V«* • 
 
 
 
 
 •3 *. . . < 
 
 
 
 vv 
 
 
 
 / # ..^.-*o 
 
 <2L *• • * * A 
 
 & ••"•• >, 
 
 <^* .'£fe', \>,/ .<jsM&-. ^^ -N 
 
 ^°^ 
 
 
 
 
 
 
 
 *> 
 
 A '. 
 
 
 
 
 ^ v ^ %^B// <^ ^ -.VW* . v ^ v 
 
 <* ''TV^ ^0 
 
 
 i* .•*••• ^c 
 
 o^ *o . » * A 
 
 L^ y »'*s.^ 
 
 <* ♦*T7i 
 
 ^°^ 
 
 4©* 
 
 
^ *o,T* A 
 
 * .. " 
 
 
 
 
 
 
 * •fife' ** •* 
 
 * w ^ 
 
 *♦ • 
 
 P v V 
 
 * .-ttta. \/ $Sgfi. %<* .-ttfeft % 
 
 
 
 O, *© • ft * 4*> 
 
 
 
 
 
ELEMENTS 
 
 OF 
 
 GREEK PROSODY AND METRE, 
 
 COMPILED FROM 
 
 THE BEST AUTHORITIES, 
 
 ANCIENT AND MODERN. 
 
 BY 
 
 THOMAS WEBB. 
 
 LONDON: 
 PRINTED FOR BALDWIN, CRADOCK, AND JOY, 
 
 PATERNOSTER-ROW. 
 
 1819. 
 

 C. BalilwiD, Printer, 
 few Bridge Street London. 
 
PREFACE. 
 
 IN offering the Elements of Greek Prosody 
 and Metre to the Public, the Author's chief 
 aim is to facilitate the progress of those stu- 
 dents who are about to commence an acquaint- 
 ance with the Greek poets ; and, should the 
 present work tend in the smallest degree to 
 assist them in overcoming the difficulties they 
 have to encounter, his object will be com- 
 pletely attained. As it is not for the metrical 
 Scholar, but for the metrical Tyro, and for 
 him only, that these pages are intended, the 
 Author has, according *to the most approved 
 method, written his rules in English. 
 
 Care has been taken to collect all the laws 
 of the nine principal metres from the best au- 
 thorities, both ancient and modern ; but should 
 
IV PREFACE. 
 
 any defects in the Work present themselves, 
 the Author asks and claims candid treatment 
 for his errors, which shall, if pointed out, be 
 corrected in a future edition, should the public 
 approbation call for one. 
 
ELEMENTS 
 
 OF 
 
 GREEK PROSODY AND METRE. 
 
 x ROSODY, in its common acceptation, treats of the 
 quantity of syllables in the construction of verses. In 
 the ancient grammarians, Trgoo-wMu applies also to accent. 
 The vowels £, o, are naturally short, n and w are na- 
 turally long ; but a, *, v, are called doubtful, being long 
 in some syllables, and short in others. The quantity of 
 syllables is determined by various methods. 
 
 I. POSITION. 
 
 A short or a doubtful vowel before two consonants or 
 a double letter, is almost always long ; as, 
 
 7roXXoig $' l<pQiy.ovs t^up^S otih ^ofa^i/. II. a. 3. 
 
 !£eto r iflMs II. (3. 42. 
 
 .... WTf ZfO? kuJo? Uooyte. II. a. 279- 
 
 The above holds good in epic poetry, except in 
 proper names and in words which could not be used in 
 any other situation in the verse. — The following ex- 
 ceptions to the preceding rule must be attended to in 
 scanning the dramatic writers. 
 
 B 
 
t ELEMENTS OF GREEK 
 
 1. A short vowel before a soft (tt, x, t), or an as- 
 pirate (<p, ^, 0), mute, followed by a liquid (a, [a, v, f ), 
 remains short. 
 
 2. A short vowel before a middle mute (|3, y, 3), 
 followed by ^ , also remains short in the comic writers ; 
 in tragedy it is mostly long. 
 
 3. A short vowel before a middle mute, followed by 
 A, p, v, is almost always long. In Euripides such syl- 
 lables are always long ; but in iEschylus, Sophocles, and 
 Aristophanes, they are sometimes short. — See Euripides 
 Porson. p. 30. 
 
 A short vowel before two consonants, neither of 
 which are liquids, or before two liquids, is always long. 
 
 o$ 7roAAa Sri xa» twi/jJs ytvvoc(u) 7tcctd), Eurip. Heracl. 
 
 A short vowel is sometimes made long before a single 
 liquid, which should be pronounced as if written double ; 
 as, txapt pronounced ixxufis 
 
 £uccc nag AioAov Od. x . 36. 
 
 .... aurous $\ lAw^ta rtv%t xui/so-<ni/. II. a. 4. 
 
 A short vowel ending a foot, before f in the beginning 
 of the word following, is long in the dramatic poets. 
 
 TOUT tCTTlV Yl^Yl TOU£<y0V Uq I [At ptTTOV. 
 
 (rv J' oux eivtfci ; %gw <r E7rt gtroTg agx, 
 
 Eurip. Suppl. 461. 
 
 .1. ONE VOWEL BEFORE ANOTHER. 
 
 One vowel before another or a diphthong is short, 
 unless lengthened by poetic licence. 
 
PROSODY AND METRE. 3 
 
 .... 7T0XvaV>C0? 7T0\S(JI,01Q. II. a. 165. 
 
 .... TaAai'oviJao at/axrof. II. (3. 5v6. 
 Long vowels and diphthongs are mostly short at the 
 end of words, when the next word begins with a vowel. 
 
 w£>»? Iv Eia^ivvj, on, II. |3. 4*71. 
 
 yptTiPU) ivi o'lXUy Iv Agyii. • • • IL a. 30. 
 
 III. CONTRACTION. 
 
 All contracted syllables are long ; as, ifa for Ufa. 
 
 uvroig o (ruAa 7rw(AM pa^rr^iK. ... II. £ 116. 
 
 Jexto /caei/ (fa. II. |3. 420. 
 
 Trccgufxi F axcov. . . . Soph. Antig. 276. 
 Two vowels forming two syllables are frequently 
 contracted into one in poetry, as in ^ucrsw, II. a. 15. 
 where fw form a short syllable. 
 
 This contraction sometimes takes place, though the 
 vowels be in different words ; as, 
 
 y\ ov% aA(?. II. e. 349. 
 
 IV. DIALECT. 
 
 « in the Doric dialect is long ; as, 
 
 ivrochv & ywa, Theocrit. 1. 34. 
 
 .... x£xXuo-/tAfvov <x.$ii xa^w. Theocrit. 1. 27. 
 
 a in the iEolic dialect is short ; as, 
 
 o*tvg fth, vui/<pa (piXs. ... II. y '. 130. 
 
 But it is long in the increase of the genitive case ; as, 
 .... mv Alviluo Supivn* . . • II. L 559? 
 
4 ELEMENTS OF GREEK 
 
 In the third person plural of the first aorist a is 
 
 short, as in ETupa<rai/ for rruij/av. 
 
 a in the Ionic dialect is short in the penultima of 
 the praeter tenses ; as, ysydx, ysyxug. 
 
 .... <av items yiov yeyxur m oocw. Od.* <T. 112. 
 
 It is also short in the third person plural in the pas- 
 sive voice ; as, 
 
 o\ $r\ ]rov Huron. ... II. y . 134. 
 
 .... ttqWqi SsfyrixTO xou^oi. II. y. 183. 
 
 It is short in the first aorist ; as, 
 
 .... Jeivco Jg ol ova (psH&vhv. II. a. 200. 
 
 Also in the second person of the first aorist ; as, 
 » . . . . xgwtov <T t&vgoio fa<p£ov. Callim. 3. 110. 
 
 Dawes, p. 92. 
 
 • . • • tj i/u roi to<tov wJu<rao, Z*u. Od. a. 62. 
 The Ionic a in verbs in a«, is long, when it is pre- 
 ceded by a long syllable ; as, 
 
 £i7TE£ yoi(> OujiAw yi [aevoivocix, TroXtpi^uv. II. t. 164. 
 
 It is also long in the third person of verbs in /**, as 
 
 T»0£a<n. 
 
 .... x«» (aei^ovo; aAXoi 'louri. II. y. 168. 
 
 Ihe doubtful vowels a and u are shortened in the 
 Attic words apui/aOw, <p0»vu9w, &c. See Eurip. Iph. in 
 Aul. 910. Od. w. 145. 
 
 The Ionic writers double the letter <r at pleasure, a 
 licence which the Attic poets never used, either in tra- 
 gedy or comedy. Dawes, Miscel. Crit. p. 206. 
 
 The syllables in the Attic termination io> have the 
 
PROSODY AND METRE. 5 
 
 same quantity as in the Ionic uru (vopiw, vojoucrw),but they 
 are not the same in the middle voice, cZywiovpoii, oiywvt- 
 G-opui. Dawes, MisceL Crit. p. 81. 
 
 V. DERIVATION. 
 
 Derivatives for the most part follow the quantity of 
 the words from which they are derived ; as, 
 
 n jw-av cxZr dyogy vixciq. ... II. (3. 370. 
 .... XE^a^nora vUy. II. y\. 312. 
 
 VI. COMPOSITION. 
 
 Compound words generally follow the quantity of 
 their primitives ; as, 
 
 .... eh <H\ Aiog tipri Hat xv$oq OTTYlSiT. II. o. 251. 
 IvOaT aripog luv II. a. 171. 
 
 .... Til/' drifAVTOV ptTUVOC<TTY\V, II. I. 644. 
 
 a privitive is commonly short ; as, 
 
 ®££<nT7K ^ £Tt jxoui/o? dpiTgoETrris InoAwa, 
 
 og p' iVta <pgt<r)v wiv &y.Q<Tpoi. te iro\X&, rs ifa, 
 
 — w * 
 
 II. j3. 212. 
 
 ^a, £a, &f i, f£», ^u?, are short ; as, 
 
 .... fyoMOOV E7H VWTa SoCtpQWOq. II. |3. 308, 
 
 Ki'XAai/ T£ £a0tV II. a. 38. 
 
 .... Koojv, o^kJe/hetos dvfywv. II. A. 248. 
 
 .... Oswv l^ixu^a <Jw£«. II. y. 65. 
 
 .... i% avtpoio (JWas'os ogvvpivoio. II. e. 865. 
 
 ?ray, when followed by a vowel, is short ; as, 
 aura£ tyco iroovoLiror^oq. ... II. o. 493. 
 
6 ELEMENTS OF GREEK 
 
 ...» ccourrsris ttocvoc^aioov. II. ». 73. 
 
 v$, (rvs, 7ru^, are also short ; as, 
 
 fi(r<TOC^tq, ovg e0^«J/« (Turcot*)?. Od. £. 22. 
 
 $7o$ v<po$6g. Od. £. 48. 
 
 7ru£>auy£a xuhAoi/ lA»V<rcov. rlom. 7. A^ca, 
 
 VII. NOUNS AND VERBS. 
 
 1. Increase of Nouns. 
 
 « is short in the increase of nouns in <* 9 a,;, *% ; as, 
 $»%* <F £* o-upxTog £7TTn. Horn. Batrach. 207. 
 
 «^l| T£, XgiOHTiy TE II. 3". 162. 
 
 .... X»l ViitTXgOS 1(Tt\v OtTTOppW^. Od. J. 359. 
 
 It is short in masculines and feminines in a? ; as, 
 IlaAAaT 'A&nvaw II. a. 200. 
 
 jtAfXavo? Oai/aTOi'o. II. |3. 834. 
 
 In most nouns in £ and i|/ ; as, *A£«\|/, v A^a(3o? ; KoA«£, 
 KoAano?. 
 
 Except pa£, Gw^ag, *joa|;, xkco^ag, xo^aj, oIa£, $a/a£, 
 
 <p£K*£. 
 
 All nouns ending in a£ pure have the penultima of 
 the genitive case long. 
 
 In nouns in »g and A? it is short ; as, 
 
 .... dvdpos {aocxupos x«t' agovguv. II. A. 68. 
 .... j3a6ft / >i? e£ aAo? IaOcov. II. v. 44. 
 
 Except ^a^ and k«£. 
 
 Genitives in afo$ are long, except roixxvoq and ^ixavoq. 
 5 Tirava? Tr^^ff. . . . Horn. Batrach, 251. 
 
PROSODY AND METRE. 7 
 
 . . • • IvtHgyzoc, Tlctvoq kkovsiv. Ep. 1. 4. 
 
 u is long in the dative plural of nouns which have 
 the penultima of the genitive singular long; as in 
 yiya<n 9 TrcKn, rv$/x<ri. 
 
 But a is short when the dative is formed by syncope, 
 
 aS m ai/J^atHj TTXTOOCGl) fASTOOKTi. 
 
 * is short in the increase of neuter nouns, as psXi, 
 fAtXiTog : and in masculines and feminines in 'log, Uos, 
 and Uo<; : as, 
 
 V\)V <T £Xa0£V 7TQ\l0q, ... II. £. 79L 
 
 .... phalli sm$os xou uvrvig* II. £. 732. 
 d<nri$og dpQifio orris, • • • H. (3- 389- 
 .... Xctgnwv fxtocv QTrXorsgdiuv. II. £. 267. 
 Except ct^h, fiaXQn;, xajjf, x»A»?, xX»k, xj/*j^k, x£uir»f, 
 
 vf(3^)j, v»<rU, <r<p^ayU, with their compounds ; also, |3«t- 
 X<x>gi$) Kami?, 7rXo>cajw,K, papain?, crura^t?. 
 
 * is long in monosyllables ; except t)?, and A»$, A)og ; 
 as, 
 
 Iva Ta]t*») <$Va 7ra<rav. ... II. £. 532. 
 • • • • iai/w Am xaAv^av. II. <r. 352. 
 /»Va 7ra^' otpQxXpov. II. £. 291. 
 .... 7roXiris I'm Gm 9aAa<r<rrK. II. $. 248. 
 It is also long in nouns in ig, dot ; hJ/, i?™? ; »£, »yo? 
 or txof. 
 
 ogviQog piv ccpetgri. . . . II. if/. 868. 
 p£a£e Jg ju.ii/ pi7T£(T(ru . . . Od. f. 255. 
 Ier0Aoi, T£T"ny£<r<ni/ lo(y.orsg. ... II. y. 151. 
 • • • . £w<rrri£a ^ou (poivixt (pasivov. II. £. 219* 
 
8 ELEMENTS OF GREEK 
 
 Except nouns in i^, »j3o?, and i£, i^os, in which t is 
 mostly short ; as, 
 
 ^vi(3» cT ajtA^jVoXo?. . . . Od. a. 136. 
 .... xz<pot.M<; r^i-^oc; iv irv^i |3aAAwv. Od. y. 446. 
 u is short in monosyllables in u?, uo?, and in neuters 
 in v ; as, 
 
 n <^uo?, ri TEVuvig. II. \|^. 328. 
 
 .... $ti\o\ pukt ovf vTrspuvM. Horn. Batrach. 270. 
 Also in masculines and feminines in u?, u^ ; as, 
 
 G-rxq TT^MiV VZXVOq, ... II. 7T. 321. 
 
 .... tco J* aurw |Ua^TU^£? eVtcov. II. a. 338. 
 
 In nouns in J and ^, u is generally long in the ge- 
 nitive ; as, 
 
 VlfifiQV t%QVT 0VUJ££<T<n. ... II. 3". 248. 
 
 .... xou Xeihvfiis <rru<p£Xriv >cal a7riiv£a yatav. 
 
 Dion. 768. 
 Except <Wu£, xoicxug, xn^vg. Tgty and yu^ are common. 
 In words of two terminations, u? and uv, u is mostly 
 long. 
 
 2. Quantity of the Penultima of the Tenses of Verbs. 
 
 The quantity of the penultima in the present and 
 imperfect is the same through all the voices -, 1 and most 
 tenses have the same quantity in the penultima, as those 
 from which they are formed ; 2 as, 
 
 K£U1/W, MglVOV, X£l'v£, KglVOipi, X£iW, XgtvtlV, XglVUV, X£iV0" 
 ixMTTQVy TU7TW, £TU7T>51/, TU7T1ia'G|U,a», t'i'XVTr&y 6T£TU7T£iV« 
 
PROSODY AND METRE. 9 
 
 The doubtful vowels a, i, v 9 are short in the first 
 aorist, fourth conjugation, when they are short in the 
 future ; so in verbs in aw they are also short, unless f or 
 a vowel precedes a, when they are always long both in 
 the aorist and future ; as, 
 
 .... y£\oi<roiv <f Itt) ttocvtzs 'Ap^aio*. II. t|/. 850. 
 
