptriDV  6v€LpaT(j}v  .  .  . 

Aescii.  J(/.  IV.  sir.  a  (975  -  981). 


w  1 

w  I 

O)  I 

w  I 


\J 


w 


ll_w  I 


I  _ 


_a,   I- 


CO 


w 


A 
A 


\j 


A  II 


I  -_  v/  I  _  A]] 


THE  LYRIC  PARTS 


or  THE 


MEDEA    OF    EURIPIDES 


AND   OF   THE 


ANTIGONE    OF    SOPHOCLES. 


Here,  as  always,  the  metrical  forms  of  the  corresponding  sentences 
are  exactly  adapted  to  the  rhythmical  expression  of  the  thought  con- 
tained in  the  words. 


MEDEA    I.    (131-212). 


T      fci*     fc^ 

Loo 


Vr. 


I.  \jw: 


THE    LYRIC    PARTS    OF    THE    MEDEA. 


II. 


WW 

WW 

WW 


w  w 

L_J 

w  w 
w  w 
w  w 
w  w 
—  w 


w  w 

1 I 

w  w 

W  KJ 

w  w 
w  w 
_  w 


A   II 

,A]] 

w 
w 
w 
w  w 

-1 


I. 


1/ 


II. 


I. 


The  Parodos. 

Proode,  131-138;  Sir.  and  J^d.,  148-159  and  173-183;  E/jod. 

204-212. 


Str. 


I. 


w  w 


11. 


TTp. 


(T. 


10 


KkXvov  <f)U)vdv,  €kXvov  8c  /Soul/ 
Tas  Sva-rdvov 

KoA;j(t'8o9,  ovSe  tto)  i^ttio?  •   aXAa, 

ycpata,  Xi(ov  '   ctt*  afufnTriXov  yap 
€tra)  fxeXaOpov  yoov  €kXvov  '   ovSe 
(Twr/So/xat,  w  ywat,  aAyeo't  Sw/xaros, 
erct  /xot  <j)iXov  Kc/cparrat. 

Atc§,  oj  /i€v  /cat  ya  Kat  ^09, 
ta;>(ai',  oiai/  a  SiWavos 
/xcAttci  vvficfia ; 

Tt9  (rot  TTOTC  Tas  aTrXacTTOu 
Kotras  €po9,  w  yLtarata, 

CTTTCtVct  OaVVLTOV  TiXeVTOiV ; 

fjLTjSky  roSe  Aicrcrov. 
ct  8c  cros  TToori? 
Katva  X€)^rj  o-c^t^ci, 
Kcti/o)  To8c  //.t)  ^apdacrov' 
Zcrs  cot  To6c  cj-uvoiKrycrct. 

Mr;  Atav  roLKOv 
Svpo/xeva  tjov  ivverav. 


> 
> 
> 


> 


> 
> 


J  w 
J  \y 
J  w 
J  w 
.  w 
J  w 

'  w 

w 

J  w 


r  1  rr 


m. 


w 

/  w 


w 


—  w  i 
-w  I 
-w   I 

L-  I 
_w  I 
_w  I 
_  w   I 

r  • 
W 


> 


4 
4 


) 


II. 


A 

A 


rr  11 

_A  II 
_AII 
_A1I 


_A!I 
_  A  II 

_A]] 


_A  II 
_A]1 


II. 


4  =  ^7r. 


4 


) 


10 


loG 


MEDEA   I.    (131-212). 


MEDEA   I.   (131-212). 


157 


> 

a. 


10 


itr. 


IXBoL  jjLvOwv  T  avBahivTiiiv 

Et  7r(U9  jSapvOv/Jiov  opyav 
Kttt  Xrjixa  c^p€vti)V  julcOcit^, 
firjTOL  TO  y   ifjiov  TrpoOvfiov 

dAAa  ySacra  vlv 
Sivpo  TTopevcrov  olkwv 
€^'a>,  <^tAa  Kttt  Ta8    avSa, 
(TTTtvcracra  irptv  tl  KaKwaai 

Tov9  €cra>*   TrevOo'S 
yap  fj.€ydXu)<s  to8'  opfiaTai, 

A;^ai/  diov  ttoXvottovov 
yowi/,  Xiyvpa  B    d^ea  /xoycpa 

poa  TOV  Iv  Ac^Ct  TTpohoTaV  KaKOWfXtjiOV 

©co/cAirrct  8    dSiKa  TraOovcra 
TCiV  Zrjvoq  opKiav  (dijxiv, 

a  VLV  €/3a(T€V  'EAActS'  C?  dvTtTTOpOV 
St'  dXa  vv)^Lov  i<f>*  dXfJLvpdv 
TTOVTOv  kA^S*  drrepavTov. 


Epod. 


I. 


l__      I     _  w    I    _  w     I 


KJ 


KJ 


K^ 


W 


V> 


_AII 

-AD 


II.         vywwj    —  wjwww 
>  :  _  w  I   _  v^    1    —  ^ 
— \^  \y  \   —  w    I  — \>  w 
v^iv^wwlvywwl    —  w 


_w    II 

_A    II 


w 


A    II 


_  A 


> 


I. 


L_       I    -  A    ]] 

II. 


Proode. 

Westphal  (Spec.  Metrik,  p.  63)  thinks  that  he  finds  in  Per.  II.  two 
pentapodies,  — 


^    w    I  \J    \J 


w  w  1  — 


KJ    \J 


and 

enclosing  a  dactylic  hexameter  of  the  form,  — 

\j  \j  \  v.^wl  w^^li  wwl  —  v^v-/|  —  v^wll» 

and  followed  by  an  iambic  pentapody.  But  such  an  arrangement  were 
nothing  more  than  a  quodlibet.  That  we  have  tetrapodies  here  through- 
out is  shown  by  the  exact  agreement  of  the  members  of  Per.  II.  in  the 
matter  of  the  caesura  (feminine  caesura).  The  "  versus  nexi  "  are  in- 
dicated in  the  text  by  being  printed  further  to  the  right.  Why  the 
poet  used  here  these  ''  versus  nexi "  is  clear  w^hen  we  recall  that  ana- 
paests both  precede  and  follow  the  proode. 


Str. 

Per.  I.  For  v.  3,  an  apparent  spondaic  dipody  (marked  in  the 
scheme  designed  to  show  the  eurhythmy  8),  see  Monodien  und  WecJisel- 
gesdnge,  p.  163.     The  rhythm  of  this  period  is  anapaestic. 


158 


MEDEA  II.   (410-445). 


MEDEA   II.    (410-445). 


159 


II. 


First  Stasimon  (410-445). 


or.  a 


"Arco  TTOTa/xwv  i€pu)i^  )(Mpov(TL  TTttyat,  Kttt  SiKa  KOL  TTctrra  TrdXiv 

aTpecf>€TaL. 
av^pdcTL  p\v  8oAtat  /^ovXai^  ueCjv  o 
ovK€TL  TTtcrri?  dpap€.     rav  8    i/xav  €VK\€Lav  c^ctv  jStOTav  (TTpiif/ovdL 

Ep^fTttt  TL\i.a.  yvvaLK€L<a  ycVct  * 

5  OvK€TL  SvCTKcAaSoS  (j^ttjitt  yVVaLKa<;  €^€L. 

O"  O"  MoC'crat   Se   7raXaLy€V€u)V   Xijiova    doiSav   rav    ifxav    v/xvcucrat 

aTrtcTOorvvav. 
ov  yap  iv  a/xercpa  yvw/xa  Xvpas 
(07ra(r€   Oecnnv    dotSav   4>ot/?o9,   dyrjriiip   /xcXeW*    cTret   ai'Tu;(r;cr'  ai/ 

ApcTivoiv  ycVva*   /xttKpos  8*  atwi/  c^^ct 
5  IIoAAa  /xcv  d/jL€T€pav  dvSpwv  t€  p^oipav  ^hr^'iv. 

o"'  P  •  iSi'  ^   €/c  /i.€V  otKwi/  iraTpioiiiv  hrXcvcra^ 

fiatvopeva  KpaSt'a,  8t8i'(ia9  opicracra  ttovtov 
TTcr/Das*   cTTt  8c  ^fi^a  vauts  x'^^^^y  "^^^  dvdvSpov 
Kotras  oAcfracTtt  XiKTpov, 
5    TttXatva,  <^vya?  8e  )(ii)pa<: 
dTtfXos  iXavv€L. 

d.  P'.  Bc/?aK€  8'  opKwi/  X'^P'?^  o^^*  €T*  at8a)9 

EAXa8t  Ta  paydXa  juci/€i,  aWepLa  8'  ai/eTrra. 
(rot  8    OVT6  Trarpos  8o/xot,  8L'<rTai'C,  p.€6opiJi.lara(j6aL 
M-o-xOiiiv  Trdpa^  tCjv  8c  XcKTpwv 
5   aAAa  (^aaiXua  Kpudduiv 
hofxoLdtv  uvco'Ta. 


Str.    a^ 

I.   >: v-/w! wwl li wl , 


w 


*^  W    I    WW 

W  W    i    WW 


_  I  l_  w  I  _  A   II 

>  il_wl ll__ww 


-WW 

w  w  I 
_  w 


w  w 

_  A 


-_]] 


II.    L-wl II  L_ 

III.    W  W   I   —  WW 


w 


w  I  _  A  ]] 


W  I  I w 


-1 


I. 


|5N 


II. 


\ 


III.  ; 


1-V 


Str.   fi'. 


I. 


W 


> 

II.     > 


W     I      L_ 
/  v_/  I  — WW 
/  w  I   \^ 


> 

w 


w 


'  W   I 

-wl 
w  I 


w 
w 


> 


-W     f 
WW    I 

wwl 

A  II 
A  II 


AH 


_wl       L_      I   _ 


w 
w 


A  II 
AI 


I. 


0 


I  _  A  3 

IT  p. 


II.    4 


) 


3  =  iir. 


The  composition  of  str.  a  is  peculiar  (in  particular  as  regards  the 
single  long  verse  composed  of  two  pentapodies),  but  nevertheless  beau- 
tiful. It  is  quite  analogous  to  that  of  the  "Attic  Scolium-strophe," 
discussed  in  the  Compositlonslehre,  \  35,  4.  The  last  tripody  is  of 
livelier  form,  in  order  to  lead  over  easily  to  the  logaoedics  of  str.  fi'. 
Precisely  the  same  thing  occurs  in  the  next  chorus. 


V 

h 

u 


IGO 


MEDEA   III.    (G27-663). 


III. 


Second  Stasimon  (627-663). 


o".  a'.  "EpwTC?  vTTCp  fJi€V  ayav  cXOoi^tcs  ovk  cuSo^tav 

ov8'  apcToii/  TrapiSuDKav  avSpdcnv'   el  8'  oAts  eA^ot 
KvTTpi?,  o^K  aAAa  ^cos  €v;(apts  outws. 

5  To^o>v  €(f>€Lr)<;  t/Acpo)  yjiia-acr  acf>VKTOV  ola-TOv. 


a.  a 


^repyoL  Se  fxc  cruycfipoavva  Sioprj/xa  kolAAio-tov  ^coif  • 
/urySc  ttot'  tt/x</)tAoyovs  opya^  d/copccrTa  tc  vcikt; 

%vixov  €KirXiq^a(T   €TepOL<;  ctti  AcKxpots 
irpoa-paXoi  Scii/a  Ki^Trpi?,  aTrroAe/xovs  8 
5  Eui^as  o-e/^t^ovo"*  6$v<f)p(x)v  KpivoL  X^Xl  y^^ctt/cwv. 


