– ⏑ – ⏑ – ⏑ –τιπτε | μοι τοδ | εμπεδ|ονꞈ‖1 2 3 4– ⏑ – ⏑ – ⏑ –δειμα | προστατ|ηρι|ονꞈ‖1 2 3 4– ⏑ – ⏑ – ⏑ – ⏑ ⏗ –καρδι|ας τερ|ασκοπ|ου ποτ|ατ|αιꞈ‖1 2 3 4 5 6– ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ ⏗ –μαντιπολ|ει δ ακελ|ευστος αμ|ισθος α|οιδ|αꞈ‖1 2 3 4 5 6– ⏑ – ⏑ – ⏑ –ουδ απ|οπτυσ|αι δικ|ανꞈ‖1 2 3 4– ⏑ – ⏑ – ⏑ –δυσκριτ|ων ον|ειρατ|ωνꞈ‖1 2 3 4
– ⏑ – ⏑ – ⏑ –τιπτε | μοι τοδ | εμπεδ|ονꞈ‖1 2 3 4– ⏑ – ⏑ – ⏑ –δειμα | προστατ|ηρι|ονꞈ‖1 2 3 4– ⏑ – ⏑ – ⏑ – ⏑ ⏗ –καρδι|ας τερ|ασκοπ|ου ποτ|ατ|αιꞈ‖1 2 3 4 5 6– ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ ⏗ –μαντιπολ|ει δ ακελ|ευστος αμ|ισθος α|οιδ|αꞈ‖1 2 3 4 5 6– ⏑ – ⏑ – ⏑ –ουδ απ|οπτυσ|αι δικ|ανꞈ‖1 2 3 4– ⏑ – ⏑ – ⏑ –δυσκριτ|ων ον|ειρατ|ωνꞈ‖1 2 3 4
If we examine this to find structural unity, it soon appears. The first pair of lines answers to the last, and line three to line four, in the number of their feet 4 + 4, 6, 6, 4 + 4. The correspondence is indicated thus:—
⎰ 4⎛ ⎱ 4⎜ ⎛ 6⎜ ⎝ 6⎝ ⎰ 4⎱ 4
⎰ 4⎛ ⎱ 4⎜ ⎛ 6⎜ ⎝ 6⎝ ⎰ 4⎱ 4
Each of these masses, it will be noticed, is marked off by the sign ‖. Such a mass is named a “sentence” or “colon” (κῶλον, “limb”), and such a balanced structure of cola is named a “period” (περίοδος, “circuit”). It happens that in the passage just examined the “sentence” division always occurs at the end of a word, but this is not invariably so. We proceed now with the second paragraph[878]—the second period as we shall now call it.
– ⏑ ⏗ – ⏑ ⏗ – ⏑ – ⏑ – ⏑ –θαρσος | ευπ|ειθες | ιζ‖ει φρεν|ος φιλ|ον φρον|ονꞈ‖1 2 3 4 1 2 3 4⏑ – ⏑ – ˃ – ⏑ – ⏑ – ⏑ –χρον⁝ος δε | τοι πρυμν|ησι|ων ξυν | εμβολ|αιςꞈ‖1 2 3 4 5 6– ⏑ ⏗ – ⏑ – ⏑ – ⏑ – ⏑ – ⏑ –ψαμμι|ας | εξ ακτ|ας βεβ‖ηκεν | ευθ υπ | Ιλι|ονꞈ‖1 2 3 4 1 2 3 4– ⏑ – ⏑ – ⏑ –ωρτο | ναυβατ|ας στρατ|οςꞈ‖1 2 3 4
– ⏑ ⏗ – ⏑ ⏗ – ⏑ – ⏑ – ⏑ –θαρσος | ευπ|ειθες | ιζ‖ει φρεν|ος φιλ|ον φρον|ονꞈ‖1 2 3 4 1 2 3 4⏑ – ⏑ – ˃ – ⏑ – ⏑ – ⏑ –χρον⁝ος δε | τοι πρυμν|ησι|ων ξυν | εμβολ|αιςꞈ‖1 2 3 4 5 6– ⏑ ⏗ – ⏑ – ⏑ – ⏑ – ⏑ – ⏑ –ψαμμι|ας | εξ ακτ|ας βεβ‖ηκεν | ευθ υπ | Ιλι|ονꞈ‖1 2 3 4 1 2 3 4– ⏑ – ⏑ – ⏑ –ωρτο | ναυβατ|ας στρατ|οςꞈ‖1 2 3 4
That is: 4 + 4, 6, 4 + 4, 4. This would be an obviously well-balanced structure but for the last colon, to which nothing corresponds. Such an extra sentence is called a “postlude” (ἐπῳδικόν). Non-corresponding sentences like this are far from rare.[879]They may occur at the beginning of the period (“prelude,” προῳδικόν), in the middle (“mesode,” μεσωδικόν), or at the end. This very period supplies an example of a mesode as well as of a postlude. The scheme is:—
⎰ 4⎛ ⎱ 4⎜ 6—mesode.⎝ ⎰ 4⎱ 44—postlude.
⎰ 4⎛ ⎱ 4⎜ 6—mesode.⎝ ⎰ 4⎱ 44—postlude.
The whole passage, then, consists of two periods connected by meaning and grammar, but—for us—by no more intimate musical bond than the common use of trochees. But the dance and music which accompanied the whole would clearly demonstrate its unity. The end of a period is indicated by ‖.
It is necessary now to consider briefly the passage which immediately follows (vv. 988sqq.):—
Πεύθομαι δ’ ἀπ’ ὀμμάτωννόστον, αὐτόμαρτυς ὤν·τὸν δ’ ἄνευ λύρας ὅμως ὑμνῳδεῖθρῆνον Ἐρινύος αὐτοδίδακτος ἔσωθενθυμός, οὐ τὸ πᾶν ἔχωνἐλπίδος φίλον θράσος.σπλάγχνα δ’ οὔτοι ματάζει πρὸς ἐνδίκοις φρεσίντελεσφόροις δίναις κυκλούμενον κέαρ.εὔχομαι δ’ ἐξ ἐμᾶς τοι[880]ἐλπίδος ψύθη πεσεῖνἐς τὸ μὴ τελεσφόρον.
Πεύθομαι δ’ ἀπ’ ὀμμάτωννόστον, αὐτόμαρτυς ὤν·τὸν δ’ ἄνευ λύρας ὅμως ὑμνῳδεῖθρῆνον Ἐρινύος αὐτοδίδακτος ἔσωθενθυμός, οὐ τὸ πᾶν ἔχωνἐλπίδος φίλον θράσος.σπλάγχνα δ’ οὔτοι ματάζει πρὸς ἐνδίκοις φρεσίντελεσφόροις δίναις κυκλούμενον κέαρ.εὔχομαι δ’ ἐξ ἐμᾶς τοι[880]ἐλπίδος ψύθη πεσεῖνἐς τὸ μὴ τελεσφόρον.
Πεύθομαι δ’ ἀπ’ ὀμμάτωννόστον, αὐτόμαρτυς ὤν·τὸν δ’ ἄνευ λύρας ὅμως ὑμνῳδεῖθρῆνον Ἐρινύος αὐτοδίδακτος ἔσωθενθυμός, οὐ τὸ πᾶν ἔχωνἐλπίδος φίλον θράσος.σπλάγχνα δ’ οὔτοι ματάζει πρὸς ἐνδίκοις φρεσίντελεσφόροις δίναις κυκλούμενον κέαρ.εὔχομαι δ’ ἐξ ἐμᾶς τοι[880]ἐλπίδος ψύθη πεσεῖνἐς τὸ μὴ τελεσφόρον.
