Mittite! nain attrectatu et quassu

Saevum amplificatis dolorem!

Seneca, who frequently has anapaestic systems in his tragedies, treats them as asynartete; whence the hiatus and anceps occur frequently at the end of the dimeter. He does not know the use of the paroemiac. The dimeters are frequently interrupted by a monometer. As example take Oed. V. 2. Fatis agimur, cedite fatis.

Non sollicitae possunt curae
Mutare rati stamina fusi.

Quidquid patimur mortale genus,
Quidquid facimus, venit ex alto,
Servatque suae decreta colus

Lachesis dura revoluta manu.

Omnia certo tramite vadunt, etc.

Plautus, among the comic poets, has frequently anapaestic systems which he treats very freely. Several paroemiacs often follow which he frequently forms with spondees. As example take Stich. II. 1. 37 sqq.

Aperite atque approperate, fores

Facite ut pateant! removete moram!
Nimis haec res sine cura geritur.
Vide, quam dudum hic asto et pulto!
Somnon' operam datis? experiar

Fores, an cubiti, an pedes plus valeant.
Nimis vellem hae fores herum fugissent!
Ea causa, ut haberent malum magnum.
Defessus sum pultando,

Hoc est postremum vobis.

G. Ibo, atque hunc compellabo.
Salvus sis! D. Et tu salve.

III. SYSTEMS OF THE PAEONIAN KIND.

A. Cretic Systems.

The cretics are united into systems, the feet being usually joined two by two, although sometimes there is a monometer over. Such systems were frequently used by lyric (Bacchylides) and dramatic poets. With the latter, especially the comic poets, the cretic appears frequently as a first or

fourth paeon, or altogether resolved into shorts. Cretic systems have no fixed close. They occur usually in trochaic and iambic measures. It is not necessary in antistrophic poems that like feet should correspond. As examples take the following systems:

Dramatists. Aesch. Suppl. 418-422; 423-427.

Βορβοροτάραξι καὶ
Τὴν πόλιν ἅπασαν ἡ-

μῶν ἀνατετυρβακὼς,

Ὅστις ἡμῶν τὰς Ἀθήνας ἐκκεκώφηκας βοῶν,

Κἀπὸ τῶν πετρῶν ἄνωθεν τοὺς φόρους θυννοσκοπῶν.

ἀντ. Ἦν ἄρα πυρός γ ̓ ἕτερα
Θερμότερα, καὶ λόγων

Ἐν πόλει

Τῶν ἀναιδῶν ἀναι

δέστεροι καὶ τὸ πρᾶγμ
Ἦν ἄρ ̓ οὐ φαῦλον ὡδ'

* * * Ἀλλ ̓ ἔπιθι καὶ στρίβει,
Μηδὲν ὀλίγον ποίει.

Νῦν γὰρ ἔχεται μέσος·

Ὡς ἐὰν νυνὶ μαλάξῃς αὐτὸν ἐν τῇ προσβολῇ,
Δειλὸν εὑρήσεις· ἐγὼ γὰρ τοὺς τρόπους ἐπίσταμαι.

B. Dochmiac Systems.

The dochmiac systems are very frequent in the Greek dramatists. They are the form for the expression of the greatest excitement of the mind, disquiet, terror, anguish. Two dochmii are usually joined, and often there is one over. The dochmii are all closely joined together, whence neither hiatus nor anceps is allowed in the middle of the systems. Both, however, occur under the following conditions : (1) In interjections: ἓ ἔ, ἰ ἰω, ἰδοὺ ιδού and the like. (2) In addresses, as Eur. Herc. fur. 876.

Σὸν ἄνθος, πόλις, ὁ Διὸς ἔκγονος,

(3) In repeating a word, as Soph. Ant. 1322, 1319. Ἄγετέ μ' ὅτι τάχος, ἄγετέ μ' ἐκποδών.

Ἐγὼ γὰρ σ ̓ ἐγὼ ἔκανον, ὦ μέλεος.

(4) In the change of persons, as Eur. Hippol. 571.

In

Α. Τίνα θροεῖς αὐδάν; τίνα βοᾷς λόγον ;

Β.

many

Ενεπε τίς φοβεῖ σε φήμα, γύναι ;

of these cases, where the hiatus or anceps occurs,

a system may also be closed; and this must be done when in other cases a hiatus or anceps occurs, as Aesch. Choeph. 935 -937; 946-948.

