Rhythm and Metre: Towards a Systematic Description of Greek Stichic Verse 9789023222293, 9023222296

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RHYTHM AND METRE

Studies in Greek and Latin Linguistics edited by H. Pinkster, University of Amsterdam C.M.J. Sicking, University of Leiden 1. A.M. Bolkestein, Problems in the Description of Modal Verbs: an

investigation of Latin 2. E. Vester, Instrument and Manner Expressions in Latin 3. M. van Raalte, Rhythm and Metre. Towards a Systematic Description of Greek Stichic Verse

MARLEIN VAN RAAL TE

RHYTHM AND

METRE Towards a Systematic Description of Greek Stichic Verse

VAN GORCUM 1986 Assen/Maastricht, The Netherlands Wolfeboro, New Hampshire 03894-2069, U.S.A.

©

1986 by Van Gorcum & Comp. B.V., P.O. Box 43, 9400 AA Assen, Th( Netherland.-. Van Gorcum & Comp. B.V., 27 South Main Street, Wolfeboro, New Hampshire 03894-2069, U.S.A.

No parts or this book may be reproduced in any form by print. photoprint. microfilm. or any other means without written permission by the publisher. The publication o( this book has been made possible through a grant from the Netherlands Organisation for the Advancement of Pure Research (Z.W.O.).

UIJnry al Concn- Catalopls-ln-PubllcaUon Data

Raalte, Marlein van, 1952Rythm and metre. (Studies in Greek and Latin linguistics: 3) Bibliography: p. Includes indexes. I. Greek language- Metrics and rhythmics. 2. Greek poetry- History and criticism. I. TitJe. II. Series. PA417.R3 1986 881'.01'09 86-19030

ISBN 90 232 2229 6 (pbk.)

Printed in The Netherlands by Van Gorcum, Assen

PREFACE

I

The research ory

study

for

Professor

to

he

Verslehre

orip.in has

will

1t

Handbuch

be

ar,reenent

about

involve«JPl;~

should

of

to

uu:

-----uv-uu-vu-41. Now this

the

The selection

dactylic

by

a

of a hexameter

symbols

representation

Accordingly,

diverge

also

which constitute

- thereby

below -:

by

same set

first

schematic

effect

blurred

the

clear

real-

attention.

In

of

things

Greek dactylic

3.2.2.

of a concrete

the

whether

both

syllables

an example

the

be represented

(largely)

u,

-,

represent

make

being

(e.g.

and the

JTPtaauc,'HQUVOV't1.,:b

b

special

order

of

-vu,-vu,-uu,-uu,-uu,-t,-V->t,-V->t,-V-U-r,Jl.

rhythmical

movement of the beginning 3.2.2.

trochaic

which would complete

groups)

as to produce

the

do

(-uu,-uu, is

a kind

as a whole,

movecient of

colon showing a falling,

movement. Now, these

two rhythmical

factors (internal structuring and the modulation of the movement of the verse) may apply both at the rhythmic and at the metric level. At the rhythmic level tion will be ascribed

caesura is realized to some particular

by word-end: caesura funcword-end in a particular

INTRODUCTION verse-position 'caesura'

19

near refers

the

to

a word-boundary

middle

that

with

of

the

boundary

caesura

verse;

between

function

to a concrete

trimeter,

therefore,

trimeter

will

show t110 caesurae,

indicate

the

positions

ln short,

in the

at

metric

namely

where word-end

metric

level

two verse-elements

is usually the

the found.

profile

those

where

(In contrast of the

iambic

two boundaries

which

with caesura

function

co1m10nly

appears.) word-, ric

c.q.

metric

present

boundary

or

sub-phrases

study which

31

cola.

caesura

will

seperates

be conceived

two rhythmic,

The following

c.q.

uy

trimeters

as the met-

serve

as

examplea:

d:U.11 I i:flc6E:~ YVV!',I(Sea. 7.30) t\v iu'I n~ f\ ~ If\ ~ ~I (Sem. 7.69).

OUt 6nw Now since

the

trimeter

iambic

aa

one non-structured

whole,

in

the

of this

metric

profile

that

word-boundary

near

the

middle

justified

to

belonging

at

(at

of the

seems to be too

long

it

to

of

to the metric

desirable

type

of verse.

least

verse

conceive

is

one of)

occurs them

profile

as

be perceived

include

a caeaura

In virtue

these

quite

to

fact

two verse-positions

commonly,

alternative

of the iambic

of the aeeaa

it

caesura

to be

positions

trimeter:

x-u-,x :-u:-,x-u-fl. Accordingly ceived turn is

• .. tric

as a

actually

the

the case As far

of

in three

at

may be argued

- the

would

seems

likely

however

anced

whole the

proportion

verse-elements account.

which

that really of

- which

in other

types

in

its

of verse

(as

verse). balance

with

of the

verse

colon

a large

preferred

seem to

not

trimeter

is

concerned,

seems to be rel-

least.

in trimeters

events

iambic

of composition

For instance,

is

the

phenomenon of metric

respects

mical

that

of

in asynartetic

the

of the form x-u-x may be con-

e.g.

as the rhythmical

recognition

evant

colon'

as a unit

may serve

3.2.2.1.

it

the group of elements

proportion

be disturbed in

these

or

constitute

7:5

in still the

of

at

cases

disturbed 5:7

number of resolutions the the

5: 7 or rhythmic of

applies metric

7: 5 rhyth-

impression

virtue

cola

the is

level;

it

of a balcircumatance

the

if

-

number taken

of

into

RHYTHMAND METRE

20

As regards

the

distinguishing obvious.

between

The iambic

falling

second

the

of

amples

cited

is

necessarily

begins

the

a long

as

profile, does

a rising of

not

the

rhythmic

of

here,

the

the

rhythmic

realization

extent,

without

uy

diverge

thereby

losing

the

anceps

by

of

in the

colon

-

the

case

of

which

is

of a falling

uuu-...

second

degree,

not-

• So, obviously,

the

its

of

perception

second

from

ex-

actually

virtue

to apply

of

subthis

verses

to an objectional

realization

the

initial

the

a to

Semonides

in

perception

with

realization

of the

af feet

seem to be disturbed

not

withstanding

-:

the

Apparently

The same seems element

over

of these

realization

more

correlative

rhythmic

neither

easentially

first

frequent

the

syllable.

sequence.

the

from

appears

of

even verse

of couree,

as

profit

is

a rising

events

of

the

colon

is

is,

since the

verse

rhythmical

level

case,

metric

does

some

the

non-marked

comparatively colon

the

the

rhythmic

situation

However, at

of

example,

of

a

resolution

the

verse.

syllable

and for

This

above,

with

underlying

metric

distribution

phrases not

movement

trimeter,

colon.

preferred

verse

rhythmical

metric

profile

character

of

a

to

iambic

trimeter. Finally, phenomenon

the of

notion

caesura

of

metric in

media

explained

in

terms

of

compared

with

the

metric

colon

the

an overlap

serves

elucidate

trimeter,

iambic

of the

to

actual

which

(rhythmic)

cola

of

the

trimeter:

see

from

but

complementary

the can

be

colon

as

Ch. III,

3.2.1.

below. 3.2.3.

Clausula.

An effect produced

different

by the

caesura

tioning

of

indices

of verse-end

optional the

word-end.

device

incidence

somewhat

before

necessity

for

indicating

for of the its

verse-end

is

the

movement produced

Clausular

movement

announcing word-end end the

verse-end, in

of the

occurrence

is

to sub 3.2.1.2.

referred

to

in

a

structuring

by clausular

one

of

the

above.As

posi-

rhythmical

such it

accomplished

rhythmically

verse.

the

preferred

position

no rhythmical

there

is

view of the

other

possibilities

which

constitutes

an

by means of

Since

boundary

is

the

clausula

of

INTRODUCTION does

not,

type

of verse

21

unlike

the

with

rhythmical Often to

its

of the

will

of

to

the

metric

profile

word-boundary(-ies) device

cola

in

movement

of the

related

of

such

(Le.

the

will

in some manner

type

of

verse

movement

to the

in question.

a way as to make the

the

be in ac-

verse

return

characteristic

of

its

profile).

The most obvious in

the

be chosen

initial

metric

clausular

some rhythmical

movement

it

belong

concerned.

The position cordance

caesura,

the

close

tragic in

a

internal

example

rising

as

returns

at

the recurrence

which

manner.

structuring

movement,

40

trimeter,

is

internally

narks

The effect

produced

is

by the

verse-end

to

of word-end the

that

the

caesura

the

at pos.10

verse

near

trimeter,

produces

initial

its

whose

a falling

('basic')

rising

movement.

A similar dihaeresis' with

in

its

the

rising

movement the

device second

which

(by its

very

rhythmical

nature)

the

3.4.

P• 348 below.)

returns

different

of

recurrent the

in

pos.

that,

(in

type

of

virtue

trochaic

return

to

to

the

contrast

both

verse

falling

B. This in

of word-

the

'Bucolic

characteristic

boundary,

clausula

so-called

falling

at

implies

metron

situation

This

word-end

movement

the

to its

show a coincidence

verse-beginning

of this

particular

and metron-boundary. tetrameter

see

Ch. IV,

Bridge.

The distinction pertains

to

'bridge'

between

the

or

speaking) ticular

base

hexameter.

and the

option)

the

colon

overlaps

(For

3.2.4.

of

rhythmical

caesura

at

dactylic

by virtue

initial

lies

interpretation

'zeugma'.

This

significantly low

in

file.

Such

tions

may be

accounted

will

be argued

below,

upon

purely

metric

of

is

the

incidence for the

factors

verses

and a metric the

of

of

word-end

in

two

phenomenon (concerning

that

word-end

one and

of

at

the

of bridge

also

phenomenon

of

a (statistically occurs

at

a par-

same metric

particular

essentially the

verse-level

rhythmical

phenomenon

low incidence

verse-position a

a rhythmic

distinct

verse-posiways.

may be based

identification

pro-

As

either

of rhyth-

22

RHYTHMAND METRE

mic events ric

as being

ele•nt: the

modulation

In

study,

i.e.

under

certain

both

realized

above).

It

This

applies

ing metric

iambic

resolution

that

("split of the

- which, with

may occur

in

two such

resolution")

is

of

other

the

metric

is

the

short

3.1.1.

syllables

generally

avoided.

of the

usually

underly-

marked as to

initial

anceps

profile

see

value

this

tetrameter,

('resolution':

1a an

the

of the

comedy,

as

in

trochaic

between

exception

well

discussed

the

quantitative

(which

as

41

element

outside

the

trimeter

verse

metfactors

rb9tblli.cal

verse

syllables

observed

irrespective element

the

and in

a single

of word-end

(long),

the

trimeter

two short

been

of

single-short

iambic

by

has

incidence

of

underlying

generally

movement (3.2.4.2).

circumstances

may be

more

structuring

types

the

of a particular

upon

rhythmical

in

the

or

internal

of its

3.2.4.1.

in

realization

3.2.4.1)

concerning

quantity

the

verse-position

element).

In

comedy,

non""'lllarked verse-positions

as

well.

seems very

Now it two

such

syllables

was

as

the

syllables

being

may be supposed different

that

linguistic

tity

as being

very

irrelevance

metric

likely felt

in this

endanger

realization if

these

which

element.

resolution

belonged

same metric

(+/-

and markedness

particular

metric

seem to lose

of one and the the

of

events

would

occurs

explanation

for

between

perception

of a single

they

position

of word-end

the

two rhythmic

entities, of

the occurrence

to

a realization

element

corroborating

that

It

to two

their

iden-

element.

quantity)

can

these

The

of

the

be conceived

as

the avoidance

of split

resolution. The phenomenon is concerns

the

element,

i.e.

metric

level

phenomenon enon

of

called

preservation of of

of

its

character

the

verse.

regards

bridge

the

the

bridge

identity

of

as a single (Therefore

because

a particular

rhythmical does

it

not

event imply

level

of the

verse

only:

the

avoidance

of

word-end

in

- being -

of

course

its

is

a metric

appears one,

at

as here,

the

motivation

its

metric

verse-position motivation

a metric

rhythmic

or concerns

the

verseat that

the the

phenom-

a particular

level,

whether

the rhythmical

INTRODUCTION

23

of the

aoveMnt

verse.

discussed

below.)

3.2.4.2.

In other

at

a certain

of

fact,

neither nor

general

as is

generally lack

of

a priori

- the

syllable

infrequently•

caesura

at

syllable

are pos.

hardly 5.

explanation one

word-

that

(long)

syllable

rhythmical

a

of

the

exposed

to this

undesirable

effect.)

is

avoided

istics

we must

throw

le88 for a

internal

an explana-

indeed

and to the tenth

realized

realizations

in

the

metron

about

the

either is

question

upon the

realized

see

dactylic

would

at

coincidence

effect:

the

of the

The most likely

which

verse-final

sixth

a long final

occurs

12). of

the

in virtue

hexameter

(pos.

by a long

of

preferably

first

to be avoided

has been realized

verse-position

more light

the

not

of -(UV)

hexameter, be likewise

why this

rhythmical

ef feet

character-

of the verse. The metrical

( the by

be more precise

of

as

by word-end

verse-end

(Naturally

type

fourth

dactylic

a pendant,

that

preference

this

by virtue

above. to

is

verse-end

produces,

index

to the

in the

concerned.

likewise

appears

if

followed

3.2.1.2

In order

word-end

verse-position

and metron-boundary,

the

split

to.

long

a non-marked

is

to be

with

indicate

some likelihood

while

2) or at

case

authors

special

verse-element

In short:

(pos. is

have

referred

ever

or bridge

a

of which

in a non-marked

verse-beginning

for

hexameter,

latter

the

Therefore

The same applies

verse-element: verse-element

to

of

As a matter

to appears

seems to

kind

and

eighth

syllable.

genres

nature.

bridges

non-marked

as

this

movement

'optional'

all

universality

for

after

by

in

bridges

of word-end

explained.

same strictneH

as

very

so easily

the

In the dactylic

by a long

low incidence

with

3.2.4.2.1. the

not

'rhythmical'

referred

seeu the

the

verse-positions

rhythmical for

in

the

and of a more subtle

structuring tion

is

responsible

special

case

at

comparative

motivation

the

a significantly

verse-position

resolution This

is

cases.

word-end

avoided

as

dactylic an

internal

groups metra)

which

have

structuring

been into

constitute integrated

the

rhythm

into

two non-identical

of

the

a rhythmical component

verse whole parts

RHYTHM ANDMETRE

24 (rhythmical of

sub-phrases);

one or

caesura

two syllables,

with

ond metron ing

the

and the

indicated

by

the

the

the

end

word-end

of

of

a word-end

at

flow of

verse

metron

is

gives

rise

position

which

echoes

the

movement

within

this

type

of verse,

if

short

the

preceding

syllables

beginning pos.8,

of

the

where

the

favoured

as

occurrence

of

short

realization

there

is

the verse

a

the

to

verse:

metron-boundary desired)

verse-end

is only

which

by a bisyllabic

of

word-

kind

(see

is

within

3.2 •.4.2.2.

In

the

rhythmical

bridge,

can

verse,

the

on the condition

that

which

trimeter is

somewhat

and which,

the

at

case

the

the

there

of

is avoided. as

being

internal

mo-

struc-

of word- and dihaeresis,

rhythmical is

so that

beginning

Bucolic

coincidence

the

by a double-

coincidence

the

even

and where

effect

the

the at

is

verse-element,

of the preceding

iambic

movement

by two

preceded

at

of

realized

above),

regarding

pre-

incidence

be understood

(or,

realization

-

illustrated

movement of

by this

of

- unobjectionable

clearly

eighth

unobjectionable produced

element

characteristic

never

is

3.2.3.

factors the

to

verse

been

invariably

bridge

likely

and metron-boundary

rhythmical

of

is

rhythmical

at the same time a verse-final this

of the

the

least

most

non-marked

the

since

has

say,

is

almost

is

the

mid-verse

syllable is

the

in

metric

of the

element

This

as

which

falling

beginning

effect

by two interdependent

turing even

41

a

to

interpreted

long

more so,

- to say

coincidence

return

In short, tivated

is

verse).

of

while

of the

needless

word-end

effect

produces

clausular

a

the

non-marked

final

one

is

last•

boundary

the

by

to the

non-marked

(which,

if

a fall-

verse-end

Consequently

a metrical

realized

hexameter;

this

only

the

be

the sec-

into

above,

the

to

extent by the

(i.e.

structured of

element.

the

constituted

Aa was said

syllable,

to

groups

is

realization

single

at

phrase

verse

double-short

the

'overlap',

two metrical

a

it

an

rhythmic

successively.

one

onward

because

of

the

invariable

double-short

cisely of

of

occurrence

impair

one),

colon by

realization

the

between

third

the

verse-polition

of

boundary

and a rising

the

by means

likeness

not

to

intensified

metron. is

another

more complicated

example in virtue

of

a of

25

INTRODUCTION the

more complex

manner of metrical

grouping

operative

in this

type

of verse. 'Porson'e end

Law' refers

is

highly

exceptional

ization

of

eight,

such

'false

caesura'.

the

the

ninth

after

(an

of word-end analysis

of

which

objectionable

a long

the

is

the

ele.mentu.m ancep.s).

an explanation

after

comedy, word-

rhythmical

At first

as creating

does

syllable

real-

not

a

account

exclusively.

for Here

characteristics

of

the

of

one

seems to be desired.

verse In

the

iambic

marked

and

one non-marked

metrical

v-.v-.u

first

of

of

long

the

namely

by groups

ternal

structuring

coincide the plies trasts the

recurrent so

the

boundary

( 1)

with verse

or

the

the

consequence

to

the

which

overlap

within

the

movement.

As

has

fect

is

achieved

the

bridge, clausular

movement it

the

will effect

said

of be since

the

of

there

is

second (2)

of

the

alternation

word-end

It

Now, at

no coincidence

not

(whether

of

- which

im-

is

of

some

effects:

metrical

groups

of

the

rhythmical

where

the

successive

movement,

near

does

of

concurrent

rhythmical

or

a partition

are

verse

fifth

con-

these

in

is

colon

avoided.

a return,

that

the

been

verse-beginning.

clear

of

integration an

nature,

events

caesura

(metron))

oc-

The in-

the

groups

one and

has

before,

of

type

first that

implies

after

two metrical

movement the

grouped the

dis-

element

a more complex

cases,

both

in the

x--v--, x--v--, etc.

'complex'

parts

by means

a free

an anceps

of

each:

in

the

show an alternation

there

of word-end

effects

cola

since

is

the

('feet')

However,

incidence

more,

been

(i.e., fact

event,

two elements

of metrically

once

simply

of

sequence

rhythmical

note

verse

in

between

two equal

rhythmical

verse-positions is

movement of

into

alternation

P• 12 above).

that,

of

the

groups

elements

of this

(foot)

that

in

syllables

grouping four

of

single-short)

2.3,

short

element,

with

'basic'

(i.e.

(see

of

by the

virtue

basically

and

metrical

seventh

in

two non-marked

curs),

produced

is etc.

every

tribution

the

trimeter,

grouping

each:

to

such

outside

syllable

may be considered

However,

further

that,

a long

verse-element

word-end

avoidance

again,

to the circumstance

the

clausular

end of the

concerning pos.9

verse,

Porson 's

frustrates

of word-

ef-

this

and metron-

26

RHYTHMAND METRE

boundary

and

syllabic

thus

quantity

answer

in

iambic

verse.

As

the

indicated

dactylic

ing

two ('basic')

element verse,

the

more

is

often

comedy)

becomes

apparent

mical

index

mical less the

realized

which to

objectionable anceps

if

element

confirmed

In

by the

in

nature

this

use

of at

other

single-short

it

as

hand the

rhythm rhyth-

the

preferred to be

realization rhythm

basic

situation

exceptions

a rhyth-

be felt

rhythmic

an-

again,

is,

the

two

the

may be argued,

movement might with

first

another

with

of

by means

hand,

basic

conceived

actual

in

type

the

(that

conjectural

of the

e.g.

as cover-

syllable

the

accordance

fact,

that

this

the

accordance

other

which

of

on the

verse-initial

on the is

sequence.

rather,

the

in

of

and a marked

Consequently, not

events

than

occurring

may be

its

grouping

can be conceived

by a short

is

find

has been accomplished

of which

why

of a non-marked

metron,

(which

metrical

rhythmical

metron

syllables

third

question

must

more complex

elements

of verse-end). return

iambic

the

again

is

of

history

- by virtue

movement

clausular

the

of long

in

outside

grouping iambic

by four

proportion

of the

sub-groups

Throughout

positions;

ceps

the

The

circumstances

nature

trimeter

metrical

grouping

a large

anceps

the

iambic

movement.

these

complex

hexameter:

each.

rising

in

above,

the

the

to

matters

specific,

characterizes

of

no return

of of to

seems

to

this

the

'law',

be or

43

tendency.

4. Conclusion. From these cussed

in greater

of concrete to

prove

concept provides

similar detail

verses

us

rhythmical observed

the

the

strictnesa between

the

stichic

and verse.

to

type of verse

periods, occurs.

course

that

the

profile

be disconception is

interpretation

the

preferences genres,

likely of

the

same time,

the

norm (see

make explicit

in rhythmical several

of

At the

as a rhythmical

means (and

will

of a metric

description

profile

with

which a particular

realization

of Greek

a metric

(which

we may conclude

below)

to

properties of

examples

as the

beneficial

rhythmical

be

and

.sub 2 above)

differences

in

in general)

to

and

contexts

in

INTRODUCTION

27

AJJ appears

be

met with

atively

in

the

simple,

its

internal

the

most

shall

namely

corpus

since

attention the

about

Greek

poetry,

the

are of

quite

two

rhythmical

verse

identity

(rhythmic

as a rhythmical

coherence

and the movement of a rhythmical

three that

typea is,

of

Greek

simple

how each statement proposed of ric

same time, above

rhythmical level

relates

of

of

conceptual

to

benefit

(sc.

if (I)

organization, the

verse)

transparency

our understanding

of with

the

between and proves will

is of

grouping

special

attention

( II) to

of

metric

the

be-

profile, of the

description

to

and

a rhythm1c

the

question

distinction other

kinds

and a met-

a certain

amount

which may turn

of verse

the

involved.

double

be convincing,

(from

-

more complic-

to

the

of

manner

subjects

grouping

between

types

contrast

verse-levels

have been gained

of other

particular,

systematic

metrical

metrical

we

sequence.

ordering

application

in

interrelatedness

study

to the different

and

as examples,

and its

the

rel-

is

Now, taking

potential

in a fairly

a particular

phenomena),

(2)

present verse

phenomenon

rhythmical At the

the

stichic

by following

relatively ated

aim of

the

to

verse-elements

verse

sequence)

conceived

The principal

verse

principles

of

and

its

of verse

recognized.

stichic

relevance

types

stichic

of

rhythmical

norm,

other

easily

metrical

to

concrete

remarks

of

both

co111111on types

( 1) the

above

structuring

pay

tween

from the

as well.

out

CHAPTER II: THE DACTYLIC HEXAMETER

Editions

28

Used

Homer Iliu

edd. D.B. MONRO & T.W. ALLEN,Oxford

Odyssea

ed. T.W. ALLEN, Oxford

2

3

1920 (OCT)

1917/9 (OCT)

Homeric HIJlltllS*ed. T.W. ALLEN, Oxford 1911 {OCT)

Hesiod 'l'heogonia ed. M.L. WEST, Oxford 1966 Opera et Dies ed. H.L. WEST, Oxford 1978

Parmenides edd. H. DIELS & W. KRANZ,Berlin

Empedocles ibid. Archestratus

'1951 (Vol.I,

228ff.)

308ff.

Hedyphagetica

ed. P. BRANDT,Leipzig

1888

Aratus Phaenomena ed. J. HARTIN, Firenze 1956 Apollonius Rhodius edd. F. VIAN& E. DELAGE,Paris 1974-8l(Bud~) Callimachus ed. R. PFEIFFER, Vol. II. Oxford 1953 Theocritus ed. A.S.F. GOW,Vol.I. Cambridge 2 1952 Nonnus Dionysiaca

ed. F. VIAN, Paris

1976 (Bud~)

* It may be noted that the poems known to us as the 'Homeric Hymns' have been treated in this study - with some occasional exceptions as if they formed a homogeneous corpus. This, intrinsically questionable, approach has been adopted because (1) the most comprehensive quantifications of the material which are available fail to distinguish between the different Hymns, and (2) the data of those authors who distinguish between individual Hymns are often unreliable (see e.g. N.B. ad Table VII, pp. 80/1 below). In recent years, monographs have appeared which throw some light upon (esp. linguistic and/or 'formulaic') characteristics of the hexameters of individual Hymns (c.q. parts of them: cp. the bipartition of the HIJlltllto Apollo argued for by, e.g., JANKO(1982) 99f.), but an adequate survey of rhythmical characteristics of the Hymns considered as individual poems is still wanting. (The study by TEBBEN (1971), whose quantifications indicate "a noticeable departure from the consistency of the corpus both metrically and lexically" in the Hymn to Ares (see DA XXXII(1972) 6400A) is not available to me.)

THE DACTYLIC HEXAMETER hexameter

1. The dactylic

by means of

tending ingly

The sixth,

syllables

prolongation

Ch.I,

Therefore

the metric

above). profile

of

close.

invariably

is

realized

be represented

index

ex-

Accord-

two elements

as a rhythmical

,.,.

•Y

sequence,

a pendant

by sets

metron

be considered

3.2.1.2.

double-short

and with

grouping

verse-final

- which uy

end (see

a falling

is

1s a metrical

there

( -uu ).

29

each by two

of verse-

as follows:

-vu, -vu, -vu, -vu, -vu, -IIThe interpretation of the dactylic hexameter as a catalectic verse ( ••• -u ..l\) - see, e.g., SNELL ( 4 1982) 13 - seems to be incorrect. i.a., by the modulation of the rhythmical movement This is suggested, of the verse, whose second colon is a rising one in contrast to the beginning of the verse (see 3.2. below), a phenomenon which seems characteristic of acatelectic types of verse especially: compare the situation in the iambic trimeter (Ch.111, 3.1.2.; 3.1.3.2) and contrast the situation in the trochaic tetrameter (Ch. IV .3.1); the same holds for the type of clausular rhythm involved (i .c. the bucolic dihaeresis: 3.3. below), where there is a return to the rhythmical movement of the beginning of the verse - as is, again, the case in the (acatalectic) iambic trimeter but not in the (catalectic) trochaic tetrameter: see Ch.lV.3.4. below. Furthermore it may be noted that the acatalectic interpretation of the dactylic hexameter plays a role in the explanation of its rhythmical bridges, which are not easy to account for on a catalectic interpretation: see 4.2. below. 2. The possibility long

syllable

file:

this

visible

of

realizing

produces

a

rhythmic

the

non-marked

rhythmical

divergence

variation

(seeCh.

1.3.1.

verse-elements

by a

of

pro-

the

metric

above)

can

the

dactylic

be made

schema:

in the following

~-11. The frequency

of

bisyllabic

( 'spondees')

varies

such

tendencies,

of

general spondees

genres

can

be

with

the

realizations several

differences seen

to

and between the individual

exist

of

verse-positions; in

frequency

between

the

metra

apart and

from

localization

several

literary

poets.

The irresolvability of the longa in the dactylic hexameter does not require an explanation, as follows from the very nature of resolution aa a rhythmic divergence (See Ch.V, 2.2.1. below). Speculations about the absence of resolution in these elements appear to be

RHYTHM ANDMETRE

30

inapired by a paHage in Dionysius of HalicarnaHus, CV XVII (• UR likely, however, that Dionysiua merely refers to 71.lOff.). It seeu hexameters of a special rhythmical a particular manner of reciting shape (i.e., 'holodactylic' verses), in which the length (or rather, occupying the marked verse-elements 18 the tempo) of the syllables 41 shorter (faster?) than a "full syllable". The main difficulty arises from his equation of the phen011enon - an equawith the denotation of '1-\ayoc; as used by the rhythmiciane Aa Ariatoxenus BR II.20 tion which, however, aeema to be erroneous. (W.) show■, in the theory of the rhytbmician■ (or at least of this 4M,voc; apparently refers to an irrational particular rhythmician) verse-elements, not between sylproportion which exi ■ t• between value of the lables ( - which 6.M,yCa. appears to arise from a specific ■eema to be to nan-,urked element, too); and finally, the reference there is no evidence that eilyric ver1e e ■ pecially. Consequently, ther Dionyaiua or the rhythmiciane to which he refers ascribed an hexaaeter; exceptional value to the elementa loaga of the dactylic so that there are no historical reasons to call in question the of Greek binary opposition of syllabic quantity •• conatituti'Vlt verse rhythm either. The literature on the subject is vast as well as complicated, as is eaaily understood in view of the extreme complexity of the testiaoniea. 3 See KOSTER ( 1962) 82-5, who gives a survey of the discussion on the subject; also HAENDEL (1963) 76 n. 21; 342-4; ROSSI (1963); IRIGOIN(1965); KORZENIEWSKI(1968) 40-4. argue that the differences DEVINE & STEPHENS (1976) convincingly between the phonological shape of long syllables in marked- and nonnaturally marked verse-positions as observed by IRIGOIN 11 (result) and predictably from the interaction of the metrical structure of the hexameter with one type of Greek ('l'hucydidean Greek)." (163); cp. also (1984) 23. Consequently, these durational differences are not to be considered as having independent rhythmical significance. 2.1.

In practically

or 3.6 dactyls In Callimachua, the

average

meters,

41

all

authors

studied,

per verae (see Table Apollonius

number of

the average

and

dactyls

there

is

an average

of 3.7

I below).

the epic

hexameters

1a somewhat higher;

is as high as 4.25 dactyls

of

Theocritus

in Nonnus'

41

hexa-

per verse.

The large amount of dactylic realizations in Nonnus' verse 1a only one aspect of a general tendency towards rhythmical uniformity it 1a produced e.g. by the use of archaic, (see 2.4.3.1.2. below); sugnon-contracted forms: see KEYDELL(1959) 431\ff •• Thie situation gests that a large proportion of dactyls is obtained only with some effort; cp. the comparatively high incidence of epondees in verse with a non-poetical subject matter: see below. The (only relatively) high percentage of dactyls in Callimachus, Apolloniue and the epic hexameters of 'nleocritue reflects a comparatively large proportion

THEDACTYLIC HEXAMETER

31

of verses with one spondaic realization and a s11111llproportion of verses with three spondees rather than a particularly large proportion of verses without a apondee: see 2.2. with Table II, p.36 below. The hexameters ably

of Archestratua,

low average

on the other

number of dactyls

(3.06

It is true that the terminology of ably be expected to adapt itself to very smooth manner. Nevertheless, the percentage of apondees appears to be large number of correptions.

hand,

show a remark-

per verse).

a Hedypll4getica cannot reasonany rhythmical subtleties in a occurrence of an even higher avoided by means of a notably

All a matter of fact, in poetry dealing with 'technical• (or, 'cognitive') subjects it is obviously more difficult to keep the number of spondees within certain rhythmical limits 41 , as may be increase of verses with two sponconcluded e.g. from the remarkable dees in Parmenides. In the light of this, Empedocles' conformity to the rhythmical practice of the Homeric hexameter is remarkable indeed (see e.g. 2.4.3.2.2. below).

• In all

tables

a precision

below,

the

percentages

of two decimal

and ratio's

are

expressed

to

places.

e N.B. The quantifications dactylic the

and

several

presented

spondaic

cles,

1899,

Archestratus

as

regards

tends

to

increase

adopted

here

(as

well

the

subject:

1900).

questions the

as being

the

and

distribution

their based

of

textual of

are

the

most

most generally

used

see JONES & GRAY(1972)

189f.).

over by

Eapedo-

from JAECKEL (1902).

criticism.

diphtongs.

of

upon studies

presuppose

of dactyls

proportion

Parmenides,

for

derived

phenomena

proportion they

the

primarily are

interpretation because

concerning

The figures

of rhythmical

tions

bisyllabic

are

and Theocritus

Quantifications

of

realizations

verse-positions

LA ROCHE (1898,

below

i.a. His

particular

LA ROCHE's work by his data

comprehensive in recent

op-

practice have

been

available

literature

on

RHYTHM ANDMETRE

32 Other quantifications

available

DROBISCH(1873)

(comprising

are:

a

comparison

of

Greek and

Latin

hexameters) LUDWICH 11(1885) 301-46 O'NEILL (1942) 159; also

CUNNINGHAM (1977)

(hexameters

istic

of the

'fragmentary

Hellen-

poets')

SCHAMP(1981) (Orphic hexameters).

TABLEI MEANFREQUENCY OF DACTYLS ANDSPONDEES dactyls per verse

spondees per verse•

ratio da: sp•

sample size

Hom.//. Od. Hes. Hom. Hymns

3.72 3.68 3.64 3.69•

1.28 1.32 1.36 l.25•

2.9 2.8 2.68 2.94

15693 12110 2331 2328

Parm. Emp.

3.6 3.75

1.4 1.25

2.57 2.99

148 405

Archestr.

3.06

1.94

1.57

307

Arat.

3.67 3.85 3.91 3.62 3.79

1.33 1.15 1.09 1.38 1.21

2.77 3.34 3.59 2.63 3.12

5836 936 876 l058

4.25

0.75

5.69

2774

Apoll. Call. Theocr. buc.

ep. Nonn.

* The

sixth metron, which is invariably has been excluded from these figures.

* The average number of dactyls/apondees Hymns does not total five as a result figures

include

some incomplete

realized

1154

by two syllables,

per verse in the Homeric of the fact that LA ROCHE's hexameters.

TilE DACTYLICHEXAMETER

33

2.2.

Of course,

the average number of

not

by itself

provide

to

be observed

verses.

It

thors the

the

appears

studied

relevant

in in

metra

infol'llllltion

about

distribution

of

however 70% of

are

3.7/3.6

that

the

in

verses

realized

dactyls

the

measure

dactyls

the

over

case

either

of

verse

(see

regularity

the

individual

two of

Table

does

of

virtually

one or

by a spondee

per

11).

all

au-

the

five

Only in

hexameters of Nonnus - who see11& to be the only one actually

keep

the

occurrence

of spondees

as low as possible

to

- the percentage

is somewhat lower. More specifically, roughly 40-50% of the hexameters have one metron with a spondaic realization (Archestratus excepted, who has 31.6% of verses with one spondee), while + 25-35% of the hexameters have two spondees. 41 Verses with two spondees are frequent especially in Parmenides (37 .84%: see 2.4.2) and in Archestratus (38. 76%) - in whose hexameters the total percentage of spondees is notably higher. Of Nonnus' hexameters, only 13.27% show two spondaic realizations; of the other authors with a high average number of dactyls per verse (see 2.1) only Callimachus has a rather low percentage of verses with two spondees (24.15%) - but a particularly high incidence of verses with one spondee (50%). In 1110st of the authors have

three

spondees

(none

Callimachus

and

Apollonius

verses

four

spondees

with

discussed,

As was to be expected spondees in his verse, percentage both of verses and 2.28% respectively.

at

all

between in

respectively), does not exceed

5 and 10% of the verses

Nonnus;

3.53% and

while

the

4.52% in

proportion

one percent.

proportion of in view of the large general Archestratus has an exceptionally high with three and with four spondees: 22.8%

E.g. (3 spondees): Archestr.

fp(nlJt'w.ra:nd.

IV.4 ~WCI.~~

1s A£UNbc ~c, V. l -3

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of

RHYTHM ANDMETRE

34 (4 spondees):

X£L\OI, 'HPI.\NL"tTIV,ol 6' ctuo1. x6\16p1,vov~

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XIX.2 --tCN~ Tliv1xalY y6yy()ltN ~TEL

XXI1.1

XXIII .15

IWX'hv 'KtxtllVmL 8vrrtav

XLV.6 6:U.' OUf. ~ y~ Only among the the metra

Homeric

~v

XXIII.221

Od.

xv. 334 oli:ou l«1l ~ 6'

XXII .19 2 In

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tv

CJEL~

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realization

are 10

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in which all

:

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Il.

XXI.15

to,v 't' 6rr6rw,,cto1.

'Ntx't1'1VltU 6.M)i.qt,\,

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have a bisyllabic

£

TtE+>

~'tTIV

17-20% of

the

( 'holodactylic' of the final

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have

verses metron

only

dactyls

in

the

inasmuch

as

the

is not optional).

lbe percentage is somewhat lower in Parmenides (14.19%) and in the bucolic poetry of lbeocritus (13.93%); they are especially frequent in Nonnus (38.5%) and, to a leHer degree, in Callimachus (:!: 22%) as well. and Apollonius For example: Hom. Il.

XIII.2

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nlE DACTYLIC HEXAMETER ea11. II.4/5

35

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tix.w

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36

RHYTIIM AND METRE

TABLE II

THE NUMBER OF SPONDEES PER VERSE* 0 sp.

1 sp.

2 spp.

19.19% 18.62% 17.29% 19.97%

42.57% 40.61% 40.58% 41.71%

29.7 % 31.87% 32 % 28.48%

7.95% 8.35% 9.22% 8.03%

14.19% 17.53%

39.86% 47.65%

37.84% 26.67%

8.11% 8.15%

4.56%

31.6 %

38.76%

Arat. Apoll. Call. Theocr. buc. ep.

18.02% 21.98% 22.33% 13.93% 19.19%

40.29% 45.65% 50 % 43.95% 46.31%

33.1 % 27.72% 24.15% 33.1 % 29.02%

Noon.

38.5 %

48.23%

13.27%

Hom.//. Od.

Hes. Hom. Hymns

Parm. Emp.

Archestr.

of verses

*•occurrence percentage

2. 3.

of the sum total

Some of

the

spondees

occur second ency

in

beginning shows

put

the

metron that

together

beginning - such

of the

machua occur

(the the

from

0.23% 0.38%

spondees

verse,

the

percentage

(See

verse-final

expressed

metric of

in Nonnua; metron).

51

show a

Table

metron

i.e.

with

sequence.

in the second

0.01/ 0.03%

hexameter

others.

in accordance

spondees

0.58% 0.51% 0.9% 0.64%

0.52% 0.12%

4.52% 3.53% 8.79% 5.1%

dactylic

than

a rhythmical

highest

5 spp.

2.28%

8.06%

O, 1, 2, etc.

the

of

divergences

the

52.16% of

of

metra

22.8%

4 spp.

in a

of verses.

more frequently

realization all

with

3 spp.

in

first

the general

or occur

metron

realizations

44.47% of the

spondees

Of

50-70%

rhythmical

norm preferably

spondaic

below.)

excepted),

the

The second

Ill

spondaic

in

the

tendat

the

invariably (as

many as in Calli-

TilE DACTYLICHEXAMETER

37

Theocritus' hexameters have a comparatively high percentage of spondaic realizations of the first metron, both in his bucolic and in his epic poetry. In Nonnus, there is a relatively low occurrence of apondees in the first metron, more than half of the - comparatively small - total number of spondees being found in the second metron. Parmenides comparatively favours a dactylic realization of the first metron: see 2.4.3.2.2. below. In than

all

the

20% of

lenistic

authors

the

spondees

hexameters

a smaller

Table

meters

of

ron

the

in

quency

"bucolic

riore

strongly

Table

VIII, In

third

hexameters

of

the in

Nonnus,

of

this

see 3.2.3.

earlier

Hel-

in the

is

hexameter

the

(under

epic

hexa-

fourth

met-

with

following

syllable

rhythmical

Empedocles, the

the the

avoided

poetry

frefourth

somewhat

(see

3.3.

and

and

apondees

Callimachus is the

occur

and

somewhat frequency

in

in the

lower.

the epic

(For

the

of a 'trochaic'

74 below.) where

over

the

first

is

not

easily

above),

the

percentage

phenomenon

seep.

subtlety 2.1.

12-19% of

verse,

spondees

(cp.

long

In

the

connected

word-end

more

position

of

of spondees

poets,

& Theocritua)

in this

exception

i.e.,

authors,

In Archestratus'

ial

in

of Theocritus

interrelation

of

occur

obviously

is

metron.

Callimachus,

notable

a preceding

than

Hellenistic

p. 86 below).

metron;

tion

fourth

the

decrease

poets

case

even

most

caesura,

the

dihaeresis",

in which

in

spondees

This

Hellenistic

the

Apollonius,

the

with

Theocritus.

of

metron,

of

III),

except

occur

(Aratus,

percentage

18%: see

studied

22.45%

the

exceptionally

four

metra

the

in this

spondees

distribu-

to indicate

seems

achieved

of

even

that

technical

occur

in

materthe

third

metron. The fifth

metron

tions:

the

verse')

is

to have

avoided

meters high

phenomenon especially

occurrence

of

characteristic

of 52

(called rare

this

of Theocritus

qualification.

shows the lowest

The highest

with

the

of spondaic

spond1acus'

poetry percentage

in

cannot is

'spondaic appears

and in the bucolic

common opinion

a spondee

or

realiza-

(who accordingly

phenomenon)

- so that Hellenistic

'versus

in Archestratus

particular verses

percentage

the

hexa-

that

a relatively

fifth

metron

be maintained

found in Aratus

is

a

without (10.83%).

53

38

RHYTHMAND METRE

Some examples of spondaic verses

from the Iliad

are:

(one spondee):

' tb.~

~lCj,N

(four

XXIV.49 'tN'IUN 281 "tWlJi;v

~

yap >t>t~1.

~

c~

tv

~'Co1,

8tcnv

~l.OLV

&:ux,1.v ~to1.

below).

THE DACTYLICHEXAMETER (four

consecutive IX.137

39

spondees):

vfp t'U.1.cXPUCC0 kal

xcwco0~

oo6' &t-£ 4>ol v1.M01;~ XVII.670 \IOv TLC tvndl'lC Ila;~

XIV. 321

In

the

great

tetrasyllabic. lable

6&1.~to

XXIII.65,

105).

lOff ••

majority 14

279)

'tTlA£)CA£ 1.1:o'Co

(cp. See LA ROCHE(1898)

(cp.

of

these

instance&

As LA ROCHE suggests,

words decreases

when there

the

the

verse-final

proportion

word 1s

of four-syl-

are more than two consecutive

spon-

dees. See e.g. (1898) 62: of the verse-type dssds(s) 83.33% ends with a four-ayllable word; in the verse-type sddss(s) the corresponding percentage is 43.33%. 1s of course easily accounted for by the rhythmical Thie situation tendency of realizing a 'bucolic' clauaula: see 4.2.3. below.

More specifically it may be noted that the preference for 1----,1 1--·=Ucannot be advanced to make it plausible that "there must be a prosodic difference between the initial syllable of the one of the other." (DEVINE & STEPHENS word shape and the medial syllable (1982) 41; (1984) 51). This phenomenon is adequately accounted for by the rhythmical preference for a clausular return to the falling double-short rhythm of the hexameter, on the underatandin~ that there 18 either a return to a ('basically') falling movement (1----,1) or a return to a double-short movement (luu-41) or I preferably, both {1-uu-~fl}. (See alao 3.3. and 4.2.3. below.) over

40

RHYTHM ANDMETRE TABLElll DISTRIBUTION OF SPONDEES OVERTHE SEVERAL METRA*

1st

2nd

3rd

4th

Hom. Hes. Hom. Hymns

29.79% 28.58% 28.27%

31.6 % 31.99% 30.74%

12 % 13.06% 14.19%

22.78% 21.18% 20.87%

3.82%• 5.18%• 5.93%

Parm. Emp.

21.16% 29.33%

32.37% 37.2 %

18.84% 6.89%

24.64% 21.06%

2.9 % 5.51%

Arcbestr.

24.29%

26.63%

22.45%

26.47%

0.71%

28.57%

15.33% 13.45% 7.74% 17.18% 8.11%

14.42% 15 % 17.73% 11.45% 20.5 %

10.83%• 7.57% 6.27%• 0.92% 5.61%

5th

Arat. Apoll. Call. Theocr. buc. t!p.

23.8 % 34.11% 32.66%

30.85% 37.71% 44.47% 36.35% 33.13%

Nonn.

20.36%

52.16%

5.02%

22.46%

-

average

27.26%

35.43%

12.85%

19.88%

4.6 %

* Percentage

* In

26.26%

of the spondees.

these cases, the total number of spondees on which these percentages are based is somewhat different from the figures presented in Table II. JAECKEL, who notices some of the irregularities apparent in LA ROCHE's figures (but disregards others), adds to the chaotic state of affairs by adding various miscounts (and/ or misprints) of his own.

THE DACTYLICHEXAMETER 2.4.

In virtue

dactylic

of the

hexameter

41

bisyllabic

nature

of the

final

may take any one of 32 different

metron,

shapes

the

('verse-

types'). From the sixties of the present century onwards the study of verse-types has derived fresh impulses from the rapid development of calculating systems and of statistical methods. Research on the subject - which chiefly concerns the Latin hexameter - serves, purposes. roughly speaking, two distinct In the first place, the production of programmes of automatic scansion is thought to be helpful for the editing and correction of according to the metrical texts (based upon a reduction of decisions number of syllables occurring in each verse). In the second place, the possibility of comparing rhythmical characteristics of different texts statistically and in a more or less objective manner may help to settle questions of authorship and chronology where other methods fail. Profit may be gained from the statistical coordination of rhythmical and (other) stylistic properties of the verse of the several authors, which may help to avoid impressionism. (Compare JONES & GRAY(1972) 188 & note 8.) In the present study no independent research of this nature has been undertaken. The following studies refer to automatic scansion and/or the relative frequency of verse-types of the Greek hexameter especially: DYER (1967); JONES (1968); JONES & GRAY (1972); JONES (1966); EVRARD( 1972). Some studies of more general interest may also be referred to: OTT (1973) - with which compare EVRARD-GILLES(1975) -; THRAEDE (1978), with bibliography; GROTJAHN(1979), id.; (1981); CANCIKe.a. (1979). As the interpretation dactylic

present of

hexaMeter,

in the first

study

is

concerned

thf" principal

with the recognition

rhythr.-ical

the most current

characteristics

verse-types

not ~ore than one of the Metra is realized the pl11ce of the spondees in verse-types the !'letra are realized

(2.4.3)

the

relative

the several • The figures

of the

be considered

place.

we will presently discuss Accordingly, (2.4.1) the place of the spondee in verse-types

(2.4.2)

will

and the

frequency authors

in which one anct by a spondee; in which two of

by a spondee; of the

most common verse-types

studied.

have been derived

from JAECKEL(1902) Tabula VI.

in

42

RHYTHMAND METk.E

2.4.1.

In the authors

types

in

apondee one

which

one

outnumber

of

the

studied of

those

(Archestratus

the in

metra has a spondaic

the five

me,ra has been

relevant which

excepted)

not

a single

verse-

as a

realized

metron,

or more than

realization.

(See Table

distribution

of

II,

col.2,

P• 36 above.)

2.4.1.1. the

In

several

metra

verse-types metron

accordance the

occurs

in

one

with

the

general in

which

(see

Table

Ill),

the

apondee

is

the

apondees

of the aituated

five

over

possible

in the

aecond

moat frequently: --vu---uu-uu-vu-~I.

(See Table IV, P• 46 below).

Strictly speaking, this 1a not the case in Archestratus (8.15% of his verses have a single spondee which is situated in the second metron, as against 8.79% with a single spondee which is situated in the first metron). In Nonnus and in Callimachus, whose hexameters show the largest proportion of verses with a single spondee, the verse-type with the spondee in the second metron is particularly frequent. (In Nonnus and Callimachus respectively, 22.9% and 27.8% of the sum total of verses is of this type, whereas the other verae-typea with a single make· up 25.4% and 22.3% of the verses spondee all put together respectively.)

E.g. Hom. Il.

m.t'&:l 6' t).iot AUCQ.t.T£q>().nv,

1.20 26 33

l.FI0£, Y~, lCOLA~PLV tyW ~ 6'D:t', ll>E:1.0EV6' b y~

ta 6'

1QX1

4:rtoi.va.c5tx~1,

""1UC7l 'KI.XELW

Hat btEC&t'O 1Jib.>

Hom.Hymn.111.3/4

wa.Ct,a. t"' m.a.fc:xnx,1.v tnt ax.£6bv~1.0 rdvu:r; &i>' ~, &tt qnC61.1,11 t"6fp. nmlw1.. Hes. Th- 15/6 fl6t nax1.6&.MJ.n1.nox.ov twcolya.1.ov wat etiu.v a.t6olriv tA1.~ t"' •"'A:)06C t'1lV Parm. 2. 7 oO't£loP dv yvolnr; 't'6 YE ui'\ tbv (oo loP dvoo'tav) twuxlour;

Emp. 6 2. 2

MPLv6µ£vov

nf¥>

~

'tUt01.xeovbc; tfavtt"&Uov o0T' t:vordtvol6v t"' tn1.xt:P1.ovdvS(xk,1, yutov

8

Arat.

utv

~er;

4

Archestr.