Πεύθομαι δ’ ἀπ’ ὀμμάτων
νόστον, αὐτόμαρτυς ὤν·
τὸν δ’ ἄνευ λύρας ὅμως ὑμνῳδεῖ
θρῆνον Ἐρινύος αὐτοδίδακτος ἔσωθεν
θυμός, οὐ τὸ πᾶν ἔχων
ἐλπίδος φίλον θράσος.
σπλάγχνα δ’ οὔτοι ματάζει πρὸς ἐνδίκοις φρεσίν
τελεσφόροις δίναις κυκλούμενον κέαρ.
εὔχομαι δ’ ἐξ ἐμᾶς τοι[880]ἐλπίδος ψύθη πεσεῖν
ἐς τὸ μὴ τελεσφόρον.
This is an exact counterpart in syllables, feet, cola, and periods, of the first passage. The first is called the “strophe” (στροφή, “turn”), the second the “antistrophe” (ἀντιστροφή, “counter-turn”). The chorus,while singing the one, performed various evolutions about the orchestra, and these were repeated exactly, but in reversed order, while they sang the antistrophe. All these lyrics are so constructed; the normal tragic “chorus” consists of one or more such pairs, though occasionally the antistrophe is followed by a passage called an “epode”.[881]The epodes correspond to each other, not to the strophes. This equivalence of strophe and antistrophe is often of value in determining the quantities or the text in one of them.
We have now gained some insight into the nature of a Greek choric song. But before proceeding further it will be well to deepen our impression by taking from theAgamemnon(vv. 160sqq.) another, and a simpler, pair of strophes:—
Ζεύς, ὅστις ποτ’ ἐστίν, εἰ τόδ’ αὐτῷ φίλον κεκλημένῳ,τοῦτό νιν προσεννέπω.οὐχ ἔχω προσεικάσαι, πάντ’ ἐπισταθμώμενος,πλὴν Διός, εἰ τὸ μάταν ἀπὸ φροντίδος ἄχθοςχρὴ βαλεῖν ἐτητύμως.οὐδ’ ὅστις πάροιθεν ἦν μέγας, παμμάχῳ θράσει βρύων,οὐδὲ λέξεται πρὶν ὤν·ὃς δ’ ἔπειτ’ ἔφυ τριακτῆρος οἴχεται τυχών.Ζῆνα δέ τις προφρόνως ἐπινίκια κλάζωντεύξεται φρενῶν τὸ πᾶν.
Ζεύς, ὅστις ποτ’ ἐστίν, εἰ τόδ’ αὐτῷ φίλον κεκλημένῳ,τοῦτό νιν προσεννέπω.οὐχ ἔχω προσεικάσαι, πάντ’ ἐπισταθμώμενος,πλὴν Διός, εἰ τὸ μάταν ἀπὸ φροντίδος ἄχθοςχρὴ βαλεῖν ἐτητύμως.οὐδ’ ὅστις πάροιθεν ἦν μέγας, παμμάχῳ θράσει βρύων,οὐδὲ λέξεται πρὶν ὤν·ὃς δ’ ἔπειτ’ ἔφυ τριακτῆρος οἴχεται τυχών.Ζῆνα δέ τις προφρόνως ἐπινίκια κλάζωντεύξεται φρενῶν τὸ πᾶν.
Ζεύς, ὅστις ποτ’ ἐστίν, εἰ τόδ’ αὐτῷ φίλον κεκλημένῳ,τοῦτό νιν προσεννέπω.οὐχ ἔχω προσεικάσαι, πάντ’ ἐπισταθμώμενος,πλὴν Διός, εἰ τὸ μάταν ἀπὸ φροντίδος ἄχθοςχρὴ βαλεῖν ἐτητύμως.
Ζεύς, ὅστις ποτ’ ἐστίν, εἰ τόδ’ αὐτῷ φίλον κεκλημένῳ,
τοῦτό νιν προσεννέπω.
οὐχ ἔχω προσεικάσαι, πάντ’ ἐπισταθμώμενος,
πλὴν Διός, εἰ τὸ μάταν ἀπὸ φροντίδος ἄχθος
χρὴ βαλεῖν ἐτητύμως.
οὐδ’ ὅστις πάροιθεν ἦν μέγας, παμμάχῳ θράσει βρύων,οὐδὲ λέξεται πρὶν ὤν·ὃς δ’ ἔπειτ’ ἔφυ τριακτῆρος οἴχεται τυχών.Ζῆνα δέ τις προφρόνως ἐπινίκια κλάζωντεύξεται φρενῶν τὸ πᾶν.
οὐδ’ ὅστις πάροιθεν ἦν μέγας, παμμάχῳ θράσει βρύων,
οὐδὲ λέξεται πρὶν ὤν·
ὃς δ’ ἔπειτ’ ἔφυ τριακτῆρος οἴχεται τυχών.
Ζῆνα δέ τις προφρόνως ἐπινίκια κλάζων
τεύξεται φρενῶν τὸ πᾶν.
⏗|⏗|–⏑|–⏑|–⏑|⏗‖–⏑|–⏑|–⏑|–ꞈ‖–⏑|–⏑|–⏑|–ꞈ‖–⏑|–⏑|–⏑|⏗‖–⏑|–⏑|–⏑|–ꞈ‖–⏑⏑|–⏑⏑|–⏑⏑|–⏑⏑|⏗|–ꞈ‖–⏑|–⏑|–⏑|–ꞈ‖
⏗|⏗|–⏑|–⏑|–⏑|⏗‖–⏑|–⏑|–⏑|–ꞈ‖–⏑|–⏑|–⏑|–ꞈ‖–⏑|–⏑|–⏑|⏗‖–⏑|–⏑|–⏑|–ꞈ‖–⏑⏑|–⏑⏑|–⏑⏑|–⏑⏑|⏗|–ꞈ‖–⏑|–⏑|–⏑|–ꞈ‖
⎰ 6⎛ ⎱ 4⎜ ⎛ 4⎜ ⎜ 4—mesode.⎜ ⎝ 4⎝ ⎰ 6⎱ 4
⎰ 6⎛ ⎱ 4⎜ ⎛ 4⎜ ⎜ 4—mesode.⎜ ⎝ 4⎝ ⎰ 6⎱ 4
The chief interest of this subject is the art wherewith the Greek masters accompanied variations of emotion and the like with variations of rhythm. This passage affords a simple and stately example. The heavy opening (⏗⏗) is followed by the more confident trochees till, at the last line but one, religious rapture (in the strophe) and the ardour of triumph (in the antistrophe) burst forth with the leaping cyclic dactyls.
We have now become acquainted with three rhythmical masses: the colon, the period, the strophe. Are there others? What is a “verse” in lyrics? There is no such thing.[882]One must, of course, distinguish between a “line” and a “verse”. Lines there must be—that is an affair of the scribe and the printer; verses are rhythmical units, and there is no rhythmical mass in Greek lyrics between the colon and the period. How then are we to arrange our periods, there being no verse-division? The most obvious way is to write each colon as a separate line. The difficulty is that we shall often be compelled to break words:—
θάρσος εὐπειθὲς ἵζ-ει φρενὸς φίλον θρόνον ...ψαμμίας ἐξ ἀκτᾶς βέβ-ηκεν....
θάρσος εὐπειθὲς ἵζ-ει φρενὸς φίλον θρόνον ...ψαμμίας ἐξ ἀκτᾶς βέβ-ηκεν....
