Beruflich Dokumente
Kultur Dokumente
INTRODUCTION
TO THE
CLASSICAL LANGUAGES.
TO WHICH ARE ADDED
THE LYEIC PARTS OF THE MEDEA OF EURIPIDES AND THE ANTIGONE OF SOPHOCLES, WITH RHYTHMICAL SCHEMES AND COMMENTARY.
DR.
J.
H:
HEINRICH SCHMIDT.
PH. D.,
HARVARD UNIVERSITY.
BOSTON:
PUBLISHED BY GINN, HEATH, &
1883.
CO.
to
Act of Congress,
BT JOHN WILLIAMS
la tat offlc* of the
Wli
Ubnrian
of Congress, at Washington.
PREFACE.
DR. SCHMIDT'S "Leitfaden in der Khythmik und Metrik der Classischen Sprachen,'" of which this book is a translation, was
issued in
is
press of E. C.
W.
Yogel
at Leipzig.
It
und ihre Bedeutung," the first volume of which had already " " been published when the Leitfaden appeared. The four volPoesie
umes
of the larger
work
Allgemeine
Annahmen.
E. C.
W.
1868.
Large 8vo.
Die antike Compositionslehre, aus den Meisterwerken der griechText und Schemata der lyrischen ParLeipzig.
E. C.
W.
Vogel.
1869.
"
CCCLXXV.
Large 8vo.
Text
E. C.
Leipzig.
W.
"
Yogel.
1871.
DXXXVII.
E. C.
Large 8vo.
1872.
Griechische Metrik."
W.
Vogel.
Pages
xxii, 680.
Large 8vo.
Dr. Schmidt,
now Oberlehrer
in the
gymnasium
at
Wismar,
way
F REPACK.
presented
in
J
viously undert
in 1866.
IK
"
li;ul
pre-
Sviu. mmik
and
"
pdogir/'but
found
it
first
making
results
careful investigation of
The
Kunstformen,''
]>ro-
then
ir:m-
in
two gymnasium
the
<>th
imcns
u)
mik
Vol.1.
Leipzig.
Teub-
Mr.
1876.
Pages
xvi,
663.
Large 8vo.
Vol. II.
Leipzig.
Teuh-
1878.
Pages
xvi, 648.
Large Svo.
iu
much
discussion.
From
number
the
warm
19
adherents, whose
in
is
constantly increasing.
There
much
littlrin
which
bft
Acknowledging
'tunic
and
-led, usinir
to establish a
pursuance of
:nes
this
he worked through
tl:
s
thendid he brpin
prevail
in
t<
Kuripides, and
Aristoplianes.
Xot
until
he found to
art.
these great
Such a
itself
to honest
ii
.rs.
would not be
pro:
ike a special
I
ariruiiicnt
here in
opfx
irories will
be to appl
how
PREFACE.
clear he has
Vll
made much
All
who have
ful that
will be grate-
he has brought a
it
down from
the clouds
and made
even by beginners. was made in 1874 conjointly by Professor Dr. This translation Karl Eiemenschneider, of German Wallace College, and myself.
easily comprehensible
is
equalled only by
the title-page,
little
But
when we were
at
work
me
is
to look
am much more
make
good translation than I should be if he had not helped me The manuscript was afterwards revised by Dr. Schmidt it.
himself,
number
of
additions.
it has been twice revised by myself and finally sent to The proofs have been read by Professor W. W. Goodwin press. and Professor J. B. Greenough of this University, and by Pro-
Since then
fessor P.
to
each of
whom
So
am
far as I
am
aware, no elementary
Classical
book
in English
on the
Such a book,
however,
certainly needed.
me
likely to
have had a
fairer hearing
own
country.
to the translation
will
make
the
book an
Teachers
seem unnecessary.
probably
differ in
But
it
certainly
which
treats.
We
Ian
do
to chant
Homrr
as
iliil
wo can
scarcely
ictus
leas
ijiiantitv
.lane.-
of
horns
mar be gone
forvvrr. hut
to
it
is
hardly
tin-
l-ss
unfold
theory of
a
composition, and
the hp_rh
:.>u
gliinpso at least at
only
musician ami
after of orchestics.
CONTENTS.
FIRST BOOK: Phonology.
1.
^ QE
3
?
INTRODUCTORY REMARKS
2.
VOWEL-ARTICULATION
3.
QUANTITY
INTONATION
4.
5.
ACCENTUATION
15
SECOND BOOK:
6. 7. 8. 9.
Metric.
....
.
19
.22
25
........
(TOV^)
.
27
10.
11.
12. 13.
14.
43
...
48 49
50
52
15.
16.
17.
METRICAL CORRESPONDENCE
18. 19.
55
57
61
.
20.
21.
LENGTH OF SENTENCES
63 67
22. 23.
INTERCHANGE OF MEASURES
73
,
24.
79
CONTENTS.
"K
fli.
Typology.
PAGE M)
83
Tm
LYRIC TYPE.
I i
89
J3
M
W.
80. 81. 32.
88.
II.
THI EPODBS
JwySot)
Ill
NED GROUPS
LYRIC SYSTEMS
96
105 113
IV.
116
120
TO THEIR Gi
....
.
.
124
85.
86.
134
136 144
87.
THE LYRIC PARTS or THE MEDEA TBB LYRIC PARTS or THE ANTIGONE
INDEX or METRICAL
A
154
170
191
1 .)2
I'.'i
(
\L
CHARACTERS
I*DX
GENERAL INDEX
First Book.
PHONOLOGY.
1.
Introductory Remarks.
of the general principles of
EHYTHMIC
(rj
rhythm (measured movement) which underlie poetry and music, and essentially distinguish poetry from prose.
METRIC
(17
/x.erptK>J,
sc.
Tf.\vrj)
each language also is more or less perfectly developed, in proportion as the organization of the language renders it possible.
more exact
definition of rhythmic
this cannot at
present be given, because the confusion of terms that prevails in the number grammars necessarily makes any concise definition obscure.
of topics, therefore, which properly belong to grammar must first be considered ; not until this has been done, and the necessary terms have
it
2.
Vowel-Articulation.
is
1.
tracted (gedelmf) or sharp To indicate protraction (gescharff) sound. of a vowel the sign (_) is drawn just under it; to mark its sharp sound the sign (w) is used in the same For example, compare position.
4
a a
17
J 2.
VOWEL AKTKTLATION.
=
a in an, with
in Kpcunc
in Kparo*
\s
=
=
=
a in the
e in the
first
syllable of papa.
in /*/TI
in /into
<
f in metf.
i
in t<r<* in
= = = =
\npiqut, with
in pin.
Tm
in o-Koi/Afia
o in mote, with
o in intonation.
o in CTKOTOS
in some modern languages for indicating the protraction and sharpening of the vowels, as in English the doubling of an e or o, or the addition of a silent e (d. pin with /tin?, mot with notr), to mark protracted sounds, or the doubling of a conso-
as protracted vowels.
nant to show the sharpening of the preceding vowel, do not exist in In these languages the doubling of the consonant Greek and Latin.
has nothing to do with the protraction or sharpening of the vowel.
E. g.
we
find in
"Aroo-o-o,
both
7rpr}o-o-o>
(Att.
rj
and
o>
when
3.
protracted.
The
accents in Greek
be without accent,
ai
as in ayflpowros, ^po>9
2) have the
as in avQpunrav, Xi/xwrrciy
as in rw
TI/XO>,
.ivumflcx, as in
be without accent,
ii.iv.-
as in
6,
th.- ,-initr,
as in oSc, vios;
as in 0eo?
c^.
5, 4.
The
els,
drcnroflrx
is
For
this, see
4.
absolutely necessary to
pnmmmn-
Greek
as really sharp,
e.
without doubling the following .consonant, g. neither rwrof nor r&nrot, but TO-TTOS.
to
it
and
do
2.
VOWEL-ARTICULATION.
a,
t,
5
has but a single to a good
is
v,
where each
letter
sounds,
reference
must be made
sharp
i.
e.
pe-ri-e-ge-ne-to.
Whoever
fails
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.
w w
is often
done, ho-mi-nes
mispronounced. The ablative mensa was perfectly distinguished in pronunciation from the nominative of the
(w/xtves),
is
same orthography
and so
Pronounce
rete, prjrf;
monere,
5.
/tovrype.
When
vowel, the
first
vowel, as
is
word ends and the next begins with a known, is elided. E. g. the hexameter
pronounced thus
felix un
anf
or
felix unantalias Priame'ia virgo.
are wrong, though the latter is the better. For in such a combination as sacra in urbe, for example, it is clearly impossible to pronounce sacr by itself; it must be pronounced in tAvo syllables
with a half-sounded
or saker.
if
-m
the
also, it
must be pronounced
however, the
final
e. g. earn only gives a slight nasal sound to the preceding vowel as earn and ean are in French. That in no case,
vowel
is
shown.
Wlp,
for example,
?
Romna principi
audies.
Auscultaudivi jomni.
Anne tomnia?
anne tu omnia ?
rem omnem a principio audies. ausculta. audivi jam omnia. filiam ut darem in seditionem, atque incertas nuptias.
f 8.
VOWEL-ARTICULATION.
-hown by words in English these are to be pron< containing a syncopated e, such as "quiv'riui:." "irlitt'rimr," poetry " in which to or ;mWi*y," glitfring"\ or, vim. elided, as in the following /A* appears to have its
How
And
thereof."
I.
1.
Truth rrushcd to
BRTANT, The
Battlefield.
No one will read hm\ though the rhythm seems to require it, thane or /<nr, and tkettmal, but rather thar*> and th'rtiniul. The pocU often indicate by an apostrophe that this half-suppressed
vowel
is
new
syllable, as
isle
:
On Lcmnos, M* Aegean
Erring
;
for
he with
;
nor nught nvsnl'd him now T* hare built in lleav'u high tow'rs nor did he 'scape
;
By
all
his engines."
xe Lost, I.
746-7M).
Still
we
is
samr
The say tlfAegean and tliare, not tJiaeyean and thave (tave). e the case with hcav'n (pronomire fi"t/r n\ and tow'rs and '.sw//^
in this case signifies i\w partial suppression, and not the omission of the vowel, should be can-fully noted. e above sentences from T rence should obviously be pronounced thus
:
v/
v,/
Amrnlf n
tnnJiri j (n,iui.
an tie t"om)iia ?
FUfut
If the
same vowel
attme
follow
fommi.
-jam
omnia.
t
anne.
in
read
the
full
pro-
nonciation of the
final vowi-ls
becomes
final
pure prose; on the other hand, the complete suppression of the vowels makes what is read unn
3.
QUANTITY.
3.
Quantity.
1.
By
quantity
is
syllable.
and
short.
end in a sharp vowel in particular can be pronounced Syllables which All syllables, on the contrary, which end either in a protracted rapidly.
vowel (or diphthong) or a consonant, require a longer time for their E. g. the following syllables can be hurried over very
:
pronunciation.
rapidly
while the
word
"
woe
"
How
Long
ones are
2.
rich the
Greek language
is
words
syllables are
marked by
(
this sign
marked by
this sign
is
w)
in the
same
position.
That quantity
independent of vowel-articulation, and that conand 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.
in orep-yetv, (rrop-yrj.
II.
But the
ends in a sharp vowel can be proIn the refrain tra la la all the
made
is
is
made
is
it, not only in singing, but in time even to .three or more equal
other syllables.
This syllable
la).
In Greek the exclamation of pain e e seems often to have been made very long, though the vowels remained sharp. Further Homer, II. XII.
208, has
o</>u/,
o<f><f>w.
The same
TWI/-
rjv
avrov 6<ts
III.
when they
3.
QUANTITY.
The same
is
end
word and
true of
:
diphthongs.
The very
^y
/tot &VCITC,
Movaa,
In the tragic poets this occurs sometimes also in the middle of a \owel or diphthong precedes word, particularly when the pr
\*S
\*S
e.
3. Syllables with a protracted vowel are called natnra longae ; those with a sharp vowrl, 1>ut ending in a consonant, ponitione longae. So <iTj or #<rci /loxpcu (sc. <rvXXa/2cu).
ced:
of two consonants does not always belong to the preMe, and consequently does not always make "position." In Greek the following rules in general hold good
first
:
I.
p.
rp
t
by the doubling of a consonant, by with following mute, by the concurrence of two mutes, by //
(= k
pt, <&),
and
finally
by
all
0X5, IX/xti^.
II.
The quantity
is
(v/tyos,
very rarely
V-/AI/OS).
The quantity
is
w
7rpa|a
tfk-non) or TIKVOV
(i. e.
te-kn<i\,
vy
i-paa
(i. e.
7r-pau) or
\ c-*y>aa). The Attic writers were very strongly inclined to draw both consonants over to the follow ini: syllable.
Hut
to the
in the
first
case of
the
first
consonant belongs
<
cVXaVw, not
ucAttVu, since
4.
we
many
This
be pronounr.
(art
ry short
and that
sentence Bounded,
li^h
in
metric
fWH &TC7TC,
K. T. X.
3.
QUANTITY.
:
II.
"
Synizesis
"
of final
TrXdyxOrj
Tpot^s,
K. T.
A.
irXdyxOt]
eTret
Tpofys
is
e.
result, as in
ri
ww
Here
is
it is
17
ciTre/xevat,
w__ww
impossible.
since then the hexOdyssey could not be pronounced avSpa yaot We7re, ameter would begin with a trochee, which is equally impossible. Ex-
Two
vowel of the preceding word, e. g. dva (j/oJTrrpa) ; even single consonants are sometimes doubled in this case, especially the liquids
:
Od.
I.
56,
i.
e.
Se^naAaKOtori.
however, to be observed, that there are peculiar reasons in Homer for the apparent doubling of the initial consonants A. //, v p, which occur
frequently.
nally
still
It is in the highest degree probable that there was origianother consonant before these consonants, which was after-
The
digamma
fallen
(F) fell
(cf.
away
away frequently before p. Before A, x may often have before p and v, a- was probably x\iapo<s and Atapos)
;
often
dropped
e.
(cf.
o-/xtKpo?
is to
and
:
/xt/cpos,
oyx-vpra
and
fj,vppa,
etc.).
g.
be read
tiri
are sometimes doubled, refers only to the pronunciation which the Athenians employed in the poems of Homer, and which was imitated by the
later
Epic writers.
5.
Cf.
more
at length
Schmidt, Metrik,
similar falling
except that the consonant is still written though no longer pronounced. This is especially frequent in the case of k before n and p before s, as
e.
psalm.
10
lo
3.
QUANTITY.
is
made much
less often
by
the
same combination
in the
by two consomiddle of
A word.
IV.
A word
and muling
el.
in a
the following
word
E. g.
on the other
ha:
//. I. 1.
drawn over to the following and the words were pronounced = mc-ni-n'a-t'i-<l>'.
sylla-
w w
Apparent exceptions occur in the case of words which have a digamma, which, as is known, was not in later times pronounced, and so also was not written
:
O/HT/ZCVO?
YjV
faxty
K0t *
pronounc.
ar-ny-me-HOt'Ven-tep-sy-clien-kai-nos-to-ne-tai-ron.
5.
Not
which is indispensable in order principles be acquired, a pronunciation to understand and also to feel the ancient rhythm, hut the false pronunciation of some of the consonants and their combinations should
also be carefully
guarded against; as
i
e. g.
in Latin c
/
and
should
al-
ways be pronou
like c in cat,
and
in
it
notn'
is
Then the proper pronunciation bemust, however, be acquired early. oonet/ar eotier than the careless one in vogue, since it remarkably
facilitates the
in n
6. In Greek poetry it is a fundamental principle that a long syllable ka* twice the timt of a thort one.
u'lish
port
quantity,
man
is
inclined,
iposed on the ba-is of accent and not when reading (ircek and Latin
md
nnting th
light
at
oner.
Tl
i
Since
i.-f.
\
now
10),
g., is
composed of
i.
e.
of
4.
INTONATION.
11
^ ^
hJM
e * c> ' or
'
j
I
all
is
two
e. g.
"Av-Bpa uoi
1.2.
3.
ev-vc-Tre
\
Mov-craTro
1.2.
3.
-Xirr-po-Tro
1.2.
3.
4.
-vo? /xa-Xa
1.2.
3. 4.
7roX-Xa.
|
4.
1.2.3.
4.
4.
1.2.
3.4.
At
and conversely
7.
The accents
in
for
I.
Long
syllables can
all
II.
Short syllables, likewise, can have any one of the accents or none
:
at all
(cf.
3, 4, I.),
eyw.
"accent" and "quantity" are not The true theory of the Greek terms that can be used interchangeably.
this
it
From
is
clear that
(also
5.
some-
4.
Intonation.
1.
The
syllables of a
three
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 every word one syllable has most weight, and to This ictus will be indicated best by a
dot () set over the syllable on which it falls. In music this mark (:>) it is not expressed at the beginning of a measfor every measure begins with a tone more ure, strongly pronounced
report
or
--
f 4.
INTONATION.
And
Odyuey :
av&pa
w ^ or -^ww J f f ^ J ^ ^* V-L.
OF
-i.
or
J J
or
^._
These are then In longer words there can be more than one ictus. of different strength, and are distinguished by the number of dots set
Oftr the syllables on which they
fall.
E. g.
householder -L-:
agr
J___ ___i.
\
incomprehensibility
^.
In no word can there be more than one chief ictus, but more than
This word-ictus
is
simple sentence sounds to the ear like a unit from hrinir controlled by a single chief ictus, just as a word appears as a unit through
its
single chit
by these ictuses and the pauses between the words that have
:
just been mentioned that sentences like the following are distinguished
I bought
.nd
iron, took,
and wagons,
i.
e.
I bought
Further, the senten
iron tools
and wagon*,
"
Lord
has with
ref-
the
first
syllable
it is
<>
in the
though
the pr
word
itself.
4.
INTONATION.
13
3.
On
compound
own.
but each
member has
its
arise
The various involutions, incorporations, ellipses, and so on, which when sentences are grouped together in a period, render the rela-
scientific in-
is
not
now
necessary.
not indicated in Greek by the accents any more than vowel-articulation and quantity. That this is so in poetry is to be
Intonation
is
first
M^vtv
The
upon
fjiTj-,
--,
Of
the grave
no accent.
an ictus are
-vi
va-,
-Se,
two
are
accented with the acute, and the rest are without accent.
is
The same
The rhythtrue not only of all hexameters, but of all other verses. mical ictuses have nothing to do with the accents, but fall arbitrarily
syllables with circumflex, acute, or grave, or without accent.
on
So
be without rhythmical
ictuses.
many short syllables come together without mixture of longs, or longs without mixture of shorts. See more at
influence in those cases where
length Schmidt, Metrik, \ 10. The question arises " Where then did these ictuses of the words 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 known
:
known
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
But from
1)
may be concluded
on the root-syllables of the words. Old alliterating formulae, especially in Hesiod's Works and Days, prove this, e. g. V. 235
:
TLKTOVO-LV Se
ywatKes
II
M.
alliteration here is
INT'
The
unmistakable and, as in
I til
;
many
been as
follows
rewa you
The
ictuses fall
natural,
and
historically probable,
on root-syllables only. This position of the ictus is MUCC the same rule holds in the
langiuiL
other
iido- European
1.
2) Soon,
such.
in
Had
rda putting the long syllables, without reference to the root-s\ llables as not this early Inrn the ease, how could it be explained that
--.ilar.
at
lir>t
.-
excln.-ively iiu
It
hex-
ameter, trochai
the
is
impossible that
in prose,
j
ictus in poetry
and another
to nature.
syllables
more and
began a further change, namely, that the accented ve<l the ictus. This is shown not only by
words
3, 2, II.)
tin- first
syllable, just as
quently upon
The end-
as
we
see
from comparative
grammar, was
howt
originally
my
.
words where
It lost the protraction, always protracted. it did not have the accent, as in yAo/rro,
/ic^t/im; but this protr.ictinn remained intact without exception wli d syllable was accented, as in <f>0opd, fopd, etc.
At a
nearly
all
roim
[rfttition
Creek words,
at
therefor,-,
Mifl'eivd
the
greatest changes,
no time completely
a
fixed.
The
later day,
allowed
its
position in prose.
5.
That ciprcssions
with
is
like
,
-nit
.
nation,"
ele.
cannot
5.
b?
uvd
\\ill
I,,-
made
clear in
The
"
intone,"
"
intonation."
5.
ACCENTUATION.
15
5.
Accentuation.
1.
Not only
common
But in prose, as in recited (but tones of different pitcli (TOJ/OI, toni). not, sung) poetry, the intervals between these tones are variable, not
In ordinary regulated with strict mathematical accuracy as in music. discourse five of these tones are distinguished, which will best be understood by illustrations from English. " " in common speech becomes most noticeable This singing
the
astonished at the wonderful singing in the language of the German, German at the same thing in the language of the Englishman.
until a foreigner
makes him
by exaggerated
imitation.
difference of
2.
I.
"
modulation
greater
within the bounds of the same language this " is sometimes very noticeable.
syllables is
The
number of
pronounced
in
about the
same
II.
The
erally the high tone, as the syllable good- in goodness, -treat in retreat. If the middle tone be indicated by a note between 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 follows
:
good
ness
re
treat
III.
However,
if in
an interrogative sentence other syllables follow is given a much lower tone, which
of low tone.
name
So
-
Is
it
_
(The low tone
further,
is
man
ly
\_^_ i_
by a note on the lower
line.)
is
to be designated
Or,
the syllable following the low tone has the high tone,
:
and
Is
it
man
bj
16
* 5.
ACCIMl AT ION.
ptuca
IV. In monosyllabic exclamations of surprise, especially when spoken word is begun with the high tone, -which then This may be called in the same syllable into the middle tone.
tone,
tbe/c/foy
and
is
to be designated as folio u
So!
z
\. Finally,
if
a question closes with a monosyllabic word which has he middle tone follows iu this the low tone. This may,
and
is
to be designated
as follows
Wat
he
there?
-*
8.
J *
first
The
syllables of
unknown
to them, or else so
it.
Still,
some of
grammarians
are said to have observed the rising tone in words like rt/xw/xc^a, where the second of the contracted syllables had the accent.
in singing,
it is
with
ref-
and so too the signs used to designate them. These are the accents, accentus from accitiere, irpoo-yftuu, from xpos and y&Tj, i. e. marks for singing, or, marks used to
their names,
ictus.
special mark.
The
the grave,
irp<xru>8i'a /Sapcta,
low tone,
which may often have nearly coincided with the middle tone; the cirAll these terms cumflex, Tpocnp&a ircpwnrw/xcn;, for the fulling tone.
were borrowed from music, when- high tones were called TWOI 0^19, It has been shown above that in Knglish the ictus does not n
aarily fall
ete.
upon a
may
fall. e.
.,
upon
From
this
it
is
can and mn*i 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 Terse must, tl IN read
:
Ipa
it*
t*
wt t
MoO
ffa,
TO
\6
rpo
irov,
5.
ACCENTUATION.
fid
17
5s
Xa
TroX
Xa
Here, as it happens, the high tone and the ictus coincide in the measures, but not in the fifth and sixth.
first
But in English, as before remarked, the high tone is almost always joined to the ictus ; for the exceptions in the case of interrogative senTo tences and in some other instances are of no great importance.
illustrate, the
following verse
the
is
Hail
to
chief
who
umph
ad
In this way there arises a regularity in the succession of the high Yet this is not closely resembles singing.
perceived in one's vernacular, while on the other hand a reading of ancient verse in which the accents are observed, as given above, appears much more like singing. Further, the quantity is neglected, and con-
mouth
-
of an Englishman
-
is
Zv
ve
Tre,
MoD-cra,
i\
TTO
Xtf -
rpo
i\
irov, 6s
zzSbstJlfcafc^
This reading, to be sure,
is
i\
rs"i\
i\
is^
>i\
^ ^
fid
i\
Xa
TroX
Xa
[s
was
still
other notes than those used in prose. But it is as certainly not to be recommended in verses which are recited without the accompaniment of musical
instruments.
4.
