contracted into a long, and then to use the liberty of putting a short in its place. But since most poems, which have this rhythm, consist of pure iambs, and do not allow either the dissyllabic anacrusis or the pure form with the monosyllabic anacrusis,* the verse seems to be rather a tetrapodia iamb. catal. ; compare above. There are remaining several more Anacreontic poems, which can be arranged under neither of the above mentioned forms. These are either poems of a very late period in political verses, as XVIII (δ'), XXIV (λη'), or they must be otherwise measured, as XXV (μγ'). Ὅταν πίω τὸν οἶνον, Τί μοι πόνων, τί μοι γόων, τί μοι μέλει μεριμνών ; Τὸν τοῦ καλοῦ Λυαίου. The last two verses: Σὺν τῷ δὲ πίνειν ἡμᾶς Ενδουσιν αἱ μέριμναι, appear to have been added by a later writer. The following poems may serve as examples: Carm. XLVIII (β ́) Δότε μοι λύρην Ὁπήρου Φονίης άνευθε χορδής. * Carm. XXX (19'), the metre of which is apparently a dimet. ionic. with a monsyllabic anacrusis, consists in fact of Phere crateans with a spondaic basis: X Αἱ Μοῦσαι τὸν Ερωτα Τῷ Κάλλει πααέδωκαν Carm. XXIII (28') 16: τελεῖν τὴν ̓Αφροδίταν, like the foregoing, is not genuine. Carm. XXVI (μς'), ὅταν ὁ Βάκχος ειςέλθῃ Hermann changes into ὅταν Βάκχος ἐσέλθῃ. The whole poem, however, is a cento of Anacreontic and other verses, belonging to a later time. Φέρε μοι κύπελλα θεσμῶν, Carm. XXXVII (μδ') Ἴδε πῶς φανέντος ἦρος (2) Dimeter catalecticus. According to Hephaestion, Timocreon wrote an entire poem in this metre: Σικελὸς κομψὸς ἀνὴρ Ποτὶ τὰν ματέρ ̓ ἔφα. (3) Trimeter acatalectus. According to Hephaestion, used by Sappho: This verse was used by the Greeks and Romans, particularly in poems to Cybele. The pure form is not rare among the Greeks, as, The anacrusis of the first ionic was sometimes contracted: In the broken form the first half verse always closes with the long, as, Φύσις οὐκ ἔδωκε μόσχῳ λάλον "Απιδι στόμα. The second foot is very often resolved in both half-verses: 115 Αἷς ἔντεα παταγεῖται καὶ χάλκεα κρόταλα. The diaeresis after the second ionic is strictly observed. Among the Romans, Varro, in his satires, and, according to Atil. Fortunat. p. 2677, Maecenas also (Anthol. Lat. I. p. 53) used this verse. Catullus (Carm. LXIII.) has also Galliambs. He always uses the broken form, with the exception of V. 54, where the first dimeter retains the pure form: Et earum omnia adirem furibunda latibula, and V. 60, where the second half verse appears pure: Abero foro, palaestra, stadio et gymnasiis. The first arsis appears three times resolved, V. 23, 48, 70. Ubi capita Maenades vi jaciunt hederigerae. the second arsis more frequently, as V. 27. Simul haec comitibus Atys cecinit notha mulier. The first and second arses are seldom resolved, V. 63. The anacrusis of the first ionic is found contracted nine times (V. 5, 15, 17, 26, 40, 67, 73, 77, 86), and then all the resolutions of the arses of the first half verse disappear, as, Devolvit illa acuto sibi pondera silice. Sectam meam exsecutae, duce me, mihi comites. An exception is made in V. 77, in which the second arsis is resolved: Laevumque pecoris hostem stimulans, ita loquitur. The final syllable of the first half verse is throughout long. In the second half verse, the anacrusis of the first foot is sometimes contracted (V. 18, 22, 34, 73, 83, 86): Hilarate herae excitatis erroribus animum. Tibicen ubi canit Phryx curvo grave calamo. The second arsis appears almost always resolved, with the exception of V. 35, 73, 76. Itaque, ut domum Cybebes tetigere lassulae. Catullus observed the diaeresis strictly. In V. 37 an elision falls upon it: Piger his labantes languore oculos sapor operit. As an example take the passage in Terentianus Maurus, in which he describes this measure: Sonat hoc subinde metro Cybeleium nemus, CHAPTER II. DISTICH COMPOSITION. Distich composition consists in the combination of a longer and a shorter verse into one whole (P. 1. c. 9. p. 34). The shorter verse either precedes the other as an introduction, proöde, or follows it as a conclusion, epode. As the latter is more frequently the case, this kind of composition is called also the epodic. As among the verses used by the line the hexameter is the model for all later compositions, so here is the elegiac distich. Several verses used in distichs were treated as asynartete. The distich kind of composition was chiefly used by the gnomic and elegiac poets, the Ionian lyric poets (Archilochus, and after him Horace, especially in the Epodes), the satirists and the epigrammatists. Traces of the same are also found in the dramatists, as Aesch. Agam. 1343—1346. Α. Ωμοι, πέπληγμαι καιρίαν πληγὴν ἔσω. Η. Σῖγα· τίς πληγὴν ἀντεῖ καιρίως οὐτασμένος ; Η. Τούργον εἰργάσθαι δοκεῖ μοι βασιλέως οἰμώγματι. Terent. Andr. II. 1. 1, 2. Quid ais, Byrriá? daturne illa Pámphilo hodie núptum? - sic est.. Qui scis? - apud forum mode e Davo audívi-vae miseró mihi. v. 5-8. Quaéso edepol, Charíne, quando nón potest id fieri quod vis, Compare Plaut. Menaechm. V. 6. 1-6, where acatalectic and catalectic bacchic tetrameters are combined with each other by distichs, and Plaut. Bacch. IV. 10. 1-9, where acatalectic and catalectic anapaestic tetrameters alternate with each other. The most important combinations by distichs, which we arrange according to the rhythm of the principal verse, are the following: |