θάρσος εὐπειθὲς ἵζ-ει φρενὸς φίλον θρόνον ...ψαμμίας ἐξ ἀκτᾶς βέβ-ηκεν....
θάρσος εὐπειθὲς ἵζ-
ει φρενὸς φίλον θρόνον ...
ψαμμίας ἐξ ἀκτᾶς βέβ-
ηκεν....
Another method is to let each line run on until we reach a colon-ending which coincides with a word-ending. Here is no new rhythmical rule: it is purely a question of convenience for the eye. Next, shall we ever write lines of (say) two cola the first of which does close with a word-ending? It is natural so to do when to the two cola in question there correspond (whether periodically or strophically) two cola whichmuston this system fill one line only. For instance, in Æsch.,Supplices, 656, we shall write—
– ⏑ ⏑ – ⏑ ⏗ –⏑ ⏑ – ⏑ ⏗ – ⏑ ⏑ – ⏑ – ⏑–και γαρ υποσκιων ‖ νυν στοματων ποτασθ‖ω φιλοτιμος ευχα ‖,
– ⏑ ⏑ – ⏑ ⏗ –⏑ ⏑ – ⏑ ⏗ – ⏑ ⏑ – ⏑ – ⏑–και γαρ υποσκιων ‖ νυν στοματων ποτασθ‖ω φιλοτιμος ευχα ‖,
though the first colon ends at the end of ὑποσκίων, because the corresponding passage of the antistrophe runs—
– ⏑ ⏑ – ⏑ ⏗ – ⏑ ⏑ – ⏑ ⏗ –⏑ ⏑ – ⏑ – ᷋και γεραροι δε πρεσβ‖υτοδοκοι γεμοντ‖ων θυμελαι φλεγοντων ‖,
– ⏑ ⏑ – ⏑ ⏗ – ⏑ ⏑ – ⏑ ⏗ –⏑ ⏑ – ⏑ – ᷋και γεραροι δε πρεσβ‖υτοδοκοι γεμοντ‖ων θυμελαι φλεγοντων ‖,
where the first colon ends inside a word. It is purely a matter of taste whether we give a line to each colon, in which case the drawback is the breaking of words, or continue our line till breaking of words is excluded, the trouble about which method is the reader’s difficulty in seeing where some of the cola begin.
We must now consider the most vital and difficult portion of our subject. How are we to determine the cola? The colon is the very soul of the rhythm. The period is generally too long for the ear to receive it as one artistic impression. The foot is too short; moreover, the mere foot too often tends to play one false: irrational syllables and τονή are against us. But the colon is neither too long nor too short. The colon-division serves the same purpose as non-commissioned officers in a regiment, or the determination of watersheds in geography—it gives a sense both of grouping and of control.
What preciselyisa colon? It is as much of a strophe as can be uttered without making a new start. It is the embodiment of rhythm, as the foot is the embodiment of metre. In other words, it is a series of feet bound into a rhythmical unity by the presence of one main ictus. Three questions, then, arise. (i) What is an ictus? (ii) Which is the main ictus of a series? (iii) Can we with certainty determine the beginning and end of a colon when we have identified the main ictus?
(i) Ictus is stress-accent. The ictus of any single word is usually obvious. In the word “maritime” it falls upon the first syllable, in “dragoon” upon the second, in “cultivation” upon the third. In πάντων, λυσαμένοις, and κατάπαστος, it falls upon the first, second, and third respectively. Greek metre is basedupon quantity, but Greek rhythm (like all other rhythm) is based upon ictus. A strophe can, and must, be scanned foot by foot on quantity alone; but when we go beyond the foot-division to exhibit the structure of the whole, we must refer to ictus and nothing but ictus—for structure is an affair of cola, and the colon is created by the main ictus.
(ii) Among the many word-ictuses of a considerable passage, a few will be found which are heavier than the rest. These are simply the ictuses of the most important words. Each of these prominent ictuses gathers the neighbouring minor ictuses into a group round itself. We should begin then by fixing some obvious example, one (that is) where the main ictus is unmistakable, and on this basis attempt, by the help of the correspondences which we expect, to determine other main ictuses. The strophe will thus gradually fall into cola. This leads us at once to our third question.
(iii) Can we with certainty determine the extent of each colon? Unfortunately no simple invariable rule can be given for the settlement of this vital point. But certain useful principles may be mentioned.
(a) A well-trained ear is the chief guide. Intelligent and careful reading aloud of an English prose-passage will show this. Take first (the best-known version of) a famous sentence of John Bright:—
The Angel of Death is abroad in the land: you may almost hear the beating of his wings.
The Angel of Death is abroad in the land: you may almost hear the beating of his wings.
It is plain that this falls into two rhythmical parts, though we shall not expect them to correspond, since this is prose, not verse. If we set a dash for each syllable and mark the ictuses by one or more dots according to their strength, we find this scheme:—
⁚ ⁝ ⁚ ·- - - - - - - - - - - ‖· ⁚ ⁝ ⁚- - - - - - - - - - - ‖
⁚ ⁝ ⁚ ·- - - - - - - - - - - ‖· ⁚ ⁝ ⁚- - - - - - - - - - - ‖
(It will be noticed that in this superb passage the two periods do, as it happens, correspond in length.)
Who hath believed our report? And to whom is the arm of the Lord revealed? (Isaiahliii. 1).
Who hath believed our report? And to whom is the arm of the Lord revealed? (Isaiahliii. 1).
· ⁚ ⁝ · ⁚ ⁝ ⁚- - - - - - - ‖ - - - - - - - - - - - ‖
· ⁚ ⁝ · ⁚ ⁝ ⁚- - - - - - - ‖ - - - - - - - - - - - ‖
So with longer passages, where, however, we shall find at times that our voice quite naturally makes a colon-ending in the midst of a grammatical sentence.
Therefore let us also, ‖ seeing we are compassed about ‖ with so great a cloud of witnesses, ‖ lay aside every weight, ‖ and the sin which doth so easily beset us, ‖ and let us run with patience ‖ the race that is set before us ‖ (Hebrewsxii. 1, R.V.).
Therefore let us also, ‖ seeing we are compassed about ‖ with so great a cloud of witnesses, ‖ lay aside every weight, ‖ and the sin which doth so easily beset us, ‖ and let us run with patience ‖ the race that is set before us ‖ (Hebrewsxii. 1, R.V.).
· ⁚ ·- - - - - -· ⁚ ·- - - - - - - -· ⁚ ⁝- - - - - - - - -· ⁚ ⁝- - - - - - -⁚ ⁝ ⁚- - - - - - - - - - - -· ⁚ ⁝- - - - - - -⁝ ⁚ ·- - - - - - - -
· ⁚ ·- - - - - -· ⁚ ·- - - - - - - -· ⁚ ⁝- - - - - - - - -· ⁚ ⁝- - - - - - -⁚ ⁝ ⁚- - - - - - - - - - - -· ⁚ ⁝- - - - - - -⁝ ⁚ ·- - - - - - - -
(Observe how, in the last two cola, first the mounting and then the declining emphasis provide a splendid close.)
Let us now attempt so to catch the rhythm of a passage from Sophocles (Antigone, 582sqq.) if set out as prose.
