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Sapphicum majus.

The proöde is a dactyl. logaoed. simplex dupliciter trochaicus acat.; the principal verse consists of a monometer troch. acat., a choriamb, and a dactyl. logaoed. simplex duplic. troch. acat. or a dimet. choriamb. with a logaoedic ending.

Horace uses this distich, Carm. I. 8.

Lydia, dic per omnes

Te deos oro, Sybarin cur properas amando
Perdere? cur apricum

Oderit campum, patiens pulveris atque solis?
Cur neque militaris

Inter aequales equitat, Gallica nec lupatis
Temperat ora frenis?

Cur timet flavum Tiberim tangere? cur olivum
Sanguine viperino

Cautius vitat? neque jam livida gestat armis
Brachia, saepe disco,

Saepe trans finem jaculo nobilis expedito?

Quid latet, ut marinae

Filium dicunt Thetidis sub lacrimosa Trojae

Funera, ne virilis

Cultus in caedem et Lycias proriperet catervas?

In the proöde there is after the dactyl a diaeresis; in the principal verse, a caesura after the first arsis of the choriamb, and the diaeresis after the second arsis of the same.

In the trochaic dipody the second foot is always a spondee.

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The proöde consists of two logaoedic series, namely, a dactyl. simplex tripliciter troch. cat. and a dactyl. simplex duplicitur troch. cat.; the principal verse of a dactyl. simplex tripliciter troch. cat. and a dactyl. duplex dupliciter trochai

cus cat.

Scol. apud Ath. I. p. 23, and XI. p. 503.

Παῖ Τελαμώνος Αίαν αἰχμητά, λέγουσι σε Ἐς Τροΐαν ἄριστον ἐλθεῖν Δαναῶν μετ' Αχιλλέα. Τὸν Τελαμώνα πρῶτον, Αἴαντα δὲ δεύτερον Ἐς Τροΐαν λέγουσιν ἐλθεῖν Δαναῶν μετ' Αχιλλέα. Scol. in Dion. Chrys. Or. II. p. 95.

Εἴθε λύρα καλὴ γενοίμην ἐλεφαντίνη,

Καί με καλοὶ παῖδες φέροιεν Διονύσιον ἐς χόρον·
Εἴθ ̓ ἄπυρον καλὸν γενοίμην μέγα χρυσίον,
Καί με καλὴ γυνὴ φοροίη καθαρὸν θεμένη νόον.

The proöde is a Glyconic; the principal verse an Asclepiadean, a dimeter choriamb. with the basis and logaoedic ending. Horace uses this many times: Carm. I. 3; 13; 19; 36. III. 9; 15; 19; 24; 25; 28. IV. 1; 3, as,

Sic te diva potens Cypri,

Sic fratres Helenae, lucida sidera,

Ventorumque regat pater,

Obstrictis aliis praeter Iapyga,

Navis, quae tibi creditum

Debes Virgilium, finibus Atticis

Reddas incolumem, precor,

Et serves animae dimidium meae.

In both verses, the basis is always a spondee, the diaeresis in the second verse always after the first choriamb; the elision does not remove it, as I. 3, 36. III. 24, 52. IV. 1,

Perrupit Acheronta Herculeus labor.
Pravi sunt elementa, et tenerae nimis.
Duces tura, lyraeque et Berecyntiae.

22.

Carm. I. 13, 6, a short in the diaeresis is used long:
Certa sede manet, humor et in genas.

Carm. I. 3, 36, a short is prolonged by the arsis:
Perrupit Acheronta Herculeus labor.

Carm. IV. 2, 35, a versus hypermeter occurs:
Cur facunda parum decoro

Inter verba cadit lingua silentio.

In Carm. III. 9, every two distichs form a strophe.

The proöde is a Glyconic; the principal verse a trimeter choriamb. with the basis and logaoedic termination. Anacreon:

Αρθεὶς δ' ηὖτ ̓ ἀπὸ Λευκάδος

Πέτρης, ἐς πολιὸν κῦμα κολυμβῶ μεθύων ἔρωτι.