Most
of
all
is
proved not only by their names and the testimony of antiquity, but also various facts in the language itself can be explained only on this supposition. The circumflex, the mark of the falling tone, stands, e. g., with few exceptions which arise from a blunt sense of language or by analogy, only on those contracted syllables which before contraction also had
the same succession of tones.
TI
flu)
E. g.
from
!._
n
I
fid
w.
!
18
Tnffr^ of the
ployed, as,
e. i
5.
AO
was generally em-
g.
.
Ti
i
n<!>
w
tin-
from
J
i.f
final .syllable
luble is a
common
i
everybody writes
is
last syllable
long in qu;.n-
ited di/fyxurrov,
:hat this
being
n old law of the Greek language that the high tone could not stand When now the farther back than upon the third syllable from the last.
last
two
syllables
were contracted,
it
still
held
its
accustomed
place.
kind
'
-;
d the circumflex as a
mark
Not words, even of protraction. with a sharp vowrl, have the falling tone, as bread, to be writthose Such the pronunciation /fy8, never /?p}8. order to
infivqm-ntly monosyllabic Kniilish
.
represent
words, however, are often pronounced with a single tone, fip& or ftpeS. yw, Compare gof = yw, go along! = ya> dAoyy (e'Aoyy), go I go! The vowel in this word is in no case made sharp, yo, yo. The yw. accent, as used to mark its different tones, does not affect its protracut
the
accent
it
may
happen to have.
misuse of the accents
It sjiould
;
and
that
/,
that
is
is,
here be noticed
indeed pr
.ut
is
rapidly, as e. g.
6.
M=
\j\j
rtc.
The
is called
is
prosody.
Giving a
syl-
called
acci'tithiy (Ix-to
accentuation.
The form
ucrally
latter
confounded with
"
intonation."
with
Second Book.
METRIC.
6.
1.
In the oTrXoTroiia in
XVIII. 567
:
sq.,
there
is
a beautiful pic-
draXa <poveovres
TrXcKTOts iv TaXapotcri
troffiv
8' Iv
t/xepoei/
Xe7TTaXe?7 <j)wvfj'
fJLO\TTYJ
tVy/X,(3
TTOCTt
(T/CatpOVTeS C7TOI/TO.
youth standing in the middle sings a song and accompanies it with round about him dance young men and maidens and join in his song. They dance chiefly to the music of the song, while the single
his lyre
;
and serves only to accompany it. And such music and singing in regulated measure (metre) both have their source in the dance and march.
the origin of
all
:
Of
tread
movements
the simplest sort, and yet of the exactest regularity, are the of soldiers in marching. When marching in order they first
all at
left foot,
all
at the
time, or in other words the step to the right. This makes the tread of the left foot kept with 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
left,
half of
right
\
is
weight,
right
etc.
\
are
but
To
illustrate,
in
the "polka-
20
aimli
in time.
" and with " three the right foot is Then the feet change their role, into position behind the left. brought and so on. Bj these movements the time is divided into equal por-
two" more
These small portions of time with their regular division are called SMBJTI. -robs, jxde*. The preparatory tread in marching em-responds The measures cited above in march and dance are to the anacrusis.
respectively
Jhe fart*
more
2.
The Greek terminology is yo/os three part* each (unequal measure*). Measures of four parts each are about the same SorAcurtov. uror, yo-os as those of two parts ; these also are equal measures. But measures of each form a new class : these are now very rare, but were
.mong the Greeks, and are
If the
it
also
is
4, 5)
more
ing syllables
more vigorous movement of the body; the remaincorrespond to the weaker movements.
is
This, then,
the
first
into equal
;is.
requirement in rhythmical composition, that it measures the first part of each of which shall have
is
Now,
where
there
need in song of an exacter law for the relation does not conform to any
strict
Thi> law (already stated in 3, 6) is, that every = w w. is to two short ones, long syllable equal Further, since the beginning of every measure must be intoned more
mathematical
ratio.
to
re
4, 4, 2,
must be introduced by a
The
short
then assigned to the lighter part a long syllable is allowed here, since not every "
in
ictus.
2
Consequently both
/4
IS
JS
(-1. v/
w) and
_) are proper
measures.
iet
of
MOW, even prose hod a varying ina^c in reference to these tones (many syllables e.g. with the aeute under certain circumin co: stances iscourse took the -rave n its place), so, as
it*
i
ton-
the art of music developed itself more and more independently, th lions of its tones were less and less restricted by preceding usage.
6.
21
greater
is rhythmical speech, one divided into portions of In song, to attain still with regularly distributed ictuses. equal length there is added the exact determination of the tones. regularity,
3.
This, then,
Song, therefore, is into equal portions (of which the smallest, the 1) Metrically divided measures, are first to be considered).
2)
distributed ictuses.
3)
intervals
between
4.
tones.
But
little
by
little
and produced the melthey ceased to serve simply for accompaniment, odies independently. Thus arose music without words. It had the same
rhythm, the same tones, as song
;
beyond
it.
J J
two eighth-notes,
should have
^,
w w,
not often
w w w w),
by nature
notes
(J
it
must be given to a short syllable than there is, on the other hand, no .difficulty in
expressing this
J J J j ^ J
Therefore, vocal music has, in the nature of language, considerable metrical limitations. Syllables sung with extraordinary rapidity would not allow the sense of the language to be understood. And these limitations
classical period of their language.
were in vocal music always observed by the Greeks in the Trills, runs, and so on, used in mod-
ern music, would have been a horror to the Greeks, at least in their vocal music. To this noble which nevertheless
the highest effect
sentences, verses,
in the texts that
syllables
produced simplicity, and an extraordinarily artistic division into measures, and periods, do we owe it that it is yet possible for us
and
For from
to determine the entire rhythmical construction. the principle that the long syllable has exactly the value
of two short ones, there was not in their poetry, even when more fully developed, any considerable departure, and it is everywhere possible to
determine the degree of this departure. On the development of the forms of poetry and music,
cf.
further
25.
VI
IN ARY
STATEMENTS CONCERNING
Till:
BOAS
f 7.
1.
will here l>r disen-srd. Their metrical forms are rilinury value the common ones in which the greater number of poems is composed.
2.
The
first
note of
th.
ircady stated,
is
intoned more
strongly than the rest, and has, therefore, the chief ictus. the four-eighth measure
:
Take
e.
g.
"Ar
Spa poi
ft
vc
re
r ^ .M r > *
-L-
V^
_I_
is
not
commonly marked.
0eW,
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 opens
:
&9
dpa
fJ.01
J
d/xrtj
tv
J 06m
it is customary to call Oeans, arsis, and apcris, and thereby to pervert the signification of the Greek terms.
Now, however,
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
trast with the high-tone
being "raised"), the lighter part with the middle-tone (which in conseems a "lowered" tone). AVe, Cf. 5, 3.
should, how.-vrr. and this will be in accordance with our
.
own
practice
themselves,
i.
e. rail
were used by the Greeks the downward beat them, and the u^cnnl beat arxix.
as they
3. In course of tlie development of Greek poetry the principle that long syllables were to stand in the thesk, short ones in the arxis, was not strictly maintained. So that the 8 / 8 measure could be eX]
not only by 1
(e.
g. rovro),
but also by
N N
JS
(e. g.
&OTI).
That
is,
two short
is
called retolution
(SmAwts).
Further,
it
'his is call-
7.
This license
expressed as follows
i.
Kesolution,
e.
J^ J^
for
J, by
ff
F^
or
^
wo
Contraction,
i.
e.
for
N, by
or
If
it is
For
this there is
no metrical
is
sign.
J^ J 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
this, the latter
latter, but, directly
the com-
contrary to
must be regarded
Thus
J
or
P
or
JJ
not
consider the value of the measure as a rhythmical element designed originally for dance and march, we see at once that in measures
4.
If
we
It
possible to intone
J J
either _L
ww
or _L
ww
ictus can
more or
less vigorous.
music this
and give
it
-^
(this is
another
-1
'-.
What
could not have had a relatively unimportant ictus. for example, is not only ^_ w w, but also -: it
,
arsis
been the
case, if also
21 $7. PRBL1V
scheme of the measure was
ty
MENTS CONCERNING
Till-
MEASURES.
^ w.
it
For
UK
like
u-tuses,
measure
Tj
^1/2
possible to
fj
for
ictus
of the
first
\\hich frequently toll upon short syllables while at part of the measure, the arsis had a long syllable, to preponderate to any the same time
great extent.
;v,
rontm
5.
Not
all
measiu
melodies and consequently not all verses begin with a full li a syllable having an ictus. Frequently the unintoned
Hermann the anacrusis part of the measure precedes. This is called by Take e. g. the following first part of an iambic trimeter
:
u>
KOivbv
av
rd
S(\
<f>ov
Just as this verse in 8 / 8 measure begins with an anacrusis, so can The effect is to make the rhythm livelier, since the first
syllable or syllables (for
two
umgement
It is the
to begin the rhythmical movement proper. law that the anacrusis must not be greater than the arsis
it
also
must not be
less.
In the
/8
measure the
1
f /8 ,
/ 8 , not
8 / 8 or /8
Thus
_ && _ &z
|
etc.,
etc.,
not
or
\xs\-tx3
An
which
will hereafter
be indicated by
u>
KOLVOV
aiTo&A^op, apparently
6.
_ for w.
in
See on this
13.
The grammarians
and without
anacrusis.
Nevertheless
became confused on
g.
"<
oxrrc
Kap
KfK\rj(TOfJiaL.
Alien.
8.
25
3 In consequence of this they distinguished two kinds of the / 8 measand iambi (v ). But if only the anacrusis be trochees ( ure, w)
fall
on the
first syllable,
The "iambic
"
(A
signifies
7.
an eighth pause).
(cf.
8) it is best to dis-
and tinguish two theses of different grades, which can be called primary thesis. That the grammarians did not make this distinction secondary
relations of numbers,
arose from the fact that they concerned themselves principally with and never put the practical value of their theories
to the test.
though seldom.
23, 3.
On
Schmidt, CompositionsleJire,
4.
8.
1.
Extension, division,
measures.
6
/8
measures.
it
be twofold;
_L
/8 distinguish /8 /8 g. a measure of six eighths can can be divided into a thesis of 3 / 8 and an arsis of 3 / 8
, , ,
we
But
the division of
e.
w _L w
a
|,
and then
4
(
it is
called a 6 / 8
2
measure
or into a thesis of 4 / 8
and an
call it
arsis of 2 / 8
3
/8
-f-
/ 8 ), _L _L
w \j
is
/4
measure.
;
The former
and
may be
different
in intonation, as
e.
g. -L
and JL _L
Whether
in
importance, provided that the division of the measure and tion be not thereby affected. Cf. 7, 3.
2.
The following
occur.
commonly
tions
are the fundamental forms of the measures that " " and " contracresolutions
"
as
examples
simple words are given, but where anacrusis ordinarily occurs, parts of
verses.
$8.
FUHDAMKNTM.
A.
1'nKMS OF
THK
MF. A SHIES.
EQUAL MEASURES
(ycVos la-ov).
_Lvyw or
It is
J J"^,
The
with \\enk secondary ictus. /a mcuMiiv with contracted arsis (_L _^) is generally (but inform
correctly)
named
xpondff.
-i- .
-Iww,
and heavy
II.
-L dactyls,
J_
v-/
w, _L -L,
Cf.
O w J_,
10, II.
or
crusis.
9 LJ
J J,
c'AcAcv,
III.
cAcXcv
J_J-or
J, spondee
with strong secondary ictus. /4 measure il ditiiiirui>lu-(l from tlic anapaest especially by its slower time, also by infrcquency of resolutions, and generally by abCf.
sence of anacrusis.
10, III.
IV.
-Lw-Lw
or
^
i
dichoree
u /s measurc
B.
tn tuc division 3 / 8
MEASURES
(ye'vos
V. -L w or
^,
choree.
A
i
.-/
*/ 8 measurc with
weak secondary
it is
ictus.
Without anacrusis
hn
irparo? /?ta T
resolved (vl
w w w),
J
_w _w
I
...
tribrach
VI. -L _L\^w or
^,
wwic
2
a
/4
-f-
/4
the arsis.
it is
Without anacrusis
sis, ionic
m a minore
J
\II.
-Lvi'wJ- or
^n
I,
choriamb nv
2
A
VIII.
-i.
/4
ondary
--
J J J, 8 very slow /4 u
or
molosws
.
09cn;Xcirftu).
ithout resolution
9.
27
C.
QUINQUEPARTITE MEASURES
or
I
IX.
-Lw_L
J, joaeow
(/2ov'Ao/>icu).
/8
/8
:
4-
/8 .
The names of
-L,
vv
ampJdmacer or
ere/ic (/?ovAo/>u).
(e/cTpeTrere).
w, paeon primus
_L,
X. J
w
5
or
A
TIS
/ 8 measure, usually
:
with anacrusis
...
9.
1.
measure of a
series,
and
especially
of a verse, whether sung or recited, may be incomplete, and end with a This pause is denoted in music and in pause instead of the arsis. metric by different characters according to its length
:
the eighth-pause
7,
A
A
-"-,
L_J.
To
measure
is
called
/xeVpoi/ /caraAr/KTtKoV).
it is
AvOpO,
jUOl
I
VV7T, MoVCTtt,
\j
w w
Catalectic,
w
is
ww
ww|
a
(v.
II
vvv 8'
AESCH.
Stippl. I. sir.
41).
w w
ww|
II
first
acatalectic, the
10.
me
Life
"
"
1
And
_w _w _ w _
I I I
u\
w A
II
II,
etc.
I 10.
I.
different
Kinds of Measure.
and are, therefore, used Dactyls are a solemn and slow measure, in choric poetry) to denote an exalted, God-trusting state of (especially Sometimes mind, or to express warnings with solemn earnestness.
anacrusis occurs:
Kvpios
ci/xi
en yap OtoOw
crv/x.</>vro9
aiwv.
AESCH. Agam.
I. sir.
_ww|_wwll _ _ |_ _
II
ww|
I
-- _ w w _ -- _ w w -I I
a (104-107).
|
7\
II
II
Furtlu T, tin v are the measure in which the solemnly recited epic
is
composed
WTT,
Od.
I. 1, 2.
II
_ vyw| _
v
w|
I
_ w, w _ v>v^|
II
ww
II
ww|
ww| ww|
---
II
have quicker time in lamentations, and yet the religious element dead was a religious act
:
*AAA*
<ft
y a
oTpvdeo-o-'
apapcv
aTv^o/xeVa, Atos a
SOPH. HI.
I.
ant.
a (147 - 149).
ww|
ww|
II.
in thr
menu
march measure, and consequently occur AnnpaaU are march-songs (in particular those of the Spartans) of which IV;ir. Tin- chorus in tragedy also generally have been preserve!.
t
Of
ft it (in the exodos) while the recitation in both cases brinur in a chanting tone. ij( anapaests, course, as is also the case in our own marches, the ictuses pan
10.
marked by the
Take
as
Zeu?
ftev
d<iKTO>p
eTTi'Soi 7rpo</>poi/(os
K. T.
X.
ww
It
should 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
w w _L
to occur.
Spondees, in which resolutions even of the arsis are seldom allowed, are the measure used in religious hymns, extremely measured
III.
and slow, to which they are even better adapted than dactyls. Their name arose from the drink-ofterings (WovSai'). Take as an example the following from a Hymn to Helios by Dionysius
:
Tras
yr KOL TTOVTOS
/cat
^ot
<j)@6yy6i r opv(.6u>v
/zeAAet
yap
Trpos
^y
These true spondees must be carefully distinguished from heavy w w), for dactyls which are like them in their outward form (
__
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, Anacrusis is though with less restrictions than in ancient poetry.
frequent.
30
10.
Thy
Father's breast,
Word
su!
And
lu Thine appointed
The melody
is
If this soli-inn
melody with
its
tin
orous music
will
1-
o^a
march, the difference between spondees and anapaests and it will further be evident that spond. !';
IV.
Without
it
,:-
()./<
N'
they
Jire
V,
KOI
$ (517-519).
oil
Siappv&av.
Id. C/to. I. sir.
(66, 67).
vivacious
if,
as
is
frequently
Compare
and
Ismene
Aesch. Sept. \\ when- in the met rie.-d scheme, 're being divided b.-twrm the two sin^-rs. the comma will be
in
I.
I
Sopl 8*
'^//?.
I.
<Yr-)
yoo?.
I
w www
I |
w|
A A A
II
II
10.
V.
measure
is
In
this
or the feeling of joy at deliverance from great danger, breaks forth. The enthusiasm, moreover, of the priestesses of Bacchus and of noisy
But it also beautifully expresses that deep is expressed by it. inner anxiety which cries aloud for rescue. Cf. the following, in which is expressed certainty of victory
drinkers
:
6 7repcr7rToA.is
7/8?;
V
AivoSecr/Aa) cr^eSta
I. sir. a'
(65
67).
ww Ww
A A
II
wwll
|
ww
II
II
who
which the shout of joy of the rescued Dasing alternately with their attendants (0.)
:
X.
crw Hpct
Oeos cpyots
5
CTTI
0.
TTOC^O?,
McTciKotvoi 8e
<f>i\.a
/xarpt Trctpctcriv
a r ovSev aTrapvov
0\KTOpi
Ilei^ot.
reXe^et
AESCH.
%^.
ww
IX.
^r.
^ (1035 - 1042).
A
II
ww ww|
|
A _^_. A
7\
II
II
ww[
ww| ww| ww|
w
w|
II
II
X ww|
A
!l
II
y\!l
dichoree
is
more
hereafter.
VI. Choriambi 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.
10.
EXAMPLES OF THE
Dl
IT
KINDS OF MEASURE.
Take
IIcua
atTas VWTIV airy. Ocjjicva * ^" *^" ^eXo/rao-ay VTT' aAXaAcx/>oV(Hs ^po-iV AKSCII. <&/>/. VIII. ant. 7 (929-933).
.
'
ww
ww
II
_ _ ww _
I
II
wv^
_w
...
Anacrusis
is
not allowed.
Ionic verses
often follow
choriambic.
states of
Amu
fJLt>
olwoOtras
A.e'^0)
ovrc SOKOVVT*
otV dTro^acrKov^'
SOPH. O^/.
o TI
8' aTropui.
*r.
/J'
__ww _ _ ww
I
II
ww
_ ww _
(483-486).
II
VII.
^
_L
c/,
or
_w
weight would be tiresome. But this would be relieved by uniting them _L w _L w I, which is to be carefully distinin pairs in a 6 / 8 measure
:
1
_L
therefore, the
do not appear as a
six
giren:
At*
at/AttT*
_w_w
_w_w
_w_AII
is
the
reason /or not calling e. g. an iambic verse of six measures an licxaroeter, but trimeter, since it is divided thus
:
w:
not
v^i
In like
tetrameter,
]htt
if
when composed
it
of
M,
be observed that
fifth
long choreic verses, as for example the hrxapody, the first, third, and measures naturally have a heavier ictus than the second, fourth, and
10.
sixth, it will
_w|^w|_w|_A!l
and
_w_w _w_A
;
lies, in fact,
are written
for
is
_Lw|_L.w|_Lw|_^AII
Since,
exactly equal
is
to-Lw_i_w|_Lw_^_A
necessary in
II
now, the
v^
first
method of writing
many
I
choreic
I |
example which certainly have not the value of three full II, dichorees, since so incomplete a measure as the last would then destroy it is best to the rhythm and consequently the melody also, adopt gen-
strophes, as for
|
I
_w _w
_w _
_A
as chorees,
in every case without difficulty. shall, therefore, give the preference to the division into 3 / 8 measures, and only in a single instance
(
We
/8
tri-
measures the verses are named differently meter = hexapody, tetrameter = octapody.
dimeter
tetrapody,
it is customary, with less reason, to regard two anameasures as a single one, so that e. g. the tetrapody paestic
In like manner
Ow:^^^o|v^wc;|^c^|^
is also called
dimeter.
like the spondee,
VIII.
melodies.
9
The Molossus,
religious
Only a single refrain in this measure has been preserved, Eur. Ion I. 125 - 127 and 141 - 143
:
in
Ilatav,
Ilatav,
a>
Aarovs
TTOL.
IX.
in
or, on the contrary, manifesting itself in great uncertainty, wavering, and helplessness. They are sometimes in the urgent prayers and entreaties of those who have used, therefore, been forsaken. Since this measure is seldom used, particular atten-
overwhelming enthusiasm,
its
quantities.
Measures
like
_ w _, _ w
:
4.5.
1.2.
3.
4. 5.
11.
PROLONGATION OF
LLABLES.
KOI yevov
OV ^vyd&x ay Ka0tv
/ZT
AESCH. Suppl.
III. sir.
a (418-422).
WWW
WW W W
W w W W W
II
II
II
II
II
this measure with exceedingly Aristophanes has frequently employed comical effect, as e. g. in Ach. IV. sir. (299 - 301)
:
OVK
avcurxrja-ofjiai
Xoyov
KAVttl'O?
Tl /XttAAoV, Ol>
__
WWW
Racckii,
w w
w www W
II
II
_www
W
www|
I I
www
w W
II
II
II
II
denote a
much
which arc seldom independently used in great number, stronger uncertainty and wavering than the paeonics,
d^w,
TI'S
o$/xa Tr/xxrfcrra
JJL
a^cyyrjs;
II
w:
B.
w|
2Srcyau> ;
v, a>,
w|
;
II
TI pe^b)
ycXto/Acu TroAxVais.
Svtrourra.
w, ^icytiXa rot Kopai Bva-rv^a<s
F.
ici,
rifioTrtvOfl^
Id.
Hum. V.
sir.
a (789 - 792).
ww
:
wl w|
,wll
wl
A
"TT
II
A
,
II
w ww
I
w
A
II
II
> ww_w
II
I 11.
i
(rovrj).
common
ballad
came,
And orer the meadows the mowers And merry their voices rang etc.
;
If the sylla
.1,
we have
11.
35
No
lines.
attempt
is
made
The long (_) marks simply the syllables. Without regard either to the anacrusis or to the
9,
final
measure of
But it would be impossible to sing the syllables. above words in measures like the following, which constantly vary, being sometimes equal and sometimes unequal
sometimes three
:
"T
etc.
We
so, since
we
involuntarily
:
pronounce these rhythmical divisions as measures of equal length And over the meadows the mowers came
| |
|
i. e.
How, now,
is this
:
equality in time
produced?
in 3 / time, is 8
is
given
obtained.
The
last
In measures of
measure, moreover, has set against it only the word rang. 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.
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 long 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:
Moreover, the long syllable may fill out an entire measure, so that it comprehends in itself both thesis and arsis this is
longation,
TOI/TJ.
:
called syncope.
quarter-notes.
In this way, therefore, there arise notes of greater value than the But since Greek music always remained essentially a
had
in
mind when
the rhythm
11.
under consideration), it is clear that the prolongation The Greeks in of the notes must have been limited by fixed bounds.
of Greek texts
is
artificial
music.
Jong syllable
e.
g.
by which according to our notation there would have arisen a whole note (&). They went 5 no further really than the 4 / 8 note, and when a / 8 note seems to
the value of eight ordinary short
occur
it
is
only apparent.
No
The rhythmical
;ly
time-values, therefore, of
also of
^ eighth-note
I
quarter-note
8
/ 8 note
i_i
J
4.
half-note
6
/ 8 note
LLJ]
In this
vllables,
different?
We are treating
matics.
It
to find simple
and exact
laws,
which
in the dii:
tin
will lead
I.
the value of
knowledge are
If
it
briefly as follow:
is
possible
icasure a
at all
song
if
is
written,
it
will be right to
admit
is
measures
preserved.
2) In this
way rhythmical
series of various
forms
will arise,
in
which
have
all
general
must be
meaning.
Whether
]><>-ible to
determine whether we
11.
37
3)
Other quite positive grounds for determining the value of the Book V. (on " Eurhythmy "), in 34-37.
e.
;
4) These positive external grounds, i. be substantiated by reasons from within music and recited rhythm must be clear.
complex and easier to be understood than modern music, there must have arisen among them a limited number of forms which were
was
less
literature.
main proof
The use
now be
explained.
It is neces-
18.
It is
of measure
I.