στρ. Ἔμολε μὲν δίκα, Πριαμίδαις χρόνῳ βαρύδικος ποινά, Ἔμολε δ ̓ ἐς δόμον τὸν ̓Αγαμέμνονος.

ἀντ. Ἔμολε δ ̓ ᾧ μέλει κρυπταδίου μάχας, δολιόφρων ποινά. Ἔθιγε δὴ μάχα χερὸς ἐτήτυμος.

Like forms do not always correspond in antistrophic sys

tems.

As an example of purely dochmiac systems take Aesch. Suppl. 392-396; 402-406.

στρ. Μή τί ποτ' οὖν γενοίμαν ὑποχείριος
Κράτεσιν ἀρσένων. ὕπαστρον δέ τοι
Μῆχαρ ὁρίζομαι γάμου δύσφρονος
Φυγᾷ. ξύμμαχον δ ̓ ἑλόμενος δίκαν
Κρῖνε σέβας τὸ πρὸς θεῶν, (αυνόνανα)

ἀντ. Αμφοτέρους ὁμαίμων τάδ' ἐπισκοπεῖ
Ζεὺς ἑτεροῤῥεπὴς, νέμων εἰκότως
Αδικα μὲν κακοῖς, ὅσια δ ̓ ἐννόμοις.
Τί τῶνδ ̓ ἐξ ἴσου φεπομένων μεταλ-
γεῖς τὸ δίκαιον ἔρξαι.

Arist. Acharn. 358-365; 385-392.

στρ. Τί οὖν οὐ λέγεις ἐπίξηνον ἐξ-
ενεγκών θύραζ

Ὅ τι ποτ ̓, ὦ σχέτλιε, τὸ μέγα τοῦτ' ἔχεις ;
Πάνυ γὰρ ἔμεγε πόθος ὅ τι φρονεῖς ἔχει.
Αλλ' ᾗπερ αὐτὸς τὴν δίκην διωρίσω,
Θεὶς δεῦρο το πίξηνον ἐγχείρει λέγειν.

ἀντ. Τί ταῦτα στρέφει τεχνάζεις τε καὶ
Πορίζεις τριβάς ;

Λαβὲ δ ̓ ἐμοῦ γ ̓ ἕνεκα παρ' Ἱερωνύμου
Σκοτοδασυπυκνότριχα τιν "Αϊδος κυνῆν·

Εἶτ ̓ ἐξάνοιγε μηχανὰς τὰς Σισύφου,
Ὡς σκῆψιν ἁγὼν οὗτος οὐκ εἰσδέξεται.

C. Bacchic Systems.

Varro, περὶ ἐξαγωγῆς, in Non. 336, seems to have repeated bacchii by systems:

Quaenam te esse dicam, ferá qui manú cor

poris fervidós fortium áperis lacus san-
guinis, teque víta levás ferreo énse?

and perhaps also Plautus.

IV. SYSTEMS OF THE CHORIAMBIC-IONIC KIND.

A. Choriambic Systems.

Choriambs in systems are repeated two by two: sometimes, however, there is a monometer over. These systems occur in lyric and dramatic poets, often among other rhythms. Frequently the iambic dipody corresponds to the choriamb. Choriambic series with a logaoedic termination are used as a close. Resolutions occur sometimes in the choriamb, as in the iambic dipody.

Examples: Pind. Fragm. Dithyr. III. 10.

Τὸν Βρόμιον τὸν Ἐριβόαν τε καλέομεν. γόνον ὑπάτων μὲν πατέρων μελπέμεν.

Aesch. Sept. c. Theb. 918-921; 930–933.

στρ. Δαϊόφρων, οὐ φιλογα

θὴς, ἐτύμως δακρυχέων

Ἐκ φρενὸς, ἃ κλαιομένας

Μου μινύθει

Τοῖνδε δυοῖν ἀνάκτουν.

ἀντ. Παῖδα τὸν αὐτᾶς πόσιν αυτ
τῇ θεμένα τούσδ ̓ ἔτεχ ̓, οἱ δ ̓
Ὧδ ̓ ἐτελεύτασαν ὑπ' ἀλ-

λαλοφόνοις

Χερσὶν ὁμοσπόροισιν.