(4) Tribrach in third place with both caesuras, other feet pure, πέπλων λακίσματ ̓ ἀδόκιμ ̓ ὀλβίοις ἔχειν. (5) Tribrach in fourth place with both cæsuras, and spondee in third, πόλιν τε δείξω τήνδε μακαριωτέραν. (6) Tribrach in fifth place, both cæsuras, spondee in first and third, ἄλλους τυράννους αὐτὸν ὄντα βασιλέα. (7) Tribrach in fifth place, hephthemimeral cæsura, spondee in the first only, other feet pure, τοιαῦτα μὲν τάδ' ἐστὶν ἀμφότερα μένειν. Obs. The tribrach in the fifth place is not of frequent occurrence. (8) Dactyl in the first place, penthemimeral cæsura, οὐκ ἄριθμον ἄλλως, ἀλλ ̓ ὑπερτάτους Φρυγῶν. (9) Dactyl in third place, with penthemimeral cæsura, ῥυσσοῖσι νώτοις βασιλικῶν ἐκ δωμάτων. (10) The same preceded by a monosyllable, ποῖ γὰρ μολεῖν μοι δυνατόν, εἰς ποίους βροτούς. (11) Anapest in first place, and only quasi-cæsura, φιλοτιμίας παῖ· μὴ σύ γ'· ἄδικος ἡ θεός. (12) Anapæst of proper name in the fifth, with both cæsuras, ἐμοὶ μὲν οὐδεὶς μῦθος, ̓Αντιγόνη, φίλων. 658 In comedy the anapest was admitted into every place except the last, and the dactyl might appear in all the odd feet. Thus we have, (1) κατάβα, κατάβα, κατάβα, κατάβα, καταβήσομαι. (2) αὐτᾶς ἁβρὰ τῆς μητρὸς αὐτῶν γενομένη. 659 The comic writers also use an iambic tetrameter catalectic, which, like the trochaic tetrameter, is made up of two complete dipodiæ, followed by a catalectic or incomplete dipodia. The fol lowing scheme exhibits the allowable substitutions for the iambus: And even the seventh place may be occupied by an anapæst in the case of a proper name. The following examples may suffice: ὡς εἰκός ἐστιν ἀσθενεῖς γέροντας ἄνδρας ἤδη. 660 In some of the shorter systems of iambic verse, the first place is regularly filled by the anapæst. This is the case in the well-known Anacreontics; such as the μεσονυκτίοις ποθ ̓ ὥραις and μακαρίζομέν σε τέττιξ. § IV. Hemiolian Rhythms. 661 of the hemiolian rhythms, the oldest and most common was that which emanated from the cretic, taken as the representative of a trochaic dipodia. Here the trochee was considered as the arsis, and the thesis was represented by a single long syllable, so that the ratio between them was that of 3: 2. To this class belong the pæonic measures, which are of very frequent occurrence, : especially those in which the first or fourth pœon appears by the side of pure cretics; this resolution of one of the long syllables is generally confined to the earlier places in the verse, and the true cretic rhythm is made to appear at the end, where we sometimes find the trochaic dipodia itself. The following are examples: (1) Nearly pure dimeters, terminating in a trochaic dipodia, 1 (3) First pæons including two resolved metres, ποῦ μ ̓ ἄρ ̓ ὃς ἐκάλεσε; τίνα τόπον ἄρα ποτὲ νέμεται; μετὰ δὲ γᾶν ὕδατά τ ̓ ὠκεανὸν ἠφάνισε νύξ. 662 The iambic form of hemiolian rhythm, in which the ictus falls after a short syllable in the arsis, is generally called the Bacchius. It is of less frequent occurrence, because less pleasant to the ear, than the cretic measure. This line (Eurip. Hel. 643) is followed by an anapastic line, and that again by a cretic. § V. Asynartete and Antispastic Verses. 663 Besides these systems of verses, in which the metre was regulated by an uniformity of rhythm, the Greeks used to combine in their poetical compositions rhythms of different kinds and different origins. 664 If rhythms of a different kind, but of the same origin, were put together—i. e. if the course of the rhythm was uninterrupted, though the relation of arsis and thesis in different parts of the verse was not uniform-the verse was asynartete (àσvváρτητos) or "unconnected." Thus, combinations of dactyls or choriambi with trochees and cretics, and of anapasts or ionici with iambi and bacchii, would form asynartete verses. 665 But if rhythms of a different origin, though of the same kind, were put together-i. e. if the rhythm went up and down, although the relation of arsis or thesis was uniform-the verse was called antispastic (åvτioπaotikós) or “inconsistent.” (a) Asynartetes. 666 Of the asynartete measures by far the most important are those which exhibit dactyls, or systems of dactyls, by the side of trochees, or systems of trochees. These are generally called logaædic verses. Thus we have, (1) Dactylic tetrameter followed by an Ithyphallicus (652), οὐκ ἔθ ̓ ὅμως θάλλεις ἁπαλὸν χρόα· κάρφεται γὰρ ἤδη. (2) Dactylic trimeter followed by a Lecythius (654), ἀλλά μ' ὁ λυσιμελής, ὦ, ̓ταῖρε, δάμναται πόθος. (3) In Soph. Antig. 339–341, we have nine dactyls followed by an Ithyphallicus. (4) Trimeter cum anacrusi followed by Ithyphallicus, Ερασμονίδη Χαρίλαε, χρῆμά τοι γελοῖον. 667 The most systematic combinations of dactyls and trochees are those found in the Sapphic and Alcaic stanzas, in the Doric rhythms of Pindar, and in the Glyconic choruses of Sophocles. The student will best learn the latter by a study of Sophocles and Pindar; it will be sufficient here to give the laws of the Sapphic and Alcaic verse. 668 The Sapphic stanza presumes that the dactyl is rhythmically equivalent to the trochaic dipodia; the Alcaic stanza places the double by the side of the single rhythm, dipodia for dipodia, and inserts two trochaic dipodia to counterbalance the greater weight of the dactyls. That this must have been the intention of the arranger is clear; for if the trochaic dipodia in the Sapphic stanza had not been considered as a rhythmical unit, corresponding to the dactyl, there would have been a mass of twelve distinct trochees over balancing five dactyls. But on the other supposition, there are six dipodia to five dactyls, just as in the Alcaic stanza ten trochees, supported in three cases by anacrusis, are considered rhythmically equivalent to six dactyls. 669 The schemes of these stanzas are as follows: |