 .... Ik ?££*pcs X,£poc, (nrctrtv 'Aj/th/ooio. Od. (3. 321. 
 
 piav pspsTvav tW e««-ov ripigoiv. Eurip. Med. 341. 
 
 If a doubtful vowel is short in the first future or 
 aorist, it is also short in the praeterperfect active and 
 passive, and in the first future and aorist passive in 
 every mood, but in verbs in aw, paw it is long. 
 
 The third person plural of the preterit tense in a<n is 
 always long. 
 
 The participle feminine of the first aorist in ao-a is 
 long. 
 
 The doubtful vowel in the second aorist is short in 
 every conjugation ; as, trguyov, '{xi7rov 9 '(pvyov. 
 
 In the reduplication of verbs the penultima is short ; 
 
 as, <^Jojou, Ti9ii<n. 
 
 a is short in the second conjugation, except in the 
 third person plural of the indicative mood, the sub- 
 junctive mood, and the participles of the active voice ; 
 
 as, \<rr»rov 9 \<tt<x.T£ 9 \<rroc^iv 9 \<r?oc<rocv 9 iVraQt, &C. l<rrdcvoci 9 
 
 «<rrapat, l<noc(j.y\v 9 &c. t(TToip.M 9 itrrd^YiVy ijrd^nv 9 OTaOflco- 
 
 p,ai, ]<rroc(ro 9 (rrccQcig, Ivtccubvos. 
 « « v 
 
 v in polysyllabic words of the fourth conjugation is 
 short, except in the singular number of the present 
 
10 ELEMENTS OF GREEK 
 
 tense, active voice, and in the third person plural ; as, 
 In dissyllables it is always long, JuOi, <fcWi, Uvn. 
 
 VIII. CUSTOM OR AUTHORITY. 
 
 a in the superlative is always short. 
 
 .... alvorocrog ho^os ttrXno- • . . Od. $• 431. 
 
 The penultima of verbs in avw is short ; also the pre- 
 sent and imperfect of those in aw. 
 
 It is long in the penultima of nouns in aw, but short 
 in their oblique cases. 
 
 It is also short in neuters in <mov ; as, ogyuvov, %6otvov, 
 
 a is long in proper names, and names of nations, in 
 
 ai/o?, avis ; as, Ti(>pot.\)Q<;. 
 
 2. In proper names, and names of stones, in ams, 
 urig ; as, EvQgdrns, 'Ax* 771 *' 'A<na*nff. Except TccXoityis, 
 AocXfAoiTYis, 2d,fA0t.Ty\s 9 Sa^arns, AvrKpccTYi;, Eu£u(3aT*i?, with 
 
 a few others. 
 
 3. In most feminine proper names in »U ; as, Na*j, 
 Aat?, YlroXipaus, A^at?, &c. ; but in masculines, as 
 KaAat;, Txvoug, @*i(3at?, and the like, the penultima is 
 
 www 
 
 short. 
 
 a is long in numerals, as rgiom6<rios, &c. ; and in some 
 verbals in a<n?, ouripos, ocros, urrig, urns, octikos ; as, n^acn?, 
 •ao-tjutof, GfaTG?, iarri£, Oeaw, *r«£»T»xoff *, but short in <5u- 
 ya<n?j f^yaT*)?, y^aju^anxo?, &C. 
 
 It is short in patronymic nouns in «&k ; as HIiXn'Mns, 
 &c. 
 
PROSODY AND METRE. 11 
 
 It is short in derivatives and verbals in ocXeog, a\ioq, 
 cc<riog ; as, ^oiXsog, sivooXiog, Oau/Aairto?, &C. Also in a<po?, 
 as, <pxwoL(pog from (pMvog* In adverbs in «xk and ax* ; as, 
 
 7r6\Xocx,ig 9 To<r<raxt. 
 
 Also in diminutives in a<W, axiov, agiov, unov ; as, Xo- 
 
 7ra<$ioi>, oa-TPaxiov, JouAa^iOV, fogariov, &C. Except Gw^axtov, 
 
 oloixiov, and such as are derived from words that have 
 the penultima long. 
 
 Verbs in »w have the penultima sometimes long, 
 sometimes short. 
 
 Also those in iw ; as, *■/*«, <p6/vw, which is long in 
 Homer, but short in the tragedians. In nouns in i* 
 and in ; as, 
 
 igiirs $* Iv xoi/ifl. ... II. f. 75. 
 .... [MmQn<rxv $\ xohV II. J/. 739. 
 Patronymics, and most other nouns in ivn 9 have the 
 penultima long ; as, N*i£tV*i, Euwuvu, &c. farm, a£tVn, &c. 
 Except slxawiw, and feminine adjectives formed from 
 masculines in *vo? ; as, [*vpp(uY\ 9 xf^/vn, &c. 
 
 Also nouns in »thj, it*s ; as, ©^o-mjf, juEo-mi?, jtxaxa- 
 
 £m)? 9 TTOXiTYi;, ffoXmj, VE^tTK* eXCept X£IT*]?, XT*TIJff. 
 
 i is mostly short in diminutives in ioy, i^ov ; as, xopjov, 
 
 w 
 
 xou^i'^iov, &c: except Iparlhov, agyvgifoov, and the like. 
 Derivatives in i<n?, »ro?, are short ; as, x£»'<n?, xtiVi?, 
 
 &C. ax^tro?, apOi-roc, axAtTo? *, SO in »xo? and i/xo?, as, Tr^ax- 
 Tixo?, voffripog, &c. 
 
 But those in *^<» vary according to the quantity of 
 
12 ELEMENTS OF GREEK 
 
 the penultima of the words from which they are de- 
 rived ; as, x£i//,a from xU^^oci, x^P** fr° m X^ Um 
 
 Diminutives in ihv$ ; as, Avxifcvg 9 E^wti&u? ; and com- 
 paratives in iuv ; as, 
 
 cog ov$\v yXvaiGV rig Trocr^lSog ovit tohtiw. 'Od. *. 34. 
 .... [xsXirog yXvxiuv piiy ocM. II. a. 249. 
 The penultima of these comparatives is always long 
 in the Attic dialect ; as, 
 
 <P(>ovoZ<ri yoL(> Koixiov 'Exxrivwv 7tq\v. Eurip. Bacch. 483. 
 The penultima of verbs in wu 9 u^w, and u^w, is mostly 
 long ; as, tGww, xvow 9 (3^yp^w, thus ^a^i-u^o^ai ; but in the 
 tenses derived from the future it is short ; as, xvgw 9 
 
 [ACZPTVOEOO, &C. 
 
 v in polysyllables in wy is short ; also in some nouns 
 in vtyis, as, yjiOoo-wu, plating ; in diminutives in vXog 9 
 as, (*iy.xv\q$, e^ wruXoff, &;c. ; and in numerous adjectives 
 
 in vvog and u^o? ; as, yri$Q<rvvog 9 7ri(rvvog 9 (M]/v(>Qg 9 fiXovvgog. 
 
 It is short in verbals in u<n? ; as, X\xrig 9 qUig, yytrig, &c. 
 
 But it is long in those in u^a, vpog 9 vm^ 9 vrug ; as, 
 
 XvfAoi 9 p^vjao^, puT'^, pv\vvru() 9 &c. ; and in the greatest part 
 
 of those in \)rog 9 uttk, utij ; as, xuMrog, ctr^vrog, pvrog 9 
 QUANTITY OF THE FINAL SYLLABLE. 
 
 a. is mostly short at the end of words ; as in juo^a, 
 Except, 1. Such words as end in a pure ; as, A0nV*, 
 
PROSODY AND METRE. 13 
 
 2. The Doric a for v\ or ou ; as, <pa/xa, Alvsioi. 
 
 3. Words ending in $«, and Oa ; as, j3a<nAu/^, A^Ja, 
 Xipafta, : except #AiOa. 
 
 Words ending in ^ not preceded by a diphthong ; 
 
 as, xa^, 7rri^a 5 %#£>«.* except ciyxvgoc, yi(p\jpoc 9 oXvpoc. 
 
 Such words as have a consonant preceding p ; as, 
 
 ay^a, irirpoc, dxs(rTPcc 9 (paifya. Except <ntoXQ7riV$PO(, 9 rocvdypoc ; 
 
 also the first aorist, and praeterit middle, of verbs in pea ; 
 
 aS, &£p9«£«, $l£<p$0POC 9 E7TBIP0C, 7r£7rQP0C. 
 
 4. Nouns ending in £i<*, from verbs in £uw ; as, 7r^o- 
 
 ^yjTfta, $ovXsioe, from dovXsvu. 
 
 5. Adjectives in a pure, from masculines in os ; as, 
 Swata,: except $7oc 9 7tqtvhz 9 ioc and plx. 
 
 6. Duals of the first and second declension ; as, 
 AIveU, Mova-oc ; likewise aoxxoc, with its compounds, and 
 the poetic vocative ; as, TioxMpoc, Aao&^a. 
 
 ocv final is short ; as, ccv 9 TrocpTrotv, A'iocv, psXocv, 7roin<rccv 9 
 
 £Tu\J/ay. Except in words circumflexed ; as, voiv. Mascu- 
 lines in ocv ; as, Tnolv. 
 
 In the adverbs ccyocv, Xiocv, -rripocv, evocv ; but ocvrdv is 
 
 short. 
 
 In accusatives of the first declension whose nomina- 
 tives are long ; as, Alvsiav, (pixtocv. 
 
 ccp final is short ; as in ovup, vkrocp, pwoco : except the 
 monosyllables y.oip and $kp ; yap also is sometimes long. 
 
 ocg is short ; as in ycipctg, upxcig, rvirrovTocg : in impari- 
 syllabic nouns which do not form their genitives in 
 
 ccvTog} as, piXctg, fxiyocg, ha.p.wa.q 9 <r£X<z$, Also in the 
 
 4 
 
14 ELEMENTS OF GREEK 
 
 second person of the first aorist, and preterit active, 
 
 and preterit middle ; as, hv^<zg 9 TETvpa?, Trnwa?. It is 
 
 « v u 
 
 mostly short in the Doric accusative plural ; as, 
 
 .... you a, Trlrvg okws IvtUeu. Theocrit. 1. 134. 
 .... jw£ra rooTTois mXiqio. Hesiod. £. 562. 
 Except all cases of the first declension ; as, rapaf, 
 All/stag, povo-ocg. Also nouns in ocg which make the ge- 
 nitive in ccvTog ; as, &Ug 9 Wmvu,g. Accusatives plural in 
 
 ag from nouns in svg 9 as ipug, vpolg. 
 
 * is short ; as in \<pi 9 ori 9 jweAi, tutttouct*, AIccvti, rflnpi. 
 Except in contractions, as ^ T * for -juirrii, where it is 
 long. Also in the paragoge of adverbs and pronouns ; 
 as, wvi 9 oJtoo-1 ; but iv) and ov%\ have » short. It is long 
 in the names of letters ; as, g~, 7t7 : the Attic i is also 
 long in o<ft, fag], tccvt). 
 
 iv final is mostly short ; as in rvirrovtriv, %y.iv 9 7roixiv* 
 Except nouns in iv 9 ivog 9 and words of two terminations ; 
 as, piv, Xiv 9 (x,kt)v, $sx<p)v : Yi[*7v and J//,u/, when circum- 
 flexed, are long ; as is the Doric r\v for <ro). 
 
 ig final is short *, as, rgig, 7roXig 9 ctpoifioc&g, rv(>ocvv)g. 
 Except monosyllabic nouns, and such as have two ter- 
 minations ; as, x)g 9 dxr)g 9 foxqiiq. Also nouns in *& in- 
 creasing in the genitive ; as, o%vig 9 y.Ug 9 x^ipri?. 
 
 y final is short ; as in <rD, y6™ 9 yXwv, &wc£v. Except in 
 the third person of the imperfect and second aorist of 
 verbs in up ; as, '{<pv 9 Uv : to which may be added the 
 names of letters, as /u-u, vv. It is also long in o, yfi 9 
 
PROSODY AND METRE. 15 
 
 w is short ; as in o-Oi/, iroXw, fyuSw. Except m, when 
 circumflexed, and words of two terminations, as <p6gxw ; 
 also accusatives from vg long ; as, lxw 9 I^w, >cAiruv ; and 
 in the imperfect and second aorist of verbs in up ; as, 
 
 vg final is long ; as, trZo, poigrvg, ^l<pvo : but it is short 
 in the oblique cases. 
 
 of is short ; as in paOu?, x,6gvg, wS^off, 7r^Vf3u?. Except 
 monosyllables ; as, [xZg 9 cvg ; and nouns which make 
 their genitives in og pure ; as, lxvg 9 ctgxvg, a^Auc, w§vg : 
 i^fiOff and o<^^0ff are common, but the former is always 
 long in the comic writers, vg is also long in verbs in o/*i. 
 
 ON THE ELISION AND CONTRACTION OF VOWELS 
 AND DIPHTHONGS. 
 
 The vowels a, e, *, o, are sometimes elided at the end 
 of a word, when the following word begins with a 
 vowel. 
 
 i is rarely elided in the dative singular of nouns by 
 the dramatic writers, nor in the dative plural, though 
 in the writings of Theognis and other poets the elision 
 frequently occurs. 
 
 i is never elided by the comic writers in t* and on. 
 Porson. 
 
 The tragedians do not admit ictfi before a vowel, 
 whether in the same or in different words. Porson. ad 
 Med. 284. 
 
 The diphthongs on, o», sometimes suffer elision at the 
 end of a word ; u and «o never. 
 
16 ELEMENTS OF GREEK 
 
 The elision of a* is frequent in Homer before a word 
 beginning with a vowel ; and sometimes, though rarely, 
 01 is elided by the same poet in the pronouns ^o*, to*. 
 
 When a word ends with a vowel or a diphthong, and 
 the following word begins with a vowel or a diphthong, 
 they are sometimes united by crasin ; as, ptvroiv for 
 
 [aevtoi ocv, riTtxpot for nroi ocpoc. 
 
 When xoci is joined to a diphthong by crasin, * is 
 subscribed ; as, xpa for xal stra. For son. ad Hec. 4. 
 
 Diphthongs were not elided by the dramatic poets 
 till the time of Menander, and the other writers of the 
 new comedy, in whose writings numerous examples of 
 the elision are to be found. 
 
 Two syllables are sometimes contracted into one in 
 the same word by synaeresis ; as, xgvo-u for ^u<rtw, Go* 
 for Geo*, ApQiagu for Aptpiot^iu. 
 
 OF FEET. 
 
 A foot in metre is composed of two or more syllables, 
 and is either simple or compound. Of the simple feet 
 four are of two, and eight of three syllables. 
 
 There are sixteen compound feet, each of four syl- 
 lables. 
 
 Simple Feet. 
 
 hj r Pyrrichius . . . 0*«« .... two short syllables. 
 *Ss S j Spondeus .... tyv%i . . . two long syllables. 
 5E ^> J Iambus 6su .... one short and one long. 
 
 o v Trochaeus .... rap* . . . one long and one short. 
 
PROSODY AND METRE. 
 
 17 
 
 , 
 
 ^ Tribrachys . . . 
 
 . . 7T0tefA0$ . 
 
 . . three short. 
 
 03 
 
 1 
 
 Molossus .... 
 
 . , ivftoM . . . 
 
 . . three long. 
 
 Dactylus . . . . 
 
 . . a'af/jicrcc . 
 
 . . one long and two short. 
 
 0? 
 
 <D J 
 
 Anapsestus . . 
 
 . . /3sccr;;\2i/<; . 
 
 . . . two short and one long. 
 
 
 \ Bacchius 
 
 . . UVX(T(TSl . , 
 
 . . one short and two long. 
 
 O 
 
 Antibacchius . 
 
 . . UjaVTiVpU, 
 
 . . two long and one short 
 
 -a 
 
 ' Amphibrachys 
 
 . . 6ccXci(T(roc . . 
 
 . . one long between two short 
 
 w 
 
 ^Amphimacer . 
 
 . . ^stnrer;^ . 
 
 . . . one short between two long 1 
 
 Compound Feet, 
 
 05 
 
 ^Choriambus ... . 
 
 Antispastus 
 
 Ionicus a majore . 
 
 ■ a minore . 
 
 Paeon primus . . . 
 
 secundus . . 
 
 — tertius .... 
 ■ quartus . . . 
 Epitritus primus . . 
 
 secundus 
 
 • tertius . . 
 
 quartus . 
 
 Proceleusmaticus . 
 
 Dispondeus 
 
 Diiambus 
 
 7T/\S09£X.T11<i 
 
 MCTTgoXoyoq 
 ctvctfyot; . . . 
 