Very frequently in chorees (syncopated chorees) in choric lyrical poetry. Syncope in the next to the last measure of the verse (and sentence) gives
it
a melancholy character,
if
constitute the
Such
sentences or verses
may be named
O/TTO
"
falling
"
sentences or verses.
LTvoat 8'
ST/OV/X-OVOS
Ka/cocr^oXot, v^crriSe
aXat,
vea>i/
re
rpi/Sii),
AESCH. Agam.
I. sir. 8'
(192-197).
|_AII
I
_w
L_
_A
_A
II
_w
II
A
in
which the
verse in which syncope occurs in the next to the last measure, and last measure is at the same time full, is adapted to the
expression of the unexpected and overpowering, as in the last verse of the above illustration. Verses of six measures of this sort with anacrusis
are called choliambic (" halting iambi ")
in entire
effect, especially by the old iambographers later by Babrius in his fables. Ananius,
with comic
11.
PROLON
Av*
7//ic'/xu
SYLLABLES.
ywaiKos
curiy 7;5urrai,
Kaxcpy Tev^Kviav.
|
HlPP.
II
w:_w|_w|_w|_w|i w L_ w _ w _ w __ w
:
I I
|_ w w
|
II
An
example of the
"
halting
"
trochaic tetrameter
^ci/xtim.
AN.
I
www
_w www
I
II
II
is
may be syncopated,
I
_w_w
Remark.
-- w or
their final
_ w|
^t-^oXct
w|
w|
wll
<f>ep<i)V
(frtpovri.
2.
Catalectic:
_w|_w|_w|_AII
Kttt
KCI/O9
KCVOV KoA.t.
3.
ffl*^;
_w _w
I
1_
_A
II
Hailing:
\J\
8u" ^/xpat
II.
The
so-called
paroew.iac
(o?/xo?,
a ^ay:
therefore,
"march-
com-
ww|
ww|i_i|
:
But
ww:
in
WW|WWWW|WN-/ _
which
tl
\vo
paroemiac
is
_ ww|
it
__
II
sounds much more warlike and vigorous, and is especially adapted to rre and life to the march-songs in which it is used, as in the
:
11.
39
^Trctpras fvav&pov
Aaia
A" A~
_|7v
_ w w _ _ _ _|
I
_l
A-
How dragging and unwarlike would these verses be if they were The pauses, moreover, at the close of each regarded a falling rhythm. verse, during which the soldier marches without singing, give the
This is still more necessary in the parodos necessary rest to the voice. and exodos of Attic tragedy, where long sections close with this verse.
7TCU, Tr)S
^aXafjuvos
ere fJLV
e^cui/
fiaOpov
ev irpdcrcrovT
TrA^yr)
Aios
17
Aoyos
AavaaV
SOPH. ^/. 134
I
5^.
_ww|_ _ |_ww|_
I I
^-
Cf. further
31.
is
last
The
" heroic hexameter " forms a kind of example, which united with the
short strophe, the " distichon," of which elegies are composed, consists
of two sentences of three measures each, each of which ends with syncope, as in the following fragment of Solon
:
LToAAot
fjitv
'
11.
CUCl,
8* m^/xuTrcoi'
-- _ w, w __
I
II
L_J,
II
ww ww
_ww
ww
In-
--i_i
II
II
II
_ X,
of course, can
IV. No other cases of syncope than these occur, for those found in all different from those in choreic. logaoedic verse are not at
can be incom9 only the last measure of According to This is, of course, true of paeonic and baeehiie verses as well as plete. of tin- n it It', now, a paeonic verso ends in a measure with only one syllable, this
five
eighths (J
or
LJJ),
though
:
it
is
_w_l_w_|i_X
w w
: :
likewise
-- w -- w __ w A
I I
VII or
i_i
II
7. Prolongation of the long syllables of the thesis (always to the value of four eighths) occurs
1) in ionics,
like
ww
8* (vpviropoLo Qa\d(raras
fJLCLTl
\UJ3pW
oXoros.
AESCII. Per*.
I
I. ant.
y (108
II II
111).
LJ
WW
|__ww|__AI
X
which
II
2) in dorhnii'i. a discussion of
8.
will
be given in
23, 4.
allowable to assume a pause in the middle of a verse by which to complete a measure. "For since, with
is it
is
Under no circumstances
no
fixed
fi
which a w.:
in thr
middle of a word.
pause mn<t frequently thereby have occurred If this had been allowed at all, it must have
'.\\
after short
we should be
able to
Hut luckily the Greeks Aryo/uu as a paeon (w w A _). never did this. Hnd they done so, there would be no Greek metric
and
rhytlui.
,f
lyrical
12.
DORIC MELODIES.
41
12.
Doric Melodies.
of an
1.
I
Dactylic
melodies
I,
consisting
unbroken interchange of
n and J
J, would
little life
necessarily
variety.
and
a great effect;
measured, powerful movement could have produced yet this effect must have been so much the greater
when more
Now,
are extremely
common
in all music.
equal measures of
n
fre-
^
j
J^
^
|j
J^
J J
common
J J^
|
in our
,
J own
J^
This suc||.
arrangement
it
etc., is rare,
at all.
The
livelier
We
The
so-called Doric
J^
.
J J
and pure
chiefly
g.
JH
who
J J"j
J J
|j
They occur
;
number
The
lables,
writers on metric,
i_
L_
II
in this
J J
,
or
||
and so
_w
2
I
which they
The
fact that in
measures like i_
thesis
and
:
tow being
though imperfectly, by
_ >,
i.
e.
_>
_>
means only
8e
avv
/xeAtyapves v/xvot
vo-Tepwi/
dp^at Aoywv
Tricrrov
reAAerat KCU
op/aov
^>c,eyaA.ai5
dperat?.
FIND.
01.
X.
sir.
12.
DORIC MELODIES.
ll_v/w|_ww|_
8.
It
II
has alnv
-ecu in
tendency in Greek
If,
now,
among
ictus)
which were unJ, to make the melodies more various, these could not have been well ex-
we
J"^
w w _, as e.g. by Aeyo/xcu, since in such a would always have been inclined to give the last syllable a Strong ictus and thereby confuse the measure. And, in fact, these
"What they measures were hardly ever so cxprosed in their language. In this case it did do was to use three short syllables, e. g. At'yere.
on the
compara-
articulation.
Thus, then, apparent tribrachs stand in the place of dactyls, This is best indicated by w w >, since
is
really
in its general
use
The
J"^
'
ucrr',
octai9 avtauri
8
TO yap oiKflov
ti/z<i>
Tru'^et
iravO
o/xcus
OLTrntJUtiV Kptioia.
Ka8os
uAAoTpior.
FIND. Nem.
I.
ep.
y.
."J
J
J.
IJJ U.
IIJ.
IJ.
IIJ.
JIJJI
JNJr|
J:J.
IIJ.
/!JJ
J.
13.
LOGAOEDICS.
43
3.
occurs
This same use of a short syllable as a long arsis sometimes w, of the value of among dactyls in the apparent measure
is is
_ >, not L_ w. This use clear when the strophe apparently has _ w, while the antistrophe in the same place has this case to be marked by _ >. So in Doric strophes there occurs not infrequently etc. the series i_ w _ > i_ w
;
I I I
II.
13.
1.
Logaoedics.
series of
somewhat complex construction, have been treated. There is still a measure to be considered among chorees, which has the value of an
was found
ordinary choree as respects length, but not the same ictus relations. It that in the 3 / 8 measure the ictus relations were _L w, w w w.
is
But there
or,
also a 3 / 8
W,
WWW,
The name
arises
which
This
is
the same
is
made
2.
According to
12, 2,
and
4, 4, 2), the
put a heavier intonation on the long syllables. desired to express a heavier secondary ictus, -L
-L w, this
shall fall
;
therefore,
it
is
in distinction
from
is
but a stronger 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|_>|_w|_A||
The measure
It is
_>
is
used interchangeably with w. The two together, the choree coming first, are then similar in form to the so-called eTrtrptros 3euVepos, ^ >, or possibly w is not >. The succession
_>_
i
allowed.
_>_ _ w __ _ w _ A to be __ i_ w _ A or a logaoedic
|
II
is
II
w
4
> _w _A
I |
II
is
to be
mm
total
of the
facts,
from which
it is
3 / 8 or /8
measure.
13.
LOGAOEDICS.
cannot be irrational,
in
It
may be
asked,
why
most
text
M
;
(Iivek vocal
tin-
and
in recitation a
thr poet was not only composer but also n of none but long syllables would
seemed like spondees and been heavy and measured, the rhythm in consequence of the heavier ictuses of the arses, more vivacious than in logaoedic Terse ought to become not less but
necessarily have
in
iiinl.
and
fifth
measures contributed to
they made
the
this, since
by means of
movement
lighter.
The
I, the Analogously to the succession in Doric melodies L_ w -w > I, the heavier measure in both cases, even in merely recited poetry, following the livelier, lighter measure.
Sucre*-
3.
Besides this there occurs quite frequently in logaoedic melodies r form of mr.i-ure, the so-called "cyclic dactyl," i.e. the note
I
succession
I,
_ w w.
be composed of these measures, which then look like dactylic series; but the sum of in a strophe always enables us to determine
-
syllable
is
next short,
pronounced and sung more rapidly, which loses half its value and beThere-
comes a 1 / 16
note,
fc,
two
syllables
was
"two-timed trochee."
>
It
w, so that the
to be expressi
ww
be interchanged with
ihc-<-
with these,
any order, so that they can occur, when also as first and third mcn-uiv
-.
in connection
II
4.
Since, now, contracted measures occur frequently also among logathat too in all the places, logaoedic measures have the
1
following forms
J_
-J
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. Ant.
L,
II., III.,
IV.
first
5.
Since at
forms seems to be somewhat arbitrary, it is that certain main proofs be given as briefly as possible. The proper best test of the theory, however, will be the practical application of it,
measure and
its
different
after
it cf.
is
But
I.
also
it
be insisted upon that every long syllable must have had the value of two shorts, it follows that it would have been imexactly possible, even allowing anacrusis, either to recite rhythmically or to sing
If
Tts, OVTLV
AeAx^ts
eT-Tre
Trerpa
apprjT
If these verses be divided into so-called feet, there results, even if ana-
\j _w_ _ww __ _ _ _ w w
| I
| |
w w
w w
-w
!!
II
j
There
is
ij
in the
no musician
it
possible to
such verses
if
And
yet
it
would
If,
much more
difficult
than these.
on
the other hand, the following values be given the syllables, not only
will the musician regard
it
will also
both verses as rhythmical and impressive, but be possible to recite them in such a way as to produce
:
a beautiful effect
i_
;;
is.
LOGAOEDICS.
This
is
It
should,
moreo\
this way.
tlir
f
people of
all
d<> *
>,
may be which
Tiny never recite as they have theothey give the notes upon paper. Imt in actual practice recite correctly, though they do so uncon^ther another question whether, according
theories that have prevailed, the strophes have
to the
As
II.
that have been given is the fact that in the antistrophe an apparent
(i.
--
e.
vice versa.
This proves
>
_ w.
and
Compare
9tr.
e. g.
Soph. Ant. V.
aAAtt
*//-.
a,
v.
3 (810
and 828)
a.
KOUTTOT* av#i
^
1_
6 TrayKoiras "AtSas
oxrav ayet
ant.
i.
a.
vw
|
e.
w _ ^ -^ w
I
o/x/3pot
|
TOLKO^VOV
I
II
-w w
-v> v/
_A
II
_A
fl
And
this.
as e.g. the
common
If we say here that "spondees occur words are meaningless; unless one is ready 4 is equal to
1 ( [
dactyl
is
>
~~^
f->r
_ w and
because
lyric
if
w
it
strophes,
>
co
'
Ijf
so vivacious a
measure that
the
melody seems
th.
to be essentially
modified.
of
the
dc.es
occur,
the.
however, in
Jv
in
that
comedian*,
.;,,.,!
V &*'
:
i
i
is
is
seen in the
e to
first
Aristophanes.
the character
in v.
-2,
sec
15.)
Z<v
/ju/riAcr, TO ^pTJfj.a
TWV WKTWV
otrov
avipavrov
Kol
IATJV
TraAcu
y aAcKTpvovo?
rjKawr eyw
13.
LOGAOEDICS.
47
|_A
It is
II
|_w|ww>|_w|_AII
here, _ w, _ >,
beyond question that the different forms of measure that occur w w >, and -w w (the tribrach, w w w, does not hapto occur here) have the same time-value, since the kind of verse pen remains the same, however much the forms of the measures change.
IV.
That there
is
oedic measure
in strophe
\-/
a strong secondary ictus on the arsis of the logaw and proved, first by the correspondence of
is
_>
w,
is
and antistrophe and then by the fact that the cyclic dactyl, admitted as a form of the measure. For if we dwell for a
;
J^
is
naturally
made prominent,
ictus.
This bar,
fe
^, is very
common
music of
all
nations,
and must have been used by the Greeks. Even in recitation, verses in w w interchanges with w and with > are to-day so prowhich
nounced.
So there
character,
still
arises
which distinguishes
it
from the
and
measure be considered,
be seen that
it
an additional proof
V.
shows a regularity in their rhythmical construction and a beauty of composition which must remove the last trace of doubt. Prom 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,
and
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
48
i;
VSE
01
I 14.
_ w_ w,
"\Ye
with
the Ttlue of
w-w,
i.
e.
J J*
J^
may
\\licn
most
certain in-
not clunvic;
W -- W -- W
bare the notation .. 1 1-
W-W-
_v
I
1_
_v
II
v
I
vs
_A
I
I,
W
n
W W
-687):
,x 8' 6 iravovpyos
i
_ WWW _ W w _ _w W _ _W _
|
II
www|
II
II
2.
-w _ w w,
e.
J fi>
occur
Y TLp.fVa.LOV
O9 TOT C7TppC7T
'
-- w w
w _ww|_w_A
|
AESCH. Ag.
III.
II
_ _
II,
e.
JJJllJJrl
(Concerning the
final
measure of the
23, 2.)
ination
J^j
treated
r
is
of the Greeks.
in
:
as frequent in the music of all nations " " Superfluous syllables are
For
a lidllow
sound,
;
Gathering up frmn
nil
Narrowing
in to
when-
assembled,
15.
SIXTEENTH NOTES.
49
-vy _ w _ w _
I
|
|
ww _ w
half-shorts
w ww
w w
w
v_y
II
_w _
I
II
may be
"
(
for
^).
15.
1.
Sixteenth Notes,
One use
of the sixteenth-note has already been explained, namely first of a cyclic dactyl ( 13,
(
14, 1),
al" ionic
Besides
measures,
series of
14, 2).
this,
i.
e.
R
,
for
f\
^j
We
will write
two half-shorts
CD,
so that
w =
fine
u>v
OV TO
TTO.V
II
2.
The combination
;
w w w,
i.
e.
H, was
Greeks to understand the words (for we are now always speaking of vocal music only) would scarcely have been possible, if they had been pronounced so quickly. Therefore the cyclic "proceleusmatic," as this form has been named, does not occur. An exception hardly worthy
for the
17, 4.
It is
not inconsistent to regard the combination of syllables ww on the one hand as w w, in lyric strophes in
choreic measure
on the other as
is
o>.
For
of the measure
when
it
is
50
atrophr, ha;
10-
RECIT
N
:;.sition
in considerable
tvhm
L_
_A
II
is
heauthe
tifullv
adapted to it;
for
;i
combination
like
^Pj
on
cannot, in
nature
tin- last
short syl-
so
(-lamination
it
will
!>
seen that in
e. g.,
breaks forth impetuously is uvy complaint of the chorus that first by the strong ictus placed each time on _, adequately expressed A and thru by the quick movement of o>. (The filial measures i_ contrast to those that precede.) strong
|
II
In the iambic trimeter, on the other hand, the apparent dactyl that
occurs
is
is
not to be regarded
to,
but
-w w,
in its character
more or
less logaoedic.
It will
be noted,
almost only in strictly observed until the time of Euripides, but he is somewhat freer. Tin- propriety, on the other hand, of the admission of the lively cyclic dactyl into comedy is obvious.
solemn trimeter of trairedy the apparent dactyl occurs This rule was proper names and then from necessity.
16.
1.
Recitative Chorees.
The combination of
last
syllables
_w
|
I,
however
it
may be
I,
or as
_>
never-
lables, is heavier
and
less rapid
th
than the other. It is very frequent in iambi and trochees, but, on the other hand,
chorees that were sung.
occur*
>m
among
id
In the iambic
tri-
in the trochaic
tetrameter
may
be
e.
an apparent spondee.
ottrO*
5 TI Zcvs
TW aV
OJSiVov
16.
RECITATIVE CHOREES.
evoi/cot, Xevo-o-er',
51
to
TTotrpas
TO. /cAeiV
rjj3r)<s
OiScVovs oSe,
os
^v dv^p,
Gee?. 72.
cts oVoj/
KAvoWa
SOPH.
1524 s.
it
be remarked concerning the tragic trimeter, that admits, though seldom, the cyclic dactyl in each of the five complete Its occurmeasures, though generally only in case of proper names.
2.
It is further to
first
and
fifth
measure
is rare,
^w/oous
a,<^>iyyu,$
r)
7roA.iv;
1, 2.
_w _ _w ww _w _ A >i_w|_w|_w| _>|_w|_AII
w
:
|
v_x
il
The
e.
g.
But
tri-
meter as
The cyclic dactyl and the tribrach occur much more frequently in the trimeter of comedy, which thereby becomes much more lively (cf. 15,
3).
The
may be
> (Jj
by a long
syllable).
Zei) /?ao~iAev,
TO
^pryya
ctTrepavTov.
ouSeTro^' i^/xepa
Kat
/xr/v
AR.
j?V-5.
4.
-v/o|
_w|_w| _ >|_w|_A
w w |_w|
w|
w w
w[ww>|
w|
A A
V:
17.
METRICAL CORRESPONDENCE.
I 17.
Metrical Correspondence.
The Greeks
into
do modern nations,
to
portions each other rhythmically and metrically and having the same melody. These usually correspond so exactly that at the same places in the
the measure occur; e. g. the one strophe, strophes tke iame form* qf few exceptions, cannot have a cyclic dactyl where the other with very
called
strophes
(cf.
33,
1),
exactly corresponding
has a choree,
2.
I.
<
There
are,
Two
shorts
may
in
w w
A A
II
may
in
wlwwwl
where
II,
www =
i
w.
is
a correspondence
:
re
w v^ w
I
_w _A
II,
in
which shows that the long had fell to the two shorts that
place.
In like
cases
may
occur:
_w
v^,
^w
Ww,
II.
_SA^W,
occur
:
etc.
An
may correspond
to a rational.
Four eases of
A. The long may correspond to the short in the arsis of the 8 / 8 measures (chorees and loir.-ionlir-i, being used to moderate the too
movement of a
choreie series, or to
:
show more
distinctly the
weak
may answer
|
L. is
C.
_2
L.
V _'X
1
I.
23, 4)
& ~v w
i
II,
17.
METRICAL CORRESPONDENCE.
few cases a short stands
It is
53
in place of
D. In the
cyclic dactyl in a
:
www
for
w w.
d w w,
in the
tribrach
Jj J\
^
stands between
it
and
^,
(
it
be used in
its
place
for
as the long
for
N.
But
was avoided as
much
as possible, because
the heavy ictus and on the other hand stood too near the following 1 short, which was to have only a third of its value ( fc = / 3 N.
3.
or
w
A
II,
the prolonged long syllable (L_ be replaced by two shorts. If, therefore, e. g. a choreic series w w w is to be divided W|L_| w w| w|
I
it
would not be
two short
syllables in the
cor-
respondence
X.^
is
an impossibility.
syllables of three
syllables,
e.
g.
~L_
w, and w w w have the same time-value. " " a syllable or tone receives an uncommon Through prolongation w or w w w = i_), and weight, which would be lost in the resolution (
although
L_,
cor-
respond.
4.
I.
He
Pindar has two instances of somewhat freer correspondence. has several times used in logaoedic strophes an apparent
i.
e.
w
[S
corresponding to
|
w w w,
i.
e.
oo.
e? epavov (J3L\av re
^tVuXov
WWw|
and
ant. /?', v. 9
:
w|l_|wv^w|
, ,
A
,.
II
/xa^atpct
Ta.jW.ov
Kara
fJLA.r)
thatis
y-l-wl.-I^UAI.
w 00
|
_i_
II.
_w
_^
II.
proceleusmatic) answering
is
One
of the cases
Pyth. XI.
sir. a', v. 5
Trap
MeAiav
xpucrean/ Is aSvrov
:,
17.
METRICAL CORRESPONDENCE.
and aW. a
r.
Oiptv icpav
HvOani
i
re KCU
i I
_w ww
i
_>
L_
ii
w w w -^ w
_A
ii
that
is
The poet
with
lables
first
had
in
_;
www
or
when
hut he did not hesitate to use other combinations of sylthese occurred to him in one of the antistrophes, i. c.
c/_and www.
if
The
case
is
different
from what
it
the
would have had the notes and strophes, where they probably J\ J
h ^ ,.
while here
first
^ ^^, and
e.
in
g.
www
F
both the
tones could
f~~^f
To conclude
may
combinations of notes in measures than those that have been given cannot be inferred from the texts that have come down to us and that
;
they would
.
and
more, though wrongly. 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
tin\-
who even
text authorizes.
On
yonder
lea,
on yonder
angry
lea
My
i.
plaidie to the
airt,
;
etc.,
e.
_w
:
~L_
__
3
that is
j.
_wwww|^i_w|
Third Book.
RHYTHMIC.
18.
1.
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.
tion of these measures, to determine
But
them,
is
syllables
Prom
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
in the rhythmical language
spoken language the words were united into grammatical sentences, so of song the measures were united into
rhythmical sentences.
sentences into periods. be traced out
:
And
further on
we
union of these
therefore, can
1.
Note.
Syllable.
2. 3.
Measure.
Word.
Grammatical sentence.
Rhythmical sentence.
Rhythmical period.
4.
4.
Grammatical period.
18.
TIIK
K11VT1IMK
AI.
SKNTKNCB.
3.
1)
from
is
ictuses of
tlu-
In the sentence
we hare
the ictuses
J
nl
-,
"
Brutus
"
has the principal ictus of the sentence, so that the it has the chief word-ictus in "beware," never-
theless appears
only.
in
two or more grammatical sentences are united into a period, each of them has its own chief ictus, e. g.
If Caesar, beware of Brutus
;
that
is
sentences customary to distinguish the ictus-syllables of single this the relations of the ictuses in or lower tones. Beyond by higher grammatical periods are much confused in consequence of the ellipses,
It is
may
occur.
The
s.
This
is
so in the
in a simple sentence there can be but one subnature of the ca*e, MM the snitcnce " Gold and riches do not make one happy" Par
is
really
an
elliptical
"
contraction of two sentences: "Gold does not and " Riches do not make one happy." But on still
In too long sengrounds a fixed length cannot be overstepped. would no longer appear as such
:
the voice
in other
that
we
the sentence:
".///
re population of this world-roioinird rift/ Into treuing ha* co*/ ike mott extraordinary excitement and unwonted alarm." "Where here Would not every one divide this sentence tus?
into three
its
own
chief
An occurrence in all respects exceedingly distressing ha* ctut the entire population of this world-renowned city into the most extraordinary excitement and unwonted alarm.
\
19.
CLOSE OF SENTENCES.
57
Such a sentence, then, is a rhythmical anomaly, which a good writer for prose, seldom and only for a fixed purpose,
controlled
Every grammatical
distinctly
separated
from
the
which are distinguished by the comma, colon, period, etc. Generally the period shows that a sentence is not further closely conis
4. rhythmical sentence is a series of almost always equal measures, which appear as a unit through the chief ictus that falls on one of then?.
A fixed length
cannot be overstepped.
Rhythmical sentences were originally separated from one another by The pauses within the. periods had afterwards their regular pauses.
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.
their parts
many
rated by pauses.
19.
Close of Sentences.
1.
The rhythmical sentence corresponds in general to the line in an The line is either completely isolated by a pause at English stanza.
its close,
or
it is
scarcely noticeable.