~ ~ya.y£

VIIl.4

645/6

~

T1.&Lr; ro1.6v6£ 6u\~,:oc;

TTA£0V£'Kt'£LC

611wa.l qao1, Ttf+X11,68E::v tpx01Jtvo1.o &lcq:Jnlou•Qpl«»cbvtca:-ca.1. c!t\.yoc;"F4:Xa>'t1. 123 & Inv Riv, £[T' bx'Jt >«l't 1 4,txJ. ).mcp&.!UJHQUIJ 7 4 noUa.l

TE

148 t'.t&:tav, Ttn1.yoc; tn:£t nmi qioi-£POV 46£1.c 152 a., µii o,up,:aaf\n:, µii b TJnYO(; °'411.v &vcx,tfJ As a matter a particularly

of fact there is in the bucolic hexameters of Theocritus high incidence of those verse-types in which the two spondees are consecutive:

«11.~

6' oob

48

RHYTIIM AND METRE

In the hexameter•

of Parmenidea and Archeatratus

types with tvo spondeea the type in which dactyl

of the verse-

and spondee alter-

nate occurs most frequently: -vu---uu- - -vv--11. Parm. 1.4 tji ~tji Y4>l.1£ ~L (f/:pov tmoL 9 • m_1.~ ~L, npo,\LTICCicnL ~ NuK"C6,; 32 ~ 6oH.C~ E['VCJ.L61.0.1'llVroCTDV'IXl ~ 2.3 fa utv &IAlC;lDTLV n: IGJ. ~ CO( lDTL ufl Et'VCJ.L 8.16 lDTLv 1\ cue.lDTLv· kbcpLta.L 6' chv, iix:Jn£p c1\dyxri Archestr.

-rov6' de

~,nv.

IV.15

6:fc,plJv ~" ~

VIII• 7 >al 'tO rdx.o{; ~. X.2

~

-cfi-,uvov ~tcnv

XII.4 E[&' ~ 61tc~ XIII.5/6 tivlx' 4v Eli~

6' o[l,ICU. tu,1.A.£UE L

olCOJCXIV drio.lP£1. >dv

~C,

wal

&,tov

fi 6cNdnri~

~ nivta ~,

>CPCecwov tc ~ ~ cu:1. ta >a'tOTIO. This is also

the case in Nonnus' hexameters,

where two consecut-

ive spondeea occur only in the second and third metron - perhaps because the rhythmical boundary of the penthemimeral caesura would seem to diminish

Nonn. II.14

the effect

yN:11.JHbv 6x~LOLV

06c.p

~

33 nl~

51

of 'consecutiveness'.

tpf:"LlJ0tt

A£001.V£V

b.uu:r.lvavt0

~t

38 YElTCM:C ~ ~ ~l6£c

6x{nL

73/4 >al OM0n'£;\o1.~tn:rovm· ~(OLC

6t t>&t~1.~ ~

1'£P6eE:v 1tCTCtOVt'Et tv~o 2.4.3.

The data put forward above add up to the overall

sented

in Table VI (pp.

quency of the several the ten verse-types studied 2.4.3.1.

and their

which shows (1)

56/7),

verse-types

occurring divergence

picture

the order

pre-

of fre-

in Homer (down to 0.3%), and (2)

moat frequently

in some of the authors

from the Homeric order.

In the Homeric hexameter

of all

verse-types

the one with a

Of the dactyl in all five relevant metra occurs moat frequently. other poets, this is not the case only in Empedocles, Archeatratus,

a " a.... >

TABLEV

~

VERSE-TYPES WITHTWOSPONDEES*

n

~ ssddd(s) dsdsd(s) sddsd(s) dssdd(s) sdsdd(s) ddssd(s) sddds(s) dsdds(s) dddss(s) Hom. Hes. Hom. Hymns

8.1 % 9.1 % 6.3 %

Parm. Emp.

6.1 % 9.37%

Archestr.

5.87%

Arat. Apoll. Call. Theocr. buc. ep.

8 % 7.7 % 6.8 % 13.2 % 7 %

-

Nonn.

• percentage

of

6.2 % 5.4 % 5.6 %

3.3 % 2.8 % 4.1 %

2.8 % 2.9 % 2.4 %

1.3 % 1.7 % 1.4 %

0.9 % 1.04% 1.05%

0.8 % 1.26% 1.3 %

0.4 % 0.5 % 0.5 %

6.1 % 3.4 %

8.1 % 1.7 %

3.4 % 12 %

2 % 0.72%

-

1.35% 0.91%

0.7 %

1.2 %

9.12%

7.82%

6.51%

4.23%

4.89%

-

0.32%

4.3 5.5 6.1 3.7 7.3

3.9 2.9 3.9 3.6 5.9

% % % o/o %

5 % . 4.1 % 2.7 % 7% 1.8 %

3.6 2.9 1.2 4.8 2.9

0.8 0.3 0.1 3.5 0.2

3% 1.33%

3.1 % 2.26% 1.6 % 0.22% 1.3 %

3.5 o/o

0.4 o/o

0.5 %

6.4 % 6.9 % 5.7 % 10.1% 7.4%

% % % % %

8.8 %

the sum total

of verses

that

% o/o % % %

constitute

% % % % %

1%

0.11% 1.8 %

the different

ddsds(s) 0.25% 0.59% 0.2 %

-

0.6 %

0.43% 0.02%

-

0.7 % 0.69% 0.65%

0.3 %

0.22%

&

~

tlj ::ii,

samples studied.

.po \0

RHYTHM ANDMETRE

50 Callimachus

and in

stratus

there

is

other

poets

with

a single

the

the

show a

order

of Theocritus.

preference

of for

Only in Arche-

dactyls

one

in general;

particular

the

verse-type

realization.

of frequency

with

with

poetry

a low percentage

spondaic

types

types

bucolic

also

just

As the

of

the

of the several

two spondees

a single

occur

verse-types

shows,

more frequently

than

some

some of

spondee.

(In Archestratus, there are as many as two spondees in the versetype which most frequently occurs: dsdsds; see Table VI below.) 2.4.3.1.1. third

In

the

metron

either dee

the

occur

first

in two of

was indicated with of

the the

one

less

of

of the

metra

occurs

tendency

preference

for

a caesura

(see

3. 2.3., to

p.

realize

symmetrical

shape:

see

a spondee

in

often

than

the

type

the

a spondee

in

or with a spon-

2.4.1.1.-3.

above).

1s obviously

after

also

it

short

precludes colon.

(In

disfavoured

2.4.1.4. first,

with

first

second

apparently

As

connected

the

since

rising

the

in

above). second

on Like-

and fourth

two spondees

of

which

metron.

when there in

any

metron

see

a is

with

with

74 below),

dds,dds

in the third

than

which

verse-type

more

occur

(for

fourth

this

Furthermore, spondees

the

(2.4.1.4),

verse-type

one occurs

or

a spondee

verses

above

its

wise,

than

with

positions

the

account

second

possibilities

addition,

verses

these

metron

the

hexameter frequently

or the

rhythmical third

quently

Homeric

is

first

in the fourth:

a spondee and/or

so,

in

in the the

third

second

metron,

metron

other

more fre-

e.g.

-uu---l--uu-uu--11 and ( ll) ---uu-1--uu-uu--H occur -uu-uu-!-- - -uu--il: ( lO)

more frequently

than

likewise,

(12.5)-----J--uu-uu--ll

E6Ttl'ix -a+>

61

'11IE DACTYLIC HEXAMETER

See CHANTRAINE ( 3 1958) 116ff.

2.5.2.1.

If a word does not fit

into the metric

profile

of the hexa-

meter at all, poets may choose a different word-form or adapt a particular word to suit the demands of dactylic poetry. is sometimes adopted

Such a procedure which have a limited For a recent with

applicability:

reference

extensive

to

in the case of words

see SCOTT(1909).

somewhat chaotic)

(if

also

the

survey

of

literature

these

on the

phenomena,

subject,

see

CRESPO(1977) - but compare FUEHRER(1978); see also WYATT (1969). 2.5.2.1.1.

In order

may opt

for

that

a word can be used in dactylic

a different

manner of scansion

or for

different word-form; for instance - with synizesis, the use of ttUX.8.IJV, ~ V

v-

_,,_,,._,

VV-

See MEISTER (1921) (1968). In the case of other

-

148ff.;

-

aar,1.Af'\Ocinstead

CHANTRAINE ( 3 1958) 68ff.;

words a suitable

-

,_,

- TT0AEUL~instead

of

-

RUIJGH

form seems to have been coined in either

the same or

,.,.._

of ~-

See THOUVENIN (1905); 2.5.2.1.2.

...~;..,

as a

w-

of ·Ax1.>.tc.lc;.

(often in analogy with a word-form occurring paradigm) e.g. a different V

functioning

W._,V

8ao1.>.tc.lc;;·Ax1.>.fiocinstead

V

one

a prosodically

V

bisyllable; contrast the trisyllabic ~, - with "metathesis quant1tat1s", the use of

poetry

SHIPP (1953) 104ff.;

CHANTRAINE ( 3 1958) 94ff.

Sometimes a word only conforms with

owing to a lengthening

or shortening

the metric

profile

. (c. q. absence of lengthening)

of the vowel involved: vowel lengthening:

mdla~,

-

6.novtooeru.; la,;l n,

See WITTE (1915); 97ff.;

>OKOEPYi:nv.

MEISTER (1921) 34ff.

WYAn' (1969); RUIJGH (1971);

STRA(1978).

11

3

CHANTRAINE ( 1958)

MCLENNAN (1978);

ll>EK-

62

RHYTHM ANDMETRE shortening: boundary

correptio epica: ~ov; ... ~ bi££; aee SJ6LUND (1938);

oaiaaion of lengthening ... V#ZOKUv8oc.

Finally,

2.5.3.

with regard

the verae at the linguistic

to the metric

profile,

Such

concern,

the verae

lable

occupying a verae-poaition

abort

syllable

uy

11.

ahow 'defects' an explana-

above.

sub 2.5.2.1.2.

for

sequence"

level

which aeem to require

from thoae indicated

defects

WEST (1982)

VIE~

by position:

tion different

within

or, at a word-

e.g.,

17 :

example,

the occurrence

of hiatus

or of either

a (word-final)

long syl-

which would be properly

or a (word-final)

position

where one would expect

question

aa such would easily

short

syllable

occupying a verae-

a long syllable fit

taken by a

- while the word in

in with the profile

of the hexa-

meter. Such defects

seem to be connected

with the formulaic

of the epic diction especially; that ia to aay either (a) an epic formula ia not sufficiently integrated into lar

(rhythmical)

context

in which it

which enda in -VCI is followed requires

a long syllable:

e.g.

XIII.587

Il.

(cp. V.99 Od.

~xoe

(cp. 11.261 VI.294

e.g.,

a formula

by IV whereas the metric

profile

.......... 'YUJ)Dv, mtb 6' btto:to m.~

.........

X£L~ X£L~

\11.~, \11.~

X.182 X£t'Pl(; Qd.

the particu-

6i.:~

frnu-ro TU.~ 6.LO't~) • 68-' tnl ~ fjv 6.\ltl,101.0

'YUJ)Dv" 6u\ 6'

~'KoC

XII .336

occurs;

character

1,0.XJOV

£UX£T

TIXM.1.nc ~,

vuldi.1£VOI.

T£1J)(OVT

.........

1

1

'Aal'tV{l

&I.ha.) •

~1.w.uota

&Tt>'l't"t6Au:,c &icov T£ ytyCJNE ~.

u

(cp. IX.473 6.U' 6T£ 1,6:xx,v 611:f\v 6::icov T£ yl;yt,JVE ~); or (b)

a formula

tion)

is

(e.g.

by means of declension

in a manner which makes it

the underlying e.g.

modified

Il.

metric

XVUI.288

(cp. Od.

prof1le

70

deviate

or conjuga-

from the quantity

:

.........

rrclv 1Jtv "10P[t)I.Ol,DI.O rro>.1.v~

I.250 ,Q 6' 1'ia) 6oo XI.402 ~ Tt£PI.~

Y£VEXJ.l~ ...utv ., -

(cp. XXIV.112 6oOcTt£PI.~

fr5'

ot6'v

Ip'

of

~ ..

~)

•

11WEX1 MOM oU',v

TU:a.lGNi).

63

THE DACTYLICHEXAMETER

See PARRY(1928)

• (1971)

197ff.;

HOEKSTRA(1965).

For the Homeric Hymns: JANICO(1982)

33-5;

EDWARDS(1971)

90-3.

2.6.

Theories,

current

from antiquity

types

of

particular

shape

("ethos")

a are

realization posed of

neceBSarily

of the

to

produce

rhythmical

the

several a certain

impreHioniam

for

onwards,

have

a

speculative. metra

wh~ch hold

Only

stylistic

versevalue

occasionally

or spondeea not

that

emotional

very

effect; does

HOEKSTRA(1957)

specific

by dactyls

however

Hesiod:

in

the

may be sup-

general

disengage

this itself

kind from

realm of mere hypothesis. For

the

hexameter

various in

theories

antiquity,

concerning see

the

£

C6r\ of the dactylic

RAUSCHER (1886);

GROSSMANN(1887);

VOLTZ (1893). As SCOTT (1914/5) points out "Homer was just as willing to picture a lively scene with spondees as with dactyls, and a solemn one with dactyls as freely as with spondees" (330). SCOTT cites, as an example of the supposed rapidity of both action and i .a., rhythm Il.

VI.511

~llllD, t yoO\.a. qipe:1. \,1£"CQT'

~

klCll~ tT'O'l,.1y,

whereas in Od. XII.12

~ ~I.,

~ ~ ~

xtovtt:~

the dactylic rhythm proves to be compatible with the description of great solemnity. 71 Anyway it should be realized that in view of the co11aon occurrence of holodactylic verses it is not very plausible a to each priori that a significant emotional value ahould be attached of them. On the other hand, one may confront the particular verse comonly cited as an example of the solemn tone of the spondee: Il.

XXIII.221

Od.

XV.334

\WXflv'KL~ OL'tOU

Ih~

&1.~to

with,

e.g.,

>Gt 'HPEi:aat:tv Tt£1.d,."> Mat -coO-rov, hatpe:. '1XJlrm.6t UIOm ~ ~ Hal rri:,bc ot., !Uta.l.\lE. 940/1 f\ 61.0UU11 fCi&DE 61.c.\ut'YtlV~ [p1.c·

Arat.

f\ 'HCI.L TTOU nc Apoll.

~

UEhl.1.~

fx.£1.&:m'v.,.

III.531-3

rota1. Mat 6:Mai.dro1.oTQX)C;'IJELALCXJE't'6u'tl.lW, 'HCl.l ~ tanp1, V &iai:> X£Aa6E: L\Q. ~, OO'tP1-r£ 'HCl.l~vr,c t~ ~ x~. Nonn. V.619-21

fkt.Tt£, ¼oC 6' <£LTt£f.lM,ITlC 1 Ml00c t>tlkv ~, eti.i.1.vQJUYE,kd.U..t.Tt£ An~, ~ 6' de CJut\o.1.ovtaf>.y£ro ~lnc. •~

3.1.1.

6'

The situation -

metric

phrase

realizing

O[l'ot YE I; 287 6.vt£o. 6 1 a.L£1.I ; 306 M nC1l.lii:N I ; 222 olx:il. "COL aa"J-cb; 231 tix' nEP 4,qxaA, I . 260 ~ u.iA.' ~ I ; 288 o0n: )(£\I tiot I ; 294 6Ua >C0.1. ~ ( ; 298 ot 6 1 fn n6::x:x.i> I ; 328 ~ l«l"t' at.rttav I ; 329 Ii 61. ot ~ I ; 330 0c tx,. l,IU.t.ata I ; 336 ot 6t 6'i 6Uo1. I ; 339 ~ &t' a.t£L I ; 344 o'fa >at aCJtat I ; 371 ot6. 't£ no.\M I ; etc.

6l'i'; 51 ;

70

RHYTHM ANDMETRE

ea11. HIJlln. 1.16 ~ X& 't0c01.o I ; 37 ~ w x&OIA I · 44 f\ie&v t>u:tw 10 a() au YE vrPN n.36 ro101:E 4>ol~ \, 45 b. 6t vu 4>oltk-.1~ ; 50 a()6t 'K£V a(y&(; I ; 51 6cn,v •AITti>J.liN ' ; 52 066' ~'t~ I ; 91 1'x1.'>.tovm.I ; 95 o66t utv al':rrol ; 103 £006 OE ~'tl'v:> 108 ~ m no.Ua.I ; III.22 6,l JJ£ )t)'Cl:xM,I ; 31 &x,• t~ I ; 38 JGl. ul:v dvu&.at,I ; 39 ~ b JJtv £(TUI I ; etc. etc •• rbythaical, preference would appear to be If this, eaaentially strong enough, it uy, at least partly, account on the one band for the proportional increase of verses with a strong enjambement and on the other band for the proportional decrease of veraes in which a weak fora of enjambe•nt or none at all occurs. The connection in the Sophoclean triaeter between a strong enjambe•nt and the treatment of the clausula described in Chapter Ill sub 3. below would provide a parallel to this practice. This in itself might be considered as one more argument for not preHing the point of the presence or absence of fonmlae; alternatively, this form kind of enjambement may be connected with a 110re 'accomplished' of (non-oral) verse-composition.

I;

I;

I;

3. 2. The dactylic phrases

(cola),

perceived

hexameter presumably

by a single

because

it

into

is

two rhythmical

sub-

too long a sequence

to be

act of attention.

The colon-boundary before

structured

is

(caesura)

occurs at one of two positions

just

the middle of the verse: -uu,-uu,-:u!u,-uu,-vu,,uu)II,

so that

the cola are characterized

(1) the second colon is slightly

by three longer

(interrelated)

features:•

than the first;

(2) the colon-boundary does not coincide with a metron-boundary; (3) the second colon of the falling rhythmical sequence begins rising

manner.

Considering the

verse

the length is

ceptually

optimal the

the hexameter

of the hexameter

structured

with the conception of fact

in a

into

more than

extent

tendencies

(see

Ch. I

observed

as consisting

sub

incompatible

sub-phrase above).

that

of a perAs

a matter

to a theory

of

of more than two cola can be satisfact-

for

by the

preferences

turing

described

sub

3. 3.

4. ff.

a

3.2.2.

is

by those who adhere

accounted e.g.,

which holds

two cola

of a colon as a rhythmical

orily

designating,

any theory

&

strong

for

colon-internal

below. Accordingly,

syntactical

boundary

struc-

the habit at

pos.3

of

as a

THE DACTYLICHEXAMETER (secondary) (cp.

caesura

is

not

PP• 8lff.

3.2.4.l.,

71 only

confusing

but

theoretically

unsound

below).

FRAENICEL's theory of the hexameter as (potentially) consisting 3 of four cola (FRAENKEL (1926; 1968), which has been modified by PORTER (1951) and ROSSI (1965), has been rejected by DALE (1957) 302, KIRK (1966) 76-104 (eliciting a reappraisal from INGALLS (1970)), and BEEKES (1972). 3.2.1.

At

the

boundary

-

various

rhythmic

which,

degrees

strictly

of

hearer, it

realize E.g.,

strength

the

a heavier an expected

with

occurring (ranging

expectancy

fulfilled

a stronger

is

there

is

that

caesura

is

a full

or

from

syntactical (or stop

of one.

at

full

a

a rhythmical - the

It

is

stop

may to

sequence

syntactical

also

have a

not

see

Ch.

with

the

boundary

unimportant

elsewhere, BEEKES loc.

colon."

the caesura

verse-end,

3.

boundary

po88ible)

by a word-

word-boundary:

by a signal

a weaker

realized

at

Compare BEEK.ES(1972)

is

which

the

potentially-structural

below).

"Essential be

like

speaking

III.3.1.l.

level,

when it

-

whether does

not

cit • •

position:

I ~ G'xi,f::>.E{; a!rto&' 6.\t:oea.1. Od. III.444 ~ 6' 6u,vCov &[x&· I yt;:xiN 6' traa,>am. Nta'mp Hom.Hymn. V.109 oO 't'LC 't'OI. 8£6'; dµ.1. • I 't'L µ.' 6a:x\d.~1.v tfOK£1.{;; Hes. Th. 412 Zd~ 1 Emp. 17 .14 6.U' dy& uu&,v 'NA0&1. • I J.03r1Y6':>'t'OI. q:ptwc; a0E£t. • Archestr. xxn.6 q:)1.l,IIJ61.dc 6Eoc;" I >4l'' ~· ro Hat trt£Cyou Arat. 5 TOOY6':>Hat yi:vo{; dµ.tv. I b 6' frnu:,c 6.vep;rco1.01. Apoll. 111.1008/9 ~ c,d.w K'lXXlL\.tlJ\1°I ti 6'~1.obv ~ 6a,\oOoa. V£)(T4:,cov UEC6rioE· I xu8rl6t ot ~1. ~ Hom.Il.

III.428

"~{;

b(

~1.'

...

Theocr. Id.

I 11. l 5 vOv fY\.tlJV,:ov -~ XXIV. 35 c1voi:a8', •~L

Call.

HJIIIIIJ• III

't'Pll,N.

0

I ~ ~. fi tn. MXJ.L~ I tut Y6':>6to{; CoX£L 6KVl'¥)6v"

8/9

toucHat

l'6EaI - m mn+>,cLJOE (W. oo yap RA> i. Lov t>crt4x:nvt'I ro'te:l xe:ov d:rr.c:,vtEXXni. 299 't>Ji'tE, ut-r~, wal. h:>l.ou,a.C k£ 6wTlcnL, ~ 4v XPl"ILUA1J wal. tc 6:nEPOVb1.ov ~0

iii) )G(Q >U+)01LVEL'V.wmaJCtp5m.

to• dn;pLv.

't0V 1.>.tovm 1.A.Etv wal. -a;,rrpcx,1.6vn np:x:,Etw.1., wal. 6ouf;v 6{; X£'V Ei;), wal. l8l 6ouf;v 6{; KE'V l8I Ei;). Cp. PORTER(1951) 30: "It is reasonable to assume, I think, that in the first half of the llorks and Days, where most of the material is presented in highly organuea paragraphs, this processing of traditional material was so thorough that the metrical statistics which we compile from the text represent the poet's own free choice. In the second half, however, where the text reads like a string of proverbs, the traditional element plays such an important role that the statistics of choice of line-type show the influence of the metrical characteristics of earlier folk literature." More specifically, the correspondence of the colon following the penthemimeral caesura with the rhythmical shape of various proverbial expression• (the paroemiac: see KORZENIEWSKI (1968) 90/1) is likely

76

RHYTHM ANDMETRE

to have some influence particularly in certain

3.2.3.1.

In the

case

to be a tendency (which of

is,

at

realizing

remarkably

on the specified

of a penthemimeral

to start the

rhythmic

a rising large

frequency contexts.

the

second

level, of

penthemiaeral

caesura colon

the

colon-beginning),

proportion

of

dactylic

also

caesura

there

appears

in a double-short

most

strongly

manner

marked

as can be deduced realizations

manner

from

of

the

as compared

to

the

third

metron,

-1.1""'0--w-luu... being

favoured

---Ou-u7i-l-- • . . . Within a limited sample of Homeric hexameters - comprising the first 100 verses of Il. Ill, VI and IX each - the following situation can be observed: trochaic caesura 156 • 52% penthem. caesura 138 • 46% with consecutive uu 84 • 60.87% with consecutive - 54 • 39.13% without a caesura 6 • 2%. Compare the figures derived from a sample 150 verses of both Th. and hexameters(• the first trochaic caesura 191 • 63.67% penthem. caesura 105 • 35% with consecutive uv with consecutive without a caesura 4 • 1.33%. This

tendency

other ter.

properties

also

appears

also

to

to decrease be of

in poetry

a rhythmically

300 Erg.):

of

Hesiodean

69 • 65.71% 36 • 34.29% which

less

iB shown by

strict

cbarac-

'0

Compare, for example, the situation in the last 100 verses of the Brga: of the comparatively frequent occurrences of penthem. caesura (51.51%), 46.34% is followed by a long syllable, 53.66% by two short syllables. E.g.:

trochaic

Il.111.13-8

caesura:

~ &:n Ti1Ntlftb TTDCJOi I KOVL~

tpx~·

4,vu"t' ~ ~ 6' 00 I 61.trcpwµx,v nEE,£01.0.

ol 6' lh£ estox.r.fbJ ficnvI bt' ~1.01.v t6'm:{;, Tpc&XJlv utv TTQOl.lix1.C£V I •A>.1,~ &0€1.~, wal )QJl"CUN.l~ ~v ~1.01. v I fX(.i7v wat ftqJOC·a{n:ap 6oCix I Sui> ~ xcwcii>

ntE DACTYLIC HEXAMETER

77

c5r:>' f11.EXPV£ I edlv 6.~ 4t.~ T£uepxvla,v, ~ev I tuKn]Jtv tv .Ap'of3TJ dq,vEt.bi;6t.6'tot.o, I Q>lAOC 6' liv 6.v8J:xmot.ot. • 'l'l.ivmc~ (l)l.AiWK£V I b&i>fut. O(Kla. \Q.LC&JV. :rh. 63-6 fv6d ott)t.V At.TQX>li:clxq:x,t' lGL 6r4lna 'HOMi, rap 6' alrctk; lfdpt.Ttc i:cl>Gt ·1UE+>OC; otKl' ~ooot.v tv &.\luc; • tp:,.rliv 61:I6t.a aros.n &::aiv tctaa.t. ~, raivaiJVi:c I ~ KOHbv>GL6f"ip1. V 6q,t.U£ t., OX.£1:'Aln· o(j nc -n',v YE I tw vtq,m >WJVfovtO(;. i:ov ~ wvovli:~ otKm& vb:a(u" 732-4 fi' 6 YE TIPbcrotxov I~ ~ a.(Mflc. un6' a.t6ota. yovij I ~ NSo&t. oC'KOU LCTCLTJ ~ 1 ~1,.V&µEV, W.' ~

+ consecutive Il.

'tEUXEa. ~ I cpqx-a,, lCOLMJC; tnL 'Vfbc, a14n 61: oC>G6' tiibv I~ ro:Ut.v, 6iP1 T0.¥)6c U£

spondee:

a·

VI.58/9 XE'C~

f\U£T~,

I un6' ~ nva Yoott.:>t. l,a\'t1'¥) I uno'acqi,yot., w. · ai.o.TDVTEC

tovm. q,tQot,, IX.25/6 M' fn KOiTOI;tcrr:l l,ltyt.arov. 'H00pov

W.' Compare Archestr.V.1-3

dyt:a', &c dv tYWI £Cm...>,rr.£1.~fu fotw 61'1oot. c.1vi'iP I totvt.E fi lwl!!b;,

nrivtcc·

tv oCw.>,

6:rnc btt.o-n',1,1.17\1 I t.cna.t. ol 1:01.0 lO.,:' ~ mvcolac; t6tac; I TEUXE t.v, &c dv ouK£AEUJJC.

78

RHYTHMAND METRE

IX. 6-9 dv 6t nr:,u llJ£l~

Erg.

I a{rn:lO Y&\'n...An.,, 6'.l00~

KVLOCIC ~tv, I tfc ~~ ~ &tc ·talrc6v µ£foe 6' I aO-tac; tnl 'tllyd;vou Ortto., ~ ,:PLllac; I dv6ri ~)C.QVt&JV tv ~699-701 1Q)8Ev1.Kfrv 6t Yda.1£1.v, I~ K' t\8m. )(€0\Q. 61.odft';1.c· i:fiv 6t lli\.i.ata ~tv, I frnc atar:vhYu61.\CLLE:1., ravm.lli\.' 6a.1Plct&:,.,, I ldi ye:l't001.x.dPl.ai:a. Yl'wQc. 783-7 ~6voc 6' ~•I~ 6' oo~ tanv, oOtt y&'Vix::J6a.c. dt' I o(h·' ~ -.d1Jcuc.tvt1.~. o(,6t l,ll;v ti ~ I h'tll ~ YE: ye:vtacku. ~, ~• tp£qJOU(;I -cduve:1.v ,a1. 111m ~ Cll'l'HOV 't' ~eaA&tv I tt01.~1.ov ~1.ov ~-

lllE DACTYLIC HEXAMETER

79

TABLEVII CAESURA

penthem.

troch.

-caesura

sample size

Hom.

42

%

56.8 %

1.2 %

27803

Parm. Emp.

46 % 29.6 %

51.3 % 67.9 %

2.7 % 2.5 %

150• 436*

Archestr.

62.4 %

32.5 %

5.1 %

311*

Arat. Apoll. Call. Theocr. buc.

47.8 % 36.75% 28.2 % 49 % 28.3 %

51 .5 % 63.22% 71.8 o/oII 50.7 % 71.5 %

0. 7 % 0.03%

18.9 %

81.1 %

tp. Nonn.

* For

0.3 % 0.2 %

1154 5836 2109 1319• 1058 1119

reasons obscure to me, the number of the hexameters counted by JAECKELin this case differs somewhat from the number used in his quantifications of the proportion of dactyls and spondees, so that here also the sample size is somewhat different from that in Table Iff. above. The most remarkable difference concerns Theocritus' bucolica, since here, in contrast to the earlier quantifications, they include the mimes as well.

80

RHYTHMAND METRE

• N.B.

The data

JAECKEL (1902) able.

presented rabulaXII

Unfortunately,

For some reason

he does

Homeric

Hymns;

the

relevant

data

Od.

Table

- as being

VII

have

for

derived

not

include

the

sake of

been

in his

Th. Erg.

table

completeneaa

from PORTER (1951)

Th. & Erg.

Hymn.Dem. Apo/. Hema. Aphr.

-----------

Hom. Hym.n.12

With

either

Hesiod

troch.

-caesura

sample size

44% 46.95%

54.9% 51.75%

1.1% 1.3%

1000 1000

40.3% 54.6%

57.6% 42.9%

2.1% 2.5%

47.45%

50.25%

2.3%

43.6% 48.7% 30.6% 47.2%

54.6% 50.3% 69.2% 52.4%

1.8% 1% 0.2% 0.4%

42.525%

56.625%

0.85%

-------------------------calculation

the

or

one may compare

penth.

some additional

rived

avail-

59:

--------------------------

-----------

from

to elision.

-----------------------------------53.325% 1.2% 45.475% II. & Od. Hes.

derived

the most comprehensive

JAECKEL pays no attention

the

Hom. II.

in

corresponding

----------2000

1000 800•

----------1800 495• 500• 500•

250•.

i-----------1745

data

can be de-

from O'NEILL (1942):

Hom. II. Od.

42.3% 42.35%

56.2% 57.55%

1.5% 0.1%

1000

II. & Od.

42.325%

56.875%

0.8%

2000

52.5%

45.8%

1.7%

1000

-------------------------------------~---------Hes.

* "raised to * "multiplied

the scale

of 1000",

1000

PORTERo.c. 50.

by two", ibid •• For the figures concerning the RIJlllll to Demeter he adds the warning that they are "not strictly comparable to those for the other texts, being based on a scale of 990".

**

"the

first

250 lines

multiplied

by four"

(ibid.).

TiiE DACTYLICHEXAMETER

81

The figures presented by both PORTER and O'NEILL are based upon quantification of word-types. Somewhat arbitrarily in our computations of the caesura has the lllOnosyllabic words occurring in pos. 6a have been reckoned as prepositives, the other half as postpositives. As a matter of fact, an indiscriminate counting of word-types is bound to produce a distorted picture as far as the incidence of caesura is concerned; in particular, the percentage of trochaic caesurae may be somewhat lower than would be the case with figures based upon a careful assessment of the word-boundaries involved, since it is likely that at pos. 6a there is a high occurrence of postpositive boundaries (TE, at, etc.). The nuaber of monosyllables involved amounts, for PORTER, to Il. 118, Od. 119, Th. 184, Brg. 134, H!lfllll to Dea. 132, Apol. 122, Berm. 104, Aphr. 112 (the last five being raised to a scale of 116, Od. 109, Hes. 134. 1000); for O'NEILL, to Il. According to SCHAMP (1981) 85 in the Orph. Li th. hexameters has a penthemimeral, 62% a trochaic caesura.

3.2.4.

Archestratus'

without the p.

a

sa•

verse

caesura

shows

(5.1%);

characteristic

here

to

the

highest

a lesser

percentage

Parmenides'

again,

38% of

degree:

of

the

verses

show

hexameters

2. 7%. (See

Table

VII,

79 above.) However,

the

far

as

prae-Hellenistic

whole:

Emp.

fall

in with

ness

to

stance, dee

as

2.5%,

Hom. 1.2%

a general

fifth

in

the

metron

general

BEEKES (1972)

(Hes.

towards

Hellenistic

less

This

strict

on

situation

increased

seems to

rhythmical

hexameter

the

strict-

(compare,

for

in-

'normalization'

(3.3.

with

1.5%).

be

concerned,

(2.4.3.1.2.

caesura

is

also

should

the

be

unobjectionable

regard

3: "perhaps

above);

below)).

of

which

regularity

to

are

with a spon-

absence

licence

a caesura

on the number of verse-types

dihaeresis

The incidental occasional

without appears

tendency

the restrictions

of the bucolic

verses

hexameter

be observed

in the

have

the

to

admitted

considered

only

the

observance

only

because

all

a

caesura

a

in of

as

virtue

of

caesura.

other

an a

(Cp.

verses

do

the caesura".)

3.2.4.1. shows

Of word-end

infrequently element

the

(at

hexameters after

there pos.3).

is

without

the

fourth

also

a word-boundary

So in these

marked cases

too

substantial

element after the

(at the

falling

part

pos. 7); second type

not

marked of verse

RHYTHM ANDMETRE

82 is

(internally)

structured

in a rising

manner:

-vu-luu-\.lu-luu-\.lu--41For

this

reason

word-end

caesura

(the

at

3 sometimes

pos.

so-called

above),

caesura

function

at

a verse-position

significance

therefore,

according

hexameters

without

ant

factor

in

end in verses Not which,

in

types

the

of See,

the

present

position for

of

their

this

- or, On the

length.

(O'NEILL (1942)

word-type 100%:

as

being

group

instance,

pos. 5 pos. 7 pos. 9

of

however

ascribed

the is

cases

do not by preference for

be

middle

(see

theory, the

of

the

verse,

verses

are

5 7 9 11

word-type 100% :

;

simply

does,

produces

a

may be a relev-

positioning

of

the

occur

relative

involve not not other

either

quite

optional,

surprisingly, hand,

in this

proper

word-

such

particular

frequency

of the

names

(other) long

position. following

146,148): Call.

Apoll.

41.7% 6.7% 51.7%

63.5% 1.6% 34.9'1/o

63.3%

45.3%

36.7%

54.7%

60

79

49

64

44.4% 22.2%

16.7%

75%

66.7% 16.7%

25%

6

4

word-

word-types

Hes.

33.3%

-

may be con-

II.

9

4

the circumstance

word-boundaries

particular

the

established•

hand,

the caesura

3.2.2.

a word-boundary

these

other

Ch.I,

luu-vv-1 pos. pos. pos. pos.

e.g.

):

to

statistically

On the

ts

these

a greater

certainly

13

a caesura.

separate

a

which

option

without

virtue

as

of

movement just

infrequently

sidered

types

the

only near

a caesura.

rhythmical

and even word-end

("trithemimeres"

of a caesura

can

to

also,

here

rising

as a caesura

conception

structural

that,

caesura"),

as a third

31.

present

occurring

7 is sometimes conceived

pos.

''hephthemimeral counts

KORZENIEWSKI(1968) In the

at

2

word-

THE DACTYLICHEXAMETER The

supposition

caesura

that

and with

rhythmical tionable words

the

relative

a word-end

tendency

but

exception which

83

merely

pos.

the

third

of

7 does

not

constitutes

in accordance

is

span

at

frequency

to

without

reflect

the be

increasing observed

a

a positive

a comparatively

with

metron

verses

unobjecscarcity

in

of

Hellenistic

hexameters. without a caesura which show a See LA ROCHE (1899) 3: verses (both proper names), word-end at pos. 7 are found twice in Apollonius eight times in Aratus (three proper names); never at all in Callimachus.

Verses with a ''hephthemimeral by LEHRS (1865) 396-403. Some examples of verses

caesura"

in Homer have been listed

a caesura are:

without

Hom. Il • I II. 71 atnO'tl+X)f; 6t KE 'VI.KTlOI;) kPE lc::x:Mv TE ytvrrm.1.

to tot v u n

80

ME:c,o-1."t• fea,Uov •

~1.

VI. 3 ~ l~ Parm.

"tTIVO'~

1• 2 7

~fipm.

(Ii Y6':> 6n'

8. 21 ~ ytvro1.,

9•2

bn6'

nriTOUtatl

v)

~ ..

8vrrciiN, a£J:.

TI.{; ~ ~"COLO

1\ MO."t'Q ~

fiypoTttx,Jv Y~

17.5 t) 6t TlOAI.V01.~

"tE:A£\J"tTI

1\ MO."t'Q~

8p;;q,6£Cai

01.tmn

60.\1.xa.luJVE.{; n 'l,djo1. OP'\~1. ~"~ ~ VIU.85 c.U~ 6' avtrn\:ro, ~ 6' de; ~ 00 XI.274 'Vl'lUOlV fm y~i.v ~• 1\x.&roy6p Kf¥.). 278 quAOn.1.v~v, t:rtE:l aJK tlJt 1J11nt-mz~

v .214 at,·tlx'

bt£1. T'

(cp.

E£t\lOV6rl6&~""'

Od.I.120

Ues. 'l'b.

~-

520, 904,

914; Erg.

tY)'U&L 6t:

amc

~ L\.OC, t:rtE: l

l"ICMAOl Coa.vc1vti:>£c;fn.itTE+>OVf:CJ 310 OcAx&. ~ tt tt~ tt q,l~ K¥tP 324 at,TlJO. 6i: ~ trr.,x£ro to6&oc; ~Hes. Th. 726 -rovntp1. 'X,O.\xEov~ ~m1. • 6;a.lpl 6t µ1.v ~ 884 rulnc ~1.v ·0AU1,1t1.ov£q:,uorn Zflv Erg. 795 i&tc,t,n" ~ 6t tt ~N:l )(Q.l ECAlTTDEnc; fA.Ll«JC ~ 176

Parm.

1. 25 [ra,:o1.c;ml

v lka\.Wv flµfn:pov

OE ~I.

8. 1o u:nE+>OVf\ n;x5a6£v, 'tOO ~ ~, 56 )(.(lt)lc;an' ~, 14 .1

~

&;,

qilv:

utv q>,\oybc;atat+>1.ov ~

'WK'tl.qm;c;11:E+)l 'YQ'i:av6.:¼J,£vov ~1.ov

~

Cp. Em.p. 45.1:

KUHAO"tE+)tc; TtEPl 'YQtav tAlCXJEm1.~1.ov

~

104.).

89

THE DACTYLICHEXAMETER Emp. 62.2 tvwx.louc; ~ 6.vi'r;aye HP'-~

&'le; at i:6-t' tv ~v1.yf;1.v

84.7

nOp

tE:PYlJfvov ~1.av

nOp

88. 1 ( ••• )ii.la. ylyve:m.1. ~~ 61,. Arat.

408 eaKOV I tofl>.f+)6.vnc; ~

ti 6t x1.l,lllP11C,I ti 6'

ouo'Ca.y1'iPul;

6,pu:){; lftxl-CE+X>to~

96

RHY'IUM AND METRE

Arat.

I 6.y~

11'>GlO.~

Emp. 9 .2

43 1J£t.Ol'tp,J

y6p

I r6::a

11'>GlD.~

Yt\oc

01:pcxix.U1.yy1.

lU+)t.~i:a.t.

also

(cp. Id. I.19

Theocr.

A similar

4.2.1.2.

ro Y6o 6t'i, I ~L,

cUM

explanation

of word-end at pos.

rence

total trl - monos. Here

seems to apply

to

the

6£l6£,

~y&'

limited

occur-

4a:

II.

Od.

Hes.

Arat.

Call.

Apoll.

Theocr.

18.1% 8.9%

14.7% 8.2%

12.9% 6.3%

9.29% 4.43%

8.4% 3.4%

9.6% 6.5%

15.2% 9 %

identical

with

also

sequence

m ta;a,vt.~

80)

the

preceding

which

rhythmic

may fill

the

sequence

hexameter

is

from

the

the

dihaeresis

bucolic

onwards. In fallowing account

this

case word

for

the

however does

not

fact

avoidance

of

word-end

(4.2.1.1);

see below.

no metron

dihaeresis

begin

a

that

thia

after

a

in

falling

tendency long

is

syllable

occurs

(so

manner)

-

which

strong

than

less

occurring

that

in

the may the

pos.

4

As far as may be deduced from O'NEILL'• tables, in the case of word-end at pos. 4a in most of the samples studied the proportion of trochaic caesurae is even larger than it is in general (cp. Table most clearly by the proportion of VII above). This is illustrated word-types beginning with a single short syllable which reach from pos. 4a to the caesura; it may be expected that the proportion of trochaic caesurae is yet a little larger if monosyllables (preceded or) followed by a bisyllabic word are taken into account ( lul-t I or u- ltf I").

u.l v-t,

JI.

Od.

Hes.

Arat.

Call.

Apoll.

Theocr.

45.45% 54.55%

36.94% 63.06%

51.82% 48.18%

37.5% 62.5%

20.59% 79.41%

27.14% 72.86%

48.15% 51.85%

63.22%

50.7%

of trochaic (Compare the percentage 57.55% 45.8% 56.2% tro.c.

caesurae: 51.5% 71.8%

I

71.5%.)

Therefore, in some of the samples studied, a trochaic caesura seems to be considered as a 'mitigating factor' as far as the occurrence of word-end at pos. 4a is concerned: it appears that the clausular may be considsequence, disfavoured at the beginning of the verse, ered less objectionable when the following word (or word-group) falls in with the rhythmical movement produced by the caesura.

97

nIE DACTYLIC HEXAMETER

Of the words ending 60% is bisyllabic: II. Od. lu

71.95%

60.67%

pos.

at

excluded),

4a (monosyllables

over

Hes.

Arat.

Call.

Apoll.

Theocr.

66.67%

80.39%

91.18%

67.69%

74.44%

- in other words, over 60% follow a dihaereais after the first metron. Therefore the exceptional occurrences of word-end at poa. 4a may partly be accounted for by the tendency to avoid two consecutive 107 the proportion of the sevinstances of matron dihaeresis ; compare eral word-types following such a dihaeresis after the first metron (monosyllables excluded) 10 •: l.luul.lu 20. 38%

.luu

9.81%

..l_

.luvJ .l _J. ..l

:

--e

2.26% 24.53% 22.26%

(see

4.2.1.1)

11.32%

.luu-t7

9. 43%.

For extensive quantifications concerning the incidence of word-end in this part of the verse in the Hellenistic hexameter, see BONARIA (1977) - whose figures are, unfortunately, not very useful for our purpose owing to a considerable difference in approach to the subject. Examples

of

this

comparatively

infrequent

positioning

of word-end

are:

l,li'iv1.v&:uSE:, I &d, nrwit~ •Ax.1.~ Hes. Th. 30 JO.L}JOI. OKflrcrpc,v I t.oov ~ tt:>1.~ 6Cov Parm. 6.1 XPilTO Atye:1.vTE I VOEtv 't 1 tov ~. fun yap e:t'VC11. 8. 2 7 fun v dvapxov I&nucnov, bt£ t y~q: >0.t 6.\£~ Ar at • 113 ~.:a, ndvta. I T'QX tx.e: AL'H.Tl , &.Jre: 1.~ 61.>0.Cwv Apoll. 1.9 XEl.l.lEPLOI.O I lxe:~ Kl.llv 61.a T'tOClOl'V ·A~ Hom. Il.

4.2.2. 8a)

1.1

Word-end after occurs

very

the

first

infrequently

short

of the

('Hermann's

fourth

Bridge':

metron see

(at

MAAS(1962)

§87).

totaJ "I - monos.

pos.

II.

Od.

Hcs.

Arat.

Call.

Apoll.

Thcocr.

4.2% 1.4%

3.3% 0.6%

6% 2.5%

6.25% 1.56%

3.4% 0.3%

2.7% 0.7%

5.2% 1.1%

RHYTHM ANDMETRE

98 This

seems to be motivated

tendency

unless

the

second

short

word such a word-end sis

(which

occurs

86 above),

are

comparatively

(see

metron

following

not at

3.2.3,

more marked pos.

8a the

u6u-u/ -1-v apply

•

pp. the

caesura

v-u

1a not

at pos.

Od.

Hes.

45.45%

45.45%

13.33% 13.33%

caesura:) 45.45% 9.09%

45.45%

13.33%

9.09%

( trochaic caesura:) tf'-fp 60% (penthemimeral

Table

Vlll,

p.

functional

by means of which

favoured

in the third

to be avoided hand,

occurs: the

this

of the

notably

monosyllables

ending

is

other

dihaere-

above.)

- appears

On the

(lit

reckoning

see

a rhythmically

- which

above)

caesura.

word-type

II.

tfv--b

linked

when a trochaic

Not

of the bucolic

(See 3.4.

that

by a monosyllabic

of a word-boundary

74/5

to the word-types

.1--fp

rare.

circumstance

occupied

preceding

most strongly

metron

is

a realization

the occurrence

are

by the

+ 60% of the hexameters:

in

monosyllables

In addition,

metron

precludes

while

word-boundary two metra

of the

mainly

less

in

the

tendency

is

words ending frequent

following

than

percentages

8a:

Arat.

Call.

Apoll.

Theocr.

55.55%

33.33%

50%

40% 20%

22.22%

16.67% 50%

12.5%

40%

22.22%

(rest)

.l"

Therefore

the

similarity

pressed

too much; at

ceding

sequence

apparently preferred

clausula,

is

one of

ron

( ... -vl ... ),

4a,

with

because

which

of the

the

the

the

(1)

it

and

(2) it

at

main point

clausula; would it

characteristics

where

bridges

has

4a and 8a should

is

at

the the

produce favoured

structural

identity

not

is

infrequent

realization

the in

function

of

rhythmical the

be

of the pre-

word-end

8a

frustrate would

37.5%

effect

preceding as

the

the met-

trochaic

caesura. In Nonnus, word-end at 8a never occurs (KEYDELL(1959) 35*). Ac.cording to LUCIC (1973) the phenomenon is practically absent from Hellenistic poetry, and from later Greek poetry as a whole. (Cp. MAAS (1962) S92.) This fact however cannot be deduced from O'NEILL's tables.

THE DACTYLIC HEXAMETER

99

Exceptions are, e.g. Hom. Il. VI. 2 ~ 6' 6p'

~ MQLf\18' C8uaEI id.XTITtE:6lo1.o

Tt£TtOV, ~ ~, -cln 6t I oo xfi6E:o.1.oCr~ Hom.Hymn.II • 1 7 Noo1.ov llu Tt£6lov -cfl~ [ &of TT.OA.UE,tYl,l,JV 55

~

I 1,.1£~1.ac; WVEI.6t I )(Q"tQ ~1.V

186 alrtq> anb ~ o>..lyav

Arat.

572 OOVE:I. utv E-ctqavoc;,

Theocr.

KE

'Ix.~

oOrtao. v1.>eaa£i:Cll', ou5' EC n ! no8o1.c -cuy' 6£l&..Jv) IX. 5 }Jl'l6tv ~n J.,aYEAru\ftEC• tii.Lv 6t I w ~1.o.C£u

Id. (VIII.10

Word-end after a long realization of the fourth metron (at pos. 8) occurs 4.2.3.

of the double-short element infrequently, especially in

the

see HAAS (1962)

Hellenistic Bridge': hexameter ('Naeke's also 93ff.); see also Table VIII above. II. 12.3% total LI - monos. 5.8%

192;

Od.

Hes.

Arat.

Call.

Apoll.

Theocr.1oe

9.6% 4.6%

10.1% 3.3%

6.08% 2.6%

1.1% 0.2%

2% 1%

5.2% 1.5%

This tendency may be interpreted as the avoidance of the rhythmical effect characteristic of verse-end, namely of dihaeresis after a 110 See also 4.2.1.1. above. metron which is realized by two syllables. the majority of the exceptions Not reckoning monosyllables, this tendency belong to one of two word-types:

.u ~

.....

II.

Od.

Hes.

Arat.

Call.

Apoll.

Theocr.

27.59% 62.07%

39.13% 60.87%

51.52% 30.3%

43.33% 56.67%

50% 50%

20% 70%

53.33% 40%

10%

6.67%

to

(contrast:) uvl .fl_.l

8.62% 1.n%

(Sc. percentage

12.12% 6.06%

of word-end after

Thus one may note that begin at the trochaic meral caesura data,

(and,

more frequently

L.)

words which end on a long syllable caesura

more frequently

in so far as this

in pos. 8

than at the penthemi-

can be deduced from O'NEILL's

than may be accounted

for by the frequency

the trochaic caesura in general). This might indicate that way of integrating the metrical groups at the caesura makes the quasi-verse-final word-boundary less objectionable.

of

the best position

RHYTHM ANDMETRE

100 E.g. Hom. Il.I.2

f\ IJl.¥)l' ·Axcu.oCclc!V.vE' f6rpc.£

~v,

~6u£vov

III.22

npcrQX>1,&v

vn·.::ov b.,ai.MJOLV,

~A.CUI~

BLaavto.