 QioyzvYis . . 
 oifA/oi^raXyj 
 
 a-vv^ovXivtroo 
 \Ditrochaeus hrTvx/ipa 
 
 \ <" 
 
 / O 
 
 A trochee and an iambus. 
 An iambus and a trochee. 
 A spondee and a pyrrich. 
 A pyrrich and a spondee. 
 A trochee End a pyrrich. 
 An iambus and a pyrrich. 
 A pyrrich and a trochee. 
 
 an iambus. 
 
 An iambus and a spondee. 
 A trochee and a spondee. 
 A spondee and an iambus. 
 
 a trochee. 
 
 Two pyrrichs. 
 Two spondees. 
 Two iambi. 
 ^Two trochees. 
 
 OF METRE. 
 
 " Metre, in its general sense, means an arrangement 
 of syllables and feet in verse, according to certain rules ; 
 and in this sense applies not only to an entire verse, but 
 
 D 
 
IS ELEMENTS OF GREEK 
 
 to part of a verse, or any number of verses." " But a 
 metre, in a specific sense, means a combination of two 
 feet, and sometimes one foot only." 
 
 There are nine principal metres : 1 . Iambic. 2. 
 Trochaic. 3. Anapaestic. 4. Dactylic. 5. Chori- 
 ambic. 6. Antispastic. 7. Ionic a majore. 8. Ionic 
 a minore. 9- Paeonic. 
 
 These names are derived from the feet which prevail 
 in them. It is supposed that each species was originally 
 composed of those feet only from which it is denomi- 
 nated ; but that others, equal in time, were afterwards 
 admitted under certain restrictions. 
 
 In the three first metres, viz. iambic, trochaic, and 
 anapaestic, a metre consists of two feet ; in the re- 
 mainder, one foot constitutes a metre. 
 
 A verse is called monometer when it consists of one 
 metre; dimeter, when it has two metres; trimeter, 
 when it contains three ; tetrameter, when it consists of 
 four metres. Pentameter and hexameter verses con- 
 tain, the former five, and the latter six metres ; but 
 they are measured by single feet, each foot constituting 
 a metre. 
 
 Verses are also denominated acatalectic, catalectic, 
 brachycatalectic, and hypercatalectic. 
 
 Acatalectic is when a verse with respect to the metre 
 is complete ; as in the following, which is trochaic mo- 
 nometer acatalectic: 
 
 yu'roits H ^schyl. Sept. Theb. 
 
PROSODY AND METRE. 19 
 
 Catalectic is when a verse wants one syllable at the 
 end to complete the metre, as in the following, which is 
 trochaic dimeter catalectic : 
 
 yy Xeuv fyaxovTcci; cog. iEschyl. Sept. Theb. 
 Brachycatalectic is when one entire foot is wanting 
 at the end of the verse to complete the metre The 
 following is trochaic dimeter brachycatalectic : 
 slo-rfeTv ytyoLvn. Eurip. Phoeniss. 
 Hypercatalectic is when there are one or two re- 
 dundant syllables at the end of a verse ; as in the fol- 
 lowing, which is trochaic monometer hypercatalectic : 
 tw, 7raT^oKToi/oi/. iEschyl. Sept. Theb. 
 
 DIFFERENCE OF RHYTHM AND METRE. 
 
 The difference between rhythm and metre is thus ex- 
 pressed by Quintilian, Inst. 1. 9 : — " Rhythmi, id est, 
 numeri, spatio temporum consistunt, metra etiam ordine, 
 ideoque alterum esse quantitatis videtur, alterum quali- 
 tatis." Rhythm, therefore, relates to the quantity of the 
 syllables in a foot, as far as regards the time required in 
 the pronunciation of them, considering each long syl- 
 lable as equal in time to two short ones. 
 
 Metre includes both the time and order of syllables, 
 and does not admit the same interchanges of feet as 
 rhythm. Quintilian says further, " PuG^o? aut par est, 
 ut dactylus, unam enim syllabam parem brevibus habet. 
 Est quidam vis eadem et aliis pedibus, sed nomen illud 
 tenet. Longam esse duorum temporum, brevem unius, 
 
20 ELEMENTS OF GREEK 
 
 etiam pueri sciunt. Aut sescuplex, ut paeon, cujus vis 
 est ex longa et tribus brevibus, quique ei contrarius, ex 
 tribus brevibus et longa, vel alio quoque modo tempora 
 tria ad duo relata sescuplum faciunt. Aut duplex, ut 
 iambus, nam est ex brevi et longa, quique est ei con- 
 trarius." In this passage, the relative value of feet in 
 rhythm is considered on the musical principle of equality 
 in time, on which principle they may be admitted in 
 exchange, the one for the other, without injury to the 
 rhythm. 
 
 The first division of rhythm is into equal time, or as 
 one to one, or two to two ; this is exhibited in the 
 pyrrich » o , the spondee - - , the dactyl *. v « , and the 
 anapaest *«. - i the two short syllables in the latter feet 
 being equal in time to the long ones. 
 
 The second division is as one to two, or duplex, and 
 is shown in those feet, of which one part contains only 
 half the time of the other, such as the iambus ~ - , 
 trochee - « , and tribrach 
 
 The third division, which the Greeks call ypioXiog, 
 and the Latins sesquialter or sescuplex, is as two to 
 three ; this time is shown in the paeon . ~ ~ ~ . Cicero 
 says, " Paeon quod plures habeat syllabas quam tres, 
 numerus a quibusdam, non pes habetur. De Oratore. 
 From which it appears that the paeon was not esteemed 
 a foot by many, but only a number or rhythm ; and he 
 accordingly considers it as more suited to prose than to 
 poetical composition. 
 
PROSODY AND METRE. 21 
 
 Aristides Quintilianus, a writer on music, after enu- 
 merating the foregoing divisions, adds a fourth, which 
 the Greeks call Itht^toc, and the Latins supertertius 
 and sesquitertius, which is as four to three. 
 
 Having stated the relative value of feet to each other 
 in rhythm, according to the proportions of time they con- 
 tain, it now becomes requisite to return to metre, and 
 assure the scholar that although such proportions make 
 them interchangeable in rhythm, it by no means does so 
 in metre ; for as rhythm is found in a single foot, each 
 foot making a complete rhythm, so metre is a succession 
 of feet according to a certain order, regulated by fixed 
 laws which must be scrupulously observed; for the 
 altering or displacing any of the feet would annihilate 
 the metre though the rhythm would remain. Quintilian 
 says, " In versu pro dactylo poni non poterit ana- 
 paestus, aut spondeus, nee paeon eadem ratione a, bre- 
 vibus incipiet ac desinet ; neque solum alium pro alio 
 pedem metrorum ratio non recipit, sed ne dactylum 
 quidem aut forte spondaeum, alterum pro altero. Itaque 
 si quinque continuos dactylos, ut sunt in illo, 
 
 Panditur interea domus omnipotentis Olympi, 
 
 confundas, solveris versum." Inst. 1. 9. 
 
 These dactyls have been confounded in this manner, 
 
 Omnipotentis Olympi panditur interea domus, 
 
 which entirely destroys the metre, the laws of which 
 require a dactyl in the fifth and a spondee in the sixth 
 
22 ELEMENTS OF GREEK 
 
 places, and gives us an anapaestic line in its stead. 
 Although by thus disturbing the order of the line, the 
 metre is destroyed, still the rhythm remains the same, 
 there being an equal number of times contained in the 
 anapaest as in the dactyl. 
 
 In order to ascertain what feet are uro^ovov;, or in- 
 terchangeable in metre, recourse must be had to what 
 the Greeks call arsis and thesis, into which every foot 
 was divided. These are musical terms, and are by the 
 Latins termed sublatio and positio : they are generally 
 represented by the acute (') and the grave ( N ) accent; 
 but as they have no power to heighten or depress, to 
 lengthen or shorten the syllable in pronunciation over 
 which they are placed, care must be taken not to con- 
 found them with regular grammatical accents. That 
 they are only modes of beating time with the foot is 
 proved from this passage of Marius Victorinus : " Arsis 
 et thesis, quas Graeci dicunt, id est, sublatio et positio, 
 significant pedis motum : est enim arsis sublatio pedis 
 sine sono, thesis positio pedis cum sono." Every foot 
 then must necessarily consist of not less than two syl- 
 lables, on one of which falls the arsis and on the other 
 the thesis. We will now place them on an iambus I % _ 
 and a trochee '_ \ , which feet are not interchangeable in 
 metre : the arsis in the iambus occupies the first short 
 syllable, and the thesis the remaining long one ; in the 
 trochee this order will be found reversed, the place of 
 the arsis being a long syllable, and the thesis a short 
 
PROSODY AND METRE. 
 
 23 
 
 one : it appears, therefore, that a foot, in order to be 
 uroxfovovs in metre, does not depend on the rhythm alone, 
 which affects it as a whole, but on arsis and thesis also, 
 which affect its parts. Dawes, in Miscellanea Critica, 
 p. 65, says, u The ancients considered those feet only as 
 kto^oi/ou?, which were capable of being divided into 
 parts that were equal in time ; " so that a long syllable 
 should have either a correspondent long syllable, or two 
 short ones, according to the following scheme, 
 
 ABC 
 
 Iambus 
 Tribrach 
 
 Trochee 
 Iambus 
 
 Trochee 
 Tribrach 
 
 Spondee 
 Dactyl 
 Anapaest u » 
 
 D 
 
 Spondee 
 
 Amphibrachys 
 
 In the above scheme the three divisions marked A, B, 
 and c, show the to-o^ei/ou? feet ; the divisions D and E 
 those that are not interchangeable the one for the other. 
 
 IAMBIC METRE. 
 
 Iambic verse derives its name from the foot which 
 prevails in it, viz. (the iambus) and of which it was 
 originally composed. In this metre there are two kinds 
 which most frequently occur ; these are trimeter acata- 
 lectic, or senarian, and tetrameter catalectic. The 
 former of these measures was used both by tragic and 
 
 4 
 
24 ELEMENTS OF GREEK 
 
 comic writers, but the latter principally by the writers 
 of comedy. 
 
 Iambic Trimeter, or Senarian. (Tragic.) 
 An iambic trimeter, or senarian, consists of six feet, 
 or three metres, and is called pure if each foot is an 
 iambus, as in the following line, 
 
 Pure. 
 
 irocXoa wjvnysrovvTOi, y.c/A [AZTPOvfAZvov. Sophoclis AjaX. 5. 
 
 w - | w - | w - I w _ | W _ | W _ 
 
 The early writers of iambics, as Archil ocus, Solon, 
 and Simonides, are supposed to have pretty generally 
 confined themselves to the use of the iambus in their 
 compositions ; but the tragic writers, to give variety 
 and dignity to their verse, introduced other feet under 
 certain restrictions ; thus the tribrach, being isochronal, 
 or of equal time with the iambus, the long syllable 
 being resolved into two short ones, was admitted for it 
 in every place except the last, as may be seen in the 
 following examples, 
 
 Tribrach in 1st place. 
 
 uyzrs tov cc^pov W ttot Iv Tpoiix, iroda.. Euiip. Tl\ 510. 
 
 Tribrach in 2d place. 
 
 TPV%nP& ttlo\ Tf>\)%V\0Q]/ il^iVY[V ^POCC. Euiip. Tl\ 500. 
 
 — - 1 w w w I - -|U _|w_ l w _ 
 
 Tribrach in 3d place. 
 wrrXwji \oati(Tfi.a,T ddoxifA oXftioiq lyziv. Eurip. Tr. 501. 
 
 Tribrach in 4th place. 
 iroXiv Ts $ti%u tMe fjka.y.a.DiwxiOKv. Eurip. Tr. 309« 
 
 w - I w - I - -|« wwfw-|w- 
 
PROSODY AND METRE. 25 
 
 Tribrach in 5th place. 
 ctxXov? rvpdvvovg ccurov ovrtx. fiucrtXsa,. Eurip. Helen. 519. 
 This metre also admits a spondee in the odd places, 
 i. e. the first, third, and fifth. 
 
 Spondee in 1st, 3d, and 5th places. 
 
 n (Titottqie'iv xdv 7T£(Tw aoirocq i'/fiv. Eurip. Tr. 498. 
 
 m Eurip. Heracl. cura Elmsleii, v. 284. 
 
 <roi r £u XiXt-A.ra.iy xa\ roi ruvF av^w yipov. 
 
 Heracl. 334. ed. Elmsleii. 
 The spondee in the first place may be resolved into 
 an anapcest or a dactyl ; in the third place into a 
 dactyl only, but neither a dactyl nor an anapaest can be 
 used for the spondee in the fifth. 
 
 Dactyl in 1st place. 
 
 oujc ocpiQpov ccXXug a,XX* vttsptmtovs $>(>vyw* 
 
 Eurip. Tr. 480. 
 Dactyl in 3d place. 
 
 pv<r<ro7(ri vuroiq |3a<nXi>twi/ lye Jwju,aTWv. Eurip. Tr. 499* 
 
 ~ |w -I- w w |w _ I - _|W_ 
 
 Anapaest in 1st place. 
 
 npiXori^iocg ttou pri <ru y a^txo? fi $zo<;» 
 
 Eurip. Phoeniss. 542. 
 An anapaest of proper names is admitted in every 
 place except the last, but the entire anapaest must be 
 contained in the same word, 
 
 ijxo* p\v ou&lj /xu9of A riyovn QiXoov* 
 £ 
 
26 ELEMENTS OF GREEK 
 
 A senarian has two principal caesuras, one on the 
 penthemimer or first syllable of the third foot; the 
 other on the hephthemimer, or first syllable of the fourth. 
 Of the first, orpenthemimeral caesura, there are four kinds, 
 
 1. When it is made on a short syllable.^ 
 
 2. When it is made on a short syllable after an eli- 
 sion. 
 
 3. When it is made on a long syllable. 
 
 4. When it is made on a long syllable after an eli* 
 sion. 
 
 Examples. 
 
 1. Kiv$vvog ivyi I fog) Ttzvitv 'EAA^ixw. 
 
 2. UoLTYlf) \]i i'lTTOT J 'iAlOU T£iY*J TTZCOl. 
 
 3. Ai7TC01/ iV'AiJV)? I "XJ^Pl^ &Y.KTT0CI 0£WI/. 
 
 4. Kal TSU^fTai TOllJ' I OUcT <X.$UP71T0S (piXooV. 
 
 Of the second, or hephthemimeral caesura, there are 
 several kinds. 
 
 1. When it occurs at the end of a word of two or 
 more syllables without an elision. 
 
 2. When it occurs after an elision. 
 
 3. When the syllable is an enclitic. 
 
 4. When it is not an enclitic, but is such a word as 
 may not begin a sentence. 
 
 5. When it is such a word as may begin a sentence. 
 
 6. When a syllable is made short after elision. 
 
 Examples. 
 
PROSODY AND METRE. 27 
 
 &. rioXAwi/ Xoym £u^/*«6' | wVt£ [*n 0af£iV. 
 
 3. Ke/j/h ya^ uXsa-iv viv | £iV Tgoiav r uysi. . 
 
 4. T/jU-Pov Ji fiouXoipyv av j M^ioCfjt.svov. 
 
 . rL,7Tfi ttoctdp ovrog <ro<; J ov y^*]i/£K #£*• 
 
 . AAA out ejeaoi xaAoi/ rod | £<ttw qvte rot. 
 
 There is another division of a senarian which may be 
 called the quasi-ccesura ; this is when the third foot is 
 elided, either in the same word or by the addition of y, 
 r, p, er, t. 
 
 Ksi/Tem ^ <pzlh<r§ | syco ''tekoi/ Ila^i/. 
 rt>i/«i£l TrufiivQiq r J aVoj3A£7rro? jui-ra. 
 
 The tragic writers, therefore, never use an anapaest 
 but in the first place of a senarian, except in proper 
 names, when it is admitted in every place except the 
 last : they very rarely write a verse whieh wants the 
 caesura ; and scarcely ever neglect the pause in the 
 fifth place, which is often a spondee, formed of two hy- 
 permonosyllabic words, as in this, 
 
 'ArAas | o %#A | yJot | <n l/w [ roig ov | cccvov. 
 
 A dactyl is certainly never used in the fifth place. 
 
 As the caesura forms one of the greatest beauties of 
 a senarian, that verse is the most harmonious in which 
 it takes place in both the third and fourth feet ; and 
 though it does not always occur in the latter, the tragic 
 writers very rarely omitted it in the former foot. 
 