The music
e.
g. of the lines
We
is
ill
We
Iii
Through many
a changing year.
this
case the
is
first
separated from the second by a pause, note of the second line falls in the last
58
The
19.
CLOSE 01
:
CES.
When
Their
of love shall
till.
When
oth
tell.
the anacrusis of the second line constitutes the arsis of the final
measure of the
that thr
first
first.
This
is
very
full
common; but
it
also often
happens
line
ends with
full
common
in
in addition
allowed to begin a new rhythmical sentence in the middle of a word without any pause whatever. The following, then, are the four
cases fully star
I.
There
is
it
con-
stitutes
verse,
whose
close is
always
to be recognized
by the following
facts:
1)
is
seldom elided.
2)
Hiatus
is
8)
The
i.
last syllable is
e.
anceps),
of variable value (a~v\Xa/3r) dSia^opos, syllaba may have the value of a short one, the
short of a long.
-tiXa.fj.ov
OTTO.
Ag. VII.
sir.
y (1530-1532).
|_w|l_|_AII
I |
_A _ W|L_| _ A
II
II
At the close of the second ver-e -av has the value of a long
though the next word (or
If-
syllable,
with a vowel.
Th- Mail
11
'.vlhiblr
>tceps,
<>
so that
e. g.
a short syllable
fed as a long
2)
Hiatus
is,
wit!
ptions, forbidden.
19.
CLOSE OF SENTENCES.
59
This sort of
The following
is
an example
SOPH. Ant.
III. sir.
a (591, 592).
III.
thesis, to
caesura
e.
(TO///JJ).
This caesura
is
well
known
g. in the
The
last
measure of the
first
not metrically complete without the arsis, which is regarded as a sort of anacrusis to the second sentence ; a new word begins after
the third thesis, yet not necessarily immediately, since
after the first short syllable of the arsis.
it
may begin
is
Therefore,
if
the caesura
indicated by a
comma,
either
CO
and
v_/w
CO
v_/w
WW
II
CO
ww
ww
v^w
II
it
i
I
| I
II
|| II
or also
i
II
[i
The
first
"
masculine caesura," as
*j
e.
g.
M^vtv
\j \j
I
|
II
||
v_/
\j
The second
v
is
called
"
feminine caesura," as
e.
g.
AvSpa
JJLOL
l_ww|_
other, the second linking into the
In this way two sentences are very beautifully united with each first. In the music, also, sentences
"
:
above
year."
same way, as is to be seen in songs like the one cited have lived and loved together, through many a changing This would have been regarded by the Greeks as one verse,
We
metrically
it
belongs to
the
sentence, whose final measure is not complete without it. The caesura is of more weight in melic than in merely rhythmical
first
(JO
19.
CLOSE OF SENTENCES.
more
at
it
will
be discussed
length
under the
"recitative
"
1
V.
a word.
no longer paid to grammatieal speech: the and, within the bounds of the limitations given
is
in
Book
word,
arranges its notes at will without reference to the spoken fhis praetiiv eould have arisen only in a language whose words
II.,
were spok
ation.
;>idly
Mrt of close of the sentence needs no especial name, since the by the absence of the word-pause. It is obvious
i
e.
When other second Kngli>h illustration in this paragraph, rtr.. that the melody would not be affected, if in place of the lips,*' words that fall to the last two notes of the second full bar and the first
.
in the
"
In note of the third, a tingle word should occur, if that were possible. Greek poetry that was sung the caesura certainly did not signify a
pause.
_w
if
-x/
w -w w _, w
| I
II
_w _w
I
l_
II,
new
part of "
tin-
after the
a case of
trochaic tetrameter
_w|_w|__ w|_w, _ w _ w _ w _
II
I I I
II,
if
the
first
nds
in the
first
middle of a word.
sentence end with a syncopated
If,
measure
11,
:>>
g arsis, as in
two theses come together without interthe following example from Aeschylus, we have what.
.
BO
that
maybe
called
is
"break."
The Greek
expression
ort^ot aa-wdpTrjrot.
'IXi'w 5< <o/8<>9 oft\9tawfji
wc<mov
Aios,
/xe'Ao?
TO nyx<ori|)K>v
AESCH. Ag.
III. ant.
20.
INTONATION OF SENTENCES.
61
the
In asynartete verses also, as well as in those with caesura or diaeresis, first sentence may end either with a word, as in the verse,
rjv
AESCH. Ag.
I.
ant. ft (168,
169);
ToS' UVTto
<j)tX.OV KK\r)fJLeV<t),
AESCH. Ag.
I. sir.
ft (160, 161).
These examples, being the corresponding verses of strophe and aritistrophe, also show that the character of the melody is in no respect
changed, whether the
of
it.
first
word or
in the middle
sentence ends witli a word by Marking a colon, the following notation shows the two verses exactly equal
:
20.
1.
Intonation of Sentences.
The
science of Greek
rhythm was
sophically developed. simply a statement of the facts and a development of categories 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.
The equal sentences were the dipocly, consisting of 1 1, 2 measures; the unequal, the tripody, of 2 tetrapody, of 2
and the
1,
and
the hexapody, of 4
the quinquepartite, the pentapody, of 3 2. According to this division 0ris and a/rxris were again distinguished.
2
;
Each had
Dipody
its fixed
:
number
had
" "
of measures, as follows
apo-ts
0e'o-is
1 measure,
had
"
measure.
Tetrapody
"
:
"2
measures,
"
"
2 measures.
1 measure.
"
Tripody
2 measures,
"
" "
Hexapody
Pentapody
"
:
"
:
"3
4 measures,
measures,
" "
2 measures. 2 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,
g., there should be only two strong ictuses, the stronger on the thesis, the weaker on the arsis.
e.
62
20.
INTONATION OF SENTENCES.
J.
v J .u v/ 1
JLww|_wv|jI
In
the
ewe
of unequal division three sentence-ictuses were disfor the thesis, and a weaker one for the
The
1
relation'
was
still
more varied
fixed
ictus) or
in
quinquepartite
sentences.
this it
(i.
was not
tin-
thesis
e.
the stronger
e.
the
weaker).
The arrangement,
:
-""
J-
And
2.
But
poems were
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 differently, each own point of view correct. No one, however, paid m to philosophic theories, of which, therefore, there is here need
If the ictuses of the
the syllables are given their true metrical value, the correct intonation of the sentence will follow as a necessary consequence.
It
it
is
poems of simple
measure.
on the
first
aBavar *A<po8rra
should be
or son
ike
_^w|_Lw|-kyw|_i_w|_Lwll
it.
But
always to give
first
measure, especially
if
E. g.
AIM n.
I. sir.
^w|
ww|__wwll_^ww|
1
-- lwwI
a (104, 105).
'A'll
to
the portion
of the sentencoictus
21.
LENGTH OF SENTENCES.
63
21.
1.
Length of Sentences.
The
first
verse,
must
of
all
whose definition will be more fully given further on, be carefully distinguished from the rhythmical sentence.
In English as well as in Greek poetry there are lines (verses) composed " The of two sentences, as e. g. in the strophes of Longfellow's poem, " of Bruges Belfry
:
In the market-place of Bruges stands the belfry old and hrown Thrice consumed and thrice rebuilded, still it watches' o'er the town.
;
_w|_w|_w|_w, _ w _ w _ w _ A
II
| | I
II
w,
II
II
Each of these
even
in
lines consists of
g. those cited
19, 1
"
When
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
the
number
of measures of
the recited
poem
never beyond the hexapody. It cannot be admitted that this arbitrary existed among the Greeks if it had, we should not be able to practice
;
show the
musical composition.
A.
Over
hill,
The dipody.
over dale,
brier,
through
fire.
Midsummer
oo
It
_ oo _ oo _ oo _
|
7\
II,
though
it
is
very
wwi
where there
erable.
is
ww
ww
ww
etc.,
no noticeable pause between the sentences, is not prefIn Greek, with few exceptions, no arbitrary pause was allowed
had come
to
an end.
(,1
21
II
OF SENTENCES.
-pody, but also alone.
\\\<
B.
By
LONGFELLOW.
it
heart
art.
In
pr<>:
unpremeditated
SHELLEY.
_ All _w _w _A
| I
II
C.
common
sentence.
Now
And
moon
2.
Tkf pentapody, most known as " blank verse," English dramas commonly an- written.
D.
in
which the
Now, fair Hippolyta, onr nuptial Lour Draws on apace four happy days brinir i" 'ier moon but (>, inethinks, how slow This old moon wanes she lingers my desires,
: ;
Dream,
I.
1.
^_w|_w|_w|
Tkekexaj
uted by the Fn-nch
in
w|_
"Alexandrine Verse," most
Je ricns, sdon
>>rer
tree vous
fameiuc join
Oi, tor
le
moot
RACINE.
21.
LENGTH OF SENTENCES.
is
65
Spenserian stanza, the other eight verses of is found occasionally among the penta-
which
is itself
blank verse of Shakespeare. Pope's lines, the second of an Alexandrine, will be recalled to mind
:
A
The
first
stanza of the
"
Faerie Queene
and
I
"
ends
sitt,
fitt.
As one
fierce
encounters
w w
2.
if
\j
w
\o
w w
v^|
w _
I
But a pentapody or
6
a or
hexapody,
ww_
it
_ w _ w),
/8
ww
one in which
would be
difficult to let
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 in
the case of equal division, the sentences were allowed to be of limited extent only the greatest length was allowed in quinquepartite division,
;
the different grades of intonation gave the sentence the appearance of a well-divided unit.
when
The
and have
If the eighth-note or
common
short syllable be
:
named a "mora"
20, 1) can be
2) 3)
Unequal sentences
to
18;
According to
I.
(6
X
II.
/8
= 20 morae)
and spondees.
M
III.
21.
LKV.m
01
\CES.
6 = 15 morae); the Paronies and bacchii to tripodies (3 /8 5 = 20 morae, which exceeds the exis not allowed (4 /8 tetrapodv
tent granted to equally divided sentences); but the pcntupody again = ~ : lnor allowed (5 /
is
'
IV.
Ionics, choriambi,
and dichorees
to tripodies (3
/8
= 18
morae).
8.
The
anacrusis
is
Syncopated
g.
measures
are, of course,
reckoned as
full
measures, as
c.
_w
1_
_w _
I
II,
i.
e.
= 12
morae.
is,
4.
therefore,
many
forms are very frequent and characteristic these have Some of these names are ambiguous, and
;
not to be used.
will
be
next paragraph.
It
assumed
If
e.
w ___ w _ w _ w
is given,
we
odd place
13, 2
16, 1).
There
is
w
or better
L_
i_
_w _w _w
| |
II,
W|L_|L_|_W|_W|L_|_AH.
mining the length of the sentence that have been given above are
].
be valid: 1) by the
facts that contradict
;.-h
fact that
presents no
them
2)
by
the
sr?
they aiithori/.e being exactly adapted to the proper reeessary musical thought; 3) by the
important
sult* in Knrhyth:
'hat
It is not to
22, rests
upon arbitrary
grounds.
22.
67
22.
Dactylic sentences.
;
still
dipody (only as
The pentapody as an independent verse, with contraction of the arsis allowed only in the first measure, is called ^TT^LKO Theocr. Id. 29 is composed of such sentences.
.
w
2.
\j
Doric sentences.
The
chief sentences of
:
following
I.
The
dactylic tripody
ww
I
--
II
PlND.
II,
Or
catalectic
thus,
_w
\j
_ w w _ w w _ ~R _ w
|
\j
L_J
II .
Ktova Satjuovtav.
It
Ib. s/r.
/J'.
may here be remarked in general that catalexis is essentially the same whether it occurs at the close of a verse or within it (the last
11, 3); so that it will be sufficient being technically a case of syncope, to note the first only in the different kinds of sentences to be enumerated.
II.
The
epitritic (Doric)
i_
i
--
__
or
i
II,
i_
--
II
w
:
__ |L_W|_XH,
both senten-
Thefrst encomiologicum
:
i_w|
Both sentences
__ _ ww|
|
Ivriv 8*
ovpavtW
VOOLTUV.
PlND.
01. X. 8tr. a.
f S'2
>
OUT K KING
ww
MOST FREQUENTLY.
IV.
The im*beltg*9
i__
--
_ww
7\
II
Svpeutoo-a-av
#0X09 'Oprvyi'a.
PlND. JVem.
I.
sr.
a".
noticed;
The not infrequent use of the dactylic dipody is also to be in addition to these many other sentences occur.
8.
Anapaestic sentences.
treated in
SI.
4.
Spondaic sentences.
tri-
Pure spondees seem to have occurred most in tetrapodies and For an example, see 10, III. podies.
in tragic
Spondees with anacrusis, a variety of anapaests that frequently occurs monodies (especially in Euripides), cannot be treated in a mere
monodies
at all.
5.
:
CJioreic sentences.
vie strophes were especially perfected by Aeschylus. They conalmost entirely of tetrapodies and hexapodies. The most noteworthy forms are
sist
:
A.
is
Tttrapodies.
in
I
Why
I
explained
10, VII.
._
_w
II,
KoAx&*
dimeter.
T yas o'oiKot.
AESCH. Prom.
ft (415).
w|_w|_w|_AII
ftan-iv ovrtva
catalectic trochaic
\j/-y<av.
Ag.
I.
ant.
(185).
iambic dimeter.
*aT^A05
'* TTO'AU/.
^
meters.
w
tir>t
L_
II
and
_w _w
I
1_
II,
falling
di-
Tin-
was much
name of
short
W:__W|L_|_W|_AH
8*
OKOW7CU
TL fJiOV
<t>e<>.
Id.
Ag.
II. ant.
y (459, 460).
22.
69
iSe'o-0a>
8'
ts
vftpiv.
Id. Suppl.
I. tfwrf. c'
(112).
Kara/eras.
Id. -S^y^.
I
>
i_
i_
i_
i_
Trpoo-repvoi 0-ToA/W.
Id. C70.
I.
s^
4
.
a' (29).
Id.
^.
VII. *r.
a'
(1452).
CTTl
8e TO) T$U/X,eV<i>
Id.
^MW.
III. sir.
a (341, 342).
B. Hexapodies.
(See
10, VII.)
The common
:
are, in Aeschylus
\j
|
wi
w|
w|
w|
_w _
|
II
yS'
(792).
_w|_w|_w|_w|i_|_AII
TOI/ 8'
a^ev Xvpas
o/xcos v/xvwSet.
a'
(990).
w:_w|i_|
8' 6 7rpeo-/?us ro8'
w| _ W|L_| _ A
t7re <^(ovaiv.
Ib. I.
w^. S
(205).
Atos TrXayai/
c^ovo-ii/ eiTretv.
w:_w|i_|_w|i_!_w|_AII
XtTToiJcra 8' aa-rolcrw do-TrticTTOpas.
\^i
w|l_|_w|
8ai/>ia
w|__w|_AII
Ib. (410).
iw tw, 8w/Aa
KCU Trpo/xot.
6.
.ZbttM sentences
and
7.
Choriambic sentences.
cf.
10, VII.
Pdeonic sentences are rare in Aeschylus, and are for the most part In Aristophanes, besides the dipody and the somewhat less dipodies.
9.
common
VIII.
10.
For examples,
see
10,
The
bacchii,
which are
rare,
70
1 1
.
22.
The forms
show the
greatest variety.
It
mart
ww
_v
II,
the versus
Adoniw, which
B.
Tripodies.
_w _w
I
II,
catalectic
-^ w
A
ant.
II,
first Pherecra-
icv'cAo>fux.
EUR. 5accA.
**r.
I.
& (123).
secowc?
oTXuw
aDuvov.
II,
fS (627).
I
_d
-w w
_w
catalectic
_&
^^.
-w w
y(/.
II,
Pherecra-
os 8v<r<#>opov arav.
,xa>v.
SOPH.
Id.
I. *^r.
Besides these there occur forms with two cyclic dactyls, with anacrusis, and with syncope, as e. g.
-x/
irov
.-is
~.
I I. *^r. (30).
cr^ayiW
i
</>opoi;
I
I
EUR. Rhes.
w -^ w -^ w
Tt9
cto-' CTTI
A
II
II
Hav^otSav;
|
Ib. (28).
w
many
i_
-^ w
SOPH.
_A
y/;.
TTOVW Tpvxo/xevos.
Finally,
IV.
*rfr.
a' (605).
sentences occur without cyclic dactyls, but then frethis form e. g. is found in Aj. III. sir. y (403)
;
:
wiwwwl _ > _ A
|
II
C.
Tetrapodies.
are
_w|_w|_wll
vw
yap
and
ww
_w _w _
|
II,
first
Gly-
SOPH. Aj. V.
str.
(701).
cTSov (v \opu>.
ANACR.
&
^w
_w
II
and
vw _w
I
_A
II,
second
ANACR./r. 14.
The
acatalectic
_&
X<i yAavitirtri?
~w xs
1-
_A
I
*r.
'A^a.
SOPH. Oed.
C. III.
|
(_ e -w w
^ (706). _ w).
I
22.
71
deed, even
Further, several cyclic dactyls frequently occur in succession; inall four measures may consist of them.
wil_|-^w|-ww|_ll
vva\yLV
/Aero,
rovSe TVTTCLS.
SOPH. Aj.
On
logaoedic strophes, as
g.
wi_w|_w|_w|l_ll_w|_w|_w|_AII
ojioiov
wore TrovriW
SOPH. Ant.
III. sir.
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 otherwise have been too uniform. As an example take the following
:
iv ovpe<riv, CVT* av
Spo/x,aia>v
te/xevos cts
_ W L_ I www|www| -^ w _ w _
I
w www
:
II
I
A A A
II
II
II
w w w w www www
I I
II
II
_w _
I
]]
We
^^
w|
(in
w|
II,
/xerpov
a
at 8'
a>9 Trept ftufjLov
<TTd0r)<ra.v.
SAPPHO.
And
(
the
29,4,11.):
w:
and
w|
|
w|_w|_wll,
|
Alcaicus enneasyllabus,
Alcaicus decasyllabus.
w w -w w
o>
_w
II,
otvov evet/ca/xevots
ALC.
D. Pentapodies.
Pentapodies were used in Aeolic lyric poetry, in the treatment of favorite subjects, in the following forms
:
its
1)
_&
v/ v/
_ v/ _ w _ w
I I
II,
Phalaeceum hendecasyllabum.
Scolium.
.
'A^va.
8) __ v/
&
v/
w _w
is constructed mainly of this verse ( 29, 5, II.). of this strophe shows that we are not to regard 2) a the last measure (_ w d hexnpody with syncope of the next to A II), to which we naturally incline w L_ -^ w
The
_ _w _
1
ww
_w
II
-w
_w
II
ruKva Stvcwrcs
SAPPHO.
The
short in the
fifth
measure, since
it
3) v/
_w _&
I
vw
__
II,
4)
wi
KOKola"L OvfJiOV
7TlT/J7nyV.
(
ALC.
29, 4, II.).
Of this
the
"
Alcaic strophe
"
was formed
and yet
is
comparatively infrequent,
ww -v w 1
\j
i_
ww -w w
ww
L_
_ _
A A
II
II
aeet.
SOPH. ^'.
II.
/r.
(225, 226).
-v w
ww
1_
w w w
II
TCKVOV e/xov ;
Karacpv^)av.
I.
<5AA* cpa)
ov yap
cj(a)
E.
what more frequently than pentapodies. Ajax and the Antigone will suffice
:
Two
illustrations
from the
ova. i
^,
I.
^. (194, 195).
23.
INTERCHANGE OF MEASURES.
| 1
-w v> -w v/
L-
II
ayeuaros
8o/x,os,
atwi/.
yap av
creicr&'fj
OeoOev
7rt
aVas
Zpirov.
sir.
eAAetVet yej/cas
TrX^os
Ant. III.
a (582-585).
23.
1.
Interchange of Measures.
modern languages,
the
Since quantity is not to any considerable extent an element in these languages are not adequate to the expression of
series consisting of
rhythm of
shall
we
composed of
/8
two
/8
measures.
first
known dance
of this sort
tt
In metrical characters
A
The
different
II
changes of direction in this dance are allowed, as is This is the peculiar and original significance of the ictuses. But they also determine the character of the
known, only
at the ictuses.
music, and moreover exercise the greatest influence upon the metrical
mined from
these.
i:
OK MKASIRES.
vnces of intrn-hanijing
6 8 /8 an(* /4 measures,
2.
i.
In Greek p
e.
ionics
The
lattrr,
W
it
\S
-W-W
|
W
w
II,
not to be classified as
:
_w
:
but
ww
Cf.
}
w
Many
w w
i I
-- A
-j-
H
II.
is
called ava/cXao-is
30.
of the Anacreontic
poems
are written
rhythm. In these melodies the intermixed dichorees can have the forms
__
>_w
and
-- w
or
_w
II
TO$ /iAt<r<rorr
ov&is.
wwi_>_w| __ A
;
ant.
a (1030).
The choriambus
still
other ictus-relations)
is
sometimes admitted, though very seldom and quite as seldom the twotimed anacrusis is shortened or omitted, as in Aesch. Sept. VI. sir. a
TOLV
in
unusual number.
Aeschylus
is
disposed
to begin his ionic strophes with such seemingly irregular series, for which see Schmidt, J/r/r//-, 14, 10.
If,
now,
it
be added that the ionic measure besides this admits resolongs and contraction of
its
lution of
its
shorts,
it
.'Melodies
may be
:
In the
following series the measures are arranged according to the frequency of their occurrence
f
/4 **eantre8.
/Q
measures.
~w|J
u
J J]
-(J
ft
J J
---I
i
'\flfifl
j.j
-VM-IJ
r.
23.
INTERCHANGE OF MEASURES.
75
It should,
as those in the
For
I.
c.
:
The following
1.
sentences,
common
w w
w w
|LJ
II,
^SlKeXo? KO/Al/fOS
7TOTI TO.V yaarep'
<j5>a.
TlM.
2.
w w
_w_w
II,
ionicus anaclomenus.
XoytKot veot
yw-oXetre.
ANACR.
I. ep.
@OV
TIS dVrjp
TtS 6 KpatTTTW
TT^S^yUaTOS
U7TT^5,
ts
yap
OVK
TrapacratVet fiporov
ap/cvas aras,
ecrrtv vTrepOev
aXv^avra
<$>vyiv.
v^y
vy
I
I
WW
II
II
W W
I
|
~A~
II II
Aii
example that
illustrates
longations that
may
occur
is
(570-575).
*Atov
re,
MaivaSas aei
^tupav
^wwwwwl
The rhythm
3.
_ _ ww| ww|
i_i
wwll w w
II
|
w w
V>
W
II
i_i
A A
II
II
The interchange
Ilto-a /xev
Atos
TroXe/xov.
f 23.
INTERCHANGE OF MEASURES.
w _ _ w w w w w w _ _ w w w _ www
I I
II
II
w _V ^ -- ^
I
II
4.
another kind.
But the interchange of measures of unequal length is of quite In Greek poetry only one sentence with such inter-
Whichi8:
i.
w:
__ wl-AII,
a bacchius (with anacrusis) with following (shortened) choree. If several dochinii follow one another in a verse, they are generally sepe.
arated by caesura,
w
Resolution
is
__ w
;
_,
II
__ w _ A
|
II.
frequent
the
commonest form
is
W
less frequent are
W W
-W -A
I
II,
A A
II,
II,
vswwwv/jvsv/Al,
The
it
etc.
when
serving as a
dochmii
found
II
II
_A
II
II
>|_,>ll
Accordingly Seidler,
metric gives every long, even
w |_
All.
by
no means
in use. facts is
made
is
in the Griechische
Meirik,
taken.
All forms of
whirh no
These parentheses show that in the corresponding strophe another form of the measure occurs than the one given in the table, the latter slipuse through the carelessness of the Accordingly, of poet. the thirty-two forms which have been supposed to exist, only nineteen in f* rf of these very seldom), excluding the three in
23.
INTERCHANGE OF MEASURES.
77
I.
78
The
second:
28.
