The whole system of the strophes is, therefore, the following: anap. a Ba'anap. ' 'y' anap. de anap. s'es′ 5′ ''''' íí anap. The parabasis was a peculiarity of the ancient comedy. It was an insertion in the play which interrupted the attention and in which the poet spoke through the chorus to the spectators. The parabasis was not a necessary part of comedy; it might, therefore, be altogether wanting, as is the case in the Ecclesiazousae, Lysistrata, and Plutus of Aristophanes. On the other hand, a comedy might have more than one parabasis. A complete parabasis consisted of the following parts: (1) of the zouuáriov, which comprised a few verses only, which sometimes were of the same kind as those of the following part; (2) of the napáẞaois, in its stricter signification. It consists always of verses by the line, most frequently of anapaestic tetrameters, but never of iambic trimeters; (3) of the uaxoóv or пviyos, usually a short anapaestic system which was recited quickly; (4) of the strophe, orooon or gon, of melic composition; (5) of the nigónua, consisting of several verses repeated by the line, usually of trochaic tetrameters; (6) of the αντίστροφος or ἀντῳδή, corresponding to the στροφή οι οδή; (7) of the ἀντεπίρρημα, corresponding to the ἐπίρρημα. Except the στροφή and ἀντίστροφος, which were sung by the chorus, the leader of the chorus recited the other parts of the parabasis. Examples of parabases are: Arist. Nub. 510-626. Ι. κομμάτιον 510-517. II. zapáßαois 517-562 (metr. Eupolideum). IV. στροφή 563574. V. Ezíógnua 575-594 (tetrametr. troch. cat.) VI. ἀντίστροφος 595606. VII. ἀντεπίρρημα 607626. Nub. 1115-1130. II. лαgáßαois (tetrametr. troch. cat.) Equit. 498-610. 1. xoμμάτiov 498-506. (2 syst. anap.) II. nagáẞaois 507-546 (vers. Aristoph.) V. Inigonua 565-580 (tetram. troch. cat.) VII. ἀντεπίρρημα 595610. Equit. 1263-1315. IV. στροφή 1963-1964. V. inidonua 1265-1289 (tetram. troch. cat.) VII. ἀντεπίρρημα 1992-1315. Av. 676-800. Ι. κομμάτιον 676-684. II. пαgáẞαois 685-722 (vers. Aristoph.) IV. στροφή 737-752. V. énigonua 753-768. (tetram. troch. cat.) VII. ἀντεπίῤῥημα 785-800. Vesp. 1009-1121. Ι. κομμάτιον 1009-1014. II. nagáẞaois 1015-1050 (vers. Arist.). V. Enigónua 1071-1091 (tetr. troch. cat.) VII. ἀντεπιρρημα 11011121. Acharn. 626-718. Ι. κομμάτιον 626-627 ΙΙ. παράβασις 628658 } vers. Aristoph. III. μaxoóv 659-664 (system. anap.) IV. στροφή 665-675. V. Enigónua 676-691 (tetram. troch. cat.) VII. ἀντεπιδρημα 703718. Ran. 675-737. IV. στροφή 675-685. V. énigonua 636-705 (tetram. troch. cat.) VII. ἀντεπίῤῥημα 717-737. Pac. 729-818. Ι. κομμάτιον 729733 Vers. Arist.. III. μangóv 765-774 (syst. anap.) VII. ἀντίστροφος 797818. IV. στροφή 1127 1139. V. iníonua 1140-1158 (16 tetr. tr. cat.; syst. troch.) VI. avrioroogos 1159–1171. VII. ἀντεπίρρημα 1172-1190. Thesmoph. 785-845. Il. пagáẞaois 785-813 (Vers. Aristoph.) V. ἐπίρρημα 830845. With the Roman comic writers, the prologue supplied the place of the parabasis. Yet Plautus has twice, Curcul. IV. 1. Cistell. I. 3, a kind of parabasis, since in the former the choragus addresses the spectators in catalectic trochaic tetrameters, in the latter Auxilium does the same in senarii. The exact correspondence which we find in the melic parts of the drama sometimes is transferred also to the dialogue. The individual persons often speak in single verses, as Soph. Elec. 384-414; or in half verses, as Soph. Oed. R. 625— 629. Eur. Orest. 