12  Trarpt';,  a>  Ow/xa  t   c/xov,  /xt)  orjT  aTroAtq  ycvoifiav 
Tov  dfir))(avLa^  (L^ovcra  hvcnripaTov  oXtav ,  otKTpdrarov  d;(ca)V. 
^avctTw  Oavdrw  Trctpo?  Sa/xeti^v 

dfjiipav  TOivS*  i$avvcraa-a'  fio^Buv  8    ovk  oAAos  virepOev  rj 
5   yas  xarptas  cTTepecrOaL. 


ou  P'.  Et8o/x€v,  ouK  e^  kripoiv  fJLvQoyv  €)(oix€v  (f)pd(Ta(jOaL' 

^k  yap  ov  TrdAt?,   ou  <^tAa>v  Tts  ujktictcv  TraOoucrav  Sctvorara 

d^ctptoTO?  oAot^*,  oTio  irdptcm 

p.7]  <f)ikov<i  TLfJidv  KaOapdv  dvoi^avra  KXfjha  (f)p€vCiV  c/xot 
5   p.€V  <j!)tAos  ovTTOT  ccrrat. 


I 


MEDEA   III.    (627-663). 


161 


Str. 

a  . 

I. 

>  : WW     —  KJ  \y 

_,_!! 

L_  W 

L-  w  1  _  7C  II 

WW       —   WW 

_.>.ll 

WW 

—  WW       L_       __  A  ]] 

II. 

L-  w                        WW 

WW 

II 

L_  W    1                            WW 

—   WW 

—  A  I 

HI.   -ii-^l |l_w|_,  _!Il.w1i_ 


W      I_J 


I. 


-A]] 


II. 


) 


III. 


4 


) 


str.   /3\ 


I.  -^ 

II.    co: 
0)  : 


w 

w 
w 


wwl-,  >ll-ww|_wiL_|_Al 
wl-_w|_w|__wll_>l- 


w 

> 


w  I  _  w   II 

-    I-AU 


«> 


w  I  w  w  w  I  __  A  II 

w  I  -  w  I  __A  II 


In  str.  a  occur  in  Doric  melodies  falling  sentences.  This  is  against 
ancient  usage,  though  it  occurs  in  Pindar,  Nem.  VIII.  Ep.  6,  which  is 
to  be  written : 

I  —  wwIi_jI1l_w|  —  >ll  —  wwI__wwIlj|__A]] 


w   _ 


162 


MEDEA   IV.    (824-865). 


c  a 


d.  a'. 


<r.  P'. 


d.  P' 


IV. 

Third  Stasimon  (824-8G5). 

^Ep€\OdSaL  TO  TraXaLOV  oX/3lol 
Kol  OeCjv  TratSc?  /xa/capwi/,  icpas 

X^pO-'i  d7ropO}]TOV  T     U7rO(t)€pl36jX€VOl, 

KAcaa?,  act  8ta  XafxirporaTOV 
l3aLvovT€S  afSptoq  aid  epos  ^vOa  iroO*  dyvas 
ewea  Iltcpt^a?  iVIovo-as  Xiyovdi 
$avOau  'Apfxovlav  cfiVTevaat ' 

Tov  KaXXivdov  T   diTo  Kr]<l)L(TOV  poas 
Tat'  KvTrptv  KXy^ovcTLV  a(f>v(j(TOfi€vav 
Xyjpav  KaTaTTvevcrat  /xcrptats  dve/xwv 

Ai^pat?  •   (let  8'  CTTt^aAAo/xeVtti/ 
Xp-iraKTiv  €vw8rj  poSiiDV  ttXokov  dvOeujv 
rd  cro^tct  7rapc8povs  Trc/xTrctv  epcoTa? 
TravTotas  apcTas  ^I'cpyous. 

XIco?  o*i/  tcpwi/  TToraixuiV  ^  ttoAis  t;  <^iXuiV 
TToyotTTi/xos  ere  x^pa 

Tav  TratSoXerctpav  e^ct, 
TOLV  ov^  ocrtav  //,ct  dAAwi/  ; 
(rK€if/aL  T€K€(i)v  TrXaydv, 
cTKexpai  i^ovov  olov  atpct. 
/Lt^  Trpo?  yovdrwv  <rc  TrdvTws 

iraVTlf]  (T    iK€T€VOfJL€V, 

TCKva  (f)ov€vcrrj<;. 

UoOev  Opdcros  rj  <f)p€v6s  rj  X^ipL,  t€kvov,  ctc^cv 

KapSia  T€  Xy\f/€L, 

Actvav  Trpocrdyovcra  ToXjxav ; 
TTtos  8    ofifxara  Trpocr/SaXova'a 
TCKvot?  dSaKpui/  pLoipav 
cr^7^(Tct5;  <f)ovio  ov  SwdccLj 
TraiSwv  LKeTav  KTavovTotv, 
Tcyfat  X^P"  <t>o(.VLav 
rXd/xovL  Bvfxui. 


MEDEA   IV.    (824-805). 


163 


I.    >:- 


II. 


_  v^ 
_  \J 


I. 


\J    \J 


Str.    a, 
> 


—  WW 

WW 

—  WW 


) 


I w 

WW 

WW 

_  A 

WW 

I w 

II. 


_  A  II 
_  A  II 
-AD 

II 


I. 

^ 

II. 

> 

> 

> 

> 

> 

> 

I. 


W  I 

wl 

wl 
wl 
wl 
wl 
wl 
wl 
wl 


str.   /3^ 


'  W  I 

w  I 

w  I 

w  I 


L_      I    _ 


_> 


w  I 

w  I 

w  I 

w  3 


4  =  ^7r. 


I    _ 


All 


'  w  I   . 

A  1 

A  II 

A  II 

A  II 

A  II 


A  II 


w 


l_AII 


164 


MEDEA   V.    (976-1001). 


MEDEA  V.    (976-1001). 


165 


V. 


Fourth  Stasimon  (976-1001). 


cr.  a  . 


Nvv  cXttiScs  ovk€TL  fJiOL  TTaiSwv  ^oa?, 
ovK€TL '   (TT€L)(ovcn  yuLp  cs  <f>6vov  rj^f]- 

Acfcrat  vvjjLcfia  ypvcriuiv  dvaBcar/xiov 
Scleral  SvcTTavoq  arav 
5    $avOa,  8'  aixffn  KOfia  OrjarcL  Tov''At8a 

KOCTfJiOV  aVTOL  )(€pOLV. 

d.  o  .  Ilctcrct  X^P^5  ap.f^p6(Ti6^  r  avya  ireTrXov 

)(pv(roT€VKT6v  T€  crT€<l>avov  TTcpLOicrOaL* 
Ncprcpots  T^Sr]  irdpa  wix<f>oKo/x-qcreL. 

TOLOV  €tS  CpKOS  TT€(T€LTaL 

5    KOL  pioipav  OavoLTOv  hvarravo^'   arav  8' 

OVK  VTr€p(j>€V$€TaL. 

c.  P'.  2u  8*,  u)  TaAav,  w  KaKOWfJLffic  KrjScfiuyv  rvpawayv, 

TraLcrlv  ov  KarctSws 
oXeOpov  piora  7rpo(Tdy€L<;j  aAo;(a)  t€  <roi  CTvycpoi/  Odvarov. 


Bi 


vcrrave  /utoipas  ocrov  Trapotp^ct. 


^  P'»  McTaa-TevofiaL  hi  crov  oXyos,  «  roAatva  TratSwv 

fidrepj  a  <f>ov€V(T€L<s 

T€KVa  WfKJuSLlOV  €V€K€V  k€X€U)V,  d  tTOL  TTpoXiTroJV  dmfXm 
dXXa  $VVOLK€L  TTOCrt?  (TVV€VV(Jii. 


Str.    a. 


I.  - 


11. 


w 

w 

w 


I. 


K^  KJ  \   \y  W  \ I      I KJ      [_ 

L— v^l I  —  Ky  \y   \  \y\y  \  _ 

I  —  vywl  —  \j  Kj  \ !I 

I      L_w     I II 

-vywl I     l_V^      I II 

i_i       I     i_w     I  __  A  ]] 


A   II 

-I 


) 


II.  ('. 


o)  : 
>: 


.wl 
w  I 


str.   fi\ 

/  vy  I  -_  w,  I!  _  w  I 

W  I  L_  I  _  A  II 
'w  I  -v^wl  _,  wll 
.      I    -w   I   _v^   I 


\J  \     I 


A 


6  =iTr. 


\y 


/v^l  _  A 

A]] 


fa 


r^ 


166 


MEDEA   VI.    (1251-1292). 


VI. 


Koramatic  sonf^  of  the  Chorus,  with  trimeters  spoken  in  part  by  the 
sons  of  Medea  (1251-1292). 


<r.  X.      'Iw  Ftt  T€  /cat  TTajXfftarjS 

olktU  'AcAtou,  KartSer  iScrc  rav 
oXofxivav  yvvoLKa,  trpiv  <f>OLVLav 

TCKVOtS  TTpOa-paXiLV  X^P*  O-VTOKTOVOV 

5  Ta9  o-a?  yap  (Itto  )(pv(T€as  yova? 

c/^Aao-TCv,  Oeov  8'  alpari  ttltvuv 

^ojSos  VTT  av€pu)V. 
aXXd  vtv,  <h  <^ao9, 

Atoy€vc9,   KctTCtpyc,   KaraTravcroi',  e^cX    otKwv  cjiovtav  TaKatvdv  r 

Epti'vv  iiTT  aAacrropoiv. 


A*  Marav  fi6)(0o<s  €pp€L  T€kv(ov, 

fidrav  dpa  ycVos  <f>Lkiov  €T€K€<it  u) 
Kvaveiov  XtTrovcra  ^vfnrXrjydSiDV 
TTcrpav  d^evoirdrav  €L(Tf3oXdv. 
5  AetAata,  rt'  crot  (ftpcvCjv  /3apv<s 

^oXos  7rpocnrLTV€L  kol  Sv(rp.€vrj<; 

4>ovos  djU,€t)3€Tat; 
^aXcTra  yap  jSpoTOLS 

'Oixoyevrj  fitdcrpaT  ctti  yatav  auTo4>oi/Tat9  fui/a)8a  0co^r*/  ttltvovt 

im  8o/xots  ttX^' 

IT.   a  .      OLjULOL,  TL  Spdco) ;  TToi  (fivyu)  firjTpo<;  X^P^^  > 
n.  fi\    ovK  ol6\  tt8eA(^c  (fjiXTar'   6XXvp.€or6a  ydp. 


MEDEA  VI.   (1251-1292). 


167 


Str. 


1.    v^  : w   I  _ 

^  : w  v^  w  I  - 

\j  :  ^  ^  —  w  I  _ 

\y  : ^    I  — 

II.    >  :  _^^  ^  I  — 
w  : w    I  — 

III.    "^  ':  '^  ^  —  ^1  — 

WW  —  v^  I  


_  w  I  t_j  A  II 

_.    W      II    Vs>'  W  W  W   W 


> 


w 


_w  I 
_w   I 


A  II 
A  II 
AD 


w  I  _  w  _  II 

A  II 
AH 


IV.    w  :  v-/  w  —  w  I  —  v^, 


w  w 


w 


^^  _  w  I  _   - 


w  .  II w    I  _  .  w  .  II 

o .  II  WW w  I A  U 


I.    3  ba. 


II.  amph.N  III'    do 


amph 


; 


) 

lo./ 


do 


IV. 


do.\ 
do.< 
do.< 
do.< 
do.) 