INTERCHANGE OF
full
Ml
AM
HES.
measure.
first
But
it
should be
absorb the
syllable
may
w
I
t_j
_A
II.
liable,
can occur, however, only when a very strong emphasis rests on as in cries of pain and joy and in those words whose pasexpressed mainly by their repetition.
Cf.
sion
is
Soph. Elec. V.
sir.
-U'34):
w w:
-- w
*Iu>,
L_J
_
_,
II
y -- w _ A
I
I
II
yoveu,
and
in the antistrophe
*r\
(1253
<>
- 1255)
/
ira? e/xoi,
. .
can obtain from examples like these, though they are brief in exr some idea of the exact agreement of thought and form in Greek of the most various sorts might be added. Cf. poetry. Many hundreds 8, 6. 4, 5, and Monodien, Compoaitionslehre,
tent,
We
5.
in the following
still
different forms
measure may be a paeon (paeonic dockmius), in which case the anacrusis may be wanting.
first
The
Vci'xo/zui
817
:
Tw8e
/uev
|
evTv^tv.
,
w
II.
>llww _ w|
_A
II
Tin-
nmphidochmius consists of
tripartite
which enclose a
measure.
Jrv^ev Sucov
St^Xarov.
AESCH. Eum.
\j
|
I. sir.
II
w:
-- w|
p (156).
Sec for this Schmidt, Eurhythmie, p. 248, where this very remarkable form is explained.
III.
fcro Xofiov.
AESCH. Eum.
I. sir.
$ (159).
Furth.-r than
tin's
trast
Greek poetry and Greek vocal music did not allow In this the Greek practice is in strong con-
24.
79
24.
1.
how common
speech measures, that are exactly equal to one another; and 2) by uniting The word these measures into sentences with only one chief ictus.
made rhythmical,
1)
by dividing
divi-
Now
in rhythmical as in
common
And
no more recogniz-
by means of one chief ictus than the grammatical ( 18, 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 arrangement.
anaphoric,
ama
AB AB
and the
chiastic, e. g.
ama
A B B A
Again, the different sentences in the grammatical period have a fixed
ratio of length, since at least very long
united in a period only under given conditions. Moreover, the close of such a period is marked by a longer pause, which is indicated by the
mark
2.
of punctuation.
of course,
show a much
greater conit
formity to law.
its
1) in the exact
way
in
which
groups
forms, not indeed according to the parts of the sentences (as above in the Latin examples, where the position of the predicate and object varies), but according to the sentences themselves; 2) in the strict
;
even
if
the
not always closed by a long pause, this pause is still enough period 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 (periodology), 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 subject,
typology," in which will be discussed the types themselves, and the forms of the periods which prevail in them.
"
Fourth Book.
TYPOLOGY.
25.
Introductory.
(
1.
6, 1).
But when the forms had once been found, when the song, designed originally for accompaniment, became in itself a source of pleasure to
the hearer,
then it grew and developed independently. Songs arose which were no longer accompaniments to dance or march. Since the art of writing was uot yet known, or remained for a long time the post, \v, melodies were propagated orally as songs of the were composed, since they were the possession of whole people, and It was tribes, in fixed forms generally known and easy to understand.
session of a \.T\-
Many
pleasingly, which would not be a fit accompaniment to the dance. Then arose a new tendency. The Greek nation, like other nations,
had
its
it
came
into
possession by con<|iirst of permanent places of residence, and established The rich recollections of this impendence against other nations.
time were present <1 in ur reat poems, in which it was no longer possible that a wrll-roundrd melody should be repeated ad infinitum without
satiety
and weariness.
With
poem was
also
no longer divided into strophes. This was inevitable. For otherwise the narrative would have l>een divided into parts in too complex a manner to be adapted to whole masses of people, a manner, too, which
have affected the narration.
and the
25.
When
more general
into the circle of rhythmical narration. The subjects presented were more the humorous and instructive and less the heroic. Subsequently the singing tone disappeared in recitation,
drawn
which little by little passed over into simple declamation. Meanwhile the old march and dance melodies were not neglected
the latter were developed in forms worship of the gods, the festivals,
more and more complex, as the etc., became with the increasing
refinement of customs more and more important. But, with the conof musical instruments, and especially with the temporaneous perfection
development of the drama, purely lyrical vocal music was also further This found a peculiar development in the solo (monody) of the drama. The regular dance of the chorus was wanting; conseadvanced.
quently a strict division of the composition was not necessary.
This
;
artists
who made
it
con-
sequently the poet composer could allow himself the completest liberty. The competition among the poets of this epoch was great, so that they
for* effect,
no longer
and
in dissonances, after
which the
effect
of
harmony
is
so
much
the greater.
An
;
dochmii, and later the inverted dochmii, amphidochmii, etc., arose. In like manner the regularity of the periodology was often broken down,
that the beauty of order, arising from chaos, might be so more apparent, as also for various other reasons.
much
the
The
last period of
A rich
literature has
been collected, in which the later poets glean without creative power of their own. Eeligious worship, with its solemn music, its dancing
choruses, etc., has disappeared in the wild tumult of wars and under the influence of a destructive But the texts of the poets philosophy. have been saved from the great flood.
The more complex rhythmical compositions of the old poets are no longer at all understood and so a return is made to the simply con;
structed national songs of an earlier But the melodies themselves day. are wanting, and the are consequently only declaimed. The poems
poet composes slavishly according to models of short and long syllables, and makes verses mechanically without reference to their being He falls into a dry schematism, and in order to show somesung.
thing of
art,
But
that
and
in general of the
whole
later time.
Let us now review the genesis of the poetic types as shown in the
following table.
I
II.
March
melodic?.
Dance melodies.
Tunis
lyrical melodies.
III.
X
IV. Becitative poetry.
iv.
r,
V. Monodies.
in. B.
Becomes
Greek
literature
now
existing should
be considered only in the order of the times in which they were writto the opposite conclusion. Recitative poetry, developed in the great national epics (Homer, Hesiod, Arctipowerfully
ten,
we should come
nus, Stasinus,
etc.),
comes
first.
etc.
The
Then purely lyrical poetry appears first march melodies were written
first
rtaeus for the Spartans. And about the same time we hear of the choric compositions (i. e. dance melodies), those namely of Alcman
and Stesichorus.
We
ment
Recitative poetry.
II.
/
III.
March melodies.
IV.
Choric song.
(Dance melodies.)
But
fact*.
this
view
is
it
The
epics appear
in literature
were deemed worthy of preservation. these, but the poems accompanying them were insignificant and so were lost. Only when tin- rhorir danee was developed in more perfect forms
did writers of greater talent Intake themselves to choric composition, oems were preserved. So we can only conjecture what
the original dance melodies wen- from the forms which have
come from
thrm into
recitative
and
first,
lyrir poetry.
For
must be considered
artistically
and
tin-
26.
83
26.
1.
It
must be
carefully borne in
was de-
that two should correspond to one another as antecedent and consequent, the melody of the second completing or resolving that of the
first,
The rhythmical sense of the or, in other words, answering to it. Greeks inclined either to give both sentences the same length, or to
final
shorten the second by a measure. They also frequently shortened the measure of a sentence (/caraXT/^t?). The two sentences are sep-
arated by a slight pause, which appears either as diaeresis (Sieupeo-i?, 19, 2, II.) or as caesura (TO/XT;, 19, 2, III.). At the end of the sec-
ond sentence
there
is
then stronger punctuation, or at least an approach The whole is called a verse ( 19, 2, I.).
their verses
a tetrapody with following tripody, or of two tripodies. If the verse consists of two tetrapodies, the first generally ends with
full
suffers
2.
I.
last
measure.
The
The verses
caesura or diaeresis.
II.
3.
There
is
The following
oped in Greek
I.
recitative poetry.
The
and
also of
19, 2, III.,
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.
cos
<f>d/ji,r)v,
6 Se
//,'
oi/xw|as
rjf
is
marked by a
2.
the Romans, since the delivery was paid to grammatical construction. The word-caesura was therefore seldom omitted, and almost only in
In Inter poetry, particularly
among
was declamatory,
stricter regard
RKM.
I.
given in
value. purely formal conceptions, and are altogether without DC ArutarcKi Undiis Homcricis, 2 ed. p. 394 sq.
See Lehrs,
Equally valueless is a knowledge of the different names of the hexameter according to the number of light or heavy dactyls in In the genuine old poetry more light dactyls were used in lively it.
REM.
II.
description,
was
far
more heavy ones in grave, but unconsciously from refining upon their use.
trochaic tetrameter,
i.
II.
The
e.
diae-
Zeus
lir
fjfjLcprjv ayry,
epy/xacrti/.
AECH.
_w|_>|_w|_>, _ w _ w _ w _ _w|_w|_w|_>, _ w _ w _ w _
II
I
I
II
A A
II
II
As may be
seen from this example, the first sentence originally allowed more irrational syllables than the second, where the voice passes
close.
first
trochaic tetrameter
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
cf.
10, VII.
is shown by the admission of the irrational measures only, are united into three dipodies
:
Thi*
mode
26.
85
10,
So the verse
VII.
is
called either
The
is
from the remaining verses that were recited, This is proved be divided into two rhythmical sentences. not to
trimeter, differently
its
beyond question by
Here
it
always
W:L_|L_|_W|_W|I_|_AH,
or
w:_w|_wl_w|_w|i_|_A
is
II,
etc.,
Book
V.)
unmistakably divided into tetrapody dipody. Its length, moreover, is in strict accordance with the
21.
is
rules stated in
It is
very
:_w|_d, |_w|_d|_w|_AII,
less often
e
But
_^
&
_,
_L
|_W|_|_W|_AII.
it
this division is in
:
does harmonize
II),
w _,
|
|_Lw|_d|_w|_A
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
sense recited poetry. The relation in the
first
strict
is as
follows
*O
ap' oTcr0'
on
Zeus rtov
0,77*
OiStVov KOLK&V
OTTOIOV ov^t
vwv In
w<ratv reXet;
ovSev yap COT' dAyeivov ovS* arrjs dVep OVT attr^pov OVT' artjU-oi/ C<T$', oirolov ov TOJV (TCOI> T6 AcdjLtWV OVK OTTCOTr' eyo) KttKOJV.
Kat vvv TL TOVT av
<f>acri
TravS^/xa) TroXet
%)
ere
Xav&dvei
10
Trpos rov<s
|
|
<J>L\.OV<S
e e e
_ w _ e, _ w _ d _ w _ A _ w _, ^ _ v, _ e _ w _ A _w _ e _w _e _w _ A
| | |
|
II
in 2, 3, 6, (7), 8.
in 4, 5, (7), 10.
II
ii
in i, 9.
first
This will serve as a type of the general case, though commonly the sort of verse occurs in than here. greater proportion
{ 2fl.
pon the first and fourth measures, giving the verse the appearance of beiui; divided into two tripodies
:
is
in conflict
with the division of the verse into dipodies. Nevertheless, in recitation, the verse must often have been unconsciously divided into two such
measures each. This is proved by the frequent equal parts of three close in the thought at the end of the third measure and the fact that
the cyclic dactyl occurs oftenest in the fourth measure
:
w
In a
_ w _ w _ w,
| I
ww
_w _A
|
II .
much later time also it was thus declaimed, and modern Alexandrine verse, 21, 1, E.
sists of
IV. The tetrameter tcazon, employed in particular by Ananius, contwo trochaic tetrapodies with diaeresis ; the second has halting
(
close
11,6,1.):
"Eopt
fjifv
rwv
KoXttiV 8* o\f/a>v
I
AN AN.
II
wvywl
I
_ W _> _
I
w www W
w,
II
|l
I
_ w, _ w _ >
II
I
L_
w _w
II.
(\
11, 6,
I.),
consisting of two
yap OVK
cSto/cas
ovrc TTW
ott
fJirj
fioi xi/x,eTAa
p-qywrcu.
I
HlPPON.
II
_w|_w|_ _w|_>|_
named by the old
w,
w,
_w _w
L_ L_
_w _w
II
V|-V |_, J
VI.
|_w|L_|_wll
on metric
The
verse
writers
TrvAAa/3cV
of a logaoedic tetrapody of three followed by ryrlir dartyh nnd an irrational choree as final measure, a fallir It always has diaeresis, and occurs only
T;PU>OV i/v^/ievov, consists
in the
comic
writers.
2G.
87
do-<apayov
Kat
</>Ao/xoi/
KVTICTOI/
re
vdirauTW 8
di/$eptKos avrjfia
dpyowiv. CRATIN.
w|-ww|-^w|
w
VII.
|
>, ll_w|
^w
ww
_ >, _ w
II
_ w|i_|_AII w w w i_ _ A
I I
II,
etc.
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
Ewe
Ktcrfro^atr'
ava
X a *-P*>
^acr/c' 'EK^avriS^s.
CRATIN.
<j>opr)Ta.
VIII.
is like is
the
metrum Cratineum
in every
sentence
a third Glyconic.
Its use is
jjirjv
Aeipt'ots, po8oi<j,
Kptv&riv Kdo-/x,o<rav8aA.ot5
Kat
<rtcnyx,/3piots, dve/xwvcov
KaXvt r
fjpwals.
CRATIN.
IX.
The
first
it
was
especially used in
Priapean satyric songs, belongs here as metre of the old parabasis. The other two Priapei, given below, have quite the same use. It consists
is
first Glyconics, one catalectic and one falling. indicated by the close of a word. generally
of two
Diaeresis
aXX.a Statraf fa ^(ovcr* ot KoAa/ces Trpos v/xa? dAA' aKova-aO^ ws Icr/xei/ aTravra
OTOtat Trpcora /aev irat? aKoXovOos
EUP. CW.
less frequently
ss
THE RECITATIVE
consists of
TYPE.
cata-
lectic
pb
wi_ii_fci-^^ii-l
\
I
AH.
and a
falling
second Gly<
EUPHORIO.
1~
I
_ v _ v -vv u,.l- v Hv v
I
A I.
XII.
noticed, which
the anapaestic tetrameter is to be Finally for the classic period was used in the parabasis. It consists like the
Priapei
of a
full
and a
The
cv^/ictv xprj KO&'oTcurflcu TOIS fyxcTepoioOOTIS airttpos TOtun'St Xoywv, ^ ^v(i)fj.r) fj.rj y ycwcuW o/yyia Movtro>/ p-rff cTSev fj.rJT
AR. RAN.
The name
is
derived from the fact that the measures were united two
8 /8
measure.
|
____ ___
II
ww
ww|i_
II.
XIII. In the Alexandrian time, further, two ionic dipodies were united without anacrusis and with great license (especially in the occurrence of anaclasis) into the so-called Sotadeum.
__ ww| __ ww,
ov KptVci 8tKaia>? ra
fjftijv
^jXi'ov Trpocrowrov.
w|
--
7\
II.
(ravra).
7\
II.
__ ww| _ wwwwll _ w
KO.T
w|
--
__ ww| -is
:
&vQp<mrov ?Ka<rrov.
7\
II.
XFV. The
poems sung
to Cybele
by
h< r ])rifsts
two ionic
The
measure:
27.
THE LYRIC
I
TYPE.
II.
_ll_wwww|i_.7C
\a\.Ka KporaXa.
resolved) is
II
more frequent
|
ww www_w
:
ww
_wwww
i_i
II.
ubi capita
Catullus has
left
us a
poem
in this metre (carm. 63) which is, of He has used a stereotyped form, and
it
from the
first five
verses of the
poem
Super alta vectus Attis celeri rate maria Phrygium ut nemus citato cupide pede tetigit
adiitque opaca silvis redim.Ha loca deae,
He acuto
sibi
pondere
silicis.
This
is
differently, viz.
II
V^
XV.
may be
though
it
was sung
Srj
ov yap
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.
I.
1.
was developed
Before taking up the lyric type proper, a metrical license which in it must be considered.
To
ter,
The remaining verses trimeter. enumerated in the preceding paragraph were borrowed from lyric poetry
trochaic tetrameter,
and iambic
90
tetrameter, which
27.
was
originally a
;
from
by
and logaoedic verses are distinguished lyric pot-try are logaoedie in the form of their measures, which can be attained only by variety
has already been remarked in
20, 2, that the verses of lyric
in general of only one sentence, seldom had poetry proper, consisting To give the following verses e. g. the chief ictus on the first measure.
this intonation
(re,
ftrj ft
Sti/xi/o,
Trorvia, Ovpov,
etc.
_Lw|_w|-^w|_w|_wll,
have been
would be altogether unnatural. In the melody also all effect would lost, if the verse had begun with an especially strong ictus and closed feebly. The rhythmical sentence becomes a unit through its
,n f ietus, let
scnfc'nee
Tin
it stand where it may, exactly as the grammatical have its chief ictus at the most different places. may following musical sentence e. g. may be used for the above
:
strophe
"
^^i^g^^t^^P^J^M T
Hot
-
~"
-+T- T^ff
-
KI
A6
6pw*
Od
VQ.T
'A
0/>6
di
TO.,
and so on.
Th<- first
re,
like anacrusis.
It is metrically,
used very
(
proper
In the old lyric poets it may be not only a freely. w), but also an irrational choree (_i- >), an inverted
linly not
rt
an iambus,
w -j_),
This has been named the basis, a name which will be retained. (w \J). 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 /?ouro, measure, so that with them /?a<ns = Trovsjn
general.
The second
change
in
I
Glyconic,
vi/..
:
for
the basis,
~~u
^ v -v w
I
-w v
_
__
A A A A
II
ovre
pry aTraXyv
KOLO-IV.
AN. fr.
Id. fr.
.
12.
II
ld.fr. 13.
1
:'..
II
fya* 7rap0eVtos
7ro0a>.
/xot.
II
aye
ST/
x&v
8ia
45.
I.
91
This basis
is
even with preceding anacrusis. lyric poets, from Alcaeus will illustrate
:
'Acrvver^/xt
ToV dve/AWV
a/x/xe? 8*
crracrtv
TO
JJLW
yap
TO 8' <iv6w
vat
av TO jU,rcrov
w W
w W
_w
W
*HX$es
ya? eXe<avTi'va?
//.eyav
TeXeo-as, pvcrao
r IK TTOVWV,
2.
When
basis remained.
is
logaoedic verses "began to be used also in recitation, the But a recited verse, in which the element of melody
strictly, or it will else appear Therefore equality in the measures, at least,
lacking,
must be preserved a measure of two shorts (w w, pyrrhic) is no lonThe tribrach, however, is admitted, but seldom. ger admissible. Both sentences of the Eupolidean verse ( 26, 3, VIII.), as well as
of the second basis
;
and third Priapean verses (ib. X., XL), begin with such a but in the Cratinean verses (ib. VII.) only the second sentence
the
first
does
this, since
kept as characteristic
first
On
this
ground the
The
are given, is a
H
-v/w
I
f 27.
Metrum Cratineum :
L_
WWW
Metrum Eupolideum :
_w
w ww
W
Priapeus secundus
:
L_
II
_W
L.
_A
II
www
WWW
Priapeui tertius
:
'
_> w WWW
0eo)/xcvot,
L_
II
_W
W
WWW
KttTCpw irpos v/xa? e
518
_ w _w _
3.
ia
not admissible.
In choric poetry, which was accompanied by dancing, the basis For here the measures must have an exact length,
or the dance will l>e but a planless moving of the chorus to and fro. The pyrrkic therefore, first of all, is not allowable under any circumstances. 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
the simple long
and two shorts may stand as equal to wo), since, in singing, two short notes wlurh fall to two syllables in the strophe can without difficulty be transferred to a long syllable in the antistrophe (just as every cirrum-
(_
(_ o)
and
two
notes).
But
^ and ^ J admit
Consequently in choric
II.
THE EPODES.
93
like ^ w is altogether inadmissible, poetry a metrical correspondence and the very few places where it occurs are in corrupt passages, which
are, therefore, to
be emended.
But
made
to a correspondence like
\y &&, since here not only the length of the measures is exactly preserved, but also the last two eighth-notes can easily be united into a
an inverted choree corresponds to a trisingle syllable. And so in fact brach several times in the choruses of Pindar and Euripides. Tor an
example see
17, 4,
I.
With
this exception,
generally to
be divided
w _ at w L_
:
is
|.
Examples occur in
22, 11,
and C.
28.
II.
(continued).
THE EPODES
(ot
&
1. In recitative poetry, which appropriated to itself the simplest forms, occurs the most primitive sort of rhythmical period, the recitative 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
ticular
entire measure.
In the oldest
by Archilochus, a step is taken toward a further development. The verse is no longer an independent period, notwithstanding the
;
pause 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
In this way the two are united into an organic whole, which has a fixed melody that returns with every repetition of the two rhythms.
to
it.
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 The latter is usually, but erroneously, called penta(versus elegiacus).
meter.
An
The
tation.
distichon
11, 6, III. example has already been given in was a melody used chiefly to express sorrow or lamen-
Not only
the so-called elegies, however, were written in this of the martial songs of Callinus, Tyrtaeus, ArchiLater it was used more and more in gnomic
many
and Theognis.
it
poems, composed
Finally,
first by Theognis and then by Solon and many others. was frequently employed in humorous love-songs, as later in
M
the
28.
Amoret of Ovid.
.1
the
name of
3.
effect,
in particular those in
a marked disparity in their length, expressed tin- intruded contrast in In these the longer verse may follow the shorter, by a lively manner. The hearer expects after the first is which a cor. produced.
short verse a
still
monly attained
in this
shorter one to follow, a satisfactory close being comBut, on the contrary, the second is made way.
much
the longer.
>f
ally u
continuing
II.
comic
effects of the
(Cic.
de Or.
255
Sfd Kitit
u* notiuimttm
ridiculi genus,
cum aliud
exspectamus, aliud
Mbr.)
<
the rich cpodic literature of the Greeks has been lost with the
.in
exception of a few fragments, the epodes of Horace must be used illustration. The forms he has employed are the following
:
I.
iambic tetrapody.
_w _& _v _ d _v _A
i
i
w:_w|_S|
Beatus
ille,
wl
Ep.
2.
All
Pythiambic group, consisting of a dactylic verse of two tripodies (hexameter) and of an iambic tetrapody.
II.
The/r*
v3C
:
CX7
|
C^II__C7^|__ww|
I
__
II
_w _
I
_w _A
II
Ep. 15.
Nox
inter
III.
minora sidera.
trimeter
1C,
aetas,
II.
THE EPODES.
95
IV.
_ _ \5O _ _ _ ww _ 'ww _
|
C7C/
\7O
\J \j
II
\5ZD
_ \j
\j
__
II
__
it II
Ep. 12.
mulier nigris dignissima barris ? Quid munera cur miJd quidve tabellas
tibi vis
.
V. Horace has not used groups of two verses each in which the longer follows the shorter, but by uniting two such has formed fourCf. lined groups of this kind. 29, 3, II. and V. 4. By a further development, three verses are united in a group !he group begins with a long verse, according to the following law
:
followed by a second that is shorter and in different measure. The third verse reconciles this opposition, either returning to the measure of
the
first
I.
The
Ow
\5O
_ vX7
wW
--
II
_ww _ww _ A
I I
II
Ep. 13.
et
imbres
II. The second Arcldlocldan group, consisting of an iambic hexapody, a catalectic dactylic trimeter, and an iambic tetrapody.
Ep. 11.
Pecti, nihil
me
scribere versiculos
$ 29.
ARCHIL,
rotbs
/r.
VTTO
iroXXijv KCLT
a\\vv
O/X/AUTGH' fyevcv.
this
29, 3, III.
preserved in
BovA.er0e Sryra
<TKu></'(i>/Acy
'Ap
O?
29.
(continued).
III.
1.
FOUR-LINED GROUPS.
It is
This is notaing form in Greek poetry that was designed to be sung. bly the case also in English. By such a grouping symmetry could be
attained along with variety;
satisfactory
impression, while the melody still possessed in itself enough of variety to be tiresome by continued repetition.
were developed in great variety. But since little that been preserved, it must suffice to become acquainted with these groups as found in Horace. "\Vhat Horace lias independently
four-lined groups
r--
lias
the
out change.
The
recitative
is
III.
FOUR-LINED GROUPS.
97
The
lesser
this
dean verses.