The combination of three verses into a whole, the composition xarà roíorizov, was tried, though more rarely, by epigrammatists. We mention as examples: Simonides in Hephaestion:

Ἴσθμια, δὶς Νέμεα, δὶς Ὀλύμπια ἐστεφανώθην
Οὐ πλάτει νικῶν σώματος, ἀλλὰ τέχνα,
Αριστοδάμας θρασὺς ̓Αλεῖος πάλα.

Αρχίλοχον καὶ στᾶθι καὶ εἴσιδε τὸν πάλαι ποιητὰν,
Τὸν τῶν ἰαμβῶν, οὗ τὸ μυρίον κλέος

Διῆλθε κἐπὶ νύκτα καὶ πρὸς ἀπ.

Anacreon in Athen. XII. p. 533. E.

twice. Tetram. choriamb.

dimeter iambicus acat.

Πρὶν μὲν ἔχων βερβέριον καλύμματ ̓ ἐσφηκωμένα,
Καὶ ξυλίνους ἀστραγάλους ἐν ὠσὶ, καὶ ψιλὸν περὶ
Πλευρῇσι [δισσῇσιν] βοὸς

Νεόπλυτον εἴλυμα κακῆς ἀσπίδος, ἀρτοπώλισιν
Κἠθελοπόρνοισιν ὁμιλέων ὁ πονηρὸς Αρτέμων,
Κίβδηλον εὑρίσκων βίον,

Πολλὰ μὲν ἐν δουρὶ τιθεὶς αὐχένα, πολλὰ δ ̓ ἐν τροχῷ,
Πολλὰ δὲ νώτῳ σκυτίνῃ μάστιγι θωμιχθεὶς, κόμην
Πώγωνά τ' ἐκτετιλμένος·

Νῦν δ ̓ ἐπιβαίνει σατινέων χρύσεα φορέων καθέρματα
Παῖς ὁ Κύκης, καὶ σκιαδίσκην ἐλεφαντίνην φορεῖ

Γυναιξὶν αὕτως

Later poets went even farther, and combined longer and shorter verses, by which they formed various figures, as alAs an example take the poem Pasiphaë, composed of all the verses used by Horace:

tars, axes, pipes, eggs, wings, etc.

Filia Solis

Aestuat igne novo;

Et per prata juvencum
Mentem perdita quaeritat.

Non illam thalami pudor arcet,
Non regalis honos, nec magni cura mariti.
Optat in formam bovis

Convertier vultus suos

Et Proetidas dicit beatas

Ioque laudat, non quod Isis alta est,
Sed quod juvencae cornua in fronte erigit
Siquando miserae copia suppetit

Brachiis ambit fera colla Tauri

Floresque vernos cornibus illigat
Oraque jungere quaerit ori.

Audaces animos efficiunt tela Cupidinis
Illicitisque gaudet

Corpus includi stabulis se faciens juvencam
Et amoris pudibundi malesuadis

Obsequitur votis et procreat, heu nefas! bimembrem,
Cecropides juvenis quem perculit fractum manu,
Filo resolvens Gnossiae tristia tecta domus.

CHAPTER III.

SYSTEMATIC COMPOSITION.

We understand by σύστημα ἐξ ὁμοίων the repetition of one and the same series. The series, which is repeated, is either a simple one, as in the anapaestic, or compound, as in the Glyconic systems. It is left to the poet, to repeat the same rhythms as often as he pleases; hence there are longer and shorter systems.

The single series in a system are intimately connected, so that neither the hiatus nor the anceps is allowed; some poets, however, especially lyric poets, seem to have treated the systems also as asynartete. It is not necessary that a word should end with the series, unless it be the closing series. The close of the system is rhythmically marked by the catalexis or a particular conclusion; metrically, by the admission of the anceps and hiatus. The systems are frequently divided into several parts, and such are called ovotuara zará περιορισμοὺς ἀνίσους, to distinguish them from the απεριό Quota, which run on, without interruption, to the end. Two or more systems often correspond as strophe and antistrophe: συστήματα ἐξ ὁμοίων κατὰ σχέσιν. The correspondence of anapaestic systems in the dramatists is often used with great art.

The Ionian and Aeolian lyric poets were probably the first to use systems, and from these the dramatists borrowed them. The higher Dorian lyric poetry is unacquainted with the use of independent systems; in the artful strophes of Pindar, however, and of the dramatists, series systematically repeated frequently occur.