Verses  5  and  6  are  amphidochmii,  for  which  see  §  23,  5,  and 
Ein-hi/thmie,  §  18,  9.  The  resolutions  and  irrational  syllables  make 
any  other  classification  of  these  verses  impossible. 

The  third  period  fits  the  second  and  fourth  periods  together,  and 
gives  the  singer  a  chance  to  recover  after  the  agitated  amphidochmii 
that  precede  before  passing  to  the  long  dochmiac  verse  that  follows. 
The  parts  of  this  period  are  skilfully  separated  by  the  punctuation,  so 
that  the  first  verse  belongs  closely  to  the  foregoing  period,  the  second 
to  the  one  that  follows. 


i\ 


168 


MEDEA   VI.    (1251-1292). 


JVIEDEA   VI.    (1251-1292). 


169 


K.  a 


X.  AkOV€LS  /3oaV  aKOUCt?  TiKVtDV; 

lu)  rka/Jiov  CO  KaKorv^k^  yvuaL. 

llapekOu)  86/jLOv<;;   dprj^ai  <f>6vov 

SoK€L  flOL   T€KVOL<;. 

5    IT.      Nat',  7rpo9  OcujVy  aprj^aT  '    iv  SiovTi  yap  • 
<i)S  cyyi's  rjSrj  y   icrfikv  dpKV(i)V  ^t'^ovs. 


K.  P'. 


X.      TdXaLVy  a>s  dp'  rjaOa  ircrpo?  rj  crCBapos,  drts  riKvwv 


OV  €TC/C€? 


apOTOV  aVTO)^€LpL  ^OLpa   KT€VCt?. 


•*•  Y  •    10  Mtar  Sr/  /cAvo>  fXLov  rwv  irdpos 

yvvaiK   €v  <^tAot?  X*'P^  ySoActv  T€Ki/ot9, 
IVO)  fJLaV€L(TaV  €K  OeCjv,  60*  T)  Al6<% 

Stt/xa/j  vt»/  i$€7r€/Jnj/€  SiojudTwy  dXrj. 

UiTViL  8    d  rdAatv*  cs  HXpLav  cf>6v<i> 

13  TiKVOiV   8v(TO-€/?€t, 

aKT^?  virepTiLvaaa  Trovrta?  ttoSu, 
^L'oti/  T€  iraiSoLV  (rvvOavova  dTrdAAurat. 


c.  8'. 


20 


Tt  S^T   ovv  ycvotr  dv  Irt  Scti'dj' ;   w  yvvatKwv  Xe^o^ 

TToXvTTOVOV^ 

ocra  ppoTOtq  epcfa?  ^8rj  KaKd. 


Komraata. 

We  might  assume  that  two  trimeters  of  tlie  boys  had  fallen  out  after 
the  first  period  of  komma  a ,  and  then  unite  tlie  first  two  komniatu 
into  a  strophe  and  the  next  two  into  the  antistrophe.  But  in  that 
case  the  assignment  of  the  strophe  partly  to  the  boys  and  partly  to  the 
chorus,  while  the  whole  of  the  antistrophe  would  be  assigned  to  the 
chorus,  woidd  be  irregular.  Moreover,  KOfjifxat  occur  not  only  fre- 
quently in  Euripides  but  also  in  Sophocles  which  begin  with  strophes 
and  end  with  KdfifxuTa.     Cf.  Oeci.  Col.  I.  and  Fkil.  V. 


Komma    a. 


Ch.  w  i             w  I 

,w!l           w|_AII 

w  :             w  1 

,  w  II  v./ v./  .    ,  w  1        A.. 

w  : w  1 

,  w  11           w  1      A  11 

w  : w  1 

Al 

Bovs.  trim. 

trim. 


Komma   p\ 


Ch.  \j  : w 

\j  \j  \j 


w,  11  v_/  V^ W 


|_v^,  II wl_A 


do. 
do. 
do. 


_A  li 

_  ^,  II w   1  _  A  if 


I. 


Kj 


\j 


Komma   y^ 

w  1! -^  1  _  A  II 

wllww_vyl_A]] 


II. 


trim, 
trim. 

w  :  — 

w  :  

trim. 

trim. 


_  w  I  _,  w  11 w  1  _  A  11 


-AI 


Komma    S^ 


v: wl  ,  wllww  —  wl  — ,  v^ 

v^  v^  w  I  —  A  II 
^  :\j<^ w  I  v^,  II w  I  —  A  I'l 


\j 


-A 


do 
do 


.1  •■" 


do-i 
do.  I 
do.J 


\ 


do 
do 


:i 


15 


20 


■i1 


ANTIGONE   I.   (100-154). 


171 


THE   LYRIC   PARTS   OF  THE   ANTIGONE. 


-•o«- 


I. 


The  Parodos  (vv.  100-154). 

^'  ^  •  Akti9  aeXiou,  to  KaXXicrTOv  eTrraTruXo)  <l>av€V  Qrjfia  rwv  irpore- 

puiv  <f)doqy 
ifjiavOr)^  TOT ,  w  \pv(T€a<:  d/xcpas  p\i<^apov^  ^tpKatwv  vtrep  peWpcjv 


loX 


ovaa. 


a  V .  a , 


Tov  XevKacnriv  AttloOcv  ^istTa  f^avTa  Travorayia. 
(jivydSa  TrpoBpofJLOv  of^vrcpo)  Kivrjcrdaa  xaXivi^. 

'Os  €<^   diJL€T€pa  ya  TToXwcikov? 

ap^ct?  vciKcoDi'  c^  dp.<^ik6yuiv 

o^ia  K\d^(j}v 

aL€TO<i  c9  yai^  vTrcpcVra, 

A.€VK^?  ;^to»'0?  TTTCp vyt  (TT€yai/09, 

TToXA-WV  p,€V      OTtAoDV 

^iV  ^*   ITTTTOKO/AOl?  KOp{B€(T(TLV. 


<*•  0-  •  Sra?  6    vTTcp  ficXdOpiov  ^ovuitraia-iv  dfx<f>L)(avu)V  kvkXio  Xoy^ats 

€7rTa7rvA.oi/  cro/xa, 
cpa,  TTpti/  TTO^    dix€T€p(ov  alfidTdiV  ycKucrtj'  TrXvjcrOrjvaL  t€  kol  a-T€<f>d- 

vw/xa  TTvpyiDv     . 
TlevKacvO*  "HcftaLcrTOv  cXcii/.      Totog  a/x^t  vcut*  €TdOrj 
^arayos  Apeo?,  di/n7raXa>  8i;o-;(€tpa)/xa  8pa/coFTt. 


^.p'. 


Zci'9  yap  fXcydXrj^  yXdxro-r}*;  ko/xttovs 
V7r€p€)(0aLp€L,  KUL  (r(f>a<;  iaiSwu 
TToAXw  pcvfiaTL  7rpoaTLaGrop.€vov<; 


Str.    a'. 


I.       - 


> 


I     _ 


W 


KJ 


KJ 


II.    _>    1-5 

\J  KJ  ^    \    \^  \J  "^^ 


KJ 


> 


> 


A 

AI 


>1 

A  II 
w  I 


Str.    a. 

Per.  I.  The  joy  which  the  chorus  feels  on  account  of  victory  is  ex- 
pressed in  verses  that  are  in  themselves  rhythmically  well-divided,  but 
still  group  themselves  subordinately  in  the  greater  whole  of  the  pali- 
nodic  period.  The  period  is  not  to  be  regarded  antithetic,  although 
this  is  possible,  as  far  as  the  close  of  the  words  is  concerned,  as  follows : 


or 


4 

4 

4 

4 

4 
4 


) 


Per.  II.  The  inverted  order  of  the  first  two  measures  of  the  third 
verse  of  the  strophe  (_  >  I  _  w  I ,  not  _  ^  I  —  >  I ,  as  was  to  be  ex- 
pected, see  §  13,  2)  is  noteworthy.  The  antistrophe,  however,  is 
regular  (_  >  1  _  >  I). 


i 


17£  AXTIGONE   I.    (100-154). 

)(pvaov  Kava)(TJ  6*  vTreponra^;, 
5  ttoXtw  pnml  trvpi  jSaX/SiSuyv 

CTT   aKpuiv  rjorj 

<r.  P'.  *Aj/TtTV7ros  S*  iirl  ya  ttcVc  TarraAw^ct? 

7rvp<f>6po<;,  o<s  t6t€  p.aivop.iva  ^vv  opfxa 

€L)(€  8    aAAa  TO.  /xev, 
5  "AAAa  8'  €7r*  ttAAots  cTrcvwjJia  crrvf^tKitjbiv  fX€yas''Aprj^ 


OT)*  V*  'Etttgi  Ao;j(ayot  yap  €0'  ctttoi  irvkais 

Ttt^^errc?  tcrot  Trpo?  tcrov?  c\t7rov 
Zt^vi  rpoTralio  TrdyyaXKa  riXrj, 
7r\r)v  tQ)v  (TTvyepwv^  u)  TruTpb^  cvos 
5  fxrjrpo^  T€  jLtia?  (jyvvre  KaO    avToiv 

8tKpaT€t9  Aoyj^as  CTTrjaavr  €)(€T0V 
KOLVOv  Bavdrov  /xcpos  a/x<j!)(o. 

tt-  p'.  *AAAtt  yap  a  /icyaAcovv/i-o?  ^A^c  NtVa 

ra  TToArap/xaTO)  di/Tt;(ap€to'a  0r//Sa, 

Ek  p.€v  817  TToAe/xcov  Twv  vw  6c<j^€  A>yo"^ocn.Wv, 
^ctov  8c  vaot'?  ;^opot9 
5  nai/w;)(t'ots  Trayras  cttcAOw/xcv,  6  0ry/?a?  8'  cAcArj^^wv 

BaK;)(ios  dp^oL, 


ANTIGONE   I.   (100-154). 


173 


11.    _  > 


111. 


I. 


Str.    yS'. 


I.     — \>  W   I  — W  v^  I  — W  V^  I  —  W  I        L_ 

— >^  w   I  — v/  v./  I  — w  Ky  \  —  w  I       I — 

^  ^  i  _    >  I    L_,      II  _  d 

W    1        L_      I  _    ^  l_A]] 


A-/ 


-- V^  W 


) 


II.  4 
3 
4 


A  II 

AH 


w 


All 


\j 


-kjW  5 


III.      A 


) 


4> 

2  =  ir. 


Str.    ^. 

Per.  II.     In  Sophocles  logaoedic  periods  often  close  in  this  way  with 
a  choreic  sentence,  becoming  less  vivacious  toward  the  end. 

Per.  III.     The  so-called  versus  Adonius  (§   22,  11)  as  postlude  is 
note  wort  hv. 

These  three  periods  are  but  little  separated  from  one  another  by 
punctuation  (see  Schmidt,  Enrhythaiie,  §  13,  5). 


174 


ANTIGONE  II.   (332-374). 


II. 


First  Stasimon  (332-374). 

a .  IIoAAa  Ta  8ctva,  Kov^ev  dvBpu)7rov  Sctvortpov  TreAct  • 

TOVTO  KOL  TToX-LOV  TTepaV  ITOVTOV  ;(CtyU-€pta)  VOTU) 

Xwpct,  7r€plppV\LOL(nV 
Tr€pu}v  vTT   oibfiaaLV, 
5   Oidy  Sk  TOiV  vTrepTarav,  Tav 

''A<f>OLTov,  aKafxaTav  aTTorpucrat, 

l\Xofl€V(i)V  dpOTpWV  CTO?   CIS   CT09, 
ITTTTCt'uJ  yCJ'Ct  TToXcviDV. 


a    a . 


