(3) The Tripody or the Trimeter.—Trimeter choriambicus. acatalectus. catalectícus. The acatalectic trimeter is frequent in the lyric poets and dramatists, as Aesch. Suppl. 57. Εἰ δὲ κυρεῖ τις πέλας οἰωνοπόλων. It also receives the basis, as Soph. Ant. 950. X-/ Καὶ Ζηνὸς ταμιεύεσκε γονὰς χρυσούτους. It is also provided with logaoedic terminations, as Soph. Oed. Col. 694. Ἔστιν δ ̓ οἷον ἐγὼ γᾶς Ἀσίας οὐκ ἐπακούω. The Aeolian lyric poets used the verse also by the line: This rhythm the Aeolian and Roman poets used very frequently by the line and by distichs: the metrum Asclepiadeum majus. In the dramatists it occurs singly, as Soph. Phil. 175. Χρείας ἱσταμένῳ. πῶς ποτε πῶς δύσμορος ἀντέχει; Eur. Herc. fur. 637. 4 νεότας μοι φίλον, ἄχθος δὲ τὸ γῆρας αἰεί. This rhythm was used by Anacreon in such a way that he always substituted the iambic dipody for the second choriamb: the Choriambicum polyschematistum, so called: Ἐκ ποταμοῦ 'πανέρχομαι πάντα φέρουσα λαμπρά, in the same manner Eupolis in Athen. VI. 236. As in the diiamb, the middle time appears never to have been put for the first short, the rhythm might also be dactylic logaoedic: Aristophanes Lysistr. 319, 320, has the diiamb for the first choriamb. Λιγνὺν δοκῶ μοι καθορᾶν καὶ καπνὸν, ὦ γυναῖκες, According to Hephaestion, Anacreon, in one poem, resolved the first arsis of every first foot: Αναπέτομαι δὴ πρὸς Ὄλυμπον πτερύγεσσι κούφαις. It is found with the anacrusis, Aesch. Sept. 324. Υπ' ἀνδρὸς ̓Αχαιοῦ θεόθεν περθομέναν ἀτίμως. Sappho used it by the line. With the basis it was used by the Ionic and Aeolic lyric poets, sometimes by the line, sometimes by distichs. It is also used singly by the dramatists, as Soph. Aj. 1185. Χρ Χρ / Τίς ἄρα νέατος ἐς πότε λήξει πολυπλάγκτων ἐτέων ἀριθμός ; With a trochaic dipody following, the trimeter is used among trochaic tetrameters by Terent. Adelph. IV. 4. 3, 4. Membra metu debilia sunt: animus prae timore The prolongation of the last syllable of the word debilia is here to be noted. The cretic also follows the trimeter: Αἳ Κυθερείας ἐπιπνεῖτ ̓ ὄργια λευκωλένου. The catalectic trimeter is more rare, as Arist. Lysistr. 323, where the diiamb stands for the first choriamb: Τε καὶ Κρίτυλλαν περιφυσήτω. With the basis, it is found in Soph. Phil. 706, 707. Ant. 951. Οὐ φορβὰν ἱερᾶς γᾶς σπόρον, οὐκ ἄλλων. Αἴρων τῶν νεμόμεσθ' ανέρες ἀλφησταί. (4) The Tetrapody or the Tetrameter.—Tetrameter cho The former is frequent in the dramatists, as Soph. Oed. R.. 483 sq. Δεινὰ μὲν οὖν, δεινὰ ταράσσει σοφὸς οἰωνοθέτας, Οὔτε δοκοῦντ ̓, οὔτ ̓ ἀποφάσκονθ ̓, ὅτι λέξω δ ̓ ἀπορῶ. It receives also logaoedic endings: Soph, Antig. 153. Παννυχίοις πάντας ἐπέλθωμεν, ὁ Θήβας δ ̓ ἐλελίχθων. With the basis the Aeolic lyric poets used this rhythm by the line. Soph. Phil. 1161. Μηκέτι μηδενὸς κρατύνων ὅσα πέμπει βιόδωρος αλα. With the basis the Aeolic lyric poets used it by the line. The catalectic tetrameter occurs more rarely, as, with the basis, Soph. Phil. 681. Αλλον δ ̓ οὔτιν ̓ ἔγωγ ̓ οἶδα κλύων, οὐδ ̓ ἐσίδον μοίρα. (5) The Pentapody or the Pentameter.-Pentameter cho riambicus. acatalectus. catalecticus. Both are rare; the former is used, as Pind. Dithyr. Fragm. III. 10, with the resolution of the first arsis of the second, third and fourth choriambs, and with a cretic following: Τὸν Βρόμιον τὸν Ἐριβόαν τε καλέομεν. γόνον ὑπάτων μὲν πατέρων μελπέμεν. With a logaoedic ending: Philicus and Simmias used it by the line. The catalectic pentameter is found, as Soph. Trach. 850, with the anacrusis: 4 δ' ἐρχομένα μοῖρα προφαίνει δολίαν καὶ μεγάλαν ἄταν. (6) The Hexapody or the Hexameter.-Hexameter cho riambicus. acatalectus. catalecticus. The former is very seldom used; with an iambic basis and logaoedic ending it occurs in Eur. Iph. Aul. 172. Αχαιών τε πλάτας ναυσιπόρους ἡμιθέων, οὓς ἐπὶ Τροίαν ἐλάταις χιλιόναυσιν. The catalectic hexameter seems not to occur. (b) Ionici a majore. The Ionic a majore consists of six times, four of which are in the arsis and two in the thesis. The subordinate relations are of the equal kind; that of the arsis 2:2, that of the thesis 1:1. a:4: t:2 a:2 = t:2 a:1= =t:1 314 The principal arsis is accordingly the first --~~ (P. 1. ch. 3. p. 13). It has a heavy and coarse character, and hence was called by Aristides Quintilianus ρυθμός φορτικός. The more elevated lyric poetry rejected it almost wholly. It was used chiefly for satirical and obscene poems (Dolóyo, xivadoλóyo); it was, moreover, never sung, but recited with ludicrous gestures. Hence are explained the many licenses which were permitted in its use. According to P. 1. ch. 10. p. 37, the ditrochee may be substituted for it; this takes place most frequently at the end. In the pure ionic, the long often stands for the last short, according to the analogy of the second short in the thesis of the dactyl. Sometimes also the shorts of the thesis are contracted; finally, the short seems also to have been put sometimes for the first long; but the passages where this occurs are not of critical certainty. Resolutions of the long, as well in the pure ionic as in the ditrochee, are frequent. The ionic is susceptible of only one catalexis: (P. 1. ch. 7. p. 27), with the single exception of the Cleomachean verse, which is a dimet. cat. in trisyll. The acatalectic rhythms never terminate with a pure ionic, on account of its want of a close, but always with a trochaic dipody. (1) The catalectic Dipody or the catalectic Dimeter. (2) The Tripody or the Trimeter.—Trimeter ionicus. According to Hephaestion, Sappho used the former, Κρῆσσαί νύ ποθ ̓ ὧδ ̓ ἐμμελέως πόδεσσιν Ὠρχεῦντ ̓ ἀπαλοῖς ἀμφ' ἐρόεντα βωμόν, |