εὐδαίμονες οἷσι κακῶν ἄγευστος αἰών. οἷς γὰρ ἂν σεισθῇ θεόθεν δόμος, ἄτας οὐδὲν ἐλλείπει, γενεᾶς ἐπὶ πλῆθος ἕρπον· ὅμοιον ὥστε ποντίαις οἶδμα δυσπνόοις ὅταν θρῄσσαισιν ἔρεβος ὕφαλον ἐπιδράμῃ πνοαῖς, κυλίνδει βυσσόθεν κελαινὰν θῖνα, καὶ δυσάνεμοι στόνῳ βρέμουσιν ἀντιπλῆγες ἀκταί. ἀρχαῖα τὰ Λαβδακιδᾶν οἴκων ὁρῶμαι πήματα φθιτῶν ἐπὶ πήμασι πίπτοντ’, οὐδ’ ἀπαλλάσσει γενεὰν γένος, ἀλλ’ ἐρείπει θεῶν τις, οὐδ’ ἔχει λύσιν. νῦν γὰρ ἐσχάτας ὑπὲρ ῥίζας ὃ τέτατο φάος ἐν Οἰδίπου δόμοις, κατ’ αὖ νιν φοινία θεῶν τῶν νερτέρων ἀμᾷ κονίς, λόγου τ’ ἄνοια καὶ φρενῶν Ἐρινύς.
εὐδαίμονες οἷσι κακῶν ἄγευστος αἰών. οἷς γὰρ ἂν σεισθῇ θεόθεν δόμος, ἄτας οὐδὲν ἐλλείπει, γενεᾶς ἐπὶ πλῆθος ἕρπον· ὅμοιον ὥστε ποντίαις οἶδμα δυσπνόοις ὅταν θρῄσσαισιν ἔρεβος ὕφαλον ἐπιδράμῃ πνοαῖς, κυλίνδει βυσσόθεν κελαινὰν θῖνα, καὶ δυσάνεμοι στόνῳ βρέμουσιν ἀντιπλῆγες ἀκταί. ἀρχαῖα τὰ Λαβδακιδᾶν οἴκων ὁρῶμαι πήματα φθιτῶν ἐπὶ πήμασι πίπτοντ’, οὐδ’ ἀπαλλάσσει γενεὰν γένος, ἀλλ’ ἐρείπει θεῶν τις, οὐδ’ ἔχει λύσιν. νῦν γὰρ ἐσχάτας ὑπὲρ ῥίζας ὃ τέτατο φάος ἐν Οἰδίπου δόμοις, κατ’ αὖ νιν φοινία θεῶν τῶν νερτέρων ἀμᾷ κονίς, λόγου τ’ ἄνοια καὶ φρενῶν Ἐρινύς.
If we first mark the quantities (ignoring, as we must at first, the possibility of ⏗ and ⏘) and go over the whole carefully, we soon find that it falls into two corresponding portions: εὐδαίμονες ... ἀκταί is the strophe, ἀρχαῖα ... Ἐρινύς the antistrophe. Next we look for rhythmical units. On the one hand, there is the great difficulty that, since we must have both periodic and strophic equivalence, certain cola may take in words not belonging to the same sense-groups or grammaticalclauses. On the other hand, the fact that we have two great masses which correspond exactly will help us. First, then, we note that εὐδαίμονες ... αἰών looks promising, and observing that this points to ἀρχαῖα ... ὁρῶμαι as a colon also, and that this is in itself likely, we mark off both these groups. Conversely, at the end of the antistrophe, λόγου ... Ἐρινύς attracts us, and this is supported by the naturalness of στόνῳ ... ἀκταί at the end of the strophe. Working backwards, and seeing a pause in the punctuation at precisely the same place in both halves, namely, after πνοαῖς and δόμοις, we assume that κυλίνδει ... δυσάνεμοι and κατ’ αὖ ... κονίς are correspondent masses. But each is too long—sixteen syllables—to be pronounced as a unit. We soon perceive that κυλίνδει ... κελαινάν, θῖνα ... δυσάνεμοι, κατ’ αὖ ... τῶν, νερτέρων ... κονίς, are all separate cola. Going backwards again, we find that ἐπιδράμῃ[883]πνοαῖς and Οἰδίπου δόμοις, ὕφαλον ... πνοαῖς and φάος ... δόμοις, Θρῄσσαισιν ... πνοαῖς and ῥίζας ... δόμοις, and indeed longer masses still, all give a metrical correspondence. Which pair are we to select? οἶδμα ... πνοαῖς (= νῦν ... δόμοις) is too long; ἐπιδράμῃ πνοαῖς (= Οἰδίπου δόμοις) is too short. For we seek the longest unit which is convenient. We therefore mark off οἶδμα ... ὅταν, νῦν ... ὑπέρ, Θρῄσσαισιν ... πνοαῖς, ῥίζας ... δόμοις as cola. The same method will give us ὅμοιον ... ποντίαις and θεῶν ... λύσιν. Then we find ourselves left with οἷς γάρ ... ἕρπον and πήματα ... ἐρείπει, which we divide after ἄτας and πίπτοντ’.
At last we can set out the passage according to its structure. The strophe runs thus:—
˃ – ⏑ ⏑ – ⏑ ⏑ – ⏑ – ⏑ ⏗ –ευ⁝δαιμονες | οισι κακ|ων α|γευστος | αι|ωνꞈ‖– ⏑ – ˃ – ⏑ – ⏑ ⏑ ⏗ –οις γαρ | αν σεισθ|ῃ θεο|θεν δομος | ατ|αςꞈ‖– ⏑ – ˃ – ⏑ ⏑ – ⏑ ⏑ – ⏑ – ⏑ουδεν | ελλειπ|ει γενε|ας επι | πληθος | ερπον ‖⏑ – ⏑ – ⏑ – ⏑ –ο⁝μοιον | ωστε | ποντι|αιςꞈ‖– ⏑ – ⏑ – ⏑ –οιδμα | δυσπνο|οις οτ|ανꞈ‖˃ – ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ – ⏑ –Θρησσ⁝αισιν | ερεβος | υφαλον | επιδραμ|ῃ πνο|αιςꞈ‖⏑ – ˃ – ⏑ – ⏑ – ˃κυ⁝λινδει | βυσσο|θεν κελ|αιναν ‖– ⏑ – ⏑ – ⏑ –θινα | και δυσ|ανεμ|οιꞈ‖⏑ – ⏑ – ⏑ – ⏑ – ⏑ ⏗ –στον⁝ῳ βρεμ|ουσιν | αντιπλ|ηγες | ακτ|αιꞈ‖
˃ – ⏑ ⏑ – ⏑ ⏑ – ⏑ – ⏑ ⏗ –ευ⁝δαιμονες | οισι κακ|ων α|γευστος | αι|ωνꞈ‖– ⏑ – ˃ – ⏑ – ⏑ ⏑ ⏗ –οις γαρ | αν σεισθ|ῃ θεο|θεν δομος | ατ|αςꞈ‖– ⏑ – ˃ – ⏑ ⏑ – ⏑ ⏑ – ⏑ – ⏑ουδεν | ελλειπ|ει γενε|ας επι | πληθος | ερπον ‖⏑ – ⏑ – ⏑ – ⏑ –ο⁝μοιον | ωστε | ποντι|αιςꞈ‖– ⏑ – ⏑ – ⏑ –οιδμα | δυσπνο|οις οτ|ανꞈ‖˃ – ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ ⏑ – ⏑ –Θρησσ⁝αισιν | ερεβος | υφαλον | επιδραμ|ῃ πνο|αιςꞈ‖⏑ – ˃ – ⏑ – ⏑ – ˃κυ⁝λινδει | βυσσο|θεν κελ|αιναν ‖– ⏑ – ⏑ – ⏑ –θινα | και δυσ|ανεμ|οιꞈ‖⏑ – ⏑ – ⏑ – ⏑ – ⏑ ⏗ –στον⁝ῳ βρεμ|ουσιν | αντιπλ|ηγες | ακτ|αιꞈ‖
There are two periods:—
I II⎛ 6 ⎛ 6⎝ 6 ⎜ ⎰ 4⎜ ⎛ ⎱ 4⎜ ⎜ 6—mesode.⎜ ⎜ ⎰ 4⎜ ⎝ ⎱ 4⎝ 6
I II⎛ 6 ⎛ 6⎝ 6 ⎜ ⎰ 4⎜ ⎛ ⎱ 4⎜ ⎜ 6—mesode.⎜ ⎜ ⎰ 4⎜ ⎝ ⎱ 4⎝ 6
To this the antistrophe of course corresponds, though here and there an irrational long corresponds to a short (e.g. -εῑπε͐ι to ε̄ρπο̆ν); the last syllable of πήματα is lengthened by the following φθ.