}^ovcf>ov6(DV  T€  <f)vXov  opviOoiV  d/Ac^tySaAwv  dy€L 
KOL  Orjpiov  dypiuiv  eOvrj^  trovrov  r   tlvaXiav  (fivdiv 

^TTupaLcn  StKruoKAaxTTots 
7r€ pL<f>paSr]<;  dvyp  • 
5    Kparet  Sk  /xr;;^avats  dypavXov 

©Typo?  6p€(Tai^dTa^  Xa(TLav)(€vd  0* 
tTTTTOv  o^a^CTttt  diJL<f>Lf3aXij)V  t,vy6v, 

OVpCLOV  T     ULKfJLTJTa  TaVpOV, 


o".  p  .  Kat  <^6f.yixa  koX  avc/xoci/ 

(fipovrjfia  Kat  d(TTvvojJLOv<s  opya?  cStSa^aro  Kat  8uo"avAa:v 

Ilaywv  ivaiOpeia  kol  Svcrofji/Spa  (f>evy€iv  fiekrjt 
TravroTTopos  *   aTropo?  €7r*  ot'Sev  cpverat 
5    TO  /xcAXov  •     At6a  /xovov  ^€v$lv  ovk  €7ra^€Tat  * 
vocrwv  8*  dp,-q^(xv(x>v  <f>vya<:  ^vpurif^paaTaL. 


••  P  •  ^o<j>6v  TL  TO  fJLYj^avoev 

Te)(yaq  vrrcp  cXttiS*  l^tuv  ttotc  /xkv  KaKov,  HWot   ctt*  icrOXov  (.pirtt 
No/xov?  T*  dctpcuv  ^^OVOS  ^€WV  T*  tvopKov  hiKav, 

Vl/'lTToXt?  •     ttTToAt?,   OrO)  TO  /X^   Kokov 

5    fvvco-Tt,  ToX/ia?  ;^dpti'.    |ir^*  €p.ot  7rap€(rTLO<: 

yiVOLTO  fJLrjT     IcTOV   <f}pOvC)V   OS   TttS'    CpSct. 


ANTIGONE   11.   (332-374). 


175 


I. 


Str.    a\ 


w 

v/ 


_> 
_  > 


II.  >i 

w  : 
w  : 


III.  __    CD   I     -     O)    1   - 


v^  I  _  w  I  -_  A  II 

w  l_w  1  -AD 


II.  4     III. 

0 


_A]1 


) 


6  =  iir. 


I.      > 


w 


II. 


Str.   /?'. 


a> 

0) 


_  CO  1  _  A  II 


Ci> 


_o)l— <ol_cul_,  cdII 


a>  I 


w 


AH 


A 

A 


The  chorus  begins  with  a  logaoedic  period;  then  follow  choreic 
periods,  the  first  of  which,  however,  begins  with  a  logaoedic  verse, 
which  softens  the  change  from  the  one  rhythm  to  the  other.  Str.  a, 
Per.  III.,  and  Str.  ^,  Per.  I.,  are  not  logaoedic,  but  choreic.  Tlie 
apparent  dactyls  are,  therefore,  not  cyclic  dactyls  (-^^  w,  i.  e.  ^^  ^), 
but  what  may  be  called  choreic  dactyls  (— <o,  i.e.  ^  ^*j  .  The 
caesura  in  Str.  f^,  verse  2,  makes  this  clear.  The  apparent  corre- 
spondence, therefore,  in  this  same  verse,  —  "^^^  is  in  fact  —  > .  Con- 
cerning choreic  dactyls  see  §  15. 


176 


ANTIGONE   III.    ^382- 625). 


III. 


Second  Stasimon  (582-G25). 


<r.  a'. 


lElvSaL/xov€<s  OL(TL  KaKu)V  aycucTTOs  al<i)V. 
ots  yap  av  oreLcrOrj  OcoOev  8o/xos,  dra? 

OvSkv  cAActTTCt  y€V€a9  cTrt  ttXtjOo^  Ipirov  • 

O/XOIOV  WCTTC  TTOVTLatq  OtS/Xa,   8i;<T7rVOOtS  OTUl^ 

5   (dprfTcraKTiv  epe/So^;  v<f)a\ov  (.TrtSpd/JLy  Tn/oat?, 
KvXtVSct  /SvcrcroOev  Kikaivav  Olva,  koX 
hvcrdvefiov  otovo)  ppip.ov(nv  dvrtTrA^c?  ciKTat. 

"-  °-  •  Ap^ata  TO,  Aa/SSaKiSav  oLKiiyv  bpuypLai 

TTTj/xaTa  <I>Oltix)V  (ttl  irrj^acTL  TrtTrrovT*, 

OuS    (iTraAAacrcrct  ycvcai/  ycVo?,  oAA*  epctVct 
^cuiv  Tts,  ov8*  €;(€t  Avcrti'.     vvv  yap  c(r;^aTas  vTrep 
5   pi^a?  crcTttTO  ^aos  cj/  Oi8t7rov  Bo/xois  — 

Kar   au  I'tv  cfiOLvta  Oedv  tCjv  v€pTepiiiv 
a/xcL  KOTTis  Xoyov  T   ai/ota  Kat  cl>p€vCjv  iptvvq. 


o"*  P  •  Tedv,  Zev,  8vva<TLV  Tts  avSpcoi/  vTrepfSaata  KardcrxoL^ 

Tav  ovO^  v7rvo<s  alpei  ttoO*  6  TravroSrjpa^ 

OvT€  OeOiv  aK/xaroL  \i-rjveg,  dy^pojf;  Sk  Xpov(o 
OuvacTTas  Kar€;^cts  ^OXv/jlttov  jiap/xapoccrcrai'  alyXav ' 
5  To  T  €7r€tTa  Kat  to  fxiXXov 

Kat  TO  TTplv  cTrapKccrct 


vSh 


v6fJLO<:  o8''    ov6ev  epirct 

OvaTwv  pCoTov  Tov  TToXw  cKTos  ara?. 

«•  P  •  A  /x€i/  yap  TToXuTrXayKTOs  cXiris  TroAAot?  p.\v  ovrjai,?  dvSpu)V, 

TToAAots  0    uTTara  Kov<j>ov6u)v  Ipuirinv  • 

Et8oTt  8'  OuSci/  CpTTCt,  irptJ/  TTVpt  $€pp.(0  TToSa  TIS 

Trpoo-avcrr).     cro<f>La  yap  Ik  tov  kXclvov  Ittos  TTi<f>avTaL  • 
5  *'  To  KaKov  hoKuv  TTOT*  IctBXov 

TwS    e/jL/xev  OTO)  <f>piva<: 
acos  ayct  Trpos  aTav. 
TTpdcrcrcL  8    oAtyoo-roi/  )(p6vov  eKTo^  ara?. 


ANTIGONE   III.    (582-625). 


177 


I.  >i 


II. 


>-/  : 


>:   _ 


III.   w  i 
w  : 


Str.    a. 


> 


e 


v.y 


_    ^  I  L-  [  _  A    II 

-wv^1l_1_  AH 


wl  _>  I  -^w  1  - 

v^  I    —  vy    i    _   »^    I      I—, 


w 


v^ 
w 


I.    f! 


e) 


v^ 


w. 


vy    1  __  vy  I  _  w  II 

l_^|_v>l_vyl_AII 
I-wI-AH 

_      I      L_      1  _  W  1  _   A    II 


III.       ,4, 


I.    > 


> 


II. 


KJ 


W 


III.    w  :   —  w 

www 

>:-ww 

I.    4\ 

4/ 


1   _ 


Str.   ^. 


wl 
wl 


II  _  >- 


\^ 


W  I       L_       I      I—,       M  -^  W 


w 


w  I  _  >,  II  — W  V-' 


i_      |_A 


_  w  I  -  A  II 
_w|    L_      |_A!I 

L_      1  -WW  I  _  W   1  I 


wl_w! 

A]l 


w 


I- 


All 
A]] 


6  =  iir. 


II. 


_A3 


III. 


0 


6  =  ^?r. 


178 


ANTIGONE  IV.   (781-800). 


IV. 


O". 


Third  Stasimox  (781-800). 

"Epuy;  avLKarc  fJi.d\av,  "Epws  o?  iv  KTrj/xacrt  7rt7rTCi9, 
OT   €V  /xaAa/cat?  Trapetats  ^'€d^'t8os  cvvv^ci^ct?  * 

4>otra9  8*  v7rcp7roj'Tto9  cv  t*  aypovojxoL<;  auXut?, 

5   ou^*  dfji.€pLO)v  CTT*  dvOpiotriDV,  Q  6*  Ip^wv  p.€p,riv€v. 


Su  Kttt  SiKatwi/  dStKOVS  ^pcvas  TrapaoTra?  cttI  Xw/Ba, 
(TV  Koi  ToSc  t'CiKos  dvSpcov  $vvaLp.ov  €;(€ts  rapd^a':  • 

NtKa  8*  €vapyr]f;  f3\€<j>dpii)V  tyu-epos  ctAcAcrpov 
vvfXK^a^;,  TuiV  /xeyoAtoi/  to>v8c  7rdp€^po<; 
5    Otapiijiv.     d/x.a;(os  yap  c/XTrat^ct  ^€os  *A^po8iTa. 


I.  ^  :  - 


Vw.* 


w 


v^ 


W  I      L_       I  -v/  w  I  _  W  I! 

w  I  _  v^    I       L_       |_A]] 


II.  >: 

5         >i 


> 


v-/ 


w 


_  A 


v^ 


_A  il 
-AD 


I. 


11. 


ANTIGONE  V.   (806-882). 


179 


V. 


KoMMOS  (806-882). 

A.     *OpaT   Ip, ,  w  yas  Trarpta?  TroXirat,  rdv  vcarav  oSov 
CTTCtxovo'av,  vcarov  8c  c^eyyos  Xcrcrcrovcrav  dcXtov, 
KomroT  av^ts  •   dAAd  /x*  6  TrayKotVas  "AtSas  t,ui(Tav  dy« 
TttV  *A;;(cponros 

^hKrdv,  ovO    vpLCvacoiV  cyKXi^pov,  ot'T   €7rtvvp.^€to9 

TTOJ  /AC  TtS  V/Xl/OS  vp.V7](T€V,  oAA'  'A;(€pOVTt  WpL<t>€V(T(D, 

X.     OvKow  kXciv?;  Kttt  cTratvov  €;(ovcr 

C5  To8*  d7r€p)(€i  K€vOo<;  V€KVO)V, 

ovT€  (f)OLvd(TLV  7rXrjy€i(Ta  vocrots 
ovT€  $L<f>€(j)V  C7rt;(€ipa  Xa^ovcr , 
dXX*  avTovop,os  ^oxra  p,ov7/  817 
OvrjTOJV  " AlSyjv  KaTaf^iqau. 

A.    *HKovo-a  8r^  Xiryporarav  okio-Qai  rdv  ^pvyiav  $evav 
TavrdXov  ^lttvXw  Trpo?  aKpoj,  tclv  Kto-(ro<j  (o?  drcj/^? 
TTcrpata  /3Xd<TTa  Sd/iacrcv,  Kat'  vti^  dp.[ipoL  TaKop-ivav 
o>S  ^CLTts  d»'8ptov 

Xiwi/  T*  ou8a/xa  XctVct,  rcyyei  8   vtt  6(j>pvai  irayKXavroi^ 
8cipd8a9  •   a  /uc  8at/xa>i/  6|iOtordTav  Karcvvd^et. 


o'    a 


eru.  a 


T      >  : 


II. 