 The comic writers, whose language approached to 
 the familiarity of common discourse, freely neglected 
 these rules of anapaests and dactyls, as may be seen in 
 
28 ELEMENTS OF GREEK 
 
 the following scheme taken from Professor Gaisford's 
 very learned and excellent edition of Hephaestion, p. 
 241, 242, in which examples are given of the anapaest 
 in the 1st, 2d, 3d, 4th, and 5th places ; and also of a 
 dactyl in the 5th place. 
 
 f Anapaest in the 2d place. 
 
 iirzi xoiTtXYi<pQYi <rov XocQox ttooXZv to. <rot. Cycl. 260. 
 
 Anapaest in the 4th place. 
 
 Trvg xal 7raT£>woi/ rovfc XzfiriToi y oq ^itrag. Cycl. 343. 
 
 
 Anapaest in the 5th place. 
 
 Mfyuq i^oc^oc^ocg xoti [xsyccv (pxxeXov %v\uv. Cycl. 242. 
 
 r Anapaest in 1st, 2d, 3d, 4th, and 5th places. 
 
 g xaTa(3a jca-ra(3a xx7oi'3<x, xarcifia, x«Ta(3no"o^ai. 
 
 A / Aristoph. Vesp. 973. 
 
 ° l 
 *g I Dactyl in the 5th place. 
 
 O f aura? a(3^« t?5£ juht£>oj aiVcov yzvopiv'A, Menander. 
 
 A Table of Feet allowable in a tragic iambic tri- 
 meter, or senarian. 
 
 12 3 4 5 6 
 
 W _ w-^w _ V _ w - w - 
 
 U» \J - " - 
 
 The double lines denote the places of the caesura. 
 
 Iambic Dimeter Acatalectic, 
 Fn systems of iambic dimeter acatalectic the dactyl is 
 
PROSODY AND METRE. 29 
 
 not often admitted, the feet mostly used being the tri- 
 brach, the spondee, and the anapaest. Systems of pure 
 dimeters are not found in the tragic writers, but in the 
 lyric and comic poets they very frequently occur. The 
 last syllable of an iambic dimeter, like that of a trochaic 
 or an anapaestic, is not common, but is subject to the 
 same rules of quantity as the other syllables in the 
 verse, each final syllable having its proper measure 
 through the system, which should always be concluded 
 with a catalectic verse. 
 
 Tiq TYiV ILltyOLh'W U7r£$7l$0XZV 1015 
 
 tv\<; pvAi/ido; ; TO TCvfiXlQV 
 
 - - I u - I \J - I w- 
 
 TO 7T£pV<TW0V TtQv?]X£ fJ.Qi \ 
 
 7T0X) TO <T'/,OPo£o'j U.01 TO y§l<JWQ\i \ 
 
 Ti$ rrig l^ococg TrapsTpuyzv ; 
 
 rice; <T «(3eXt£0WT£PO*, 1020 
 
 ns^Yivorsg Ma^paxuOci, 
 
 MzXriTidai kcAwtq. Aristoph. Ran. 
 
 Vide Gaisford's Hephaestion. 
 -row juoi to$1; tk tout ikafit. Aristoph. Ran. 1010. 
 In the above verse there is a tribrach in the last 
 place ; and in the system just given, verse 1018 ex- 
 hibits an anapaest in the same place. 
 
 In dimeter catalectic verses, an iambus should always 
 precede the catalectic syllable. 
 
 'AttoAoito TTouroq avTos. Anacreon. 
 t/ <pu o-£ ; TTtog olirctuTcc. Eurip. Phoeniss. 321. 
 Pure systems of dimeters may be seen in Aristoph. 
 
 1 
 
30 ELEMENTS OF GREEK 
 
 Equit. 366—380, 441—454, 907—936; Nub. 1085 
 —1102; Ran. 387—396. 
 
 Tetrameter acatalectic was not used by either tragic 
 or comic writers among the Greeks. 
 
 Tetrameter Catalectic. 
 
 In this metre the fourth foot should always be an 
 iambus or a tribrach ; the sixth admits an anapaest. 
 The foot preceding the catalectic syllable should be an 
 iambus, except in proper names, when the anapaest is 
 admitted, which is also the case with the fourth foot. 
 
 7r^wTKTTa [a\v yoio iv a, yz nvoi ■x.a§it<jzv lyxiaAui^f* 
 
 Ran. 942. 
 
 ♦u^ wttov 7) vvv ol XocXovursg. WOio? y&o ^<r9a. Ran. 948. 
 lyivzro M£\<zvi7r7ra,<; 7roiwv, Qaityag ts IInvsAo7ryjy £\. 
 
 ' Thesm. 554>. 
 
 twi/ vZv yvvcaxwv HywzXqttyiv, <&iZi$pci$ $* oi.7r(x% ) Qt.7roi<ra,<;. 
 
 Thesm. 557. 
 Cratinus in Gaisford's Heph. 
 
 TROCHAIC METRE. 
 
 Trochaic Tetrameter Catalectic. 
 
 A trochaic tetrameter catalectic verse consists of 
 seven feet and a catalectic syllable, which feet are pro- 
 perly all trochees. 
 
 The trochee may be resolved into a tribrach in every 
 place. 
 
PItOSODY AND METRE. 31 
 
 . This verse admits also a spondee in the even places, 
 that is the 2d, 4th, and 6th, which spondee may be re- 
 solved into an anapaest. 
 
 In every place, except the 4th and 7th, a dactyl of 
 proper names is admitted, which should be contained 
 in the same word, or so distributed that the two short 
 syllables of the proper name be joined to the final long 
 syllable of the preceding word ; as, 
 
 Eurip. Orestes. 
 
 A spondee or an anapaest in the sixth place must not 
 be joined to a tribrach in the seventh. 
 
 If a cretic, or the first or fourth paeon, be withdrawn 
 from the beginning of a verse, it becomes an iambic 
 trimeter, or senarian, the caesura of which is always on 
 the penthemimer, and never admits an anapaest even in 
 the first foot. 
 
 IXirlhq I £ oxjiroi xaOey^oucr', cclq Triiro^a, crvv OioIV. 
 
 Euripid. Phoeniss. 643. 
 
 rlv ffTiipocvQV J oitpypsQyi' y.cc\Xov yoio ovroq s'utetmi. 
 
 Aristoph. Nub. 621. 
 
 There is one caesura in a tragic trochaic tetrameter ; 
 this occurs at the end of the fourth foot, which should 
 always end with a word, which word must neither be 
 an article nor a preposition. 
 
 The comic writers sometimes neglect the caesura. 
 They admit a tribrach before the catalectic syllable, and 
 only use a dactyl of proper names. Parson's Pref. to 
 Eurip. Hecuba. 
 
o c Z ELEMENTS OF GREEK 
 
 A Table of Feet allowed in a tragic trochaic tetrameter 
 
 Freper Nomes. _ ^ 
 
 The double line marks the place of the.csesura. 
 
 Trochaic Manometer. 
 
 Trochaic monometer acatalectic consists of two tro- 
 chees, or a trochee and a spondee ; as, 
 
 iripur o'Uw. Euripidis Orestes, 956. 
 Trochaic monometer hypercatalectic consists of two 
 trochees and a syllable ; as, 
 
 ttovtiuv v&Xm. Eurip. Orest. 987. 
 MouuSoq tUov. Eurip. Orest. 991. 
 pa^P^w (3o». Eurip. Orest. 1380. 
 Trochaic dimeter catalectic, called Euripidean, con- 
 sists of two trochaic metres, the last of which is cata- 
 lectic. A spondee is admitted in the second place of 
 the first metre, and a tribrach in every one. 
 
 y) Aoyw ttocevstui. Soph. (Ed. Tyr. 884. 
 
 «i. w i _ w i _ 
 
 xa\ xocrol yvoopyv Ifoic. Soph. (Ed. Tyr. 1087. 
 
 ^ i _ - i - *j x - 
 
 to (pi^ov s* Ofou jc«A&>?. Soph. (Ed. Col. 1694. 
 Kafytoff £,aoA£ rwh yoiv. Eurip. Phoeniss. 647- 
 Trochaic dimeter acatalectic consists of two trochaic 
 metres, or four trochees. A spondee is admitted in the 
 second and fourth places, and a tribrach in every one. 
 
 This metre occurs with catalectic verses interspersed 
 through the strophe and antistrophe of Aristoph. Aves, 
 1470. 
 
PROSODY AND METRE. 33 
 
 \<tti yoco iii/^poy teQukoi; 
 
 SXT07TQV Tl, XCX,P$l(Z,$ &.- 
 
 w| _ « | _^ w|_ ^ 
 
 7TUT£PCt)) K.X£d)VV[J.0g. 
 
 Trochaic dimeter hypereatalectic, called Bacchillidean, 
 consists of four trochees and a syllable. Verses in this 
 metre may be found in Euripidis Orestes, 1407, 1411, 
 1449, 1489 ; Soph. Antig. 349. 
 
 a,q syyp o ro^orocg llaPig. Eurip. Orest. 1407- 
 rovg ph Iv <rTocfy,o7<riv ImnnaTs, Eurip. Orest. 1449. 
 
 Trochaic dimeter brachycatalectic, or hemiolius, con- 
 sists of three trochees, or one whole metre and a half, 
 it is also called ithyphallic. The trochee is sometimes 
 resolved into a tribrach in this metre ; as, 
 
 «<n&tV yiy cci/n. Eurip. Phoeniss. 127. 
 XccQets (piot-vi Tripwsr. Eurip. Hecuba. 62. 
 Trochaic trimeter brachycatalectic consists of five 
 trochees, or two whole metres and a half. Examples 
 are in Soph. (Ed. Col. 1240; Trach. 650; Eurip, 
 Orest. 1406 ; Phoeniss. 255, 317 ; Medea, 634. 
 
 ol Js Trpog Qoovovg c<rw (xoXovrsq. Eurip. Orest. 1406. 
 
 Trochaic trimeter catalectic consists of five feet and 
 
 a syllable ; it admits a spondee in the even places, that 
 
 is, the 2d and 4th, and a tribrach in all, Examples of 
 
 this metre are found in Eurip. Orest, 140, 141, 1459* 
 
 F 
 
34 ELEMENTS OF GREEK 
 
 1466; Medea, 418; Helen. 171; Soph. (Edip. Col. 
 1686 ; Pind. Pyth. 1. 8. See Gaisford's Hseph. 263. 
 
 Ti'OfTf fxYi ^g$s~te pvF £(ttw leiwoj. Eurip. Orest. 141. 
 
 Trochaic trimeter hypercatalectic, consists of six feet 
 and a syllable, and is found in Euripidis Orestes, 1397, 
 1399, 1512; Phceniss. 170, 1057. 
 
 Eurip. Orest. 1397. 
 
 Eurip. Orest. 1399- 
 
 $P0i7T£TY\U <y<Z0 iJri*A£7TT0V EX $6 [AM TTO^OC. 
 
 Eurip. Orest. 1512. 
 
 AXAP.ESTIC METRE. 
 
 Anapaestic monometer, which is also called an ana- 
 paestic base, consists properly of two anapaests ; but it 
 is sometimes formed of an anapaest and a spondee, of a 
 dactyl and an anapaest, or of two spondees ; as, 
 
 ■n's tyxptgiuv. iEschyl. Pr. Ninct. 548. 
 
 \iwrg 'AyocpEpvav. Eurip. Hecuba. 124. 
 
 A?iapcestic Dimeter 
 
 Is the most common species of anapaestic verse : in a 
 system of legitimate dimeters, each metre should end 
 with a word, and the system should close with a cata- 
 lectic verse, called the paroemiac, preceded by a mono- 
 meter acatalectic. 
 
PROSODY AND METRE. 35 
 
 This metre admits indiscriminately the dactyl and 
 spondee for the anapaest, and sometimes, though very 
 rarely, the proceleusmus ; but an anapaest ought not to 
 be joined to a dactyl, to avoid too many short syllables 
 occurring together, as in the following verse : 
 
 orris ocv Iviiroi irort^ov (ptyipivw. Eurip. Alcest. 80. 
 
 Other lines are found in Soph. Ajax. 205 ; Eurip. 
 Hippol. 1381 ; Electra, 1328. 
 
 In the cataiectic verse, or paroemiac, which closes a 
 system, the cataiectic syllable should be preceded by an 
 anapaest : there are, however, some verses in which it 
 is joined to a spondee ; as, 
 
 ttoAew? acrii/f? o-wTr-f *. iEschyl. Sept. Theb. 826. 
 
 Other examples may be found in iEschyl. Persae, 32 ; 
 Agam. 367; Sup. 8. 973. 
 
 An hiatus of long vowels and diphthongs is admitted 
 in this metre, but they are always scanned as short ; as, 
 
 pOViTOl KCi) YilMV y\ TT^OVOpiXil. Eurip. Med. 1081. 
 
 I have observed before that each metre should end 
 with a word ; there are, however, many verses in which 
 a word is distributed into two metres ; see a long list 
 of examples in Gaisford's Haephestion, 279, 280. The 
 two following lines will serve for illustration. 
 
 in^oi 7r£Di7ri^7rroc O'joctku^k. iEschyl. Agam. 86. 
 
 NU|U,<paK dXlOiKTlV iTTEV^QCfXBVOl. Soph. PhilOCt. 1470. 
 
 Sometimes, though very rarely, the comic writers 
 divide a word into two verses, as in the Aves of Aris- 
 tophanes, 733. 
 
36 ELEMENTS OF GREEK 
 
 The last syllable of a verse, in this metre, is not 
 common, but subject to the same laws of quantity as if 
 it was found in any other part of the verse: 
 
 AnapcEstic Tetrameter. 
 
 This metre, called Aristophanic, from the frequent use 
 of it by Aristophanes, consists of two dimeters, the last 
 of which is catalectic. Porson's Supplement to Hecuba, 
 52. 
 
 AW 7\$n %pviv Tt Xiyziv vpol$ 9 I <ro(pQV 9 w vixyi&sts rv\vh. 
 
 Aristoph. Plut. 487. 
 
 In the three first places, besides the anapaest and 
 spondee, a dactyl may be used, which is also admitted 
 in the fifth, but is always excluded from the fourth and 
 sixth places. 
 
 The catalectic syllable is never preceded by a spondee 
 in the seventh place, which should always be an ana- 
 paest. The proceleusmatic foot is excluded from this 
 verse. 
 
 The caesura always occurs after the fourth foot, which 
 must never end with an article or a preposition. 
 
 A Table of Feet allowed in an anapaestic tetrameter. 
 
 The double line denotes the place of the caesura. 
 
PROSODY AND METRE. 37 
 
 DACTYLIC METRE. 
 
 Dactylic monometer hypercatalectic consists of one 
 dactyl and a long syllable, and is also choriambic mo- 
 nometer. 
 
 Dactylic dimeter acatalectic (pure) consists of two 
 dactyls; as, 
 
 rig <f iTnTvpfiios. iEschyl. Agam. 1547. 
 An impure dimeter admits a spondee in the first place, 
 and sometimes in the second ; it is also found composed 
 of two spondees ; as, 
 
 to Me KaA^a?. Agam. 156. 
 7T£iQw i*6x7nxv. Agam. 104. 
 Dactylic dimeter hypercatalectic is formed of two 
 dactyls and a syllable, or of a spondee, a dactyl, and a 
 syllable; as, 
 
 ov r i7n\E%ocfA£i/a. iEschyl. Suppl. 49. 
 
 olxrgov yu.% ttoXiv Z$\ iEschyl. Sept. Theb. 321. 
 Dactylic trimeter acatalectic is formed of three 
 dactyls, and admits a spondee in the first and third 
 places; as, 
 
 fowefiias y.h vp^ig *sx©?. Eumen. 532. 
 ul Movg-oci rlv ''Eoootoi. Anacreon. Od. 30. 
 Dactylic trimeter hypercatalectic consists of three 
 dactyls and a syllable ; it admits a spondee in the first 
 place, and sometimes in the second, but never before 
 the catalectic syllable ; as, 
 
 w 7roAu>cAauT£ (piXouri Qoivtov, 
 
 Mschyh Pers. 680. ed. BlomfiekL 
 5 
 
38 ELEMENTS OF GREEK 
 
 -ffischyl. Suppl. 544. Burneii T, 
 
 £X 1 u^ia? sppovrKS £7T cc- 
 
 ^schyl. Persae, 962. Burneii Tent. 
 Dactylic tetrameter acatalectic consists of four 
 dactyls, and admits a spondee in the first place.* 
 
 dptpiyvoi HQtrifio(,v iroo 'yoifj.oov TivW. Soph. Trach. 504. 
 