It should be noted that this scheme differs somewhat from that given in Jebb’s edition of theAntigone(pp. lxi.sq.). One reader’s ear differs from that of another: hence the frequent divergencies to be observed between editors in the arrangement of many lyrics.
(b) The ancient writer Aristoxenus gives certain rules as to the maximum length of cola. They may be stated as follows:—
(i) There are three types of colon, the equal, the unequal, and the quinquepartite. The equal cola are the dipody of 1 + 1 feet, the tetrapody of 2 + 2; the unequal are the tripody of 2 + 1, and the hexapody of 4 + 2; the quinquepartite is the pentapody of 3 + 2.
(ii) Equal cola must not be of greater length than sixteen “shorts”. Therefore we may have a dipody ofany foot, and a tetrapody of any save those of more than four shorts in value; that is (e.g.) a dipody of cretics (–⏑–) is allowed, but not a tetrapody of that foot, which would give 5 × 4 = 20 “shorts”.
(iii) Unequal cola may have the length of eighteen “shorts”. A tripody, therefore, of any foot is allowed, but a hexapody of trochees only: a hexapody of spondees would give 4 × 6 = 24 “shorts”.
(iv) Quinquepartite cola may extend to the value of twenty-five “shorts”. Pentapodies are therefore possible of trochees, dactyls, spondees and five-time feet.
(c) Certain detailed hints may be added:—
(i) The tetrapody is the most frequent length, the pentapody the rarest.
(ii) The end of a colon is often indicated in dactyls by a spondee, in trochees by a single long syllable (whether ⏗ or –ꞈ).
(iii) In any one period there is a tendency to conformity in length. If 6 + 5 + 4 and 6 + 6 + 4 areprima facieequally possible, the latter is as a rule to be preferred. In spite of the difference in sum-total (6 + 6 + 4 = 16; 6 + 5 + 4 = 15), this question often arises, because of the possibility of τονή. It has to be decided[884]whether (e.g.) παντός at the close of a colon is to be scanned as two feet or one:
⏗ –παντ|οςꞈ‖
⏗ –παντ|οςꞈ‖
or
– ⏑| παντος ‖.
– ⏑| παντος ‖.
It is now time to offer an account of the various feet used in lyrics.
(a)Trochees.—With these we are now familiar. This foot is often called a choree, chorees with anacrusisbeing iambi,[885]without anacrusis trochees. The trochee is the most frequent foot in lyrics. Such systems express ordinary strong interest. Whenever more definite emotion is to be conveyed, either cyclic dactyls are introduced, or a change is made to some other metre:—
Κολχίδος τε γᾶς ἔνοικοιπαρθένοι, μάχας ἄτρεστοι (Prom. Vinctus, 415).
Κολχίδος τε γᾶς ἔνοικοιπαρθένοι, μάχας ἄτρεστοι (Prom. Vinctus, 415).
Κολχίδος τε γᾶς ἔνοικοιπαρθένοι, μάχας ἄτρεστοι (Prom. Vinctus, 415).
Κολχίδος τε γᾶς ἔνοικοι
παρθένοι, μάχας ἄτρεστοι (Prom. Vinctus, 415).
–⏑|–⏑|–⏑|–⏑‖–⏑|–⏑|–⏑|–⏑‖.
–⏑|–⏑|–⏑|–⏑‖–⏑|–⏑|–⏑|–⏑‖.
So in English:—
Then, upon one knee uprising,Hiawatha aimed an arrow.—(Longfellow.)
Then, upon one knee uprising,Hiawatha aimed an arrow.—(Longfellow.)
Then, upon one knee uprising,Hiawatha aimed an arrow.—(Longfellow.)
Then, upon one knee uprising,
Hiawatha aimed an arrow.—(Longfellow.)
Resolution into tribrachs is frequent:—
⏑ ⏑ ⏑ – ⏑ – ⏑ – ⏑Αραβι|ας τ αρ|ειον | ανθος ‖ (Prom. Vinctus, 420).
⏑ ⏑ ⏑ – ⏑ – ⏑ – ⏑Αραβι|ας τ αρ|ειον | ανθος ‖ (Prom. Vinctus, 420).
Anacrusis is common.
(b)Dactyls.—These are found pure, or mingled with spondees or quasi-trochees (⏗⏑). They are often employed to express excitement and awe:—
ὦ Διὸς ἁδυεπὲς φάτι, τίς ποτε τᾶς πολυχρύσου[886]Πυθῶνος ἀγλάας ἔβας; (Œd. Tyr., 151).
ὦ Διὸς ἁδυεπὲς φάτι, τίς ποτε τᾶς πολυχρύσου[886]Πυθῶνος ἀγλάας ἔβας; (Œd. Tyr., 151).
ὦ Διὸς ἁδυεπὲς φάτι, τίς ποτε τᾶς πολυχρύσου[886]Πυθῶνος ἀγλάας ἔβας; (Œd. Tyr., 151).
ὦ Διὸς ἁδυεπὲς φάτι, τίς ποτε τᾶς πολυχρύσου[886]
Πυθῶνος ἀγλάας ἔβας; (Œd. Tyr., 151).
–⏑⏑|–⏑⏑|–⏑⏑‖–⏑⏑|–⏑⏑|– –‖–⁝⏗⏑|⏗⏑|⏗⏑|–ꞈ̄‖
–⏑⏑|–⏑⏑|–⏑⏑‖–⏑⏑|–⏑⏑|– –‖–⁝⏗⏑|⏗⏑|⏗⏑|–ꞈ̄‖
Anacrusis is found, as in the second line above and inMedea, 635:—
– – ⏑ ⏑ – ⏑ ⏑ – – ⏗ – – – ⏗ ⏑ –στεργ⁝οι δε με|σωφροσυν|α δωρ‖ημα | καλλιστ|ον θε|ωνꞈ̄‖.
– – ⏑ ⏑ – ⏑ ⏑ – – ⏗ – – – ⏗ ⏑ –στεργ⁝οι δε με|σωφροσυν|α δωρ‖ημα | καλλιστ|ον θε|ωνꞈ̄‖.
The tetrapody without spondees or catalexis gives an exquisite heaving effect in Soph.Electra, 147-9:—
ἀλλ’ ἐμέ γ’ ἁ στονόεσσ’ ἄραρεν φρένας,ἃ Ἴτυν αἰὲν Ἴτυν ὀλοφύρεται,ὄρνις ἀτυζομένα, Διὸς ἄγγελος.