6' I~~ 160 l,Ol6' tn.u:vTE:kUa7L T'6rtloa.>j T1fh,n .\l1101. ro 62

t~ 1VlYOOL~ oonouc:x:,c 611Tl'P006Ev 4PE'n I xdNc£ovfvxoc ot 6' tn.Et bcd;cq:,8£.v ~lAOUI&pfixOncuv ~ .6L6c; Stmi"tl'IP KU6lomI'l'PL -roytvE; LO.

197 dpvt:i.4)

311 340 IV. 515 Hes.

More surprisingly which -

is

the

would also

of -

tent

word-type frequent.

these so

that

cases

It also

would be a realization

of

occurrences

involve

here

I Srw.,~

Y\J\O.L~

consisting

two successive

relatively

prepositive boundary

the

produce

majority

he,,(£

µLV

b. -cficy6p y~

Th. 590

6qt.\.).£1,

two long

a bisyllabic

of the

however,

word preceded

rhythmically (trochaic)

-

of metron-dihaeresis

may be suspected, the

syllables

relevant

that by a word-

caesura.

E.g.

6'rl, tatvE:A.oc 6t HCl8'tTD"liJV I &.\TO')(Cll.&1C£ 176 1:p'.ix'q;, bt£l ~ TE HCl.l b::J&>i1N I YOU\O.T'~ 249 6U.' dvt: 611~e• b.i>'tTD"liJV, I 1,.1116tl,IOL oem,,, Emp. 100 .1 i&sE:6' ~ t mvttl HCl.lbmvE'C• I n&:1LAL(IXU.l,IOL V.111 G:cc!tp'

Hom. Il.

or,

with

penthemimeral IV. 384 M'

Hom. Il.

caesura: aiJT' 6:yy£.\lnv tnl 'l\JE,f\ I an:t>av

v.11a eq; at. -et µ' Parm.

dv6p:J.

t>.E:tvHO.ltat. T' 6rt' atcilvof; >OC.bv~ I 6.vnqJE:plCEL

V.183

Hom. Il.

Hes. Th.

More exceptional Hom. Il. Apoll.

types

are,

1.a.

fi6t l,O')(TK; kC.ll.lat'&LPl'leI avnl3o).fl(XlL 510 '>.pyEloL~, bt£l oO oPL .\l80(; ~ I o(£,t ol~

IV. 342 ~ III.415 758

~L

'tEU)(Tp't'ijoL

c5tioc· n:,uc;6' I aiJT6L

fit TTCUt:v ~ xtxumL,

oat~

ti 6' I~ HO.l ~

THE DACTYLIC HEXAMETER Some of

the

101

(comparatively

metic hexameters

frequent)

examples

(see note 61 ad 2.4.3.2.1.

from Theocritus'

mi-

above) are:

I XPftln H0.\6v "CL (also Id. XV.23 ~ -tbv •Aail,JLv• 6xouc..>

26)

6J'ltl3o."COL •1m0"tO M.£V £[TID.LC -rovlLL)O(.QVI naro5£ kJaotcn 62 >d;ULO,W, na.Uxo1JV TtEL~ Sriv I Tldvta. TEA£i:mL 1 ~, 74 xns; ~ ~ ...m, Q)LA I tv ~ £[~ (compare 73:( ••• ) Mi:xxL, 'YU\QL• I tv kaA4> d]Jtc;.)

38 ~ WO."tQ y'4,av 42 ~,. tp.,yt:ci,

0

etc.

etc.

See HAAS(1962) 94: "the mime section (1-95) [sc. of Id. XV) actually affects the break which is usually avoided". Archestratus, as was to be expected, shows the largest proportion of exceptions XI.4

to this

tendency (see Table VIII above);

t\ n:cpl U1V•Ao'TlV

TTOU a.)4

e.g.

yflv 11\TtEPl ~TT'lV

,:b ydp W't'LV I vbnt¥X>s; dv8os; XXII. 4 t\ou:Ju', 01\,\' tc; 0&.p UOVOV tvaECs; I 'HOl.8tq,n )(L 'VG':Jv XXIIl.5 d un yNJ'JJ'HbvUru.ov. bt£Loav 6 1 I 6rrni ytvrrta.L XV.4 6£Lvi} 6n' ~twV·

11 61J£6' tn, a.v3p:xKL1's; ~ "COU"tOLc I un T1POOEVEYHtiN 20 -rova:xiov ~~ U£-c' txe,voo I ro.fuvop,CELV etc. etc. (Apparent) exceptions to this tendency in Callimachus discussed by MORELLI(1964); see also MINEUR(1984) 38.

have

According to KEYDELL(1959) 35* Nonnus' hexameters of word-end after a long syllable in pos. 8.

no example

4.2.3.1.

The theory brought forward by Wernicke (see MAAS(1962)1125)

which holds position

contain

been

that

a word-final

syllable

has been convincingly

refuted

in pos. 8 may not be long by by DEVINE& STEPHENS(1976).

This "law", which is held by various scholars to apply to other verse-positions as well (HAAS, l.c.) seems to derive support from the quantifications of syllable types published by IRIGOIN (1965). These data indicate that the syllable structure of long syllables differs according to their occurrence in a marked or in a non-marked verse-position. (IRIGOIN's data are presented as corroborative evidence for the quantitative conception of dAovos;: see sub 2. above.) taking into account (rhythmical) DEVINE & STEPHENSshow that, preferences such as the avoidance of word-end after a long syllable in pos. 8, such differences with regard to the structure of long

RHYTHM ANDMETRE

102

eyllablee in the several veree-po■ itione are completely accounted for by other (non-durational) factor ■: namely pronn.tnee, i.e. "the frequencies with which the syllables of the longum and the biceps respectively come from varioue position• in different word shapes", and poait:ional frequency, i.e. "the frequencies of the ayllable types ( ••• ) in thoee positions of those word-shapes 0 (1976) 156. (It may be noted that DEVINE& STEPHENS'calculations have the aerit of avoiding the comon fallacy of circularity: whilst deriving the quantifications of word-types from a poetic text (Hoaer), a prose sample (Thucydides) is called upon to provide the concrete words, and thus the types of heavy syllables involved. Compare also STIFLER (1924). 4.2.4.

Word-end after

a long syllable

in pos. 10 (virtually)

never'''

occurs. Because of the general rhythm of the verse the fifth

tendency

towards

metron is in itself

its

to preserve

close,

the identity

a bisyllabic

exceptional

(see 2.3.

of the

realization

of

& Table III,

p.

40 above). Not surprisingly

dihaeresis

after

a metron realized

lables - which is characteristic of verse-end - is in the position preceding the verse-final metron.

by two syl-

strongly

avoided

Consequently, in view of the comparative scarcity of a verse-final monosyllabic word, a 'spondaic' verse practically always ends on a word which consists of three long syllables at least: ( ... }---41; in virtue of the preference for the bucolic dihaeresis, the 'spon1a realized in most cases by a word of four long daic' clausula syllables: see 2.3. above.

TIIE DACTYLICHEXAMETER 5. 1beories ily

concerning

remain

has or

of

which

developed that

is

verses

(or

of

verse-f

oru).

Moreover,

as

we know it

one might

a compound consisting cola

'originally'

some of

its

type of theory.

the

dark.

nor

can

into

doubt

whether

( ••• ), left

any

in

being, by

it

necessar-

provide

argue

either

it

developed

the

Greeks

seems certain traces

information that

the

type

of verse,

isosyllabic two originally

deriving

from

appear

to

by verse

independent

other,

i.e.

lyric

be incompatible

with

(See VAN RAALTE& SICKING (1980).)

completely

borrowed

hexameter

not

of

features

33-53.

caae

does

convincingly

Cp. HOEKSTRA(1981) are

of the dactylic

from a Proto-Indo-European

it

either

the origin

speculative.

The hexameter means

103

We do not it

be

from

origin

some

of the

hexameter

we

know how, when and where

established

from cola

that

in

"About the

beyond

of Indo-European mediterranean

a

reasonable

origin people.

the

earliest

narrative

poetry

Homer was

already

composed

in

it

or was However that

has

hexameters."

( 53). On

(1980) period

linguistic grounds suggest that there onwards.

especially, PAVESE {1980) and has been a continuity from the

The theory of the hexameter as developed has been advocated by e.g. O'NOLAN {1969); VIGORITA (1977); BERG (1978); TICHY (1981). 112 For the theory that independent) verses or GENTILI (1981). VON WEBER (1955) concerned, lyric ver.sa. is

from isosyllabic NAGY (1974),

HORROCKS Kycenean verse (1979);

the hexameter is a compound of (originally GENTILI & GIANNINI (1977); cola, see i.a.

points out that, as far as literary poets are dependent on epic verse,

imitation not vice

CHAPTER III: THE IAMBIC TRIMETER

Editions Except

104

used where indicated

occurring

in the iambic

upon computations

otherwise, trimeter

made for

the

the quantifications presented occasion.

in this

of phenomena study are based

The material

taken

into

account cocprises: Archilochus

ed. M.L. WEST(Iambi et elegi graeci Vol. I) Oxford 1971 & ed. D.L. PAGE (SupplementWI lyricis graecis fr. 478) Oxford 1974 (• SLC)

Ser.ionides

ed. M.L. WEST ( Iambi et 1972

elegi

graeci

Vol.

II)

Oxford

Solon

ed. M.L. WEST ( Iambi et 1972

elegi

graeci

Vol.

II)

Oxford

Aeschylus Septem, Agamemnon ed. D. PAGE, Oxford 1972 (OCT) Sophocles oedipus Rex ed. R.D. DAWE,Leipzig Philoctetes id., 1979 Euripides

lledea

Orestes

Aristophanes

ed. A. ELLIOTT, Oxford 1969 ed. W. BIEHL, Leipzig 1975 (BT)

Nubes

Bquites

Henander Dyscolus Aspis Slmia

Lycophron Alexandra Anthologia

1975 (BT)

ed. K.J. DOVER,Oxford 1968 ed. V. COULON,Paris 1 1964 (Bud~)

ed. E.W. HANDLEY,London 1965 ed. F. SISTI, Edizioni dell'Ateneo id., 1974 ed. L. MASCIALINO,Leipzig

Graeca ed. H. BECKBY MUnchen 1957-58

1971

1964 (BT)

THE IAMBICTRIMETER 1. As to its rising

basic

rhythm the iambic trimeter

single-short

with a blunt

105

sequence

close.

are recurrent

as a

by means of prolongation

and

Within the sequence,

marked verse-positions there

extending

is to be regarded

can be occupied

the first

by a long syllable,

groups of four elements X--i,-

t

X--i,-

t

of every two non-

(three

so that

metra):

X--iJ-11,

The metron, then, is a structural unit and as such has a rhyththat "metron mical function. SCHEIN ( (1979) 2-3) is wrong in stating boundaries are arbitrary"; "(metra) are inventions of ancient metricians"; or that "the metron is a name given to a sequence of syllables, but this sequence comprises a unit neither of composition nor of appreciation". On the contrary, the iambic metron is constitutive of the metric profile of the trimeter, whose organization is perceived as underlying each concrete verse. The fact that rhythmic boundaries preferably span metron-boundaries, far from indicating the fictitiousness of the metron, surely testifies to its reality and its significance. The conception of ancipitia outlined above may have the advantage of il!lparting transparency to the metaphorical notion of "verseweight" (see HARRISON(1914)). No doubt, the idea that a verse 'gains weight' according to the number of anceps elements realized as long syllables is due to the habit of referring to short and long syllables as "light" and ''heavy" respect! vely. The use of this metaphor gives rise to all kinds of implausible calculations. For instance, in the comic trimeter the large proportion of long syllables in pos. 9 would "seem to serve as a make-weight against the trisyllable feet" (HARRISON(1914) 209). A more realistic interpretation seems to be that the large proportion of long syllables in this position makes it easier to perceive the structure of the verse by metrical groups of four elements. In comedy, the perception of the as a result metrical grouping is likely to be endangered especially of the high incidence of deviations from the underlying metric profile (i.e. resolutions: see 2.1. below). Likewise a verse which shows short syllables in all three anceps positions is perceptually different from a verse with three long ancipitia not because it is "less heavy", but rather in virtue of a high de~ree of 'iambicity', or conformity to the extending singleshort rhythm which basically constitutes the metric profile of the verse. (See Ch.I, 2.3. p. 12 above.) 1.1.

The ancipi tia

iambic syllable applies

trimeter than

all as

in

the

put

together

a short

in an increasing

as compared to the early

three one.

relevant

verse-posi

are lllore often (See Table

proportion

I,

to trimeters

iambographers,

Uons

realized p.

of

the

as a long

108 below.)

of the tragic

This poets

and to comedy as compared to

106

RHYTHH ANDMETRE

tragedy; anceps the

in Lycophron the highest positions

found (67%).

is

comparatively

high

percentage

percentage (It of

of long

syllables

may be noted

that

resolutions

in

in

in comedy the

anceps

positions is not arrived at at the expense of the large proportion of long syllables.) In Solon and in the Hellenistic epigram, there is

a relatively

positions;

large

see 1.1.1.

amount of short and 3.4.1.

syllables

occupying

anceps

below.

In the case of a random distribution of syllables one would expect to find a proportion of, roughly, 60% long and 40% short syllables. This proportion is based upon a computation of the number of long and short syllables occurring in a specimen of Greek prose, chosen with a view to a minimum of artificiality, viz. Lysias Or. Ill ( A9aln.st S1aon). The text comprises 4844 syllables, 2862 (or 59.08%) of which are long and 1982 (or 40.92%) are short. 113 See Appendix, p. 394 below. In so far as this specimen may be considered representative, the proportion of 3/5: 2/5 can be taken as a starting-point for the calculation of binominal distribution in a random sample. If we take a sample of 12, i.e. the number of elements that constitute a iambic of long/short trimeter (as we must do in order to get the probability syllables in the anceps positions, given the number of three brevla) the arithmetic mean of short syllables within thh sequence of 12 will be 2/5 x 12 • 24/5 • 4.8. So with random distribution the amount of short syllables would exceed the number of three, and we should expect to find short syllables at 1.8 of the other places as well (which corresponds to 60% of the anceps positions, or a mean of 0.6 short syllable per anceps position). Leaving aside the occurrence of resolution - which introduces another complication in that it adds to the number of syllables in the verse - the percentage of short syllables in the anceps positions appears to be rather low, even in the trimeter of the iambographers, Aeschylus and Sophocles. This justifies the assucption that the proportion of long/short syllables in the anceps positions is not simply predictable on the ground of the nature of the linguistic material involved.

lllE IAMBIC TRIMETER

107

e N.B. As far

as

the

between

the

samples

from

realization

presentation the

to the following totals

I)

under 2) within

are

ancipitia total

is

concerned,

numbers

studied

should

and the

the

choice

observation

be made with

of

due regard

circumstances: available

only

in

the

case

of

some of the

authors

discussion; the

different

Therefore,

for

which,

course,

the

quantifications

upon

observations

III

of

material

found whose grounds of

of

the

quantifications are

not apparent.

of

completeness

sake

crucial

is

of

available

in

ancipitia

made for

the

divergences

are

and maximum consistency

questions

of

relative

presented

in

this

occasion

(but

frequency

study

compare

-

are

note

-

baaed

ad Table

below).

Totals

are

provided

SCHEIN (1979): WHITE (1912)

by, or can be gathered

iambographers 11 nt. 15 Aeschylus 19 nt. 7 + 78 Table Sophocles 36 nt. 4 + 78 Table : Aristophanes 38 + 44 Henander 58 + 60

The Tables

provided

pose since

trimeters

by DESCR0IX (1931) including

In view of the tween

Euripides'

from:

evident

earlier

resolutions difference

and his

the Hedea and to the Orestes

are

later given

46/9 are

XXX XXXI

useless

for

this

pur-

in some respects

be-

are disregarded. apparent plays,

the

data

relating

to

separately.

In the case of Archilochus trimeters occurring in epodic alternahave been included; compare SCHEIN (1979) 6 nt. 3. (Sept., ~g.), Sophocles Samples are used in the case of Aeschylus (Phil.,OR), Euripides (Hed.,or.) and Aristophanes (Nub., Bq.); the sample counted for Menander comprises the trimeters in his Asp., sam. and Dl)SC. tion

With the exception of some verses by the early iambographers mutilated in the three final syllables, only complete verses have been taken into account (i.e. non-mutilated verses, or verses that have been completed by the editor of the text concerned to his own satisfaction).

RHYTHM ANDMETRE

108

TABLEI REALIZATION OF ANCIPITIA* long syllables

shon syllables

two shon syllables

ArchiJ. Sem. Solon

53.03% 51.15% 45%

46.97% 48.85% 55%

-

Aesch.

43.55% 41.39% 42% 38.75%

0.48% 0.49% 0.2% 3.25%

1324 2251

Or.

55.97% 58.12% 57.8o/s 58%

Aristoph. Men.

61.61% 59.61%

31.13% 34.1%

7.26% 6.29%

1436 1615

67.01% 49.69%

32.97% 49.49%

0.02% 0.82%

1474 163

Soph. Eur. Med.

sample size 66

174 40

1019 1107

-

Lye. Epigr.

* i.e.

the percentage of ancipitia in poss. 1, 5 & 9 all put together, which are realized as a long syllable, a short syllable or two short syllables.

THE IAMBICTRIMETER 1.1.1.

The distribution

anceps Table

positions 11

In

in

for

centual

long

the

ranje

long

a

over

remarkable

at

of

syllables

the

several

regularity.

outnumber

in Semonides,

syllables

the

long

of

epigram,

See

and

the

short

ones

who shows a relative

beginning short

Solon)

of

the

syllables

frequently what

in

see

choliambic

verse,

also

the

pref-

verse,

in

the

per-

5 is

position

in

1.1.

Chapter

IIIA

syllables

lables

is

decreasing.

anceps

is more often

So in addition

pying

anceps

different

1.1.1.1.

ring

in

the

phrase that

anceps

grounds.

As indicated

urked)

verse-positions

syllables,

can iambic

early

iambographers

the than

anceps

large

total

cp.

also

and

1.1.1.

outnumber

the

long

though,

the

as 'feet').

frequency

general,

the (see the

is

the

Ch.I,

positions

the

situation

sub

structured Obviously,

In trag-

in

this

posi-

number

of

short

syl-

in pos.

9 also,

syllables

occu-

distribution

over

for.

a linguistic above),

example seems reas-

it

of long

syllables

is

explained

on

to

be

ancipitia,

interpreted

distribution

serving

to

into

groups

the

of

prevent

marking

the

syllable.

percentage

free as

1.2.1.

in

ones

unequal

as

(This

of _short

below.)

of long

verse

sub 1. above, with

a

(esp.

one.

amount

to be accounted

iambic

high

the

much more

as a long

1.1.

sub

needs

be conceived

verse-profile

( u- :

the

1 above;

to the relative in

in

within

varies

as a long than as a short

realized

verse-positions

to suppose

syllables

syllable

plays,

When we consider

onable

comedy and

In comedy and in Lycophron

positions

of a rhythmical

in

for - the

Table

later

long

epigram

a short

and

Euripides'

tragedy,

the amount is even larger.

hand,

accounts

short

of

Hellenistic

as

principally

ancipitia:

tion;

other

the

realized

amount

in

in Lycophron

9, on the and

Archilochus,

the

of 10% (58-68%); In pos.

the

5 the

trimeter

Hellenistic

the

shows

syllables

negligible.)

In

edy

verse

(Though

difference

almost

the

1 and

exception.

erence

is

of long and short

P• 113 below.

poss.

without

in

109

long

occur-

rhythmical as

(non-

and

short

a perception

of -two elements off

in

sets

of

of each four

110

RHYTHM ANDMETRE

elements

each

realized

as a long

realization

is

most

syllable,

as being

of the anceps

The largest two

accomplished

proportion

of

positions;

the

iambography

(+80%),

where

observed

apply

istic

epigram,

because

the

most

clearly

long

syllables.

them

in

occurs the

situation

first

than

in

pos.

basic

9)

single-short

in

tragedy

tions to

in

the

different

accomplish

the the

some extent short

in

the

in the Hellenistic In comedy, comedy

also

realizations

in

pos.

relatively epigra~:

however,

a

larger

is

this

found

in long

positions,

the

atively

large

proportion)

in a far

tendency

proportion: 9 and high 3.4.1

the

does the

9 than distributed

more even manner.

occur

close.

trimeters

the

115

of early

of long with

realiza-

the

at

tendency

poa.

the

10 (see

seem to large

be

of word-end

pos.

to

proportion at

9) in Solon and

below. not

apply.

Although

(comparatively in

9 on the

movement preferably

at

, p. 207 f.

the

9 to be observed

two devices

reaiizations are

pos.

low incidence

situation

also

in pos.

word-end

incidence

of

(cp.

of

its

compare

the

and fewer

to emphasize

sum total

the

long

towards

with

of

two

of the

realizations

short

Hellen-

with

the

single-short

fact,

pos.

proportion

may be connected

proportion

anceps positions

of

begins

in

the

positioning

an inverse

syllables

10 (c.q.

pos.

recurrent

level

are

accomplished

syllables

as compared

to rising

As a matter

below).

3.4.

return

the

is

see below.

syllables

authors)

also

1, apparently

positions,

of the sequence

15-18% of

early

poets,

short

of long

in

position

a rhythmical

va.

(23-26.5%

by means of

of

proportion

large

anceps

44-55% of

reflect

and in Lycophron

iambography

of

f1 rst

in pos.

two anceps

For the collie

character

The increasing

a smaller

second

the

as in

elements

poets

first

comedy,

seems to

by four rhythmic

frequency

(outside

occurs

its

in the

in Lycophron).

hand

at

tragic

in the

The comparative other

proportion

in

tendencies

as well

is

114

especially

Here,

anceps

more salient

occurs

rhythmical

strictly.

verse

In the

realizations

is

of grouping

when the

rhythmically

realizations

other

largest

perception

long

when the

verse-position.

proportion

fairly

the

the

as a non1arked

anceps to

effectively

either

of

(of which there over

the

few) the

in

short

other

two

is a comparthree

anceps

THE IAMBIC TRIMETER

( vid.

4.1.

sub

subject

to

other

4.4.

of

iambic

intact

ondly,

diverse

the

nature

four

elements.

its

long

realizations

as

the

predominance

by metrical ize

groups

a clausular For

anceps

the

1.1.1.2. tice

a

tion

on

the

several

positions.

realization

is

syntactical

phrasing:

Semonides'

trimeters

AB Tables ively

high at

these

5 (or

circumstances realize

the )

to real-

rhythm. in the different

from

the

common prac-

non-significant

of

rhythmical

requires

devia-

preferences

more detailed

with

a

favourite

realization

of

the

anceps

informa-

pos.

Semonides' at pos. only', to

(2)

5 preferably

word-end

p. 114 below).

1.1.1.

below.

below).

be a fairly

at

general

by a

namely

IIA,

of 5 in

show a relat-

3.1.3.2.

circumstances,

(( ••• ) .l 1-J- ( ••• )) or

pos.

7 not accompanied

than a short

5 only

the

manner in

trimeters

more often

in other

in

as an example.

appears

in

of

a particular

connected

anceps

Ch. IIIA,

tendency

for

occurs

number

patterning

preference

( ...

choliambus,

the

the

the

'hephthemimeres

(( ••• ) .lj-JI ): see Table

clear

some cases

of word-end

rhythmic

over

of

can be interpreted

occurring

anceps

~-o

large

word-types

there

amount and sec-

of

(i.e.,

the

terms

XIV and XVI show,

pos.

below)

realizations

however

may serve

percentage

as a sequence

frequency

the

serve,

comparatively

statistically in

this

obviously

the

of groups

divergences

of for

In

in

p. 138 f. below.

margin

comparative

likewise

as consisting

single-short

individual

in question;

2.

sub

to keep each

not

by the large

positions

of double-short

may be accounted author

elements

'basic'

to

In addition,

the

end

motivation

see 2.1.3.3,

(exceeding

tions)

of

proportion

anceps

word-end

observed

verse

endangered

the

of

features

of the

structure

the

of four

is

those

(see

in all

return

positions,

indeed

therefore,

the

as

profile

metrical

trimeter

characteristic

resolutions

In comedy,

of

its

is

positioning

comic such

metric

of

the

the

poetry:

which

to preserve

to

refinements

12 verse-elements, the

regard below),

rhythmical

to keep

and

to

with

and

genres

first, of

be seen

will

As

111

(1)

both

Cp. also

short

realization word-end pos.

by wordNow in tendency syllable of the at

pos.

5 and pos.

the situation

7 in

RHYTHMAND HF.TRE

112

This tendency applies without exception as compared to the other word-types adjacent to (penthemimeral or hephthemimeral) caesura. d--ill is also absolutely more frequent than -'--ol in all of the authors, Sophocles and Lycophron excepted. (Exceptions which, by the way, suggest that this tendency does not just reflect the situation that, in the Greek language, words shaped u-u outnumber those shaped • As a matter of fact, in the trimeter the rhythmic sequence v--u may be positioned in twice as many positions as --v.)

So the in

relatively

Semonides

preted

as

partly

caesura; deviate

from

5 not

appears

More the

Semonides

inclines

the

tragic

poets

both

pos.

5 and

ence, is

likely

lables

towards

to

in this

The high

percentage

other

hand,

seems to

of

'phrase-initial',

esp.

word-groups II

3.4.

above;

the

ad Table

frequency

tion

of

e.g.

by the

a high syllables.)

the

verse.

percentage

rather (That

situation

syllables this

than

of

long

syllable•

caesura

too,

more strongly

than

As

word-end

anceps

percentage

at

preferin

pos.

of short

5

syl-

degree. in pos. with

1 in

the

note

- which are often

(-rov6'

)

•:

may reflect a particular where but

is

in

long,

cp.

3.5.

not this

words 99

universal position

a low percentage

or

ad Ch.

either

by

below.

So

a preference rhythmical

on

occurrence

(1 .e.,

see 11

Semonides,

frequent

'monosyllables'

connexion

in Lycophron,

the anceps So it

the

verse-position:

or by position

at

Semonides'

of

high

be connected

XXI below)

of long

syntactical

particular

realization

elided

word-end one.

do.

infrequent

the

to

as a short

iambographers)

to a lesser

a single

(066' , 'ffl\l 6')

nature here

occupying

of

neces-

appears

7, to realize

colon-end

of long ancipitia

the

case

penthemimeral

single

5

be internot

trimeter

of

for

only

does

than

a short

position

pos.

relatively

be responsible

reverse the

pos.

hephthemimeral

more often

other

7 is

for

at

single-short

the

pos.

again,

here

case

in

in

could

single

Semonides'

by word-end

(and

epigram the

operating

syllable

syllables

for

shows,

significantly,

the

short

a preference

tendency,

in

of

Hellenistic

trimeter

accompanied

that,

the

reflecting

5 as a long

pos.

percentage

as in

as Lycophron's apply.

in

well

as

sarily pos.

high

for

a

realizais

shown

there

is

of mono-

J.I\OL&...

.i. J.

REALIZATIONOF ANCEPSPOSITIONS

pos.l long

2 shorts•

short

66.66%

% %% % %% % %%

•44.44%

33.33% 23.65% 28.16% 19.22% 40% 24.24%

% %% % Soph. %% Eur. Med. % %% Or. % %%

60.95% 36.3% •65.04% 37.3 % 63.4% 36.56% 59.71% 34.32%

37.69% •28.84% 33.59% 27.05% 31.01% •28.58% 31.35% 26.96%

% %% % %%

60.03% 32.48% 57.96% 32.41%

26.04% 27.89% 30.03% 29.36%

%

71.51% 35.57% 58.9 % 39.51%

28.49% •28.81% 38.65% 26.03%

Archil. Sem. Solon

Aesch.

Aristoph. Men.

Lye.

%% Epigr.

% %%

41.9 % 71.84% 46.82% 60%

% • percentRge %

0

of

pos. 5 long

short

63.64% 40% 50.57% 32.96% 55% 40.74%

36.36% 25.81% 49.43% 33.72% 45% 27.27%

64.65% 38.51% 66.37% 38.06% 70.07% 40.41% 68.02% 39.l %

35.35% 27.05% 33.59% 27.05% 29.93% 23.75% 31.71 % 27.27%

13.93% (13.58) 68.24% 63.9 % 36.92% 12.01% (11.76) 64.21% 35.91% 63.61%

27.79% 29.75% 32.76% 32.02%

-

1.36% 94.74% 1.38% 93.94% 0.59% 100% 8.94% 91.9 %

(0.6) (1.2) (0.29) (5.15)

2.45% (2.45) 100%

lEuvfl ~" I qx:>wlac~ 1392 YavELorTQJrrt6'; ~ I tv ~~Lv 1029 adal,tx,'~ i:bv I o(Jo' a.tax.w01,1:11. .... .., 568 ~ c:l',v -roe•OO"toC b c,cq:DCI OUKnOEo.i:dSE:; 612 'HCl.l u,v Tilt>' au-a;, el~, I ~ rw;totOV ~, X'(lt,x, I Zmq; ~,:pov >QXJ.. Tt4X>I; "'C0\6' txrrm.L, I yfpJc; ~ 'tb o6v ......

303 OLU!JVl'

Aristoph.

.....

1

4,efp.t.

1

"Al•lnc 6af;AlOH.OV,I e:tm OL 1.1'\vT' 6&:~v lJ£t'Q"tQY£ ... ... 238/9 tylVET' ~L rdv&' trol~, tb 61: tdxcc 153/4

lWV rrp:J.~ occurs

&voolouc ...... navta. 1a1..rrtl«ltwD::lu ...... Y£ >Gt ~L ......

~ 61; ~ YE lPL~1.6n:WJ.L

verse:

the

not

1156

of

that

rhythmic

IV A) and does

~, a«1m muw)(Qt Tbv ~

syllable the

2

by CHRIST (

w yt~;

~

preceding

of the anceps

The most

is

preceding

instance

V

928

as

verse-profile

occurs. Outside comedy, ,,o , except for poss.

in comedy are listed TACCONE(1904) 67.

Aristoph.

ized

occurs

seems to occur.

resolutions

pides,

the

of the

resolution

single

verse-positions

of

which

observation

108-11.

successive

The

that

where

SUTTON(1980)

XXIVff.;

they this

l,l&\E:I.

~I.

wtc

prefer

xtporo-1.v to avoid

suggestion

is

a falling in keeping

THE IAMBICTRIMETER with in

the

absence

other

low

should

be noted

syllables

pursued

poss.

apply

at

again

(see

anceps

both

is

pos.

5 and

4.4.

Law':

2.1.5.4,

in general,

where,

(Compare

verse-beginning

or)

7

below.) to be

155 below).

percentage

as compared

(preceded

the

pos.

seens

p.

the lower

1 and 5 in Henander

when the

VII)

degree.

of 'Porson's

double-short

Table

a rising/falling/rising

lesser

word-end

by Menander

that,

(see

of

to a far

of

especially in

not

tion:

It

of long

to Aristophanes

followed

by resolu-

compare 2.1.4.3. The relaxation

for

of this

a different

between

earlier

regulating

the

does

not

be attractive ber

of

of

a change

a pr1or1.

Indeed

the

resolution;

this

in

the

amount

of words

too'"

, which

likely

to

(poss.

5/6

and

that at

poss.

bridges

the

penthemimeral

is

in

accordance

because

various

realization

-

frustrates

2.1.4.4.

below.)

in

this the

being

to

position preferred

likely

to imply

an

increase

(or

involve

num-

may be a proportional consist

of their

tendency see

anceps

- which

is

realization

matter,

towards

in

because

it

since

it

pre-resolutional XXII);

preceding of

most

possibilities

former

that

mostly

are

objectionable

the

Table

a dactylic

shape

other

comparatively for

of)

very

(Both

- or,

the

of the

to

occurrence

93-100%; of

seeu

the

tendencies:

the

an explanation

increase

which

practice

practice

is

calls

difference

in his

verse,

the

verse-beginning.

with

long

observed

plays

with

caesura

amounts

resolution

begin

rhythmical

(which a

later

plays

a similar

significant

there

9/10)

later

rhythmical

in consequence

of

word-end

of

of word-types

consequence not

the

means that

be situated

not

of his

Euripides'

variety

that

is

movement

involve

of

sequence

plays

rhythmical

in

in Euripides'

Considering

and later

resolutions

extension

tendency

explanation.

his

which

end

alternation

of a falling

after

of

in comedy

XIV) and the non-observance

sought

of

the

percentage

T~e effect

does

tendency

also,

movement is

relatively (Table

of this

respects

rhythmical

141

the preceded

the

the

latter

occurrence by word-

clausula:

see

RHYTHM ANDMETRE

142

TABLE VII

REALIZATION OF ANCIPITIAPRECEDING RESOLUTION IN POS. 2 (as compared with the realization of the anceps irrespective of resolution*)

J

uu

.l

uu

Aesch.

85.71% 37.69%

14.29% 60.95%

Soph.

75.64% 33.59%

24.36% 65.04%

Eur.

39.96%

60.04%

M~d.*

Or.•

100% 36.01% 31.58% 31.35%

63.4%

68.42% 59.71%

Aristoph.

31.18% .. 26.04%

68.82% ... 60.03%

(cp. Nub. Eq. •

30.35%

69.81%)

Men.

31.52% JO.OJ%

68.48% 57.96%

* The general percentage of short/long ancipitia (as derived from the sample studied: see Table II above) has been added in italics. • (All) figures derived from sample studied. ••Proper names included.

TIIE IAMBICTRIMETER 2.1.4.3. is

In the

realized

eral;

this

seems

to

end at quent

applies

to

be connected

than

5 - which otherwise:

syllable

in pos. even

with

the

with

syllable

the

XXII,

more often

preceding

than

it

as to tragedy.

tendency

resolution

Table

6,

more often

comedy as well

see

as a long

II

Table

of resolution

by a long

pos.

realized

case

143

that

in

in pos. p.

6 is

case

it

is

situation of word-

even more fre-

230 below - the than

in gen-

is

This

the

anceps

anceps

in general:

is

see

A above.

TABLEVIII REALIZATION OF ANCIPITIAPRECEDING RESOLUTION IN POS. 6*

J

Aesch.

UV

76.74% 64.65%

Soph.

18.45% 33.59%

81.54% 66.37%

Eur. M~d. •

15.78% 29.93%

84.21% 70.07%

27.37% 31.71%

72.62% 68.02%

26.62% 27.79%

73.38% 68.02%

26.6% 32.76%

73.39% 64.21%

Aristoph. Men.

Vid.

~

23.25% 35.35%

Or.*

*,•,••

IJU

**

ad Table VII above.

Observation of a sample consisting of the first 400 trimeters of Euripides' Ned. and or. each shows that the anceps in pos. 5 is realin 74.84% and 74.41% of the occurrences of ized as a long syllable word-end at pos. 5 followed by a long syllable in the Ned. and or. respectively, whereas in the case of a resolution in pos. 6 (preis realized as a long syllable in ceded by word-end) the anceps

RHYTHMAND METRE

144

78.57% and 64.94% (of the occurrences of word-end at pos. 5 followed by resolution) respectively. The explanation of this difference would seem to require a more detailed observation of the word-types (and the caesura situation) involved, which in the case of these two plays however does not take us very far. This situation in itself is in accordance with the supposition that the difference between Euripides' earlier and later plays concern the frequency of resolution rather than the rhythmical movement of the verse (realization of the ancipitia, incidence of word-end); - contrast the situation in the comic trimeter, where the differences (i.e. from the tragic trimeter) concern both the frequency of resolution and the rhythmical movement of the verse. Study of a larger sample and of the vocabulary involved remains as a desideratwa. 2.1.4.4. of

In tragedy

resolution

lable.

in

the anceps preceding pos.

In comedy this

10 is

the infrequent

invariably

realized

occurrences

as a short

is not the case. TABLEIX

REALIZATION OF ANCIPITIA PRECEDING RESOLUTION IN POS. 10* ~

uu

JOO% 57.63%

Aesch.

57% Eur. Or.•

Men.

*,•,**

Vid.

uu

42.3%

1()()%

Soph.

Aristoph.

~

42.96%

100%

**

53.21%

46.25%

30.47% 39.55%

69.53% 56.55%

26.92% 39.5%

56.66%

ad Table VII above.

73.07%

syl-

145

'IltE IAH.BIC TRIMETER

This for

situation

word-end

after

before

a long

tragedy E.g.

than

in

thus

is

even

the

view

at

the

allowed

9 is

, P• 248ff.

in

to

realize

keep

absence

of

the

distinct

stronger

time

word-end

comedy but

below).

not

in

.....

...

&.q:n ~ov

in

anceps

the

the

in

of

this

9 as

pos.

metrical

case

resolution

in

grouping

resolution

by four

in

position

a long

(esp.

pos. in

10 Men-

- ......

Men. Dysc.

2.1.4.5.

In studied

enough

to

i:bv Iii.\Q." Hal 't'OOt'£\J8uc alrti;>lJE~I.

41

~

55

all'

Orestes, the

of

X),

particularly

ated

in one,

is

which

the

long

and

reap.

28

is

anceps

the

places

in several

this

other

only,

from position are apt

whereas

places

in

4 is

the large

resolutions

syllable.

uu-1 or uu- ...

shaped

two other

these

divergent in

tragedy

in pos.

than as a short ancipitia

~

only

succeeding

significantly

short

as words

( ... ) can be located 4

not

I J 61.6rt£p ~

number of resolutions

informative,

situation

- ... ..

6at1.'Hbv 'tij 6t.a-rp1.'3ij

as a long more often

proportion

or.

~,

OUKmtt.au'>.

in which

be

realized This

12

Euripides'

sample

E • g.

preference

\.£V Y\J\,QL~ Q\.IOJL0Ur;

1,U.d.;)

to

the

same

ander).

is

of

.. .. ...

tyw ~

tendency

(and

elements)

poe.

in

in

1302 o6t dv lJ£8€u,v. I] ci,e0· 'tL ll'

Eur. or. 518

syllable

while

's Law": see 4.4

("Porson

comedy the

understood

resolution,

syllable

Soph. Phil.

In

easily

is

the

general Table

(see

to be situ-

words shaped

uuu

in the verse.

6vE1.6LCw~ tolac,u 6' a&.xlav l,L£'VTL 6£i: MO.TilYQ:>Ei:v;

b "VOP l,llkOPU:>r; -

-

'KO(m

.,._

tvtEOSEv UYPLQ.ouvmxdc 'VCXlt> \IOO£L 3 7 iavlruaw. 6vot.de£1.v "VOP atooOi.n1. 6roc 34

In Aristophanes' proportion is

of

approximately

occurrence

Nubes & Equites

the divergence

long/short

ancipitia

following

as

as

proportion

of resolution.

large

the

is even smaller: resolution irrespective

in

pos. of

the 4 the

RHYTHM ANDMETRE

146

TABLEX REALIZATION OF ANCIPITIAFOLLOWING RESOLUTION IN POS. 4* uu

Aesch.

*

Vid.

( 1=) 33.33%

uu

J

( 2=) 66.67% •

64.65%

35.35%

Soph.

(10=) 66.67% 66.37%

( 5=) 33.33% 33.59%

Eur. Med.

( 4=) 57.14% 70.07%

( 3=) 42.86%· • 29.93%

Or.

76.19% 68.02%

23.81% 31.71%

Aristoph.

69.23% 68.24%

30.07% • • • 27.79%

Men.

78.24% 64.21%

21.76% 32.76%

ad Table

VII above.

• The two instances which account for are Sept.

.l

of short anceps following resolution in pos. 4 the divergent percentage in Aeschylus' trimeter

OMi>JJYlhv te+:>bv £UU£Vr\ na1.c:rvux,v .........

268

59 3 ea&: i:av cUoka 61.a. ~ ~ - which are also exceptional in that they are two of a total three trimeters with double resolution occurring in the septem.

of

**In the Nedea the instances of short anceps following resolution in pos. 4 are 375, 483, 1046, all three verses containing the word

m-rtt,n. ***One occurrence

• All figures observation

4

5

of uu uu ( • O. 7%).

in this (and in the following) table are based of the samples used elsewhere in this study.

upon

TiiE IAMBICTRIMETER In

comedy

words

of

the

possibility mical the

course

mark

metrical

resolution

compare first

grouping

in

the

often

the

four

so

verse-positions

a

accommodating

an extension

of

relaxation

here

also

to be even

appears

high

to

that

verse-position

relatively

to

in

of

the

rhyth-

9; see 4.4. below). In Menander, in pos. 4 is realized as a long

pos. -

both

and

a resolution

comparatively the

at

difficulty

owing

divergence

(word-end

succeeding

no

is

( ••• ),

rhythmic

tendencies anceps

there

uu-

shape of

syllable of

of

147

preceding

percentage

of

in Menander's

the

tendency

stronger the

words

in

the

anceps. which

trimeters:

to case

(One may occupy

see Table

the

XX, p.

214 below.) E.g.

<x.CUJ.L ...... t,:x'i'Jv,n OWI.OEL'Vtar1. 1:l 1l0'tE ~ .. ... ... -

U£8uc.>, kO.takW, AO)'OV~ o(M

60

Dysc.

77

TP(£1.s;au 1:l ~;

110 2.1.4.6.

In

tragedy

the

realized

by a short

tions.

the

first

beginning

clausular

of

cnl"lstances.

since

word

at

(See Table

as the effect (see

pos.

(For exceptions

Table

XI, p.

or. 81

Eur.

&:t

896 ~•

Word-end gether,

at will

tidlv

pos. occur

short

realization

sample

is

irrespect-

150 below.) motiva-

often the

be realized

in

occurs

at

preferred these

cir-

p. 240 below.)

Ch. II.3.4. word-boundary

n.99) at

... ... ... ... ... ... otx6'JE;a&l" ot y6p fxw l,l6vn'V ... ... K~s;· 06E:...6'...cw-rote CQl,lJfl"tPl 61.~ ........

75

or.

anceps

vcn.> MC11XK7tdCO\ft'Q

7

Soph. Phil.

the

in lied.

rising

short

(2)

movement (see

single-short

CN

in pos.

majority

75% and

In most cases

10,

a double-short

Soph.,

the

(1) the preferred

cases

of resolution

concerned,

100%; in

and 64.29% respectively. in these

MClLTtq)

m'CSac, ~ ~1. ........ fat:vto iaOta ruttQE, ot TOAQI.

word-types

Aesch.,

~ e,t ~

y6'.a,1., .........

O£

18.18%, 6.25%, 1.92% of all cases Eur. Ned. and Eur. Or. respectively).

(i.e., Soph.,

that

npoc:,rtL T\M

597 qiJcJcu. ~

Eur. Ned.

RHYTHM ANDMETRE

.....

...

6' •~,

fxci.;

lJl'l"tPbc;&voou.nd:nls:

oo MJUlP' ~ XPaJ"tL.~1.6u..,v ....... 6' f.aA> 37 3/ 4 ~ rowx.oOv~, fKAUOV&\1.TUrlAJV ...... n \Jbc ~ 'l'Uv6at:>E:lac rui.obc 6;vcx,1.ovcs,avov. 42

the

Of

realization po&. at

word-types of

10,

pos.

the

beginning

anceps

also

at the

here

also

there

10;

but

here

the

beginning

that

the

comparative

type

almost

long syllables

still

a

popularity

completely following

of

rising) (or

accounts resolution

word itself

movement.

in pos.

of this

64

TD.:JP6tvov tufl

T£

w

proportion

--

lJl'l"tPt 1'1D(Xai.J y6p

260 ¼ELV Men. Dysc. Aristoph.

oro• tv•

~~L

10 c65tvl. , TT(XX)TlYCIPC\JC.E TQ::)6-r~ 6' Nub.

ao6tva.

485

- ... ~ bpe:l>..w c,xt-r-".1.QC, bt1.~

495

>d:n£1. 't' bt1.c,xcwOALYOVbtL~L

14 xfpxv

-

....

v~-

JO.l 'HQM)L

TICU.TIDNl

YEVYPf;L "tPLlJUl,~

644 d:6tv A.tyELC ~-

Men. Dysc.

Etol

raivu

--

-

I) _..,__ Tt£PLoaJ vuv

Y\J\,Qt'x' fY1"llJ£, t'E'tEA£V'tTlx6roc

tiiol

150

RHYTHMAND METRE

TABLEXI REALIZATION OF ANCIPITIA FOLLOWING RESOLUTION IN POS. 8* vu

.2

Aesch.

23.08% 42.3%

76.92% 57.63%

Soph.

18.18% 42.96%

81.82% 57%

6.25% 39.94%

93.75%

34.62% 46.25%

65.38% 53.21%

Aristoph.

64.91% 56.55%

35.09% 39.55%

Men.

66.88%

33.12% 39.5%

Eur.

Med.

Or.

60.06%

56.66%

*

ad Table

Vid.

2.1.5.

Parallel

tive)

frequency

pose

a list

resolutions terial

the

the

verse-types

likewise

tabulating

ization

by the purpose,

habit

of it

10 whether

the

they

in verses

the

with

resolution.

the

preceding

or as a short

ancipitia

subject provide

by the case

could

syllable;

in the verse

of

are

com-

not

the

ma-

adequate

information

on the

As a consequence

various

of

the

(rela-

number of verse-types,

do not

in the

one

quantifications

on the

resolutions

anceps

which show the

resolution,

complete

known only

as a long

of the other

A above,

without

literature since

naming

is

and Ill

Unfortunately,

of ancipitia

realized

Ill

of

this

'foot',

6 and is

to Tables

presented

realization of

VII Above.

included.

to serve

tl

uu

forms

resolution

occurrence

of

taken

by

in poss.

2,

resolution

but even so the realcannot

be ascertained.

THE IAMBIC TIUMETER Obviously

151

the relative

be more informative higher

frequency

trimeter ever

will

in

relative

and a greater of

the

and Menander

should

be borne

is

rather

small

indicated

text

in

above

question

of resolutions.

suited

to give

preferences

will

shows a The comic

an impression,

which may play

how-

a role

in

of verse-types. of

132

sample

our the

in mind,

from

following

however,

in relation

The average incidence

the

diversity

rhythmical

limits

phanes

as

be best

frequency

Within

of verse-types

proportion

therefore

defective,

the

order

the

trimeters

Aristo-

observations

can be made. It

the

quantity

of the material

questions

investigated.

that

to the detailed

per 100 verses

of resolution

of

is:

& pr. names - pr. names for Aristoph. (Nub.Eq.: for Men. (Dysc.Asp.Sam.: Compare Table IV above.

In our sample of comic

2.1.5.1. ent

verse-types

amounts

to

98.12 87.49

1436 trim.) 1615 trim.)

trimeters,

315 (in

the

91.57 85.76

sum total

Aristophanes,

235;

of differin Henander,

245). These shape

So

at

verse-types the beginning

-- ...

103 types•

v- ...

80 types

UV-

67 types

...

can

be

distinguished

of the verse 133

with

in the following

respect

to

manner:

Aristoph. Hen.

34.89% 82 types• 82 types - 33.47%

• 25.4%

Aristoph. Hen.

63 types• 63 types•

26.81% 25.71%

• 21.27%

Aristoph. Hen.

48 types• 47 types•

20.43% 19.18% 10.21% 13.88%

32.7%

-vu ...

40 types•

12.7%

Aristoph. Men.

24 types• 34 types•

uuu ...

25 types•

7.94%

Aristoph. Men.

7.66% 18 types• 19 types • 7.76%

the most remarkable

authors,

the

ginning

is

figures

above,

only)

- the

diversity

very

observation of

much similar several

greater

is

verse-types (although,

verse-types diversity

that,

of

are

in the

with

trimeters

a particular

verse-types

by one of with

I :14 135

of both verse-be-

as may be inferred used

their

from the the

authors

a (double-short)

152

RHY'niMAND METRE

falling

verse-beginning

tion.

(See also

in

2.1.4.2.

Henander

with

without

any

three

three

positions

containing

have

and do not contain

in

long

the

of verse-types

Aristoph.

syllables

-

fE

since

Aristophanes,

the

his

verse-types

proportion

of his

by those the

anceps

in the Aristophanes sample from Menander,

lo~g ancipitia

a~e:

mv ot>,~ -

de;

-

Vf1ll«1l

Whereas in Menander there in

(and

-

hw,

ToCc; T' ru"'CU)(O(b1.v Toi:c; T£ n,:d:n:ouo1.v ~ 'MQYW. TL 00V &;; TDV1Xl taOT' QJYlC~1. -

Sam. 185

than

two of

VOIJ.lCt.i> Tml.V ~1.c;

£[\.0.1.