 Dactylic pentameter consists of five dactyls, and 
 admits a spondee in every place : in the Eumenides of 
 iEschylus there is a system of pentameters, which closes 
 with trochaic dimeter catalectic. 
 
 i 
 TocxopEVoci aura, yocv jotn/uOouctv oiri^oi 
 
 jtAorj r £7TKp9ovoi? 7ro^o? Trochaic dim. cat. 
 
 Dactylic pentameter hypercatalectic consists of five 
 dactyls and a syllable ; as, 
 
 Boo->cc^£Voi Xocyivocv IgMvpovot (pig pari yiv- 
 
 iEschyl. Ag. 119. Burneii. 
 Dactylic hexameter consists, if pure, of six dactyls, 
 or of five dactyls with a cretic in the last place ; as, 
 
 avrofAOii, a.p<pi7rirvox)<rc(, to <tov yovv xa,i %££>a feiXcciccv. 
 
 Eurip. Suppl. 288. 
 An impure dactylic hexameter has a spondee or a 
 
 * Professor Dunbar says this verse admits a spondee in the first 
 and second places, sometimes in the third. According to Dr. Bur- 
 ney's arrangement of the choral metres of iEschylus, a spondee is 
 admitted in the fourth place. — See Dunbari Prosodia Graeca, p. 36. 
 and Burneii Tentamen, lxi.and Ixii. 
 
PROSODY AND METRE. 39 
 
 trochee in the last place, and admits a spondee in every- 
 one except the fifth ; as, 
 
 aAAa 0£oi yeysraif xAust' ev to Smociov ^ovrsg. 
 
 ^sdryl. Suppl. 77. 
 
 HEROIC VERSE. 
 
 An heroic verse, which is dactylic hexameter, is com- 
 posed of six feet, the last of which must be a spondee, 
 the fifth is almost always a dactyl ; the first four may 
 be either dactyls or spondees, as the following scheme 
 shows, 
 
 :: i_. i:_ i:_ i ~r: 
 
 This verse admits the caesura in various places ; but 
 that which falls on the penthemimeris, or first syllable 
 of the third foot, was most used by Homer and the 
 ancient writers, as in the following verse, 
 
 fjwitiy cizih, Ota, JlYiXmoihco 'Ap£tA>ioff. II. dc. 1. 
 
 where the caesura takes place on, or as others say after, 
 the last syllable of §£<*. 
 
 Another position of the caesura is after a trochee in 
 the third foot, as in the first verse of the Odyssey, 
 
 ccvfya, jCtot ivvtict Mov<toc 7toAut0O7toi/, off [MoiXcc iroWoi 
 
 in which it falls after MoZa-oc; but the trochee must 
 either be an entire word, as in the example just given, 
 or be formed from the two last syllables of a word, as 
 in this verse, where it is formed of the syllables *Wf, 
 
 .^utk rrrnra. itioovh xuAt'voVro Aaaff avai^ff. Od. A. 597. 
 
40 ELEMENTS OF GREEK 
 
 Another principal caesura in an heroic verse is on the 
 hephthemimeris, or first syllable of the fourth foot, and 
 sometimes both this and the penthemimeral caesura 
 occur in the same verse, of which this is given as an 
 example, 
 
 ft JV] ofxov TroXspoq rs Sxpu kou Koifxoi; 'Ayociovg. II. a. 61. 
 
 There are many other caesuras admitted in an heroic 
 verse, but in the variety there is one, says Mr. Herman, 
 " which, on account of its debilitating the strength and 
 harmony of the numbers, was rejected by the best poets; 
 this falls on a trochee in the fourth foot," as shown in 
 the following line, 
 
 IIdAs-j? 0?3i/ [xoi '(ttsitoc yvvouxcz y<x,fA.£o-<r£Toa tziirog. 
 
 Hermanni. Orphica, p. 693. 
 A short vowel before a mute and a liquid is always 
 long in the early epic poets ; but in writers of a later 
 date, as Quintus Calaber and others, it is frequently 
 made short, according to the Attic rule of prosody. 
 There are, however, a few verses of Homer in which 
 such vowels are short ; the following are collected by 
 Mr. Herman, at the end of his edition of the Orphica. 
 In Iliad 3, v. 414, o-^tA^ has the first syllable short. 
 II. 11, 69, $1 is short before fyocypaxoc. II. 23, v. 186, 
 <Te is short before x^ v - ^- ^> %%&, tbt^jkXov has the 
 first syllable short. The second syllable is short in 
 fofegufo od - 5 - 448 - In Od. 8, 92, the last syllable of 
 xocroi is short before ^»Ta. In Od. 12, 99, r* is short 
 before *g*r\. Od. 14, 529, & is short before 
 
PROSODY AND METRE. 41 
 
 X^ccTvav, and some others, on which he offers con- 
 jectures. In proper names, and such words as could 
 not be used in other situations, the syllable may be 
 short ; as, 'A^oftm, irgoxtiptva, and the like. 
 
 The hiatus of vowels, so unpleasant to the ear in 
 pronunciation, and contrary to the usage of the Greek 
 language, occurs often in the poems of Homer. To get 
 rid of this defect (for such must the hiatus always be) 
 various methods have been suggested, but none answers 
 the purpose designed so completely as that proposed by 
 Dr. Bentley, who affixed the iEolic digamma before the 
 vowels, by which expedient the disagreeable effect of 
 the hiatus was destroyed, and the language restored to 
 its original purity. I shall now give a few examples : 
 
 'H^wwt/j ocvtqv; S\ IXoogioc tzv^s xui/£cr<nv. II. a. 4. 
 'AAA' ovx. \At££<% ^Ayapipvovi Mav* 0u/xw. II. a. 24. 
 KiAAai/ ts £a0£uv, TwiSow tb 7<pi dvn<r<rsis. II. a. 38. 
 
 AVTOV XH/n0£l/TOS* <T f||E VII XT I EOiHCO?. II. (X,. 47. 
 
 It very frequently happens that a ceesural syllable 
 naturally short, cut off from the end of a word, is 
 made long in epic poetry, a license which afforded the 
 poet great liberty in the choice of his words. The 
 reason given for this privilege (unknown to other poets) 
 is, that as the first syllable of the foot was pronounced 
 with the rising inflection in heroic verse, so by pro- 
 nouncing it, when short, with a sharper tone, it was 
 brought nearer in sound to a long syllable, by which 
 the deficiency in time was scarcely perceived. The 
 
 G 
 
42 ELEMENTS OF GREEK 
 
 following examples show a short caesural syllable made 
 long at the beginning of a foot. 
 
 vocoKo^ov U Aijafva, xai riq 9eos iytpovivtv* Od. k, 141. 
 
 JW a.'xoq a,T\y\ro]f' o $* oipa, Tpw<r)v (AEvtoctvuu. II. t. 376. 
 
 There is another species of hexameter verse, which is 
 called bucolic, or pastoral, because Theocritus made 
 great use of it in some of his poems. In bucolic poetry 
 a pause takes place at the end of the fourth foot, which 
 is pretty generally observed in the writings of Theocritus, 
 Bion, and Moschus : this is called by the grammarians 
 the bucolic caesura. The fourth foot, it may be re- 
 marked, is generally a dactyl. 
 
 " Theocritus," says Warton, " in the composition of 
 his poems, took care to make the fourth foot a dactyl ; 
 so that the two last feet being cut off, there would re- 
 main a tragic tetrameter." It is reckoned more har- 
 monious, in this species of verse, if a dactyl form the 
 first foot. 
 
 «Ju t» to fyiQvourpoi x«» a w/ruff alirote tyivoc. TheOC. i. 1. 
 
 JEolic Metre. 
 This is also enumerated among the dactylic metres ; 
 the first place in the verse may be occupied by any foot 
 of two syllables, the remaining feet must be dactyls. 
 The 29th Idyl of Theocritus, printed at the end, is 
 composed in aeolic pentameter. The following exam- 
 ples are given by Hephsestion : 
 
PROSODY AND METRE. 43 
 
 y\\jx\)7nx.pcv ufxaftccvov upttztov. 
 
 <POOVTIO-§Y1V, i7r) $"Av$0O[Jl.&<X,V 7TQTE. 
 
 Pentameter is used by Sophocles in the Electra, vv. 
 134, 150. SeeMaltby's " Observationes " in MorelFs 
 Thesaurus, and Gaisford's Hephaestion. 
 
 too TToevrXoif^ov Nio|3a, o"£, or* tyuys vipw Gsoi/, 
 
 Elegiac Pentameter. 
 
 This metre is scarcely ever found separate from hex- 
 ameter : among the few instances of elegiac penta- 
 meter used in continuation, Professor Gaisford enu- 
 merates a poem in Brunck's Analect. torn. ii. p. 21% 
 by Philip of Thessalonica, and another in Heliodri 
 ^Ethiop. ed. Comelin. lib. hi. p. 129. The construction 
 of this species of verse is as follows ; the two first feet 
 may be either dactyls or spondees, then a long syllable, 
 after which come two dactyls followed by another long 
 syllable, according to the following scheme, 
 
 Thus the verse becomes divided into two equal por- 
 tions, each ending with a long syllable. The place of 
 the caesura is after the long syllable in the middle of 
 the verse ; and the composition is accounted more 
 elegant when the semi-feet are final syllables ; as, 
 
 \f>7rvXXe$ xsTtqu rat? EAi>c«i/ia<n. Theocritus, 
 
44 ELEMENTS OF GREEK 
 
 The scazon or choliambus differs from the common 
 hexameter only in the sixth foot, which, instead of a 
 spondee, may be occupied by an iambus, a trochee, or a 
 pyrrhic ; but such verses are considered as defective, 
 and are by no means to be imitated ; the following is 
 from Homer, 
 
 T^wsf £ Ippiyncoiv, oTrtaq *Jov ouoXov o(piv. 
 
 Logacedic Metre. 
 
 This metre is generally classed with dactylic ; it con- 
 sists of two, three, or four dactyls, followed by a trochaic 
 syzygy. 
 
 The form mostly used was two dactyls followed by 
 two trochees, which is called alcaic. 
 
 To this metre may also be referred that foot which 
 is called choriambic dimeter catalectic. 
 
 Dr. Burney has given the following scheme of va- 
 riations of logaoedic verses, 
 
 - called also adonean. 
 
 — choriamb, dimeter cat. 
 
 L logaoedic. 
 
 Logaoedic metre is found interspersed, among other 
 kinds, through the lyric poets and the chorusses of the 
 scenic writers. The final syllable of the verse is some- 
 times found long, as in this line of iEschylus: 
 
 roiv dvcrcZhuTov eAij tk a^ai/. Prom. Vmct. 168. 
 
PROSODY AND METRE. 45 
 
 CHORIAMBIC METRE. 
 
 Choriambic monoineter hypercatalectic consists of a 
 ehoriambic foot and a syllable ; it is called also adoneum, 
 and is the same as an impure dactylic dimeter ; as, 
 rri^e xojou^k. Eurip. Iph. in Aul. 156. Dunbar, p. 60. 
 — Aa?, M<r*v ocv. iEsch. Sept. Theb. 733. Burneii T. 
 
 Choriambic dimeter catalectic is formed of a chori- 
 ambus and a bacchius, or an iambic syzygy catalectic. 
 This verse is called Aristophanic, as it is frequently 
 found in Aristophanes, mostly joined with dimeter aca- 
 talectic. See a variety of examples in Gaisford's He- 
 phaestion, p. 292. 
 
 r\6<riv ugfxocTEixrois, Eurip. Orestes, 988. 
 
 fjM^cc^osa-a-ocv ottyXoiv. Soph. Antig. 610. 
 
 Choriambic dimeter acatalectic is either pure or im- 
 pure. The first consists of two choriambi ; as, 
 (Awns 'LxayZw irgoQsguv. iEschyl. Agam. 202. Burneii. 
 
 An impure dimeter admits an antispastus in either 
 place for a choriambus ; when it occurs in the first, the 
 verse is called Glyconeum Polyschematistum ; as, 
 
 vtto ti vofAoov oLgyuXtw. Aristoph. Lysist. 324. 
 
 Choriambic dimeter hypercatalectic is not often 
 found ; the two following verses are from Sophocles : 
 
 roiv o (Atyocs fjtZQos oiifyu Ajax, 226. 
 vvv yoio lfxo\ [AiXsi %o££u<ra». Ajax, 701. 
 
 Choriambic trimeter catalectic consists of two cho- 
 riambi and a bacchius, the first foot is often a diiambus ; 
 as in 
 
46 ELEMENTS OF GREEK 
 
 (tv $ ta [a\v omuv TrocTgicov iTrXixxTOLt;. Eurip. Med. 431. 
 
 Choriambic trimeter acatalectic consists of three cho- 
 riambi; as, 
 
 /xu£i ocv a\tryj^ay dvcniWovW oV itf 11- 
 
 Soph. Philoct. 1138. 
 In the following example from Euripid. Iph. in Aul. 
 1036, the long syllable in the first foot is resolved: 
 
 tii; ag vpivaios hoi XuroZ Alfiuos. 
 
 Choriambic tetrameter catalectic consists of three 
 choriambic feet with a bacchius ; as, 
 
 si <ru pty aup££K ete^oi <tou Tr\ioi/ ou jwiAoi/Tai. 
 
 An antispastus is sometimes admitted in the first 
 place, and a diiambus in the third ; as, 
 
 a? irvgi %(>ri roig //,u<ra£aj yvvouytocg ai/O^aKEUEiV. 
 
 Aristoph. Lysist. 340. 
 Dunbari Pros. Grcec. 61. 
 
 ec vzorott; iaoi <pi\ov oc,%fio$ 3 to $\ yriPccq olsi, 
 
 Eurip. Her. Fur. 639. 
 Herman De Metris, p. 430. Lips. 1816. 
 
 ANTISPASTIC METRE. 
 
 An antispastic foot consists of four syllables ; and, 
 when pure, is formed of an iambus and a trochee; 
 thus, 
 
 is - - w> 
 
 The first, or iambic part, admits all the variations of 
 the first place of a tragic iambic trimeter, or senarian ; 
 as, 
 
 6 
 
PROSODY AND METRE. 47 
 
 Iambus. 
 www Tribrach. 
 - l - Spondee. 
 w * - Anapaest. 
 
 Dactyl. 
 
 The second, or trochaic part, receives all the varia- 
 tions common to the second place of a tragic trochaic 
 tetrameter; as, 
 
 Trochee, 
 
 Tribrach. 
 
 Spondee. 
 u ** - Anapaest. 
 In the impure form a dactyl is admitted in the 
 second or trochaic part, and a diiambus or a ditrochee 
 is received for the pure antispastus ; as, 
 « - - - Diiambus. 
 
 Ditrochee. 
 
 Dactyl in 2d part. 
 
 In this metre an hiatus of long vowels and diph- 
 thongs is sometimes admitted, and the feet in the 
 strophe do not always correspond exactly with those in 
 the same place in the antistrophe : sometimes a trochee 
 answers to a spondee, and vice versa a spondee to a 
 trochee. Interjections and exclamations are not always 
 included in the metre ; as in this verse from Gaisford's 
 Hephaestion, p. 301. 
 
 Dochmiac verse, or antispastic monometer hyperca- 
 
48 ELEMENTS OF GREEtf 
 
 talectic, consists of an antispastus and a final long syl- 
 lable ; it admits all the variations above described, and 
 is frequently used by Aristophanes, Pindar, and the 
 tragic writers ; as, 
 
 Ti pgiic/AMc ; jEsch. Sept. Th. 2. Mum. T. xxi. 
 ri y<k% U& p oooiv. Soph. (Ed. Tyr. 1334. 
 plots $\ -Kviopiv. Pindar, Nem. vi. 2. 
 Dochmiac dimeter is composed of two dochmiac feet ; 
 the following verse is pure, 
 
 Jota xal $£o7<riv cZ %v[xititve7. Eurip. Hec. 1021. 
 toi/ luxyn QiXov fAvi 7tot zv a\rl». Soph. (Ed. Tyr. 656, 
 Other examples may be found in Soph. (Ed. Col. 
 698, 836, 1455, 1480 ; Electra, 155, 166, 1089, 1385, 
 &c. 
 
 Dochmiac metre hypercatalectic is the same as cho~ 
 riambic dimeter catalectic, and frequently occurs among 
 antispastic verses j it consists of seven syllables, and 
 has this form, 
 
 Mhw otto, (pvyoip w. iEsch. Prom. Vin. Burn. T. 
 