ἀλλ’ ἐμέ γ’ ἁ στονόεσσ’ ἄραρεν φρένας,ἃ Ἴτυν αἰὲν Ἴτυν ὀλοφύρεται,ὄρνις ἀτυζομένα, Διὸς ἄγγελος.
ἀλλ’ ἐμέ γ’ ἁ στονόεσσ’ ἄραρεν φρένας,ἃ Ἴτυν αἰὲν Ἴτυν ὀλοφύρεται,ὄρνις ἀτυζομένα, Διὸς ἄγγελος.
ἀλλ’ ἐμέ γ’ ἁ στονόεσσ’ ἄραρεν φρένας,
ἃ Ἴτυν αἰὲν Ἴτυν ὀλοφύρεται,
ὄρνις ἀτυζομένα, Διὸς ἄγγελος.
Ariel’s lines inThe Tempest(V. i.):—
Merrily, merrily, shall I live now,Under the blossom that hangs on the bough,
Merrily, merrily, shall I live now,Under the blossom that hangs on the bough,
Merrily, merrily, shall I live now,Under the blossom that hangs on the bough,
Merrily, merrily, shall I live now,
Under the blossom that hangs on the bough,
are dactylic tetrapodies with catalexis.
(c)Spondees.—It is not certain that these are used as a base, though as a variant in anapæstic and dactylic metre they are common.Iph. Taur., 123-5, may be taken as spondees:—
εὐφαμεῖτ’ ὦπόντου δισσὰς συγχωρούσαςπέτρας Ἀξείνου ναίοντες.
εὐφαμεῖτ’ ὦπόντου δισσὰς συγχωρούσαςπέτρας Ἀξείνου ναίοντες.
εὐφαμεῖτ’ ὦπόντου δισσὰς συγχωρούσαςπέτρας Ἀξείνου ναίοντες.
εὐφαμεῖτ’ ὦ
πόντου δισσὰς συγχωρούσας
πέτρας Ἀξείνου ναίοντες.
– –|– –|– –|– –|– –|– –|– –|– –|– –|– –|
– –|– –|– –|– –|– –|– –|– –|– –|– –|– –|
But they may be quasi-anapæsts, the whole passage which they introduce being an anapæstic entrance-march, though heavily spondaic.Ion, 125-7:
ὦ Παιάν, ὦ Παιάν,εὐαίων, εὐαίωνεἴης, ὦ Λατοῦς παῖ,
ὦ Παιάν, ὦ Παιάν,εὐαίων, εὐαίωνεἴης, ὦ Λατοῦς παῖ,
ὦ Παιάν, ὦ Παιάν,εὐαίων, εὐαίωνεἴης, ὦ Λατοῦς παῖ,
ὦ Παιάν, ὦ Παιάν,
εὐαίων, εὐαίων
εἴης, ὦ Λατοῦς παῖ,
is scanned by Dr. J. H. H. Schmidt as molossi, a molossus being – – –.
Spondaic systems are scarcely to be found in English.[887]
(d)Cretics.—This foot (–⏑–) is rare; it generally expresses piteous agitation:—
φρόντισον, καὶ γενοῦ πανδίκωςεὐσεβὴς πρόξενος·τὰν φυγάδα μὴ προδῷς,τὰν ἕκαθεν ἐκβολαῖςδυσθέοις ὀρμέναν (Æsch.,Supplices, 418sqq.).
φρόντισον, καὶ γενοῦ πανδίκωςεὐσεβὴς πρόξενος·τὰν φυγάδα μὴ προδῷς,τὰν ἕκαθεν ἐκβολαῖςδυσθέοις ὀρμέναν (Æsch.,Supplices, 418sqq.).
φρόντισον, καὶ γενοῦ πανδίκωςεὐσεβὴς πρόξενος·τὰν φυγάδα μὴ προδῷς,τὰν ἕκαθεν ἐκβολαῖςδυσθέοις ὀρμέναν (Æsch.,Supplices, 418sqq.).
φρόντισον, καὶ γενοῦ πανδίκως
εὐσεβὴς πρόξενος·
τὰν φυγάδα μὴ προδῷς,
τὰν ἕκαθεν ἐκβολαῖς
δυσθέοις ὀρμέναν (Æsch.,Supplices, 418sqq.).
–⏑–|–⏑–|–⏑–‖–⏑–|–⏑–‖–⏑⏑⏑|–⏑–‖–⏑⏑⏑|–⏑–‖–⏑–|–⏑–‖
–⏑–|–⏑–|–⏑–‖–⏑–|–⏑–‖–⏑⏑⏑|–⏑–‖–⏑⏑⏑|–⏑–‖–⏑–|–⏑–‖
Few cretics are found in English, though Tennyson’s brief poemThe Oakis written entirely in this metre,e.g.:—
All his leavesFall’n at length,Look, he stands,Trunk and bough,Naked strength.
All his leavesFall’n at length,Look, he stands,Trunk and bough,Naked strength.
All his leavesFall’n at length,Look, he stands,Trunk and bough,Naked strength.
All his leaves
Fall’n at length,
Look, he stands,
Trunk and bough,
Naked strength.
Most English verse of cretic appearance is shown by the context to be trochaic with alternate τονή. So inA Midsummer Nights Dream, II. i.:—
Over hill, over dale,Thorough bush, thorough brier,Over park, over pale,Thorough flood, thorough fire,
Over hill, over dale,Thorough bush, thorough brier,Over park, over pale,Thorough flood, thorough fire,
Over hill, over dale,Thorough bush, thorough brier,Over park, over pale,Thorough flood, thorough fire,
Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire,
which is followed by
I do | wander | every|where ꞈ |Swifter | than the | moones | sphere ꞈ | etc.
I do | wander | every|where ꞈ |Swifter | than the | moones | sphere ꞈ | etc.
I do | wander | every|where ꞈ |Swifter | than the | moones | sphere ꞈ | etc.
I do | wander | every|where ꞈ |
Swifter | than the | moones | sphere ꞈ | etc.
We are forbidden to view the Greek cretics given above in the same way, by the resolved feet. If we scan φρόντισον καὶ γενοῦ πανδίκως as –⏑|⏗|–⏑|⏗|–⏑|–ꞈ‖, this method will give us in the fourth line –⏑|⏑⏑|–⏑|–‖, where the second foot is impossible. ⏑⏑ can take the place of –, but never of ⏗.
(e)Bacchiacs.—This curious foot consists of – –⏑, the system being invariably introduced by anacrusis. Bacchiacs are regularly associated with dochmiacs (see below). They express strong emotion, generally mingled with perplexity or vacillation; resolved feet are therefore often found:—
τίς ἀχώ, τίς ὀδμάπροσέπτα μ’ ἀφεγγής; (Prom. Vinctus, 115).
τίς ἀχώ, τίς ὀδμάπροσέπτα μ’ ἀφεγγής; (Prom. Vinctus, 115).
τίς ἀχώ, τίς ὀδμάπροσέπτα μ’ ἀφεγγής; (Prom. Vinctus, 115).
τίς ἀχώ, τίς ὀδμά
προσέπτα μ’ ἀφεγγής; (Prom. Vinctus, 115).
⏑⁝– –⏑|– –ꞈ‖⏑⁝– –⏑|– –ꞈ‖.
⏑⁝– –⏑|– –ꞈ‖⏑⁝– –⏑|– –ꞈ‖.
στενάζω; τί ῥέξω; γελῶμαι πολίταις.ἔπαθον ὦ δύσοιστα (Eumenides, 788sq.).
