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Ἱππεύσαντος, ἐν οὐρανῷ (1)
Κάλλιστον κελάδημα,

ἀντ. Πόλεος ἐκπροκριθεῖσ ̓ ἐμᾶς (1)
Καλλιστεύματα Λοξία (1)
Καδμείων δ ̓ ἔμολον γᾶν,

Κλεινών Αγηνοριδᾶν
Ὁμογενεῖς ἐπὶ Λαΐου (1)
Πεμφθεῖς ἐνθάδε πύργους.
Ἴσα δ ̓ ἀγάλμασι χρυσοτεύ- (1)
κτοις Φοίβῳ λάτρις γενόμαν. (2)
Ἔτι δὲ Κασταλίας ὕδωρ (1)
Επιμένει με κόμας ἐμὰς (1)
Δεῦσαι, παρθένιον χλιδάν, (1)
Φοιβείαισι λατρείαις.

ἐπῳδ. Ὦ λάμπουσα πέτρα πυρὸς (1)
Δικόρυφον σέλας ὑπὲρ ἄκρων (1)

Βακχείων, Διονύσου

Οἴνα θ', ἃ καθαμέριον (2)

Στάζεις τὸν πολύκαρπον

Οινάνθας ἱεῖσα βότρυν, (2)
Ζάθεά τ' ἄντρα δράκοντος, οὔ- (1)
ρειαί τε σκοπιαὶ θεῶν (1)

Νιφόβολόν τ' ὄρος ἱερὸν, εί- (1)

λίσσων ἀθανάτας θεοῦ (1)

Χορὸς γενοίμαν ἄφοβος (2)

Παρὰ μεσόμφαλα γύαλα Φοί- (1) βου Δίρκαν προλιπούσα.

Arist. Ran. 1320-1328.

Οινάνθας γάνος ἀμπέλου, (1)
Βότρυος ἕλικα παυσίπονον. (2)
Περίβαλλ ̓, ὦ τέκνον, ωλένας. (1)

Ὁρᾶς τὸν πόδα τοῦτον ;—ὁρῶ.—(3)

Τί δαί; τοῦτον ὁρᾷς ;όρω.(1)
Τοιαυτί μέντοι σὺ ποιῶν (2)
Τολμᾷς τἀμὰ μέλη ψέγειν, (1)
Ανὰ τὸ δωδεκαμήχανον (1)
Κυρήνης μελοποιῶν ;

C. Ionic Systems.

Ionici a minore are combined into systems. The ionic systems are divided into pure and polyschematist.

(a) Pure Ionic Systems.

They were used by the Aeolian lyric poets, and by the tragedians. Among the lyric poets, Alcaeus had such systems. Hephaestion cites as an example:

Ἐμὲ δειλὰν, ἐμὲ πασᾶν κακοτάτων πεδέχοισαν,

and remarks that every ten feet should have formed a strophe; hence such a system is called a Decapodia Alcaica. Of this kind is also Horat. Carm. III. 12. It consists of four such systems, which form as many strophes :

Miserarum est neque amori dare ludum neque dulci
Mala vino lavere aut exanimari metuentes

Patruae verbera linguae.

Tibi qualum Cythereae puer ales, tibi telas

Operosaeque Minervae studium aufert, Neobule,
Liparaei nitor Hebri.

Simul unctos Tiberinis humeros lavit in undis,
Eques ipso melior Bellerophonte, neque pugno
Neque segni pede victus;

Catus idem per apertum fugientes agitato

Grege cervos jaculari, et celer alto latitantem

Fruticeto excipere aprum.

The Greek tragedians had similar systems, as Aesch. Pers.

65-70; 73-78.

στρ. Πεπέρακεν μὲν ὁ περσέπτολις ἤδη βασίλειος

Στρατὸς εἰς ἀντίπορον γείτονα χώραν ; λινοδέσμῳ
Σχεδία πορθμὸν ἀμείψας.

ἀντ. Πολυάνδρου δ' Ασίας θούριος ἄρχων ἐπὶ πᾶσαν Χθόνα ποιμανόριον θεῖον ἐλαύνει διχόθην, πεζονόμοις ἔκ τε θαλάσσης.

Euripides sometimes resolves the arsis and contracts the thesis, as Eur. Bacch. 78-82; 95—99.

στρ.

Τά τε ματρὸς μεγάλας ὄργια Κυβέλας θεμιτεύων,
Ανὰ θύρσον τε τινάσσων κισσῷ τε στεφανωθεὶς
Διόνυσον θεραπεύει.

ἀντ. Λοχίοις δ ̓ αὐτίκα νιν δέξατο θαλάμοις Κρονίδας Ζεύς Κατὰ μηρῷ δὲ καλύψας χρυσέαισιν συνερείδει Περόναις κρυπτὸν ἀφ' Ἥρας.

(b) Polyschematist Ionic Systems.

In these systems pure forms alternate with polyschematist and broken ones. Commonly two ionics belong together. In antistrophic poems, sometimes different forms correspond to each other. Such systems often begin or end with other rhythms. Many Anacreontic poems may be regarded as such systems. The dramatists also used these systems, as Aesch. Prometh. 397-405; 406-414.