 A dochmiac foot is frequently joined to an antis* 
 
 pastic, and an antispastic to a dochmiac, with all the 
 
 variations of long and short syllables described in the 
 
 beginning of this chapter ; 
 
 Qovsvovo-* XuifAuv hup-Kcfy. Eurip. Bacch. 994. 
 o Xsvxoctnnq q^vvtoii Xaoc. JKsch. Sept. Theb. 90. 
 Antispastic pherecratic verse (so called from the poet 
 Pherecrates), consists of two metres, and is antispastic 
 dimeter catalectic. The first metre is a pure antis- 
 
PROSODY AND METRE. 49 
 
 pastus acatalectic, the first place of which may be 
 either an iambus, a spondee, or a trochee ; the second 
 metre is catalectic. The following examples are from 
 iEschylus, Sept. Theb. 295—300. Vide Burn. Tent. 
 
 To) fXiV y<X,() 7T0TI Trv^yovq 295 
 
 irocv^'^n, TravopiXsi 
 ctt£i%ovo~iv. Tt yivcofxoci ; 
 To* <T \tt dptpifioXounv 
 
 » / 
 
 HXTTTOVGl 7T0XlTOCU; 
 
 W_ _ XJ I w - - 
 
 t M ■> 
 
 yt^atfi oxgioero-otv. 300 
 
 See also Soph. (Ed. Col. 670, 706, 1242, 1243 ; 
 Antig. 109, 843 ; Ajax, 631, 632 ; Eurip. Phoeniss. 
 214, 220, 235 ; Alcest. 986, 988, 989, 990 ; Iph. Aul. 
 1059 has a tribrach in 1st part of the antispastus. 
 
 Antispastic glyconic metre is formed of an antispastus 
 and an iambic syzygy. The antispastus admits all the 
 variations described in pherecratic verse, and the metre 
 is called glyconic, with an iambus, a spondee, or a tro- 
 chee, according as either of these feet occupy the first 
 place of the antispastus. The following scheme shows 
 the variations of this metre: 
 
 Ato? <rxYi7TTgov di/a,<r<TSToa, Soph. Philoct. 140. 
 
 AovxtUv ^xcpoc^oi <nro$u. iEsch. Sept. Theb. 325. 
 
 Burneii Tent, 
 
 tocv lfA»v pzXiov rgo(pocv. Soph, Philoct. 1126. 
 
 See" also SophrCEdr Col. 124, 126, 127, 131, 132; 
 
 H 
 
50 ELEMENTS OF GREEK 
 
 Antig. 100—102, 333—335; Aj. 695, 696; Eurip. 
 Hec. 472. 
 
 Antispastic glyconic polyschematistic metre admits in 
 the first place an antispastus, and in the second a cho- 
 riambus, which is almost always pure. The antispastus 
 admits all the iambic and trochaic varieties already 
 described as belonging to this foot. This metre occurs 
 very often in the tragic poets. The following references 
 are from a large collection of examples in Gaisford's 
 Hephaestion, pp. 355, 356. 
 
 .... - Eurip. Hec. 636. Iph. in Taur. 1135. 
 
 Bacch. 865. Helen. 1326. 
 _.„,._. Eurip. Orest. 797—799, 1370. Iph. 
 in Aul. 549, 552, 553, 759. 
 
 , Eurip. Orest. 1356. Helen. 1156. 
 
 , Eurip. Orest. 832, Iph. in Aul. 
 
 1043, 1098. Soph. Antig. 108. 
 
 , ..„. Soph. Antig. 781. Trach. 117, Aj. 
 
 375, 1199. Eurip. Hec. 655. 
 
 , Soph. Antig. 785, 838. Trach. 116. 
 
 Eurip. Iph. in Aul. 578. 
 „„-*_,..„«- Soph. Trach. 118. Eurip. Her. Fur. 
 641. 
 
 i _ jt„, Soph. Phil. 1141, 1144. Eurip. Phoe- 
 
 niss. 236. Hippol. 142. Iph.Aul. 550. 
 
 ..... Eurip. Suppl. 978, 979. Iph. Aul. 
 
 547. Electr. 178, 180, 441. 
 ., w w- j , - « i. - Eurip. Orest. 827. Phoen. 217. Iph. 
 Aul. 551, 758, 1062, 1087. 
 
PROSODY AND METRE. 
 
 51 
 
 Aul 
 
 -.1 Soph. Electr. 121, 122. Antig. 137. 
 
 Trach. 841. Phil. 1081. Eurip. Hec. 478. 
 
 Eurip. Helen. 1334. 
 
 -ww- Eurip. Alcest. 471. 
 
 , -ww. Eurip. Iph. Aul. 168. 
 
 -ww- Eurip. Orest. 826. 
 
 -ww- Eurip. Phceniss. 178. Iph. Aul. 577. 
 
 , Eurip. Med. 989. Suppl. 973. Iph. 
 
 180, 574. Soph. Antig. 966. 
 ...w.-ww- Soph. Antig. 107. Aj. 232, 1187. 
 Eurip. Electr. 163, 707. 
 
 , - w w - Soph. Antig. 585. Phil. 1167. Eurip. 
 
 Med. 632, 821. 
 Antispastic dimeter glyconic hypercatalectic, which 
 is called also sapphic and hipponactean, consists of two 
 antispastic feet and a syllable. This metre is found fre- 
 quently in the tragic choruses. The following scheme 
 shows the variations which the first place admits : 
 
 Kia£, rovfo xXvowrotv otarov. iEsch. Choeph. 409. 
 
 For other examples, see Soph. (Ed. Col. 133, 668, 
 672, 674, 680, 1213, 1217. Iph. Aul. 545. Her. 
 Fur. 651, have a tribrach in the first part. 
 
 Antispastic trimeter catalectic consists of three feet, 
 the second of which is sometimes a pure antispastus ; 
 
 as, 
 
 Tcv fxvgiooTrov Eitroguirot fiovrav. 
 
 iEsch. Prom. Vinct. Burneii T. xliii. 
 
52 ELEMENTS OF GREEK 
 
 Soph. Aj. 640. Dunbar, 69. 
 Antispastic trimeter acatalectic is formed of three 
 antispastic feet, which admit all the various iambic 
 forms described in the other species of this, metre. 
 
 a,\\* d [A<ngi$[oi t*S <$ui/a<n? feivdi. Soph. Antig. 951. 
 
 Hypercatalectic metre is the same as the preceding, 
 with the addition of a final syllable. 
 
 Te'xvov, (p^ouvifxa, roZ Qocvovroq ov dupoi^zi. 
 
 Mschyl. Choeph. 321. 
 
 iEschyl. Choeph. 352. 
 Antispastic tetrameter catalectic consists of four feet, 
 the last of which is catalectic ; as, 
 
 £<jt*v J' chop Iy« yas 'A<n«j oJx £7raxou«. 
 
 "Soph. CEd.Col. 694. 
 Antispastic tetrameter acatalectic consists of four 
 feet, and admits in every place all the iambic variations 
 incidental to this foot. 
 
 KeV£*K $z Trdvr VTritnrs $v<r<pp6v(t)g {3a£H<$W<n 7rovrioci$. 
 
 Mschyl. Pers. 553. 
 
 i£schyl. Ag. 443. 
 
 iEschyl. Ag. 444. Burneii Tent. 
 
 IONIC A MAJOItE. 
 
 Ionic a majore is a foot of four syllables ; the first 
 
 7 
 
PROSODY AND METRE. 53 
 
 and second of which are long, the third and fourth 
 short. 
 
 Besides the proper foot this verse admits a ditrochee 
 in every place except the first, which is frequently oc- 
 cupied by the second paeon. 
 
 The second paeon is often followed by the second 
 epitrite, these two being equal in time to two ionic feet ; 
 this junction of the paeon and epitrite is called an dvot- 
 
 The long syllables in this metre may be resolved in 
 every place. 
 
 Dimeter Brachycatalectic. 
 
 yX^ouq Jtto pcc<r<r<zis. Soph. (Ed. Col. 673. 
 
 $og) $yi, fog] Trigo-oiv. Eurip. Hec. 903. 
 
 Other specimens may be found in Soph. (Ed. Col. 
 1048, 1056, 1696. (Ed. Tyr. 896, 910. Eurip. 
 Orest. 808, 1000. Med. 154, 438, 650. 
 
 In Ionic dimeter the last syllable is not common ex- 
 cept the verse be catalectic. 
 
 Ionic dimeter catalectic is often found mixed with 
 dimeter brachycatalectic verses, as in the following spe- 
 cimen from Aristoph. Eccles. 289, given in Gaisford's 
 Hephaestion, p. 316. 
 
 Uf<Tj</,oy£TJl?, o$ a,v 
 
 [ATI 7T£to 7T0U/V TOU M£([)0V$ 
 
 rwY) ytivtovipsvoi;. 
 
54 ELEMENTS OF GREEK 
 
 Other examples are in Aristoph. Ran. 451 — 462. 
 Equit. 1108—1147. Av. 1730—1739. Soph. (Ed. 
 Tyr. 661, 1096. Col. 675, 1044. Eurip. Hec. 470, 
 471, 899, 905. 
 
 Dimeter acatalectic is found in Eurip. Med. 152. 
 
 T* T0i 7T0TE T«f a7TA«(TT0U 
 
 (r-7TEV(T£i Oavarou liXvjrocv' 
 
 See also Eurip. Hec. 452, 454, 455, 474, 475, 638, 
 654, 904. Med. 433, 435—437, 644, 645, 651, 845, 
 846, 848, 849. 
 
 Trimeter brachycatalectic may be seen in Soph. (Ed. 
 Col. 669. 
 
 \xq\j ra, xgotTurra yol$ 'iiroc-oXoc, 
 
 ccXXas iTTEvuptx, o-TvtptXltyv. Soph. Antig. 139» 
 
 Qoois aaocTOvg \ir oifya. Xi^voa;. Eurip. Hec. 450. 
 
 W_WW|- v., _ w I - 
 
 i7n§lfXUlOV 00$ 7T£(T0l[A £? £UV«V. Euiip. HeC. 921. 
 
 Trimeter acatalectic is used by Sophocles in the fol- 
 lowing verses, 
 
 6ai/Tcov |3torw tt^ttoXx) y lurog ara?. Soph. Ant. 614. 
 t«v olT vttvo; alge7 7ro9' o 7ruvToyY\goo<;^ Soph. Ant. 606. 
 
 Tetrameter brachycatalectic is called Sotadic verse ; 
 from Sotades, a poet of Alexandria, who frequently 
 used it in his writings. In the fragments which remain 
 of this poet it may be seen that he sometimes used a 
 ditrochee in the first place, as in the following ex- 
 ample: 
 
PROSODY AND METRE. 55 
 
 (Ditrochee) oiv $\ <roo(p^ouyg 9 rovro fcw doogov xjirocoyti. 
 
 7r\ovTi7 tk ocyav, oiWol 7ra0oc 7ra^£Aaj3fi/ avrov. 
 
 Gaisford's Hephaestion, 319, 320. 
 A verse in which an Ionic a majore, the second paeon, 
 or a molussus, is followed by a choriambus, is called pro- 
 sodiacus; as, 
 
 Mou<rai S\ TTocXoaysvioov. - Eurip. Med. 421. 
 aj/w TroTctfxw Uguv. Eurip. Med. 411. 
 £V0' 'EAAavwv cLyofot). Soph. Trach. 638. 
 
 IONIC A MINORE. 
 
 Ionic a minore is a foot of four syllables, the first and 
 second of which are short, the third and last long. 
 
 This metre admits an iambic syzygy in every place ; 
 the second epitrite is often subjoined to the second or 
 third paeon, making an ocvdinXoca-ig. 
 
 A molossus is sometimes found in the first part of 
 the verse ; it is also admitted in the odd places, pre- 
 ceded by an iambic syzygy, to prevent the concurrence 
 of too many long syllables. The long syllables in this 
 metre may be resolved as in the preceding. 
 
 Ionic a minore dimeter catalectic consists of two 
 ionic feet, of which the first is entire, and the second 
 catalectic ; the last syllable of the first foot may be re- 
 solved. A molossus, wanting the last syllable, is also 
 admitted in the second place,, as in this verse from 
 JEschyl. Pers. 71. Burneii T. lxxvii. 
 
 0fo0fi/ yag ytocrcc poTg. 
 
56 ELEMENTS OF GREEK 
 
 Ionic a minore dimeter acatalectic consists of two 
 Ionic feet ; as, 
 
 iEsch. Pers. 66, 67. Burn. Tent Ixxviii. 
 
 Ionic dimeter uvux\uptvov, in which an ai/aKXaa-*? is 
 admitted, consists of two feet, the first of which is the 
 third paeon, and the latter the second epitrite, these two 
 feet being equal in time to two Ionic feet a minore. 
 Xrgxros, <x,\Y.\<pouv ts x<x,6$. iEsch. Pers. 93. 
 
 Ionic tetrameter catalectic is formed of dimeter 
 acatalectic and catalectic, which are generally better dis- 
 joined and read as two metres. The following verse of 
 Eupolis is given in Gaisford's Heph. p. 327. 
 
 PHONIC METRE. 
 
 Paeonic metre is sometimes called cretic, that foot 
 being admitted into every place of a paeonic verse ; it 
 also receives the bacchius, and all the other feet of five 
 times, these being equal in rhythm to the paeons. 
 
 In paeonic dimeter, the long syllables of the cretic 
 may be resolved ; as, 
 
 »x\» poi Ju<rj*o£«. Soph. (Ed. Tyr. 665. 
 
 <piXo7rowv ccXiixdciv. Soph. Aj. 880. 
 
 See also Aristoph. Acharn. 286 — 291. Soph. Elect. 
 1384, 1418. Eurip. Orest. 311, 1417—1422. Med. 
 
 1248. 
 
PROSODY AND METRE. 57 
 
 Paeonic trimeter rarely occurs, and legitimate sys- 
 tems are no where to be found. 
 
 Paeonic tetrameter admits a very free solution of the 
 long syllables ; as in this verse, 
 
 iroZ [A cio og lyaxXsas ; rivet tqttov ago, 7ror\ viptrcii. 
 
 Aves, 812. 
 To this metre may be referrecUbacchiac verses. 
 A bacchiac foot frequently occurs as a conclusion, see 
 Soph. (Ed. Tyr. 1468, 1471, 1475. Eurip. Orest. 173, 
 1286, 1438. 
 
 tkXcuvx. Soph. (Ed. Col. 318. 
 ttocttoc), <ptZ* Soph. Philoct. 785. 
 The following verse is bacchiac tetrameter, 
 
 T»? aj£U>, tk ofyoi 7r^o(T£7rTa p d<psyyrig» 
 
 ^iEschyi; Prom. V. 115. 
 Another kind of verse, common to both the scenic 
 writers and Pindar, is called periodicus ; and consists 
 of an iambic and a trochaic metre ; as, 
 
 dv<x.%i<p6gfjuyys<; fyxvo*. Pind. Olymp. ii. 1. 
 (Ami ya.% ouV a,i6*& i/u£. Soph. Trach. 132. 
 
 I - w 
 
OF ASYNARTETIC VERSES. 
 
 ASYNARTETIC verses are composed of feet dissi- 
 milar to each other. Archilochus was the inventor of 
 this sort of verse, as we learn from Hephaestion, who 
 has the following example, the first part of which is 
 heroic tetrameter, and the latter three trochees. 
 
 ovk W opus QaWsig ol-wocXov yj^^ot | xdigtperou yocg r.$y\. 
 
 Another kind used also by the same poet consisted of 
 dactylic penthemimer prefixed to iambic dimeter, which 
 is called elegiambus ; as, 
 
 ccXXoi [a o Xva-ifxiXrig | 5 Vai^e ^ocfxvocroci 7ro9o?. 
 
 The above form is also found reversed, in which an 
 iambic dimeter, or an iambic penthemimer is prefixed 
 to a dactylic penthemimer ; it is then called iambelegus. 
 Specimens may be seen in Sophocl. Aj. 178, 179. 
 Trach. 95, 99, 821. Eurip. Hec. 937, 938, 542. 
 Orest. 1259. 
 
 Hephaestion mentions a sort of asynartetic verse, 
 which is composed thus ; the first foot is an iambus, a 
 spondee, or an anapaest : the second and third are ana- 
 paests ; the fourth an iambus or a spondee ; the fifth 
 and sixth iambi, followed by a syllable. 
 
GREEK PROSODY AND METRE. 59 
 
 Aristoph. Vesp. 
 See Gaisford's Heph. 34L 
 The following verse, from Aristoph. Lysist. 1014, is 
 composed of trochaic dimeter, and paeonic dimeter ca- 
 talectic: 
 
PRAXIS 
 
 ON 
 
 THE METRES. 
 
 A HE following poem from Theocritus is given as a 
 specimen of aeolic metre, to be scanned by the student, 
 according to the rules found under the head of this 
 nietre in the former part of the work. 
 