180

Asp.

the

positions

followed in

oo Y d~ -

-

271/2

Dysc.

included

a.U.' ~ ldx1.0T' t\Jn1.~1. Tl'iv o(Klav ~ 6a:iA£Dx,{;;,J. 6£C¥x> Ed.p', wIbvala,

Eq. 4/5

Men.

excep-

resolution.

wi~h three

1484/5

Nub.

are

anceps

These four verse-types are represented, sample, by 298 trimeters (or 20.75%); in the by 385 trimeters (or 23.83%). Examples

notable

below.)

moat frequently,

occurs

which

one

resolution

syllables

long

resolution)

verse-types

the

above and 2.1.5.4.

Even when the verse-types verse-type

being

au y', wldv. a greater

is

verse

is

occurring

at

most

uvrn.1ov£ut:1.c;,dnt

diversity

the

of verse-types

same time

frequently

1.101.

more uniform,

constitute

a larger

trimeters.

The first ten verse-types in the order of frequency are represented, in Aristophanes, by 504 instances {or 35.1% of the trimeters studied); in Menander, by 643 instances (or 39.81% of the trimeters). In

Aristophanes,

verse-types

contain

two of these In double

the

four one

of

resolution

(comprising 42

verse-types

of

the

725

trimeters).

contain

or

Menander This

of

of

preceded

instances

10 most

frequently

resolution;

in

occurring

Menander

only

a resolution.

frequency

is in

these

occurrence

verse-types order

of

by

verse-types, 22

verse-types

50.49% of (comprising

situation

is

the

the 1111

first

type

in

trimeters

Aristophanes counted),

instances,

in accordance

with

with

by

or

68. 79%

the

higher

153

THE IAMBIC TRIMETER

percenta~~

of

resolutions

in

the

sa~ple

from

Aristoph~nes

in

rt-nPral. 2. l .5.2.

Both

verse-type

in

Aristophanes

containing

and long syllables

one resolution

Henander

has the

the

E.g.

resolution

... ... ... ...

l

-

-

-rovKTPbva!rtflc w ~ -

500 >«X'COBou. ,: l A1P£ tc; 11 £ tnt &'i w

w

-

-

w

-

VtN

1,.101. 't06C

uovoc;,

1398/9 btt mtc nu.\a.l.c 6Mavt~t. w

-

"tU K\JVEl.(1 l,1£1.Y'VU(; i:otc 6vclo1.c nr:xm.a:n,'V. Sam. 71 i:l 13cx'i:>; yE:AOtov. ~• e:['\nL 't~ y4,iouc w

Hen.

w

327

Asp.

This verse-type resolution.

w

w

-

-

'tfk; ~lac;

a.\6vLO"toC_fatal.

in fact

occurs

lCPL"tTK;

more frequently

than one type without

namely that with three short ancipitia: u-v-v-v-v-v(Aristoph. 28 instances• (Men. 31 instances•

E.g.

1.95%) 1.92%)

...

Aristoph.

Nub. 1178/9

Hen.

205

Asp.

579/80

Dysc.

In fewer

Aristophanes, short

a resolution short

in pos.

131 - 2.3%) 2.11%)

Ari stop h • 33 i nstancea (Hen. 34 instances•

150 tvtec.J.£v Etc

Nub.

Eq.

most frequent

in the other anceps positions:

uv-v---v---v-

Aristoph.

and in

ancipitia,

... ... ~t ... 6t 6fl i:l;... (] Tl'Jvfvr1'V ... 'tE let~. l I lV!1ydp b:rc1. >«it vm 't1.c truti:n; ... ... ... 6c::lci&> 6t. aol 1:1., ~ eo;,.,, ~"td'V£1.v; ... ... ~ Til'V6lk£Ma'V &.::76E:VEt nvi. ... ... ...

who has there

proportionally are three

which have a higher

more resolutions

other

frequency

verse-types than

this

containing pure single-

sequence: - -v- --vuu- - -v-

(32 instances 22 instances•

- -vu- - -v-- - -v--

(32 instances• 24 instances•

- -v- ---vuv- -v-

(29 instances• 20 instances•

and

• 2.23%, cp Hen.: 1.36%.) 2.23%; cp. Men.: 1.49%.) 2.02%; cp. Men.: 1.24%.)

RHYTHM ANDMETRE

154 E.g.

791

Nub.

t\v t, °'""''VlA'1 1,101.IJl'iTIPC>a+i t64; Unl&I(;

1500/ 1

-

w

-

-

-

f~ OE T1'X)CTbv eiil.lOV,t\.O.a,ic 1,101.6lxnv. 11 >GY6> 6t. o' ~ Ha.t 6~ 1lA£LO\.Q.

--

710-1

Eq •

Aristophanes

In

2.1.5.3.

resolutions

has

the

resolution

moat

in

frequent

poss.

verse-type

1 and

3 and

with

long

two

ancipitia

otherwise:

a type

which

does

not -

E.g.

90

Nub.

occur

-

in Menander.

w

w

¼£ &'i,

TL xd£u£1.c;

-

w

-

• 0.91%),

(13 instances

ulHJu---v---u-

-

-

seems

to

11 Ha.L n

11 Tt£LOOUJ.I.

ll£LOEI.;

1111 ~ .. , xouu:C 'tOO"rov cxxp1.0Tt,v6£E1.6v This

relative

frequency

resolution

in

notably

two

strong

at

successive the

be part

of a general

non-marked

beginning

of the

preference

verse-positions,

t~

which

is

verse.

In

Aristoph11neR 14 verse-types represPnted by 36 instances (or of the trimeters counted) have a rising double-short versebeginning ( uu-uu- ... ) ; in rienander there are 6 of these verse-types, represented by 11 instances (or 0.68~).

2.s1,:

Resolution types

in

0.84%),

in

the

poss.

3 and

Aristophanes

whereas

in

the

5 ( u-ulHJu-

sample sample

••• ) occurs

(represented from

5 verse-

12 instances

by

Menander

in

there

is

or

only

one

occurrence.

E.g. Aristoph.

(each

Eq.

183

0[1,101., -rl TTOT'

actually only)

which

has

featuring

verse-positions

phenomenon

two verse-types

OOH.de

occurrence

marked

ru 't4) 61.~;

871

Aristophanes one

..w4xJkac; .. >«l~

Nub.

- namely

is altogether

6:18' 6n cm.,Tbvoo dJc 4f1.ov;

a resolution poss. absent

3,

5,

in the

and

7;

sample

Eq.

1228

Nub.

50

by

successive

in three

E.g. Aristoph.

represented

5,

7,

and

non9 - a

from Menander.

- ..

auTbv TtE'.PI.~. 11 Ha.'tdaou mx.tc..,;,l,DOTI.YLQ

--

,,,,,..

""'

THE IAIIBIC TRIMETER

155

2.1.5.4.

As may be inferred

in pos.

2 in

centage tophanes ander's

Henander

in the preceding

and Menander is

the rhythmic

level,

the high percentage

on the one hand, and the fact

of long syllables trimeters

froc

very much similar

more frequently that

anceps

of resolutions that

position

on the other

show a falling

the perin Arishand,

Men-

verse-beginning

(on

I 2

uu · · · •

is):

In Menander, there are 34 verse-types represented by 126 instances (or 7 .8:); in Aristophanes, 24 verse-types have a falling verse-beginning, represented by 83 instances (or 5.78%). (Sc. of the samples concerned.) (Men., 24 inst.;

-vuu---v---v-

Hen. Asp. Aristoph.

Aristoph.,

- t>aeev ...... auTfivoCa de

74 ~

Nub. 659

1Xi.iv 1:'E"tTXJlr.o&N dn' (Men.,

-vuu-v--u-v--u-

10 inst.;

16 inst.)

tiiJv~

b:n1.v ~ Aristoph.,

~

5 inst.)

- ...... 00X 'tO n:i:xiYl.11 6' £le uto:,v ~ - CRtovo{;), ...... 213 cqJl")C

does not occur in the Aristophanes &Ample.)

tl«l'VOVE'On.JX.TlU' tim,"tQ YEYovt\0.1.

RHYTHM ANDMETRE

156

2.2.

The first

ceptional rence

metron

phenomenon

of resolution

E •8• Aesch.

occurs

mainly

in non-marked

Choeph.

6 57

Aristophanes

l"lil'lianhi

-

(cp.

the

ex-

occur-

in tragedy).

oxf\\.Ul«1l ~ tun0C

E

•kJNd(;. b 6t 't'OL6o6'6;vt'p

ttv, ~.

-

1'T.06aJtbc; b [;t'\.q;: rr6a£v;

b Ku5a81,\aL£UC;K1.'.x...,.,:

veap. 902 noO 6' 6 6L~, and

Accordingly, (cp.

names

This

Pax ~63);

interjections

volver.137

....

.... .., 547 ~'VOl"Dtoc;

e.g.

Aristoph. where

w

-

Cboeph.

proper

verse-positions

488 • I~

Sept.

(compare

in

occasionally.

qmaxl-«Mc; MO.l1't£'rW:K,:avraJtva.L

1049 -

But also,

as -vu- very

is realized

(other) the

colloquial

phenomenon

VON WII..AMOWITZ (

2

189'l)

is

eYpressions slightly

111.166):

arP

in-

more frequent see

Ch.

III

in

A sub

2.2, p. 276 below. of

n-e

fact

this

phenomenon

long

and

types

of verse:

that

short

the

beginning

reminds

syllables compare

of

the

triineter

one of

that

of

in

the

Ch. v.2.1.2.

the

verse-initial E,

with

note

occasionally free

admits

distribution

positions

196 below.

in

of other

157

THC IAMBIC TRIMETER 3.

The rhythmic

verse

as a rhythmically It

the

should

verse as

types

the

of

structured,

utterance

dactylic

of verse

concerned.

the

constitutes

whole.

rhythmical

completeness

necessarily - as

the

(and

rel!;ards

its

not

of

usually)

meaning,

being

UI

(see

Ch.II,

utterance

filling

3.1.1.

above),

according

to

the

metric

several

the

degree

profile

of

the

instance:

7 .27-9

Sern.

profile

may be distinguished

of

for

the

not

is

hexameter

enjambement

Compare,

while

linguistic

completeness

type

that,

of a poem.

metric meaningful

it

part

As in

the

axiomatic, a

an integral

of

be realized

is

complete

of

realization

-div 6' b. ~, f'i 00 1 tv qpoolv 'VOEt:· ytY'l)8Ev tn.1tp1w• -div lJ£VyE).4 u: 'MCl.l tm.1-VWEL

96-8

~Et:voc; tv 66\Jot.!; (ai,.,

l,LLV

ZEUCy6p µtyLarov -roOt-' btolflCEVWCDC6v, Y\J\QL>«l(; • t\v n >«1l oat~L v ~kt:v V fxovn , tii>lJi.\Lota. y l ve:mL WCDC6v

37/8

l-l£Va~

cbi:Ep ~ rroUcot1.c

fo-rr)>C.',

6ntr~.l~,x«iro1.6e:vfi~

ot6'

Tbv K1.a:it.p:i;voc;'t6rcov (cp. Phil. 549)

6t1.

159

THE IAfIBH.: TRIHETER

1138/9

X.£1.l,ii'NJ.6'

ftal "t6ui, 't'1 ElC ~'

ty&,

ci>.oc T' etc i:a. tiafoo ~ecu.ov 0' fvEp&v te 6':>1.0TE,:xic; mx'

tV,au\ov, 2011

Phil.

dv

C001.crro't'OV~w.tov, &CTT.EP tent (Ml,). 64/5 .~. ~

Even here

of course

it

at stake,

the rhythmical

tA.tyx£1.c; (compare oc 1164).

is not the context

See PRATO(1970 (Studia SCHEIN clearly illustrates of enjambement in Sophocles (1906).

Tl "t'CJOT'

rhythmical

14 2

completeness

which is

being unambiguous.

Florentina)); the rhetorical (o.c. 46-50);

SCHEIN (1979) 31 + note 42. effect of different types for Euripides, see HUMBORG

THE IAMBICTRIMETER 3. 1. Recurrent near

the

incidence

middle

rhythmical

161

of

of word-end

the

balanced

constituent

In comedy, as will movement of

words over This

the several

reduced

rhythmical another

verse

tendency

verse-positions for

movement seems

to

which

is

a

into

See Ch.I,

3.2.2.

to modify the rhyth-

the

distribution

verse-internal preserve

the

trimeter

is considerably

be connected to

modifies

the '43

(or cola).

by means of

preference

tendency,

the

verse-positions

internally

and structures

parts

be seen,

the

one of the

(caesura)

movement of the verse

two evenly above. mical

verse

at

less

variation

with the

the

of the strong. of

the

prevalence

of

distinctness

of

the

metric profile underlying the verse (identity of verse-elements; above; 4.1, 4.4. below. metrical structure): see e.g. 1.1.1.1. Here again, are rhythmical

one should sub-phrases)

beware of interpreting as syntactic

the

cola

(which

entities.

The facts do not by any means bear out SCHEIN's claim ((1979) 32) that an adjective is not usually placed in a different colon from corresits corresponding noun, unless there is another adjective ponding to the noun in question and in the same colon with it. Thus, according to SCHEIN, Ag. 4 would be exceptional: &.,-r'217vk0.l'Ol.6a.WH.1:~

bur'Jyq,1. V •

Compare, however, e.g. Aesch. Ag.

330 ~ 6 1 345 8E:C>Cco' 347 YML ,:'

499

®1:£WK"tLTWXYK't'OC b.~ n6vor; Et ~1. ~ dv, d rrix,c,ru1.a JJnWX,01. )G(Q

~,:°'

wv {iv,:lov 151:,:oi:a6'

arcantp-yw ¼ov

504 ODCQ't'OOOE ql£YY£L 'tii£, 1 &,)1.MqJJ'lVf,:cq; 528

563 xe:1.~ 621

x~

'MO.L antpJ,JJ. Tmt'lCt~,n1. o'

Et ¼01.

nc

ow,vc:JKrovov

tc wv TTt:M1Jv q:,0,.01.01. ~ XPOVCJV

641 ~ 6l: ~ t~y1.o6tvtat;

6 52 q&lpc,vre:

-tbv ~'VOV

~

• ICY£lwv

etc.

c,-qxn-6v

etc.

Stylistically speaking a more significant difference seems to be whether adjective and noun are adjacent or not; 14 4 the incidence of caesura in between is quite a different matter. (Compare, for instance, the following examples with those cited above:

162

kliYTH.t1 AND METRE

1209 "'6r) "t~Ot.'V

Ag.

tvetc1.c; '(p,\.ltvt,;

.\uHr+l, Atovroe; cuy£'VC:JO(; mux,lai.

1259

m"COVO(;. td6 • c}6 •

14 06 t.pyav, 61.>C1la(;

fx£

1. •

>

Often, the question whether the adjective is situated within same colon as the noun or not depends solely on the option for of the two caesurae (see 3.1.3.1 , p. 172 helow); e.r. y6p

1284 ~I.

Ag.

tx

~

8£,G;.,

which complies with the tendency formulated decides in favour of a penthemimeral caesura. short

In Lycophron the of a stereotyped

the corresponding 17

to

seems

one

if

little

be

t:niiN

utv a.(TlU'V&,n .,YLOO Tliyov

16 •~

with

by SCHEIN only

(123) &t-£ >eal"'ol,q; c34>

particles

• words followed

by enclitics

(particles,

pronouns,

verbs)

lCT:£1.nt ..... 1J01. (224)

n, (

edKvEC° µt .....

I utor;"'b:rnv I

£("cx,("nc • words followed

3 7)

by postpositive

(and non-enclitic)

(795) particles:

TtECL·rcx,vo •.o:t0:' l!it C6 2 ) It'\

T\UELC \Jtv(794) • negatives - except

,...•wu"""L-• """'"' ~~1,

(56)

in the case ofiota

deaon•tratiwmor

ooxtI W0ft1XtJ • nouns immediately

followed y~

• words in formulae/stock

an added particle

(132)

by a corresponding

"'(;)J

( 129)

phrases vl-,"'1:tr,rA1.6vu:1ov ( 91 )

aau•""£lc'"'~ ~•~1.

n,.rri:xi,n.,.'

(

1290) (823).

(133)

participle

fol-

166

RHYTHMAND HETRE

3.1.2.

In the

the

early

trimeters

~reat

have

majority

caesura

iambographers

of

word-end

which

penthemimeres);

Euripides

the percentage

lenistic

period,

Henander

position.

See Table

So, in contrast being

and

proportion

is

of

half

as

70% or

verse-element,

the

the

caesura

p.

176f.

3.1.3.1.2., the

epigrams

iambic

over

the

(called below.

In

60%, and

trimeters

of

even

have

the

Hel-

in the

case

word-end

at

this

XII below. to the rising

two elements

fifth

111orP.than

80%.

Lycophron than

tragedy

the

however

is over

the

more

after

in

to be considered

see

In Aristophanes, of

is

and

longer

than

verse-beginning, the

first

the second

- has a falling

colon

-

rhythmical

movement. This

variation

produced in

this

ducing in

by the a rising

the

in

iambic

the

in its

sequence

there

only are

level,

boundary

involved

(see

izations

to

stop.

caesura

ized caesura

according full

is

however

just

there

is

the

that

3.1.1.

hexameter.

However,

two possibilities the

middle

one way to may account

caesura

for

(see

(stronger

above), of

phenomenon

141

whereas

the

-

proverse,

the

pre-

fact

that',

an alternatbelow).

caesura type

at

the

of word-

from sub-optimal

significant

antilabe is

the

or weaker)

ranging

the

3.1.3.2.

ways of realizing the

of

is

effect for

realize

position

degree

(A dramatically

occurrence this

only

to a lesser

to

rhythmical

before

second

various

the

are

- which the

rhythn.ic

the

there

structuring

own right

resembles

dactylic

colon

trimeter trimeter,

Of course

rhythm

in the

second

iambic internal

the

caesura

double-short

ferred ive

of

real-

realization it

should

by no means restricted

of

be realto

the

positions.)

The following epigram by Leonidas of Tarentum may be quoted here as a poem consisting solely of trimeters with a penthemimeral caesura (AG XVl.307):

•15•, &JC b ~U(;lb.

\.lt{nc;'A~

UtEOK£A1.ata.t. I'HQ.Lt6 ~ Uw.Em1. tx:nxP1. yulEUyELV x86w.(cp. 943) 1124 ,:C 6' t1fLOVUOLI Tf'ic6£l W'fx.avE L l o' ~

2 6. 6 ra'nnL ve: xal c,qac;I6.Uo'

ll:x:me+:> ~LC

bpa.i:ctv' tx:rtl!x£tvocl~ raiyor; SLC l 5 ~E -rb 8e:tov!~UJ. • 1-cwv "CLCbtoEL • 7 .23 oO-r' ta8)bv o66tvjol6£1 "tOLCJU"tTIYuvi'i 176.1

Seci.

1. 114 Corrv6' fxOVTEC !l-DC'PC1VI ooYL~ So 1 on 3 7. 7 OUKdv xa-rtax£ Ia'iJJOV, Ioo5'

Aesch.

Ag.

351 630

928 Soph.

OR

271 361

410 Phil.

Eur.

Ned.

ammm

Y\J\W.,kat'' d\4:n.lCLXAXN' I~

¼£LC

TIO"tE+U yap al>'t'OO ICwvroc;11'TE~ a£00 utl'Latovj&rpov. l~law. 61; XPfl lJl'I,:'cLNyuwiwwv lna.Ua~, l110,:ir,> GIUX l:x:rc£y' £t1t£tv l'('\Kal'.TtUV" li 6oOAOC, I 6.ua /toElQ.

242

CX.JV u' ~~ l 6Mo I n:.Vtv~ ¼£Lv; ~ (l)LAm:tOU na.Cj nr.xt'POC, I~ (l)LAl'lS; xaov6c

49

~bv

100 TL

oCwwvIKi:flUJ.l6£0rrol'Vl'IC ~

356

oo ydp

798

tlkl· i:l l-DL Cfiv l~;I

n

at

of metric

below;

22.1

19.2

is

of an enjambe-

I C~, looo' 6.ya.Lcu:11. ooyap "CL ~!xiiix>!;loo5' tq>l~

Archil.

impression

word-boundary

speak

5 (for

the

appears

remarkably

rence

pos.

6 and 7, parallel

tragedy

the

has

one could

level

positioning.'

in

at

is,

stronger

Ch.V.2.3.2.

positioning

than

structuring

so that ending

it

As

syntactically

position,

word :In poss.

the

hesitation.

internal

by the

metric

rhythmically

the

of

caesura

186 below).

upon

without

outruled

ment of the P•

verse

possibility

were

colon,

177

~LC

iOEL'VOVl@V~ ll'

o0-r£ l-DL

fXEL

TD'tPlc

7

178

RHYTIUI MD METRE

~16E:qx); I~ 6' ~1.M4Jnv; ~ TlA£\.POL(;!~, IlCCJlJ)OW)'HCJIJJ'lV ~ mu"lla¥) I 6.>L~; \ Et 6t oot f:au: t au i:01.qui:EUXJC; l8uvattP', lyt(x:Jv, JCDdrv TOU\a\lTLOV 61.:l~i:• 11\or:xm.L ~1

n6ecv nat

215

Or.

2 23 31 0

585 938

Arietoph.

117 d \m 6q,e:lAti>j61.Qot, I,:oou.:,vT:iJNXPOiN

Nub.

660 6>i.\' o[cS' t.Yt,JYE i~',

Id l6l 1,11L'VOl,D.L ta1.haclf\.oov, IL\.O.c:iJl6l ~;

1393 ~E

Eq.

Men. Sam. 4276>i.\'

tx:n' fpyov

21

Asp.

t.a"t' bc.&t\lOf;l~ouc•IOUM. (4)YLCEi:o ~i:'v

irrp6.ixx,1.v, I6At~

102 >CQI.-div ~lncpnvl~

Lye. Alex.

6'

£tffl.QX7V

AUH.0f;

306 u{rvr1(; ULCD.iJV !KtwlOV,I~to.I. 366 -~

at~EL!ra:nhrui;

KEVOO(;~

6 7 9 l,WJ.J(; cx::wEL!~Lea.I )(Qt K~ qxxvcl(;

a.li.nl~ ~ 1115 MrPELY£\JOVtO.! auuovl ayplac x~ 1 2 l 5- 7 ,:.u:il\,OUJ"'t()AW\I V4 .455.2-5 ~ KELttlL! y,::,,~, I~ untp 'tQpOU ~ TTPO(EL to.1. ITD:1Lvl•ATILK~ xi>Ai.~. at£\IE:L 61.:~ Yt%l vtp8Ev, Iaix. urrtp W(\(JV fcna.L a-c~mvci.'Jv! o[KO(;.

VII

Anth.Gr.

Compare also Aesch.

Sept.

48

n Y'iivaxv6vtE(;i Trl'VOEI ~¥DJEt.V

qxS~

X..t:tv oCMOU !-roOo£I~ CTC£\A:&JV dv dvop;J. !i:6voe:l -ct7Jv ~ xwa.

1048 oO, TTPLVYE Ag.

18 ~lw 896

Soph.

OR

Phil. Eur.

i;o,:'

AtloLµ'

1164 'tL'VO(; T'IDAL'tWVli:wv6E:ll(Q)( nolac cniYT)(;;

rear' t(; Y'iiv1Trl'VOEl'VOUi:l,¾> nMTIJ cot yap rqx,v yfiv !Trlv&I)(Qt ~ fx.ELV O t 1,11L 6t na.,:ti;n l "tOV ti,civ, IEl wa,: ' 6uu:im

220 TL~

Ned.

448

Or.

288

JJ£"t0t5oi;; «JJJ(;: Ta'.io6e:I )(Q.T~fu

THE IAMBICTRIMETER

179

TABLEXV PERCENTAGE OF VERSESWITHPENTHEHIMERAL c.q. HEPHTHEMIHERAL CAESURA WITHCONCOMITANT WORD-END AT POS. 7 & POS. 5 RESPECTIVELY*

Archil.

Sem.

* Percentage

Penth. + 7

Hephth. + 5

13.64%

21.21%

7.47%

13.79%

Solon

17.5%

12.5%

Aesch.

12.84%

11.48%

Soph.

17.15%

9.64%

Eur. Med.

Or.

19.33% 16.44%

7.95% 9.49%

Aristoph.

12.12%

4.46%

Men.

13.81%

4.58%

Lye.

14.93%

6.65%

Epigr.

12.27%

5.52%

of sum total

of verses

RHYTHM ANDMETRE

180 3.1.3.2.

In

comedy,

the

conconitant

the

trimeters

of

percentage word-end

verses

of at

the

iambographers,

of

tragedy

with

at

pos.

word-end

22%. (See Table

5 1s ahout

pos.

and

of

7 without XVI, p.

184

below.) The exceptions are Semonides, of whose verse single hephthem.1meral caesura (i.e., hephthemimeral caesura unaccompanied by wordend at pos. 5) seems to be a rhythmical characteristic (28.16%, cp. 1.1.1.2) and Euripides, in whose verse the percentage is 15-16, penthemimeral caesura (with or without concomitant word-end at pos. 7) being relatively frequent. In the Hellenistic poetry of Lycophron and the Anthologia Graeca (where the average number of words per verse is somewhat lower) single hephthemimeral caesura occurs in more than 30% of the trimeters. Here indeed the hephthemimeral caesura seems to be a caesura in its own right. In accordance with the general average word length (see Table XXVI A), in Lycophron and in the Anthologia Graeca the words preceding a single hephthemimeral caesura begin at the third verseposition more frequently than at the fourth (contrast the situation in Semonides: See Table XVI A). Just

as with

hemimeral in

caesura

this

than

case,

the

words

has

a

however,

first.

in

All

the

verse

is

conspicuous

(as,

preceding

first

second

a verse and

colon

4,

is

e.g.,

in

if the

single

hepht-

second

colon;

two elements equilibrium

produced

especially

with

a falling

same, a satisfying frequently

3 or

at

caesura,

rising the

the

pos.

word-end ically

a penthemimeral

by means of this

case

word-end of

shorter

between

the

concomitant is

enjambement

syntactof

the

verse).

For those instances within the present hephthemimeral caesura occurs most frequently phron, Anth. Gr.) the (combinations of) word caesura have been given below (Table XVI A). that the verses themselves are more informative: Archil.

sample in which single (viz. Semonides, Lycolengths preceding this One may feel, however,

177.3 (epod.): ~ HO.L&1.u.cnd.,Ioot 6'; 8rlPL).IU.LOtO.IYL'VE't'Q.L>«JH6v

~Lqq.D'l'V

16.1/2

Id lONl{; 6.v1tP

l4x:>LOL I >Ct 8'.4.a,L 'V

Y6':>nclfJmOPC)(; ,q:iiv.

Ma.t amo«iPL • >Ct

Aesch. sept.

18/9

mnvta. ~,TnL&lac; O(Kl'lfflPQC;l&:ntL~

~T'

37

202

6TAOV,

frtE:iaJa,, ~ ntnoL& I1Jilin-tav bl::i;> ~

1' o()K

11'~ AiYt&>;

~,

'taX1.crnil)CQ.t -aix' £ C~L. 't'QAQ&.\.Q. Qt6£L. 1 hd, q>l~

2 61 / 2 AiyoLs; &, ~ ~

olyrpov, Ag.

dv, d npocn1La.li.dl 'tUXOL >CCDCO. 5 5 7 o'd:vOV'tEC, oo>.ax.6vt£C t,\1,.D"tOC ~; 347

Soph. OR 319

YMLT

1

TL 6 1 WTL'V; ~ ~

,El~-

~: tVV£1"1A> at l"tii>>C1VJUY1.nn 384 &.p,T6v, o()K al't1'1T6v, IELO£XELPLOEV 350

Phil.

Eur.

Ned.

221

>CTO:,XET' o0T' ~

loOT'ot~v;

335

TOfE:uT6c, ~ Atycu:JL 'V,

ltx laouSau£lc

345

.\tvOVtEC, ECT' ~CIECT'

403

fx.OV"tEC, ci.'C foLJu;, ~ ~

482

£le avTAlav, Etc ~,

I

de 1lPOUVl1V, ~

ooxt OUYYE:\lli 257 oo 1Jl')T£P', OUK~,, 1 00 rrpd.a:>t. TE• 1,:nv6£ 6t xa6\Q. , 313 ~T

402 Or.

c!lp' 00V iatn'V

Mn6£La, ~ >Ct IT£~ 0

6' 26 f>CL TOv ,f\TtO\Q.

6.>.A.'ECOELJ.U., ICXIO6' oo ()

tnt

TL OTtqnvov;

Q¥XJV't LG">

I0C1,.01.,~TE(;

6>.£KTPIJ6va.. I) ~ YE. I 'tCW'tllVL 6t ,:l; 259 bi>lAJ"PE, TtEPLTl'V£Yl4£V. I~ 6' trm'.xnro 38 7 ci.'C 0Cqn1. II T l nodlcnv; 111c:iJ6tv. 6.U' fxE 1.c

848

tie n.

OOTLCtoTl,I

182

RHYTHMAND METRE Dysc.

I 6:U.' C11JtoC JJOVC>C

oCJxlve:,mv',

331 1,U,o&nov,

Lye. Alex. 151 •Ert£1.6v, aJK •Apye:tov ~q:,vf\

yO\Qi:C

373-6 ·OqJU.m wa.l 1A'X,Ol¥XI xo1.~

14:xJf

lwa.t. "Cp:ixO(; Nt&N

OltLAOI. TC )(QT Tpuxavm

>Ill £\1.QkPUt.N

kCLlmvta. £\1.~tol

yCih;1.&>Ill~ lot'KTl"CnP'-OV 614 ·0rwx,µi.ac, ~01.V lf1(m::,m~ 6 71 At-«MLCf\ IIll 'tfic JJtv ~, YJiYDVl6TPEJJtc OKtAO{; ~ 6ux:m'p1. CEvi,\tl:\.aln A1.adc;. fxou:,1,

( 10)

~"'

6'

nilm£I, V

1,U,V

ad,c:q:x,v·j Ql 6' tnr.lVEXJaV ~I.K'tOV Itic,8Etoa.1. 66aE1..

f}.£1,TT£

TI{E IAMBIC TRIMETER Sometimes

it

occurrence verses

of

with

functional fate

is

tempting

to consider

as

a single

hephthemimeral

penthemimeral

caesura,

at

of women

sequence

183

of

pentherrl.meral

the

level

rhythmically caesura

that

of content;

after

is,

e.g.,

significant

if

a sequence

this

in Hedea's

seems speech

(" Y\J\Qtxtc; b:,uE;v MA...c:na.'tOV qJU"COV ", 231), fifteen

verses,

all

of

them

but

one

the

showing

to

of be

on the after

a

single

caesura:

Ned. 244/5 ~ 6'&tav

ro'Cc; fv&:,vldxarrca.1. ~,

f~ ~ fraJoE IkQP6lav cb-ic• -

but

better

as

such

impressions

apparently

cannot

be verified,

they

had

be disregarded.

As is illustrated by the examples quoted above, verses with a single hephthemimeral caesura (like those with a single penthemimeral caesura) naturally include many of the verses consisting of three words only. The phenomenon is especially frequent in Lycophron - in accordance with the low average number of words per verse in his trimeters in general -; "the obscure, oracular style of Lycowas just calling for such massive words and phron 's Alexandra emphatic lines, reaching the highest TWT (Three-Word Trimeter) frequency recorded in antiquity (1/24)", MARCOVICH(1984) 163 (with extensive quantifications).

184

RHYTHM AND METRI.

TABLEXVI

& HEPHTHEHlMERAL CAESURAE* PF..NTHEMIHERAL

p

P-7•

H

H-5•

Archil.

56.06%

42.42%

43.94%

22.73%

Sem.

58.05%

50.57%

41.95%

28.16%

Solon

65%

47.5%

35%

22.5%

Aesch.

63.97%

51.13%

33.08%

21.6%

Soph.

64.5%

47.36%

31.19%

21.55%

Eur. Med.

Or.

74.58% 71.91%

55.25% 55.41%

23.75% 24.93%

15.8% 15.45%

Aristoph.

55.71%

43.59%

26.04%

21.59%

Men.

50.46%

36.66%

27.37%

22.79%

Lye.

59.36%

44.44%

40.43%

33.79%

Epigr.

63.19%

50.92%

36.81%

31.29~10

• Penthemimeral caesura without concomitant word-end at pos. hephthemimeral caesura without concomitant word-end at respectively. • For trimeters without word-end at either pos. 5 or pos. and 3.3. with Tables XVIII and XIX below.

7, and pos. 5

7, see 3.2.

THE IAMBICTRIMETER

185

TABLEXVI A LENGTH OF WORDS PRECEDING SINGLEHEPHTHEMIMERAL CAESURA IN SEMONIDES, LYCOPHRON ANDTHEAN'l'HOLOGIA GRAECA: NUMBERS ANDPERCENTAGES* Lye.

Sem.

o-v--o--vl

1-

2.04%

9=

ol-v-o-vl

2-

4.08%

I

o-1v--0--v I

3 = 6.12%

88

ol-1v--0--v

-

1

17 = 34.69%

o--vl-o-v ol--vl-o-vl

1 = 2.04%

o-v-lo--vl

14 = 28.57%

ol-v-lo--vl

4=

o-lv-lo--vl

6 = 12.24%

o--vl-lo--v/

1

=

223

Epigr.

=

1.81%

2 "" 3.92%

0.2%

-

= 17.67%

8

=

-

0.2%

= 44.78%

23 = 45.1%

-

0.8%

4=

131 = 26.31%

8.16%

6=

2.04%* •

= 15.69%

14 = 27.45%

1.2%

1 = 1.96%

34

=

6.83%

2=

3.92%

I

=

0.2%

I =

1.96%

H-5 (totals) % in trim.

49 28.16%

498 33.79%

51 31.29%

word-end at 3 • • word-end at 4 • •

18 = 36.73% 24 ==48.98%

227 ==45.58% 171 = 34.34%

23==45.1% 17 = 33.33%

* **

*

Percentage

of single

Total pf>rcentage dee irr.al places.

r:onosyl1'tbles

hephthemirneral

• 99 .98% as

in pos.

a result

4 excluded.

caesurae. of

the

rounding

off

to

two

RHYTHM ANDMETRE

186 3.1.4. is

Outside

avoided.

(see

comedy word-end The one exception

Ch.II,3.4.

elision.

n.

falling

movement

either

the

preceded most 2.3.2.

to

the

emphasis

effect

of

scribed

sub

the

less

felt

to the

in

which

monosyllable

first

colon.

a ry at In

has

with

the is

monosyllable,

is

by far

often

one

the

of

above,

of

of

be compared

hephthemimeral

caesura

an

Ch.V.

essential

a kind

is

to

employed:

is

Ch.I.3.2.2.

there

a

hephthemimeres

some sort

a

effecting

been

The former

(compare

of

tension

precisely at

the

more salient verse

in

owing

would

between

the

caesura

expectation

caesura

comrhetor-

with

the

as

de-

middle

position.

to

the

that

the

have

been

(accompanied

the of

the

This

elision, word will

(syntacticand

effect

may be

which r,ives

rise

end at

interpreted

by a less

verse

as

prominent

pos.

7 -

having

a

word-bound-

pos • 5) • other

cases

the

enjambement

of

a monosyllable

monosyllable,

of

second

following

metric

colon,

colon

(to

be compared

both

attention Archil. SLG

rather

the

a penthemimeral

Common to special

or

being

1s a kind

(unfulfilled)

following

the

7, often

above.

one

the

verse

a monosyllable

pos.

verse

54

Frequently

the

word-end

case

in

The effect

preceding

there

hephthemimeral

E.g.

the

be even

of

of the

two means for

the

both.'

colon

prominent

to

or

metric

prominent

th,:

followed,

the

3.1.3.1.2.

middle

6 and/or

of

phenomena.

to

the

occurrence

of

middle is

bisyllable

Presumably

pos.

one

the

added

a

the

two

of

below),

plement

of

least

by a monosyllable, the

in

191 f.elow.

penthemimeres

enjambement

ally)

at

near

common of

ical

in

XVII, p.

cases,

these

is

99 above)

See Table

In

precisely

23.16 478.12

kinds

caesura: of

to be paid

~e.

in

pos.

than

to

6,

be

constitutes with

interpreted

effect

see 3.1.3.1.1.

l1i;l6~ln Y'UVCll.kOC, f\v vwlY'fll)(Ql''~· WV

1

as

an

beginning

of a bisyllable above).

positioning,

to the monosyllable

¼lklLt;1«1-ccx::naintc

llv1-ro a'naov wxEtv 6ta.v 6t "t'E'UX1l IZEUr;I 6n' ~~ TtLMP5c; ~ TEA£LOU lai:41'1 bt~ ow tvrtpo&.c tt bnMvxv',ItnolxTLO'tOV ~ dv aC8r,)~lbi>' tx:nlac; ~ no.\£&. utv Uko(;

Y£}..IOC

(403 above); 585

Ag.

(Et y6p

m.1+>lc TE ya.ta ~; IUl'tb ona,etk;

Eq:,t

h-aiu'l mtcX7TPolnL~ ~LC, loo,I~L, YSXNOV 'RAtw

850

Tt£L~

1299

OUK~·

160 2

cx'rn-3C 6>.t.oea.L ~ Tb

IIA£ &.aetvc:q; yi:voc;

110 tv -rij6' fqxx,)(.£lyij"ITO6t 130 263 364

Cn"'COU1J£\IOV f\ TTOI.XL~li:.£~~

Lye.

2 28 00K av 556

o 6'

x0u • ItrtEKMXJEV HCJH&Jv

~!

al, OL~l'f'CA£UP' ,~~ ecb.;

l'iut'vlroiu'ltT~

787 ui,LatOV

110n:

1373 ,a ADln' ~ li:a08',Id v0v compare also

the following

475 ~

examples:

aa>..ruaJvlrdvl lPLKUULq.

485

ac;w,v,6LKt.Ur,) lriivll.1£~

491

o 6'

1244 Anth.cr.

nt6ov

Yvu8oc

alrcb.; 6py4,IT'O{;l~LCJv

~

W.VOC, TW:iva.LOL Irdvr' , ~ lJUXbv Vl.90.7 &\.b.; TUPClW£, laol,l11a:7EuSov, ·Aox.L~ 9 4. 6

A£OVT66u,PE:, Iool, I ·Pb),

In the case of a monosyllable p.ramc.atically found esp.

ut.uw8pc)Et'v

with

the last

frequently

1UoToo8tvrlC

in pos. 6 also, word of the verse,

in Euripides'

Hedea (cp.

this P

word often situation

3.1.3.1.1,

which is P•

above). Solon 36.25 ~ dv Aesch.

Ag.

Eur. Ned.

258

~Kt.)

6;vq::wvl1'6' I~ nnl.LC CJEBltM,,loov, Ilydp I Ui,v npl V 6ncw: 1.«:J.t roto6t l,L1 t\.ea,lvov8'l ~ro1.v ace,.., 833

955 ~, 1049 1254 1256 1270 1360/

13 79

1394 1420 1599

Sept.

252 385

410 5 38

799 ~

OR

,I tuot ~o

T1£l8o1. • 4v, et TI£l8o1.'·1mu:1.aolrac 6' c~ >«:J.tiu'lv dyav y' "EMrtv' ltnlaroin1. qxi,:1.v TUJUt· olov Tb Tdl:>·I tnt?xc"tW. 6t IJOL »:Jl1(mlp(av ~T' ,I ~ 6t \.L£ 1 (way&, t'Ol.o0't6c £(1,L' ,I £TTElaJOJ.lllxa\ii> ) ¼01.01. mv ~• l&vLO'ttX\.O.L TKU.1.v. ~ 6' fva' fm.1.0' Ibt' tEeL~Le xalpo1.T' dv, e:i: xal,x,1.i:' , Ity&> 6' bu:ux.cui1. l,Ll.a:Jl.,U~ &-ro1.v';I ba'i'HCIOC 6' tliiN ~cv, {:q,utlrrcc1. 6' 16:nb c,qx:,.yfiv tr:i1N oC1Ktc cp6cpov 01.yi;x,' ,~ "t'OO£; OEi.£1.,kPCivouc xal"'tt41',I un' a:ml6oc; 6t "t4> 1 TI.JLJVUJ. 'H0.tOTUY00"6I~ ¼a.>e oouhv ~ y' Itci>lcna:m.1.T1UACL1.e

635 ~I.J,JOV

Soph.

a-cpo.,:o0 ~l,L'

m.1.dv' Itn£E1.mc.~

fx.£1."t6.1lAELOT1 ltv EE ~I.V 1005 6oMoOvta.MC1t ~• lmuyytll£1.v \.L£ xdl 1046 c.W.' 6v T10A1.e OTUY£i: , Ioo n 1JJPE Le ~; 46 [6', w~:xra';Jv t1pl.(J't', I~ T'IOALV 250 tv Tote tuote ytvo1.T' Itiw £;W£1.66-toc; 326 iv'l,nix,i;ace,..,,~ y' I~, tn£t 328 ~,:q; y6p 00 ~i:,:' .1tyw 6' 00 lri TID't£ 7 38 wZEU, TL I.ICU ~1. I~>..Eu:nl. nip1.; 744 0Cuo1.nUac;· fo1.x' I~ £Le~ 77 9 ~ y6p tv &:l nvo1.e \.L' I~ le J.L£~

THE IAtIBIC TRIMETER

197

K£i:VO(;y' Ib ~VO(; nat£ )O.Tbc:m.v', 6M.' ClllroCITQX>1.8£v (}h-.ro 1150 OOH. t:vvtrri.rv-rovna.i:o'IOv ~ tatCY)€t 1 15 5 Eu:1t"nvoc, ~ t TOO;1-c.: l"fPOOXPl5Cu,., 1,Ct8E; tv ; 1163 t1,bv JJl;v oiJK £Yt 6' Mc Su-1a~

oCK"tOLol ye:

trtlqpcqx,v 6tPQ

Aristoph. Nub.

16 6vEi.~t

&'

tnncur;.It-v&6'

2s ~ ~ ~

~L

I ta. rro.\.£Ul,O't"l'll:>I.Cl;

50 / 1 ~ -cpuy6(;, ·q::xx:11.~,Iti::>"'1v,llEPLOOOlo..lyov ydp 1,.01. utAEL v0v 00V ~ ct:x:,cLC lJ.' , I trt£ i. ~ "t l ex>L OOK£t ~ LV1 I~ Lv OOL 6oK£ t ; 'tOU"tl au VLMTIOEL(;;11 JTCDA.u Y£ cl lxlowc.-

1142 vOv 117 7 124 6

1335 Eq.

79

-cwxetp' tv At~tc,I

b ~ 61

tv

I 6' 4>' t.vf:cv Va,lf3(x,vr' I~vvuc fnn 670-3 ot 6' tE ~ O"t~"toel &uvte:c &vbpayov" "vuvt Tt£Pl ~; I bt£L61i y', ~ )..l.tA.E:, 131

THE IAMBICTRIHETER

199

i5aSovTo l6'; ~ITIDP' tiutv 6ELac. ou &:c,µcaaarrD\Jfi:i1,J"Ib ~ t,:,ntw." tyw 6t tQ

676-8

I btp1,c~.11w ~ 'tE Yn'tEI, Ioo' fiv tv ,:ayq:x,:

>«¥)Law'

dnavra la I fn£1.ta tatc; ~1.c;I t6Loouv tieiiol.nm 1023/4 tyw 1,.IEV e:tµ' b KUiJV'lntx> cx,O )'OP 6nui> oot 6' e:t:ra:a.,Cex:1~:11. 'u' I b \)C)i:Bot:toV KU\O.. 1 1204 tyw 6' buv&:Ne:00 • I I J tyw 6' ye:. Men. Sam.

70

111 180

fiv f:vta08' •I~ a'i I.I£ OU am• wm ,m,ay)O.t' Itnt~ -rot, tKe:t tyW 'tOP00K £ l~ llxovta 'tOUWV_L lCt ~Le,

2 26 b

2 35

-rauc; ~

m ,:o0

TtaAJV, I b SullV "tote; aootc;

ro llP'iYU'

YQIJ0UTT.Pi't't£1.v, I~

~

tv, ntne: 1.v, I ~ex:.xn1. KaVOOv 284 e:C't' - ou ).tyw 6' , 4',qxe,, I npq; ~ 'tOO't' tyw 321 tyw OE ioati. YCAN, in 't0UC,~ ~ 388/9 'tb rm6Lov, rliv yp;s{Jv I~L~ noi:t. I J 6n ,:oO,:' cive:1.¼.a,v;I11 61.a 'toO-roHat iJ "CLlCQ.L;

2 37 ~

Tf0e:

633 "tt.J08' tl«J.'Jbve:uTUX.TJ1J.' I tu:wii;> ye:yovtw.1. Asp.

Dysc.

~~ ~ptq)ci.v.

Ill

fX.N6/) YLVE"'ttll.; 11 tyw utv t~lf.wae:v· ~ 0' tyw ~ tn.itP:ii. , I~e:c. 't0UC,~ 48 ~Cov ol Tt\&Catoi.. I 11 ~ ye: ~ 203 Nicv dye:T' e:tc. iatoov·1 -ea-ciZlv~ 2 2 3-5 e.:xiXJ.iiN 'tPI.C&JV Maovl61.' fl~ 6twa wvov ~ • i;u,v Ifxe:1.v • -cau-mc; ~ v..&:lV nc. tK AuKL~ l~rm.1. BLa1. 2 t.l>u.Viv, 'tb WJ.KP:lLOV 6' I 08£v ~ot,111. 39-41

62

96 163 229

2 60

'tL

ro utv ~ ..v Y6? ItoV ~· aOfe:1.TTDMJ 6.U.' ou ~1. ¼e:1.v,I T1µCXJWtr1'K£V&t. 1,1:>1. e:Cuin 61.a-iplBe:1.v,I~ 066' ~1. "6n 6t 'tOO't' ~ ITt01P£1.V 1,1:)1, 00k&> ut.u.axn 6' ti utrnlP lae:t;> 8u£ 1.v n vL e:u8£vroOv"t' 16£ L -eatoO Bloo, &,c,v av yp!,vov qitpe:1.vloovrita.1.mv wxnv

2 75I 6 t-6.llPtina't'

200

RHYTHM AND METRE

348 dJ6tv 66t.w.£tc n).i:i(;, lidlTlV 6t lOCCJl"D8Etc 373/4

·ro(h:6v T£

Ul'V~,~Eave'

c:\1.n

tvox~•

mitv lni:xxn6vm 1:• ~. 386/7 ~ ~ ur#v lurrb 'tT,8C&:,cTt.\,O(; oe6t.Eautvi, 1,11LQ(;T' ,I fA£U8£pl~ 6t TI.ill; 400 6.U.' ttrttv rlrru~ -ro~tov 1:o6C 466/7 1:i: -cfic ~ &rt£t. ,ITPt.ad6At.',£tnt l.lOt., ~; 11 id! Sc»a.K;.I 11 OE, vll ~.:a 544/5 ot.6. -r.:JJl:voCnt txwl¼£t.v, Jil. TOb(; 8E:ouc;, fAK£t. 6t u • au,:6-.a:rov It0 rq::dY1J.• £ tc u,v -r6nov. a 3112 cuAA£~ o' aurov.ll I qw.QJEtc, rt¥>Yla. oCnt'5ft.ov kPLV£t.(;IOEOl1t6v ,:a) vdioJ; n::un:,6'

tvw

Lye.

Alex.

154 &:a::Jp,.a Ut.anwx1' lt~£00t.V 41 7 UJV JJl:v~

~

•Ht.00\/IE{JUl..10\q; Bt.CUA T t.ei

THE IAHBIC TRUIETER

201

TABLEXVIII

CAESURA MEDIA

Archil. Sem. Solon

-et.•

word-end at 6

monosyll. in 617

CM

4.54% 7.47% 5%

4.54% 7.47% 5%

-

-

0.68%

-

+el."

-

-

Aesch.

11.4%

8.61%

2.79%

Soph.

12.97%

9.6%

3.38%

Eur. M~d.

11.29%

10.01%

1.28%

2.11% 0.32 1.64% 1.73% 0.95 0.39% 0.88%

11.65%

9.21%

2.44%

0.99%

0.44

Or.

1.45% 0.69

Aristoph.

15.04%

3.69%

11.35%

9.33%

2.02% 4.62

Men.

19.94%

4.83%

12.69%

15.11%

2.41% 5.26

Lye.

1.56%

1.42%

0.14%

0.07%

0.07%

I Epigr.

* The ratio

2.45%

2.45%

of the occurrences has been added in italics.

-

-

of caesura

nedia

-

without/with

elision

202

RHYTHM AND t1ETRE

3. 3.

caesura

If

media

verses

in

meters

complying

boundary

which

with the

the

preferred

case

sent

-

ples

of verses

in

the

conceived

occurs

it

'near'

this

is

rhythmical

middle

of

demand

of

trimeter

also

a caesura

(cp.

proper

caesura,

be reckoned

verse

the

variation

without

a

may therefore

the

tragic

as

for

a structural

rhythmical

there 3.2.

are

the

among the

- although,

the

and

triword-

of course, movement

only

very

is

in ab-

few exam-

above).