The
verses, a second
and a
first,
with diaeresis
i
_e
Horace
is
-^ w
L_,
ii
-^ w
_w _A
i
it.
first
Pherecratean with an
-^ w -W W -w w -w w
L_,
L_,
i_,
II
II
II
1_,
II
-w w -W W -w w -w w
_w _W _w _w
_A _A
_A _A
II
II
II
II
This regularity results from Horace's ignorance of the rhythm. He felt the rhythm as well as we, but he made a
concession, in this constant use of the apparent spondee, to the metrical theorists of his day,
who concerned
is rich in long syllables, but relatively poor in short ones. In order to give a clearer idea of the force of the four-lined group, certain principles and the use of certain geometrical figures must be
and
shorts.
introduced from
Book Y. on
"
Eurhythmy."
two logaoedic
This
is
indicated
by
how
now
only subordinate periods or groups, correspond the curves at the right, how the first and second sentences in the first verse correspond
in the second.
These two
29.
..~,
were not here independent though metrically exactly ecuul, united into a single group, the melody of the
.
1'erhaps also the melody of first verse not ending with the key-note. was not identical with that of the first, but only analogous. the second Four verses being thus united, the scheme of the entire group would be
(
Concerning this scheme
cf.
34, 3, 4.
also be arranged
or
he
An
two verses corresponded to the last two. example is found in Hor. carm. III. 30
first
:
Exegi monitmetitum
regalique situ
a,ere perentiius
pyramidum altius, quod non imber edax, non Aqvilo impotent po&tli diruere ant innumerab'dis ....
It is
worthy of note here that the groups are not separated by punc-
tuation.
But
still
made, because
<!
Horace the
total
number of
is
verses
is
obvious.
piadean
The greater Asclepiadean group, consisting of four greater Asclevertet. The vertu* Aaclt'jnadens major is composed of a eatarherecratean, a catalectic Adonic, and a cataleclic
:
M-eond
first
Pherecratca*
v/
-w w
in
1_,
II
-w w
i_,
II
ww
_w _A
I
II
with d
irrational (cf.
both places. In Horace the first measure under I.), so that his strophe has the form
:
is
always
III.
FOUR-LINED GROUPS.
99
ww
L_,
II
-w w
_>
The
-w w
L_,
II
-v w
is
i. e.
the
first
a series of tones of
and third sentences correspond, while the middle one has its own. Cf. 34, 6.
Since here, as in the preceding case (I.), the verses are no longer independent periods, but have become subordinate members in the
greater whole, the division of the entire group
is
:
or
i.
e.
HOR. carm.
Tu ne
finem
I.
11.
di dederint, Leuconoe,
nee Babylonios
tentaris numeros.
Ut
....
Horace seems
Second form of construction : an epodic group is repeated. Here to be for the most part the originator, since among the Greeks these epodic groups were not united.
I.
The
00
Ow
_, 00
II
_ 00 _ W W
|
II
II
_
II
_A
100
29.
c
A
palinodic period,
cf.
34, 3.
7.
arboribusque comae
mutat terra
Jiumina praetereunt.
II.
first
is
verse is a falling logaoedic tetrapody, the second a third Priapeus. used the irrational measure where it is Horace has here also
:
L_,
I!
HOR. carm.
Lydia,
die,
I. 8.
te deos oro,
oderit
soils ?
III.
by Horace,
is
like-
wise four-liiud.
can fully
28, 4, III.
He
since
The two-
repeated
III.
FOUR-LINED GROUPS.
101
HOE. Carm.
I. 4.
nequejam
stabulis
igni,
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 Eomans very
commonly even in hexameter, so that their sole point of agreement with the Greeks was the scheme of the syllables. The forms of this
difference
scheme were no longer sung, but only recited ; and in declamation the 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.
IV.
consists of
two Alcmanian
28, 3, IV.
_ vX> _ CX7 _
|
|
C\3
\j \j
II
_ vX/ _ w \J
|
__
II
vX5
vX?
--
II
Hon. Carm.
Laudabunt
moenia
alii
I. 1.
a group
is
repeated con-
and the
lesser Asclepiadean.
Here
also
irrational
102
W.
_>|-V/V|L-,|-^W|_V|_A|
L^I-vyj_v|-.A]
HOR. Carm.
I. 3.
praeter lapyga.
4.
stitute
Tkird form of construction : two independent groups, which cona sort of antithesis to each other, are united.
is
This
I.
The
two
of which the
first
is
falling.
The form
in Horace is
..X-vv/lL-.l-wvl-wliA]
_> 1-vwlu.l-AII
II.
e
HOR. Carm.
I. 5.
: the first period consists of two Alca'ici hendethe other of an Alcaicus catyllabi, enneasyllabus and an Alcaicus decasyl-
Uw,
I.
5,
r,.
_w|
A]J
\)
III.
FOUR-LINED GROUPS.
Hon. Carm.
I. 9.
103
diaeresis,
fieyaAw
Trep [lev
yap aVrAos
icrroTreSai/
TJOY]
The
wwc ^rowj3
the
first
ww ww ww Vw
I.
ww
ww
II
II.
3,
ww|
v_/w|
A]]
37
HOR. Carm.
Miserarum
III. 12.
est neque amori dare ludum, neque dulci mala vino lavere, aut exanimari
5.
closed
by
: a period of three equal verses is a fourth as a sort of postlude (eVw&KoV), which may also be
Cf.
35,
I.
_>|-^W|L_,H-V,W|_W|_AII
>|-vw|l_,ll
/{a
^w|_w|_AII
-w w
|
M3
_>
-v w
1_,
ii
_v _A
I
ii
_>|-vy|_v|_A]l
p?
4
tir({)diK6i>.
104
* 89.
HOB. Carm.
Quit desiderio sit
tarn cari capitis ?
24.
dedit.
the Sapphicus minor (2air<j>iKov with closing Adonic. The form in Horace a<n'AAa/?ov) three times,
is
II
5\
J
|
II
5) 2 =
iir
V Su(to.
HOB. Carm.
I. 2.
Jam
rubente
The caesura, Here also the second measure is always irrational. which always occurs, has not the least to do with the rhythm, but
rather disturbs
it
membered.
The
when observed, since the cyclic dactyl is thereby disverses in Sappho, since they are not divided into two
and the second measure
aBavar
'
ircu
ftrj /A*
that is
w|_&|^yw|_w|_wll,
etc.
That the last sentence is not to be written separately is shown by various examples both in Sappho and Horace (though they are comparafewer in the latter), in which, if the last sentence should be
writtrn separately, the third verse
4>euVTcu
fjioi
Krjvos 1(709
d>V7?p,
dum
se
nimium querenti
rf
v/
HOR. Carm.
I. 2, v.
19.
IV.
LYRIC SYSTEMS.
is
105
Here
it is
not to be written,
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
The
II.
form of measure,
Cf. 2, I.
since only
its place.
and
3,
II.
Horace used
dactyls as cyclic, as
is
to
(4, II.)
30.
(concluded).
LYRIC SYSTEMS.
rhythmical sentences are united into
1.
We
saw in
26
how two
the simplest period, the recitative verse; then in 28, how from two verses, which make a sort of contrast to one another, a independent
unified rhythmical group arises.
it
was shown
how how
three verses, standing in a beautiful relation to one another, be united into a carefully rounded whole. Finally, it was seen in
may
29
four verses are united into a group, the division of which is dependent upon determined laws and therefore has a fixed character.
The
lyric
systems to which we
characterized
mical periods (since they do not consist of an antecedent and consequent sentence forming an antithesis to one another, as is the case in
recitative verses),
longer series.
measure, consisting generally (originally always) of a single sentence. Though sometimes arranged in four-lined groups, the four verses stand
in
no
another,
since they
structed alike.
They
LOi
first
80.
THE LYRIC
TYPE.
(29,
2), since
the
often varied
(or senten-
doing this no fixed principle is Even where four-lined groups seem to be formed, no exact
in
all
But
in their
among
them.
first
If,
for example,
first
two metrical
forms, a and
6,
interchange, the
first
system (the
ins
apparent group)
b,
may
have in the
It
is,
the tame melody; they are rather compositions in which a musical theme was sometimes repeated, sometimes varied, but on no fixed principle.
are,
These
final
But even
its antithesis,
the construction were periodic. will be remembered, the case in the epodic groups.
This
may be more
merely subordinate sentences not separated by versepauses, 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.
and sink
into
not a
and
united to one another constitute no period. In every case, therefore, the system is distinguished from the group by having no strictly regulated antitheses. If several sentences unite
without pauses, they do not constitute true verses, but only it is not possible to group into periods.
In
the
lyric
lines,
which
is
really
the
li
this, the?
choruses of the dramas or as march-melodies, since they are altogether Neither are they found in the unadapted for dancing and inarching.
t?edy on account of their uniformity, nor in the
is Kow*ot (f 33, 4, A, V impossible for excitement, deep passion, or sh.irp contrasts to be expressed by them. They an
t
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 Some of the lyric systems, however, are very similar to comedy.
e.
g. those
given below in
4,
I.
and
II.
The following
systems.
2.
ing of only one sentence, either of like form or of different but not
regularly changing forms.
I.
metre of several of
e;_wi_wiL-i_Ai!
Anacreont. 19.
*H
yr)
fieXawa
Trivet,
TrtVet 8e SeVSpe*
irivet
av
yrjv.
TOV 8'
TI
fJLOi
TTjXiOV 0-fX.TtJVr).
/xaxeo-0', eratpoi,
KttVTO)
6i\OVTl
TTlVf-lV,
II.
The
II
Anacreont. 48.
'
Acre
fiot
Xvpyv
KVTTfXXa
<f>ep
fjioi
VTTO crco^pot'os 8e
Xv
TO
TTttpotvtov por^o"0i.
/xot Xvprjv 'O/ouJ
8orc
B.
irregularly inter-
changed
106
30.
_>
^ -- ^ __ w w -- A
I |
Anacreont.
37..
pd8a Ppv
t8
TTWS Kv/xa
*
aTraXiWrat 70X7)17;
TTws yepavos
.tus
8' e\a/xi//e
TiTav
MV
TO,
<TKMU Sovovvrcu.
eXa/xi/'O'
/3porav 8'
cpya.
_AII
WV
All
-- W W
All
All All
groups
indicated by tin- punctuation but that these are not genuine groups in which the same melody is exactly repeated, but are rather systems in which the singer himself changes the melody from one sys-
tem to another,
ularity
in
is
shown, exactly as
in the Anacreontics,
by
their irreg-
IV.
LYRIC SYSTEMS.
109
I.
Four-li
Anacreont. 13.
Ot
fj.lv
KaXrjv
"Arrtv
cv ovpzcrw
/?ooWa
Xeyovcrw
ot 8e
KXapov
7Ttovre9
Trap'
8a<f>vrjcf>6poLo
AaAov
yo> 8e TOI)
Avatou
II.
Anacreon.
IloXtot
/>tev T7/xtv
^77
Kp6ra<j>oi Kaprj re
^apteo'O'a 8
ovKeO
Trapa, yTypaXeot S*
yXvKepoi) 8
OVKZTI TroXXos
a Taprapov
8e8o6Kcos.
yap
o?,
eo~Tt Setvos
yap
eroi/x,ov
Ka.Tafta.VTi
fJ.7]
A A A
II
II
II
II
110
80.
Till.
LYRIC TYPE.
7UI
X __7UI
II
-fill
in the first and third; likewise melody with the corresponding verse rd verse in the third system has not the same melody with
first
and second
different metrical form, occur in a fixed order, so that there result sys-
tems of four or
groups of
from the
29 by the
tt-nce.
always composed of a
The
first
follow by being metrically (but not rhythmically) longer. Generally lur have anacrusis, or else end full, while the sentences at the
close are catalectic or falling.
I.
Three
full
_ w| w| _w|_d|_w|_wll _ V _ d _ W _ N/ _w _e _w _
|
\j
II
I
i
i\
ii
Anacreon.
QprjKirj, rt 81; /i
/A*
ovScv
ciSeVttt (To<f>6v
If.
catalectic
and a
falling first
-vrw|_w|_wj._ A
w
|
II
l_
II
__
IV.
LYRIC SYSTEMS.
Anacreont. 66.
Ill
'AvaKpeW,
oe
v Se /xot
avyKepacras T
III.
first
lined system
Anacreont. 38.
'Eyw yepwv
Kav
yu.
vewv TrXeov Se
/xev
v ev /xecroto't
TOI/ ttCTKOV.
5.
several sentences
ending
full
;
way
closed
by a
;
falling sentence.
The
final
sentence
ceding sentences
may of itself constitute a verse so likewise the premay be divided into verses, the last of which is somefinal
The
final
sentence
by one
ac-
or two measures.
We
give, in
_s
-^ w
_w
1_
1 1
_e
-^ w
_w
L_
-^ w
_w _A
i
"HSto-Tov
</>aos
Tracrii/
Kat rots
YV KA.CODV aT
30.
II.
F.<I.
_en^wi_wi_en
jcaAnK y* CYC19 af\rfVy OT
Travrcs avvpiifiroi 00iao~i
cr
waTrep
dAA* evrapaytuyos
cT,
Acywr* cm
K^iyva?
III.
Tavra
/icv
wpo
cb'Spos
OTt
vow
77
ye*
K*
fo-ramt, Aa/?oV0*
9ax(arcpov
1
et'
0-^fj.a.
TO 8
/ACTaoTpe'^eo-flai irpos TO
^pa^tevovs.
IV.
^/cA.
IX. (836-841).
_
_.
e;
en
_
f
yap
di^|
A'
rdyop
KaOrjfjLcvw:
dAXos, oJ/A<uu)v
31.
113
31.
1.
The
characteristics of the
and sharply
They
1.
The measure of the march type is without exception the anapaest, the ethical force and metrical form of which have already been con10, II. and sidered, 11, 6, II.
All anapaestic sentences are tetrapodies. If the text and the less than four measures, there is a pause in the singing until the four measures are made complete.
II.
melody have
III.
are catalectic.
All verses which have their four measures expressed in words The last measure is completed by the anacrusis of the
IV.
From
III.
must end with a full word, the vowel of which may be elided and that no hiatus is allowed between the close of one verse and the beginning of the next. This is
these verses, each of four measures,
final
;
19, 2, III.
pose of the
If,
march
1)
is
to
ictuses of
2)
to tread.
thesis
These measures must be distinctly divided into equal halves, 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, somewhat more heavily with the one foot,
somewhat more
the
itself
is
to tread at
any particular
ictus.
Ill
81.
THE MARCH
TYPE.
that all measures should 3) It is not, however, absolutely necessary is sometimes sufficient for a measure to hare two ictuses; it
strong
if
For once having the right movement, only the chief ictus is clearly marked
:
by the melody.
_ _ww
:
vsvs LJ |X
|
4)
The
sentences must
may =
measure
measure
2 meas-
ures
2 measures
Only
in this
end.
6)
But
at
it
is
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.
march
Or
the
is
which
there
enumeration.
3.
I.
The
different
The parotmiac,
(J/i/Jem/ptov) of Tyrtaeus,
The following march song which the older form of the anapaests
is
composed of paroemiacs
\1\
c^:__co|_^?|
Ayc-r*, u
__
ITW
8*
ov yap Trarptov
II.
TO.
Another marrh
-ists
mdody
of regularly intrivhanging acatalectic tetrapodies and so-called paroemiacs. Such a combination is to be regarded a period (verse) of two sentences, and has been named the annphextic. tetrameter.
ro:_a3i_cci_v~i_, coii_ooi_c/wi
*AyT &
Siroprus exonAoi Kovpot, TTOTI Tai/'Apto?
__
IT:,
KtWi/.
31.
115
Probably four such verses were united in a group, after which a long In the Attic comedy the anapause occurred of about four measures.
chief role in the parabasis proper, paestic tetrameter plays a was seldom wantin. Eesolution of the thesis occurs here.
where
it
sg.
A~
ww
--
III.
the succession of
In the parados and exodos of Attic tragedy, if anapaests occur, common tetrapodies is usually broken at intervals by
This is a single apparent dipody and is finally closed by a paroemiac. 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.
by the punctuation.
(v.
corresponding close in the thought is always marked An example occurs in the Persae of Aeschylus
TO
55
sq.):
txaaio<oov
T'
c0vos
e/c
/?a(7tAea)S VTTO
areverat
vy
ees 8'
aAo^ot 0*
-wwI
AlVlA,
A
__ |A
A,
etc.
_llww_|_
VI
_| __ |ww_|_,
In comedy a part of the parabasis (in the broader sense) was composed of these tetrapodies, and was called Tirtyo? or /xoxpov, because it was all to be recited in one breath, except when the occasional apparent dipody
allowed a snort rest toward the end of the system; yet even this does not always occur.
116
$82.
IV. The fanrAio? (" verse for the march under arms ") or The anacrusis is an apparent tripody.
irrational.
may be
eupv^opov
a>
4.
Other melodies than the anapaestic might obviously be used If the melody were logaoedic, for
to sing so rapidly that example, only two things would be necessary, each measure would occupy the time of but one step, and to divide the
accompaniment would be ill suited to the steady movement of marchinir, and it cannot be regarded a characteristic march melody. No discussion, of course, can here
IK!
which were in
We
must seek
32.
1.
Who knows
*O AtW
ira.cn
Otoivw
TTi/xV,
<roi
yap ISwKav
avOptoirourw
/xe'Xos
Xiyvpat? aeurat
4>oi/3os 8
KOTO)
<re
<r
avaipel,
i.
Movo-cu Sc
Opyvtoixrw,
II
II
II
- >
|i_|_ A
II,
etc.,
32.
117
there has not been preserved one of the oldest dance melodies, such as
Homer
6,1)?
We
have
a systematic succession of verses of equal length, to which the singers or rather march, but not with that firm tread of dance in a circle,
the warrior which has its fittest expression in anapaests.
2.
But
this circular
dance
is
After the
singing of two sentences that correspond to each other the dancer may This gives rise to the verse, the simplest period, come to a standstill.
beyond which
may
return
movements
to those of
3.
Two
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
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 In this case another again, so that they come to their original places. the strophe of the song must have four verses, as e. g. in the contrasted
1.),
in
_>
-W W
L_,
II
~W W
_W _A
I
II
I.
rg-j
J Circular
(6)
left.
II.
(^ ^4
Forward march.
Return.
Without doubt the verses which correspond to one another must be throughout of equal length (i. e. must have the same number of measures and the same duration); for otherwise the dancer would not be able to return again to his original position.
118
:
f 32.
by
the song. not necessary that the dance be co-extensive with several verses, ami then the dancer may come It may continur through In this way the Asclepiadean to a stand during a short postlude. consists of three verses of six measures each, followed Olyconic yroup a verse of four measures
is
:
4
last verse is
same movement
danrt-r
In the
the
first
Forward.
Return.
/(3
MS
(3
Forward.
Return.
Halt.
In the same way a verse to which no other corresponded, and during still, could begin the
;
strophe
this
was
also
we
Of
d -W W
I
L-,
II
~W W
L_,
II
-V W
_A
II
We
distinguish,
t!
respond and those that do not, the latter .under the names prelude, and postlude, or irpo^ixov, fuo^tKov, and
32.
119
29 will give 5. The lyrical groups which have been discussed in us some idea of the simple dances described above. These groups arose At a later day they were cultivated both in the old as dance melodies.
forms and in others also that were
lyrical,
i. e.
less strict.
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,
its
nothing without the accompanying dance ? The melody, certainly, gets 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
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.
the different
6.
The choruses
skilful
brated the deeds of the gods, and in the drama, especially in tragedy, delivered splendid poetical and musical compositions, not standing still
these choruses were but with regular and symmetrical movements, of men who not only were acquainted with strict tactic composed order as soldiers, but also belonged to the better classes and were of
refined
and cultivated
tastes.
It is
men
danced and marched to the music of such songs the m6"st beautiful symmetry and perfect order should not have prevailed in all their movements.
to the highest degree of art, in
Nay, we must suppose that this chorus-dance was developed which form alone it could have kept
Some of the movepace with the swift advance of poetry and music. ments were executed without change of position, but in these too a perfect 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
Every pause during which song and dance cease, but which may have been filled out by brief instrumental music analogous to the interludes between the
lines
verse, as
is
II.
120
33.
riioKir EfTBOPJ
become subordinate element* in the higher unity of the period, which be composed of several of them.
III.
may
to
an exact correspondence of the sentences in the period one another; and it it always the case that only sentences of equal length
There
is
The sentences that correspond are grouped in different ways, but so that different sorts according to the strictest mathematical principles,
\
According to this, the dance melodies of choric poetry are distinguished from march melodies especially by the fact that they allow
.-nt only during the song, never during the arbitrary pauses. do not allow it even during single parts of the song (prelude, They
The more
most
33.
I.
Choric Strophes.
it
the
same melody,
though
is
is
its
repeated on
poem.
But
in choric poetry,
strophes are so great and varied in themselves, there deviation from this simple rule of construction.
I
an important
and
antix1rni>1n>
(<rrpo<J>-i']
not repeated and was called 6 fcr<i>8o9, the signification of which is given in 28). ^ frySoc (not This succession is then maintained to the end of the poem, i. e. AAB,
is
AAJi
II.
;t
form, and so on
A A,
etc.
33.
CHORIC STROPHES.
121
But sometimes
namely
1)
:
also
aproode,
f)
poem
A,
2)
BB, CO,
etc.
an epode,
rj
c7ru>So?, after
a strophe and
its
antistrophe
A A,
3) a mesode,
fj
B, CO,
etc.
//,ro>Sos,
its
antistrophe
A, B, A, CC,
2. By this change of strophes, often both rhythmically and metrically very different, choric poetry was able not only to serve 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
its
arated from
The strophe might be sepnot only by a mesode, but also by several antistrophe
was obtained.
other strophes;
anapaestic systems also, which were not regularly but only recited in a singing tone, might intervene. Here again sung there prevailed the most beautiful order, as we shall be able to see from
the following examples in Aeschylus
and Euripides.
sq.).
<rv.
<TV.
A.
<rv.
B.
crv.
av.
B.
<rv.
C.
ffv.
<rv.
C.
ffv.
C.
B.
C.
ffv.
D. E.
D.
trv.
F.
E. F. G.H.H.G.
I.I.
K.K.ou
M.
II (167 sq.).
A. B.
A. B.
Cko.
A.
(TV.
(738
sq.).
<rv.
A. B. C. B. D.
D.
33.
CHORIC STROPHES.
3.
Of
series of strophes
and antistrophes
it is
easy to find
many
is
consisting
often
added
4. The following names of the different choruses of the the Attic stage should be noted:
drama on
A.
I.
iropoSos, the first song of the chorus, sung while and arranging itself in the orchestra. Sometimes which the chorus marches in. preceded by anapaests during II. Stasima, orcuri/xa, songs sung from the position which the chorus
The parados,
its
rj
it is
taking
place
The
exodos,
fj
The march
may then
VI.
Songs
of
individual
actors,
monodies,
/xovwStat,
called
airo
In the last
two
sorts, since
paniment, a
strict division
Cf. The third volume of 25, 1, med. proper, was not necessary. the KuHstfbrmen, namely Die Monodien und Wechselgesdnge der Atti-
principles
spectators, consists
I.
length.
II.
same
rs.
concerning which
31, 8, III.
33.
CHORIC STROPHES.
also wSrj
123
and
o-Tpo<f>rj
V. and VII.
trochaic tetrameters,
The iiripp^a and avreTrtpp^a generally consist of and were delivered, along with I., II., and III.,
(Kopv</><uos).
Fifth Book.
EURHYTHMY
84.
to their Grouping.
1. The simplest grouping is when two rhythmical sentences of equal This is the stichic period: length correspond to each other.
cs TroAvppoSovs
Ran.'Vll.
str.
(448, 449).
German
Annie of Tharaw, my true-love of old, She is my wife, and my goods, and my gold.
Longfellow.
ww
__
ww| _ ww|
A
_ ww| _
:
A A A A
II
II
i)
8. repeated ttichic period arises when more than two sentences of the same length correspond to one another
J
Cf. the lyric systems.
etc.