στενάζω; τί ῥέξω; γελῶμαι πολίταις.ἔπαθον ὦ δύσοιστα (Eumenides, 788sq.).
στενάζω; τί ῥέξω; γελῶμαι πολίταις.ἔπαθον ὦ δύσοιστα (Eumenides, 788sq.).
στενάζω; τί ῥέξω; γελῶμαι πολίταις.
ἔπαθον ὦ δύσοιστα (Eumenides, 788sq.).
⏑⁝– –⏑|– –⏑‖– –⏑|– –ꞈ‖⏑⁝⏑⏑–⏑|– –ꞈ‖.
⏑⁝– –⏑|– –⏑‖– –⏑|– –ꞈ‖⏑⁝⏑⏑–⏑|– –ꞈ‖.
Ye storm-winds of Autumn!Who rush by, who shakeThe window, and ruffleThe gleam-lighted lake.—(M. Arnold.)
Ye storm-winds of Autumn!Who rush by, who shakeThe window, and ruffleThe gleam-lighted lake.—(M. Arnold.)
Ye storm-winds of Autumn!Who rush by, who shakeThe window, and ruffleThe gleam-lighted lake.—(M. Arnold.)
Ye storm-winds of Autumn!
Who rush by, who shake
The window, and ruffle
The gleam-lighted lake.—(M. Arnold.)
⏑⁝– –⏑|– –ꞈ‖⏑⁝– –⏑|–⏗̭‖⏑⁝– –⏑|– –ꞈ‖⏑⁝– –⏑|–⏗̭‖.
⏑⁝– –⏑|– –ꞈ‖⏑⁝– –⏑|–⏗̭‖⏑⁝– –⏑|– –ꞈ‖⏑⁝– –⏑|–⏗̭‖.
But it should be noted that, though bacchiac scansion seems soundest for the above—“storm-winds” for instance has two ictuses—the poet probably meant the lines for dactylic dipodies with anacrusis: “storm-winds of” thus would be an accentual dactyl. But that would slur “winds” unduly.
(f)Ionics.—These are formed by – –⏑⏑. When anacrusis is found—the usual form—the foot is often calledIonicus a minore(i.e.⏑⏑– –); otherwise it is calledIonicus a maiore:—
κυανοῦν δ’ ὄμμασι λεύσσων φονίου δέργμα δράκοντοςπολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων (Persæ, 81sq.).
κυανοῦν δ’ ὄμμασι λεύσσων φονίου δέργμα δράκοντοςπολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων (Persæ, 81sq.).
κυανοῦν δ’ ὄμμασι λεύσσων φονίου δέργμα δράκοντοςπολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων (Persæ, 81sq.).
κυανοῦν δ’ ὄμμασι λεύσσων φονίου δέργμα δράκοντος
πολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων (Persæ, 81sq.).
⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|– –ꞈ̄‖.
⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|– –ꞈ̄‖.
A strange variant is ⏑–⏑–; the variation is called “anaclasis” (“breaking-up”). Thus the above passage proceeds—
ἐπάγει δουρικλύτοις ἀνδράσι τοξόδαμνον Ἄρη.
ἐπάγει δουρικλύτοις ἀνδράσι τοξόδαμνον Ἄρη.
ἐπάγει δουρικλύτοις ἀνδράσι τοξόδαμνον Ἄρη.
ἐπάγει δουρικλύτοις ἀνδράσι τοξόδαμνον Ἄρη.
⏑⏑⁝– –⏑⏑|– –⏑⏑‖–⏑–⏑|–ꞈ̄‖.
⏑⏑⁝– –⏑⏑|– –⏑⏑‖–⏑–⏑|–ꞈ̄‖.
Ionics are employed to express strong excitement governed by confident courage. The first lyric of thePersæbegins with a splendid example. It is sung by the Persian counsellors in expectation of Xerxes’ triumph, and makes a strong contrast with the piteous rhythms of the close. This poem should be studied carefully in comparison with another in the same metre—the opening of the first chorus in theBacchæ(vv. 64sqq.):—
Ἀσίας ἀπὸ γαίαςἱερὸν Τμῶλον ἀμείψασα θοάζωΒρομίῳ πόνον ἡδύνκάματόν τ’ εὐκάματον, Βάκχιον εὐαζομένα.τίς ὁδῷ; τίς ὁδῷ; τίς μελάθροις; ἔκτοπος ἔστω,στόμα τ’ εὔφημον ἅπας ἐξοσιούσθω·τὰ νομισθέντα γὰρ ἀεὶ Διόνυσον ὑμνήσω.
Ἀσίας ἀπὸ γαίαςἱερὸν Τμῶλον ἀμείψασα θοάζωΒρομίῳ πόνον ἡδύνκάματόν τ’ εὐκάματον, Βάκχιον εὐαζομένα.τίς ὁδῷ; τίς ὁδῷ; τίς μελάθροις; ἔκτοπος ἔστω,στόμα τ’ εὔφημον ἅπας ἐξοσιούσθω·τὰ νομισθέντα γὰρ ἀεὶ Διόνυσον ὑμνήσω.
Ἀσίας ἀπὸ γαίαςἱερὸν Τμῶλον ἀμείψασα θοάζωΒρομίῳ πόνον ἡδύνκάματόν τ’ εὐκάματον, Βάκχιον εὐαζομένα.τίς ὁδῷ; τίς ὁδῷ; τίς μελάθροις; ἔκτοπος ἔστω,στόμα τ’ εὔφημον ἅπας ἐξοσιούσθω·τὰ νομισθέντα γὰρ ἀεὶ Διόνυσον ὑμνήσω.
Ἀσίας ἀπὸ γαίας
ἱερὸν Τμῶλον ἀμείψασα θοάζω
Βρομίῳ πόνον ἡδύν
κάματόν τ’ εὐκάματον, Βάκχιον εὐαζομένα.
τίς ὁδῷ; τίς ὁδῷ; τίς μελάθροις; ἔκτοπος ἔστω,
στόμα τ’ εὔφημον ἅπας ἐξοσιούσθω·
τὰ νομισθέντα γὰρ ἀεὶ Διόνυσον ὑμνήσω.
⏑⏑⁝⏘⏑⏑|– –ꞈ̄‖⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖⏑⏑⁝⏘⏑⏑|– –ꞈ̄〛⏑⏑⁝– –⏑⏑|– –⏑⏑|– –⏑⏑|⏘ꞈ̄〛⏑⏑⁝⏘⏑⏑|– –⏑⏑|– –⏑⏑|– –ꞈ̄‖⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖⏑⏑⁝– –⏑⏑|– –⏑⏑|–⏑–˃|⏘ꞈ̄〛
⏑⏑⁝⏘⏑⏑|– –ꞈ̄‖⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖⏑⏑⁝⏘⏑⏑|– –ꞈ̄〛⏑⏑⁝– –⏑⏑|– –⏑⏑|– –⏑⏑|⏘ꞈ̄〛⏑⏑⁝⏘⏑⏑|– –⏑⏑|– –⏑⏑|– –ꞈ̄‖⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖⏑⏑⁝– –⏑⏑|– –⏑⏑|–⏑–˃|⏘ꞈ̄〛
I⎛ 2⎜ 3—mesode.⎝ 2II⎛ 2⎝ 2III⎰ 2⎛ ⎱ 2⎜ 3—mesode⎝ ⎰ 2⎱ 2
I⎛ 2⎜ 3—mesode.⎝ 2II⎛ 2⎝ 2III⎰ 2⎛ ⎱ 2⎜ 3—mesode⎝ ⎰ 2⎱ 2
This song of the Bacchantes, like that of the Persians, expresses both excitement and confidence; both are magnificent, and themetreis the same. But the difference is unmistakable; it lies in therhythm. In Æschylus the practically unvaried rhythm and the gorgeous language give to such a passage as πολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων an almost intolerable weight and austere pomp. Euripides, by use of the doubly-lengthened syllable, by varying the extent of his cola, and by the irrationality of the penultimate foot, has, within the limits of the same metre, produced a sense of exotic beauty and urgency, a thrill of wildness as well as of awe.