Even in Sophocles, where the percentage of such verses without any caesura is the highest, this amounts to only 0.93%; in the Orestes there are more verses without a caesura than in either of the two Aeschylean plays studied or in the Nedea. (See Tahle XIX hPlow.) In comedy, rir,id has

in

where

other

ceived

there as

positions

while

usually

structural

tially-structural infrequently

Also

being

this

overlapped

in at

a very

in disregard given is

verse

3 .4. I,

tragedy

occurs

word-end' even

the

not

sub

the

by one single

appears

.:!:n.

4 .4),

form of quite

in

only

of

(see

The linguistic

remarkable:

positions

rhythm

respects

no caesura.

equally

the

to of

least

the

3.1.l. case

less verses

a number of verses one of

weak word-boundary of

the

be

definition above),

-

the

in

potential

is

the caesura (to

be con-

of

'poten-

comedy not caesura

word.

For suggestions about the function of such verses devoid of caesura in Henander see SISTI (1968) 126: indicating a change of tone, or ch~racterizing the speaker. On the other hand, in Menander verses without a caesura often simply illustrate the integration of colloquial speech into the metric schema of the trimeter (compare the comparatively free use of resolution in the comic trimeter). In those cases, no particular regulation of the rhythmical movement seems to be aimed at.' 51 The rhythmical function of a weak word-boundary at a caesura position is not necessarily to be explained by a hypothesis of 'phonostylistic variation' as brought forward by DEVINE & STEPHENS (1978), i.e., stylistic variation at the phonological level within a particular dialect. Such variation would range "from lento and formal that those preand to allegro and informal" (323). "It is clear postpositives that stand both at Porson's bridge and at the caesura in tragedy do so because they are treated, for the sake of the metrically relevant phonological rule, as separate phonological words in lento and as part of the following (or preceding) phonological word whether the hypoin allegro 0 (325). However, it seems to be doubtful thesis of phonostylistic variation necessarily implies a differentiation of speech tempo: cp. DEVINE & STEPHENS (1981 (TAPA)); see Ch.I n. 25,and 3.1.1. above. The linguistic embodiment of different de-

THE IAMBICTRIMETER

203

grees of 'formality of speech' might in itself for a phenomenon like 'phonostylistic variation'.

sufficiently

account

However this may be, such verses as have a sub-optimal wordboundary at a caesura position should not be regarded as rhythmically deficient, but rather as testifying to a different conception of which word-boundaries may serve as a caesura and which may not. It is doubtful whether a prefix-boundary too can be conceived as a realization of the caesura, as e.g. TACCONE(1904) 101 suggests. ( For example, 244 'HO.l ~ rt6:U.' tnl£L'HOXLL 6l'HO.LO\I~

Aesch. Suppl. Soph.

969 ,:l oii,:a. 1:006' tnl £YY£>Ji'E;vdv Ha"'t'O.; )

Ai.

See also BURY (1886) who regards even a verse such as ~ ~I 6t.a ~ Aes eh. Pers • 501 : OTPC1TOC,

nnya,

as an instance of hephthemimeral caesura. In principle, it is just possible that one could perceive a difference as coapared to a verse in which none of the caesura positions has been realized even by a prefix-boundary. One should not go so far, however, as to suggest that such a prefix-boundary would prevail over an incidence of caesura media; e.g.

I mlrlYPLc..:utvov

Soph. Phi 1 • 2 26 & Lal\1T£C bowxvfi,:' - and not 1.c.,

6:nlnYPLc..:utvov,

as TACCONE,

has it. Some examples

realization

of verses

of the caesura)

Aesch. Ag. 326

without

94

(or with a sub-optimal

are:

ot \.£VY6':> ~!CX:UX,Lv TtETI:ttAJ40T£C

628 ~ i:rrt£!~ Soph. OR

a caesura

&cpoc OKOl'tOO

-rorctv8ot1\ 'HO.l!ti\(;

302 n6ALV 1,1£\1,d l«ll

tuf\c \J.Ux.Tit rrtpL

iiu'i~L(;,

(AXM:L(; 6' ~

455 'HClll'tt'WXbc avd i TtAOlOLOJ, etvrw fn1. I

5 38

1\ -ca,pyov &Jc00 !~LOLlJ.L

oou -ro6E:

tv 1filJ4xl.ywlll(; d;Uoc, i:rrt£jlJJ'i 'Kin8£tv

615 MCl>C0V 6t ldv 1085 ll0t

1

416

571 573 991

~ Y£'VOI;

6>.A' Et!tiit ~ f,:' ~ oCl,.IOL't0ACIC;.6>.A'Iooxb ~ Y6voc tar£.UOV, frvlK' i t~y6'.a,v tvcl> liv &'I nc _ 6.Ua[ ,:6v6£ lJOL ~ ~ ~ l,Ll:cx,c, o?aj ~LOK£LC A£Y£LV

1386 f'i>u.(:rtdy'. Phil.

UL~

1288 1'Tl7,c: Et~;

6(:n[OEU'tt+)OV~3:1;

204

RHYTHMAND METRE

Eur. Ned.

1151 114

~

6 90

or.

tc ~I

tot-£!001. ~ At yd), )«DU,Ot'6(; Itot-l I lJOI, nrivuiJv TT0CJLC ¼"1v ldo'. oo 161 I~ t.cr.lq)LAOq;

453

4 6'

6' QI.IPL !Tbv IUu'm.1.ll'lotpr~ ,:QpOV I

1. "tOOC otxt"CO(; 13 unb -enc &:nivnc MO.l !tile q:Q'tVrlClGL Ti1N 'I.Pf:liN 4

&CrtEP

MO.lltil

mya8ij

Yo\QLKl

I J Tl,

~

m-c£P;

µ' ~ q,1.>..&tc

t:>t 'tficl,cap5l~

'Ul'V~ btl U1V~ uiv lF...&0,nic l41cc61.rrtoc ~ ~ ~ -.6p t'oOll'llL~

5

TWlY6c 6£t npxn;pl6£mL -coi:i; otKt,:ac

45

1'11\0.¥))'6mt'OVMall61.aaohJttlt'6v t'L\0.

100

ea.,4\.U1"C

112

&t.601. X.'

129

~

Lwc.1.61.MOV 'ITDtll)LOVi 481 tvwa& vil -rov l -~ ~ Men. 5am. 8 &Ivm1.6lov, µ&µvrn.atvoi;~ tC> 170 ~ -coot'OVl'HCll I~ ~ aCrrij ~ 228/9 c:J.,o•e;t ~, Ji,.l'Ul'V 'Aan\.dv, o[En wv ~ ft''· r:»K,a:JlCAJV l«ll I 'tiilu ~ inc;

Dysc.

16 UOUTE lC'tQA£A£1.µµtvou

28/9 In

Lycophron 's

caesura

(or

~

n\.C OUVTETPI. uutVf1V 6 ', qJC>t &::nu:: t

tnJ£T~

urrh>i:-hv!t,A.1.xlavTbv voOv ~tTPC,aYEI. YotJ fi -cGiv~ ta.in£1.pla.

b TD.it

trimeters

rather,

l,Ll.l(poO

Tt£TPCfC i:6tt

there with

a

is

one example of a verse

sub-optimal

realization

sura): 1o12

Aa86vm >ca.lTbv i b. .l\.UH.C.R,Olwv TtO"tWV

of

etc.

etc.

without the

a

cae-

RHYTHM ANDMETRE

206 TABLE XIX

VERSES WITHOUT PENTHEMll1ERAL, HEPHTHEMIMERAL OR MIDDLE CAESURA

-P or H

% of -P.

CM

tt•

-P.H. CM

Archil. Sem. Solon

-

-

-

Aesch. Soph. Eur. M~d.

2.95% 4.31% 1.67% 3.16%

2.79% 3.38% 1.28% 2.44%

94.87% 78.35% 76.47% 77.14%

0.15%* • 0.93% 0.39% 0.72%

18.25% 22.17%

11.35% 15.11%

62.21% 68.16%

6.89%· • 7.06%

66.67%

0.07%· •

Or

Aristoph. Men.

Lye.

0.2%

0.14%

Epigr.

-

-

-

-

-

-

-

-

• Trimeters with caesura media expressed as a percentage without either penthemimeral or hephthemimeral caesura • .. Some of the percentages added slightly divergent from those the rounding off to two decimal

of

verses

up to those in the CM column in the left column, as a result places.

are of

THE IAMBIC TRIMETER 3.4.

In the

iambic

movement which by

recurrent

after

is

or

the end returns

of

only

in

rhythmical

circumstances:

3.4.1.

In

the

607: of

the

trimeters

of

by the

(see

XX, P• 214 below).

have

Table

incidence

come down to

word-end

both

convincing

at

us

pos.

one:

authors

see

verse

profile

colon the

8.

by means

So

of

the

trimeter

near

(3.4.1).

within rising

stressed

pos.

iambic

rhythm

studied

early

the

first

colon

of

movement may be obor

only

iambographers, rising

of word-end

under

in

clausular

at

either

certain

are

10 and at

two instances pos.

see

8 (one

(more

effect pos.

Only among the verses

helow);

is

rising

below.

the

there

the

10 and/or

second

a (basically)

complished

pos.

of the

3.4.2.

tritr1eter

at

rising

stressing

the

metric

of word-end

the

of

caesura,

(basically)

some of

the

a falling

hephthemimeral)

a similar

end

of

the positioning

trimeter

the

word-end

into

to its

Concerning

near

characteristic

modified

(penthemimeral

served

trimeter,

incidence

being

the

207

ac-

is

10 or pos.

8

of Semonides

that

a trimeter

with

of

of which

is

not

a very

(p.

256f .)

XX A, and 4.5.2.

Table

than)

below. frequency of word-end at In the case of Solon, the comparative pos. 8 seems to reinforce the effect of his preference for short realization of the anceps in pos. 9 (see 1.1.1. above), producing a single-short rising effect at the rhythmic level as well (11.'i •.. rather than 1.i... ). 37 .5% of the short ancipitia being preceded by word-end against 25% of the long realizations: see also the connection between the high frequency of short syllables in pos. 9 and the high incidence of word-end at pos. 9 to be observed in Solon' s verse: 1.1.1. above. It should be realized, however, that the total number of trimeters involved is very small. (The two examples of a long syllable in pos. 9 preceded by word-end are:

3 6. 2 6 -tGN oCM:K •

6Ndlv ndvto8Ev

I no1.e:Ou£voc; u

37. 5 Q(Wi:£\1 dv µ£ lGt Q>LAOV I 1t01.0LQ't0 no (independent) reason to assume correption In 75T. of

tragedy the

a clausular

trimeters,

pos.

8 or

with

increasing

Or.;

this

Pnd only

such

at

both

implies at pos.

by the pos.

effect

frequency,

up to

a proportional 8 especially:

8.

17% of

of

realized, word-end

The last the

reduction see Table

there

is

(d'1.}.

is

incidence

10 and pos.

(in which cases in

(more

at

pos.

possibility

trimeters of

trimeters

than) 10, at occurs

in Euripides' with

XX A, p. 215 J.elow.

word-

RHYTHM ANDMETRE

208 In the early

Hellenistic

iambography,

occurrences

except

of verses

Lycophron 10;

epigram

there

is

comparatively

for

the

situation

the

fact

with word-end

a remark.ably

few of the

is

that

there

at both pos.

large

proportion

occurrences

more like are

that

in

some more

10 and pos.

8; in

of word-end at pos.

are

accompanied

by word-

end at pos. 8 as well. It may be noted here that the supposed general rhythmical kinship of Lycophron's trimeter with the verse of early iambography has reality only in so far as they have in common a scarceness of resolution and a comparative infrequency of word-end at both pos. 10 and pos. 8 (while as regards the high occurrence of single hephthemimeral caesura Lycophron 's trimeter resembles the verse of Semonides but As far as their clausular pracnot that of the other iambographers). tice is concerned the differences outweigh the similarities: in Lycophron, the anceps in pos. 9 is realized by a long syllable far more often (53%, against 29%, 31% and 20% in the iambographers: Table 11 above); the occurrence of word-end at pos. 10 in Lycophron's trimeters is higher even than in tragedy; accordingly, in Lycophron 20: of the occurrences of word-end at pos. 8 have concomitant word-end at pos. 10, against only 3.6% in Semonides (while in Archilochus and Solon there is not a single instance: see above). All things put together Lycophron's objective seems rather to be to fit an extremely formal vocabulary into the metric profile of the iambic trimeter, without thereby falling short of the principal de51 (Contra HAAS (1962) mands of verse rhythm (caesura, clausula).' 5102; SCHEIN (1979) 60: Lycophron as an 'imitator' ot the trimeter of the iambographers.) In comedy the distribution positions end at

is pos.

without This

10 and/or

situation of

hemimeral subject return 1.1.1.1.

tallies the

to tendencies the

to basic above.

with Parson's

verse

with

at the

10 occurs

observation of

caesura,

that

the

(variation

movement near This

pos.

frequency

concerning

relatively

brought

trimeters

forward

the comic trimeter

is less

of course

at pos.

in the a pent-

alternation

of the rhythmical

10:

the

caesura,

see 3.1,

essentially

8

often.

without

below.

iambographers,

showing word-

of the movement at is

verse-

word-end at pos.

the end of the verse):

situation

Law: see 4.4.

in the early

8; in Aristophanes

word-end

comparative

three

50-54% of the trimeters

at pos.

or hephthemimeral

movement of

E.g.,

much more even,

accompanying

context

of word-end over the last

also

connected

209

THE IAMBIC TRIMETER Ar eh 11.

19. l oO l,K:>1. i:a. f\jye:w i:oO ~ IU£A£ I. V

\.ltv "fflV~ ~l>«»dlv o0-to1. nat' ~c; tE~,I ao ~ vOv e:i:AE:c;at Xl.d!i l«ll l,lty' tfrp&> I~.

yuva.i., q0.'tl.V

23.8

23.18/9

I ae:6c &Le; ~ ~ w6rt1.TtE 1.&ln I~ 1. 1.9/10 vtx.Jta 6' o6&:lc; 6:rnc; oo OOH.Et!~ 6cwcbo:nov

Sem. 1.5/6

mou-a., "tE

b.'t&AEUTftcxi.

>a)'Q8oto1.v tEEX:lfu.1. Il~

£!J8Etav e:tc; f'Har:n'ov~l6ll(l)V

Solon 36.19

36.23 d rote; t\.avrlo1.01.v ~vcavE:Vlt0'tE

at pos. 8: Archil.

21.2 25.2 3 5. 1

Sem. 1.1

W'tl'll(£'V Cw'tc; '1yplnc;ltn.1.0"tEXirK:; 6.U.' ~ dUt,> lQX>lrivltalve:mi. l3oOc; ton v ~ui. v ~'tl'IC Itv ot>,l T.l

mt, T£AO(;1,11:vZe:uc; fxe:1.l~wrcoc

l • 13 / 4 qi8e: lpou:,1. 'VOCn> 1.,

TT.turtEL lJ£Adrc.£1. T' • ATPE1.&'.i'jv tc t06E !OKT1ITTE1. IO"ttyoc; 497 Cwlc; qx l~

orn.a.Lve:CI~

lru.p6c;.

505 ~ p;s.y£1.d1N UnlcxJv luu%; lruxea.twaJ«&JV lx.\uELI~

~ be. ~ 11T£.CW I"tJXXCi>

ba:noc at.rri'i1.J ~ ~ldYOL l¼ov ~ nv' tiutv, a; Cq:XJ.LC::

TTQOUrtE}.WE:\,I tc;

224 &i,£>.E ~-

I

I

2 33/ 4 1j >OJtL ya.i.Q(;(~J, .•~XJ.L n6cof; atA€ 1.c;,

C')('VC)c; & i.c;; U£i:a8oMInrivtwv Iy AUKU. 281 / 2 citO){\NO\.ni.OE, U£TaOl.6ouc;ITW,N I~ ~LOV

~lvcxx,1.c;I tintc;. 688 fil«A> Ya,:) ~ ouuuixwvIkE'VOVI 54:,., 891 abv 6' CXJH. bnL viiN auyyovov,I~ I~ 1202 oo-c' QAX1.uocrrtq,u,«:. ~v6' lnµtvltxw 6x,'Aov"CEJq)EX~

1244 TPl.ax>t'c; q,i.>..oi.c;y6p de ay~,l6i.xn!µi.ci 1669

6Aac,-rcpw c56Ea1,µ1, anv IMUE:I.v IOrn

RHYTHMAND METtu..

212

Aristoph.

vuxa•I~; 6M.' oCM.btElac-to rote tiJotc I Af\c C1Ca8c:tvroa'IftcS:r'l I't"OTTOU; 1494

Asp.

59

lllPO!; 'toO't"'lchti> lJtv 'f1DtXLi::4\'tPCXPLJ.Kt>I "COUtoJ I't"O't"E

MXPLOLOV fiv tvtaOO'

106 ~ b

u~·

111 w.q)LO{;~-

4 64 Dysc.

l-ri. oov; 111't".:v6P:

l-calJ1XJ(;I~ TVlALlCOC;IJ tiJot lJtv ~ I6oKc CcIvttxiJv. - ... COi.~ o-ttva1., 1•A1P£1.ex'.i'Jv dY)(08£v, xuvc!>c 6l>L'tDC.ldP; II to-nv, ITl 6' o(Jx.1.; 1-di~ SEoO• ., ...

1J natf+XJ,6' l6vt:l!Xi7vqxbn't' 351-3 Y'U\O.L, j>«l't 1 ~ ~•

ML8f\ otee:1.s;; dxp:xM,JC ).t;ye:1.,·

ty& 6' I ~ TtLcnd oou 'tEklJTIPl.(1 8E:ouc ITCIXXX LTt£ tv ro ~I. • 530-2

dwfl •A'tPElai, f\KEL.

ITL tdnt.

~UC

cC&.ll,.l&JVOORP

6' ~ Lwta.~

8Po'tc7Jv

'tc7Jvv0v· lnap1.s;v6'.>dlte: ouv'te:M~ rr.6>..1.~

RHYTHH ANDMETRE

216 3.5. I,

6,

and,

to

most cases The istics

ura rent:

Greek

factors

are

especially

the

already

in

addition

(again,

case, of

pos.

initial

the

both

greater

Monosyllable Soph.

part

pos.

in

these

Phil.

appear

to

of caes-

be concur-

beginning

1.1.1.2.

of a phrase

of a colon. above):

to

and

This

occurrence

cases

is

pos.

1

,

the

only

the

emphatic

and

-

occurrence

positions

1

¼ rq::q;or>COV, bC6t£r;; 880 tv', I f)vlK' av k6rror; 1,1 ~ TTOTt ToL

J.DX~

1

of

in which

has no elision.

AAELC 6

which

phrase-

l:

ou 6'jeC

this

proportion

smaller

elision Cp.

a mono-

In

the

rel'larkahly

below). 12 -

of

rhythmically).

between

3.5.1.

of

that

is

58

480

is

ot 6

e.g.

enjambement;

relationship

5 and

the

alternatively

of the monosyllables

49

show that

as in the case

beginning

l implies

(see

pos.

in pos.

In

character-

differences

emphatic

regard

effect

in

monosyllables in

syntactic

effects

syntactically

supposed

monosyllables

the

(cp.

with

the

word-ends

confirms

the

6,

a monosyllable elided

in

Here,

emphatic

Semonides

XXI, P• 223 below).

individual

as well.

often

(poss.

U\V6'.

ou6', oO't', 't'OV6', syllable

inherent but

rhythmically

As indicated

Table

rhythmical

is

at colon-beginning

elision.

partly

and

common in

see

involves

relevant

monosyllable as

8:

language,

linguistic

the well

degree,

may be

the

itself,

most frequently

~onosyllable

situation of

occur

a lesser

the

stylistic

as

151

MonoRyllables

THE IAMBICTRIMETER

217

with enjambement: ~

94/5

~I

t~i:ctv

l,4Uov

f\ v1.MCiv ~. ~

464/5

brawlx' 4v

~

TWJ0vInut v &C>a,J, Tf'lVl.'MCIOe'~,=1&E8a. ~ OW -~ ~ ,:do' CU< WtaYYEAOC

568/9

wtvl~

tmt~: YML"CO6t

779/80 ~lo(jpt.e~

'tE

~,6no1.

TtOTt

flyct"Ca.l. lll.fflP

1442/3

ZE:0C • 100y6p e;vc,te£ LO. ~ I. l:3Po"COLC • Monosyllables Phil.

in pos. 8 (with forward pendency):

130

l:3Poi:otc&:n1.mq;lTOC;, oo 'K£L'VOt.Ot.v,lo0.).

1 27 OU"t' OUJ.L' tTDLIX)UC:1 00-t'

~,~

lro

241 'Hdv lJ£V-me'tn.i.tv ~t.Ot.V

o'I £?i.

613 Et\.101.cTE ntun:£1.v CJIUl,.lf3aA', ot ~l 764 & Z£0 t.lxn i:E

znvoc"IU.lou

"t£1~

Id>

874 JGt OlJOIJ£VC1L\(&) i:ot:01. ~t.V 955

or.

TUlJX>C TD-rnP 6l6c.iD1.vbc.y6vo1.01.vjolc.

au

73 T'IQ;, ir>'1Xl.M1t.VC1,"'[£ HaOLYVrrroe "'[£

104

au \IUV

lobe

x.ap1.v1.101.'tOV qx5f3ovAUD::nl&:Sc (compare 302)

287 i:otc

utv ¼01.c nt'.xA:xxvE, Tote

6' 6:>Yo1.01.vlo0-

~I~

292 Et l-1\"t' be:Cvc:,c ~tv

4 31 ,: l V£C TtOAt. tii1v t~A.;~i,lv-ta.l OE I~;

T'DUlPutv bpj"tEOOtv l.lE, on6 • t nxi:e: 1TDtc 603 1,llkOPt.O{; alwv" olc 6t J.11'1 nln:tOUO't.Vlro 622 MEvtAO.E, oot 6t 'm.5E:iif.yw- ~ -ce:l~ 659 ti;, o' fXEt.V taij8' • ·F.cuu.M,v J.11'1 K"r£LV£ ,au.

ss2

920 alJ'tOI..PYQC - otTtEOHat l,DVC>t. a.,C0t01. lyf\v -

M col YE KOt.vff ·ta!rtn wat TIXJX.£ t.v l.lEI6E:C. 1088 f:>.£~ "tOUUOV ano\lTTDt.'IJ,t. lot 1600 1i yap 6lwa.1.ov Ctivoe:; I lwat JCt:Xl"tEtv YEIyfk;. 1 Aristoph. Nub. 79 ~ oti"t' dv f\6t.O"t ao-rbvat£YELtx11.1J,t.; Iniili;,; 201 ~la utv ai.rcn.:. II "tou"tt 6t 1-rl; 107 4

{compare 848, 132

ex>-roe, >«JaEu6£.., ;

u in

1'0V •An:6A,\w •

1186)

vwµ£'V Ioe,.

RHYTHM ANDMETRE

220

aCrr' tKEt&:v lalJ 732 bnti o' ,& M\lJ..',~ T' e:tlJ..lla6c• 949 Et ur'tlJ..' biof:1., bt1.Tpat.f;UE:1.v, fTEQO(;lalJ 4 7 1 >CQLfwNP01;00cn v d\q:)E'

Eq.

(compare 1351)

TOU-ro1., b l,1.1.~

-roe, 6kinEKlo1.01. ot:oe• c:htJ6 &xxx,v; 11 e:Co:lu', t\

1018 1158

lnoO; ~

ye

I ou.

lrpJotc ~ tv"tatla'. ~r, &'i 1.1£lou 271 rdvta

41 9

-caO-m.,J:l,1.1.>CPi vri.

35, 464,

D!fSC•

II .\t)'E

..,

&44)

IT L;

6t

Atye:1.c; ll6m.Uaviiu£v, tKETE:UW OE -1()not': 12 5 ti~. 11wx.ovcOlllC ~utvoc i: 1. I v0v 342 1.1£LlldxLOV; l)ou6' ffEati l,101., 8tATLOTE- I1Jnii>;; 86

Dysc.

(compare 630) 377

tyw. n:orrctov 6t cl

453

tn1.etv-ce:calJrol 't6Ma.

Illooc. >CJ."CCIJ'tL'VOOOL. Iy~,

TOOT' b::Ttl •

(compare 587) Lye. 448 cl

l:atPCJ.XOV ~c,

•yM:roo "te:lvflv

724 nttPXV 6x:i',:,£1. f:D+,a,J, ~ ~ I "Ic 769 >CQLNr\Pi-rou~-

6'1£-m1.stlldv 1209 6f£L lC;t~

968 'H£USE:1. )GUr.) 1391

pos.

Uo> K1.aJ.1.~,

.. Sa.1.l,J0\K.l,JV, Ii:d6' Itv XE+X>CV &'i vt,c, ty& 6' IM' Itvaio£ TL

u.' t5tx,ou;

ITL

u.'loo ~

10: PhJ. 1.

111

l.a'i001. yevtetb-1. nDAUl'tOV' au-cu I'1J116' I~

978 OC\,101..~ OR

63 98s

1111 1290

IM' I~ &:X1 ~ J«Ja' ab't6v" w:ll1tv' c.UAOV, In 6' 1M et \.di •JruP£..CPD' n ttKOUCa• 1v0v 6 • 1tne:t k£L\OJ yt. -ro1. &'I me, bc>J.lte&'" It, 6' IfcL>

l\orlIndvonAoc; •/>CYELuN 01JXlTb.:; 'X.(&¥Xi:, kOVL£t., lrt£6Lo.5' 6':>~, ~ ...... 495 6D£.«1t-rplcl~tv 6&iw."COV l6'xrliv fox.ov, ~ rraptc,6" 61:Xlv

....

21 ~ l,l#;v~,

l~t .....

fi;

cSE:Eui~

mm'1I~-~

>emd; 224 TtL~ ~,,:a.Lcltattv 6a.D8lac ...... Ono 479 CEUY'),zpL >Gl ~l{n\a,L)JOV 'YU1V 51 ~,

&.Jn:v0c (,,., ~ un.£PTtA.Aovta. 0£Llll,L~ tt£'tPOV ., ... 1,IXVLQLOLV j6\.qaC£LV 'YoPcdooC'4a.L 8Eac

481 an:£LP1LC b,)C£ ~LC ... ., Or.

6

37 42

ou >.ourp' llxi>c.£~,. tc ncl (irrespective of rPsolution) hAs bP.en itnlfcs. (HPre, ;i,:; els£•wlien•, resolutions nccurrinp, 1n propf'r nAmPR

p)(r]111h•1l.)

50% 34.97%

100% 68.71%

1()()% 49.08%

77.77%

! i ~ ~

1-i

~

THE IAMBICTRIMETER 4. Complementary cial at

tendency

effects

particular

verse-positions,

about

rhythmic

positions positive

and the metric

For

side

comedy at

pos.

5 (as

tion

is

as

with

this

verse

which

the is

word-boundary

rhythmic

and

the

repetition

of

comedy

mically

the

on the the

expense

posi-

the

aim of between

with

level

the

at

infrequency

is

avoided

into

groups

movement

of

4 (out-

percentage

of

as word-boundary

at

monosyllabic at

produces

of verse,

of caes-

pos.

high

verse-

of certain

the incidence

evidently

type

reverse

of word-end

Just

the

the

posi-

a rhythmical

so the coincidence 1

10

,

the

structuring

of

to metra,

corresponding

verse-beginning

of

being

dis-

effects.

avoided; clear

other

some of

the

e.g.

relative

this

the

at

relation

at

merely

affecting

and metron-boundary

on the

spe-

of word-end

towards

satisfying

in conformity

in

verse

In

being

metron-boundary

the

favoured

as

the

produce

of the verse.

situation).

sought

avoided

contribute

low percentage

least)

well

following

effect

the

to

incidence

of word-end

tendencies

example,

in

level

be understood

ura.

above

is

speaking

occurrence

rhythmical

words

seem to

a rhythmically

can

to

word-end

also

The infrequent

4. l.

referred

by means of recurrent

Such tendencies

bringing the

to the

rhythmical

tions.

231

contrary,

metrical

of

the

balanced

Aristoph.

it

structure internal cola:

Nub.

Men. Dysc.

coincidence

of

word-

seems to serve of

the

structuring see 3.1.

and metron-boundary

verse of

the (not

the

purpose

is

of keeping

infrequently

verse

into

not

at

the

two rhyth-

above).

13

tmb tf'ic;; Eanavric;;!kQ.t tf'ic;; q.d.4M1c;;lkQ.tti3v 'I.P£{iJv

23

&t' tT'rpLOlJJlVj -rov XOl"IJU"tLa'V. IOC)JOL ~

22s

~wl

686 91.

~AOE~, IME:MlO~, 1 ·~LVL~ U£Yc&>, a(, ai'xxN, 1029 Mat

invariably

excluded,

should

XXIII A shows,

WEST (1982)

is

phrase-initial

Monosyllables

elision"

even

All of phrase-initial

as

one

Table

Menander

monosyllable

that

amongst

As

the far

above).

frequent,

contra

sample,

wv

in our sample

...

froQ Sophocles

involve

...

loull'I t'J..bpav, £~

TL l1' dv£T£; ITl l1'! 61-liyw6£; ToO x.6':)1.v;

...

1247 'Hal.~ OLl«ll.OV,Id y'

...

1 348 ~ CTCUY"Vbi; aCC.:,.,, ITL u'

... I ~,

! tn

eou;\atr;

a'iT'

tio.Cr;

fx.£1.r;d\tl>

a

IAMBICTRI.METER

THE

936 t>t 'tfk; Ia£,noi: obv

632

to

the

general

the

tragic

tendency

poets

there

is

only

most

fre-

resolution:

n68'Itnl split

~

ouwolQ. KUNA£i:c

resolution

1s the

to avoid

the

occurrence

Aristoph. Nub.

t\.lt lJl;v c,b rr.o.UaJc;rov m'ttt::>' ltNJUVE:1.s:; ~ 62 Tt£Pl ~ &'i ·~ ltAOI.~ 10 &oru:p !£~, Eu:rrl6'l~ - tvw 0' 6'rlv 2 14 6,;U,' ti hJxE&ll l,IA7\/ noO 'at Cv; 111 6nou 'atl v; airtnl. 29

-

-

of

234

..

RHYTHMAND METRE

...

737 aO-dicl&tL

~

~L

°''td&.,;,_I ... ... ~

t~

>.ty£

&.o.ti:>t«Ec.-cbvMt)£LTT0Va 23 a&J-lO I qxi&L TOO~11 a!rto. 11 Tlivu ~.

884 Eq •

~ ~I~

a0T~. II ~, (where the rhythmical peculiarity may serve to reinforce 67 •yMIN 6L' t1Jt l&XJ't'LYCUIJ£\IOV; the 'joke'); 26

~~l'tbv

651

ol 6' ~ >Gl nix,c; ~•

728

Tlve:c ot ~;

OOH. dnL;'

~ l6rrb ~LOC..:N

tl,lt

1159

Men. Sam. 262 417

658

T£

lbt£xT(V£0].V

l6nb~ ~;

>Gl TOJTOVL

autbvltTL&,VOUl,ITV d.yarw:n" vOv 6' tn&t OTt»'i~lutvav, 0J »xla. 'aTt roi:c'OAWJ'CloLc ~ l66L'N&lvf6E:Laa.WC1li:ov 6ronon1\I ooxt l~'tOAEL"-tt.> 't#lvMv 6c.(¥JflXXU.

Asp.

183

Dysc.

~l6~CJK00aa.c. ~ov tn.iic;. II ~Lav 82 in.:~a• lb61.~, in.:ve:mc.. II Tl rouro, rut; 14 3/ 4 i6asLMCJWttl.; II >Gl rq:>EOTt Y' o(rccx,l. 70

oooiv

II au"t6(;; I () ...'&.avw, ~ I. • ... etl "CLOT£. au 6l; "'COU-a.> 257 b U\'VXMINLO'I~ oo-roc tanv 0v >.ty£c.c; ... ... 296 1t"CLJX.~ I661.>crt& le taTc. Sucoo::w:m:nov "' ... CJ66tvI66LK£tc tnA'!c;,uinw i:c ... ... 6l; NaKOntJ8E 4 15 (Js.&£ tc TID£ t T' ; II oOcSt IKOXllav t:yc,;rytOE • 348

"'

According labic tion

to

...

l\k£"'ITd>..L...v. IJ

807

b IJoo£1.Swv OE - II NO.l AOAELCfn; alrt6v, I bt1.KQX>£ tv n&:,1.v, ~ TIDEtv

the

theory

504

here

word which constitutes should be considered

In Aristophanes

the

second

as highly

a phrase-initial short

of the split

monosylresolu-

objectionable.

Nub. one instance 1192

- where there

presentPd,

occurs: t\0. f;li TL 't#lvf\Ai'VT'l'P(XJt&,K£v;I I! Cv', !?:, ut.l.£

is in addition

a salient

enjambement.

THE IAMBICTRIMETER

235 TABLEXXIII

SPI.IT RESOLUTION: PERCENTAGES* Soph. & mono- - monosyll. syll.

Eur. Or. & mono- - monosyll. syll.

pos. I - el.

0

0

0

0

1.03% 0

0.51% 0

1.05% 0.53%

0.53% 0.53%

pos. 2 • el.

0

0

2.63% 1.32%

1.32% 1.32%

4.46% 3.57%

4.46% 3.57%

10.87% 9.24%

10.87% 9.24%

pos. 3 . el.

-

-

-

-

0.46% 0.46%

0.46% 0.46%

1.38% 0.69%

0.69% 0.69%

pos. 4 • eL

0

0

0

0

2.1% 0.7%

2.1% 0.7%

1.18% 0.59%

1.18% 0.59%

pos. 5 • el.

-

-

-

-

2.04% 2.04%

2.04% 2.04%

0

0

pos. 6 • el.

6.52% 0

0

1.65% 0

0.55% 0

0

0

0.49% 0.49%

0.49% 0.49%

pos. 7 . el.

-

-

-

-

2.07% 1.38%

2.07% 1.38%

0

0

pos. 8 . el.

0

0

0

0

2.92% 0

2.92%

()

()

0.64% 0

pos. 9 • el.

-

-

-

-

1.89% 1.89%

1.89%. 1.89%

0

()

pos. 10 • el.

0

0

0

0

0

()

0

0

tot. . el.

3.17% 0

0 0

1.1% 0.22%

0.44% 0.22%

].6% 0.76%

1.52% 0.76%

2.02% 1.52%

1.81% 1.52%

*

Percentage of the sum total poeitions. • Second short • monosyllable

N.B. No occurrences Epigr.

in Archil.,

Aristoph. & mono- - monosyll. syll.

of resolutions ( ...

in

the

Men. & mono- - monosyll. syll.

several

verse-

ulu/). Solon,

Aesch.,

Eur.

/tied.,

Lye. and

RHYTHM ANDMETRE

236

TABLEXXIll A SPLIT RESOLUTION: TOTALNUMBERS (&ratio-/+

Eur. Or.

Soph.

pos. 1

0

0

0

0

elision)

Aristoph.

0

2

Men. 1

I

0 pos. 2

0

0

1

1

pos. 3

pos. 4

-

-

0

0

I

4

I

J

-

-

1

0

0

I

17

0

pos. 6

0

-

-

6

0

0 pos. 7

-

I

2

-

1

3

0

-

1

I

J

0

0

0

I

0

0

-

0

-

I

1

0.5

pos. 5

3

5.67

4

-

2

1

0

5

0

0

2 pos. 8

0

0

0

0

0

0

-

-

-

-

pos. JO

0

0

0

0

0

tot.

0

6

I

4 0.25

10

3

0

pos. 9

0 monosyll.

0

6

• monosyll.

0

0

0

0

0

0

J

I

10

0

3

0 10

J

7

21 J

0 I

1

11

0.9

0 0

0

-

0

0

1

I

0

21 4 5.25

THE IAHBICTRIMETER 4.3.

Word-end after

verse-element rhythm

two shorts

is

restricted

quent

2 it

than

word-end

of

would

produce

cessive

short

without

the

before

to

relatively

is

word-end

distinctness

which occupy

the

certain

position

of a single

conditions

regarding

the

112

of the verse.

At pos.

237

frequent

(in

resolution).

rhythm

as

resolution

Here,

an alternative

(cp.

a monosyllabic

tragedy

3.6.

word in pos.

it to

above),

even

more fre-

may enhance the

which

1 followed

the

incidence in

of

this

case

by three

suc-

syllables.

That word-end after resolution in this position is indeed the is suggested also by alternative to word-end before the resolution is the situation in Aristophanes, where word-end after resolution relatively infrequent, whereas word-end before resolution occurs frequently. Word-end effect of

of

following

resolution

reinforcing

the

rising

of the verse

the beginning

in

this

position

rhythmical

(see

has

the

positive

movement characteristic

3.4.2).

6cnt,:Jac,I&iav 1:00' ~I. lJCAEI. ..... •~, 388 ~1.ovl~v, 6:rnc tv rote 'Htpof;oi.v ..... 7 21 qovm.l y~1. m.T~ oOTEldt.ov ... 9 20 txtnc; I&,,cnn1. roi:o6£ d.Jv waidona,1. v ..... 934 &yaa\l{q.toi.c; TE wat 110X1.~ oQ, Y\NCLI. Phil. 636 nt~oelbc::>lCTJi:n, ·~ ~

Aes

eh. Ag.

7

....

-

....

.....

932 943

6no5c::>c,I ..... t'KVOOl,,.aio', 6n65or;, l~J~ ToO znvbs;·~cue

981 6n65oc;, l&i,e;c \.K)I., Tl:lL, m

....

l O18

Eur.

Hed.

~l.!D'>~ tpi\l,DV, 6no.\t.~ tv

10 TU"tqXll~tl. ......

"Cllv6E: yfjv

....lnac:dtat. • wal 61+>1. .... n,xnlmu:LJ'.Xt)

896 TUTtc:xih,.1£8' ft~,

or.

7

25 ~

v ......

27 0:, ~-,

fxti. 't6fa..l) "to0"tO lJ,tv V

vt:JCP6v;

Kopt.v&Lav

>«J.1. 61.0.Uaxa.,8' ~ 'tLV£t. TCIUTI'IV 6LK11V

n£Pl.ecw,(b'

tf;) To0T'

~I.

llC.£T£W, Tbnbw.Jv; b,01,.1£V.1&mv et 'tdi.L'~· [&Jc (ll£L~8' ... ., • Ib ea.£\IAN6' tc tl&I; nA0\i:n.or;WCN7N ,,rrt,::a. • 1-ro~ T' l>.aacv&v'tl ~ ... w & ytpov, Itvw toL t1)bc ot 6£ Ll&J.L'VCI)¼t LV ... w

296 394 502 544

b \q.lCC la\1Etm1., 'HOU qedvo1.~ w w

941

nc

dv

956

In comedy the positive 2 is

observed

with

the

to a far

circumstance

movement of the (cp.

avoided too,

lesser that

trimeter

below).

4.4.

tendency

On

the

is

to word-final

degree the

in general

other

of the

,

word-end

in accordance

to a lesser after

with the fact is

in pos.

rising/falling/rising

stressed

hand,

resolutions

resolution

apparently

consecutive

even in comedy, in accordance

the majority

113

preceded

degree

resolution that,

is

in comedy

by word-end

(3.6.

and Table XXII above). Aristoph. Nub.

... ...

k&cQl£PE 1-roy,:rqqo't'CLOV, tv' w ... -

19

~ ~

32

&a.ye.., I't'bv tnnov t~~ oC>OfiE w

55

nix>lCX:h v

6 71 / 2

.....I6'mkov· & VU\W.,A.Lav ~ ~ tc 8'\A£1.av oi'x:av. ll -a;,'tP6rlt>; .....l1GA£

11 ~,~ 'yw )QXX)ITDV;11 l,d-\.1.ow.vc ...... Men. Sam. l 0 l

~JnEVl')lX&.lV 6.yd8' • •Aafl\GL ~

/fed. 31

Eiiol~ &.¥::,niam ~ 'tQ Tpo.:C.C .....Tt£6l'I ~ 814 U6vln w.toc .... I(Jntpmwv .>.aa£tv

a/Jvi

1 ~ ai.rtfiv T'D't£t) lmt0Li.J;t;> .tv,,v, 6 6t IIU.u'ta.Ll,flCTC~ >.tx.o;.

Or.

--

u'rcr¥:>m.pl IMa3r'!Y\ILO't0.L 6tiac ...... f'iv yap WC1-r'oC~ ,P.LlavfnAtt. 4-ta.vcmootxw,utV£ Atxouc ., ...6' Itnt o-cpw'tCI() be. ~Ui7v 6t -ro.6£..... IVOCEt, nolc.i,v Ono; oOrta>"Tb J,LtMov..6 1 ...Coovl~lq. At'YW

40 8avoOca. 63 313

4 o7 426

549 Tb ~ 1'l1L\I 'tb 624 658

oov, ..... 16l1'

672 ~

Occurrences

of

otov ~-

'tL 6t; l-m>.at.Tl4Xi:VlJ£ &i:

.....

6' I ~ 66uc.u.;.

resolution

6 followed

in

pos.

word are more exceptional;

or. 439 'tL q::xjv'tc(;; 6 n Nat"'~, 1575

~ ~

oo~ • m.pt

a bisyllabic

Eur.

~OU

t""

1585 cn66oi; fdi.QJ-ros; vtxw,1~ 1594

~L

o-c6'n .....lvtl.1£L cx:s~.cna:rov iii 'ti;D' 6'Juv£Lv qt,vov ltvavtlov 6£ot, ..... d 6' A6AL, t.\a6£ cqd;yL' I ~

592 w"'1v 8'xnoi:oL

involving

lCCl'tQ O-C£)'0(;

117 (I)(; -ro (36£~E+)Of; ......

!'tE+)Of;

o' te ~ o-c4a't0tl&-ravcc,~ov TO t, ~L(; m l-lt'tP~ ' Im:JPN£tv t6u\.d:\.a,v .....

610 ot Men• Sam • 16

~

4o OUVl'lYJ,£\,OC ~ llllXlC ti~ l,1£w. n\t\JV ...... 360 -cobc6.:Uo-rplouc Et, ......tul:l-roLoOtovYEYOVC\QL Asp.

Dysc.

0

105 brv..LC6iJEvc>L -rb 1'QX,\.Ilbocrros; TW')OLOV

......

I

595 /:t&Jv JCaA£i:(;,6.v6:11.' 6:vELP'l)(\)LQ

Ytmh

RHYTHM ANDMETRE

240 At pos.

8 there

resolution,

though

word-end special

at

some occurrences

rather

this

few compared

position.

rhythmical

(basically)

are

These

effect,

rising

namely

of

word-end

to the general

occurrences that

of

following

incidence

seem

to

of

produce

a reinforcement

of

a the

movement near the end of the verse.

E.g. Aesch.

547 (involving

Sept.

amples of this

type,

see 4.5.1.1.

1022 Soph.

OR

a bisyllabic

word;

for

other

ex-

below)

sub fin.

"' ... ~O(; 'Apdc;"!b 6tlroLCXJ6' ...... lCl Ul'a8'~"tELV ...... ~IXEL~'tQ

~

826 lJJl'tlX>(;~uyfh.a.L>Gt TDttcXll>«J."IXJXmvELV

Eu r • Hed. 5 05

6t~L

......

oCMOLC &\.ITll.ttc:Xl I>«J."tbnuvov

vro l1'

- ..

tc 0C4f.'til.lt"tf+>OV. ...... IlarLv 6' hr.> 4 8 7 >«J.t ti'i1v ~ YE l.a'irri:xhqx,v IE[ \aL 8tA£ Lv ...... 671 taU"tl'lC t~i. a' -tr> l,1£AEC>Cjtl,IZN HllMWV ...... 1092 Mv yap cwmv,r'ic;YE }..txO(;ltn(ivroa

or. 60

~

A similar verse-final effect may apply as regards word-end after resolution in pos. 10 in Sophocles' trimeters: 2 out of 6 resolutions, or 33.33%. This percentage is proportionally high compared to the occurrence of word-end after resolution in the other verse-positions - but not in comparison with the general incidence of word-end at pos. 10. The sample, of course, is rather small • oR 719 fA:>1.~ ~

x£+JOt v E tc

1496 TL yap )(O)(.(J\I dn.Eat1.; i:ov In comedy too, word-end after ively

often

(especially

in

a resolution Aristophanes);

seems to be somewhat different,

fact

the

resolution serve is

in

phenomenon is pos.

the preservation

observed

4 as

I~ TU"tt(n I na"dlP in pos. 8 occurs

motivation that

... ...

4aarov

comparatively

well:

both

of the metrical

but here

comparat-

the

rhythmical

as may appear common in

the

from the case

of a

phenomena may be supposed structure

to be one of the main objectives

in general: compare e.g. 3.1. above ... ...• Aristoph. Nub. 7 ~,:• cx'5t ~•lf~ex:nC

of the verse

which

of the comic trimeter \.IOL "tOU(;otKtlXJC ~

100

Etatv 6t. i:CVEC;IU o6K o[6'

179

tK 'tfk; Tll.\alcrcJXIC 8oClJii:1.ovlUPELAETO

1e4

& ·~1.,,

......aHCL~

- ...

"tOU"ttrrooaral in

arpca.;

to

THE IAMBICTRIMETER

241

...... ......

233 l>Jc£1.TtPbc:; au-cnv -cnvt>Q..dfia.1 i;fls; qpovtlOOC 238

t\O. l.1£ 61.fdEr.lc~ fv£x I Iv.rv.ua:i

...-

663 ~'tPUO\,QINClm ,xx!rtb >Gt -rbv ~ (but compare 849 below) ... 736 JT£Pt"COO;ou yap \JOI. To0To ~. I er,

-

.....

816

~n:,

er,Ea.1.1.DV1.E,ITl XPftl,a Tl.iox.E1.C, & n.in:p; ... 61.6.~to. eJiNC1taotl,dnCNI~; ~

Men•

856 168 b:mcu6cucoto.;

S'd m •

Il,al6tv

~;

....

NCl"tt'l'\101:3

306 uutv llCCl'\10{;, Et 't'OU't'tdv1.ovl NCluiatEyCN

.....

oox~

f i:uxe:c. IlloC ir,.,CE• I) >«1Lau· 'tCino YE ... 668/9 oretv. TL dJv ~ fquye:s;,l6etAT£PE ...... >Gt 6E:1.AO'taTE;Iyclotov. nTt£lAl)Clt l.1£ 309

In tragedy

word-end after

-

a resolution

pos.

1, which would produce a verse-beginning

after

which the verse would continue

Compare the following

occurrences ... ...

with a 'monosyllable'

with a falling

movement.

in comedy:

..... ltilV cnpa:tT1yG.;v~ tx Il\Ma> 1205 .....&u&r looylap dUa -co0 TQDBtvT°' ft ~LC

Eq.

Men.

112 ytyov'I ......

cu.~•

Cfj 6t >GL~'tQI.

402 ~ lt\aT.EoEtv. OKTlTt'tOI;nc de

-cnvoCKlav

Some of the rarer cases are: Soph. Phil • 1314 ~ TntttXlITOV~ e:(w)yoOvtd. Eur. or. 483

kEL'VOU

ai.rt6f; d>e' b

- - ld"tla

(pos.4)

(pos. 5)

b ~

(pos.7)

lJ.LMCO.~ (pos .5) ~; 11)nii'),;; ~~ ~~- (pos. 3)

630 l>crnc ~n' 664 nii'),; &'I;

Ini.iti:n yEVl'to£m1,;

-CunoeloOa'

c65tno8'

3 ~ov.

4)

(pos.4)

unb 6' lfTEL\1£ ~ ¼ouc

---

Aristoph. 122 o(h'

OE ( pos.

-yap 65EITt£q'JUH.£, ro1.oO""COC YEY~;

915 13a).,\ovr~· Nub.

avoided at

742 6 n;l

Aristoph. Asp.

is positively

I ...... 849 ~TPUOV' -Ill~

749 yV\,Q.L>GQXJPI.JJKLO' Et TtPLQ1J£\IOC 8ET10A1iv taUTO; NCllaY~

Et.

