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*Η παλάμα τινι ταν δυσάλωτον έλη τις αρχών, with the basis Telestes in Athen. XIV. 617. F.

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A γαρ παρθενίαν άγαμον και άπαιδαπένειμε Κλωθώ.

B. Rising, Anapa estic Rhythms.

(1) Rational Ana paests. The anapaest is the reversed dactyl vuc Belonging to the equal kind it shares with the dactyl in the character of dignity and force, but being a rising rhythm, is more lively than the other (P. I. ch. 1. p. 8). But its character is changed according to the various modifications of which its measure is capable. The lyric poets commonly used the anapaest in such a manner as to leave it its original form, and to avoid even the contraction into the spondee as far as possible. The Dorians made a peculiar use of the anapaestic rhythm. They used it for military marching songs (éuBatņgia), in which they permitted the contraction of the thesis. The tragic poets treated the anapaest in systems with more freedom, admitting the dactyl for the anapaest

The comic poets employed, though seldom, even the proceleusmatic

The caesura which happens on the thesis, would weaken the rhythm; on this account anapaestic series delight in the masculine diaeresis (P. I. ch. 11. p. 39).

The catalexis is in syllabam alone 7. p. 27).

The shortening of the long by the hiatus is permitted not only in the two shorts of the thesis, as Aesch. Pers. 39.

Και έλειοβάται ναών ερέται, Aristoph. Nub. 352.

Λύκοι εξαίφνης εγένοντο, but also, though more rarely, in the two shorts of the dactyl which stands for the anapaest, as Eur. Hec. 125. Aesch. Pers. 60.

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(P. I. ch.

Το Θησείδα δ', όζω Αθηνών.

Ούχεται ανδρών. Anapaestic series are measured partly by feet, partly by dipodies. The former are more rapid, and therefore rarely have the contraction of the thesis.

(1) The Monopody.-Monopodia anapaestica.

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It is frequently prefixed to other rhythms as an introduction, as Pind. Nem. VI. 5.

Νόον ήτοι φύσιν αθανάτους. Eur. Herc. fur. 680.

X

"Ετι ταν Ηρακλέους καλλίνικον αείσω. If the anapaest stands for the trochaic basis, it is to be

X. measured as a trochee as Arist. Ran. 1322.

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(a) The Monometer.-Monometer anapaesticus,

acatalectus.

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catalecticus. Of dipodies, sometimes verses, sometimes systems are composed.

The monometer is either used singly among dimeters, basis anapaestica, or it occurs singly in the lyric and dramatic poets, or in connection with other rhythms, as Pind. Olymp. XI. Epod. 6.

'Αχιλεϊ Πάτροκλος.
Αποθέσθ' άπορων.

Aeschyl. Pers. 72.

Αθαμαντίδος "Ελλας, πολύγομφον.όδισμα ζυγόν αμφιβα

λων αυχένι πόντου. The catalectic monometer wus (Paeon tertius) is used before other rhythms as an introduction; a basis with an anapaestic anacrusis, as Pind. Pyth. IX. 1.

Έθέλω χαλκάσπιδα Πυθιονίκαν.

(b) The Dimeler.-Dimeter anapacsticus.

acatalectus.

catalecticus. The former is the principal element of anapaestic systems. It occurs, however, singly also among other rhythms, as Soph. Oed. R. 469, 470.

"Ένοπλος γαρ επ' αυτόν έπενθρώσκει

Πυρί και στεροπαίς ο Διός γενέτας. With the arses resolved, some metrical writers have called it after Hephaestion, Proceleusmaticum tetrametrum Aristophaneum.

Τίς όρια βαθύκομα τάδ' επέσυτο βροτών. The catalectic dimeter or the paroemiac is sometimes used by the line, sometimes serves as the close of anapaestic systems, and sometimes occurs singly among other rhythms, as Soph. Philoct. 1135.

Πολυμηχάνου ανδρός ερέσση. Pind. Pyth II. 4.

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Μέλος έρχομαι άγγελίαν τετραορίας ελελίχθονος.

(c) The Trimeter.— Trimeter anapaesticus.

acatalectus.

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catalecticus. Instances of the former cannot with certainty be pointed out; the latter was used by the line, among the Spartans, as a marching rhythm, versus Messenicus.

(d) The Tetrameter.— Tetrameter anapaesticus.

acatalectus.

catalecticus. The acatalectic is found repeated by the line in the Ro man comic writers. The Spartans used the catalectic by the line in marching songs, and the comedians, particularly Aristophanes, employed it very frequently.

(3) The Tripody.--Tripodia anapaestica.

acatalecta.

catalectica. Both appear in combination with other rhythms, as Pind. Nem. VI. 4.

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Μένει ουρανός, αλλά τι προςφέρομεν έμπαν ή μέγαν. Soph. Phil. 1178.

Φίλα μοι, φίλα ταύτα παρήγγειλας, εκόντι τε πράσσειν. Pind. Olymp. XIII. 1.

Τρισολυμπιονίκαν.

(4) The Tetrapody.-Tetrapodia anapaestica.

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acatalecta,

catalectica, are not distinguished from the acatalectic and catalectic dimeter.

(5) The Pentapody.--Pentapodia anapaestica.

acatalecta.

catalectica. Very rare; for an example of the acatalectic take Arist. Acharn. 285. Σε μεν ουν καταλεύσομεν, ώ μιαρα κεφαλή,

ಪ and of the catalectic, Eur. Herc. fur. 1018.

Τότε μεν περισαμότατος και άριστος.

(6) The Hexapody.Hexapodia anapaestica.

acatalecta,

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catalectica, are not to be distinguished from the acatalectic and the catalectic trimeter. According to Servius, the former was used by Stesichorus, hence called metrum Stesichorium, the latter by Alcinan, hence called metrum Alcmanium.

The longer anapaestic metres, which Servius mentions : the Simonideum, a trimeter hypercatalectic., so called, or a heptapod. cat., the Alcmanium, a tetrameter brachyc. so called, or a heptapodia acat. and the Aristophanium, or the tetram. acat. or octapodia acat. seem to rest on erroneous divisions.

(2) Irrational Anap aests.

Logaoedic Series. The irrational anapaest is distinguished from the rational, as the irrational dactyle is from the rational, namely by the smaller extension, and the stronger intensity of the arsis (P. I. ch. 4. p. 17). It thus approaches the iambic rhythm and is therefore readily combined with it. Such anapaestic iambic series are called logaoedic, Royaoidixoi.

The cyclic anapaests, so called, are analogous to the irra

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