 Idyll. 29- 
 
 xtx.fXfji.sg %gri fx^vovrcx,; dXocQtois EfxpEvoci. 
 
 xyyuv fxh roc (pgEvuv e^ew xiocr Iv ^uv^w. 
 
 oup£ ohocg (pzXiziv [m i§i\vi<r§ oLttq xotgMxs, 
 
 yivu<ntu* to yoig ocpHru raj ^otxs s%q, 5 
 
 £v? Tai/ <roiv I^eocv, to $\ Xonrov omuhE'VQr 
 
 %ura,v [a\v tu OeAijs, fAOcxccg£<r<rw \<rxv ocyu) 
 
 UfAZPOCV QXQt, 01 OVX tVcAEig TV fXOCX EX CJCOTW. 
 
 ttw? TauO' kofxzvx, rov (piXtour dvixis h$uv ; 
 
 aAA* ft jaot Ti 7n9©JO, veo? 7rDoy£vt(TT£ou f 10 
 
 tu xcv Xwifov auTOf Ep^wi/ gjw- i7ra,iv£<roug, 
 
 TroJrjca* naAtai/ juuai/ eii/ eh $E]/$pzu>, 
 
 «7T7r« ^Jey oL'Tnfy'rou oiypiov opnErov* 
 
GREEK PROSODY AND METRE. 61 
 
 »/ui/ §\ tooSe fAiu ctpuTo; ccXXov *%£*? *AaJoi/, 
 
 OiXXoV J* 0L\JOLQV 9 Ijr ZTZOCd $* ZTEOOV [ACITYIS. 15 
 
 koc'i xev <rzZ to xolXov rig liuv pzQos oclvitroci, 
 
 TU$* fuGOf 7TAE01/ 7] TOiZTf\S Zyzi/ZV (piXog' 
 
 tov ttoxtov Je ^tAEWTa, T^tTaloi/ IQrixoco. 
 
 UVO^OUU TWI/ V7TZOY\\t0o£uv Joy££i£ 7TVZEIV, 
 
 t 
 
 psAf* <T, a? Kf £o*K, toj/ vpoiov t^j-iv dsi. 20 
 
 a* ya£ w^£ 7roiJ?, a«ya6o$ (a\v ocxovcsoii 
 
 l£ oivrW o $\ roi k eoos ov ^xXETrug e^oi, 
 
 og dufyoov <pozvocg zvpoLDzug VTrodapvonou, 
 
 nri[j.i fAO,\Qa,XQV e^£7t6vx<te vdotozu. 
 
 tcXX* dirg)% (XttocXu crvfAOcroq <te irs$ig%o[Aat. 25 
 
 c{/.vcx,<tQw 9 or* 7rs£i/<nv ?<r0a vzuTEgog, 
 
 yWTt yn^QtXiOl 7TiXoy.ES 7T£H/ a7T07rr\J(T0Ct f 
 
 koc\ fvTQ-o), vEorxrx $' e%ev TrxXivxygETOv 
 oux tvri' TTTiovyois yocg lyroiyx^xg (pogsT, 
 xolppEg (3a^uT£^oi rx TToripEvoc, arvXXxfizTv. 30 
 
 TXVTX %0Y\ VQZOVTX TTZXZIV 7rQTiy.U)TZP0V 9 
 XXi [AQl TOOOOCptVU GWEgXV X$oXwq <TZ§EV 9 
 
 Q7T7roo<; 9 xvixx rxv yzvvv xv^zi'xv fp^»i?» 
 
 dxXxXottri irsXtap.tQ' ^A^iXXriloi QiXoi. 
 
 cci $\ rxvrx (piozw xviyoww i7riT(3zirzig 9 35 
 
 Iv 9uju,w Tf Xzyzig 9 tl [me SxipovC Ivo%Xe7<; 9 
 
 vvu yh ycn7r\ ra %ov<tex paX* zvzxev <ri§zv 
 
 ftoilY\V 9 H«l QvXxXOV XEXVOQV TTzSx KiO^EOOU. 
 
 roxx $ 9 ov$l xuXzvvrog W auAsuuj 9u£«t? 
 
 ■7TO0y.6X0l[Xk XE 9 7TX\)<TXy.EVQg ^xXetTU 7TO0W. 40 
 
 Poet. Min. Gr. Gaisford 9 1. 2. p. 217. 
 
6*2 ELEMENTS OF GREEK 
 
 1. 
 
 Toe p6$oc roi $ogo<ro£vroc 9 xtxi r\ x.ocroi7rvxvo<; ixilvoc 
 iOTrvXXoc xeTroa rouq EAtxwna<rt, 
 
 ron S\ jUfAa^puAAoi Japi/cu tu/, fluOif Uocioiv* 
 AsX<p)q ITTSl TTirfiOC. TOUTO TOl ZyXcii'io-£. 
 
 Aaipvj? o Afuxo^w?, o xaAa trvoiyyi fA£Xi<rSuv 
 
 fiux.oXix.ux; v(ji.vus 9 uvQeto Yloun rdcSs. 
 twj TPrjTW? Joyaxa?, to Aa<ywj3oAoi/, o£0i/ «xgi/t«j 
 
 Eu&i; puAAoFT^wTi 7T£<Jw, Aa^pi, <ra;^a xix/xaxof 
 c%[A7rotvuv* (TTkXlxzs £' oipTLTrayiiq oil/ oori. 
 
 aygzvu Si tu RoLv, xa* o tov x^oxoturtx, Hgitriros 
 xipo-qv i<p IfAggru xotgr) xo^<x.7fro^ivoq i 
 
 kvrgov sew <rT£i%ovTB$ oj^oppoOot. aAAa tu psuys, * 
 
 <^£b<y£, jueOeI? uVvou xwpa xaTay^Ojotfvoi/. 
 
 Poet. Min. Gr. Gaisford, t. 2, 224. 
 
 As the principal difficulties which the student has to 
 encounter lie in the choral measures, I shall now pre- 
 
PROSODY AND METRE. 63 
 
 sent him with a praxis upon them, writing against 
 each verse the name of the metre in which it is com- 
 posed, and leave him to mark the quantity of the syl- 
 lables and to divide them into feet, which will bring 
 into play the laws of prosody, and the rules of those 
 metres that are composed of compound feet. 
 
 iEscHYL. Agam. 367. Burn. T. 
 
 Strophe 1. 
 
 Aioc xteykv 'l%ov<riv uVsft Antispast. mon. and doch. 
 
 wugto-Ti tooto y' ifyfcvsZrcci The same. 
 
 i>q iTrgotg, lac, tKgaviv. Ouk Antispastic dimeter. 
 
 %<px t<s 6sovc. Dochmiac. 
 
 figorZv xltoZo-Qut piteiv Antispast. dimeter. 
 
 coroiq ecdUruv Dochmiac. 
 
 X*z«i **ToiV' o £' cuk sva-tfin Antispast. mon. and doch. 
 
 IJi<pocvTou <^' syyovove, kroX^Tm "A*w ...... Antispastic trimeter. 
 
 xvtwrm psifyv ij ^kocLc, Antispast. mon. and doch. 
 
 (pMovrm ^i^ut&iv uKig<p&v The same. 
 
 ixig to frixTurrov. "Erra $' k- Doch. and antispast. mon. 
 
 vripuvTov, axTTi xx7rcce>cz'iv Antispast. Dimeter. 
 
 so ^stz'^m Xo&%Svtx Choriambic dim. cat. 
 
 Ow yxg sttiv sV«6A|<5 Pherecratic. 
 
 tfXoutov Tt^aq xtfiov uv&l The same. 
 
 XxxTitravTi piyocv Jl'y.xc, Pure gly conic. 
 
 /3» ( m/ov, st'g uQxmai hm9 Pherecratic, beginning 
 
 with a trochee. 
 
 iEscHYL. Coeph. 817. Bur neii Tent. 
 Epode. 
 
 K«i tots & 7t\oZtv\ .,,.,,«,.,..., Dochmiac. 
 
 7 
 
64* ELEMENTS OF GREEK 
 
 dapuTw Amqgwr, Trochaic dim. cat. 
 
 dijAw odgioa-TccTxv, The same. 
 
 if/jou xgacTov yeKTuv Antispast. dim. cat. 
 
 ve/juev fjut^a-cyjiv xoter Antispast. dim. acat. 
 
 rot £' iv, 'pov, t[*ot Antispast. monometer. 
 
 xi°$oc, lt,i\tTcu roP' x- Choria. clim. acat. impure. 
 
 rx P ei7ro<rTXTu q>L Trochaic Hemiolius. 
 
 Awr. 2w & 6x^<rav, 'drxv Jj- Choriambic dimeter. 
 
 xv\ {jui^oe, tgyav, \0rx9- The same. 
 
 o-ots •Kccreot, sg- Choriambic monometer. 
 
 ya>, fyoo'Sra. vfa rs 9 r«W, Trochaic dimeter. 
 
 irxTgo$ uu^etv, xxi xigxl- Trochaic dim. cat. 
 
 9w f7Tiu,o[A<pov xrxv, Choriamb, dim. cat. 
 
 Tls£<riu$ t' h <pgi<rU Cretic dimeter. 
 
 xxtflxv <r%i6a» Trochaic mon. hypercat. 
 
 re?? 6' Cxo tfovoc, QUohti, Trochaic dimeter. 
 
 roiq r' wafav 7rgo7rgacr<rwv ^x^treq Cretic trimeter. 
 
 ogyxs At»7T>j^5, iv&ttv « . . . . Antispast. dimeter. 
 
 <poi.HXi xtxv nous, tov Trochaic dimeter. 
 
 kI'tiov 3* \lx7tox>w<i pJgov t Cretic trimeter. 
 
 iEscHYL. Prom. Vinct. 553. Burneii T. 
 Antistrophe. 
 
 £[ax6ov rxh, true, vrgonJ'oZa-' oXoac, Anapaestic dimeter. 
 
 tc/'£*c, TippYfiiv ". . Iambic mon. hypercat. 
 
 To &xp<p$iov „ Anapaestic monometer. 
 
 <& (aoi pixoq x^rizTcc Iambic dim. cat. 
 
 ro2* 9 Ixiiv'o &' o, t' xia,- Anapaestic mon. 
 
 <p\ MvTga xxi *i%fis vov iipivxtow Iambic trim. cat. 
 
 i'crxTi yxpw t on rxv ofAozc.- Anapaestic dim. 
 
 Tpwv \hti$ xyctyic, 'Ha-wxv The same. 
 
 nrfav ^xpccgTa KotvoXt&Tgw Iambic dim. hypercat. 
 
PROSODY AND METRE. 65 
 
 JEschyl. Agam. 140. Burned Tent. 
 Epode. 
 
 Totra-ov irt* ivQgav k xaAas Antispast. dim. 
 
 fyorourtv usvttoi- Dochmiac. 
 
 <ru pct-Xigav teovrav, Choriamb, dim. cat. 
 
 xcarwi t ccyeovofAav <piXo{burTo:$ Dactylic tetram. 
 
 faeay ofytxcixouriv, Pherecratic. 
 
 rtgem toutuv Trochaic monometer. 
 
 etirsT fypfioXx Kgccvou, Pherecratic. 
 
 h\Coe. i*j\v, xccrxfjijofAtpx Jfe Dactylic trim. 
 
 <pcux pxrot crrgooOay Trochaic mon. hypercat. 
 
 "Ivfiov }e KaXa Tlxtuvu, Dochmiac. 
 
 [*k Time, oivTi7rvoovs AxvctoZ; xqwUc, l^tv^u^ . . Dactylic hexameter. 
 
 emteiccc, Titj\^ Dochmiac. 
 
 mrtvPopivoc 6v<rixv hltuv, avofbov rn\ ufrxirov, Dactylic hexameter. 
 
 vsutzm TsxTovx o-vyjtyvTov, Glyconic, pure. 
 
 w durwoga Dactylic dimeter. 
 
 Mtpvii yxg <po@igot 7rc6Xtvog<ro$ Dactylic tetrameter. 
 
 ciKovopos $oxU } fAvufAuv fjc^v^ TtMOTrotvoi Dactylic hexameter. 
 
 Toi'uh K«a^*5 Adonean. 
 
 gw piyuXois xyx6o?s eurixkevfav Dactylic tetrameter. 
 
 [Aogrtf/*' Mr oevlOtuv oh'av oi'xoic, fixcriteloic,' .... Dactylic hexameter. 
 
 ro?5 £' 6fAo<pavov 7 Adonean. 
 
 attorn, afaivov stV*, to }' tit hko&t&> Dactylic pentameter. 
 
 JEschyl. Ag. 988. Burned Tent. 
 Antistrophe. 
 
 TlivOopcti $* ctw o[*[jijaiT6)v Trochaic dim. cat. 
 
 vca-rovy etuTO[AccgTV$ av The same. 
 
 To» £' o&nv Aw- Trochaic monometer. 
 
 £*ss oujuc, v[*»a$t7 , Trochaic hemiolius. 
 
 tifivov 'Egmuo$ oiuTo£$eiKTo$ iraSiv Dactylic pentameter. 
 
 K 
 
66 ELEMENTS OF GREEK 
 
 Qvpoc, ou to %u'.< \x uv Trochaic dim. cat. 
 
 tariff <p{>.w 6^a<ro<; The same. 
 
 ZxbuyX?* }' oyr» [AXTufyt Pherecratic. 
 
 r^o« irJutoii (pptrlv n>A<r<po^o\.% <JV- Antispast. trim. cat. 
 
 1x1$ KVicXovyjivov kU^ Trochaic dim. cat. 
 
 Ev%opai }' ax' ipccs rt Glyconic" pure, with a 
 
 trochee. 
 
 *at*&s $u6i) ruruv, Trochaic dim. cat. 
 
 «« to pn rsXi<r<pl>^ov The same. 
 
 iEscHYL. Supplices, 1017. Burneii Tent. 
 
 'Xxo&lotrdt £' oxxSol Ionic a minore dimeter. 
 
 fjuivoq. Aho$ $s 7foMv 7w- The same. 
 
 h UtXxvyZv i%ira > puP The same. 
 
 tri NsUov Ionic a min. monometer. 
 
 sff o%ox<; a-ifiaptv upm? Ionic a min. anaclomenon. 
 
 ^Eschyl. Sept. Theb. 727. Burn. Tent. 
 
 Antistrophe. 
 
 E£»05 $ xA-^eas j!7»v«- , Glyconicpolyschematistic. 
 
 fjcu XxXvfios *Zx.v8ay unoi- Choriamb, dim. impure. 
 
 xo§, KTixvuv %gii[A>otTo$sii- The same, pure. 
 
 toss fn*£o§, co^ocp^v <r&x- The same, impure. 
 
 fos, xfiovos, vxiuv Sixm- The same, pure. 
 
 >.x$, ofrotretv uv Chor. mon. hypercat. or 
 
 adonean. 
 
 nxl (pdiptvovq xxTi%itv y Dactylic dim. hypercat. 
 
 rofy fjjiyxXwv xiHav ctpoigovs Logacedic. 
 
PROSODY AND METRE. 67 
 
 I now present the student with a praxis, in which 
 he is expected to mark the quantity of the syllables, to 
 divide them into feet, and denominate the metres with- 
 out the assistance afforded in the preceding examples. 
 
 Soph. (Ed. Tyr. 463. ex. ed. Brunch. 
 Strophe 1. 
 
 T»V, ovriv a ^unrinriw. 
 
 ctppnr dp farm rsXi(TO(,vrx 
 
 465 
 
 (pOlVlMKTl 'XJZflClV ; 
 
 oooa, viv ocsXXccScov Wttoov 
 
 gQsVOCPUITEPOV (pvyOt, 7TQ$<X, VOOfACCV, 
 
 wqttXqi; yoto \tv ccvrov WzvtyouxrKH 
 
 7T\Jp\ X.0M (TTEPOTTOUg AtOf yiViTK? 470 
 
 Antistrophe 1. 
 
 ^EXOi^S y0CP TOU VHpQZVTQS 
 
 aprioog Qotvsija 
 (pupa TloiPvoc<rov, rou ocfa\ov 475 
 
 Ooira yoig uV dyptoiv uAav, 
 
 dvd r oiuTpa, y.a.\ iriTgas, uq rocvgos, 
 
 piXzoq jw,fAfcw TToh yy\Pi\)UVy 
 
 TOC [AE<r6(A<p0l\M yuq 0l7rQVO<T(plL ) M 480 
 
 poivTBiot.' roi <T aUt 
 £wj/t«. TTiPwoioiru. 
 
68 ELEMENTS OF GREEK 
 
 Strophe 2. 
 