(pos. 5) (pos.3)

(pos • 5) Men. Sam. 100 &ill v&LOV, TtLxinlrdvt' , •Ano').).ov. Ta(h:a. 6t Asp. 343 Tl:6vrpcac;, t:E"Pl~ ~I "oCx.EmL (pos.9)

242

RHYTHM AND MI::TRE

It should assume

be noted,

that

the

short

syllables

occur

in

a

avoidance that

18,

which

certain

under as

both

of

21):

above,

case

in

metron-dihaeresis

they

see

e.g.

rather,

relaxed.

pose.

and

two

if

avoidance

may be

to

the

more strict

be a general

the

after

anapaests',

('split

is

be no reason

or)

is

circumstances

this

produce

(between

a resolution seems to

there

seems to

(In

4 and

8 in

accordingly

are

of them marked verse-positions.) As can

final

be observed

resolution

of ten;

only

in Table

elided

in

the

case

labic

occurrences

are excluded

is even smaller

(notably

whole,

within

the

points

out,

words

involved

the

of

frequent

On the

than

in

average

sample)

Euripides'

does

resolution (cp.

in

in the

case

not

occur

pos.

3 in

Table

XXVI A).

the proportion

of elided

of

word-

particularly comedy If

the

is

it

bisyl-

word-boundar-

so in Menander).

word-final

present

XXIV A below,

word-boundary

more ies

word-end

rhythmical

which

there

verse-position

indicated

particular,

that

constitute

non-marked

SNELL (1982) comedy,

however,

resolution in

occurs

Euripides'

later

plays

Or ••

the

most As

frequently

(sc.

WEST (1982)

proportion

87

of bisyllabic

increases.

See Table XXIV A: the proportion of non-'monosyllabic' vs. 'monosyllabic' resolutions is 5 in Aesch., 2.67 in Soph., J in Eur. Hed., •l.07 in the or.! J.96 in Aristoph., 1.94 in Hen •• This situation is even more significant in view of the fact that in Euripides' later plays the percentage of words occupying a single verse-position does not likewise increase (see Tables XXI and XXI A above). Consequently

this

motivations

for

lose

their

(ad Table

*

situation the

seems

allowance

of

to

indicate

word-final

that

the

resolution

rhythmical gradually

influence.

XXIV)

Uord-end following resolution, expressed as a percentage of the resolutions in that particular verse-position; the total incidence of word-end at the verse-position concerned (i rrespect 1 ve of resolution) has been added in italics.

TABLEXXIV WORD-END AFTERRESOLUTION:PERCENTAGES* Aesch. & mono• - monosyll. syll.

Soph. & mono- - monosyll. syll.

Eur. Med. Or. Aristoph. & mono- - mono- & mono- - mono- & mono• - monosyll. syll. syll. syll. syll. syll.

Men. & mono- - monosyll. syll.

i

!.... 0

pos. I w.e. at I

5.29%

pos. 2 w.e. at 2

50'3/o 45.24%

()

0 9.15%

()

0 6.68%

8.73%

11.28% 7.73%

0

6.84% 5.94%

0

;J .... Ea ~

pos. 3 w.e. at 3 pos. 4 w.e. at 4 pos. 5 w.e. at 5 pos. 6 w.e. at 6 pos. 7 w.e. at 7 pos. 8 w.e. at 8

50%

6.67% 15./9%

0 10.42%

9.78% 12.97%

0 11.4%

pos. 10 w.e. at JO

-

total

7.23%

0

-

-

-

6.67%

-

-

pos. 9 w.e. at 9

52.63%

-

-

15.38% 33.84%

52.63% 37.67%

7.69%

9.09% 32.25%

50% 35.82%

50%

18.75% 39.42%

18.75%

29.35% 38.02%

29.35%

-

6.39% 28.2%

4.11%

0.69% 29.29%

0.69%

0 7.16%

2.38% 8.22%

15.38% 24.37%

11.89%

8.24% 25.57%

7.65%

-

-

8.16% 60.17%

8.16%

4.44% 55.05%

2.22%

7.1% 15.04%

2.19%

12.32% 19.94%

3.45%

2.07% 38.16%

2.07%

0.79% 41.18%

0

22.81%

19.88%

12.74% 27.74%

8.91%

1.89%

4.92% 37.21%

1.64%

2.63% 11.29%

6.25% 36.31%

-

-

48.68%

-

0

9.09%

51.32% 41.37%

20.33% 11.65%

2.2%

6.25%

17.31% 39.48%

7.69%

36%

-

3.TI% 29.25%

to, ~

N

,1:--

-

6.02%

33.33% 55.98%

33.33%

-

17.46%

12.7%

5.88%

0 55.19% 4.41% 19.21%

9.93%

4.44% 24.65%

2.22%

4.81% 30.15%

0.96%

10.8%

7.~%

9.96%

6.57%

w

TABLEXXIVA WORD-END AFTERRESOLUTION: TOTALNUMBERS (&ratio-/+

elision) N

Aesch. tot. pos. I

0

pos. 2

4

+

Soph. tot.

- +

0

3

I

20

3

pos. 3

-

-

pos. 4

0

1

Eur. Med. tot. - + 0

18 2 9

1 0

2

Or. tot. 0

2 0

39

-

-

0

2

pos. 5

-

-

pos. 6

0

9

pos. 7

-

-

1

35 4 8.75

0

l

37

0

-

-

1 1 I

-

tot.

-

+

14 8 l.75

13

21

17 4 4.25

54

48 6 8

1

0 l 0

14

13 1 /3

2

2 0

25

16 9

22

2 12 0./7 20 2 JO

4 31 6 5.17

l:1:-

Men.

22

14

-

5 4 1.25

- +

Aristoph. tot. +

13

0 4 0 9

4

7 6 1.17

-

2.25

3

2 l

l.78 1

0

2

pos. 8

2

2 0

I

1 0

pos. 9

l

-

-

0

l

9

-

-

8

l

39

8

-

-

2

33 6 5.5

20

1

3

l

20 0

3 0

-

I

pos. 10

2

0

2 0

0

0

2

2 0

-

total

6

1

5

33

5

monosyll.

1

1 0

9

-

- monosyll.

5

4

5 4

I

24

4 ---

22 2

II

3

I

87

75 12 6.25

1

42

35 7

3

1.25

I

4

27 6 4.5

0

3 0

-

45

40 5 H

94

5

138 114 24 4.75

47

25 2.7'1

91

n9

5 0

-

17 I.H2

31

5

0

3

142 100 42 2.38 48

l 0

32

15

2.13 82 9 9,/1

~

i

~ ~

~

THE IAMBICTRIMETER 4.3.1.

245

As has been argued above,

described

as the rhythmic

t rimeter less

which is

confined

to

of

preferred

verse-positions, This

from the metric

tolerated

particular

occurrence

above).

divergence

increasingly

preceding ( 4.3.

the phenomenon of resolution

rhythmical word-end

increasing

tolerance

appears

not only from the proportional

resolution

mical

but also

occurring

present

definition

above), type).

involve

In

our

percentages

fulfilment

in verse-positions

motivation,

olutions

the

within of a

a single

sample

or,

gradually

such

as

the

resolution

rhythmical

conditions

of word-end followis no positive

increasing

proportion

rhythof res-

word (some of which, owing to the of

of

word-boundary' a

resolution

(3.1.1.

non-potentially-structural

trimeter

poetry

the

following

apply:

Aristoph. 28.21% 30.47% Men.

Aesch. 7.23% 12.7% Soph. Eur. Med. 7.35% Or. 13.25%

Lye.

Epigr.

10% (see 3.6.

above)

~ome examples are: Aesch.

Ag.

539 )(.Q.LP-&>·uf"t~L

6' ouuh'

ave~

&or,

630 tt6-rE+XJ,"y&, a!rro0 ~ 1\ TE3vr)>c6i:c,c ...... 1590 a!rroo· ......EtvLa.-Pot To06E 6vc6EO(; m'rliP Sept •

2 7 2 TtEOLov6uoL,TE 'Hliy~

tnum6rtoL (;

.....

6 53 ~~, TE l«lL 8Eii'J\I}.&tya aroy~

......

Soph.

OR

301 6'::Prcd T' ~LCif'TE

.. 1372 mTt+xfrrot' 703 ~l)t,

Phil.

qwJ:JL

the

in rhythmically

to

increase

from the

and is

of the

the phenomenon of res-

of these

'potentially-structural

of word-internal

Archil. Sem. Solon

for

where there

word-boundary

present

above)

subsequent

even without

profile

circumstances

(3.6.

word-end

olution ing

as such,

can be

ta.fou

lGL x_fuvcx:rnt3f'i ~L

&, ~C6ov

d(;"ALOOU

1401 tnlET£...... TUT~, &:d.io, 309 ~ otxTLpavt£(; 662 OOLQC,\T£ qx.JVEL(;rot'L T 1

JJCMWV

lJClM'l08'fn t\ n \Q crroMv ,

i:'>T£KVOV, atuL,'IU'tQXL

-~

't£

weTQ:)£06' ~

>Gl 'H4:lirlv 1l0al.'V

378 ~~~~Nb,.)

't'

ha6v

~,

t\ abv ~ ¼ot; ... 4 b ~ LD>GPLCC-ko6N 6v£1.6l ~ roxac;697 nat~,.~lc;

or.

... "'I'

54 ALl,1£\.Qet Naut.\l£LOV ~ Tt>d'TIJ 86 ob

a\_,cr~Za.

'IJ»(QpLC~ 8' b (XI(; ~Lt

we

i:>~ • tt 't'DCOCkJa a· , 6L..tvr,v 6:y~

~L~ b(

't£LX,t.wv

OUO)C..\£ft 't' &I' •E.Udea • 11 auvw 6~ -w,.,~· fEWTL 'A). 294 )(Qt v0v ~•, & MJOtyvr)lOV )QX1 ... 313 dyav 6ncotx.ou,iitv£ 6' tnt 01+X,JtOO¼out 444 ~ ~ El.\u:l:'6~££&:l ~Lt &w:,q; 250/ 1 Yt'vot 6u"1a,'t~

-

......

472-4

x.~ x.~ f\MOL

hloov

~

tt

Naut.\lav

TtO.\uc'tftt ~. TTPb{;~ cS£Eu~v a!rroO atA

OUV~

dv·r:rl' lJ£ •

~~6' dl,1.1. lJJl'tQ:Xl K~ 5 55 v.;,y ~c:diol'V CXJV "CQY~ XTlYf'TIJ ... 630 at£LX' , we ~ eutL&N ftuCv ¼oc; 722/3 0C1,J01., ~, K01JKtr' etatv Unlc5£c;, 546 ~·.

-

~ ~ aiw.Tov •>eye

~ ur'ivl~ ¼Cf) 1211 clm.i>6toano.L1 II et nqn y'i eoa•I ~ >.t.yw. 593 6u::-.1om1.'M£0UOLV

Phil.

(The

four

examples

in

the

are

Anth.cr.

those

referred

to sub

3.5.

above.)

fin.

In comedy,

Porson's

Law is

9 follow

a long

syllable.

pos. rather

small

short

syllables

-

as

is

in this

that

of

not observed:

60% of the word-ends

The proportion those

of

word-boundaries

elided

which

position.

E.g. Aristoph. Nub.

! TOOiru>.tyc1. 1212 fru:1.3ov cix:ltv' oCotv, I~ too' it\~ 553

examples

254

RHYTHMAND METRE

(5&9:) ...

~ ~,l~latatp1.

6

m 6m110LGNY6':>ldi1"tEXXNtXll~1. 39 lo6o0a1.v ~lxoO JD6o0al. l>Jreos.m 3so ~ "10P t,;,&>.ii,,.,Iff)v OvrJ,1. v I£t~ 584 6£ l '10Pt.eq.h·otc; vt,xu:n. v I£61.a8£tv 32

617

ao 6'

671

kCl.lvOv bu:l\.!C&1.ll£C -c1.c;tcnlvlt~

l!£vtAEXIJV 6t I~

nt, ~,

£C

"°""

881

6.Ua. ~ v "t£ lkCl.t~ t1-co1.>etavr~ If\ -c£lJQVt~ I~ E"tPO(ploc; 6 ~, '6wt:A£Km hdanm

923

tv

').i.veu. m o'

844 849

9 50/ l

lavn-rov 6vro. b.iueo1.v WU"ttAJV 1-ltvOO'lX&>, ITl'av Etvriv 6t ~ TI'iv6't.oK6t.i.1.C£ • l-rovMiXJ:toOvm~ TIDI.KLAOl.c; 6t

(penth.&7&9:)

520 EC rr.oulGAO.I.,Iqa.1.~tot.l -coLOlo'I~1. -rMl,la\l 8uo:mlC I\.IOLP:lVITM)E;"t I~

1588 4.5.1.1.

According

stances verse

in

i.e.

this

substantial

the

by

of

of it

relatively

in

certain

Knox and

resolution

in

two following

special

Haas applies the

second

circumalso

half

in

of the

movement at the

Law appears

to be no more

Law. statisticaly

of word-end

in poss.

8 and

at

speaking,

pos.

9 and the

10 may account

for

that limited

the

phe-

to. in

the

rhythmical

preceding there

so-called

is not improbable,

of resolution

More precisely,

above),

the

low percentage

nomenon referred

with

of

the original

face

occurrence

that

case

extension

than

On the

(1)

IRIGOIN (1959),

(''hmistiche").

However,

the

to

'Law' formulated

the

tragedy,

v

1

clausular

be

of resolution

situations

word-end

will pos.

case

is

(for

no occasion

8 unle88 effect

likely

which

see

to

realize

a monosyllable will

in pos.

8 one of the

to occur: 3.6.

and

a clausular

is involved

be accomplished

Table

most

XXII rising

(luul'D--u--11). so often

by the

THE IAMBIC TRIMETER incidence

255

of word-end

frequent

situation

at

10 (which

pos.

in the

case

in

fact

of resolution

is

by far

the

luuv-lu-ll,

8):

in pos.

most

or the

(2)

resolution

actually

are

rising

in

some

clausular

Table

is

followed

by word-end:

instances,

of this

presumably

movement in

intended

8 referred

pos.

situation to

to above

there

produce

(see

4.3.

the with

XXIV) • For

similar

reasons,

pos.

10 are

sometimes

be no realization volved.

It

described

the

exceptional

followed

of clausular

will

the

then

situation

that,

resolution

not,

there

a monosyllable

given

described

of

if

by word-end;

movement unless

be obvious

above

occurrences

the

is in-

clausular

by IRIGOIN is

will

practice unlikely

to

the

in-

occur. In

addition,

the

cidence

of word-end

of

falling

the

rhythmical at

not

be realized

pos.

8 or 10:

at

9, namely

pos.

rhythmical the

circuutances

movement rhythmic

that

by the

if

is

.a 5 1t£ £aer,'t 1.• ~,

-

1'M

S97 q,Cc:nl, ~

Ned.

512 ~

cases

profile

seems

to

will

a resolution

be

the by the

stronger

w

'1W

in

...,

mTti::ul-rovti.iav;lb 6t ...... OE

1302 oCJKc1v 1JE8e:lrrv.1 Jqn,"

metric

there

caesura,

are:

Ph 11 •

- in which

a reinforcement

produced

level

Soph. OR 967 K't£VELV ~

or.

is

there

luuul-lJ-11 or 1-uluu u-JI.

Some exceptions

Eur.

conditioning

~

Iy6vao1. , Il«ll Tt£P ... ...(1,o}

l'L µ' l&.qnlno>.tµ1.ov

- ...

mtoac, It.pus,nl~1.

- ...

f&vro -caOmlTD'tt+>ECIol rdhJ.1. tendency

to keep

occurrence than

of

the

clear

the

word-end

tendency

distinctness

before

to

the

realize

of the resolution

a

clausular

movement. As indicated olution

in pos.

Aesch.

Ag.

above, 8 is, 119S

the most common situation however,

the

in the case

following:

......

t\ ~u66t.aavtlc £LUI. I~

1265 Mal. OKflyn~

I Cli>,i;&Jv; ... "MO.L invt£i:'Qlrt£PL c5tar;)I ~tc~; I ......

I

1276 "MO.lvOv rt0>..li:w.c -cdtJ6€ 6ulf:ip61.JOVCq,uyQ(;

1445 ~ l.l.01.c,>..uou::n I TT.CM.£µlwv I~

of res-

RHYTHM ANDMETRE

256

I~ 270 ~ 6t n.\£x-aiw.1..0Ll Tt£PLQ)OIJCNI KU"t~ -416 ara'ivar' tc ro1..a:J6£ I 8avaal1,.10US; I~ .... 495 -rovoom"tOV 1.1£~ I ac:iwo1..uovI voov -- I n6Ea. 7 v6at>J«l~W. I 6t.aa6P:.> .. 257 a.\.\' ot ~ ~EC I avoo~ I tut 809 6.\.\., avtL' I~ or. 81 'EA.tvr,, "tL OOL A£YOLU av I d. YE 1TQ:X)UO' I~; - ... 305 xti'pr;i ·t1..v', otx~· I OE y6') i fx.w I ~ ...... 896 rcn&;;o' a£t KTIPUK.E:c· I &>£ 6' I a&toi:c I q,lAO(; 547 ~i:~

Sept.

For occurrences

·~·

of word-end

after

resolution

in

poss.

8 and

10, see

above.

4.5.2.

has

As

iambographers

been

alternatives:

rhythm

is the

form

stating

8 and

In the of

rather

clausular

words

towards strong

XX above);

proportionally

stronger.

of

pos.

shaped

of

rhyth-

to

rising

f0-1J-11 or

... 'Law'

negative

concurrent

however

such

by a

associated

is

, Knox and Haas, in its tragedy

the

10 are

returning

iambographers, In

this

situation

verse

in

the

underlining the

I 70

early

at

trimeter

word-end word-end

is

XX and XX A, P• 214/5 ahove).

with than

the

11.J-11).This

( ...

avoided.

Table

per

effect

by a word(group)

the

place,

conforms less

in

in

8 and word-end

word

10 is

first

situation

Table

that,

common (see

tendency

pos.

names of von Wilamowitz

pose.

average

sub3.4.l.above,

either

bisyllabic

with

rather

at the

produced

verse-final

stated

word-end

mical

at

with

1

Eur.

4.3.

instances,

it

tendency

reflects

early

iambography.

observation

that,

the is

obviously

rising

in tragedy to

do

movement (see

so

in

at

3.4.1. pos.

the

lower

Rhythmically

the

iambography,

the

at

pos.

and 3.4.2. 8 appears

10 is with to

be

257

THE IAMBIC TR.IMETER

and Solon respect! vely in the case of In Archilochue, Semonidee, single word-end at poe. 8 (ll>-U--11) 84.21%, 78.85% and 85. 71% of the 71 ancipitia are realized as a short syllable.' It

should

be

in

pos.

ancipitia

9 tends

final

iambic metron

tion

in tragedy

While

on

pos.

the

9 at

(being see

one

hand

movement

which

of

streSBed

by the

the

risk

of

characteristic

the

of word-end

situa72

ancipitia metric

of

level

basic

up the one.'

long

'basic'

rhythmic the

incidence

of

by means

of

short

of breaking

'sophisticated'

the

extending the

of

'nlue viewed,

'feet'.

clarity

hand at

recurrent

percentage

an increase

is

the

other

high

to be the more

rhythm

is

the

increase

there

expense

on the

l),

that

two iambic

single-short

sub

pos.

into

to

can be said

the

a

also,

realized

in

profile

prolongation, the

rhythmical

metric

profile

at

pos.

both

is 8 and

10.

For graphere,

examples of the clausular see 3.4.1. p. 209 above.

4.5.2.1.

'nle

GOIN (1959) pos.10

in

'Law'

formulated

to verses

with

tragedy

4.5.2.

sub

seems to

preference

for

word-initial in

pos.

early

iambo-

extended

of resolution

accounted

resolution

a monosyllable

the

by IRI-

in pos.

8 or

uulv-l1r1I: luuul1r1I. However ,this

...

be sufficiently

of

has been

an occurrence

(cp. 4. 5 .1. 1. above):

phenomenon involving

practice

(see 8,

for

3.6.

are

by the

above).

cited

general

Exceptions,

4.5.1.1.

sub

fin.

above. 4.5.3.

MORELLI (1961)&(1962)

cies

observed

ther

restrictions

colon

of

13/4.

According

graphers

by Poreon, on

iambographic only

to

reduced

to one general

von Wilamowitz,

the

incidence

verse Morelli,

one word-boundary

as in

of

word-end e.g.

trimeter

may occur

the

tenden-

Knox and Maas and the fur-

formulated the

'Law' within

the

second

by PERROTTA (1938) of

between

the

early

caesura

iambo-

and verse-

end. 'nle

possible

combinations

of word-shapes,

ing: with

penthemimeral

caesura:

1-ul-v--v--1 I l-v-lv-1r1I

then,

are

the

follow-

RHYTHM ANDMETRE

258

l-u-v1-v-J I /--u-v-1 \J-11 with

caesura:

hephthemimeral

1-ul-v-JI l-v-l\J-11 - a monosyllable

verse-end

at

the

undeairability

ated

by Perrotta)

of

being

infrequent.

a monosyllable

following

which

of penthemimeral

caesura

of monosyllables

to

implied

is

(see

the

here

3.1.4.

sum-total

the

does

not

above).

speaking,

Strictly

caesura

apply

However,

of word-shapes

in

(indic-

case

the

the proportion

is of course

rather

small.

So,

in

practice,

for1111lated 4.5.2.

Porson,

above)

the

von

at

all

infrequent,

preted

as

pos.

even

5,

in

amples

having the

the

but

Law merely

Wilamowitz,

restriction

(l-ul-v-l\J-11). Now

10

at

by

's

Morelli

this

sequence

since

part

case

of

does a

of such a sequence

the

these with

apply

penthemimeral

(see caesura

of word-shapes

;

173

verses

4.5.1,

at

poss.

7 and

as

such

is not

of word-shapes of

tendencies

Maas (4.4,

word-end

caesura

still

to

Knox and

on concurrent

a hephthemimeral tendency

adds

will

concomitant 3.1.3.1.1. there

are

be interword-end above).

But

clear

ex-

e.g.

t]Jot '1,1£ATPEL IS\JtJbvlthlov!TC&o V 19 wv d~ Qt )().ij I>ea.l}.lty' It~I Mt~ 177 • 1 ~ Z£0, lUTQ:) Z£0, l00V 1Jl:v I~ I>CPi"COC sLc 45 XM1l'Vll ~, lauxtv'I~ IfYJ,11\/ Sem. 1.12 nplv T®' [Krrto,L, ITc:iJ(; EtlounTIVOL I~ 2.2 EC n qp::,voCJ.L£V, ln.\.£Covltn.at,:i11c li,u.fic

Archil.

0

23.10

6.2

6'.&eLvovlciJetlblyLovl~c td!)}.bv" 6(:,mv 6' ldUoT'ldUolTJV lfX£L

~,

7 .11 Tb 6'

mc.o0ca&. , IT'livtu 6' IElot\O.L latN: L 27 U1V6' b. ~, II\ 001 ltv qpi;c,1,v IVOEC 13 ~ nivr'

38

Wtl'l'K',~,

lx.dA,nI\QlrtT,JOL v liatYQ

55 ~ 6' ~ L

,~

IYEL 't'O\OCl}G(Q

74 £to1.v 61.' ci:n£~ jTD,1. v I~LC V Compare also, Archil.

with

42.2:

~£•,~

a monosyllable

f\ tp(JE

in pos.

Iv~ 8:

6'! ~ ~ u

THE INCIDENCE OI-' WORD-1::ND:GENERAL SURVEY

Archil.

Sem.

Solon

Aesch.

Soph.

Eur. Med.

Or.

Aristoph.

Men.

Lye.

Epigr.

~ tll

pos. I • cl.

4.55%

-

12.64% 1.72%

5%

-

5.29% 0.53%

9.15% 1.82%

8.73% 1.08°/o

6.68% 1.26%

7.73% 2.37%

5.94% 1.36%

2.99% 0.2%

4.29% 0.61%

t--4

?c bi:!

t--4 (")

pos. 2 • cl.

pos. 3 • cl.

34.85% 27.27%

25.29% 16.09%

27.5% 20%

45.24% 34.()6%

37.67% 26.21%

35.82% 26.2%

41.37% 30%

39.42% 31.27%

38.02% 30.4%

37.79% 32.23%

32.52% 26.99%

40.91% 36.26%

45.4%

40.8%

45% 37.5%

32.7% 28.63%

34.52% 28.52%

40.14% 33.37%

36.95% 31.44%

28.2% 23.26%

29.29% 25.57%

32.43% 30.94%

34.97% 32.52%

pos. 4 - et.

6.06% 3.03%

14.94% 13.22%

l0% 10%

10.42% 9.29%

15.19% 11.99%

7.16% 6.28%

8.22% 7.32%

24.37% 19.36%

25.57% 21.73%

12.62% 12.21%

14.11% 13.5%

pos. 5

77.27% 75.76%

71.84% 68.97%

77.5% 75%

75.45% 71.15%

74.14% 67.93%

82.53% 75.47%

81.39% 71.09%

60.17% 55.01%

55.05% 48.98%

66.01% 64.52%

68.71% 66.26%

4.54% 1.51%

7.47% 1.72%

5%

11.4% 4.08%

12.97% 3.91%

11.29% 3.43%

11.65% 5.6%

15.04% 11.07%

19.94% 14.43%

1.56% 0.47%

2.45% 1.84%

pos. 7 - el.

57.58% 51.52%

49.43% 46.55%

52.5% 42.5%

45.92% 42.82%

48.33% 42.51%

43.08% 37.88%

41.37% 34.6%

38.16% 33.56%

41.18% 35.85%

55.36% 54%

49.08% 48.47%

pos. 8

28.79% 22.73%

31.61% 25.29%

35% 32.5%

38.84% 29.15%

32.25% 24.57%

36.31% 30.42%

39.48% 32.7%

36% 30.92%

27.74% 22.85%

23.13% 21.57%

30.67% 24.54%

9.09%

6.06%

9.77% 9.77%

15% 12.5%

4.53% 3.7%

13.24% 10.66%

8.24% 7.36%

10.75% 8.49%

29.25% 25.84%

37.21% 33.31%

4.68% 4.41%

18.4% 18.4%

pos. 10 • el.

34.85% 33.33%

47.13% 45.98%

57.85% 55.74%

55.98% 49%

55.05% 51.72%

55.19% 50.05%

24.65% 22.49%

30.15% 24.33%

62.82% 62.01%

33.74% 33.74%

pos. 11 - el.

1.52% 1.52%

0.57% 0.57%

1.57% 1.47%

2.44% 2.08%

1.81% 1.74%

3.9% 3.65%

0.27% 0.27%

. el.

pos. 6 - el.

. el. pos. 9 . el.

-

25% 25%

;I t--4

~

t-i t'IS :,:,

N

pos. ii-

1 100%

* Irresoective

100%

2.5% 2.5% 100%

of the sub-optimAl

0.76% 0.6% 100%

realizations

2% 2% 100%

100%

of verse-end.

100%

100%

100%

100%

100%

V,

'°

TABLEXXVIA THE INCIDE~CEOF WORD-END: TOTALNUMBERS (&ratio-/+ Sem.

Archil.

tot. pos. 1

3

+

-

3

0

tot. 22

Solon -

3 19

0 pos. 2

23

18

+

27

24

5

44

pos. 5

4 51

3

79

71

pos. 7

pos. 8

3 38 19

I

26

23

125 120

u

n

34 4 8.5

H6

pos. 9

6

4

55

4

2

pos. 11

23 1

22 I 22

1

0

pos. 12

66

66

& split res.

18

17

5

4 31 2 21

44 11 4

14

80

()

2

15

0

264 2.37 27 8.78 (4)

174 174

-

3

2

17 13

IO

5 5 HI

I

1

433 379 138 123 999

151

724 645 79 (4.16) 8.16

40

40

-

41

4

608

54 15

I

848

386

97 41 62

6.23

I

60

49

590

766 738

342 270 1669 1529

1()

292

11

160 143 17 8.41 (4)

28

140

204 0.43

69

34()

4.93

73

841 769

72 10.08

115

0

35

370 310

I IIJ

157

2251 2250

60 5./7

84

0 1

8308 1500 5 ..54

34

561 521 16

15

1

15

9802 8308 1494 (4.35) 5.56 (4.J6)

I} 15 8.33

15.5

22.5

'>8()8

53

7.28

7.03

45

80

0.44

726 553 173 3.2

45

9

64

439 386

1260 1103

98

7.11

-

5606 SOUi 578 8.7(

409

131 7.31

(4.23)

365 267

4./4

8 2

1324 1324

72

88

298 240

80

2 72

1088 957

4

0

9

/0.92

26.36 0

258

13.5 4.76

4.45

0

89

+ 0./J

777 642

13.83 448

-

3.75

51 16.53

567

165

tot.

2.29

942 54

+ 0.25

0.56

0

206

3.05

/3

6

-

8.2

30 I JO (I

tot.

7.02 0

4

63

599 451 148

0

l

3

4.25

4()

I

7

+

0.JJ

-

5 /6.2

-

82

70

-

81

17

-

5

-

tot.

3

3 IO

2 pos. 10

8

0.3

3.75

2

tot.

2.67

7.67

I 2 0.5

15

8

8.87

50

pos. 6

II

l.75

2 2 I 50

0

+

0

28 16

8 pos. 4

2

0./6

3.6 pos . .3

-

N a,. 0

Eur. Med.

Soph.

Aesch.

tot.

elision)

1019 1019

-

0

4381 3816 565 (4.3) 6.75

I t

t:,

E5

a

(TABLEXXVIA cont.) Or. tot.

74

(I)

Mc:n

Anstoph.

-

+

14

60

IOI.

-

Ill

34

+

0.23

(2)

458 409

332 126 348

566

91

81

495

901

350

787 114

864

129

62

27K 72 790

(7)

458

J83

67

216

159

75

548

437

J62

(9)

119

75

517 420

3.76 ( Ill)

611

554

27

23

57

354

1107

1107

4

26

(&

spl.r)

323 25

0

1436

1436

413

t,(I

3

41

665 448

351

62

791

475

478

456

186

6()1

538

973

951

23

7

487

393

86

Xl6

796

63

79

341

0

1615

63

69 926

44

318

65 914

4

4

4

22

57

6

1474

5813 (4.05)

5125 688

6686

7.45

(4.14)

7.04

4X26 4152 674 (4.Y..) 6.16

5834

5135 699

5X76 83K

(4.(16)

7.35

6714 (4.16)

1474

4

53

13.25

23

22

i t-1 (")

~

~

rrJ ::ii,

I

22

22

112

16

4

l08 27

4

3

I

.1

20

80

79

I

79

23

50

40

4 12 0

IO

4

30

30

0

55

55

0

(}

0

9

4.89

76./7

0

-

5854 832 5891

5643 248

(4)

22.75

7.01

53

16.25

94

59 1615

82

/3.83

/4. 75

-

6

0./1

39.8

4,/8

I

I

0.44

8.54

31

+

43.23

X9

579

180

4.67

49

7

-

30

98

233

.'\69

tol.

20.73

4147 674 6./5

4821 (4.35)

+

5.79

673

73

371

551

2.6/

25

(tot.)

322

/0.42

5. 75

( 12)

57

4H2 66 444

491 123

8.07

7.57

9.72

( 11)

889

6.0H

25

94

74

7.3

4.83

-

rrJ

0.07

5.M

2.79

5.11

(8)

413

JO68

0.93

44

6 X8

3.Hf>

6.9

(6)

473

4.7 Ill

74

22

IOI

3.'lCOU8cvl o(f;,t -cf\c~ 17 ~ dYnlJO"t~ qplOCOV1X1 h«:1LTOV 1')(1.arov 32 l«:ll Tfl y&'Vij ~£(; lcb TL 001. ~lncav la.t(l)Lku. fitJOca.1. 11 / 2 cb< dv -mx~ .:\~f;£1.£ • 1Tn\l Y£ id,v TDlCTtPllV, 0HCMl£P otxlCoooi.vloi: T£ TQXJU\1£1.KOL 94 &a:,1.

N

c,,, 00

TABLEII REALIZATION OF ANCEPSPOSITIONS

Hippon. %

long

short

2 shorts•

long

short

57.39%

40.87% 26.55%

1.74% (1.74%) 66.67%

66.96%

33.04% 21.47%

-

31.52%

-

%% 40% Call.

% %%

Herod.% %%

pos. 9

pos.5

pos. 1

62.42% 47.69%

64.54% 46.49%

37.58% 22.22% 33.94% 21.28%

46.67%

-

68.48% 52.31%

1.52% (0.91%) 90.91%

2 shorts

short

19.13% 13.33%

51.98% 33.33%

80%

-

100% 59./4%

18.64%

70.02% 50.44%

29.98%

-

18.8%

2 shorts•

long

0.87% (0.87%)

-

4.26%

95.59%

0.15% (-)

3.07%

59.92%

9.09%

~

% p~rcer,tngP

%% percentngc

"

The been

of of

long/short/rloublt>-~hort the

smn

total

pt"rcentar,e of double-short added in brackets.

rPalizations of

long, realizations

short

occurrir,g or

which

in

double-short applies

the

anr.eps

position

concerned

proper

naf!les are

i ~

realizatiors if

i
>.tyw 001.; la>Ji ,IKu61..UO., -rb MXoS; CJU'ffl 6nb aaui:fi,.lui,l.\l8oc; -r1.c, ou 6ouAr\

21

VII.118

vw·I iu,I )(QAOV n 6rw't" l~l6 NJKTL~

TP&.TTllJUWJ

~

6:p,1,.D.

~

TABLEVIII WORD-END AT POS. 6: MONOSYLLABLES*

Hippon. 0.87%

w.e. at 6 (tot.)

4.24% 2.42% 1.82%

5.63% 3.()4% 2.59%

1.82% 2.42% 4.24% 100%

1.98% 2.89% 4.87% 86.49%

+ cl. - cl.

0.87%

,1..01 1..01 tot. 1~II

0.87% 0.87% 100%

of w.e. at 6

Herod.

Call.

IJl1 JJI

0.15% 0.15% 5.41%

of w.e. at 6 monosyll. in 6&7ofw.e.at6

100%

100%

91.89%

* Here also,

the notion of a monosyllable covers and bisyllabic words (or word-groups) occupying position: see Ch.II, 3.4. with note 99 above.

3.2.

In choliambic

hemimeral

or

occurrence

of caesura

verse,

hephthemimeral media:

the

percentage

caesura see Table

is

of

verses

scarcely

IX below.

all monosyllabic a single verse-

without diminished

a pentby the

THE CHOLIAKBUS There

are

ura

media

this

is

few examples

in

Herodas,

of

remarkable

less

tragedy,

to

likeness:

trimeters

(and

those

not

to

only

amounting

considerably

t rimeters the

287

even

than

which

compare

of Aeschylus

convincing)

0.46%

the

Herodas'

for

very

of

his

percentage choliambi

instance

the

and of Euripides'

of caescholiambi:

found

in

otherwise 2.79%

and

the

show a 1.28% of

Hedea respectively.

~lv' c'.:x:,-r£~1JTlO,ibS6vta. KLvrioa,L IV. 7 2 6-.\n&i. \O.L, ~0.,n, [y6p a! •a,,oolou Xt i:PEC

Herod.

111.49

- which

but

for

the

vocative

a verse

with

hephthemimeral

inserted

would have been considered

as

caesura;

vI • 3 .at.\ICl, TTO i.ncnC 3.3.

The proportion

of

than

it

regular

is

smaller

in

than

especially

the

that of

verses

in the

the

circumstance

of

verses

without

caesura

is

hardly

at

that

in

at

verses

one of

lacking

although verse

or

8.2

MO.t~,

olovitoeloooL

(see

~l

!~"°'

26.3

l::oTt£p tu\,OOXO(; OOLVUIJE:'VO!; 5 7 cndCoooLV i:orc£p l0Lt£ lO.t l.dil Tq:n in ML~ au't6v 7 4 f\ «P£Ufou' b< 'tf\r; i ot KlTK:. ~ "tOOTov

a rather

Ch.111,

3.3.

RHYTHM ANDMETRE

288

TABLEIX CAESURA MEDIA;VERSESWITHOUT A CAESURA

without P or H word-end at 6 monosyll. in 6/7

Hippon.

Call.

Herod.

2.61% 0.87% 0.87%

2.42% 4.24% 4.24%

l.67% 5.63% 5.18%

CM • el. + el. ratio

0.46% 0.3% 0.15%

2

without P. H. or CM

2.61%

3.4.

poets

Of the

choliambic

rhythmical

movement

pos.

10.

Or

speak

of a 'rising

underlying this

rather,

marked 8 occurs

situation

incidence

of

both

to

the

with

Table

X A below,

8 in

fact

occurs

as

in Aeschylus'

of

word-end

at

in

is

word-end

in

9% of

trimeters, pos.

tragic

the

one

to is

it

only

at

pos.

incidence

of

to

of the

word-end

(cp.

at

3.

since

at

3.1.

low, at

in

pos.

10. As appears

from

pos.

pos.

about

comparatively

to be produced

chol-

in Herodas'

comparatively

pos.

in

and

where word-end

choliambi, the

possible

practice

of word-end

so that

at

of Herodas'

8 is

the

word-end

features

in tragedy word-end

stress

in virtue

more remarkable

Herodas'

8 appears

position other

situation

coincidence

only verse

frequent

the

and without the

this

like

of

the

choliambic

be,

rather

is

1.22%

by means of recurrent

the

to

This

contrast

in

profile,

reminiscent the

verse

movement'

appears

especially). verse

the

Herodas

since

metric

position

iambi,

of

2.42%

10 and at

as frequently low incidence

by a lower

occurrence

THE CHOLIAMBUS of word-end ticular.

at

pos.

The

sence,

289 8 unaccompanied

situation

in choliambic

ence

of

word-end

of tragedy:

at

In Hipponax over

the

however

meter

the

early

far

35.65% of his

as

Archilochus;

rences

of a choliambic

than

quent

of

to

incidence

the

trimeters

ponax with

at it

high

even

that

in tfenander:

for

of a single

of word-end

choliambic 37 .21%), were,

8 is

here

the

practice

At the

pos.

variety

10 is

8 is

con-

at

somewhat

The few occur-

both

pos.

10 and pos.

in Archilochus'

percentage pos.

occurs,

10 word-end is

trialthough

occurs

of Hipponax.

9 however

the

much

{The fre-

of course

contrast

pos.

foreign

30.43% in Hip-

(35. 76%, only

mainly

accounted

accompanied

observed

the

incidence

the

Hellenistic

observed

in

of the anceps beginning

movement of

of the

his

poet

the

verse

verse

to

be compared

for

by the

word-end

in

the

at

choliambi

with

frequency at

pos.

9

both

pos.

5

of Hippo-

of word-end

both

at

than

the

case

of Hipponax,

to

carry

in

seems

acknowledged

in pos.

remarkably

by word-end

for also

even more exceptional

also

9 in Callimachus,

as an alternative

In Callimachus

that

mical

it

at

caesura

7 - a phenomenon

realization

is

penthemimeral

and

pos.

small

verse

as

at

at

unparalleled

iambography:

(serving, nax).

word-end

pos.

pos.

tri-

to 34.85% of the trimeters

in the choliambi at

regular

the 9.09% in Archilochus.)

The percentage

pos.

at

Archilochus).

8 and at

does

the

Hipponax'

Archilochean

word-end

word-end

are

pos.

early

incid-

are distributed

to

the

compared

with

word-end

of

ab-

trimeters

more evenly:

to

of

a comparably

both

more frequently

{or

28. 79% in

Hipponax

Semonides

regular

par-

the

on the

the

similarity

of

verse

in

trimeters

to

in

10 in with

restrictions

rather

incidence

compared

be observed

his

harsh

the word-boundaries

incidence

(23.48%,

pos.

below.

choliambi,

the

at

unconnected

9 to be observed 302f.

the

lower

in

the

iambographers

cerned:

in

of

show an apparent

as

meters;

verse,

not

verse-positions

anyway)

8 to

course

p.

three

choliambi

of

of

and Callimachus,

last

of

is pos.

see 4.3.,

by word-end

pos.

to

predecessor

the

10 and so

extreme

{compare

the

9). a tendency

by means of recurrent

to

stress word-end

the

rhyth-

at pos.

2

290 is

RHYTIIH AND METRE

obviously

absent

machus

are

On the

whole,

the

aa far

concerned,

early

the

as

the

word-end

situation

iambographera;

at

choliambi

Hipponax

3 being

pos.

in Hipponax Callimachus

of

far

more

can be compared

may rather

and

have

Calli-

frequent.

with

that

in

followed

Hip-

to reinforce

the

ponax. Herodas, rhythnical end at less E.g.,

like

the tra~ic

111ovement more 4 is

pos.

frequent:

poets,

here

strongly,

again

on the

somewhat more frequent,

see also

4.2.

tends

undera tanding

word-end

at

that

pos.

2 somewhat

below.

10: Hip pon. 4 KlkWV6' t>1"IXV00.Al\ToC ~ I'HOlJl'lC at pos.

20 ~ tx&tvov -cfl6c1"'CTITPLTJ IKO,lo.1. u 26 • 2 ~ T£ >Gt ~ f\lJkxl(;, ~ 4-6 'HO.TbsaY£ fii TOV KM1POV. c'btE xPl'I IOHQ1TT£1,\I

ruca1J£TP1.0.I ~ >Gt >e0L&1. vov x6.\A.1.l0.,6ou.\1.ovIxcxrn,v.

nt't'IXJ(; ~lac;,

39.112 >Cak0L01. &::aa>mv ruwx:rtOVOVIIWXY'lv,

t\v uhu ~ wetdxund 'µ01, l>e01.~ u 44 HO.LmL y' £6.iJvov atnbv £t at>.£1.cl&::aa>. 47.1/2

me' ot,

~

n1J£P11V!U£Cvac

TCP0f;utv Kuvr'iaE 1.c Tbv tbMJl"IOWN I·~v. Ca 11.

194. 1 de - oovdP: - "'~, Tnt' 38 oo6' 0[6 1 OMOlnv~1~1. 52

Herod.

tyw 6': k\Mnv

fl\lLK'

I

70 TLC mv t>alnv, TLC 6': UIV eatM"IVInl-4; 78 Tb 5ruTQX)\I Tl811u1.ti5 ~ I~ V.7 lO.t uh T6 )J£U a.rin 'VUKta.KTl)JtP1wlntVE

uh ~ YMI. 't'O Trl1J£Pll l'KELvr;) fine a' f:.cmya:f' U:£.. 1~·

22/3 wi;

"""''n,

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49 >Cl XLALOMETRE

292

TABLEX WORD-END ANDWORD-SHAPES AT THE BEGINNING ANDTHE ENDOF THE VERSE Hippon. beginning: monosyll. w.e. at 2

•-I w.e. at 3

I•--vl w.e. at 4

I•--v-1

Call.

Herod.

5.22%

9.09%

6.7%

23.48% 23.48%

24.85% 23.64%

29.07% 28.77%

45.22% 42.61%

43.64% 38.18%

37.6% 33.33%

8.7% 7.83%

8.48%

4.85%

18.11% 10.96%

20% 23.48%

24.85% 26.06%

14.31% 23.9%

29.57% 30.43%

35.76% 35.76%

26.33% 27.7%

35.65% 35.65%

26.06% 26.06%

50.99% 50.99%

end:

1----11 w.e. at 8

1---ll w.e. at 9

1--ll w.e. at 10

monosyll.

-

-

-

TABLEX A WORD-END BOTHAT POS. 10 ANDPOS. 8 Herod.

Hippon.

Call.

w.e. at 10 and 8

1.74%

0.61%

8.98%

of w.e. at 10

4.AA%

2.33%

17.61%

of w.e. at 8

7.41%

2.33%

37.58%

THE CHOLIAMBUS 3.5.

In accordance

in

Hipponax'

in

with

Solon,

see

most

of

Table

pos.

6 being

the

proportion

rence

and

of

(cp.

appears

elision.

majority

of

and

word-boundaries E.g. , pos.

is

in

8, and the

is

quite

24.141.

and In

Hipponax

1 (the

occurrence

the

choliambus

also

above);

in

of

proportion

the

and

so that the

Callimachus'

occurs

19.7~

positioning

3.5.1. in

verse

in

above).

irrespective

example,

remarkably

15,:,

in pos.

3.1.1.

per

there

a large

this

tend-

general

choliambi

occurthe

verse-

colon-initial

of non-elided

far

vs.

elided

small.

1:

Hippon.

7

6€[

6'

lain-ovtc

~ ~t.

79.17

6 6' looi:lx' ~ ciJv

'tPt.OCot. l,.Q)nlOt.V

104.47

6 6'ltEoAu:1&:,-, txtn:U£

rliv 'HtXiuarrv

191. 7 2

Call.

hold

words

respectively).

phrase-initial

monosyllables

1, 6,

positions

see

Ch.III,

to

For

the

occur

of

monosyllables

coopare

XI B below,

between

of elision

of

Semonides

low:

from Table

actually

percentage

monosyllables

a correspondence

low average

XI A below;

comparatively

As appears

general

the

Archilochus

also,

ency

the

choliamb1,

{10.43%:

er.all

is

293

82 194.24/5

au6' IEt ~ unAO)'Ot.C 6rt£1.~1.c o 6' ltEon1.o6E~toe tY){(XJ)(E1. i:lc 6' lotMoCd1n.Ep OUKty& ~ cp,\1.ij; i:lc 6'

loOU£ f\ -rlc; ooau-rr.c fA:H.£1.;

77 ~ 6'

lti ~ f\v ~ x~ 8rpE:uc I.26 )(£L 6' ltoi:tv otMoC"tfk; 8£00° m ~ navta. 52 6tc 6' ltv IJJµnlTJutti.i,v

Calli-

RHYTHM ANDMETRE

294 (103 104

Z£~1l'OO'ro· wa.Ly6p

For monosyllables Call.

in pos.

•••

~ µ£

YEL'tav&Ca'

6, see 3.1.1.

above;

TIDL~)

611:atvLYELC

pos.

8:

ft utv "tdo', OUuotlov, or~, c1yaBo.I nav8' I oo' dv XP(,Cr;i ty~ 6t ~-caOto.I 000c I ru'Cv' f~ELC

Herodas' lables

verse in

pos.

percentage 3.4.

a

word-end Since

being

in

large

proportion

comparatively

5 (which

of

above).

occurrences

shows

in

at

high

accordance

percentage with

pos.

4 to

be observed

words

will

seldom

verse-po&!

of the

in

is

these

a colon-initial

I Cp' I QYLVECx:nL

aLnc ulCov'

IV.87 fA80LlJ£V

tion),

monosyllables trimeters

Soph.

monosyl-

relatively

in his

there

is

elision.

Phil.

cited

(Compare

Ch.III,

E.g., I. 6 2 dl.DP"tLfl'V I ~ I,:f.\ 8£:i;>. WCl.1:0Q'tT)CX)V 11.52

II I. 36

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44 IV. 18

57 V .13

VI. 5

11

see (not

no particularly

above.)

so xfl}tm~

high

verse:

be phrase-initial

involving of

the

of

the 3.5.

THE CHOLIAMBUS

295

Compare also Hippon.

36.3

(and 38 It

may be noted

currence the

of

regular

syllable immediately

at

I uve:ac;I apy~ w Ze:O, TU"tEP I I(KTA.) 6l&i:4,Ll TOI.

that

Tp1.nwovm

V

in choliambic

a monosyllable

in

verse

pos.

trimeter,

Ch.III,

3.5.

verse-end

would detract

cited

there

is

12 (contrast above),

3.1.1.

above).

not

a single

oc-

the

situation

in

presumably

from the

effect

since of the

preceding.

TABLEXI MONOSYLLABLES

pos. 1 - el.

Hippon.

OO 191.11

.. ..

ytt;Mv ~l&L>«J.

.....eLf:U.la ~XEL

54 )(Qt 't'f\c •AIAfrlcIutvero Herod.

I.9

ruu,,,

~

.. ..

~L

tn.itac;ITL au&6'

~

~;

only

three

to

be too

298 28

rw:,O-roc,~,

30-2 ~ ~,

......

- ... l6u\oa.u.~,

e ~ w 56 ta&Jv a&l>CJ86tx,> i:fk; M£ai1; b.wrivE etc.

TABLEXII WORD-END PRECEDING RESOLUTION* Hippon. pos. 1 W.t. al 0

pos. 2 w.t. al I

Call.

100% 100%

100% 100%

0 5.22%

Herod.

0 9.09%

11.11% 6.7%

pos. 3 W,t. al 2

pos. 4 W.t. al J

pos.

HXl% 45.22%

50% 37.6%

s

W.t. 014

pos. 6 W.t. al 5

100% 71.3%

100% 75.15%

70.59% 70.78%

W.t. at 6

0 5.63%

pos. 8 W.t. at 7

100% 51.21%

pos. 7

pos. 9 W.t. 018

100% 23.48%

pos. 10 W.t. at 9

total

* Percentage

66.67%

66.67%

50%

of the resolutions in a particular verse-position prethe total incidence of word-end (irrespective ceded by word-end; of resolution) has been ~dded in italics.

THE CHOLIAMBUS

299

4. As could be expected positive

rhythmical

word-initial verses tice

(cp.

proportion

of

2.2.

the prac-

is less

than to

in

the

verse

strictly

shows sig-

easily

as is

of the final

of Herodas

under-

metron.

the number of split-resolutrimeter,

in the iambic

that

of

be one more respect

in which there

rhythmic

of

realization

the

metric

above).