(g)Choriambics.—These consist of –⏑⏑–. Anacrusis is not found:—
δεινὰ μὲν οὖν, δεινὰ ταράσσει σοφὸς οἰωνοθέταςοὔτε δοκοῦντ’ οὔτ’ ἀποφάσκονθ’· ὅτι λέξω δ’ ἀπορῶ (Œd. Tyr., 483sq.).
δεινὰ μὲν οὖν, δεινὰ ταράσσει σοφὸς οἰωνοθέταςοὔτε δοκοῦντ’ οὔτ’ ἀποφάσκονθ’· ὅτι λέξω δ’ ἀπορῶ (Œd. Tyr., 483sq.).
δεινὰ μὲν οὖν, δεινὰ ταράσσει σοφὸς οἰωνοθέταςοὔτε δοκοῦντ’ οὔτ’ ἀποφάσκονθ’· ὅτι λέξω δ’ ἀπορῶ (Œd. Tyr., 483sq.).
δεινὰ μὲν οὖν, δεινὰ ταράσσει σοφὸς οἰωνοθέτας
οὔτε δοκοῦντ’ οὔτ’ ἀποφάσκονθ’· ὅτι λέξω δ’ ἀπορῶ (Œd. Tyr., 483sq.).
–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖
–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖
This measure expresses great agitation and perplexity. In the passage just cited they pass into ionics, which indicate a gradual comparative calming of mind. For example, the antistrophe reads:—
ἀλλ’ ὁ μὲν οὖν Ζεὺς ὅ τ’ Ἀπόλλων συνετοὶ καὶ τὰ βροτῶνεἰδότες· ἀνδρῶν δ’ ὅτι μάντις πλέον ἢ ’γω φέρεταικρίσις οὐκ ἔστιν ἀληθής· σοφίᾳ δ’ ἂν σοφίανπαραμείψειεν ἀνήρ.
ἀλλ’ ὁ μὲν οὖν Ζεὺς ὅ τ’ Ἀπόλλων συνετοὶ καὶ τὰ βροτῶνεἰδότες· ἀνδρῶν δ’ ὅτι μάντις πλέον ἢ ’γω φέρεταικρίσις οὐκ ἔστιν ἀληθής· σοφίᾳ δ’ ἂν σοφίανπαραμείψειεν ἀνήρ.
ἀλλ’ ὁ μὲν οὖν Ζεὺς ὅ τ’ Ἀπόλλων συνετοὶ καὶ τὰ βροτῶνεἰδότες· ἀνδρῶν δ’ ὅτι μάντις πλέον ἢ ’γω φέρεταικρίσις οὐκ ἔστιν ἀληθής· σοφίᾳ δ’ ἂν σοφίανπαραμείψειεν ἀνήρ.
ἀλλ’ ὁ μὲν οὖν Ζεὺς ὅ τ’ Ἀπόλλων συνετοὶ καὶ τὰ βροτῶν
εἰδότες· ἀνδρῶν δ’ ὅτι μάντις πλέον ἢ ’γω φέρεται
κρίσις οὐκ ἔστιν ἀληθής· σοφίᾳ δ’ ἂν σοφίαν
παραμείψειεν ἀνήρ.
–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|⏘ꞈ̄‖⏑⏑⁝– –⏑⏑|⏘ꞈ̄‖.
–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖–⏑⏑–|–⏑⏑–‖⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|⏘ꞈ̄‖⏑⏑⁝– –⏑⏑|⏘ꞈ̄‖.
The late Rupert Brooke left some exquisiteExperimentsin this metre,e.g.:—
Ah! Not now, when desire burns, and the wind calls, and the suns of springLight-foot dance in the woods, whisper of life, woo me to wayfaring.
Ah! Not now, when desire burns, and the wind calls, and the suns of springLight-foot dance in the woods, whisper of life, woo me to wayfaring.
Ah! Not now, when desire burns, and the wind calls, and the suns of springLight-foot dance in the woods, whisper of life, woo me to wayfaring.
Ah! Not now, when desire burns, and the wind calls, and the suns of spring
Light-foot dance in the woods, whisper of life, woo me to wayfaring.
That is—
⏗⏗|–⏑⏑–|–⏑⏑–‖–⏑⏑–|⏗⏗‖
⏗⏗|–⏑⏑–|–⏑⏑–‖–⏑⏑–|⏗⏗‖
(h)Dochmiacs.—It is convenient to discuss these here, though the dochmius is not a foot, but a colon. The rule both of metre and music is that all feet or bars should have the same time-value; a trochaic colon may contain ⏗ or ᷋⏑ as well as –⏑, but not –⏑⏑. Dochmiacs are generally regarded as an exception to this rule. The dochmius is a colon of which the simplest form[888]is ⏑– –⏑–, to be divided ⏑⁝– –⏑|–ꞈ||,e.g.κακορρημόνων. The dochmius is always catalectic, but the anacrusis of one serves to complete the trochee of the preceding colon:—
φανήτω μόρων ὁ κάλλιστ’ ἐμῶνἐμοὶ τερμίαν ἄγων ἁμέραν (Antigone, 1329sq.).
φανήτω μόρων ὁ κάλλιστ’ ἐμῶνἐμοὶ τερμίαν ἄγων ἁμέραν (Antigone, 1329sq.).
φανήτω μόρων ὁ κάλλιστ’ ἐμῶνἐμοὶ τερμίαν ἄγων ἁμέραν (Antigone, 1329sq.).
φανήτω μόρων ὁ κάλλιστ’ ἐμῶν
ἐμοὶ τερμίαν ἄγων ἁμέραν (Antigone, 1329sq.).
⏑⁝– –⏑|–⏑‖– –⏑|–ꞈ‖.
⏑⁝– –⏑|–⏑‖– –⏑|–ꞈ‖.
But this simplest form is not the most frequent, and a considerable sequence is rare. Resolution of one or more long syllables is very common. The favourite form is ⏑⁝⏑⏑–⏑|–ꞈ‖:—
περίβαλον γάρ οἱ πτεροφόρον δέμας (Agamemnon, 1147).
περίβαλον γάρ οἱ πτεροφόρον δέμας (Agamemnon, 1147).
περίβαλον γάρ οἱ πτεροφόρον δέμας (Agamemnon, 1147).
περίβαλον γάρ οἱ πτεροφόρον δέμας (Agamemnon, 1147).
⏑⁝⏑⏑–⏑|–⏑‖⏑⏑–⏑|–ꞈ‖
⏑⁝⏑⏑–⏑|–⏑‖⏑⏑–⏑|–ꞈ‖
This metre is frequent in passages of lamentation, and as these are extremely numerous the dochmiac measure is one of the most important. It is also perhaps the most difficult, because of the many varieties admitted. In all, twenty-two[889]forms are said to be found, thoughseveral of these are rare; this great number is due to resolution and irrational long syllables. Thus—