774-798; or in pairs of verses, as Soph. Oed. R. 108-131; or in such a manner, that the first person speaks in one, the second in two verses: Aesch. Prom. 39-81. Soph. Oed. R. 99–107. B. Free Choral Songs. The free choral songs (συστήματα ἀπολελυμένα) consist of changing rhythms, which never return in the same order of sequence. This kind of composition was peculiar to the later dithyramb of Philoxenus, Timotheus and Telestes, and was also employed in the drama, particularly in the commatic songs; for stasima are never composed in this way. To the variety of the rhythms, the variety of the moods also corresponded, so that in the same song the Dorian, Phrygian and Lydian might alternate. Among the anoλelvμéva the grammarians have erroneously classed the άoroopa, so called, single exclamations and sentences, which, bound to no definite rhythm, sometimes preceded or followed or interrupted the speeches or songs. Τo these belonged the ἐπιφωνήματα, as φεν, ιώ, αἶ, οἴμοι, etc. ; the ἐφύμνια and μεσύμνια, as είτε Παιάν, ὦ διJúgauße, and in Sappho: ༡ Υψοι δὴ τὸ μέλαθρον [Ὑμήναον], ἀείρατε τέκτονες ἄνδρες [Ὑμήναον]. Γαμβρὸς ἔρχεται ἶσος "Αρηϊ. Lastly the ἐπιφθεγματικά, which often embraced whole sentences, as in Bacchylides : Ἦ καλὸς Θεόκριτος, οὐ μοῦνος ἀνθρώπων ἐρᾷς. Σὺ δ ̓ ἐν χιτῶνι μόνῳ παρὰ τὴν φίλην γυναῖκα φεύγεις. The genuine free songs, which form an independent whole, are either of such a sort that they form a whole of one or more strophes (μονόστροφα: Α; ἑτερόστροφα: ΑΒ; άλλοιόστροφα οι πολύστροφα: ABCD . . .), or that the song is of itself an existing indivisible whole, which transcends the ordinary measure of a strophe (ἄτμητα). The strophes of which a σύστημα ἀπολελυμένον is composed, are sometimes more, sometimes less like each other in rhythmical character (παρομοιόστροφα, ανομοιόστροφα). The resemblance occurs most frequently at the beginning or end of the strophes. As examples of this kind of composition, the following passages may serve: Telest. Fragm. Dithyr. Argo in Ath. XIV. p. 617 F. 626 C. Ὃν σοφὸν σοφὰν λαβοῦσαν οὐκ ἐπέλπομαι νόῳ Δῖαν Αθήναν Δυσόφθαλμον αἰσχος ἐκφοβηθεῖσαν Αὖθις ἐκ χερῶν βαλεῖν Νυμφαγενεῖ χειροκτύπῳ Φηρὶ Μαρσύα κλέος. Τί γὰρ νιν εὐηράτοιο κάλλεος Ὀξὺς ἔρως ἔτειρεν ; Α γὰρ παρθενίαν ἄγαμον καὶ ἄπαιδ ̓ ἀπένειμε Κλωθώ; Eur. Herc. fur. 1017-1041. Ὁ φόνος ἦν ὃν Αργολὶς ἔχει πάτρα Τὰ δ ̓ ὑπερέβαλε, παρέδραμε τὰ τότε κακά. Ἐς τίνα στεναγμὸν Ἡγόον ἢ φθιτῶν ᾠδὴν ἢ τὸν Αιδα χορὸν ἀχήσω ; Φεῦ φεῦ· ἴδεσθε, διάνδιχα κλῇθρα Κλίνεται ὑψιπύλων δόμων. Ὤμοι· ἴδεσθε τὰ τέκνα πρὸ πατρὸς Ἄθλια κείμενα δυστάνου, Εύδοντος ὕπνον δεινὸν ἐκποδὼν φόνου. Ὁ δ ̓, ὥς τις ὄρνις ἄπτερον καταστένων Πικρὰν διώκων ἤλυσιν. πάρεσθ ̓ ὅδε. The first three divisions end with the ecbasis. Soph. Philoct. 1169-1217. Φ. Πάλιν πάλιν παλαιὸν ἄλγημ ̓ ὑπέμνασας, ὦ λῷστε Τῶν πρὶν ἐντόπων, Τί μ' ὤλεσας ; τί μ' εἴργασαι; Χ. Τί τοῦτ ̓ ἔλεξας; Φ. Εἰ σὺ τὰν ἐμοὶ στυγερὰν Τρῳάδα γαϊαν μ' ἤλπισας ἄξειν. Χ. Τόδε γὰρ νοῶ κράτιστον. Φ. Από νύν με λείπετ' ἤδη. Χ. Φίλα μοι, φίλα ταῦτα παρήγγειλας, ἑκόντι τε πράσσειν. Ἴωμεν ἴωμεν Ναὸς ἵν ̓ ἡμῖν τέτακται. |