στρ. Στένω σε τῆς οὐλομένας τύχας, Προμηθεῦ,
Δακρυσίστακτον δ ̓ ἀπ' ὅσσων
Ῥαδινών λει-

βομένα ῥέος παρειάν

Νοτίοις ἔτεγξα παγαῖς

Αμέγαρτα γὰρ τάδε Ζεὺς

Ἰδίοις νόμοις κρατύνων

Ὑπερήφανον θεοῖσιν

Τοῖσι πάρος δείκνυσιν αἰχμάν.

ἀντ. Πρόπασα δ ̓ ἤδη στονόεν λέλακε χώρα, Μεγαλοσχήμονά τ' ἀρχαι

οπρεπή .

--- στένουσι τὰν σαν

Ξυνομαιμόνων τε τιμάν,
Ὁπόσοι τ ̓ ἔποικον ἁγνῶς
Ασίας ἔδος νέμονται;

Μεγαλοστόνοισι σοῖσι

Πήμασι συγκάμνουσι θνητοί.

Eur. Cyclop. 495-502; 503-510; 511–518. στρ. ά Μακάριος ὃς εὐιάζει

Βοτρύων φίλαισι πηγαῖς
Ἐπὶ κώμον ἐκπετασθεὶς,
Φίλον ἄνδρ' ὑπαγκαλίζων,
Ἐπὶ δεμνίοις τε ξανθὸν
Χλιδανῆς ἔχων ἑταίρας

Μυρόχριστος λιπαρὸν βό

στρυχον, αὐδᾷ δὲ, θύραν τίς οἴξει μοι;

στρ. β' Παπαπᾶ, πλέως μὲν οἴνου,
Γάνυμαι δὲ δαιτὸς ἥβης,

Σκάφος ὁλκὰς ὡς γεμισθεὶς
Ποτὶ σέλμα γαστρὸς ἄκρας.
Ὑπάγει μ' ὁ χόρτος εὔφρων
Ἐπὶ κώμον ἦρος ὥραις,
Ἐπὶ Κύκλωπας ἀδελφούς.

Φέρε μοι, ξείνε, φέρ' ἀσκὸν ἔνδος μοι.

στρ. γ ́ Καλὸν ὄμμασιν δεδορκώς

Καλὸν ἐκπερᾷ μελάθων.

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– φιλεῖ τις ἡμᾶς.

Λύχνα δ ̓ ἀμμένει δάϊα σὸν
Χρόα, χως τέρεινα νύμφα
Δροσερῶν ἔσωθεν ἄντρων,
Στεφάνων δ ̓ οὐ μία χροιά
Περὶ σὸν κρᾶτα τάχ' ἐξομιλήσει.

Arist. Vesp. 291-298; 305-311.
στρ. Ἐθελήσεις τί μοι οὖν, ὦ
Πάτερ, ἦν σού τι δεηθώ ;-
Πάνυ γ ̓, ὦ παιδίον. ἀλλ ̓ εἰ-
πὲ τί βούλει με πρίασθαι
Καλὸν ; οἶμαι δέ σ' ἐρεῖν ἀ-
στραγάλους δήπουθεν, ὦ παῖ.—

Μὰ Δί', ἀλλ ̓ ἰσχάδας, ὦ παπ-
πία· ἥδιον γάρ.-οὐκ ἂν

Μὰ Δί', εἰ κρέμαισθέ γ' ὑμεῖς.

ἀντ. "Αγε νῦν, ὦ πάτερ, ἢν μὴ
Τὸ δικαστήριον ἄρχων
Καθίσῃ νῦν, πόθεν ὠνη-
σόμεθ ̓ ἄριστον; ἔχεις ἐλ-
πίδα χρηστήν τινα νῶν ἢ
Πόρον Ἑλλὰς ἱρὸν εἰπεῖν ;
Απαπαῖ, φεῦ, ἀπαπαῖ, φεῦ,
Μὰ Δί' οὐκ ἔγωγε τῶν οἶδ
Ὁπόθεν

γε δεῖπνον ἔσται.

CHAPTER IV.

STROPHIC COMPOSITION.

By strophes we understand a combination of verses, which are repeated in the same order (P. 1. c. 9. p. 35). The smallest strophe is the distich. Also systems may at the same time be regarded as strophes. But we treat here of the strophes properly so called, as they were used by the Ionian and Aeolian poets and among the Romans, especially by Catullus and Horace. They differ from the verses used by the line in that they consist of more than two, commonly of four verses; and from system, in that they are not necessarily required to be composed of similar parts, and when this is the case their parts do not intimately cohere; hence at the end of every principal part or verse, the hiatus and the anceps are unconditionally allowed.

Every strophe forms a whole; hence the rhythms of which it is composed must have a common character, and itself a satisfactory close. All strophes are not alike perfect. The Aeolian structure of the strophe attained the highest perfection in the Alcaic strophe.

The bucolic songs in some of the poems of Theocritus (Idyll. I. 64—145; II. 17—135) and those of Virgil, (Ecl. VIII. 17-61, 64-109); in Catullus Carm. LXII and LXIV,

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