> 


> 


_  w  I 

l_       I 


> 


Str.    a'. 

wl_,  wI!_->  I 

v^  l_>,  II     i_    I 


w 


e  I 


-wH 


>  1      L-      I!  _  W   I 
_       I    _w  li-v.^1 


>  1 


_> 
_> 


_  A  II 
_  A  II 
_  All 

-Ail 
_A]1 


I. 


2=   ^TT. 


180 


oru 


P'. 


ANTIGONE  V.  (806-882). 
X.  *AXXa  ^€os  TOL  Koi  Oeoyevvrj*;, 
KairoL  <j>6Lix€via  tois  l(ToBioL<i 


I 


0-.  P'.  A.     Ot/xot  yeXwfiat.     Tt  /xc,  Trpo?  ^€wv  Trarpwwi/, 

w  7roAt9,  w  7roX€a>s  7roXvKTr;/xov€S  ai/Spc?  • 
Ia>  AtpKatat  KprjvaL 
5   0r//?a9  T   evapfiaTov  dAtTO?,  c/xiras  ^vfifidprvpas  vfxp!  cTTtKTw/xat, 
Ota  c^tAwv  ttKXavTO?,  otots  vo/xot? 
7rpo9  cp/xa  TVfJiP6xoi(rTov  cpxoj^ai  rac^ov  TroTatvtou  • 
iw  8t'(TTai/09  y\  ovT  €V  [rol(TLV  €t]  ovt€  [toIo-lv] 
^eroLKos,  ov  ^Q)(tlv,  ov  OavovcTiv. 

<r.  y.  X.     Upopaa  U  €(Txa-TOV  Opd(rov<: 

vil/rjXov  €9  Ato9  /BdOpov 
7rpocrc7r€(r€9,  w  tckvov,  ttoXvv. 
TraTpwoi/ 


8'  iKrLV€i<s  TLV  aOXov. 


d.  P'.  A.    ''Ei/^av(ra9  akyetvoTOLTaq  c/xot  iJL€pLixva<; 

7raTpo9  TpiTToAtoTOV  oTktoi/,  tov  t€  7rpd7ravT09 

tt/X€T€pOU  TTOT/XOV   KA€tl^Ot9  Aaf3^aKiSaL(TiV. 

'lo)  jxaTpi^ai  XeKTpwv 
5    arat  KOL/JL-qfjiaTd  t  avToyivvryr  c/xo)  Trarpt  Svcr/xopo)  /iaTp09, 

Otwi/  €ya»  TTO^*  d  raXatcfipoyv  €<t>vv' 
7rpo9  OV9  ttpato9,  dya/Lto9,  d8'  cyo)  fiiTOLKO^  Ip^o/xat. 
to)  SvcTTTOT/xwi'  KadiyvrjT^  ydpnov  Kvprj(Tas, 
Bavwv  €T*  ovoraj'  KaTr;vap€9  /xc. 

&•  y*  X.       ^€J3€LV  fieV   CW€j3ctd  Tt9, 

Kpdros  8*  OTO)  KpdTO<s  /xcAct 
TrapajSaTov  ovhafirj  TrcAct, 
cc  8*  avTdyva>T09  wAco"   opya. 

4ir.  A.    *'AKAai;T09,  d<^tAo9,  di^v/x€Vat09  ayo/xat  TaXai<\>piiiV 

Tavo    €TOtp.av  oOov  * 

OvKiTL  fJLOL  To^e  Aa/x7rd8o9  Ipoj' 
OjLi/xa  ^€p,t9  opal'  TaAatva* 

5     TOV   8'   C/XOV  TTOT/XOV  dSaKpiTTOV 

ov8€t9  (fytXuiv  CTTCvd^Ct. 


ANTIGONE   V.    (806-882). 


181 


Str.   /3'. 


I.  >i  - 


d 


II.  > 
> 

III.  > 


>  I 

>  I 

v^  I 

w  I 

_  I 

v^  I 


> 

> 


>  KJ   I 
>     I 


\J 


\J 


i_    I  _  A 


d  I 


I  _  A  II 


_  w  I     L-     II  _ 


v^* 


> 


_w]] 


w 


.AH  5 


6 
6 
6/ 


W    I        L_        I 

S>^^  I    _  W    II 

_W    I       L_      II 
_v^    I    _W    I 

4) 

6  =  ^T. 


I  _  A  II 


v^  : 


-  w  I 
vy  :  v_^  w  v^*  1 
>>^  :     L_      I 


Str 

A  II 
A  II 
A  II 


I 


V-/ 


AI 


4. 

6  =  iTr. 


Epod. 


I.     w:  wj^^wv^'Ivyvy'w 

_  w  I       1_       I     _  v^ 

H.  —  (0 1   —  «   I   —  « 

v./  I  w  v_/  w  1     V>' 

w  I    w    I  w  w  w 

>  :  w  I    w    I       i_ 


\j  \j  w 


w 


I  i_  I  _  A  I! 


AH 

wll 

w  II 
w  II 
A  II 


II. 


A/ 


This  chorus  begins  (str.  a)  with  sentences  of  like  form  (Glyconics), 
then  becomes  more  varied  by  the  interchange  of  sentences  of  different 
lengths  (str.  jS^),  and  finally  closes  with  series  of  like  form  (str.  y\  epod.). 

The  first  strophe  and  the  beginning  of  the  second  are  in  logaoedic 
measure.  After  these  come  choreic  periods,  -w^hicli  become  more  lively 
toward  the  close  in  consequence  of  the  occuiTcnce  of  the  three  choreic 
dactyls.  We  have  already  seen,  in  the  First  Stasimon  above,  how 
choreic  dactvls  were  introduced  to  relieve  the  otherwise  too  great 
repose  of  choreic  series. 


'! 


!      '•  • 


I 


PI 


182 


ANTIGONE   VI.    (944-987). 


VI. 


Fourth  Stasimon  (944-987). 

a-,  a'.         "ErXa  koL  Aavaas  ovpdvLov  </)«2)? 

5    Kal  Zrjvo^  Ta^i€vt(TKe  yovcts  XP^cropuTOVS. 
aX)C  a  ^oipiUa  Tts  SuVacrt?  8ctva- 

Our*  av  viv  okfSos  ovr'  "Apr??,  ov  m-pyos,  o^x  aXUrvTroL 
KcXatval  va€?  €K<j[)vyot€v. 


a.  a 


ZcvxOrj  8'  of^x^^^^  '^"''^  ^  Apt-avTOS, 
*H8u>vwi'  ^ao-iAcv?,  K€pTOfiLOL^  opyaU, 

*Ek  Atorucrov  TTCTpwSct  KaTdcjiapKTOS  cV  8€0-/xa). 
orro)  ra?  /xavtas  Scivov  dTroorraC^t 
5    avOr)p6v  TO  fJi€VOS'   kcivos  cTrcyvo) /xaj/tats 
i//avwv  Tov  ^€oi/  cV  Kcpro/xtots  ykwcraai^. 

Uav€aK€  fiev  yap  €vBiov<:  yvvaiKa?  cvtov  T€  7n}p, 
<^tXavXovs  f  i7p€^i4€  Movo-as. 


<r.  P'.  TTapa  8c  KmvcW  (r7rtXa8a)v  8iStVas  aXos 

OLKTal  Boo-TToptat  ti/'  6  QprjKCiV  a^cvo? 
2aXp.v8r;a-o?,  "ApTjs  t   dyx^^o^'^ 
htxra-ola-L  $ii/ct8ats 
5    ct8cv  aparbv  €Xko^ 

"ApaxOkv  i$  dypia?  8d/xapT09 
dXaov  dXao-Topoto-tv  6p.p.dru}V  kvkXol^ 
dnpO*  ^yx^^Vy  ^<#>*  at/xaT7;pat9 

X€Lp€(T(TL  Koi  K€pKt8a)V  dK/XtttCTlV. 

a.  P'.  Kara  8c  raKo/xcvot  /xcXcot  /xcXc'av  Trd^av 

kXSov  /xarpo?,  cxovrcs  dvvp.</>cvToi/  yovdv  • 

*A  Se  o-iripfia  fxkv  ap\aLoy6vwv 
avracT  'Ep€x^€t8dv, 
5   TiyXcTTopots  cV  dvrpoL<i 


ANTIGONE  VI.   (944-987). 

Tpd<l>y]  BviWaidLv  Iv  xarpwats 
Bopcas  dfiiTnTo^  opOoiroSos  VTrcp  Trdyov 
^€u)V  TTats  •   dXXa  KdTr'  cKCtVa 
Motpat  /xttKpatWc;  co-xov,  w  Trat. 


183 


Str. 


a  . 


I.       - 


II. 


>  1  -v^  v>  j    1-, 

>  1  -v^  ^  I     l_, 

-wl  _>  l-> 

>  1  -^  v^   I     L-, 

>  1  -v^vy    I     L- 

>  1  -^  w    1     l_, 


III. 


> 


w 


I. 


I.  w  v^*  w  !  — 

II.     _  w  I  - 

>  :_v^  I- 
-^^  1  . 

III.  w  i  _  w 

v_/  :  w  w  ^ 


w  : 
>  : 


w 


I.    6 
6 


) 


L_    I_A11 

_>1_A]] 

_  v^  1  _  >  !  _  A  11 
_>|_A1I 
i__    l-v.wl_  All 
_>1_A]] 


5 


w 


w 
w 


d 


w 


_wl_v^l_  A 


v^  I  w  1  v^ 

-    l-AH 


II. 


III.  4x 

6  =  ^7r. 


Str.   13^. 


W 
W 


> 


A 


A  II 

AH 


_  A 


Vs^ 


.     I_A]] 

wl  _w   I 
w  I  ^=^  w  1 


w 


A  II 

A  II 
A  11 
AD 


III.  6 


4  =  ^ir. 


I 


ll 


184 


ANTIGONE   VII.    (1115-1154). 


ANTIGONE   VII.    (1115-1154). 


185 


Str. 


<r.  a 


a.  a  . 


5 


0-.  P'. 


d.  p'. 


TIL 

Hyporciiema  (1115-1154). 

TLoXvo)VVfx€,  Ka8/xctas  vt'/x</)a<?  ayaX/xa 
Kol  Al6<s  ^apvjSfjejxeTa 
ycVo?,  KXvrav  bs  dyu,</)C7r€i<; 
'IraXiav,  /xcScts  t€ 
Tray/cotVoi?  EAciJcrtvtas 
At^oOs  cv  KoA7rot9,  BaK^€v,  BaKp^av 

O  fxarpoTroXiv  &7jf3av 
vatCTwv  7ra/3   vypwv 

^lajJLTjvov  p€iOp(i}Vf  ay pLov  t   itn  cnropa  SpaKovTO^;* 

Se   8*  VTTCp  8tXo<^OU  TTcVpa?  (TTipOXp  OTTCUTTC 

Xtyvi;?,  €i/^a  K(opi;Ktat 
Nr/x<^at  crTi;)(oi;(rt  BaK;^tocs, 
KafTTaXia?  tc  vajxa. 