.. ..

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w

-

w

(The one occurrence early

practice,

realization

seems

tolerance

verse-positions

iambic

poetry

This

in the choliambus

rhythm of choliambic

higher

E.g. Herod.

and the somewhat larger

from the

significantly

a certain

profile

of

the

iambic trimeter.

the clausular

differences

is

proportion

as

above)),

to than in the regular

comedy included. is

(3.6)

In the choliambic

tions

smaller

(such

in view of the divergent

4.1.

to

word-end at certain

Furthermore, stood

with regard

a cRe&ura (3.3.

of avoiding

nificant

liberty

tendencies

resolution

without

adhered

in view of the greater

iambography

in Hipponax - is fr.

..

- unparalleled

in the

trimeters

of

25:

"6:no 0 1 !6UDELEV "'Ap"tf;llLt."-"CJt 6t ~." which

is

Hipponax' 4.2.

verse,

verse-position the

see 2.1.2.

t rimeter;

it

Menander.

See also

is

resolution

in

above.) a resolution

often;

compare

in pos. the

4 is

frequency

followed

of word-end

by at

in general.

following

general

the only example of double

choliambi

comparatively

Word-end with

the same time

In Herodas'

word-end this

at

resolution

situation, rather 3.4.

not as frequent

similar above.

in pos.

2 is,

again

as it

to the incidence

is

in accordance in the

in the

tragic

trimeter

of

300

RHYTIIM AND METRE

E.g. Herod.

VI.93 Vll.60

- -

Vlll.11 The

reduced

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strictness

divergences

also

resolutions

occurring

with

regard

from

within

a single

word

to

perfectly

comparable

meter.

Word-internal

resolution

ively:

resolutions

occurrence

remarkably

is

the

the

the

appears

again,

of

to

in

the

occurs

Hipponax,

large (or

in

22.22%,

Callimachus

and

rhythmic

proportion

word-group),

situation in

of

the

which,

comic

Call. He rod.

26.3/4 191.36

i:xJnw~vb(;

60.L~

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Herodas

respect-

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Herod.

Word-end

at

7 and 9:

I t:v 6t [ ~ ~ 13.1 fK Tt£AAUx~nCvovt&c· I o«1L t1k 8".pns; -cov c:ll:bv I tx{3p6vI fryetcft:11. 74 ~r=ou:n x4'£1. iw8ov" I 6v ot I YPfY.lOL r 1 • 2 tn..iwvKPLi:a.t 6nKOl.>8e:vI ooot l Tf'lc 66Enc 33 1'tPbc~ VOlJOU(;f3Atrtooo1. I Kft}Jt ! TOV f;&tvov 89 ~, ~n, cn-pta>.ouU£ liJOOvov I fi TLUYl III.3 -roOtov Ka-c' ~u 6£tpov, I dXPL,iA, µn l,1£ % I YU\Al,LK • I e:r\0.1.• VI.12 ClLvtouc ~vlKTK; 6 1 tv 8£oto1. TtEl,::n:m 119. 1 >Gl TtEOELVe:pfpcqv bt' 6oH6v, uant YaJLPL yaartcri Aesch. Pers. 709 c!>6':x:ni.i:lv nav-cwv Ut.£00XWV &Jx,v EU'"LUX.EL n.6~ 713 navtQ yap, l!apE',C', aKOUC7f;l u00ov t:v ai:nxet XSXMt>

E.g. Archil.111

-

Soph.

-

OR 1517

oroa• bi>' OL!; OC1V Erl,J.L; Eur. Or

775/6 11 d

is the most frequent situation

trimeter;

only

from this

picture

the

1.1.1.1.

8 and a long

one in

therefore sample

in that

those

ancipitia

>V.U.ilV

ELOOUQ.L

~

fq:xxnc ~v51.kCl; a' 6ou£vo1..

V

realized

as a long syl-

one.

small

of

similar

to that

Solon's

tetrameters

the verse-type

with

is the most frequent

be expected

above,

three

is

at the anceps positions As might

!I

tu:w,;ou; 11 unM&ul

In comedy the type with all The general

RDMEEL!;;, wat 't6't'

Atyo1.µ' 6crroto1.V t>JM.J •••

11 mi:pt n~ lable

V

in

view of

verse-types pos.

the

three

deviates

short

syllables

one (see below). tendencies

described

which have a short

12 are

in the iambic

comparatively

anceps

rare

sub

in pos.

- being

the

THE TROCHAIC TETRAMETER verse-types

with

positions

a

319

disfavoured

in which rhythmical

realization

tendencies

of

those

two

anceps

are strongest.

Some examples are: Aesch. Pers.

244

1'UlUm, xt.l..Euaov -

748 TIEPL~

one compares

If

authors a

studied,

particular the

be expected by Solon that

low.

Of

rather

of

the

the

Sophocles'

excepted

A below;

coapare

other

tragic

poets,

correlation

only

comic poets:

(.92);

the

a manner

comparable

to

meter

(eh.III,

three

long

which

is

due to the

Euripides'

tetrameters

the

1.1.2.

syllable

Accordingly, that

it

is

Ch.III,

1.1.2.

nature

of those

the

correlation

in

the

authors

within

in

iambic

the

above.

and

to

the

of his

verse

extremely

is

Euripides

show a nature

between

between

to

As was

singular

correlation

of

few tetrameters

included)

Aeschylus

than that samples

with

the

the

the tragic

of

tragic and the

three

does

short

syllables

ancipitia

observed not

in pos.

the

iambic

in

with

in triwith

proportion

of this

in

verse-type

the

4 observed

In fact,

the

decreases

of the verse-type

(tallying

II above).

in

increase

infrequency

especially

which occur

Solon and Sophocles,

The frequency

comparative

and Table

of

situation

however

of short

see 1.1.1.

verse-types

appears

verse-types

- which show a correlation

average

above).

ancipitia

percentage

a short

than

owing

small

of the verse-type

meters:

of

.76 and .71 respectively.

frequency

high

only

the

&, EVC'P(Oi:l,L'tyw

(Archilochus

somewhat higher

we disregard

If

poets

-

the several

to be greater

poets

tetrameters,

is

between

have come down to us,

high

poets

III

~

,

frequency

in view of the singular that

with

appear

comic

see Table

-

relative

the differences

genre

trimeter, .97:

the

("8£i:p::iL O"tp:l't6v

~ ~ O"tp:ll:4>

'IT1V Mv \lAJxti'V l(Q~'

151 7

>«1tw::J).bv

oooe;lou TTO..\w't£

~£

relatively

in his tetra-

two out of three

most commonly in Euripides'

of

verse

have

Euripides,

it

predominate

in

in pos. 4. and

again

verse-types

with in

which

the

exception

long

ancipitia

of

RHYTHM ANDMETRE

320

general

tend

to become more frequent

in which a greater order (total (total order (total

nuaber

of short

at

the

ancipitia

expense

of

verse-types

occur.

Verse-types with two or three short ancipitia occupy, 2, 4.5, 4.5 of frequency in Archilochus, the poss. 17 ; in the Aeschylean order, the poss. 3, 5.5, 5.5 IT); in Euripides, poss. 2, 5, 6 and 7 (total 20); 3.5, ~ 7 of verse-types in Aristophanes, the poss. 24.5). In the

ization

case

of

of the

the

last

also,

tetrameter anceps

verse-types

position

(pos.

12)

with

a long

become

in the and 6 and 7 in the and 8 real-

increasingly

more frequent. In the order of frequency in Archilochus, those verse-types 3, 6, 7 and which have a long syllable in pos. 12 occupy the poss. 12 (total 28 ); in the Aeschylean order, poss. 2, 4, 7 and 8 (total 21 ); in the Aristophanean order, pose. 1 1 3.5, 5 and 8 17.5). (total of a tetrameter

Some examples anceps

positions

with

short

in all

three

are:

... o00' W~~ ... 122. 1 ~1,.IJ,u.,,, ~ d:6tv tan v oOO' ~ .. ... ... 32. 2 TD-COlOOC, "t'l-lXlWLOOC 6t l«:l.l ~L~ ~I.ALXOIJ ... ... ... 3 3. 2 toeM ~ &oO 61.e,6vi:q; at,~ OUKtot~-«> - y6p Erm., ... ... 34.6/7 oo~- d )Jtv c:bv 8Eoto1.v t\\M:Xl, ... ... ... ~ 6' oo1,1.i"CT'IV f£P{:Dv, a(J6t UC)I."CQXlWLOOC ., ... ... Ag. 1666 CPlVE:1.v tl,ll (pos.8)

......

uiv x~v...... t.)IStN AfY£t.V (pos.10) Vesp. 496 t\v 6£ 'fflT£1.0V~ ..i:0 mCc &pucu" ~ n (pos .10) ...... 1 Men. Per. 340 o6 y6p ~ CW.MrrptLV ~t&lL,

f3lQ."t'dyEL~;

~,

4 oo l'OO,nOOL f3f:nxta. M>,oc:mL >«1l ~ >«1l ~LQ

2.4.2.

In

pos.

9 the

all

selves

authors

colon-final

more frequently In

the

Euripides, unique

than

studied,

anceps

is

in

the

realized

case as

of

a long

resolution

in

syllable

even

usually. the

within

resolutions

occurring

the

of

corpus

the

in tragic

pos.

7 -

tetrameter

in

them-

are

332

RHYTHM ANDMETRE

exceptional of

the

also

ancpes

occurrence:

in five

that

they

times

out

are of

followed 14 (or

by a short

realization

35. 71%; compare

the

general

29.94%).

E.g. IA 884

b 6t ~ 'tlv'

£l'X£ nr.:xiqa:nv, ~

......

1382 'tbv ·E>.tvt,c 't'E~

or.

1524

also

or.

ro>.ty£1.c;• a:,,t£1. OE 736, IA 346 cited

2. 4. 3. The tendency anceps

in pos.

not

evidence

in

syllables. from

limited

(word-initial) realization For

the

Here again

so

ducing

( to be observed

if

a

one should

of

the

one in

anceps

a pseudo-rising

the

preceding

resolution

this

less

movement:

two occurrences

in

or. 738 IA 863

1354

yap, f\nc;

comedy)

rather

element

is

be cautious

might

realized

objectionable

µ£

to

(as

it

one

is

conclusions

however,

tends

the

as two short

in drawing

that

the

make the

long

were

by pro-

l--vlw---v-11). tetrameters,

•~•

see

sub

2. 3.

alrtoCc; 6' U8t oC

realize

as a long

than

suggest,

position

to

.., .... fl,.to1.y£ 'tali'tbv <a.M£V ..,.., ~

~ oOK t~

1515 o6

outside

Archilochus'

above. Eur.

above.

syllable

sample;

bc4u,c,Ev bt 66i.rAJV;

6M:~, "'V~ Ildp1.c; auvt:a1.c;. ~ f3(:ltv' b.) 66u::.,v.

~ub 2.3.

12 as a short

1

l,l.

......

acx,1.klu:lv .......

66i.rAJV

'tbv YQl.l.iJV ~ f'p:x,\.a.( )6n£,cpC\K.i)cSt Tl;

As a matter of fact, this observation may be considered to corroborate the rejection of both Aesch. Pers. 171 and Eur. IA 356 as showing a case of resolution in pos. 12: while neither of them i::. 111 word-initial, both are followed by a long syllable. (See DALE (1958)• (1969) 133). Aesch. Eur.

Pers. IA

356

171 roOot \.101.ytvE:oe&, 114xn1., ~ .., n1.at4n,'ta .., ~ ~1.c;• 'tl ~; 't'L\.0. cSt nQ:>OV £\¥X4)tt66e:v; (DALE: 't'C\.0. TQXJV 8')

THE TROCHAIC TETRAMETER

333

TABLE VII

REALIZATION OF ANCIPITIAFOLLOWING RESOLUTION IN POS. 3*

Ju.! Archil.

-

Aesch.

1

Ju"

= 50% 55.3%

Soph.

-

Eur.

4

1 = 50% 44.7%

= 44.44%

5 = 55.56%

46.6% Aristoph.

6

= 54.55%

53.4%

5

Men.

17

= 68%

= 45.45% 31%

69% 8

= 32% 38.87%

61.13%

TABLE VIII

REALIZATION OF ANCIPITIAPRECEDING RESOLUTION IN POS. 5*

"u~

.!Ju 1 = 100% 56.25%

-

Aesch.

-

-

Soph.

-

-

Eur.

2=

Archil.

25% 46.6%

Aristoph.

Men.

* The general

4=

80% 69%

43.75%

6"" 75% 53.4% 1

15 = 78.95% 4 61.13%

percentage of short/long above) has been added in italics.

= 20% 31%

= 21.05% 38.87%

ancipitia

(see

Table

II

RHYTHM ANDMETRE

334

TABLEIX REALIZATION OF ANCIPITIA FOLLOWING RESOLUTION IN POS. 7

Ju a

u'L.I Archil.

-

-

Aesch.

-

-

Soph.

-

Eur.

9=

Aristoph.

2

64.29% 5 = 35.71% 29.94% 70.06%

= 100%

27%

73% Men.

31

=

86.11% 67.4%

5 = 13.89% 32.6%

TABLEX REALIZATION OF ANCIPITIAPRECEDING RESOLUTION IN POS. 9 .I

Archil.

-' iu

Ju 1

= 100%

31.25%

68.75% Aesch.

Soph.

Eur.

Aristoph.

Men.

7 = 100% 71.21%

-

1 = 100% 70.59%

-

45

14

41

= =

=

28.79%

29.41%

77.59% 13 70.06%

= 22.41%

82.35% 73%

3

= 17.65%

68.33% 67.4%

19

29.94%

27%

= 31.67% 32.6%

TiiE

TROCHAIC TETRAMETER

335 TABLEXI

REALIZATION OF A.NCIPITIA FOLLOWING RESOLUTION IN POS. 11 JL JJ 2 = 100% 33.33%

-

1 = JOO% 43.18%

-

-

I

Archil.

Aesch.

Soph.

JL U

66.67%

56.82%

= 100%

47.06% Eur.

Aristoph.

5=

52.94%

4=

55.56% 41.98%

11 = 68.75%

44.44% 58.02%

5 = 31.25%

53.33% Men.

18 = 62.07% 55.8%

46.67°/o

11 = 37.93% 43.89%

TABLEXII

REALIZATION OF A.NCIPITIA PRECEDING RESOLUTION IN POS. 13 J;

JJ

uJb

Archil.

-

-

Aesch.

-

-

Soph.

-

-

Eur.

-

-

Aristoph.

2

= 66.67% 53.33%

Men.

10 ==66.67% 55.8%

1 = 33.33% 46.67%

5

= 33.33% 43.89%

RHYTHM ANDMETRE

336 3.

In the

trochaic

produced

by the

rhythmical in

between

the

Here at

are

of

structuring devices

as

to

the

effect

to

those

contrast

basic

movement

(falling

different

metrical

(1)

responsion)

produced

the

the

their

internal

verse

regulating

similar

as both

their

(2)

of the

for

seemingly

However,

effect

in

would

the

lead

trochaic

observed

in

strucus to

tetrameter

the

iambic

tri-

p. 348f. below. the

rhythmic

realization

complete

a

verse-end

Menander's

verse,

complete

a rhythmically

ences:

other

and

opposite

again,

the

trimeter.

rhythmical the

internal

of verse

vs.

see 3.4,

tuting

the

verse-beginning)

exactly

meter:

of

two types

the

the

and

iambic

(catalectic

expect, ia

the

rising

ture

caesura,

movement

observed vs.

tetrameter

tetrameters

whole

weak (just

of

profile

as consti-

shows marked individual

rhythmic as

the

boundary

in his

notably

trimeters:

see

differoccurs

Ch.III

in

sub

3.

above). E.g •

.sam. 502/3

( ••• ) I) ~ Ze:O, 'toO ~.

ono' 511 /2

~lov

~ -cii,v ~-

O(olrr.ov -re: Ha.l eut1.6'IEtol l,1.1¥)Lq. ~ 880 rrot'; -aUn1.v't'tili, l~\O. 6'~v ra~ \JofAA.€1. KTEVEtv 913 ~ >«J.lidvTOA.U' •j&ptnn1. 6', l 1iOU, rux:,O\.D.1.o 'Iu6v, d T' fx.ei:,v TU~ )G~

339

THE TROCHAICTETRAMETER This situation described

above,

conform type

shows that,

to their

of the

the

in contrast

tetrameters

respective

elided

to the statistical

of both

literary

boundaries

Archilochus

genres

occurring

divergence and Henander

as far as the linguistic

at

the caesura

position

is

concerned. TABLEXIII CAESURA totals

93.75%

Archil. Solon

89.58%

4.17%

21.5

6.25%

98.15%

-

-

1.51%

-

-

91.36%

6.79%

13.45

73.67%

68%

5.67%

12

Men.

95.3%

91.85%

3.45%

26.64

In most of the authors

bi syllable the lU

quite

often;

phenomenon is tends

to

reinforce

Ch.111,

the

the caesura

tetrameters frequent.

falling

is

followed

by a

of Solon and Aeschylus The word-boundary

movement of

in the iambic

4.7%

trimeter,

the

Ch.III,

at pos.

second

colon;

Table XIV and

above.

This (such

the

particularly

compare the situation

3.1.3.1.

in

studied,

1.85% 26.33%

Aristoph.

3.1.2.

3.79%

62.5

-

100%

100%

Eur.

without caesura

94.7%

96.21%

Soph.

ratio

..

100%

100%

Aesch.

+ elision

• elision

in

tendency marked

3.1.3.1.

does

not

contrast above)

apply to

the

in

the tetrameters situation

and Sophocles

in

his

of Archilochus trimeter:

- which can be understood

see in

340

RHYTHM AND tlETRE

view of ance

their

with

rhythm

the

is

ively,

practice.

tendency

produced

there

is

Sophocles

by word-end a

word-end

which case In which

certain

word-end

pos.

at

pos.

such

reflect

not

is

lacking

the

comparative

the Aristophanean

at

early

preference the

11 as

reverse

situation

10 is not likely

comparatively

often.

frequency

tetrameter

of

in general:

13 alternat-

l-v-l"u--v--11 applies);

remarkably

in

often

- in

to occur.)

tendency with

accord-

clausular

the sequence

such occurs

unconnected

in

iambography,

for

this

where,

11 or at pos.

pos.

tetrameters

apparently

Archilochus

in

in Solon

at

Aristophanes' is

(In

prevailing

l~l-v--lu-11(while

over

as

clausular

the These

long

is

absent,

fact

that

too

the

caesura

observations

words

see Table

to

-

seem to

be observed

in

XXI A below.

E.g. Solon 33. 2 td!J>,/J.y6p

{£00 81.&6v-roc; lal.rc6';loCJKbStEato

5/6 ~ ydp

wtn"tnea(;,ITWJOmvl&peovov~ HO.l~ •Aarivb.iN Ii.dlvov Iti~ ula.v u 34.1/2 ot 8' t«it i:do' tfal.d'tcn1. ln:a.Ud,I &xmivov atpoc. (For

the difference

and 3.1.3.l.2. Pers.

(p.

in rhetorical 175ff.)

phrasing,

cp.

Ch.III,

3.1.3.1.1.

above.)

170 ~ i:do', ~ OU~

fXOV'D:IN I 1.ii:'lv6EJ ~1.

').f,yo.,

£"W,&V£t, y6p ~ ti1.15c; I1.ii:'1v6£ I~ 'HCV\.ELC 101 n.o.>.MlJtv v&:>tx ~, ln:oUao~tx x~1GH0. 109 l:i ~ T"dvruN~ I6>43ov Iru-ruxEt no"tllt> 1 1s 't l v1. T"6rf+,; A.01. \,dj nc fi>.&IOKT1m6d 1\ cn:do1.c TTOA£ 1. ; 728 \ICW'tL>«X; O'tlX1.'t6c ~t,1Tt£Cbvl~ OTIXl"COV fvt. C xSo\.of; cUA', tnet otoi; T'llMJ.L6vlaoL~ &velatnmL wat '006' t~trri:XJE£V c:x:n-£ le6ouc~x,v>CA(icuL~; µ0\0a1 flt Btpfri-vtpfiµ6v kixx,L V 00 no.Uli)v µim

342

RHYTHMAND METRE

Eur.

or.

779 o6K txw. II

IA

389

1,llL~L~ ~'t"L~,

6' tAnl,lt.an

~L

>«»cbv¼°'

OO'TL,1~

CA) i6Uav,

>CD«i:N;

~L

nMv t, at >0.t ativlTDtoo: 'tOO'to 6'o6 avrtxouauya,:~. II Cal(;"tOOo'1£tVEX' oo ~'ta'-.

877

1367

cbc;ldVDC.' 006t, NC1nklv£tv

Ar1stoph. l't6A.Ls;JGt

ofnl', up' oWvlarv:>UAJV-ya:nplCotnL 283 JGt 't"fl.uxoc;,~ IIQ)L~ ouclfi;~ TUt0't£ 5 71 d 6t. 1T0U Ttt.ooLEV de -rov lq.iovtv \dxQ n vl 622/3 t'ivlx' 4v ~ I\ 1-rov Mtit.wv'I\ ~,

i

273

Eq.

Nub.

416

artb&a' blJEte l«1L ye:M't"'• m.e1 ! 0.J )a.yjA7IJ·~ 4Ud. u' E'WX,£i:vfroLl.4 lt.ar•, M 6' o6 ~ vti Ill', de -rov~ y' .11~ l"t0\10t-vwou U£~1.

4 34

>Gt ~ 'tOU-COUl'NCll. llJl'iU£atic6£1,llOEVL

341

Vesp.

1

etc.

etc.

t.yc,xa rdvm.l)noto.

lnivm;lllJl'il,OL 6i.a.\ty,,u. o6v lt.arLv·0(6', 6:Ja'i>c00,

Sam. 481 ·ro(h' •

tvw. -roTIJ.L6lov ouTlXX\&Lvov, ~IU\.PLOL &'inou, nan:() O't'q:,yw. 1)-roAOLTIOVItatL AO.)'t"P6, U£'t"LML.

492 tU.\' 501 tatLv 744 ~,

f\).DP'toV,OOTLChi;,v~ tn1.U,£AOO'toU'tOU.-roAOLTIOVlt.anv t'iutv fv 6' C~

Dysc • 713

759

(2)

Verses

occur

only

in

These

tetrameters

verse-positions 5 or

case

the

words

in

of

except

almost is On

verses

at

caesura'

metre

very

the at

only

pos.

not

other

iambic

trimeter.

that

the

circumstance

hand

all

the

7, 6, or,

less

greater

the

same,

of

the at

the

frequently,

here

wordthat

in

(61.36%)

of

a caesura

have

of word-end

pos.

1

even

without

percentage

•

10. However,

be considered

incidence

word-end

one

part

end at pos.

1t cannot the

that

at

NY be relevant

it

1

1n tragedy.

word-end

tetrameters

to

such verses

1n view of the average

positions

9% of

All

(poss.

a caesura

these

analogous

have

tyY1,4v

caesura;

two occurrences

remarkable

10 - so that

the

for

invariably

without

beginning

Aristophanes

word-end ative

comedy,

involved.

the

so much as a sub-optimal

of the second

4) - which

length

without

~V

of

as an 'alternat 61.36

10 produces

pos.

7 in

suggests a falling

343

THE TROCHAICTETRAMETER novement

(as

the caesura

(compare 3.1.2. poss.

E.g.,

7

above);

does)

does have some rhythmical

relevance

see also WEST(1982) 91.

& 10 (-v--0-u-lv-ul--v-u--jl):

Aristoph. 275

Eq.

6.:U.' tyw

OE "Cf!i aoflIta{rnJ YE,~

lqip..ot. hat m Ot."tLQ 1307/8 11 ·A110q.,6.u1.',o6 fiii;' tlJC)(; y' lcipE£t.not'' ,ldU• Mv brtb ,;~ CXDt£to'\tvmoeo. hca:n:,~." 620 ,46' &tav 8u£t.v oi:Q, lc:,,:i:xaA.o(h£ heat 6t.Md.C£T£ 5 75 vOv 6' tbv

Nub.

~t.

625

iifl ~lav

-rovoi;tqavc,v

~ai,

•

427 ~ fyCJYt'aiTd1,.J Wit,J

Vesp.

h6;u.ov VC¥>1 ~ £Caei:a.t.

\6toot.)(Q I-me tYKCVtPleac

432 ot ~ ~ XUWf)lw.£Vt£[T£1)(Qt 't00c Sak~ 495

OOtOC ~tv

fot.x' l~lbtt 'tqJQWL6t. nucv6v, I VEOOVtE1.IADX'Cim, ~ov o6x.~ 't05£. (lcta~,IElqx:,cl~ rl1c; 'tL(; E:lrqxn1.C,tUI). 1660/1

oa.luovoc;Ixn>.ij I txrpE;lq. ~ lt£TWlvl&twL. ~• Pers.

fxEt. lAOYO(;IY\Ml-t.kOC, EC TL(; ~1.o'C lOBE'Cv.

168/9

tar 1. lQC I~ 6'4.11 ~l~l\q.l.let,.)

Y•

I~,

6'.IPt 0' ~ ~ •

6ExmO'tOU lQX)lOlav.

712/3

vuv"tt Tlivta. 7 26 ~

OEICra-\@I~

yap, llJiJIXt',I~

rrplv )G(WV l&tv ~· lJ08ov tv ~X.EL ~-

l&tv 1-ctAor. Im,xan v olov ~ >OCOV 728 wun1«lcni:n:tb{;l~t, Tt£Cov~ mp:u6v 131 ~ TTOrTOt. lxc~ I~(; Haltt.Ka.Plac; cnp::J."'COO. 736 ~IUOA&tv!Y~, lv ouotv C,£UK'tfip1.ov

347

THE TROCHAIC TETRAMETER Eur. Or. 789-93 ~ laLydv l&.1£1.\IOV. 11-ui>'1IXMt> 6t Kt+XDVEi:r;. IJKEL\.O

l,K)L

111-l'a am£

11,.0VOV lnix,ax.vttr;•••

()Tl

'tax

KlL'\.OV

al,

¼EL{;1

1)6.Ua ~ a' t-yw.

\.L' loCcrt:Pt>IKJ.~L.

IJEuJxe+>tr;l'1au£1.\d~ ~()oCJK ~LYE aoO. IJE~ l>.ux,nr;h.1£-ca:,x.Etv t1k; Mc. IIT66' oovCt"W. 1528 OO'tE)'a,:) IY\M'l lntqucac OO't1 tv dvixmLV au y' er 1530 IA

310

6fo

)'a,:) lectic

ldkotcav •AcYo,;.t~EY£lixm1.

·E.Uaooc ll.dA.1.0't' lfla.1.TW4JOU O"t~

873 TDC!Xl ar\v lnc:t~ lb ~ alrt6x.ELP ~L

KttVEtv

87 5 ~ IA£VKnv lq0V£\XAJV tile m>a.LTU4)0l) c5tcriv

1110:JEL a.>,k.CJ6x~ OO"ttl> ~ 914 \OUnJCOV lcnpc1't'EUIJ.• Id\.opxov JGnl mtc kOHOCC~ ••• 899

~L

,~

Aristoph. Vesp.

337 ot.m:x,l l~vlwa8£UO(l.)v.

6U'

6:P£.CJ6E 't0U-c6vo.J

340 o6K t4, u' ,lw 'vope:c,loudCcLv cx:,e,l;f(:dv a(££v

lGM6v

435-7

EC 6t ur'i,I•v nt&:iq; lrnxECa1.ca(££v

6':>1.ati'ic:,t'tE,

~ hw ITTOUCJv I~ or!n ~~ -cov ~I )EC 6t 1-l'a l'toChovllJ£8"iaE1.c,~ 'tL 001. fl1YY'lc,E:m1.. Men.

S'dm.

559-62

TIDP'.1-rEVEtr; I""NXbv" !AtYtAJV ).K)L mvta. I )'t0U1X&JV aCn6' du' ty~. II hl ll )4nLO'tOV rri::dnn l,K)L 6oK£t'c ¼£LV. lid.Un lJl',vIE[6ov.l II~. II OO'tOf;.o6K t.onv ~o,;.· rnJOV, autJoOa· ~ 'HQ.l~ I&a:op.w; ,, 128.l

Solon

~,

~·,

13):

(pos.

Archil.

Tt6v,;or;, ~l 0 1 ~ ~ ~ tcnata1.I~, V oftin X£1.~, Kl.)(.QV£1. 6' tE 6V.m'C1'1(;1 ~116 6:J.n; 246-8 &u.' flJot 6ok£tv 'td.x' £COJJmvm.\,Ql.l.£0~ IA6vov· TOOo£v6':>~in qxiJU>cnq:x,1.x6v TTPtne:1. lio9£tv, Ha.t qqx 1. CDPtcn rrp5:yq; tJ::Ja)bv f\ waxbvIXAUE 1.v. (poss.

>axv6vm nptv ~lt&:tvledaoc 723 wat T65' tf;bti:xifcv i:m-£ B0:ntc:¥X>V IxMp:11. IJJtyav1 744 na.tc 6' tl,lbc tdo' cl.J waTe:1.~ tiVlDEvlw.>1~1. 712 vOv T£ OE

351

THE TROCHAIC TETRAMETER 746

~LOE

O')(nc,El.'V ~,

Ba:JIIOP()vlr,!x,vl8£00

Tt.£()1.~ rroUnv xt>.£uaov ti'VUO£'VlrroUii>IOTIXl"t9 751 Etxe: rai:6' f\.16v;6tooLwa.l.a'iTIDAi.,clTWJU't'OUln6voc 757 wt.do' te ~ 6v£C011 no;udx1.elw>.wvl~ 748

In Soph. (poss. 11 & 13): OR 1516 TT£ LOTOOV, KE t 1518-21

Eur. (poss.

*

UJ1c5tv tt,o. IJ Tvivtu yapI)((11.~

[ )(Q,,\Q,.

JJ.' ~ ~1.e d:no1.KOV. 11 i:oO8£00 JJ.1 la.Ci:e:tcl66cnv. dW,1.v te noCav TTPCealw.,v;'t00lO TlivT' Ifx.I ~() cx5,:oeMa' , b -me;6':,COTO(;auyo.-r~ Iart£ C~ Ira"tflp. 764 TIPbc 1:lvoc1 "'C'ah'' d'V rq:xx,e:Cn rote tiaotel lO.tye:w. II otaea. Eti-r' tJJ.', oo-rLeCAIcot wa.t Tbcvo-.cl e:Ovouc;I txi,Jv; 1394 de v' d'Vl'iP MQ£l~ la.lu.'lfx0001. no1.J,atw,v 784 ~ yq:, a0roucl&¥:>'!fxOV'tCIC; tv Xqx)LV

Sem. 20. 2 Eur.

Med.

or Aesch.

Pers.

736 ~

Sept.

6

~rv

l~l6uot'vCEUK-rrp1.ov

Y~,

with

dvle:lclTtC>,.\uc ,au\ ITTOA.1.v n6.\£1.lJtv VJcoi; I !;v Iro Siiu.1.ov TUXEI.v

·E't~

Ag. 640

The with

'mannerism'

the

meter,

of

verse-final

too;

Aesch.

word

compare, 739 ~

or.

Eur.

Ned.

colon-initial

frequently

monosyllables

occurs

in

the

responding

trochaic

tetra-

e.g.,

227 m1.6t ,at

Pers.

Eur.

using

yap tanv

t1-Dta1. It'l'rv6'Itx.•~

~LC

~

~lmvo'

qu:nv

!&i>1.Yl,lhq; xam.d.;

with

and

the

examples

l 86f f.

the

constitutes

fiiab:xxv

~1.,lt1'rv6'!~H.£V 1237 rutoac K1X1VOOOJJ Itf'io6' I~1.

other

3. 1 • 4 , p.

In

373 ~

of

this

type

of

xaov6(;

trimeter

cited

in

Ch. I II,

a hove.

tetrameter

also,

the

an emphatic

addition

monosyllable to the

first

in colon

9 sometimes

pos. instead:

e.g. 122. 3

Archil. Eur.

IA 401

tx U£o:xi.~Cncf8rlKEI~'t',

d 6t lJ1'i~ qpove:tvlro,Iu\J.'

Compare the following Sem. 6.1 Aesch.

Ag.

I~

QXX)(;

tvw~ )(Q,)J;,;

trimeters:

Y\}\,(11.XOC ~I xi::tiu.' I~ Mit.Ce:m1. 1221 ciJv tvtt,x,1.c Te:I onMyxv',ltnolKncrtov vt~

Sept.

375 .).tyoLll'

c1v e:(~

Irolm -tG',v t'\QVt'l' olt oov£tu1.; (••• ) vfit u' I~ ~ .., &Toi.w.ov.c••• >

88 9 TOOo'Ibtu:rcd:tt;i Kcw.,Jvo(j;

The sample however these observations.)

seems

to

be too

( ••• )

small

to

draw conclusions

from

In Menander also, monosyllables are elided less frequently than they are in his trimeters: a proportion of 1.18, against 0.83 in his trimeters, where a larger proportion of them occurs in a coloninitial verse-position. Here, the remarkably large proportion of nonelided monosyllables is produced principally by those monosyllables which occur in non-colon-initial verse-positions (and which accordingly comparatively seldom are phrase-initial words: see Ch.III, 3.5. and 3.5.1. above). This phenomenon seems to be due to a relaxation of the rhythmical norm in order to incorporate everyday speech.''" Sam.

loe,~ d~ fpx~1.. 11-n'\vXp..oLln 453 £ho. noO 'an l wv;I IJTDP' tiutv t:veDv. I Jw5cvvbv >.ty~ 462 "tOOC vdlJou!;, ~t, JC1nm.wvTtiv xOAJ'rv. 'tTIP£1. 6t laul 482 6M' mdYKT1, ln1i:t~. IIJmdYKT1;~ tl,ii7v d., MWL~ 4 86 "tOUt vdlJou!;In lJ£ TTOLd \I, 4v fxTJt I\IOUV.llJ6M' t:w. 495 6.>.M.Tlc; lau;IIJTC ~ t>u:CvnytyOVEV atTCa.11)TC ~; 500 6u\ TC, I J5i.a TC,I~; I~ 6' df 1.ott: i h-6 TtPiYln yao 598 ci:tx.£ 61tOEaUT6v.IJ~LK£tt, Arn.it.a,1\.1£, ,~ Et 450 -~

..,·ITCt;

356

RHYTHM AND METRE

722 ~ ~

Dysc.

129 o(;J:,'

llC)L.

ot

~LC.

tvwCX>Llvw.1't,

0'

Tl£L011v

tat,,

de.

~lwv

UELPo>tLov;tav

hw

T'

741 n>..EC.ov'OUK~ \IOULUA>, rvJtv b.Etvo Y' Ca6L,

lnat

In Aristophanes the situation is the opposite: 0.525 in the against 0.84 in his trimeters. This is the more noticetetrameter, able since the incidence of elision in the case of non-monosyllables is not much higher than that in Menander. This situation apparently constitutes an exception to the tendency for a large proportion of elision to be concurrent with a high incidence of phrase-initiality: the majority of the elided monosyllables which occur at the beginning either. Here again deicof a colon appear to be non-phrase-initial tic words are involved remarkably frequently (cp. note 194 above). ~

314 oto'

Eq.

w

~ I't'OO&'I66Ev rd.\C1L cTroE-a:tL

319 ""' t.la. ~ 1-roOT' I~ 596 '1E1.01.

1311 ~ 6'

6' IcCo' I~ctan1.

6'xc»caI'1XIOt'I .A8twcLLOLC.,

580 1,.D'l6E:vl Ew ~,

Nub.

607 614

ix:x6-c6v,"tti>~ 514 &.a61.Edf;e:1.v oCCUJ.C. a' wi; Tdv,nl 1X108' l~'tXiVE1.c. 111 7 -roOto 6'

I6:n' I&y 1.0TOVfn.ttv,

t\v nc. 6c,-q:xiTruix>c;~

but also Eq.

5 7 2 "t'CO-c' ~-r•

Nub.

584 fl c:,e;Mvri6'

Ves p •

Iet -r'IfpvoOv-ro 1'l ~L tEt.At:1.T1£V -rocb8ouc, lb 6' IM1.oc. dv,

480 -oC6t um,IoC.10' Itv OEAL \Kf>oou:n LVI oC.10' Itv TUlY~> 524 ctrtt llOL, l'tC.0'

1~-ro

6Et\O.-,:f;I 01.0.,~ idt

'141tvt\c;

THETROCHAIC TETRAMETER

357 TABLEXVI MONOSYLLABLES

Archil.

Solon

Aesch.

pos. I - el.

4.17%

5.56%

-

-

9.85% 3.79%

pos. 2

-

-

-

- el.

-

-

-

pos. 3

2.08%

-

0.76%

- et.

-

-

-

pos. 4

-

5.56%

1.52%

- el.

-

-

-

Soph.

Eur.

Aristoph.

Men.

7.72% 3.09%

4.33% 0.33%

11.91% 5.02%

0.31%

-

-

-

-

-

-

1.85% 0.62%

2% 1%

2.19% 0.63%

-

2.47% 0.93%

2% 0.33%

1.88% 0.94%

35.29% 17.65%

-

-

pos. 5

2.08%

-

- el.

-

-

-

-

2.16% 0.31%

2.67% 1%

4.39% 2.82%

pos. 6 - el.

2.08%

-

3.03%

-

-

-

-

1% 0.33%

1.25% 0.63%

-

-

-

0.31%

-

0.93% 0.31%

1.33%

-

-

-

-

-

-

-

4.63% 4.01%

0.33% 0.33%

3.45% 2.51%

11.42% 4.63%

2.67% 1.33%

6.58% 2.82%

pos. 7

- el. pos. 8 - el. pos. 9

- el.

14.58% 4.17%

-

14.39% 7.58%

-

-

-

pos. 10 - el.

-

-

-

-

-

-

-

-

0.31% 0.31%

pos. 11

2.08% 2.08%

-

2.27%

-

-

-

4.32% 1.85%

2.33% 1.33%

1.57% 0.63%

-

-

-

-

1.23%

0.33%

- el.

-

-

-

-

1.57% 1.25%

pos. 13

-

-

-

1.85% 1.23%

1.25%

-

1.52% 0.76%

0.33%

- el.

-

pos. 14 - el.

-

-

-

-

0.62%

-

-

-

-

pos. 15

-

-

-

0.76% 0.76%

-

- el.

3.7% 3.7%

1% 1%

4.39% 4.39%

43.21% 20.06%

20.33% 7%

41.07% 21.94%

- el. pos. 12

tot. - el.

-

28.89% 8.89%

-

11.11% 0

34.09% 11.36%

35.29% 17.65%

-

358

RHYTIIM AND HETRE

TABLEXVI A

pos. 1 pos. 2

TOTALNUMBER OF MONOSYLLABLES (&ratio-/+

elision)

Archil.

Solon

Aristoph.

0 2 0

0

-

- -

-

1

Aesch.

5

8 0.625

0

-

-

Soph.

Eur.

3 3 I

10

-

0

-

15

0.67

1

1 12 0.08

Men.

16 22

0.73

-

- -

-

3

2

0 pos. 3 pos. 4

pos. 5

pos. 6

pos. 7 pos. 8 pos. 9

0 I 0

- -

- -

0 1 0

0 2 0

0 1 0

- -

-

0 1 0

- -

- -

- -

0 0

1

- -

0.5

-

-

- -

- -

3 4

-

0.6

-

-

-

-

0 4 0

- -

-

- -

-

- 9

- -

10

- -

0.9

pos. 10

-

-

- -

-

pos. 11

1 0

- -

0 3 0

- -

pos. 12

- -

- -

- -

- -

pos. 14

-

pos. 15

- -

I

4 9 0.44

6

- -

-

-

-

- 1 2 0.5

4

5

9

3

-

-

1

-

-

-

- -

- -

I

0

- -

0 2 0

0.55

0 4 0

0

15 22 0.68

4

- -

-

8

4

J

4

9

-

I

3

2

1

0

67

73

3

0.67 4

1

0

4

0

- 3

0

4

0

0

0.92

-

1.33

0 0

12

12 0.75

I

4

0 2 0

1 8 3 2.67

-

1

2

2

0

0 0

0

3 3

2

0 4 0 2

16 29

0.5

0.75

1 I

5

/.8

2 I

I

6

2

2

0.6 1

5

0.4

1 5 0.2

13 2 6.5

-

tot.

5

3

3

I

0./7

0.75

pos. 13

4

2

21 40

0.525

-

14

0

0 71

60

1./8

359

THE TROCHAIC TETRAMETER TABLEXVI B MONOSYLLABLES ANDELISION monosyll. in l and 9

general prop. of elision

monosyll.

- monosyll.

Archil. Solon

9.87 14.33

0.44 0

15.93 21.5

69.23% 50%

Aesch. Soph. Eur.

9.72 6.42 7.64

0.55 1

16.54 8.22

0.92

11.33

71.11% 100% 44.29%

Aristoph. Men.

8.22 7.47

0.525 1.18

10.97 10.14

3.6.

Most of the resolutions

above).

However,

this

does

are word-initial not

hold

for

34.43% 45.04'1/o

(compare Ch.III,

each author

3.6.

and for every

to the same degree.

verse-position

As in the iambic trimeter, the tendency does not likewise apply in Aristophanes' verse (61.33% of the resolutions being word-initial) - although here again word-end preceding resolution is almost invariably more frequent than the general incidence of word-end in the verse-position in question. More remarkably, in Menander's tetrameters also the great majority of the resolutions is word-initial (80.39%), whereas in his trimeters the percentage is similar to that in Aristophanes (61.16%, cp. 63.12% in Aristophanes). Therefore in this respect also, Menander's tetrameters show a rhythmic strictness which may be considered atypical for comic verse (compare, e.g., the incidence of caesura: 3.1.1. P• 337 above). Most cases of resolution which diverge from this tendency either are

without

adjacent

4.3.1.

below)

mical

tendency

see 3.3.

above;

word-end

(esp.

or to be understood (esp.

4.3.

in

the

below).

case

in

the

as falling of resolution

comic tetrameter: in with another in

poss.

see rhyth-

3 and 5:

360

RHYTHM ANDMETRE Archil.

....,

128.5 ur,6t tv oCkCf>lwa~ ., .,v1.~li; Solon 33. 3 TtEP1.Sa,M,v 5' dyprw ~ti; Aesch. Ag. Pers •

6f4xo o(M tTttoru::,e;vut"ttl

...... 6ai.o1.JJOO nc fiA8£ OKTll"t'WC 1\ oroo1.c n6>.£1.; Soph. Phil.

l~U~/6

"CLydp; t:h.v nq:xxio1. x.4xxvmv tia'iv; I Jtvw ~ II "CCVI. T~; A.01.1,W'tLC ~ ~,, ata:71.(; rr6M:1.; Eur.

765-7 t'tfJOq)I.CJ{; ~

or.

IA

6:rt' oCHWVlq,uyd,So. ~le w w I IC51.ov 1\ K01.-vbv T'IDAL m1.c I l:n1.~ f)')Wll.D "tl; I )6n ~v f,lO\ICIV 001. 1JJ1"CJ.)6r;, 6:va:,1.ov A/:.yu11J. w

w

W

V

1363

}!

1

V

alrtoe c»t(J{;.IIJC51.0. ~. ....

1382 "tbv ·~

TU~.

W

1\ atiXX:tOOi:a.xect,Orro;

"te:lcnvtael6M:~,

f\v ~ IJdp1.c

Aristoph. Vesp.

492

C:0-CE MO.t6ti "C'OUVOU' ainf\i;I tv 6.yq::,{Jw.UAC'JO£m1.

.....

Hen. Sam. 457 ~ 1,IXYELP+);lrravu YQ4:>tanv

6f1.ov, vfi "tbv6LQ, ...... l:n1.&:l)cpxn1. • 1utvay&J uutv t;,x.ET'tH. 'ti'ic olKLQC ......

a:yat;6v. (••• ) Dysc.

770/1 l:y~

0COE1.. 5£&.MQCTT£LfXXVI tMaVfiv"to0 "tp6nou.

V¥

-

51.autvo1., UOVO'V "tOl.OOT()C. j( etc. (For resolution

¥

I 'llOAUutv

OW

~,TILN

etc. at the beginning

of a colon see also

2.3.

above.)

f't'L.

361

THE TROCHAIC TETRAMETER TABLE XVII

WORD-END PRECEDING RESOLUTION*

Archil.

Solon

Aesch.

Soph.

Eur.

Aristoph.

Men.

pos. I w.e. at 0

l00% /00%

100% /00%

100% /00'%

100°1,,

/(}()%

l00% UXJ''-';,

100% /00%

HX)'!r,, /00%

pos. 2 w.e. ar I

-

-

-

-

pos. 3 1Le. ar 2

-

-

pos. 4 w.e. at 3

-

-

-

-

pos. 5 w.e. at 4

0 6.25%

-

-

-

pos. 6 w.e. at 5

-

-

-

-

pos. 7 w.e. at 6

-

-

-

-

pos. 8 w.e. al 7

-

-

-

-

pos. 9 K'.t'. at 8 pos. JO w.e. at 9

l00% 93.75%

-

-

0 2!(03%

100%, 96.2/ 0/r,

-

-

-

100% /00%

-

44.44% 25.31%

50% 14.81%

71.43% 36.42%

98.28% 98.15%

-

9.(19% 24.67''/o

60°/4, 28.33%

50% 32%

82.35% 73.67% 0

68% 29.69%

94.74% 25.71%

27.78% 28.21%

100% 95.3%

-

8.33%

pos. 11 100% w.e. al JO 25%

-

pos. 12 w.e. at II

-

pos. 13

-

-

80%

l(Xl%

0 4(),9/%

-

-

!00% 23.53%

-

88.89'3/o 37.96%

-

31.25% 28%

-

62.07% 3/.66'fo 0

43.89%

-

-

-

w.e. at 12 tot.

-

* See explanation

84.21%

ad Ch.III,

l(Xl%

89.21%

Table XXII above.

66.67% 24%

80% 30.41%

61.33%

80.93%

RHYTHM ANDMETRE

362 4.

In the

the

tetrameter,

again,

verse-positions

complementary adjoining)

to

the

comparative

bridges

which applying

In

infrequency

obviously

high

to

incidence

of word-end

be

accounted

of word-end

at

some of

for

as

in other

being

(i.e.

the

verse-positions.

The

their

is

the

the

avoiding

universality

regard

the

in the

to

rhythmical

effect

metric

of

those

and in the

produced

in is

(i.e.,

iambic

essentially

from

alike. occur

movement)

the

those

appears

trimeter

bridges

rhythmical

observed

"bridges

verse-elements)

some rhythr.lical

disfavoured

correspond

the

identity

tetrameter

tetrameter, some

of

(sc.

which

trimeter,

bridges seemingly

whereas

different

(compare

the 3.4.

above). For example, in both types of verse word-end at pos. 4 occurs infrequently, dihaeresis after the first metron being avoided; the rhythmical effect in both cases however is quite different: in the iambic trimeter, the phenomenon occurs comparatively seldom because it is in disagreement with the preferred variation of the rhythmical movement near the middle of the verse (penthemimeral caesura); in the trochaic tetrameter, because the repetition of the rhythmical movement which is characteristic of the caesura in this type of verse, is avoided within the colon. 4.1.

was to be expected,

As

adjoining

the

exceptions lable:

see

to

caesura this

3.5 with

word-end

(sc. tendency

Table

at

both

7 & 9)

poss. almost

of

the

occurs

invariably

verse-positions

infrequently. involve

a

The monosyl-

XVI above.

Only in Aristophanes a number of tetrameters show word-end at poss. 7 or 9 without at the same time having a caesura (90.91% and 68% of the occurrences of word-end at these verse-positions respectively) - as may be deduced from the comparative frequency of verses without a caesura (Table XIII) and the comparative scarceness of monosyllabic words (3.5. above). 4.2. is

In the the

case

trochaic in the

tetrameter iambic

trimeter:

split

resolution

see Ch.III,

is 4.2.

even

rarer

than

above.

Only in Aristophanes' tetrameters the percentage is somewhat higher (2.67% as against 1.6% in the trimeter); note, however, that the tendency does apply even in the case of Aristophanes if monois a notable scarceness in his tetrasyllabic words (of which there meters) are excluded: 1.33% and 1.52% respectively.

THE TROCHAIC TETRAMETER Except for split (i.e.

one instance

resolution articles

(sc.

in Aristophanes,

within

or pronouns

The one exception

all

the occurrences

sample)

are

monosyllabic

by elided

6t),

our

followed

in Aristophanes

of words

is

... ...

-rovnaTtp'

504:

vesp.

363

l6n ~1.

-couu.,vdm.Udx&:vm

w

- which occurs in a context where the author is making a mockery of rhythm in various ways: see verse 505 cited sub 3.2. above. Monosyllabic Aesch. Eur.

occurrences... are:... Pers.