34.
avrjp e^toi/
Trdpa 8e TroAAoio-ti/
jJiaOeiv.
\j
_A _> _w _ A 3
__
w w
II
4\
4<
II
Illustrated
3. palinodic period arises when not a single sentence, but a com" bination of several sentences (i. e. a group "), is repeated once in the
same order:
etc.
PlND.
OZ. IV.
wll
w|
w|
A3
let
And
May
I be there to see
126
4.
M.
formed by the
repetitioii of
a group
ereral times:
to
34.
CK
8o//.tov tfirjv
^oav
AESCH. Cho.
I. sir.
a (22-25).
4>
:_w|_w|_w|_AH :_w|_w|_w|_w|_w|_AII
Where
laurel
Through the bright battle-clime, boughs make dim the Grecian streams,
And
By
Mrs. Hemans.
6.
32, 4).
5)
Tu
_
tibi.
> -v W
L_,
II
-^ w
l_,
II
-v w
_w _A
I
II
2) 7
//.ept/xvav,
AESCH.
^.
VII.
sir.
y (1530-1532).
D
8' a/xa^ov dSa/xarov a,7roXe/>tov
TO irpw
WTWV
<^>pevos
re Sa/uas
a^icrrarat
Tt9* TO 8' evrv;(eu/
ro8' ev ySporot? $eos TC Kai ^eov TrXeov. Id. C%0. I. a/. /T (54-60).
128
f S4.
TIIE PERIODS
_v
W W W
_A
_A
II
7.
If
e.
g.
abcde, divided
into sev-
en! groups each of which constitutes by itself a small musical division, a b, cd, e, or also abc, de, and if we then suppose these groups c.
g.
repeated antithetically,
1)
we have
ja
and
ib
This
It is strongly antithetic, since is a palinodic antithetic period. the groups which are regarded as units (and may consist of a single <-e, e. g. e in the first combination) are repeated in inverted order.
But
it
is
iu the
same order.
scries
The
abode admits
be,
.-t
es
would
first,
is a group in
itself
are given below. The two a period in which each sentence is regarded (this is consequently a purely antithetic period);
in
which
the. five
In the second, third, fourth, purely palinodic period). 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 eighth,
in
three sentences are combined and the other two taken singly. 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 single
ii
the twelfth
sists of four
!..,- <>f t!
<,ce
that remains
and
fourteenth and fifteenth two groups, consisting one of two and the other of three sentences.
in the
34.
1) a,
d,
e.
2)
a b,
c,
d,
c,
e.
3) a,
be, d,
d,
e.
e.
4) a,
7) a,
b,
cd,
e.
5) a, b,
8) a,
b, c,
y
de.
6) abc,
bed,
cde.
de.
9) a b, cd,
e.
10) 13)
a,
be, de.
11) ab,
14)
12) abed,
e.
a,
bcde.
abc
de.
16) abcde.
will illustrate
/xepyet
(TV Trtcrrevcov
Trparros
<3v 68*
'iTTTroSa/AOV Xet/Jerat
dAA'
e<j>dvr]
os
tre Travcret
An.
Jfc. I.
(324-332).
130
$4.
TIIB
X.
T.
Ev&ufiovuews y 6 irp<rftvrrp,
Ti
oW y
vw
raSe Trparrei.
/**
X.
CiyXoyroT
ycpwv, avOis
vO5
KaTaXctTrros.
Id.
wi
_wl_w|_>|
_,
II
_w _
|
in Ant.
V.
/?,
VII.
#, VIII. a
This sort of period was developed in Greek poetry and music into exceedingly complex forms, as two examples from the Bacchae of Euripides will show.
n^ opa
w
rd\a
AioioKr*,
Kopv^eu? KcupVKtats;
^aXafUM9, ft^O
*Op<^V
KI.6apl<DV
ovvayw
viflcrai
Evtof,
i;i
^pa? aypfora?. /xaKap <S Iliepta, re ^opcvtrwv a/xa /?aKXv/Acurt, TOV T* ai^vpoav
MatvaSa? a
tov cLWrro/ievas
-BaccA. III.
^. (557
575).
34.
ww ww
ww
II
ww
k.
i_i A"
1
wwll
v>w|
v/
w
II
lA
ww|
ww|
A A
II
A A
II
II
A
i
w v/
wwll
w v/
A
lA
II
II
A
|
'AvoiorpiJcraTe viv
c-rrt
TOT/ tv ywatKojit/xo)
oroXoi
Trptora vtv
CUO-KOTTOS oi/'erat
XevKas
ctTro
Trerpas
So/ccvovra, Matva<rtv o
aTrvo'Cf
KaS^tctW
opos e/AoXev
ere/cev;
|4.oA.'
w Ba
Tts
apa^tv
vos.
VI.
(979-991).
132
84
__ wlww, w
1
I
ii
w
II
_A
ii
I'
II
II
II
II
II
wwwwwwlwwv^llvw
>
I
A
II
II
www
I
II
_ v/
L-
II
--
A
II
-- w _ A
I
(By "do."
is
It is worthy of note that these magnificent periods, both from thn Bacckae of Euripides, are examples of the livelier dance melodies de-
scribed in
In
all
none does a repented period occur, so that these dance melodies are recognizable directly ^om the rhythmic*]
schemes themselves.
the
first
An
is
made
\
for
6, 3.
If the rhythmical
doubt,
34.
133
;
thought expressed by the words, will furnish a means of determination in hyporchemata this calls always for a livelier dance movement. Cf.
the two cases quoted above.
8.
from
from
Ei $ Kvptt
So^acret
rts TreAas
eyyaio? OLKTOV
atW,
ras
nv
a/coveiv OTTO,
oiKT/oas,
AESCH. Suppl.
I.
(57
62).
glance.
A.
'Io>
Ztv
rts
av irws Tropo?
B.
e^etcri TIS;
^ re/xw
A.
Oeolcrw
aAA' o
EUR. ^fc.
II.
^r. (213-219).
184
35.
ul-
_w
. .
>Afl
.w|_AII w _A _A
I
II
'
II
35.
1. To the eight 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.
?rp. (7rpoo>-
&p6vrurov,
teal
ycvov Trav8tKa>s
/XT)
TrpoSa)?,
AESCH.
^Mjppi. III.
^r.
a (418-422).
- w __ _ w _ wv w w
I
II
II
ww w
II
"AAcwov
X//x'a 8*
a (529-631).
35.
135
-wwl.lwlul-.Al
Tt
fjifJLOva<s
= *r.
TCKVOV;
Sopt/xapyos ara
Id. Sept.
<re 6v[AO7r\r)6r)<s
?
4>epTW
sir.
Ka/cov 8*
X*
"
'
'
V.
a (686-688).
_w - A _ w _ >,
I |
II
ww_w |_w|.L-|_A]]
II
_ >,
II
wv
I!
o.\ do.
do.< do.^
log.
=
:
2.
I.
consist
of a single rhythmical
sentence.
do not occur.
the dance only
;
The
it is
melody the
relation of
symmetry.
the
If,
now, two rhythmical members appear to introduce or form by themselves, if of equal length, a stichic
sentence
is
period
first
ond
is
a satisfactory close.
In
would be wrong
TTp.
136
8.
c
If,
on the other hand, there should appear to be two sentences of difform a period but, quite as
;
sustain the relation of a prelude or postlude to certainly, they could not the period to which they appeared to be joined.
II.
not introduce periods within them, except in the Ko/x/utot ( 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 The melody would be divided by contrast.
pnludfs within the strophes into widely separated parts, which is allowed only when, as in alternate songs, the strophes distributed among the different singers are really divided into independent parts.
III.
tlie
The
*p.
irp.
dart 4 aact.
ro(*j
<lact.
CTT.
8;
/IsO
*\
'
vw l3/
N
kr.
5=<?7T.
obvious that in such cases as these the character of the rhythmical period would be completely obliterated. For a fuller treatment of preludes and postludes, see CompositionsIt is
lekre t
36,10-12.
I 86.
1.
The
verse,
peri
form of the
iNrlf a subordinate
1.
verses consist are to be taken into consideration as corresponding qu:ml>ut also the pauses which close the verses. The portions of time,
therefV
/
!>;.
filled
out onlv
36.
137
the rhythmical sentences themselves. Even in mere rhythmical recitation 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.
will be found in the preceding paragraphs, and in the lyric of the Antigone and the Medea, which are given at the end of the parts book. It is superfluous to enumerate the possible wrong places for
Examples
The rules now to be given will be found to be verified by the pauses. 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
a,
is,
TivQol re VLKWVTCCTCTW.
8*
FIND.
"
II
_xl
II.
3\
V
In no case may a period begin within a verse whose
to
first
part belongs
some other
period, as
Moreover,
it
1b.
c
3.
stickle
period
may
or
may
not, at pleasure,
be separated by a verse-pause.
138
4.
W-
must occur
or
a-x
not
a
a
etc.
a a
5.
Hurt
quent
is, if
In the palinodic period the pauses must correspond palinodically. an antecedent member has a pause, its corresponding consemust also have it ; if it is lacking in the one case, it must be
in the other also.
belong
ft
when the
Moreover, the pauses between the two groups may in no case be lacking sentences within the groups are separated by pauses.
We
we should no longer be
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 thnnsrlves, which have no verse-pause between them. It should further be noticed that almost always, even in the period
In
becomes necessary.
While, therefore,
g.
a
and
36.
139
is
There must either be no pause in the last group, must occur also in the first two groups.
In no
may
Such a period,
A
H?
The proper grouping of the strophe of Pind. Nem. VII., which has
been supposed to contradict
I.
this, is as follows
|
i_
-w w
_w
L_
II
_w _w _A
|
II
8.
In the
is, if
That
antithetic period the pauses must correspond antithetically. 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
8.
b;
^
Ka?rTOV,
t
7Tt KTLO-Orj
VOV
irvpyov tcraXXopcvoi
8*
rpct?, ot
8vo
/x,ev
_ ww _ww|_ww|_
|
ll_ww|_
_| L_W
I
_A
II
An
example
is
found in
34, 5, et al.
9.
correspond antithetically
the pauses within the groups palinodically. All group* must be separated from one !/>> />// pauses. At illustrations two combinations of the period of n members, 34, 7, are selected. namely 2) and 15) of the enumeration in
at
141
Then
etc. to
the form in
all
which
the sen-
respectively.
in other respects follows the laws of
or
may
is
each
This
i)
;-.
s)
k.
3)
K
'
4)
i<'
^
or not.
0,
Since,
it
The fundamental principle of rhythm is movement. movement of the dance stops during the interlude,
now, the
is
indifferent
Sfl.
POSITION OF
song
all
"ES.
But
also in the
make
satis-
ing examples.
1)
rpairtu/uu,
U-I'TVOKTO? OIKOV.
L_|_w|_w|i_|_AII
_ w i- - A w _ w L_|_w|_w|l_l_A3
I
I
II
XP^ Kardcrracnv.
AR.
T&w.
d/ATre'Xo).
ALC.
Here
it is
easy to see from the chief ictus with which each sentence is divided into three parts ; and from the length
first
consequently interlude.
/ dXadeia?
Iva. //.cirrus
avSpes
FIND.
.
_
is
II
i-
;.roprrly, that
i\,
if it
n-ivcn
two chief
t:
becomes apparent
.
to
is
it
\t
p.-nvivc.l that
it
coirespomls
\\Cthm
36.
143
con-
see that the second sentence of the first verse stands alone,
sequently interlude.
4)
BoiAttV T
KCU
8tr.
a.
> _ w -w w
:
|
w
It is seen
_w
L_
II
_A -^ w
II
_w _
|
first verse consequently the first sentence of the second verse stands unconnected and must be interlude.
must be some
dis-
would not be
separated,
principle.
Prelude and postlude may, at pleasure, be immediately connected 11 without a pause with 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
:
1)
7r/>.
h V
:
2)
7rp.
3)
h
}}
h V
For example
1)
irdre
Fopyovo?
rj
TroAX
0^. XIII. ep. y'.
TTO^CCOV eiraOtv.
PlND.
|
>:_^ w
|_ww
,_
||
-^ w -^ w
__
>,
||
__
2)
naWX W os
TKO?,
paeon.
/,
\~Af KA.VUL
aiv
O/
do.
fJLOV
TTpOtypOVL KttpOtCt,
ava.
II. sir.
AESCH. Suppl.
a (347, 348).
1L
ST.
8)
y (623 625).
D
To wav
CKttTl /l
aTt)iw9
t\^a5,
of/xot.
Trarpo? 8* drt/xoxrev
5pa
rum
8* d/xav
f (434-438).
6
_W
_w
5
L_ i_
_A _A
7T/3.
II
II
^ Iw|i-l-v
I 37.
1.
Notwithstanding these strict rules for the position of the pauses, in which we are not at all able to determine with
y. from the length of the rhythmical sentences and the position of the pauses, what sort of a period we have.
.
g. the series
may be regarded
pottlude
:
cither a palinodic-mesodic, or
37.
f U4
I
&
or
3'
Ustill
greater
when
So the
series
may be regarded
paliuodic,
and as an
1)
4\
<4,
3)
But the
series
may be
still
further
*P.
5)
D
Here we reach the
limit.
series as this
we
shall
combination which is the most generally be right if we choose that For if the sentences have This would here be the palinodic. natural.
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
;
this
e. g.
in the
following
But
still
be doubt.
In such cases
the doubt
146
f 87.
t)u iflrfmfMTt
characteristic forms.
1\
us take four tetrapodies of different These forms show us at once how to combine.
w u
8)
_w
ww
$ 37.
catalectic or acatalectic.
b =
falling.
<7Ka>jU,/jiaTa>v
TO
A,6t7roi/
l.ep. (316-321).
i_
/I
II
catalectic or acatalectic.
b =
falling.
'AAA.',
Sel
o"
a.7roSetat
OTTOJ? Se
TO crvp./3oAov
Xofiovreg
ai/
^et
OTTOO-'
airavO*
TO.?
av 807
^erepas (tXas.
<^)iAov5
10
yap
I.
^r. (293-299).
148
f 37.
> >
w
_A i_ _w _A
I
I
II
II
_ _ I _
.
A A
II
All
II
>
10
All
II
I_A:D
B.
Nw
K<lx
Kal XrjfJM Oovpiov <j>opeiv KOL Xoyovs d</>v/CTOvs OTowrt Tov8* vn-fpftaXfl. iroiKtXo? di^p
yap
cvjir/xavovs 7ropiei.
Kn.Eq.N.str. (756-759).
37.
Four
Characteristic Forms.
ye
,
ot
/cat
>7pu>v
TpoVoiv
erepa 8e
vw
/xe'ya rt
10
yaeraySaAAovTO
sir.
(1450-1461).
II.
_w
_A _A w _A w _ A
w
I
I I
II
II
II
II
l_ A3
I
_>
_w
10
_> _>
w _ A w l_ A]] w _ A w _ A3 w _ A w _A
II
I
II
4x
'$
II
II
= =
catalectic,
foiling.
catalectic,
and with the second measure syncopated. and without syncope. and with the first measure syncopated.
A.
b =
c
d =
catalectic,
Bp
Setva
Tovrt Trap'
B.
rapa
7reto-o/xeo-^a.
A.
5
et
B.
ov yap
<LAAa
jLijv
y',
10
A.
KOo
ACOC
/?/XKCKCK<
10
37.
-.All
3.
(cf.
also CompositionsleJire,
32, 2) a falling
verse corresponds as consequent to a catalectic as antecedent. This Cf. the examples in The converse case is very frequent. 34, 8.
periods, which would be too uniform if the metrical constitution of the sentences remained always the same.
of two of the
com-
monest rhythmical sentences, the choreic hexapody and tetrapody, are 18 and 19. developed in the Compositionslehre, Logaoedic sentences of the same length with these
relations.
The
Mi:.M OF
CORRESPONDING MEMBERS.
tlics
choreic and logaoedic dipocorrespondence of short sentences, such as and tripodies, is simple and easily understood, since these sentences have
little
that
is
characteristic.
like the
In other sorts of measures very pentapody, docs not often occur. often met great differences of form in corresponding sentences are not even in these, limits are in Doric strophes and, with, except perhaps
;
carefully observed.
to the tripody
_ ww
I
_ w __
v./
I
we
_ wwl _ w w
t_j
II,
but seldom i_
i_
__
I, etc.
as L-v/l
__
--
II
_wwl_wwl_wwl --
II
more
-3 of exact metrical or less various, 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. AY hen
es
with
many
with
many
pro-
duced.
(
Such a contrast
when a
E. g.
Torre
/ioi
roS*
str.
a (975-981).
II
icily
as always, the metrical forms of the corresponding sentences adapted to the rhythmical expression of the thought con-
MEDEA OF EUEIPIDES
AND OF THE
ANTIGONE OF SOPHOCLES
I.
THE PARODOS.
Pro&fe,
181-138;
Sir.
204-212.
ar, 1/cXvov 8c fioav
ras Svoravov
KoX;(lSo9, OvSe
TTO)
T/7T109
ttXXtt,
ycpaia, Xc^ov
<cra>
CTT
a/i<^>i7n;Xov
yap
ovSe
OTnoJSo/xcu,
ywai,
Ira
/xot
^cXov KC
w
K,
Z5
Kal
ya
otav a Svcrravo?
Tts
5
<roi ITOTC
Ta? aTrXaarov
Kocras ^pos,
tnrcwrei
ftiyScv
<i
/xarata,
ToS AiWov.
Si <ro?
10
Zcvs
<r
M^
Xiav rcucov
MEDEA
I.
(131-212).
155
Pr.
I-A
II.
4,C
Str.
i.
_;
10
I.
IL
156
MEDEA
IIu* UK
c
I.
(131-
ctynv
rov
tX0ot pvOtav T
Ei
TTU>S
fiapvOvfJiov
p.tO(ivf.
opyav
<f>pvwr
y ifMV vpo&vpov
aAAa
/3acrd viv
Tropoxroj'
6rpo
<^(i>,
^>i'Aa
>
Tovs
no
yap
/xcyaAxo? roS* o
aioi/
yotav,
fiotj.
aXa
TTOKTOV
MEDEA
I.
(131-212).
157
Epo
I.
II.
L68
MEDEA
IL (410-5
II.
art? dpapc.
rav 8* /xa'
orpe^ovcrt
rt|ta
ywaiKciy yevet
l^ei.
a. a'.
Mowcu
fj.av
CL7TL(TTO(rVVa.V.
drtrcurc
CTTCI
loAAu. /xcv
d/xTpav
dvSpoiv T
/xotpav
eiTrcti/.
v 3*
^vyaf
iX>
P'.
8c/?a/cc 8* opKui'
xip l ? 0^8*
CT*
at8w9
*AXa8i
<rol 8*
aFtTrra.
MoX&iJK
5
TWV
8c Xc
dAXa
/?a<n'Acia
dvc'ora.
MEDEA
II.
(410-445).
159
Str.
I.
a.
>
__
_ w w __
I
i_
__
,1
__ _ w w
I
1*A~ _A
l
II
II
_ wwl
L_
__ __ 3
II.
|_
II
L-
II
l_
_A
III.
_wwl_wvl_,_lll_wll_wl
II.
3
III.
Q
Ox
Str.
I.
I
I_A
~^w
I
_,
l_
i_
_A I_A;D
II
II.
>
_ _
A A
_ AJ
II.
The composition of str. a is peculiar (in particular as regards the but nevertheless beausingle long verse composed of two pentapodies),
tiful.
It is
discussed in the
livelier
quite analogous to that of the "Attic Scolium-strophe," The last tripody is of 35, 4. Compositionslekre,
str. ft'.
form, in order to lead over easily to the logaoedics of Precisely the same thing occurs in the next chorus.
MBDKV
III.
,027-663).
III.
SECOND STASIMON (627-663).
ayav AOo'rrcs OVK
'
dpcrax TupiSuwtav Ai'SpdW ci 5* uAis e\0oi -p, ovc aAAa ^eo cv^apt? OVTO>S.
To^oir i^ct'i^ i/icpy xpto-ao-' a<j>vKTOv ourrov.
a<*
CUCOpCOTCl TC VCt
aTTToXefiovs 8*
is <rtfii[o\xT
ov<f>p<av Kptvot
?'
*O
irarpt?,
<u
3a>/xa T*
To**
otKTpoTarov dvewv.
r;
OVK
# frcpwF
ov
/LtvOwi/
ep(o/iV <j>pd(ra<rOa.i
yap ov
TrdAis,
<^i\iav Tts
e/xot
Uy ^cXos
MEDEA
III.
(627-663).
1G1
Str.
a.
^:
II
ww
ww
I.
II.
in.
Str
II.
I.
In
sir. a'
occur in Doric melodies falling sentences. This is against it occurs in Pindar, Nem. VIII. Ep. 6, which is
162
MIDI: A
iv.
,s24-865).
IV.
THIRD STASIMON (824-865).
airopOyrov r
d.Tro<j>fpf36fjLvot,
a/3p!i)5
i
IlicptSa?
Movo-as Aeyoutrt
* a
Tov KaAAiraov
T* (XTTO
Kr)<purov poa?
7ri/?aAA.o/ieVaj'
Ta
<ro<f>La
TrapeSpovs
Tre/xTretv
iravroias dperas
^>t
Tav
rav ov^
iraiSoAcrctpav e^e
oo-i'av /ACT'
aAAwi/ ;
prj Trpo?
yovaTwv
o-c
Tram;
<r
txcrevo/xo/,
Tcva
IIoOcv
/ay
irpoo-dyowra roA/xai/;
irw
ov Swcuret,
rAa/xovi ^u/xaJ.
MEDEA
IV.
(824-865).
163
Str.
I.
>
A A
II
II
"A"]]
II.
L_
__ww|
___
Str.
i.
'.
L_,
ll-v,wl_wl_A
I I
l_
ii.
>
I i
i_
L_
_A _A _A
_A _A
3
II
II
_>
_AII
L_ i_
I
_w
__
II
w
I
II
_AII
-v
I.
l;i
MEDEA
V.
(976-1001).
V.
FOURTH STASIMON (976-1001).
.
a'.
-,-
oas,
ofccrt
& 5
crat
yap
&
^817.
a-0a 5*
KoorfUHf
a/i<^4
co/za
ovra \poiv.
4. a*.
r avya
Tre
^WaOTCVKTOK T
NtpTtpOl?
OTC^Kll/O
TjSiy
TTOpa
OVK tnrcp^cv^crcu.
v 8',
u>
raXav,
w Kaxo
orvyepov Odvarov.
r(K ov icarci8b)f
oAe^/xjv /?tor
raAati/a
Kv/itt
oAA^i
c^fKcv
^ewv, a
<roi
W<HKCI irdats
MEDEA
V.
(976-1001).
165
Str.
I.
a.
I
__:__^wl_wwl
L_
L_
_
II
"A"
II
II.
_ww _ww
I
L_wl
I
L_w
II
_ww
LJ
i_
w
J
II
L_wl
i.
l_w l_ A
5x
n.
I fV$5
Str.
jS'.
_W _w
I
L_
II
wi-wwl-wwl-wwl _,wll-^wl-wwl_A
6 =<?7T.
IM
MEDEA
TI.
(1251-1292).
VI.
song of the Chorus, with trimeters spoken in part by the
;ic
sons of
Medea (1251-1292).
\
\
Ta T K
<UrU
oAo/irmv ywauca,
Qowiav
Ta
o-as
,
yap
airo
xpwrias yova?
$ov
VTT*
8* a'/xari iriTVur
ai'e'p<i>K.
aAAa
Ftv,
</>ao9,
Epivvv
VTT*
aXaoroptov.
Marav
/io^^o? cppci
re/cvtov,
ere/ce?, u>
wcrpav a^cvwraTav
AeiAata, rt
<r
tl<rj3o\a.v.
irpooTTtrvet Kai
yap
tVi yalav avro<|>oaais ^n/wSa
eirt
O 0ev TTITVOVT*
IT.
a',
oi/ioc, TI
8pdVo>; Trot
<i8cA^i
<v
oUu/Ltecr^a yap.
H.
/T.
O^K
oK\
^arar-
MEDEA
VI.