Ktcrcrrypct?  6)(BaL  ')(X(jjpa  r  d/cra 

IToAucrTd<^l'AoS  TTC/XTTCt, 
ujSpOTUiV  CTTCWl/ 

Eva^ovTcuv,  07^/?aias  cirio-KOTrovvT   (lyrtds* 

Tav  €K  Tratrav  TijJta?  vTrcprarav  ttoXcwv 
/xarpl  (Tvv  K€pavvLa  • 
Kttt  vvv,  ojs  ^tata?  e^crat 
7rdv8a/xos  ttoAis  ctti  vocou, 
/i.oActi'  KaOapcTLO)  ttoSI  UapvacTLav  vTTcp  kAitvv 

)7  0-TOVO€VTa  TTOpOfXOV. 

*Ia>  TTvp  TTvctdrrcov  ^opdy   acrrpoiv,  vv)(Lwv 
(fiOeyfjidTOiv  cTrtcrKOTrc, 
Trat  Ato?  yeVc^Aor,  irpocfxivrjO  , 
wi/a^  (rat?  d/xa  TrepiTToAots 

©vtatcrtv,  at  crc  /Aatvo/xcvat  irdi^vxot  X"P^^^^^^ 
Tov  ra/xtav  "laK^ov. 


I.  «  : 


e: 


> : 

II.  wi 


> 


III.  _   > 


> 


> 
> 


> 


> 


a . 


_A  I 
_A  I 
_A  i 
_  A 
_  > 


A   II 
A  I 


\y 


Str.    /3\ 


^i 


vy|_d 


w 


> 

> 

\y 


J  K^   I  — <y  W 

y^y  I  \y\y\y 
vy  !  —KJ  \y 
\J    I      L_ 


!_AI1 
I  _A1I 
I  _A  II 

I      L_      11. 

!_A]] 


L_     j_A 


AH 


\j 


\y 


11-     3 


) 


III. 


0 

A/ 


V^ 


|_AI1 


_w|_>|_AII 


w   w 


AH 


5 


The  antithetic  construction  of  the  period  is  especially  adapted  to 
hyporchemata.  In  Sophocles  the  majority  of  the  hyporchemata  consist 
of  antithetic  periods,  which  it  is  not  possible  to  suppose  could  have 
come  about  by  mere  chance. 

In  arranging  the  periods  above,  compare  carefully  §  37.  In  Str.  a', 
Per.  I.,  the  exact  coiTespondence  of  vv.  2  and  5  shows  that  the  period 
is  purely  antithetic.  In  Str.  /^,  v.  6  cannot  be  regarded  a  posthide, 
since  the  almost  exact  metrical  agreement  of  vv.  3  and  4  shows  their 
correspondence. 


186 


ANTIGONE   VIII.    (12G1-1347). 


ANTIGONE  VIII.    (1261-1347). 


187 


VIII. 


The  Exodos  (1261-1347). 


Tt  ^179,  u)  Trat,  TLva  Xe-yet?  fjLOi  viov, 
alal  alai, 

S^aytov  CTT  oXiOpo) 
yvvaLK€LOv  djX(f)LK€lo'Oai  jxopov  i 


10 


n 


0-.  a 


10 


<r.  P'. 


a.  a  . 


K.     '1(0  • 

(f>p€vC)V  Sv(r(fip6vo}v  a^aprrj/JLaTa 
crrepca  ^avaroevr . 

^ai'dvTa?  /3X€7rovT€<s  €/x^i;Xioi;9. 

Qjjioi  ifjiwv  avoX/Sa  ^ovXcvfJiaTuyv. 

luj  Trat,  i/€Os  I'ew  ivv  fJ-opu), 
atttt  a  tat, 

''E^avc?,  a.7r€XvOr)<;y 
ifxais  ovSk  (TOlctl  8i;o'/?ouXiat9. 

X.      Ol/jl*  (jl)S  cot/ca?  oi/'C  TT/j/  8tK7;v  tSetv'. 

K.      Oi/xot, 
€^(0  fiaOiov  SctXato?*    €V  8*  c/aw  Kctpct 

^co9  tot'  a/aa  T6r€  p-^ya  ^dpo<;  /x*  €;^(oi/ 
£7rato-cv,  cv  S'  ccrctcrcv  dy/3iat9  68019, 

oi/xot  Xa/CTraTTTTOi/  dvTp€7ro)V  \apdv. 

(jiev  <l>€v,  a>  TTOvoi  /SporCjv  BvcnrovoL. 

E.       ''n  Si(T7roO\  (L9  €Xa>V  T€  Kat   K€KT7Jp€V0<;, 

ra  /X€V  TTpo  X€Lpu)V  TaSc  <^€pa)V,  to.  8'  ci/  SopoL^ 

coiKa9  ^K€tv  Kat  Ta;('  oif/ecrOat  KaKa. 

K.      Tt  8*  ecTTLv;  97  KOLKLov  av  KaKu)v  en; 

E.        ywr/  T€0v7]K€  TOl'Sc  7rap.pLY)T(Dp  V€KpOV, 

8l'OT7/i/o9,  apTt  vcoTo/xoto-t  TrXrjypacTLV. 

K.      *Iaj, 
t(jj  8va'Ka^apT09"At8ou  Xip^yVy 
Tt  /x  apa  Tt  /i,  oA€K€t9; 
o>  KaKayycXra  /xot 
TrpoTTc/xi/^a?  a;(r;,  rtvu  Opo€L<s  Xdyoj'; 


X.      'Opdv  7rdp€(TTiV'   ov  yap  ev  piv^^ois  tri. 

K.      Ot/xot, 
KttKov  ToS    aXXo  ScL'Tcpoi/  /JXeTTO)  TaXa?. 
Tt9  apa,  Tt9  /A€  irorp.o<;  in  irf.pip.ivu ; 

€)^(i}  p\v  iv  )(€tp€(T(TiV  dpTt(jD9  TCKVOV, 

TdXa9,  Tov  8*  tvavTa  Trpocr/SXeTru)  v€Kpov. 
<j>ev  (f>€v  pidrcp  dOXta,  <^ci)  reWov. 


a  . 


I.  ei_ 

w  : \y 

w  : w 

II.  >  :  w  Vs^ 
w  : 


w 

V 


Str. 

w|_AII 


\j 


_w|    _w    ll'-^  —  wI—A]] 


w 


> 


.All 
AI     II. 


d.  p'. 


III.   w  iwwwwwl     A 

w  : w     I     w 


w 


AI 


10 


Str.   ^'. 


trim. 

w  :  'i::^  s>^  w  I  ^^  w  II  w  w  ^^  w  1 A 

trim. 

e;  L_  i_wi_wi_wi_wi_ A 

>i w|_wll wl-Al 


i: 


18S  ANTIGONE   VIII.   (12G1-1347). 

E.     "HS*  ofv^r/KTo)  /3w/xta  Trcpt  ^^(^ct 
Xv€L  KeXaiva  /JXcc^apa,  KO)Kvcrao-a  ^cv 
Tov  irplv  Oav6vTO<;  Mcyapcw?  kXcii^ov  Aaxo9, 
av^t?  8c  TOv8c,  XolctOlov  8c  o-ot  KttKaS 
Trpa^cts  e(j>vfivr](ja(Ta  TO)  TratSoKTOi^a). 


<r.  ^ 


-.8'. 


ou  -y'. 


di^CTTTai' 


A  tat  aiai, 

cf>6l3iO.       Tt  /X*  OVK  di^Ttttav 

hraLdiv  tis  d/xc^tOr/KTO)  ^i</)Ct  ; 

ActAatos  eyoj  cyw, 
SctXato,  8c  criryKCK/ja/xat  8m. 

E.      *fis  atTtai/  yc  rtuvSc  KaKCtVwi'  cx^v 
Trpos  T^9  $avova7]<s  Tr>8'  cVco-KTiTTTOV  ^opa)V. 
K.      TToto)  8c  KaTTcXuo-aT   cv  c^oiar?  rpoTTo); 
E.      Trato-ao-'  {-</>'  r^ap  avr^x^^P  aL-rr/i/,  ottojs 
7rat8o9  ToS'  ^o-^CT  o^vKwKirrov  ttu^os. 

K.     "Qfioi  p.ot,  Td8'  ouK  cV  oAAov  Pporwv 
€fxa<s  apfxocTCL  iror  ii  atrta?. 
cyo)  ydp  (t   cyu)  cKavov,  w  /xcXcos, 
cyw,  </)a/x'  cTt'/xov,  to)  Trpdo-TroXot, 

dTTCtyCTC  ft'  OTt  Tdx09,   a^CTC  p:   CKTToSwV 

TOV  ovK  ovra  fxaXXov  'f\  /Ar/ScVa. 

X.      Kcp87;  Trapatvcis,  ct  rt  Kcp8o5  cV  KaKols' 
PpaxLcrra  yap  KpaTto-ra  rdv  Trocriv  KaKti. 

ITO)  tTO), 

^av^TW  ixopiiiV  6  KciXXto-T    C/AtOV 
c/xot  Tcp/xtav  d-ywr  afiepav 

"YTTaros  •   tTO)  trto, 
OTTw?  iJir]K€T  r]fJLap  &XX'  ctcrt8a>. 

X.      McXXovra  ravra.      twv  7rpoK€Lfi€V(i}V  tl  xPV 
7rpd(T(T€Lv.      /xcXct  yap  Ta.v8*  orotcrt  xpr)  p^iXuv, 
K.      dXX'  wv  cpw/xat,  raOra  (ruyKarr/rfd/xT^v. 
X.      /x>7  vw  Trpoorcrxov  /xt78cV  •   ws  TrcTTpco/xcvr/? 
ouK  co-Tt  Ov^TOiS  crt'/x<^opds  a-rraXXayrj. 


ANTIGONE   VIII.    (1261-1347). 


189 


K.       AyotT  dv  /xdraiov  dv8p '   cKTroSwv, 
OS,  o)  Trat,  ere  t   ovx  ckcuv  KarcVavov, 
<T€  T    av  TavO  .       W/XOL  />tc\co9,  ouo     cxw 
TTpoS  TTOTCpOV  TTpOTGpOV  l8(0,   TTCt   kXlOu). 
Xcxpta  TCll/  yf.po1v,  TO.  8     CTTt  KpUTL  jJLOl 

TTor/xos  SvcTKOfiicrTos  ilcrrjXaTO, 


d.  8'. 


Str. 


V-/         .     Vy* 

I. 

w  :             v^           ^^  il             w 

_  A  II 

v^  :              v.^         ,  vy  II              w 

AH 

II. 

>:       ^    KJ    KJ    \J    K^         A    11 

\j  :             v/       „.  w  II             \^ 

-AH 

II. 


Str.   S'. 


> 


vy 


w  : 


> 


v.^ 

V^ 

Vs^ 

W  v^  W 
WW    ^ 

V^ 


Vy 


WW 


w 


WW  w 

WW  —  w 


_  A  II 
_  A  II 
_  A  II 
-A  II 
_  A  II 
-AH 


190 


mi 


ANTIGONE   VIII.    (1261-1347). 


Exodos. 


Throughout  this  entire  chorus  the  dochmii  are  distinguished  by  tlie 
absence  of  the  regular  caesura.  Where,  therefore,  the  caesura  does 
happen  to  occur,  it  has  not  been  marked. 


Str. 


a  . 


In  consequence  of  the  correspondence  of  w.  3  and  4,  v.  3  must  be 
regarded  a  catalectic  bacchic  dipody.  These  syllables  have  not  infre- 
quently such  value. 