 Asivoi p\v ovv feivoi ruP0i,<T<r£i 
 
 <ro(pog oluvoQtras, 
 outs SoxqZvt out' a,7ro<pdi<rKOv§' 485 
 
 O Tl A££W d UTTOPU). 
 
 TTtTOfAOLl ^ iXTTHTlV, 
 
 >/ » > a / v t ~ •>/ » J / 
 
 OUT £l/tfad OOWJ/, OUT 07TKTOO. 
 
 tj <yao $ Aaf3^a>a(Jats, # tw 
 
 IIoAu|3oU ^WOJ E^iT*, 490 
 
 V / A/ » >/ » 
 
 OUT£ 7T0(,P01V£V 7T0T lyOOy 
 
 ovn rocvvv not 'lpoc§ov, ttpqi; otou 
 p£07]<rajt/,£i/o? $r, Pa<ra,vui 9 
 £7ri t«v iirlSctpov 
 
 (pocnv zip Ol$i7r6$cc, 495 
 
 Aa^axi^ajj £7r/xo.uoo? 
 ctdyXoov Oaj/aTWj/. 
 
 Antistrophe 2. 
 
 AAA* o ](*£!/ ouv Zeu?, o t' 'AttoaAwj/ 
 
 ^uvsTot, x&i ra ppoTcoi/ 
 f!<$0T£S* dvdpw <$"' oTt ^aj/Ttj 500 
 
 7t?\£qv y\ yu q>iPiToti 9 
 
 XPHTli; OUK £(TTiV a- 
 
 TcoL^&pityuiv dvyp. ccXX ou 
 
 ttot £ywy av, rgw idoif* 
 
 00001/ 'ilTOq, (A£fA(pQfJt.lVOOV 
 
 oiv x.otTOt,<pxlriv. (puvzgoc yag nr au- 
 
 505 
 
PROSODY AND METRE. 69 
 
 rod 7TT£gQS<r<r *]A0£ Ko^a 
 
 7ror\y y.ou <ro<pog w<p9*j, 
 
 pacrayw 9' rifviroXig. 510 
 
 tu a7r Ijixa? (ppivog ohiror 
 
 Euripidis Hyppolitus, cwrd jlfowfc. 527. 
 Strophe 1. 
 
 v E^wf, V E£W£, o jtar' ofxpocrw* 527 
 
 GToi^sis 7ro§ov, zlcocyw yXvxsiotv 
 
 jar jwot 7T0T£ <rui/ xa>cw pavfm?, 530 
 
 outs yag 7rv^og 9 out 
 cciTTgm v7t£(>T£()ov (3£Ao?, ► 
 
 ro7ov^ to raj 'A^o^iTa? 
 
 iWiv Ijc %££wi/ 535 
 
 ''E^wj o Aio? 7ra7V. 
 
 Antistrophe 1. 
 
 rf AXXw?, aAAw? 7ra£>a t 'AA<p£w, 
 
 3>Ot|3oU T £7rl IluOtOl? TS()£fJl.VOl<; 
 
 fiovroiv (povov 'EAXa? as^ft <$*], 
 E^wm Je tov Tvgccwov dvtywv, 540 
 
 * Ionic a majore dim. cat. ; the first word not being included 
 in the metre. See note on this verse. 
 
 6 
 
70 ELEMENTS OF GREEK 
 
 TOV T0C$ n.(p goo it ot<; 
 QiXtoItoov OaAa^wi/ 
 
 TrtgQovToc, vtoil hoi Trottyoc; 
 iqvtoc <ru/A^o^a? 
 OvaTotV, orcxv i\§v\. 
 
 54,5 
 
 Strophe % 
 
 Toiv ph Ol^ctXiqc 
 
 avavfyov to 7rg)v Jtai uvvpepov, o\xwv 
 
 tyvfar aV zigicriav t^o/xaJa, 550 
 
 TOiv'A'idos u<rrs Baxp^av, 
 
 <rvv cc\[A»rt 9 <rvv xa7ri/w, 
 
 (povioig 9' vfAEvonon;, 
 
 'A\K[AY\Va,$ TGXW Ku7r£i£ 1%E$UHEV» 
 
 to TXocpWV VfAEVXlUV. 555 
 
 Antistrophe 2. 
 
 T£ ~PC 0? ' " crTojwa A/^xa?, 
 %WEi7rotT ocv a. Ku7r^t? 0T01/ ££7T£j* 
 P^ovra ya^ aju,p;7ru£« toxoscV 
 
 rciv hoyovoio Baxp^ou 560 
 
 VV^EUiTOCfxivOiV, 7t6t[au 
 (pOVlU) KOLTEVVOKTEV, 
 
 $eivx yo\p roc ttocvt \it\ , nyEt i pi\i<r&oc o 
 o\oc rig irETrdrocroci. 
 
PROSODY AND METRE. 71 
 
 iEscHYLi Pers^e, curd Blomfield. v. 639. 
 Strophe 1. 
 
 ^H f d'l'n jwoy (AOMotgirotg lerodoupw pacnAfuj 
 
 livroi; ra 7rai/a/oA' «t« 
 oun\ JWO^oa fiocypcna, ; 
 
 7r0t,VT0L\0t,V a,%ti 
 
 Antistrophe 1. 
 
 Nf£0£i/ «£& xXuft jwou ; 
 
 Soupova. psyavyri 
 lovr cclvitrctT eh Sopoov, 
 
 r »/ 
 
 OiOV OV7T0O 
 
 n.£g<r)g a? £xaXmJ/£*. 
 
 Strophe 2. 
 
 *H $iAo; avr^j piAo? op^Oos* piAa y«^ 
 
 X£X£V0£1/ riGij. 'Al^W- 
 
 V£u$ <T dv<x,7rofA7ro<; clvti- 
 Aa££ioj>, oiov avaxTa Aa^rov, r£. 
 
 Antistrophe 2. 
 
 Out£ y«£ QLvfya<; 7tct' »7rwXXv 7roA£^«- 
 
72 ELEMENTS OF GREEK 
 
 (ttuo t £>uxAy]<r>c£To n^- 
 ivy.iv, lirzi vr^aroy £u £7roJax£t* 
 
 Strophe 3. 
 
 eAG' £7r' axw^ov xo^u/xpov 0- 
 %Gou ? xooxofionrTov 7tq$q$ si- 
 
 £«? (pCcXUQQV 7Tl<pC(.V<r>UdV. 
 
 ^acrxs 7T£^wv axaxe 
 
 Antistrophe 3. 
 
 C>7rw$ xaivoxoTa y.Aiw v£& f" ap£»> 
 0*. ^Tuyta «ya£ Ti£ £7t' a- 
 
 p^Xu? 7T£7T0TaTai. V£0AC6i- 
 \ V 
 
 fiavHE Trsguv uxocxe 
 Aoc^7\ IolvoT. 
 
 Epode. 
 
 *t V V >/ 
 
 #t, at, at, oci } 
 w 7roXu>tActuT£ (piKoitri Gai/ow' 
 
PROSODY AND METRE. 73 
 
 rt TQL$£, AvVOtToif $VV<XT& 9 
 
 7nx,<Tot, yoi <rai roide % 
 
 >a£f, (tvazq avoce<; 9 
 
 The following Poem is from " Sapphonis Fragmenta," 
 as printed in the " Museum Criticum/' vol. i. p. 3. 
 
 nOIKIAO$PON, dUv»r 'AtyoXr*, 
 ir oh Aiog $oXo7rX6aB 9 Xi<r<ro(AOti re 
 pri p oo<roii<n 9 py? ovkxkt* $ot,pv<x> 
 
 TCOtVlOty 0Ujt/,cV 
 
 aKhoc tuk) tvv , on ttotoc HKTsgoorx 
 roig Ipois ctv$oi$ uiovrou iroXXoiq 
 
 £XA.U£$j TTOCT^oq T£ $6[A0V Xl7To7<TOi 
 
 «^' tfww&uxtraff-a* xaAo) &' r ayov 
 uxetS <tt(>uQgi 9 Trsgi yoig [azXoliv&s 
 
 7TUX1/0& Oil/fUVT£? 7TTE£ CC7T Ug&VU) \J£- 
 
 (>£VS Mot [Atvcrw. 
 cuirtrot, <? Ixcrucowro* tu $\ w ^axai^a, 
 
 *)££U OTT* T* ?!/, TO iriirovfa) XWTTI 
 Jf] Tg Xtf6X»/At, 
 
 L 
 
74 ELEMENTS OF GREEK 
 
 xeoTTt ptZ fAtokHrr tGfAw ycvetrOat 
 
 fAOUVoXtt, Ou/AW— TWOS aZ TU 7T£i0or 
 
 fActTr; <ra,yv\v£\)(roc$ (piXorocroc ; r*f t 9 w 
 
 2a7r<p', a^xrn ; 
 xcu yao a» p£uy£j, ra^£W? ^ko£*i, 
 a* <^£ <Ja>£a ^ri &%£T, aAAa $u>arti 9 
 al $\ jw»j piAf?, Taj^£Co? 0iAa<T£i 
 
 XOUJC i^iXoKTOCV. 
 £J/0£ /!/,Cl Hflti VUV, ftOcXSTTOCV T£ Au<TOV 
 
 sjc [AEgifAvoiv' o<r<r<x, $£ /ao* T£A£~<r9at 
 
 A \*/»c / \ M »\ 
 
 Vl^AO? ljtA£pp£^ T£A£(TOV, TU tf aUT* 
 
 <rv[x[xot%o$ %<r<ro. 
 
 Pindar. Ode iv. 
 Strophe. 
 
 EXarng vtt£(>t octt fioovroii 
 
 ax.(x.^o(,vroTro$oq 
 
 ^£u rsoci yag u^oci 
 
 V7TQ 7TOlKl\Q(pQ(>p,\yyO$ CCQl$0C{ 
 
 iXi<r<r6(X£vxi p iTrzp^oLv, 
 
 vr^nXoroiruv pugrvg oi$\m. 
 
 %eivoov £' £u 7rpoc,<r<rQVTWv 9 tv&vctv 
 
 au-nV dyyeXiocv 
 
 frorl yXvxetocv i<r\oi* 
 
 aAA' w Kgovov ttoa, h\ Alrvoi.v £%£»?> 
 
 47TOV 7lV£(AO£<r<TOlV InoiToy- 
 
 X£<paAa Tupwi/o? ofigipov, 
 
 7 
 
PROSODY AND METRE. 75 
 
 T* TQvfo KUfAOV. 
 
 ■*. - 
 
 Antistrophe. 
 
 XgovwrotTov paoff «u£U- 
 
 C^iVlUV CCgSTMV. 
 
 IL<r«TiJ*, xuJo; ofloraj 
 (TTreuJii KajtA«£iW. Geo? sup^wv 
 £ttj Ao»7raiV tvyous. lirtipn 
 
 rgotpoug irotfAov \7nruv 9 
 
 xat tt^oj r<rup£iav QiXowoXiv * 
 
 cu if^u&V r£y%u 
 Xoyov, foonrt^x roi 
 (Zgoruv iKiyxos* 
 
 Epode. 
 
 Airifi KXUj5A£I/OIO 7F0M$(X, 
 A»{AVlOC$UV yvvociKM 
 tXvasv 1% oir^ias. 
 p^aAxoIV* £' fv sVrf<n wxwv 
 
76 GREEK PROSODY AND METRE. 
 
 euros lyu toc^otccti' 
 
 QVQVTQU §1 Y.xi V£0*J 
 
 6a/*a not) Tvct^oi rov ocAwa? 
 
OF THE PAETS 
 
 OF 
 
 ANCIENT TRAGEDY. 
 
 ARISTOTLE divides ancient tragedy into prologue, 
 episode, exode, and chorus. 
 
 The prologue, which is similar to the overture in 
 music, consisted of that portion of the tragedy which 
 preceded the first song of the chorus ; its object was the 
 developement to the audience of such circumstances as 
 were necessary to be known, in order to afford a clear 
 comprehension of the plot of the drama. 
 
 The episode, which answers to the second, third, and 
 fourth acts of modern tragedy, comprehends all that 
 part of the performance which takes place between the 
 songs of the chorus, and is the principal part of the 
 drama, in which the whole plot is gradually developed 
 till the author arrives at the last part or exode of the 
 play. 
 
 The exode is that portion of a tragedy which remains 
 after the last song of the chorus, and unravels the ca- 
 tastrophe of the piece. 
 
 The chorus was originally a song in honour of Bac- 
 chus, sung at the conclusion of the vintage ; at which 
 time the people offered sacrifices to that deity. From 
 
78 ELEMENTS OF GREEK 
 
 this song, or hymn, tragedy itself is said to have origi- 
 nated. Thespis first introduced an actor, who narrated 
 some story (probably mythological) between portions of 
 the Bacchic hymn, which afforded time for the singer 
 to rest : but the foundation of the regular drama must 
 be given to iEschylus, who introduced a second actor, 
 and dialogue into his tragedies ; Sophocles added a third 
 performer, and brought tragedy to that state of per- 
 fection in which it has come down to us in his writings. 
 
 The chorus, which was at first the only, and after- 
 wards the principal part of the performance, now lost 
 its original object ; it was no longer a song in honour 
 of Bacchus, but became incorporated into the drama, 
 joined by means of its coryphaeus, or leader, in the 
 dialogue with the actors, and was the means by which 
 the poet conveyed such moral and religious reflections 
 to the audience, as he thought right to instil. 
 
 As the chorus was intended to represent spectators, 
 so it was mostly composed of such persons as were 
 likely to have been present at the events developed in 
 the drama, as in the " Ajax of Sophocles, where it 
 consists of the men of Salamis,"* the Sept. contra Theb. 
 of ^schylus, where it is composed of the Theban vir- 
 gins, &c. 
 
 Between the parts of the performance the chorus 
 danced, and sung an ode, or song, mostly founded on 
 the events of the drama, accompanied by music ; and 
 
 * Franklyn's Diss, on An. Tragedy. 
 
PROSODY AND METRE. 79 
 
 in these lyric odes are to be found some of the finest 
 specimens of poetry in the Greek language, both with 
 regard to the sublimity of the composition, and the no- 
 bleness of sentiment they sometimes convey. 
 
 The choral ode was generally divided into strophe, 
 antistrophe, and epode, but it does not appear that the 
 tragedians always strictly observed this division, as we 
 sometimes find- a strophe only, and at others a strophe 
 and antistrophe without the epode, in their writings. 
 
 The number of persons composing the chorus in all 
 probability varied according to the characters of which 
 it was composed : iEschylus is said to have introduced 
 fifty furies into his tragedy of Eumenides, but this is 
 rendered very questionable by Mr. Blomfield, in the 
 preface to his edition of the Persae. In the time of 
 Sophocles, the number is generally believed to have 
 been limited to fifteen persons, who were formed on 
 the stage in three rows of five, or in five rows of three 
 each ; the first form was called xara trrci^ovc, and the 
 latter holto, fyyc6. 'H^t^o^ia was the division of the chorus 
 into two parts, in which case each division had its own 
 coryphaeus, who led in the song and the dance. 
 
 The chorus danced from the right hand to the left 
 while singing the strophe, and from the left to the 
 right during the antistrophe, after which they stood 
 still in the centre of the stage, and sung the epode : 
 but it is supposed by some that the ode was sung while 
 passing round the altar of Bacchus ; for though it was 
 no longer an hymn devoted to the praise of that deity, 
 
80 GREEK PROSODY AND METRE. 
 
 still the Su/ae'xu, or altar, was retained on the stage, and 
 placed in front of the orchestra. 
 
 We learn from Athenaeus that Thespis, Pratinus, 
 and others of the early tragedians, who were called 
 o^tio-Tixoi, not only taught their own choruses to dance, 
 but also any other persons who wished to learn ; but 
 iEschylus was the first who taught his chorus figure 
 dances, being himself the inventor of this kind of 
 dancing. See Museum Criticum, part 6, p. 209. 
 
 When the representation of plays became a national 
 concern, they were subjected to strict regulations, and 
 wealthy individuals were appointed by the government 
 to defray the expenses of the chorus : the person on 
 whom this office fell was called XogYiyos. Sometimes 
 the charges were voluntarily borne by a private citizen, 
 and at others the state was Choragus. 
 
 The chorus was therefore an important part of the 
 Greek drama ; it became the vehicle of public instruc- 
 tion, and acted as a monitor to the audience, by making 
 proper reflections on the different events of the play as 
 they arose, and drawing from them such lessons of mo< 
 rality as tended to improve the mind and heart. In 
 process of time the chorus became of secondary impor- 
 tance, and later authors who continued to use it, bor- 
 rowed it from other pieces, till at last it was totally 
 discarded from the stage. 
 
 THE END. 
 
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