(1251-1292).
167
Str.
I.
I_A
ww
II.
_w
>
_A I_A]]
II
III.
_
I
II
-A3
IV.
_ w,
II
II.
HI.
amph
do.
do./
IV.
23,
5,
and
Eurhythmie,
18, 9.
The
resolutions
and
irrational syllables
make
any other
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
The
third period
M1DEA
*'.
lut
VI.
(1251-1292).
X.
rXo/AOV
'Aieovcis
to)
IIapeX0to> So^ov?;
n.
&
Scorn yap-
y
TaXau'', <U op* tyrOa irerpo?
X.
Sr fric
(TtSapos, Arts TC
oporov avTox*Pl
F^oi
10
Miav
817
xXvo)
/
fttai'
rtoi'
Trapos
*Ivti)
8*
a ToXatv*
dXfiav ^>o
15
TCICVWI' 8v<r<r/3t,
c.
8'.
Ti S^r*
iroXwrovov,
ow
yevoir' a^
In
Sctvov;
w ywaiKaJv
20
&ra
/Sporois ^>c^as
ij
Kommata.
We
might assume that two trimeters of the boys Lad
-t
period of
komma
tin-
first
two koniniata
Hut
in
th.'it
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
Moreover, Koppot occur not only frequently in Euripides but also in Sophocles which begin with strophes and end with *6>/iaTa. Cf. Oed. Col. I. and Phil. V.
MEDEA
VI.
(1251-1292).
169
Komma
I.
a.
I.
Ch.
l_,
I
_, _,
w |_AII w w llww_w|_A3
II II
rdo
II.
'
do.v
/i do
do.
do.-
II.
v~/
w _A]]
w I_A
II
^{do!
Boys. trim.
trim.
Komma
Ch.
/?
do.-.
w:
__ w _ v, llww_ wl_w,
I
do.
II
N
\
)
do.J
www _w
_A _ w,
II
2
II
-- w _ A f
I
do
do. 3'
Komma
I.
w w
w _, w wl_, wllww_wl_A]]
I
II
y. w _A
I
II
I.
do.
II.
do.\
do.
rln
10
trim,
trim.
II.
w _, w
I
II
_A
II
15
trim, trim.
Komma
w w w _ w _, w _A w w ww_wl _ w, Af
w
i
S
II
r
.
do.^
do.
w www
II
wl_A
do.,
II
do..
do.
''
/ 20
II
I.
AipKcuW
vrrcp pce
/3a.vra 7ra.v<rayia
ya
os
yav
vTrepc
w d* ITTTTOKO/XOI?
5ra? 8
vrrJp
re Kat
o-
n<v*tdcv^'*H^KU<rrov
cXeti/.
rotos
raroyo? *Apo?,
** P
Zct* yap ^iryciXT^ yXwrtn^ KO/XTTOVS
fatfXxOaiptl,
KCLl
(r</KI5 ^(TlSwi'
ANTIGONE
I.
(100-154).
171
Str.
a'.
H->l L-, _w _A 1_ _w _w _w
I
II
II
]]
ii.
_>
-w w
1_,
ii
_w _
i
_A
II
_AI
II.
Str.
Per.
I.
a'.
is
ex-
nodic period.
group themselves subordinately in the greater whole of the paliThe period is not to be regarded antithetic, although
words
is
concerned, as follows
or
'
Per. II.
first
>
is
not
_w _>
The
as
was
to
be exis
13,
|
2)
regular
(_
> _>
noteworthy.
antistrophe, however,
|).
ANTIGONE
I.
(100-154).
br&tpwifo
vuajv opfJuwvT dXa\dai.
Ss Tore /xaiV'o/xcVa ^v
n'tuv ^renrei piTrats
^Ta/'.
"AAAxi 8*
irr*
'Eirra Xo^ayol
yap <'
CTTTCI Tru
Ta^^O^T9
a>
Trarpos evos
Ko.6'
avrolv
davarov /xepos
*AAAa yap a
ra
iV
vaovs
7roxo>v rav
8' f
ANTIGONE
I.
(100-154).
173
Str.
p.
i_
-v/w
II.
|_w|
_A3
_ >l-wwl _
171
i;
II.
0s:
II.
voAioO *tpay
woWov
wr
vr* oi8/icurtv,
Fav
ouca/iaTai' aTrorpvercu,
ei? ero9,
Aporpuv cros
inrctu ycFei iroAevW.
'
Acat
Kov^ovoon' re
(hjpwv aypuav
</>vXov opviOutv
d/i^>i^aXwv ayci
ZOvrj,
VOVTOV
r* ctvaXtiav ^)vc
CTTar 6xfJuitTai
o'-ptiov T* ux/xyra
afj.<j>ifia
ravpov.
?'
a
3 TO /xc'AAw
Kat &i>(rop./3pa
Qevyw
CTT*
Ov8<V
pVf.TO.L
*At3a
/zoi'ov
^ev&v OVK
TI TO
c;'
TTOTC
/xei/
Kaxor, dAAar*
eV
T*
aip<w ^ovo
OTW TO
/x^
1
"'
airoAtc,
5 fcWrri, ToAtia?
x<W- HV
^t
j
i/r* Zo-ov
^povwv Ss TaS*
ANTIGONE
II.
(332-374).
175
Str.
I.
a'.
_W|_W|L_||_>|
w|-ww|_w|
I_,
ll_>|
Str.
I.
/?.
> _
w
O) 0>
0)
O)
_A _
I
II
O)
|_,
0>ll_CDJ_w|l_|_Al|
A
II.
w
I I I I
II
_w|
I_
_w
1_,
ll_w|_w|_w|_A
|_w|_w]]
_w|_w|_w|l_
I.
a
which softens the change from the one rhythm to the other. Str. a', The Per. III., and Str. {?, Per. I., are not logaoedic, but choreic.
apparent dactyls are, therefore, not cyclic dactyls
(
w w,
I
i. e.
J j
J),
but what
may
i. e.
^^)-
The
corre-
caesura in Str.
verse 2,
makes
same
15.
this
clear.
The apparent
is
verse,
^^,
in fact
>
Con-
176
ANTIGONE
III.
(582-625).
III.
Ev&UfUWTC
off
o&rt
Ovov
tytoiov
IXActVct
yofas
ware
orav
iiri&pdfjLrj TJTOCU?,
KCU
OKTCU.
A. a*.
Ov6*
OF
6 pt^as ir tra.ro
Kar* av
TOV
oWcurra? KOTC^CI?
nap/aapoe(r<raj>
atyXav
To
T* CTTCira
Kal TO /xe'AAov
/*Jv
/xev oi^crts
8*
dWra
"
To
itaicoK
ANTIGONE
III.
(582-625).
177
Str.
a.
II.
_w|_
III.
HI.
Str.
A]]
II.
I
-wo _ o|_>,
|
U-M
III.
I
_w _
I
I!
I-
J
6
4N
II-
HI.
/U
-Ar.
L4
178
ANTIGONE
IV.
(781-800).
IV.
cv KTT//XOO-I TrtVrcts,
vcdnSos cwv^evci?
iu
<r'
ovr*
a^amrwv
$v'ifios ovSet?
dvdpu/iran',
6 S* t^cov
/xe/o?i/ev.
2u
<rv ireu
roSc
mKO?
TWV /xryaAwv
a/xa^os yap
roivSe TrapeSpos
0(TfittiV.
_, w
II
l-Aj
DL>*.
I.
l__A
II
w|
,1
l_
ANTIGONE
V.
(806-882).
179
V.
KOMMOS (806-882).
A.
'Opar'
e/x,',
a>
68oi/
<r.
a'.
KOVTTOT
aWis
'
dAAd
//.'
6 TrayKotras "AtSa?
dAX
A^epoi/Ti
/Cat (.TTCLLVOV
vv[jL<f)va'ia.
X.
CS ToS'
vKOW
KtV
6vr)T(jJv
A.
eva.v
<*
o-'
TavraXov StTrvXw
TTf.rpa.ia
rav
/ctcra-o<r
Xtcov
r' ovBafjLa
XetVei, reyyet
8' VTT'
ofypvcn TrayK\a,vroi<s
8etpd8as
Str.
I
a.
L_
-^W
_,
wll
_>
i_
~W _W
I
_A
II
_ ei-^wl _w
_
II.
!
1_
-wwl_wl
I.
N
^\
k
ra
=
tir.
180
X.
V.
(806-882).
*AAAa $0?
rot Kat
7;/xctc
& /Jporot
cyxAqpa Xa^civ
P'
/xey*
cucourat.
A.
Ot/iot ycAuyxai.
TI /i,
5 0/)3tt?
T*
vfJLfj.dpTvpas V/A/X*
7rtKToi/i,at,
O?a
Tpos
c/j/ta Tvp.j3v\ti)(rrov
lw SitTTayo? y\ ovr*
/icroucos,
\.
?
ov
^uKrtv,
ov
Y'-
ll,.".,'u,r' CTT*
t<r\aTov Opaxrovs
Aios /?(^pov
w
ov
^8*
TVCVOV, rroXvv.
CKTiVei? TIV*
A.
/xarpaJai AocTptov
5 irat
KrnjjuifjuiTti
Oiai*'
fyoi TTO^*
a raAai^pooi/
<w
8v<r/xopu) jLtarpds,
Tpof ov?
iu>
a/xiios, aya/xo?,
8voTr<Jr/x<i>v
K<wtyvrjrc ya/xwv
tU' tr*
owav
Kanjvape?
/xc.
S*
<ri 5*
A.
TavS*
CTot'/xa*'
</uXw arcvafct.
ANTIGONE
V.
(806-882).
181
I.
> -
_A]]
^w
_w _w _w _w _
II
I I
I.
II.
18*
ANTIGONE
VI.
(941-987).
VI.
aAAa^ai 8/xa9
KcuVoi
b %a\Ko&Toi<: avAcus
Ttyx/?7yp
KpvxTcytcVa 8* fr
/*
0aAa/ua>
yo-ea T^UOfj
TTUI, TTUI,
8*
0^^0X09
irats 6
Apvavros,
Kepro/u'ois o/jyat?,
*E*c
Atonxrov
TrerptoSet
KaT
5 &v&rjpbv TO fievos
iceivos
cTTtyvw
yap
evfo'ovs
ywatxas
cvtov T
jjpiOi(
p^icwv a^evos
5 ctScv apaTov
Kara
*A 84
/xcAcW irdOav
5 -n/Anropoi? ^v avrpot?
ANTIGONE
VI.
(944-987).
183
Bopeas a/xiTTTTos op$o7roSos vTrep Trayou Oewv TTCUS* dAAa KO/TT' e/cciVa
Moipai /xaKpatWc?
f-a-^ov,
a> Trat.
ANTIGOM: vn.
(1115-1154).
VII.
HTPORCHEMA (1115-1154).
IToAitui-v/iC, KaS/Act'a?
T/x<as ayaX/xa
mu
Aio? (3api"(3pfiTa.
re
7ray*coiVot9
'EAewu'ta?
Bax^ev,
KoA.7rots,
vcurra)K Trap*
*Icr/xT^ov
peiOpw, dyptov
T*
iri
cnropa SpaKorros
*
'">
Kupvjcuu
(TTl^OWTt
Kao^aXta? re
cat trc
va/xa.
Nwcu'u>v opcoov
Kurcn;pt? o^Oai
^Xwpa
T*
aKTa
afiporwv CTTOV
Eva^oWwv,
P'
Tav
/tarpt
CK Trcwrav
TIJJ^I?
vTrcprarai/
Tro'
TTaV&lflOS TToXt?
C7TI VOCTOV,
oroKocvra
'i
--I'
'
\<>pay aorrpWy
v ITTUTKI
ireu
'i
A 109
ycVetfXoi',
Ovuucriy, aicrc
ANTIGONE
VII.
(1115-1154).
185
I.
II.
w:
III.
_> _
!
186
ANTIGOM;
Mil. (IM1-1J
VIII.
EXODOS (1261-1347).
'
-
K.
<rrtpca
a>
KTavovrcLS re KCU
ftmWas
IW
TT
ft\ejrovra
Quit a/au
X.
Oi/x*
a^
K.
a>'
Oi>oi,
eV 8' e/>tw /fa
SctXatos
TOT*
,
t/Aot
E.
ra
/zo/ irpo
ri
COTIK ;
K<IKLW av KCLKOIV In ;
ywrj Tf0vrjK
rovSc
4. a'.
Iu>
8v<riraUipT0
/*'
Tt
a^xx ri //
ANTIGONE
AICU,
TI
</>$?,
VIII.
(1261-1347).
187
oAwAoV
ai/8p' e
/x-ot
a> TTCU,
Ttva Aeyeis
voi>,
atat aiat,
^cfrdytov
CTT'
oAe$pa)
eiof a[jL<f>LKelcr6cu
popov;
10
X.
'Opav
Trapeo-riv
ov yap ev /xv^ots
CTI.
K.
KCLKOV To8'
Oi/xot,
A. p'.
aAAo 8eVTpOV
^XeTTOJ TttXtt?.
/xev ev Xfipetrcrw
Str.
I.
a.
II.
>
III.
Str.
L_
_ \j _ w _ w _
|
|
\j
188
E.
ANTIGOM: MIL
*H8' o^v&jirnp
/Jw/Ata ircpi
TOV
irpiv
8i TovSc,
Xour&ov
TO)
Sc croi
K.
Aau
</x>y8<i).
aiai,
TI
/x*
ov/c
E.
'
airiav
K.
TToto)
8c KaTreXvcrar' ev <orats
E.
avro^etp avTTyv,
OTTCOS
<r.
8'.
K.
"fl/xot /xoi,
raS' OVK
CTT'
dXXov fiporuv
dp/xo<Tt TTOT'
fya>
yap
<r*
eyw CKavov,
a>
/xcXeos,
eyw,
<^>a/x*
ITV/AOV, t^ Trpoo-TroXot,
a7rdyT
/^'
/x'
X.
"ITOJ iTo>,
/TO) fJLOpiOV
6 KoXXlOT*
d/xepav
ITO),
/XtUV
</xol
nyyuay
d-yoov
*Y7TaTOS* ITW
X.
McXXovra Tavra.
/xc'Xci
TrpdVo-ctv.
uXX* wv
/X7J
<pu>/AOi,
VW
7Tp00-ei;;(OV /XT/Sc^
ANTIGONE
K.
05,
(T
VIII.
(1261-1347).
189
d. 8'.
w
T*
TTCU, ere T*
ovx
CKOOV Kare/cavov,
//,e\eo9,
t8co,
'
av ravS'.
oo/x,ot
ou8'
?ra
TO.
7rt
Kpart
IL
do.,
do.
do.'
Str.
|wwwll
I
w V^
wllww_w|_A
ANT1GONK
VIII.
(1261-lo
Exodos.
this entire chorus the dochmii are distinguished by the Where, thnvtW, the caesura does of the regular caesura. absence to occur, it has not been marked. happen
Throughout
Str.
a.
In consequence of the correspondence of w. 3 and 4, v. 3 must be These syllables have not infreregarded a catalectic bacchic dipody.
quently such value.
Str.
must not regard
v.
/3'.
tri-
pody
__ w
__
II
_w _w _
|
|
II
sible to
Such a verse would be altogether unrhythmical. It is equally impossuppose it consists of two dochmii, the second of an unheard-of
form:
e
Cf. Eitrhythmie,
__ w _ w
i
ii
^_ w
_A
ii
18, 5.
It is
Str.
Str. y'
/.
same period.
and
str.
The references
are to pages.
The
reference
is
to paragraphs.
The page
is
added
in parentheses.
I.
Iambic Trimeter
Iambic Group
First Pythiambic Group Second Pythiambic Group
.
. . .
26,3,111.
28, 3,
28, 3,
I.
(84).
II.
(94).
(94).
III.
II.
IV.
V.
VI.
28, 3, III.
(94).
Alcmanian Group
First Archilochian
28, 3,
IV.
I.
(95).
(95).
(95).
Group
28, 4,
.
VII.
28, 4,
29, 2,
II.
I.
VIII.
IX.
X.
(97). (98).
29, 2,
29, 3,
II.
I.
(99).
XI.
XII.
29,3,
II. (100).
XIII.
....
.
.
. .
29,3,
.
V. (101).
I.
29, 4,
(102).
29,4,
II. (102).
29,5,
.
I.
(103).
XIX.
Common
....
.
29, 5,
II. (104).
Ode.
GENERAL INDKX.
NOTT.
The refrrwicet are to pages. The letters */. or 577. rlaoe<l after tho number of a show that the sulject referred to extends int" th.- f<>li,>\vin- ],;,-, or pages. The wonl In black letter, and is i.ftrn n-pivsenUMl in the l>M,ly >f the reference by > The heavy-faced numeral marks the inure important reference. (
, i
Acatalectic very
Accent,
avTTrCppT]}ta, 123.
period,
Accents, not marks of protraction or pulinodic period, 140 sq. nor of dvTwStj, 123. sharpening of vowels, 4 nor of intonati Archilochian groups, 95 sq. dactylic quantity, 11
; ;
:
but
of,
ivation of
.
16
no
confli
name and
group, 09 sq.
logaoedic
group,
100
sq.
quantity
16.
;
'Api<rro<|)dviov, 70.
Accentuation, 15 sqq.
not to be con-
Arsis
(<Sp<m
Asclepiadean group,
greater, 98 sq.
;
lesser,
97
sq.
Acute
accent, 16.
greater,
;;>,
98
sq.
;
In]
>,j.
102
69
interchange
Alcmanian
gronp, 95
78.
four-lined, 101.
Amphidochmiu*, Amphimmc*
,
Basis, 90
si
p|
Break,
d.-tin.-.l,
60.
drrwr^XXa/5or, 70.
27.
used in
GENERAL INDEX.
Choree, 26 and 30
inverted, 92 sq.
;
195
68.
recitative,
50
sq.
Encomiologicum,
sq.
67.
Choreic sentences, 68
cvoirXtos, 116.
Choriambic
sentences, 69.
;
123.
devrepos, 41
;
Choriambus, 26 and 31
ionic verse, 74.
admitted into
43.
sq.
strophes,
sq.
sqq.
119
118
134 sqq.
87.
Chorus, highly developed, 119; different names of, 122 sq. Circumflex accent, 16 only on con;
Eupolideum, metrum,
Eurhythmy, 124
sqq.
tracted syllables,
protraction, 18.
17
not mark of
Exodos, anapaests
of,
in the,
of
Attic
in
Cyclic dactyl, 44
in the trimeter, 51
proceleusmatic, 49.
Dactyl, 26 and 28
10 sq. and 26
;
light
cyclic,
Glyconics, 70.
Grave
accent, 16.
;
49
83
sq.
;
Dactylic sentences, 67
sq.
hexameter,
pro-
106.
Dance
march melodies, 120. Halting iambi, 37. facts which show Hemiambics, 107. Declamation, 81 the odes of Horace intended for, 105. Hexameter, contraction
;
in, 23.
Diaeresis, 58 sq.
Hexapody, 64
interchange
sq.
Dichoreic sentences,
vowels,
4.
69.
Diphthongs, regarded
Dipody,
63.
as
protracted
lambelegus,
68.
Iambic
Iambus,
and
sentences,
first
trimeter,
;
why
so called,
32
84 sqq.
sq.
Distichon, 93
Doric
melodies, 41 sqq.;
67 sq.
23
Elegiac verse, 39
sq.
93.
mic, 55.
196
Intonation, 11 sqq.; of measures, 25;
of sentences, 01 sq.
>i:\.
s.|i.;
55.
sqq.
Inverted
Ionic,
78 31
;
choree, 92 aq.
agreement of fonvsponding
nu-in-
26 and
74
forms
;
ol
Molossus, 26 and
33.
Ionic sentences, 69
group. 103.
Monody,
Mora, Music,
81
122.
lonicus anaclomenus
Irrational sylla measures *
tative verse, 50
in com.
;
origin of
tin;
forms
of,
10
sij.|.;
iiistruiiu-ntul,
"21
limitations of vo>
choree r
:-.-spondencc of
cal,
'Jl
ili-vi-lnj.nuMit of,
and
Notes
OV, 122.
123.
123.
6cio,
16.
KXov, 55
sqq.
Paeon, 27 and 33
ACvos, 19; 117.
interchange of with
Logaoedic sentences, 70
Logaoedica, 43 sqq.;
sqq.
of,
Paeonic
vcisr,
;
final
measure
r
of,
40
forms
sentences, 69
dochrnius, 78.
l-J.
;
Palinodic
period,
jM-n-xl,
n-p.-at'd
126
;
antithetic
i^-riud,
!''>'
Lyric
128 sqq.
jian.sc in
mesodic
-
i>criod,
i-panse in
,
prriod, 138
\
;
115
type,
characteristics of,
n.
repeated
period, 138
sq.
March
113
[. ;
-]>ause in
1
l !l
antithetic
different
p'ri<>d,
-pause
in
nn
from dance
period, 143.
melodies,
Parabasis, 122.
.
beginning
of,
has an
JJ
the,
of
;\ttie.
try
stateni'
f<>-
Ming.
Pauses, marks
136 Sqq.
of,
27
never
in
the
<>f,
-|q.
fundamental
midilln of a verse,
40;
position
Pedes, 20.
.".4
;
iliythnii.-al
of, 7:
Pentameter,
value
of,
55
interchange
.
74.
Pentapody, Period, 79
according to grouping,
iii
Meaode, Meaodic
i"d,
121.
j
palinodic
in
repeated
iin-im|ilete, 139.
198
;>anse
in
^c
Periodology,
wrTrw^vt),
irpocrySi'a.
hi'iidi'i-.-i.syllalium.
7-'.
jmlinodic
|x
Phalaeceum
118.
ml, 70.
GENERAL INDEX.
Phonology,
irvi-yos,
197
;
115
3 sqq. 122.
7rd8es, 20.
Sentence, rhythmical, 55 sqq. grammatical defined, 56 sq. rhythmical defined, 57; close of, 57 sqq.; into;
of,
;
80 sqq.
19 sqq. genesis of
;
nation
of,
61 sq.
division
of,
61
ictuses of, 61 sq. ; length of, 63 sqq. ; rules for length of, 65 sq. ; most fre-
for, 8.
;
pauses be-
quent varieties of, 67 sqq.; highest rhythmical unit in lyric system, 106.
134 sqq.
87
pauses
after,
Sharpening of vowels, 3 Sotadeum, 88. Spondaic sentences, 68. Spondees, 26 and 29.
Stasima, 122.
;
sqq.
Priapeus,
88.
first,
Stichic period, 124 repeated period, 124 sq. verse-pause in period, 137 verse-pause in repeated pe;
riod, 138. Pronunciation, of the vowels, 4 of the elided vowels and syllables of Strophe, 52; choric, 120 sqq.; in en-
123.
Syllaba anceps,
;
58.
;
134 sqq.
natura,
of irra-
irpoo-oSiciKos, 116.
relative value
;
mark
accentus, 16.
3 sqq.
24
"half-shorts," 49.
;
Pythiambic group,
first
and second,
Syncope, 35
37 sqq.
9.
Quantity, defined, 7
rules
of,
marks
of,
insq.
;
Systems,
lyric,
105 sqq.
dependent of vowel-articulation, 7
8
;
relative,
Recitative poetry, 80
Resolution, 22 sqq.
and T, pronunciation of in Latin, 10. Tetrapody, 64. Thesis (de<ns), 22 primary and secondtype, 83 sqq. ary in paeons and choriambi, 25.
of long
;
Rhythm,
3.
;
eleva-
11
five to
be distinguished,
79.
Tribrach, 26
Sapphic group,
group, 104.
greater, 100
common
72.
called,
32
84.
Surrjfios, 44, 48.
;
Sapphicum hendecasyllabum,
Scazon, tetrameter, 86
;
Tpoxcuos
trimeter, 86.
198
KRAL INDEX.
Verse, defined, 58 ; asynartete, 60 sq. different from sentence, 63 ; recitative,
;
83 sqq.
proper
5.
3 sqq.
doubtful,
*wopxtj|iaTa,122;1328q.
THE END.
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