Str.   fi\ 

ff 

We  must  riot  regard  v.  5  a  dochmius  with  following  choreic  tri- 
pody: 


di 


v^ 


_  ,  vy  II  _ 


\y 


A  II 


Such  a  verse  would  be  altogether  unrhythmical.     It  is  equally  impos- 
sible to  suppose  it  consists  of  two  dochmii,  the  second  of  an  unheard-of 

form : 

_w|_wll-^_v^l_AII 


e: 


Cf.  Eurhythmie,  §  18,  5.     It  is  simply  a  melic  iandjic  trimeter,  which 
probably  was  not  sung  but  recited  : 


d!L_l_wl_vl_wl_ 


\j 


A  !l 


Str.    y^ 
Str.  y'  and  str.  a  close  with  exactly  the  same  period. 


INDEX  OF  METRICAL  AND  MUSICAL  CHARACTERS. 


A 


\J^ 


wo* 


\J 


\J  v^ 


> 


v^ 


a 


Note.  —  The  references  are  to  pages. 


J 
I 

I 
7 

r 

r- 


I 

• » 

u 


I.   N 

#        #' 

#  # 

P. 


23. 

24. 
41. 

42;  51. 

44;  48. 

44. 

49. 


7;  36. 

w 

3. 

7;  36. 

— 

3. 

36. 

> 

24;  43. 

36. 

_> 

41;  43  bis. 

36. 

_  > 

43;  52. 

27. 

d 

52. 

27. 
27. 

^  v-/  W 

5 

53. 
23. 

27. 

^ 

44. 

11  sq. 

23. 

II    marks  the  end  of  a  sentence  or  verse. 
1    marks  the  end  of  a  period. 

marks  the  end  of  a  system  (sometimes  of  a  period)  with  a  hold. 
(cTvarrjfxa)  always  signifies  in  this  book  an  anapaestic  system. 

cV.  and  Trp.,  see  page  134. 

In  the  text,  a  black  letter  signifies  the  beginning  of  a  new  sentence 

within  a  verse. 


(TV. 


I 


.■,^ 


INDEX  TO  THE  METRES  OF  HORACE. 


METRES. 


Note.  —The  reference  is  U)  paragraphs.     The  page  is  added  in  parentheses. 


I. 
II. 
III. 
IV. 
V. 
VI. 
VII. 
VIII. 
IX. 
X. 
XI. 
XII. 
XIII. 
XIV. 
XV. 
XVI. 
XVII. 
XVIII. 
XIX. 
XX. 


Iambic  Trimeter        .... 
Iambic  Group        .        .        .        • 
First  Pythiambic  Group 
Second  Pythiambic  Group    . 
Alcmanian  Group      .... 
First  Archilochian  Group     . 
Second  Archilochian  Group     . 
Lesser  Asclepiadean  Group  . 
Greater  Asclepiadean  Group    . 
Dactylic  Archilochian  Group 
Greater  Sapphic  Group    . 
Logaoedic  Archilochian  Group     . 
Four-lined  Alcmanian  Group    . 
Interchanging  Asclepiadean  Group 
Contrasted  Asclepiadean  Group 
Alcaic  Group        .... 

Ionic  Group 

Asclepiadean  Glyconic  Group 
Common  Sapphic  Group 
Four-lined  Trochaic  Group  . 


.     §26,  3,  III. 

§  28,  3,      I. 
.     §28,  3,    II. 

§28,3,  III. 
.     §  28,  3,   IV. 

§  28,  4,      I. 
.     §28,4,    II. 

§  29,  2,      I. 
.     §29,2,    II. 

§  29,  3,      I. 
.     §29,3,    II. 

§29,  3,  III. 
.     §  29,  3,  IV. 

§  29,  3,    V. 
.     §29,4,      I. 

§29,  4,    II. 
.     §29,4,111. 

§  29,  5,      I. 
.     §29,  5,    II. 


(84). 

(94). 

(94). 

(94). 

(95). 

(95). 

(95). 

(97). 

(98). 

(99). 
(100). 
(100). 
(101). 
(101). 
(102). 
(102). 
(103). 
(103). 
(104). 


*  Consists  of  a  catalectie  trochaic  tetrapody  and  a  catalectic  iambic  hexapody,  repeated. 


Book.    Ode.                       Metre. 
I.      1     VIll. 

2     XIX. 

3      XIV. 

4 XII. 

5 XV. 

6 XVIII. 

7    XIII. 

8  XI. 

9    XVI. 

10 XIX. 

11  IX. 

12    XIX. 

13 XIV. 

14 XV. 

15 XVIII. 

K)     XVI. 

17     XVI. 

IS  IX. 

19     XIV. 

20    XIX. 

21 XV. 

22    XIX. 

23 XV. 

24 XVIII. 

25    XIX. 

26    XVI. 

27     XVI. 

28    XIII. 

29     XVI. 

30    XIX. 

31     XVI. 

32     XIX. 

33 XVIII. 

34  XVI. 

35  XVI. 

36  XIV. 

37  XVI. 

38  XIX. 


Book.    Ode.                      Metre. 
II.        1   XVI. 

2  XIX. 

3  XVI. 

4  XIX. 

5  XVI. 

6 XIX. 

7  XVI. 

8  XIX. 

9  XVI. 

10  XIX. 

11   XVI. 

12    XVIII. 

13  XVI. 

14  XVI. 

15  XVI. 

16  XIX. 

17  XVI. 

18    XX. 

19  XVI. 

20  XVI. 


III.      1 XVI. 

2 XVI. 

3 XVI. 

4 XVI. 

5 XVI. 

6 XVI. 

7  XV. 

8 XIX, 

9 XIV. 

10 XVIII. 

11 XIX. 

12  XVII. 

13  XV. 

14 XIX. 

15 XIV. 

16  XVIII. 

17 XVI. 


Book.    Ode.                      Metre. 
111.     18 XIX. 

19 XIV. 

20 XIX. 

21 XVI. 

22 XIX. 

23 XVI. 

24 XIV. 

25 XIV. 

26 XVI. 

27 XIX. 

28 XIV. 

29 XVI. 

30    VIII. 

IV.     1 XIV. 

2 XIX. 

3 XIV. 

4 XVI. 

5  XVIII. 

6 XIX. 

7    X. 

8    VIII. 

9 XVI. 

10  IX. 

11 XIX. 

12 XVIII. 

13  XV. 

14 XVI. 

15 XVI. 

Carmen  Saeculare...xix. 
Epod.  1-10    II. 

11  VII. 

12     V. 

13    VI. 

14  HI. 

15  "I. 

10   IV. 

17 1- 


GEXERxVL    IXDEX. 


Note.  —  The  references  are  to  pages.  The  letters  sq.  or  sqq. ,  placed  after  the  number  of  a 
page,  show  that  the  subject  referred  to  extends  into  the  following  page  or  pages.  The 
important  word  is  in  black  letter,  and  is  often  represented  in  the  body  of  the  reference  by 
a  dash  (  —  ).     The  heavy-faced  numeral  marks  the  more  important  reference. 


Acatalectic  verse,  27. 

Accent,  basis  of  English  poetry,  10  ; 
not  to  be  confounded  with  quantity, 
11  ;  in  late  Greek  coincides  with 
ictus,  14  ;  not  affected  by  quantity 
of  final  syllable,  1 8. 

Accents,  not  marks  of  protraction  or 
shari)ening  of  vowels,  4 ;  nor  of 
quantity,  11  ;  nor  of  intonation,  13; 
but  of  pitch,  16  ;  derivation  of  name 
of,  16  ;  no  conflict  between,  and 
quantity  or  ictus,   16. 

Accentuation,  15  s«iq. ;  not  to  be  con- 
founded with  intonation,  18. 

Acute  accent,  16. 

Adonius,  70. 

A^eement,  metrical,  of  Correspond- 
ing Members,  144  sqq. 

Alcaic  group,  102  si\. 

Alcaicum  dodecasyllabum  and  hende- 
casyllabum,  72. 

Alcaicus  enneasyllabus  and  decasylla- 
bus,  71. 

Alcmanian  group,  95  ;  four-lined,  101. 

Amphidochmius,  78. 

Amphimacer,  27. 

Anacreontics,  107. 

Anacrusis,  24  sq. 

dvaKXacis,  74. 

'Ava<p«ovT€iov  dKTUjcrvWa^oy,  70. 

Anapaest,  26  and  28;  as  used  in 
march  melodies,   113  S(iq. 


Anapaestic  tetrameter,  88  and  114  sq. 
dvTCT^{ppT]|JLO^  123. 
Antistrophe,  120  and  123. 
Antithetic  i)eriod,  126  sq.;  palinodic 

—  period,   128  sqq.;   veree-jiause  in 

—  period,   139   S(|. ;    verse-pause   in 
palinodic  —  |>eriod,  140  sq. 

dvTwSij,  123. 

Archilochian  groups,  05  .^^q. ;  dactylic 

—  group,  99  S(p  ;  logaoedic  —  gi'oup, 
100  sq. 

'ApiOPTO<|>dv€lOV,  70. 

Arsis  (dp<ns),  22. 

Asclepiadean  group,  lesser,  97  sq. ; 
greater,  98  sq. ;  verse,  lesser,  97  S(j[. ; 
greater,  98  sq. ;  interchanging  — 
group,  101  sq. ;  contra.sted  —  gioup, 
102 ;  —  Glyconic  group,   103  sq. 

Asynartete  verses,  60  sij^. 

Attica  correptio,  8. 

Bacchius,  27  and  34  ;  69  ;  interchange 

of,  with  paeon,  75  s<i. 
Papcta,  7rpo(r(f)5ia,  16. 
Basis,  90  sqq. 
Break,  defined,  60. 

C,  pronunciation  of,  in  Latin,  10. 
Caesura,  59. 
Catalectic  verse,  27. 
Catalexis,  27. 
Choliambus,  37  sq.  and  86. 


GENERAL   IXDEX. 


195 


Choree,  26  and  30  ;  recitative,  50  sq. ; ' 
inverted,  92  sq. 

Choreic  sentences,  68  sq. 

Choriambic  sentences,  69. 

Choriambus,  26  and  31 ;  admitted  into 
ionic  verse,  74. 

Choric  type,  116  sqq.;  strophes,  120 
sqq.;  chief  laws  of,  119  sq. 

Chorus,  highly  developed,  119;  differ- 
ent names  of,  122  sq. 

Circumflex  accent,  16  ;  only  on  con- 
tracted syllables,  17  ;  not  mark  of 
protraction,  18. 

Consonants,  apparent  doubling  of,  in 
Homer,  9. 

Contraction,  22  sqq. 

Correspondence,  metrical,  52  sqq. 

Cratineum,  metrum,  87. 

Cretic,  27. 

Cyclic  dactyl,  44 ;  in  the  trimeter,  51 ; 
—  proceleu-smatic,  49. 

Dactyl,  26  and  28 ;  light  and  heavy, 

10  sq.  and  26 ;  cyclic,  44 ;  choreic, 

49  sg. 
Dactylic  sentences,   67  ;    hexameter, 

83  sq. 
Dance  melodies  wherein  different  from 

march  melodies,  120. 
Declamation,  81  ;    facts  which  show 

the  odes  of  Horace  intended  for,  105. 
Diaeresis,  58  sq. 
Dichoree,   26  and   32;    interchange 

with  ionic,  74. 
Dichoreic  sentences,  69. 
Diphthongs,   regarded    as  protracted 

vowels,  4. 
Dipody,  63. 
Distichon,  93  sq. 
Division,  of  measures,  25. 
Dochmius,  76  sqq. 
Doric    melodies,  41  sqq.;    sentences, 

67  sq. 

Elegiac  verse,  39  sq.;  93. 
Elision,  in  Latin  poetry,  5  sq. 
{\i.^a.rr\p\.0Vf  114. 


TJ}jLCa}iPos,  GS. 
Encomiologicum,  67. 
€vd'n-Xtos,  116. 
cir£ppT]|xa,  123. 
€mTptTOS  5ei/repos,  41  ;  43. 
Epode  (7?  cTrySos),  120  sq. 
Epodes  {ol  iTr(fdoi),  93  sqtj^. 
^TrwSiKov,  118  ;  134  sqq. 

TjpCUOV  7]V^J]\UvOV,  86. 

Eupolideum,  metrum,  87. 
Eurhythmy,  124  sqq. 
€|d|Ji.€Tpov  ircpwTTOcrvXXaP^s,  86. 
Exodos,  anapaests  in  the,   of    Attic 

tragedy,  115  ;  122. 
Extension,  of  measures,  25. 

Falling  sentences  or  verses,  37. 
Four-lined  Groups,  96  sqq. 
Free  Metrical  Forms,  89  sqq. 
French,  misuse  of  accents  of,  18. 

Galliambic,  88  sq. 
Glyconics,  70. 
Grave  accent,  16. 

Greek,  rich  in  short  syllables,  7  ;  pro- 
nounced rapidly,  8  sqq. 
Group,  distinguished  from  sj^stem,  106. 

Halting  iambi,  37. 
Hemiambics,  107. 
Hexameter,  contraction  in,  23. 
Hexapody,  64  sq. 
Hiatus,  where  allowed,  58. 
Hyporchema,  122  ;  132  sq. 

lambelegus,  68. 

Iambic  trimeter,  why  so  called,  32  ; 
84  sqq. ;  group,  94. 

Iambus,  identity  of  with  trochee,  25  ; 
equal  to  choree  with  anacrusis,  26 
and  30. 

Ictus,  11  sqq.;  in  prose,  13  sq.;  on 
first  part  of  measure,  20  ;  secondary, 
23  ;  doctiine  of  belongs  to  rhyth- 
mic, 55. 

Interchange  of  Measures,  73  sqq. 

Interlude,  118. 


196 


GENERAL   INDEX. 


Intonation,  11  sqq. ;  of  measures,  25 ; 
of  sentences,  61  sq. 

Inverted  dochinius,  78  ;  choree,  92  sq. 

Ionic,  26  and  31  ;  interehangc  of  with 
dichoree,  74  ;  forms  of,  74. 

Ionic  sentences,  69  ;  group,  103. 

lonicus  anaclomenus,  75. 

Irrational  sylhihlo,  24  ;  clioree,  43sq. ; 
—  measures  where  allowed  in  reci- 
tative verse,  50  ;  —  choree  resolved 
in  comedy,  51  ;  correspondence  of  — 
and  rational  syllables  in  arsis,  52  sq. 

KardXiilts,  27. 

KOp.}JLdTlOV,   122. 

KO}i.}j.ol,  122. 
Kopv()>aios,  123. 
KwXov,  55  Sep]. 

ACvos,  19;  117. 

Logaoedic  sentences,  70  sqq. 

Logaoedics,   43  sqq.;    forms  of,  44; 

proofs   of   correctness   of  Schmidt's 

theory  of,   45  sqip 
Lyric  type,  89  sqq. ;  systems,  105  sqq. 

jiaKpdv,  115  ;  122. 

March  type,  characteristics  of,  113  ; 
dilferent  —  melodies,  114  sqcp ;  — 
melodies  wherein  different  from  dance 
melodies,  120. 

Measures,  defined,  20;  equal,  unequal, 
and  (juinquepartite,  20  and  26  sq.  ; 
beginning  of,  has  an  ictus,  20  and  22  ; 
preliminary  statements  concerning, 
22  sqq. ;  fundamental  forms  of,  25 
sqq. ;  shortened  final,  27  S(p  ;  exam- 
ples of,  28  S(pp ;  final  remarks  con- 
cerning forms  of,  54  ;  rhythmical 
value  of,  55  ;  interchange  of,  73  sqq. ; 
fonns  of  ionic,  74. 

Mesode,  121. 

Mesodic  period,  127  sq. ;  palinodic  — 
period,  133  sq.  ;  verse-pause  in  — 
period,  141  sqq.  ;  verse-pause  in 
])alinodic  —  period,  143. 

[i:cra)8tKov,  118. 


Metric,  defined,  3  ;  19  sqq. ;  55. 

Metrical  correspondence,  52  Sf^q.  ; 
agreement  of  corresponding  mem- 
bers,  144  S(iq. 

Molossus,  26  an<l  33. 

Monody,  81 ;  122. 

Mora,  65. 

Music,  origin  of  the  forms  of,  19  sqq. ; 
instrumental,  21  ;  limitations  of  vo- 
cal, 21  ;  development  of,  80  s<pp 

Notes  of  Greek  vocal  music,  36 ;  use 
of  the  longer,  37  sq(p;  sixteenth,  49 
sq. 

(;«tj,  123. 

6|€ia,  Trpoffipdia,  16. 

Paeon,  27  and  33  ;  interchange  of  with 
bacchius,  75. 

Paeonic  verse,  final  measure  of,  40  ; 
sentences,  69  ;  doohmius,  78. 

Palinodic  period,  125 ;  repeated  — 
period,  126  ;  —  antithetic  period, 
128  ii([(\. ;  —  meso<.lic  period,  133  sq.; 
verse-pause  in  —  period,  138  ;  verse- 
pause  in  repeated  —  j»eriod,  138  sq. ; 
verse-pause  in  —  antithetic  period, 
1 40  sq;  ;  verse-pause  in  —  mesodic 
period,  143. 

Parabasis,  122. 

Parodos,  anapaests  in  the,  of  Attic 
tragedy,  115  ;  122. 

Paroemiac,  38  sq. ;  114. 

Pauses,  marks  of,  27  ;  never  in  the 
middle  of  a  verse,  40  ;  position  of, 
136  sqq. 

Pedes,  20. 

Pentameter,  elegiac  so-called,  93. 

Pentapody,  64. 

Period,  79  ;  according  to  grouping, 
124  sqq.;  last  group  in  repeated  — 
never  incomplete,  139. 

Periodology,  79. 

•ircptcrTTWfi^VT],  7rpo(r(^5ta,  16. 

Phalaeceum  hendecasyllabum,  72. 

Pherecratean,  first  and  second,  70. 


GENERAL   INDEX. 


197 


Phonology,  3  sqq. 

TTvt'Yo?*  115  ;  122. 

irdSts,  20. 

Poetry,  origin  of  the  forms  of,  19  sqq. ; 

development  of,  80  sqcp;  genesis  of 

types  of,  82. 
Position,  rules  for,  8. 
Postlude,  118;  134  sqq.;  pauses  be- 
fore, 143  sq. 
IIpa^^XXeLov,  fx^rpov,  71. 
Prelude,  118  ;  134  sqq. ;  pauses  after, 

143  sq. 
Priapeus,  first,  87  ;  second  and  third, 

88. 
Prolongation  of  long  syllables,  34  sqq. ; 

in  ionics  and  dochmii,  40. 
Pronunciation,  of  the  vowels,  4  ;  of 

the  elided  vowels  and  syllables  of 

Latin  poetry,  5  sq. 
Probde,  121. 
-rrpocuStKOV,  118  ;  134  sqq. 
irpooroSiaKOS,  116. 
irpoo-wStat,  Greek  equivalent  of  Latin 

acc€ntus,  16. 
Prosody,  18. 

Protraction  of  vowels,  3  sqq. 
Pyrrhic,  91  sq. 
Pythiambic  group,  first  and  second, 

94. 

Quantity,  defined,  7  ;  marks  of,  7  ;  in- 
dependent of  vowel-articulation,  7  sq. ; 
rules  of,  8  ;  relative,  of  long  and 
short  syllables,  10. 

Recitative  poetry,  80  ;  type,  83  sqq. ; 

characteristics  of,  83. 
Resolution,  22  sqq. 
Rhythm,  3. 

Rhythmic,  defined,  3  ;  55  sqq. 
Rhythmical  sentence,  55  sqq. ;  period, 

79. 

Sajophic  group,  greater,  100  ;  common 

—  group,  104. 
Sapphicum  hendecasyllabum,  72. 
Scazon,  tetrameter,  86 ;  trimeter,  86. 


Sentence,  rhythmical,  55  sqq. ;  gram- 
matical defined,  56  sq. ;  rhythmical 
defined,  57  ;  close  of,  57  sqq.;  into- 
nation of,  61  sq. ;  division  of,  61  ; 
ictuses  of,  61  sq. ;  length  of,  63  sqq. ; 
rules  for  length  of,  65  sq. ;  most  fre- 
quent varieties  of,  67  sqq.;  highest 
rhythmical  unit  in  lyric  system,  106. 

Sharpening  of  vowels,  3  sqq. 

Sotadeum,  88. 

Spondaic  sentences,  68. 

Spondees,  26  and  29. 

Stasima,  122. 

Stichic  period,  124  ;  repeated  —  pe- 
riod, 124  sq. ;  verse-pause  in  — period, 
137  ;  verse-pause  in  repeated  —  pe- 
riod, 138. 

Strophe,  52;  choric,  120  sqq.;  in  en- 
comiastic poetry,  120  sq. ;  123. 

Syllaba  anceps,  58. 

Syllables,  long  and  short,  7  ;  natura, 
positione  longae,  8  ;  relative  value 
of  long  and  short,  10  ;  mark  of  irra- 
tional, 24  ;  prolongation  of  long,  34 
sqq. ;  laws  for  detemiining  value  of 
long,  36  sq. ;  short  as  long  arsis,  42 
sq. ;   "half -shorts,"  49. 

Syncope,  35  ;  37  sqq. 

Synizesis  as  proof  of  rapid  pronuncia- 
tion in  Greek,  9. 

Systems,  lyric,  105  sqq. 

T,  pronunciation  of  in  Latin,  10. 
Tetrapody,  64. 

Thesis  {dt<ns),  22 ;  primary  and  second- 
ary in  paeons  and  choriambi,  25. 

TtflOKpCOVTClOV,  75. 

TovTJ,  34  sqq. 

Tone,  duration,  strength,  and  eleva- 
tion of,  11  ;  five  to  be  distinguished, 
15  sqq.;  names  of  in  Greek,  16. 

Tribrach,  26  ;  in  comedy,  51. 

Tripody,  64. 

Trochaic  tetrameter,  why  so  called, 
32  ;  84. 

rpoxatos  SCoTifios,  44,  48. 

Trochee,  identity  of  with  iambus,  25  ; 


198 


GENERAL  INDEX. 


equal  to  choree  without  anacrusis, 
26  and  30  ;  '*  two-timed"  trochee,  48. 

Type,  recitative,  83  sqq. ;  lyric,  89  sqq. ; 
march,  113  sqq.;  choric,  116  sqq. 

Typology,  80  S(]q. 

vrropxtiH-a-TO,  122 ;  132  sq. 


Verse,  defined,  58  ;  asynartete,  60  sq. ; 
different  from  sentence,  63  ;  recita- 
tive, 83  sqq. 

Vowel-articulation,  3  sq(|. 

Vowels,  protracted,  3 ;  sharp,  3  ;  proper 
pronunciation  of,  3  sqq. ;  doubtful,  5. 


THE    END. 


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