897

IA

218 in 6' I c1yda' b.lav

fMuov

OE,

T£

HO.tl'~

Tb0 1 flDV ex,~~

ot&:v

1

Aristoph. Vesp.

Hen.

Sdm.

Dysc.

451

~£

...

OE

..,

cr\0.1.;d_,o•I &x_dp1.cnoe"°6' &xl

Cn~

592 OU6' tn'

t~

13aKTI¥>lav .., 7 27 naTpl \.iM.1.cn1.ato8' , 6:>cc1.6Cl -div lJJlT~ y\J\,'Cl(l«l ~I.C

..,

fxwv

On the

whole,

the

very

small;

still,

total

numbers have been listed

for

number of occurrences the

sake

of

in Tables

of split

completeness,

resolution percentages

XVIII and XVIII A below.

is and

364

RHYTHM ANDMETRE TABLEXVIII

SPLIT RESOLUTION: PERCENTAGES(&/-monosyllabic

pos. 1· - el.

pos. 3

words)•

Aesch. & mono- - monosyll. syll.

Eur. & mono- - monosyll. syll.

Aristoph. Men. & mono- - mono- & mono- - monosyll. syll. syll. syll.

11.11% 0

0

0

()

0

0

2.86% 0

0

0

()

0

9.()9%

9.09% 0

0

()

()

0

• el.

pos. 5 • el.

-

-

()

()

()

0

0

0

pos. 7

-

-

0

0

()

0

0

0

pos. 9 • el.

0

0

1.72% 0

0

5.88% 0

0

0

0

pos. 10

-

-

-

-

0

(I

-

-

pos. 11 . el.

0

0

()

0

0

0

6.9%

0

pos. 12

-

-

-

-

-

-

0

()

pos. 13

-

-

-

-

0

0

0

0

tot.•• • el.

5.26% 0

()

0.72% 0

0

2.67% 0

1.33%

1.57% 0

0

0

• el.

0

* Percentage ** Percentage •

of resolutions in the relevant verse-position of the sum total of resolutions ; monosyllable in the sense adopted in the present study, since the words (or combinations of words) in this case do not occupy a full verse-position.

N.B. No occurrences

in Archilochus,

Solon,

& Sophocles.

THE TROCHAIC TETRAMETER

365 TABLE XVIII A

SPLIT RESOLUTION: TOTALNUMBERS (&ratio-/+

elision)

Aesch.

Eur.

Aristoph.

Men.

po!>.1

0 1 0

0 0

0 0

0 2 0

pos. 3

0 0

()

0

0 1 0

()

()

pos. 5

()

0

()

()

0 0

()

0

pos. 7

0

0

0 0

0 0

0 0

pos. 9

0

0

0

1

()

0

1

0

()

0

pos. 10

- -

- -

()

()

0

()

pos. 11

()

0

0 0

0

0

()

2

0 pos. 12

- -

- -

0

pos. 13

0

0

0 0

0 0

0 0

tot.

0 1 0

0 1 0

0 2 0

0 4 0

monosyll.

0 I 0

0 1 0

0

0 4 0

0

()

- monosyll.

0

0

0

I

0

0 1 0

0

()

()

()

RHYTHM ANDMETRE

366

4. 3.

In

early

contrast

history

word-end same

time

trochaic

(see

general

4.3.

a

resolution a

720

~Q:Xl,•

733

~ ~~,I

-

i:l

such

is is

of the

appear

to fall

tendency

of marking

the

in

particular:

word-end

at

one

more

may judge

favoured

in

rhythmical

that

occurrences

in

frequently

from

so

small

the

case

than

is

a sample,

of the that

6>..\.' Ca1. cntvnc; b

~-

invariably

so

of four

i:nv Mv: I Jty ~

x~ following found

at

order

to

movement,

a resolution

(sc.

verse-positions bring

i.e.

at

where

about poss.

monosyl-

the

word-

preferred

3 & 5.

3 64

387

l«J.t,:6 ~,

886

1349

ou6t

~

,:~

IfxE1.v. TTOVl1POU ~

~x~I

A.£AE)(,:a.1.HO.tc,aqii

f)6c:M:it

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319 345

In

the

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monosyllables,

vo.:>, I ti:J.v~t.

also,

excepted)

IA

cases

of a total

..

In Euripides

regulation

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words

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1. In Chapters scription them

of

the

conceived

expression. the

II-IV

verse, general

chapter

2. Rhythmically Considering with

sense

some

understanding

the

the

of

though

tain

that

full

oore

than

oere

tors some

specific

of

rhythmical

by summarizing

types

different form

verse

each

of

study

these

Greek

of

1t

surprising

is

not

the

subject

a more

of

is

light

the

of

different at

the

base

is

some

rhythm

of

of

the

made in

the

essentially

that

involves

a and

no denying

nature

the

rhythm

spiritually

appreciation

are

of

verse,

means

this

more

phenomenon

there

which

stichic

de-

Contrast

involved,

contrdst

a

nature

perception

starting-point

conclude cotm:1on to

sense

upon

Greek

coherent

(Ch.I).

perception

Even

to

in

Functional that

of

a maximally

satisfying

characteristics

on

offer

aesthetically

recapitulating

introductory

to

common types

an

statements

trast.

tried

may be useful

salient thus

most as

It

most

we have

verse types of all

the

attempt

several

kinds

inclined poetic

that rhythm of

critic

text

analysis

connected

of

anyone does

main-

something

who wants well

con-

dii ferent

to take

rhythmically

rhythmical

of

might

requires the

to gain

experience.

fac-

to

shed

as his

functiondl

RHYTHM ANDMETRE

380

Contrast

2.1.

Constitutive

As may be

inferred

Chapter

1.2.

I,

of contra&t,

order

vs.

absence

the

the

definition

nature

(2.1.1)

namely

Sequence of

As Such

rhythc

formulated

in

involves

two

of

rhythm

itself

marked

vs.

non-marked

and (2.2.2)

of order.

Marked Vs. Non-Marked

A rhythoical

sequence

non-marked evant

events.

2.1.2.

event

absence contrast

recurrence

of classical

Greek,

syllable, versus

(in

non-marked

this minus

order.

between

varyin~

events

of a gradual of

the

of plus

involved

and

time

rhythm

by the

of marked and where

contrast

the

rel-

consists

marked for

in a

quantity.

Vs. Absence of Order

regularity

this

constituted

is

opposition

Order

marked

is

In the

rhythmical

disjunctive

The

from

above,

types

2 .1.1.

of Rhythoical

implies

nature-,

As far

degrees)

in

a second

which is that

as

prose

a prosodically

rhythm

occasional

occurrence

of

ally

preferred

sequences

(usually

of

between

is

quantitatively

recurrence

kind

order

end

of

considered

is

a

one hand and

well-shaped,

the

-

and the

there

on the

at

of

contrast

concerned

random sequence

the

the

tradition-

the

sentence)

on

the other. In other

metrical end of

verse, the

scale

contrast

exists

relevant

verse-profile

marked of

thus

rhytht1

that

half

indifferent; consist with

runs

from randomness

between

as

in

the

a potential its

as

lyrics

in a general

fixed) while

kind 1

where

the

than

there

of

degrees concerned prose

in the

lat-

(comparatively) order

seems to

number of successive is

is

a

and the groups

is

only is

there

such

in common with

half

on the 19 7

of

contrast order

former

restriction

random sequence

of

the

to order,

intermediate

has

''

of Greek draca,

verse-elements

are

rhythmical the

constitute

recurrence

There

this

to

random sequence

regular

Wilamowitzianus

sequence,

and non-marked

a potential

far

has a (Le.

the

mainly

marked

which

so-called

is

of

he

verse-elements.

order

the

can

with

and non-marked

rhythmical

too: ter

rather

which

less

of a contrast

in metrical

verse

in

381

CONCLUSIOti

virtue

of the

2.2.

fact

Rhythmic

Considering degree the

that

Realization that

of

the

a rhythmical

on

part

r.1ore specific

according

rhythnic

this

will

level

be,

be

event

conceived

sucietiI:K?s ticular

as

only

its

to

the

degree

an

tially

with

the

involved

(2.2.1), the

the

of the

single-short

chaic by

markedness

type

one

non-narked

of

verse

Harked

the

is

now and

traction')."'

It

seems

contrast short

occurs, vs.

In

namely

single

·short

trochaic

tetraoeter

marked

verse-position

the

rhythm,

position

as

the

would

do;

contrast an

paras

is

an

essen-

expectation,

it

tension.'''

which

the

in

the of

contrast the

contrast

events

only

re-

and

tro-

(2.2.2).

of

the

iambic is

hexameter realized

(1) marked

vs.

trimeter

occasionally in

realized

the

double-short

a non-marked, by one marked

to be significant

that

in both

non-marked

and

double-short syllable

('con-

cases a double

(2) one/single-

200

like

occurrence does

occurrence in

of

('resolution');

sequence the

appears

markedness

which

verse-element

then

two/double-short.

a

in

verse

dactylic

verse-element

is

which

Vs. Non-Marked

of

marked

norm,

verse

in

the may

naMe of rhythmical

the

the

Such a contrast

but

of

also

At

between

rhythm,

of

kind

cases

cases

syllables

of

this

those

events

types

tetrameter two

mostly

those

One Vs. 1\.lo plus

2.2.1. In

and

and

type

to by the

between

number,

the

(non-)fulfilment

be referred

concerns

of

be

frequently

a contrast

the rhythmical

Since

the

One may distinguish

gards

from

less

of

will

involved.

language.

a particular

divergence.

connected

in

expectation

order

may be

a certain

expectation

and more or

variation

in

institutionalized

may conveniently

there

occasional

verse-positions

of

may be,

divergence

a

This

realization

manner.

involves

a certain

listener.

is,

linear

be always

the

that

and

invariably

of

expectation

thwarted:

expected

will

in a core

Element

sequence

there

the

proceeds

Vs. Metric

regularity,

pat tern

order

not

of appear

of one

a double-short

the

iambic

trimeter

two, non-marked to

affect

non-marked sequence

the

syllables

the at a

perception

syllable like

and

in the

such

dactylic

of a

382

RHYTHM ANDMETRE

hexameter

the

occurrence

verse-position the

is

basic

short

rhythm,

as

verse-position In

the

that

to

the

(•-w)

one

would

be

tion

are

why,

ning

of

degree

that

is:

of

see vs.

marked

nature). the

in

the

no

since

and

is on

this

as

an abandoning

as

regards

dactylic and

sarily

imply

the

tetrameters

20I

the

present tolerance

of

restriction

the

the

the

the

occurs

high

iambic

trimeter

(outside

comedy,

we would

have

a contrast

marked

and

non-marked

syllables

for

being

the

majority

analysis

in

of

there

a non-

as,

rhythmic

occadiver-

of)

the

non-marked

terms

of

rhythmical

may be conveniently that

begin-

a rhythmical

of comedy as well

(the

ex-

should

characterized be a contrast

as well.

from

marked

This

at

of

of

since

comparatively

of

toler-ance

to

se-

contrac-

concerned.

beginning

the

of

nature and

element

between and

increased

the

hexameter,

double

contrast

alternative,

divergence,

the

resolution

extended

the

markedness

As appears

with

basic

recognizability

is

resolution

verse-positions

resolution

contrast

no

choliambus

verse-positions;

the

tetrameter

trimeters

sionally, of

verse-positions

the

rhythmic

the

fact

the

double-short

anceps

at

the

in

resolution

(exemplifying

be observed

but

the

the

the

in a double-short

in markedness of

then,

in a single-short

the

the

of

as

(a)

of

non-marked

one,

(both

forms

and

consist encumbers

(b)

with

phenomena

trimeter

below),

besides

gence

the

to

syllable

variance

double-

contraction,

with

of

syllable.

other

and

perception

non-marked,

in as nuch

one,

exception

to

the

variance

the

of

a non-marked

the

the

seems

for

harmless

the

trochaic

two

In

be at

iambic

in

uu

non-marked at

if

and

degree,

number

tolerance

sequence), the

with

the

of

and

in

case

and

in

with

by one short

a marked

comparatively both

the

one

Accordingly,

contrast

plains

as would

rhythm.

the

of

verse-position

quence

-

possible

occurrence

interfere

resolution of

least

(•J.!)

be

syllable

marked

realized

of

of

the

sequence

the

to

'equivalence'

rhythm

this

likely would

both

substitution

sc.

one,

were

case

supposed

a

not

of

vs. actual

irresolvability the

of

double

non-marked occurrence

the

contrast

does of

not the

marked

elements

one/single

on the potential

other

vs. hand

of two/

neces-

divergence

in

383

CONCLUSION

question. gence it

As was as

such

does

may be argued

element the

in

clarity

of

compensated

of

metron

Or,

of

(one

long, seems

to

be the

the

phenomenon -

resolution

described

As far cerned

guished: other

the

above,

explanation

a marked

syllable

to

any

to which

be

restriction the

contrast

the

dactylic

remark-

which,

the

two

the

putative

ancient

in

the

all

in

the the

accords

of

more

the

fact verse-

contraction to

and

be allowed

restriction

pure

the

relevant

principle,

only

rhythm

with

the

phenooena

seem,

in a non-marked

rhythmically

case

allowed

keeping

types

of

the

one

Cholosis

(cholosis)

choliambus, realized

discussed cases

single-short

being

towards

the

in

which as

a

this

the

study

a marked

the

end of

of

the

of rhythmic

the lonr,

last syllable,

are

syllable may be

institutionalized

feature status

of

in

verse-position

an

a structural

2.2.2.1.

always

verse

different

non-marked,

transcending

nearly

of

of

below).

one of

that

it

:J

(anceps)

tlic

fact

opposite

verse-positions,

actually

In

in

not

towards

as

a

only

profile

an

bound

contrast

two essentially at

of is

is

in

relevant 20

colon.

ring

this

-

the

if

observance

2.3.1.

again,

the

only

the

also

to

endanger

Only

supposition

positions,

see

metric

very

occurrence

This

tendency

the

tolerable as

marked

the

of 6Aoy,a..

significant.

the

with

Non-Marked

then,

with

of

Still

would

(such

divergence

double-short)

in terms

this

rhythmic

given

is

tendency

connected

verse-position

the

which

contrast

single-short

general

a degree

diver-

explanation.

contraction

rhythmical

terms

Marked vs.

all

of

of

interpretation

in

resolution

in

enough,

that

of

verse:

already

Apparently

to

a rhythmic

an

anapaestic

is

2.2.2.

occurrence

regulating

1!14Y be

hexar1eter

the

of

require

in

actualization

one/two

possibility

rhythm

absence

principle

the

by some

possibilities

ably

to

the

dihaeresis

speaking the

in

that

the

°2

above,2

not

addition

is

of

said

conoccur-

distin-

divergence, metric

profile

the itself,

divergence.

non-marked the

verse-elenent tension

between

is the

RHYTHM ANDMETRE

384 rhythmic

realization

and

the

tionalized

and

to

serve

is

seems

apparently

just

strengthened

before

general

the

end

tendency

a comparatively 2.2.2.2. In

pure

10 5

as

every

this

the

basic

Consequently

()(-u-

if

an

is

a rhythmic

f ile

which

involves

hand

and

the

syllable,

ment,

not

does form;

in

marked

contrast

verse

is

effect occurs to

the

characterized

is

anceps

element,

In

sense

by

of

a

by

the

metric

name of

kind

-

that

anceps with

its

of

contrast

by

makes

in

on the

on

manifest these

simple

grouping.

an

other. ele-

in

com-

its

in an anceps

iambic

of

the

the

structuring of

verse.

trimeter

a structural

from

one

anceps

types

and

feature,

phenomenon

of

possibility'

non'"11!arked verse-element involves

the

the

'institutionalized

itself

syllable

realization

as

such

-u, -u).

syllable

profile

the

four

verse-pro-

occurring

of

so

'simple'

of

metric

syllable

the

of

a long

the

as

although

groups

as

basic,

in

be perceived

realized

occurring

Group and Hetric

to

verse

u- resp.

characteristic

the

tends

realization

it

non-marked

u-.

may be conceived

of

the

characteristic

distinguished

realization

Rhythmic

most

of

verse-element

from

a long

is

tetrameter

profile

Another

diverge

tro-

As was maintained

the marked

a proper

ancipitia

divergence

long

between

the

the

than

the

single-short

the

which

carefully

from

contrary,

the

trochaic

rhythmic

is

and

of

structured

elet1ent

a tension

being

which

rather

considering

elements

is

second

profile

-v-x

divergence

actually

by four

be

anceps

the

the

each

trimeter

syllable.

sequence

resp.

however

on

position

2.3.

phenomenon

every

affects

non-marked

The marked

to

the

iambic

as a long

elements

there

the

This

that

the

the

c.q.

single-short

two

rather

this

first,

possibility

of

elements

of

may be realized

groups

plex

of

institu-

realization.

sequences

tetrameter

verse-elements

in

this

clausula

rhythAic

single-short

chaic

far

the

verse,

104

purpose.

fact

is

Anceps

the

above

the

verse-element

a stylistic

by the

of

that

underlying

a divergence

referred from

the

to basic

Group

operative

in most

types

of

Greek

verse

is

385

CONCLUSION

that

between

(group two

of

a

rhythmic

verse-elements).

essentially

of composition

2.3.l

Rhythmic

one

hand.

In

metra, and

others

cidence or

the

these

coincidence

units

and

involved,

namely

i.a.,

on the

depends.

of

composition the

and a

boundary

seems

is

to have

to

on the other.

between

two

evidently

favoured,

speaking,

the

effect

the

absence

an

of

on the

the

produce

the

concerned)

boundary

Generally

clarity');

seems

is

phrases)

of

(i.e.,

building-material

study

(words

avoided.

('rhythmical

tendencies

the

iambic

complete each the

as

regards

regular

this

near

units

lapping apart

of

coin-

separation of

such

integration

of

sequence wards

does

the

a the

continues

(caesura)

coincide

with

where

coincidence

of

trimeter

also

coincidence

a return

group: to the

not initial

is

word-boundary

only

the

of

is

ends.

and

movement.

fact

of this

also

two over-

falling

the

rhythmic

other

hand,

by means

the

that

from

metron-boundary with

posi-

between

that the

of

a manner

boundary

On

word-end 207

such

accomplished

li:i-v--llbut

preferred

prevented

the

are

by virtue

The effect

of

unit

effect

regular

cetric

virtue

a metric

a clausular

by the

metra).

two in

(i.e.,

sequences

parts of

206

sequence

in

These

one

verse

(or

this

at

hexameter

sequences

two constituent

rhythmical

two halves,

verse-end

not

composition

that

acatalectic

word-end the

dactylic

structure).

into

of

by the

are

metrical

of

middle

of

is into

their

occurrence the

illustrated

which

structured

word-boundary

metric

may be

trimeter,

internally

tions

is

the

rather. These

basic

groups

as

coincidence

be

('overlap')

group

be made between

verse

present

a rhythmic

to

a metric

of Cocposition

units

the

boundaries

distinctness

Unit

as

and

metric

be regarded

the

appears

1t

of

verse

far

and

should

of

metric

rhythmic

Kroupa

phrase)

of perception.

to

circumstances

metric

in

the

as

or

an individual

verse-elements

some

such

of

between

verse:

units

and

quality

relationship

the

kinds

Group and Metric

The rhythmical

of

(word

A distinction

different

units

groups

group

of (in

boundary

v-lu-JI).so

to-

that

the the of a

there

RHYTHM ANDMETRE

386

In

the

plete

trochaic

internal

reverse

responsion

seems

to

metron-boundary same

apply. does

rhythmical

in

this

('fixed' to

between

its

ated

by

both

the

initial

-

and

so

that

non-marked

of

the

with

movement of both In non-metrical

ceived complete

the

between here metric tion

the

verse

as is

for

of

the

boundary

tendency

of

of

the

be

only

to

type

of

one

initial shows

an

to

observed

towards

the

from

a rhythmically

after

is

the

the

boundary 1

e •8• --uu--v-v--luu-u--u--) between

rhythmic

very

is

fact

that

named after

0

'

•

and

situa-

the more significant

the

that

may be con-

an integration

element

an overlap

verse

the

contrasts

into

such

be rhythmically

inferred

word-end

colon-internal

which

verse

groups ('dovetailing':

seems

a falling

of

to

may be

verse-elements

such

movement:

201

cola. a

to

compens-

tetrameter

which

fact

integration

have

a

the

be used

incidence

clausula

the

were,

of which the

the

position

rhythmical

producing

word-end

of

it

returning

also

of

absence

might the

(both

to

of

as

the

One way of accomplishing

boundary -

of

be,

and

have

caesura

lack

of

building-t:taterial

two such metric also

to

the

between

could

Now this seems

cola

extends one

incom-

2 o1

colon-

integration

instead

groups

occurrence

the

'asynartete'

colon

of the

metric

whole.

(recurrent)

term

metric

verse

the

as

the

is

catalexis)

of

only

is

verse-element,

verse,

rhythmic

integrating

tetrameter

there

between

both

the

there

Consequently,

the

of

that

of

of

second

of

a contrast

structuring.

the

which

effect

show a preference

movement.

initial

verse

in

absence

variation

a

overlap

The

colon-internal

first

movement

so

parts

movement)

rising

occur,

two constituent

a

preceding

case

of

internal

the

In this

or cola

type

caesura)

refer

the

not

parts

however,

(with

movement.

two constituent that

tetrameter,

asynartetic

its

colometric

structure. Even which

more

there

ary,

as

tion

seems

freedom structure

is

there

of

to

significantly, a is

regular

find

a

safeguarded

other

coincidence

in anapaests

responsion is

in

specific demands in

types of metric

and dochmiacs, explanation that another

of

the

metrical and

this in

rhythmic lack

that

distinctness way.

verse

Presumably,

of

their of

their the

in

boundintegraextreme metric combina-

CONCLUSION tion

of

the

387

frequent

markedness

of

tion

the

with

obscure 2.3.2.

the

the

clarity

the

rhythm

with

Unit

two

the

rhythmic

of

the

the

metric

realiza-

~roups

would

degree.

unit

constitute perception

be

in

(colon):

for

being

considered

described

groups

those

rhythmical

--uu-uu-)

may

units

also

the

sequence

hexameter to

quantity/

rhythmic

as a metric

a unit (i.e.

the

of Perception

usually

dactylic

between

of their

and

we may consider

In contrast

boundary

that

between

to an intolerable

which

the

tension

metric

essentially

is

of

colon'.

coincident

the

"penthemimer"

colon

'metric

2 I I

above,

which

instance,

the

of the

verse-elements

sub-phrase

first

of

a

and

Group and Metric

As was argued of

of

verse-elements

overlap

Rhythmic

groups

occurrence

2.3.1.

sub

this

sense

is

the as

a

above, usually

a word-boundary.

It should be stressed however that the situation is complicated somewhat by the fact that in other rhythmical genres such metric groups tend to serve as units of composition, as the penthemimer does e.g. in dactylo-epitritic verse, and as many of the aeolic cola do in the choral lyrics of Greek drama. In this case these groups fall under 2.3.l. above; here we are concerned only with those stretches of the metric profile which usually serve as units of perception. Here

again

two such mic

tl~re

metric

cola

realization

rence

of

of

of

contrast

position(s)

and

between

the

expected

and the

and the

which

Contrast

Another

of

is

not

study, trast

consist

(see

boundary

2I 2

trimeter, in

2.2.

positions):

contrast strictly

is

one

based

example

the

above)) one

that

actual

rhyth-

is

occur-

the

the

rhythmical

rhythmically between

position is,

between

func-

the

further

a tension

caesura on (or,

between

the

caesura.

however, what

the most obvious

to

rhythmic

boundary

by the

seems

the

the

indicated

iambic

tension

3. Rhetorical

boundary

the

(or:

actual

between

in

two caesura

type

the

verse;

media'

'causura

significance tional

may be an overlap

operative speaking,

may call

on word order.

in

Greek

within

rhetorical

rhythmical the

contrast,

scope

texts, of

which

the is

which present a con-

RHYTHU AND METRE

388 The phenomenon criterion

for

sense

from

confusing which

that

and devised

such

a

based

by

the

text

(there

mical'

is

not

which

order used

auditory

stimuli

The

phenomenon speaking

relevant

to

the

was argued

as a kind

of

One of of

ferred

'rhythmical

syntactical the

completeness

of

incompleteness

to

ferring

trimeter

the

a

essential

a

term

'rhyth-

the

level

of

the

appears

to

all

same:

phenomena

not

the

be

may be conceived

214

of

investigation

situation

that

one

in

there

the

is,

the of

the

rhetorical to

the

the

it

one

2

a

colon

cl

de-

between

the

and

the

'!

syntactically/

penthemimeral metric

phenom-

were,

hand

other.

enphasis next

as

a contrast

of

the

a word with

is

localization

after

is

which

verse

on the

word

such, rhythm

utterance

word

in

as

linguistic

of

ii

although

on

kind

that

I

however,

these

( 'enjambement

create

word

- a designation

at

of

with

is

'random'

be a contrast

the

word

sequence

significant

iambic

2.1),

the

in

operative

verse

the

so

or

same time

rhythmical

phenomenon

semantically

seems

the of the

A similar

the

verse,

of

somewhat texts

however

Greek

connection

next

different

'conscious'

of

objects is

the

theory

stylistics'.

that

a

contrast

contrast

study

more obvious

in

the

common

213

rhythmical

the

case,

of a contrast

interpretation above,

the

to

of

a

in

be noted

sense

as

non-poetical

to above,

strict

I

'natural'

any

at

rhetorical

part

as

only

course

occurrence

of

enjambement,

(strong)

the

to be conditional.

strictly

enon

the

especially

1

in

referred

the

(but

should

is

as

in

we take

or, It

may of

prose

a supposedly

1

contrast

instance

prose

between

author.

for

I

2.1)

rhythmical

'artificial'

on syllabic

for

of

rhetorical

particular

above,

occurs an

serves

rhythmical

defined

a contrast

order

to

identifying

conception

phrasing

as

referred

caesura 2I I

colon') by as

it

in

, which were

( 'rhythmical

de-

focus-

ing I)• Finally

such

I

grammatically the

the

to

localization

11 & 12 and iambic

devices fill of

pos(s). trimeter,

as

the

separation

rhythmically a noun 6 (& creating

and 7)

effective the

of

words

corresponding

verse-positions

corresponding

respectively

which

a contrast

between

pronoun

(e.g. in

poss.

may be observed rhythmical

1

conti-

in

389

CONCLUSION nuity

and

to the

syntactic

domain

217

discontinuity)

be reckoned

may also

to

belong

stylistics.

of rhythmical

4. Bridge The

notion

of

classify the

the

different

present

study;

fundamental one

4.1.

and

Metric

bridge

lative

two

short

in

avoided

single

verse-element

refers

bridge

is

a

'metric'

class

of

the

also

to

course

of

above

the

bridge

most

on

'rhythmical'

the

bridges

the

- as in in

linked, name

or

the

by

that

preservation

a single

of

is

between

the

belonging

The

term

particular the

being

limits,

(syllables

this

is

,

which,

contrast

word-groups).

characteristic

Bridge:

metric type

identity

of

of

the

bridge

and

4.1.

that

case

whereas split

occurs.

the

between to

two

avoidance resolution

Another

rhythmic rhythmic

be the

However, the

two kinds

between

found

above.

this

involves

that

was also

of

Complex

i.e.

(2.2)

cussed

(words

between

rhythmical

additional

•

of a cumu-

contrast

syllables,

realization

21

verse-element

tension

two

of word-

concerned.

contrast,

element

its

by

a

certain an

avoidance

of a double

by

is

the one

involves

there

groups

rhythmical

tional

terms

within

and

motivated

Rhythmical

Complex

i.e.,

realization

when

to

verse-element

actually

3.2.4.

filling

in

itself

rhythmic

bridge

syllables

its

strictly

the

in

Ch.I,

between

resolution,

avoidance

and

unobjectionable

two

split

the

verse-element

that

met with

in

comprehensive

expressed

nature:

(2.3)

that

is

of

moBt conveniently

4.2.

argued

more

'bridge'

may serve

Bridge

between

to)

was

contrast

other.

The cetric end

of

as

the

functional

types

distinction

hand

on the

rhythmically

realization

in

a fundamental of

of

the

applies that

-

seems not

disto

be

essentially

referred

only

group

bridge

difference

word-boundary

is

metric

metric

are

func-

and metric

and

the

contrast

naturally difference

rhythmically

group

case

kinds

of

if

depending

to

by

resolution on

the

RHYTHM Alm METRE

390 rhythmical

circumstances

may be just

as relevant

We shall bridge,

involved as the

distinguish

namely

those

(1)

two

bridges

in

is

only

on

that

well

(in

which

situation

case

interferes

bridges self

condition

in

which

the

situations,

as

resolution: 4.2.1.

category

bridges

which

consist

after

a

marked

which

is

is

avoided

is

rhythmical

situation

or

even

the

in

the

fact ) and

occurrence at

in

not

the

4.2.1

the

of

the

of

metric

but

apply

as

that

one

(2)

those

two,

same time

effect

cumulative

also

favoured,

should

consists

situations

case

trimeter

and

(i.e.,

the

the

there

is

and

of

not

the

at

seems

syllable

jectionability and metric of

the

sequence.

it-

in (so

that

two rhythmical

bridge

of

split

case

the

the

of,

or

of

situation

the

there 220

of the

is

tension

the

element) for,

because

and

therefore

avoided

pos.

4 in the

trochaic

similar,

but,in

of

the

is

the

(long) this

only

if

double-short

syllable. kind

The

of contrast

with

situation the

met-

but

-,

a coincidence

at

iambic

unobjectionable

221

interferes

this

of

(constituent)

between one

a variation

metron-dihaeresis

),

verse

occurrence

hexameter of word-end

(like

favoured

by

preference

presumably

is

incidence

position

actually the

those

4 element, in poss. l n t hi s type o f verse,

which

within

realization

double-short

the

boundaries

same time

vs.

place,

tetrameter

is

to be that

verse-end

In the

the

of

caesura

groups)

its

boundary,

istic

the

8 it

the

in

trochaic of

pos.

and

motivation

at

first

a double-short .,.""VV-7 _JI) • 2 II ...

sequence

rhythmic of

the

avoidance

"' ' ' ( -uu---:u:u-

unlike

case

in

the

movement

verse-element

-v-/1) 222

in

coincidence

groups in

belong,

an acatalectic

rhythmical

(one

situation:

realization

an d 8 espec i a 11 y

-

one

Interfering first

ric

rhythmical

4.2.2).

To the

the

another

in

a coincidence

complex

situation

with

the

was

which

complexity

consists

of

unobjectionable

rhythmical

complexity

types

another

of

of contrast.

the

what

non-preferred

occurrence

occurrence

between

(coincidence/contrast) the

- the

the of

is

other

unob-

rhythmic

character-

positions

tetrameter

(-v-~l-v-u

one respect

at

least,

in

re-

CONCLUSION versed:

391

the

marked

tension

verse-element

establishes

the

sequence, same metron

coincidence

between

the

quite

in

order,

So as

within

(basic)

does not

realization

unobjectionable tetrameter a

is

or the

characteristic

and

cola

(and,

the

is

rhythmic

it

of

the

at

the

not

boundary

of

its

non-

since

beginning

there

if

themselves. and

the

(1 .e.,

the

caesura,

So here

the

rhythmic

and

tension

realization

is

the

coincidence

of word-boundary

the

interfering

factor

reverse:

in

of

the

the

the

verse-element

even

word

quite

is

role

of

of

and

interfere.

the

two bridges

at

but only

verse-element

regards

1 n these

elements

metric

that

realization

unobjectionable

of

the

provided

metron-boundary

gent

which

avoided

is

favoured),

dihaeresis),

accordingly

marked

by four

slightly

the

the

(anceps)

grouping

even

time

with

between

favoured

boundary,

unobjectionable

hexameter,

interferes

or

preferred even

in

in

situation the

with

word-boundary;

not

the

favoured

a

the

itself,

diverquite

trochaic interferes

realization

of

the

verse-element. 4.2.2.

Cumulative

The clausular iambic

bridge

trimeter

named after

and in

the

--v-v--v--Ol-v--"'-u--ll ) may in

both

cases,

avoided,

non-marked

(basic)

syllable

-

which,

rhythmical quantity of

the

metric

in

cidence

of

preferred the

rhythmic

the

the coincidence

the

group:

with

- and,

at

with the

between

an overlap (where of these

two

and

non-preferred

as

tendency

is

the

same time,

the

regard

to the

relation

trimeter

metric

a contrast groups.

(where

and rhythmic and is

towards

occurrence between the

groups

rhythmic

preferred:

a long

non-preferred

the

metric

between

realization

sequence

in the

category:

a tension

of

general

iambic

of

both

0--V--U:-v:--"-u--ll and

equally

its

the

occurs

cumulative

occurrence

the

in

(

second, of

end of

situation

boundaries tetrameter

the

accordance

position

situation),

trochaic

above),

this

the

namely

near

non-preferred and

exemplify

which

tetrameter

verse-element

in

purity

trochaic

co-occurrence

is

situations the

the

22:S

Porson

coinis

the

group;

in

see

2. 3.1.

392

RHYTHM ANDMETRE

4.3.

Rhythmical

Simple.

remains a category

There nature,

involving

avoidance short In

Bridge:

of

these

ment groups

of

cases

and

the

virtue

which

the

cola

the

evidently,

is

devices

of

by

between

(syllables

sequence

as being

the

as

( the

(-v~:u:u---uu--u\r-il)

2 24

one double-short

itself

to)

(in

characteristic

two

nature

of

caesura),

-

of one of verse

near

the

somewhat less

and,

of verse-end

split

element

characteristic the

ele-

to

this

•

rhythmic

contrast

structuring

trochaic

the

double-

being

internally

is

the

the

twofold

avoided

for

of some of

belonging

in

example

An

short

hexameter

occurs

of

seem to be of a more simple

contrast.

first

unobjectionable

in

preferred

the

dactylic

realization

- completely

middle

of

kind

after

resolution),

the

one

a contrast

its

within

which

only

word-end

elements

of bridges

225

a well.

5. Conclusion We may conclude, chapter

between

as

(conceived essential

to

tional in

Greek

poetry.

The Greek

the

standing

of

its

actual

of

in

its

are

of

the

interplay

of

appears

the

rhythmical the

for

the

in

study.

verse

metric

further

'rhythmical considered

the

verse

a

prominent

of

into

aspects

of

and

which

A better and

the

research

a

of side

have under-

rhythmic into

stylistics', as

is func-

rhythmical

nature

for

of

characteristics

inquiry

the

first

play

stylistic

between

the

respectively)

to

this

in

of rhythmically

purely

further

occasionally

be conditional

level

shape

turn,

a more

called

221

phenomenon

analyse

scope

only

to

the

of to

what we have

phrasing

ques-

concerning

meaningful

linguistic

217

stylistic

s tylistic

and

upon

As was argued such

expected

may provide

of

utterance.

rhythmic

effort

tions the

the

understanding

may seem

introduced

and

which,

levels

distinction

metric

which

touched

the

description

present

material

been

its

our

poetry

that

the

contrast

part

the

then,

above, inquiries,

approach,

which

it

1s to be doubted there assumes

is

room that

whether,

for (types

the of)

in addition so-called

to

phono-

word-boundaries

393

CONCLUSION have

phonological

in

particular

any

case

provide

may be doubted

it

a method

should

be noted

whether,

stichic

of

responsion. languages it

rhythm, verse

that

whether

the

of

for

should

facts

approach

the

Greek

metrical verse

far

as

verse

concerned, not

rhythm as such.

rhythm

a careful

lead

may prevent

a less

to

premature :ut

are

of this

approach

to

same time

the

to for

external

in other,

esp.

of Greek the

and

under-

internal

non-quantitative

of Greek verse

understanding

to

be answered

analysis

informative

regular

to lead

it

UI

observed.

of

generalizations

In

to a rhythm-

the

waiting

words

speech.

infrequently

still

study

a better

at

the facts

results

grouping

with

while

with

of

by appealing

seems not

or to what extent,

As

is

the

claim

be substantiated,

the

positioning styles

question

with

the

particular

more fundamental

verse

standing

can

to

in

which are at variance

Another,

if

to account

factor

predictions

relevant

verse-positions

independent

is

properties

rhythm,

of other about

the

types nature

even of of

394

RHYTHM AND METRE

APPENDIX WORD-LENGTH IN LYSIAS, or. III

number of syll ./words 1 2 3 4 5 6

number of words

% of words

25 289 382 .302

1.87% 21.63% 28.59% 22.6% 15.42% 6.59% 2.69% 0.22% 0.37%

206 88 36 3 5

7 8 9 total

1336

number of syllables 25

578 1146 1208 1030 528 252 24

45 4836*

* The slightly different number of syllables presented in this table as compared to our quantification of syllabic quantity in Ch.111, 1. 2.1. above arises from occasional differences in the treatment of hiatus and contraction.

NOTES

l DE GROOT (1932) esp. 83-9; VOS (1973) 22-3; ALLEN (1973) 102; LOOTS (1979) 1-18; GROTJAHN(1979) 23-33; 197-201.

395

esp.

96-

2 Supposedly falling in with the rhythm innate in human nature, such as the pulse or muscular tension ('motor activity'); see e.g. CH.Ant.AN(1965) 28. It May he pointed out that tl•e discussion on the subject has been carried on in approxi~ately the sane terms for nuch longer than is commonly realized: for a survey of the research in the preceding century, see HEUMANN(1894); for further reference, see RUCYJ-1ICH (1913), (1915), (1918), (1924). 3 See \JOODROY(1951) 1232: "By rhythm, in the psychological sense, is meant the perception of a series of sti111Jli as a series of groups of stimuli. The successive groups are ordinarily of similar pattern and experienced as repetitive. Each group is perceived as a whole and therefore has a length lying within the psycholo&ical present." Compare LOOTS (1979) 4: ''We define rhythm as the phenomenon that in a series of (auditory) stimuli we perceive these sti111.1li as grouped, each group containing one stinulus that is more prominent than others." On the other hand, a concept ion such as that advocated by MALMBERG(1971): "Jede gesprochene J\usserung ist rhythmisch. Schon die filr die Rildung der Sprachlaute erforderliche Ausatmung setzt eine ziemlich recelmassige Aktivitit der Rippenmuskeln voraus" (21) does not seem to be very illuminating either. 4 CHATMAN(1965), Chapter 11; for a survey of comparatively early acoustic experiments, see HARRELL (1937) 63-5; ~LL's own experiments include such fascinating topics as "Preferred Rates for Singing 'The Star Spangled Banner', Walzing, and Hearing 'Turkey in the Straw'", and "Effect of Fatigue and Whiskey on Preferred Rate". 5 DE GROOT (1932) 242; (1946) 19. His examples include phrases "De Wondere Wereld", "over en such as "The Han of Property", weer". DE GROOT fixes the ideal interval at 3/4 of a second. Quite inappropriately, he refers to such Hebungsabstinde as "Perioden", a term which is hard to dissociate from the very the theory different connotations which adhere to it in, e.g., of rhetoric or in musicology.

396

RHYTIDI AND METRE

6 Cp. tlf.P.TlH (1972) 488: "Thf' constrair.t on speech souncls, or on any other real-time sequence of behavioral elements, that is directly implied by the concept of rhythm is relative timing, which rieans that the locus of each (sound) element along the time dimension is determined relative to the locus of all other elements in the sequence, adjacent and nonadjacent. ( ••• ) The alternative to a rhythmic sequence, which is less restrict! ve, is that the loci of the elements in the sequence are only successive (concatenated) in time. Sound sequences like these cannot have a structured, internal organization, although entities that they might represent can, of course, have such an organization, albeit one that is relatively abstract." of e.g. Greek lyric poetry, it seel?lS evidIn view of the nature ent that the so-called concatenated type should also be included 2 in the notion of rhythm. For 'free verse', see HRUSHOVSKI ( 1964). A comparatively early example of the idea that repetition not a necessary condition for constituting a rhythmical sequence is JACOB (1918) 99ff. 7 VOS (1973) 10-1 likewise uses the ten, 'metrical' to denote rhythm with l"'easured tone-sequences (which he calls "periodic", to isochronous ti~e-intervals: cp. note 5 above). Since referring he regards the phenonenon as beini not yet sufficiently clear, he cioes not venture to provide a definition of rhythm. Compare also CHATMAN (1965) 29: "Let us ASSlll'll' that 111eter is basically linguistically determined •secondary rhytha• - linguistic events grouped rep,ularly in tirie, such that each group has unity in its internnl conposition and in its external relations." SMITH (1968) distin~uishf's 'metrical poetry' frol'I 'free verse' (e.g. p. 94); similarly GROTJAHN (1979) referred to in note 19 helow. See also 3 \TF.Uf.Y f. \.JARRF.N( 1962) 163, who "distin~bh between theories requirinr, 'periodicity' as the 8ine qua non of rhythm and theories which, conceiving of rhythm more widely, include in it even non-recurrent cnnfigurationR of movements. The first view definitely identifies rhythm with metre, and thus may require the rejection of the concept of 'prose rhythm' as a contrAdiction or a nere metaphor." VEP.\.IEY (1931) 20, quoted in note 20 below is also relevant here. 8 FAY (1966) 28. The experiments referred to concern clicks produced by (i .a.) Savart 's Wheel. By varying the distance between two (hence: "paired") clicks, it is found that in the case of an interval under 2-10 msec. (sc. in the different experiments) a fusion of two clicks takes place (sc. in human perception). It should be noted, however, that this limit of fusion varies according to the quality of the stimulus involved: "The acoustic event, its intensity, and its paired partner all play a role in human resolving time." (l.c.). FAY's own investigati~ns concern the phenomenon of 'tel"'J)oral resolution' in the case of different pairs of phonemes; as conparerl with the limit of 2-10 nsec. for the awareness of successiveness of clicks he considers his "results with phoner,es ( ••• ) particu-

397

NOTES

larly impressive since the minimUDI resolution time was not established. Just how lll.lch below 10 msec resolution would continue to be accurate is a question unanswered." (o.c. 86). 9 See for example LOTZ (1960). 10 Compare DE GROOT(1932) 11

97.

I.a. CHATMAN (1965) 21; compare VAN NOORDEN (1975) 8; 85: "(The experiment) suggests that the perception of temporal coherence is based on some kind of 'echoic memory'. In order to make it possible for a listener to hear temporal coherence between successive tones, the first tone must as it were continue to echo in the memory until the second tone ls presented."

12 LEHISTE (1977) 258; cp. also

CHATMAN (1965) 21-2.

13 DE GROOT(1932) 251. 14 Cor,parP \!EST (1982)

24: "It 1s precisely the asymmetrical distribution of the longs and shorts that gives many metres their charthe acteristic quality - the fact that in -uu-1.r- , for instance, It should he noted, however, that principes are not equidistant." between in the present interpretation the idea of a 'distance' marked verse-positions c.q. syllables refers to the number of interjacent non-marked positions/syllables exclusively. Since it seems likely that the idea of 'bars' should be discarded from the theory of Greek verse rhytrun altogether, the absence of equidiatance should not be connected with "changing bar-lengths" (WEST, l.c. ). The non-applicability of the notion of bars in Greek poetry has been argued most convincingly by GEORGIADES (1949) 47/8; 90ff.

15 Cp. SMITH (1968) 86, referring to free verse: ''What the reader expects here, from line to line, is not a fixed number of syllables or pattern of stresses, but that certain limits of variability will not be exceeded." The supposition that the comparatively random character of these types of verse does not endanger the coherence of the sequence might be supported by research on coherence in the perception of tone sequences (VAN NOORDEN (197 5) 55): "previous knowledge of the tone sequence does not influence the perception of temporal coherence. The temporal coherence boundary for random sequences is found at roughly the same tone intervals as that for regularly alternating sequences." And, ibid. 46: "listening for temporal coherence is probably not a question of moving the attentional "filter" to and fro actively, but of following the tone sequence passively." lb DF. GROOT(1946) 111: "Als algemene regel zal men wel mogen poneren, dat een oMvang van 5 tot 12 lettergrepen voor de voort-

398

RHYTHMAND METRE brenging en waarneming van e~n reeks woorden als eenheid rle neest gunatige is; in het algemeen schommelt dan ook d~ lengte van de versregels in de West-Europese talen binnen deze grenzen." Recent research on auditory tone sequences may prove fruitful in these matters, that is, if the preferred extension of the colon may be connected with a notion like 'time window': see e.g. TEN HOOPEN a group of tones as having certain (1982) 13: "one might define physical or stimulus characteristics, hut it becomes a perceptual group only and only if it is "spanned" by the til'le window." Also 140: "we should study the short t.erm UOOTtBOOM& COHF.N (1975) storaRe capacity for melodic and rhythAic aspects of speech, how this relates to short term storage of words and word groups, and how the latter may be enhanced by the first."

17 E.g. tone phrasing) historical

(musical phrasing), or similarity to context (referential

the incidence other phrases phrasing).

of word-end (lexical in the immediate or

SMITH (1968) 12-3: "until the series is announced as conwe cannot be sure of the pattern", i.e., "retrospective patterning". Ibid. 94: "( ••• ) although the distinction between free and fixed forms can often be expressed as the difference between degrees of variability, this difference is often radical, and its effect on closure must be acknowledged. While our expectations, in a free-verse poem, are controlled by probabilities and confined by limits of variability, we obviously cannot predict the specific occurrence of formal elements with the same degree of confidence as in fixed forms." For our understanding of such processes, recent research on speech perception may be relevant. Compare, for instance, the notion of 'anticipation' used by NOOTEBOOM & COHEN (1975), by which they mean "cases where an event coming later in the speech act exerts overt influence on a preceding event. ( ••• ) the anticipation itself may often enhance temporal integration in production in a way which makes the task of the listener easier, by providing clues on how the incoming flow of speech can be divided into coherent auditory structures suitable for further processing." (125/6). Compare also FAY (1966) 102/3: "forward dependency".

18 Cp.

cluded

19 See 3.1. 3. below. For a fine illustration of the blending of these notions see e.g. HRUSHOVSKI( 2 1964). The partial overlap of these two applications of both 'rhythm' seems to underlie, for example, the confused and unand 'metre' convincing criticism addressed to WIMSATT& BEARDSLEYby HENDREN (in HENDREN, WIMSATT & BEARDSLEY(1961) 300): ''We cannot ( ••• ) it. Timing is separate meter from the performance which defines a fundamental character of the poem in the basic metrical sense we are concerned with. It accounts for the measured movement, the rhythm, of verse as well tts for the durational variations of different readings. Properly understood, the two fit together.

NOTES

399

One is foundatinn scheme, the other the flexibility of syllabic overlay." Compare also PACE (1961) 415, who introduces an historical aspect: ''Heter ( ••• ) I would regard as the domain of traditional metrics. The determining of gross stress contrasts, the analysis of these into recurrent units called feet, and the identification of the units as iambic, trochaic, etc. has always been the central task of traditional metrics. It 1s only when the older 1s extended to include the spoken poem that difficulty system occurs. For there is another domain, the poem as read aloud. I will call the metrical aspect of this domain rhythm. Here (degrees of stress count); here pitch is involved; here the unit is not the foot but the juncture group - or, as I would prefer to name it, the rhythmic phrase. There was a time when the older system could properly concern itself with this domain. But the time is long passed." (For "the day has come when no one should attempt work in metrics without linguistic knowledge of the linguistic features involved." ibid. 419.) GROTJAHN's application of the term 'Metrum' shows a similar ambiguity. One the one hand, 'Metrum' is defined as the "funktionales Konstruktionsprinzip einer rhythmischen Silbenfolge" (1979) 27, by which he apparently means: the principles in virtue of which a linguistic utterance is (produced/perceived as) a verse. Accordingly, it seems that 'metrisch' in this sense covers our notion of verse rhythm: "Als metrisch sind somit solche Texte anzusehen, die erstens eine rhythmische Struktur aufweisen und denen zweitens ein Met rum zugrunde lie8t. Nicht-metrische Texte sollen jetzt als Prosa(texte) bezeichnet werden." (28). On the other hand, it is also a kind of abstraction, similar to the notion of the 'metric profile' of a verse: "Das Met rum ist als theoretisches Konstrukt selbst nicht direkt beobachtbar, sondern kann lediglich indirekt anhand seiner sprachlichen Realisation in Form des Rhythmus erfasst werden." (30). So, GROTJAHN's definition of 'Metrum' as the structural principle of verse rhythm can be considered as a sensible extension compared to the use of 'metre' to denote grouped rhythm only; unfortunately, he too fails to distinguish between a principle of rhythmical order and a particular kind of order to be abstracted from a particular rhythmical text. (-Asa matter of fact, in this case the parallelism between the two notions is even more salient: if the principle of 'metre', for example, would be formulated as "between two marked syllables no more than two unmarked syllables may occur", the metric profile of any verse would show this situation (no more than two consecutive non-marked verseelements), whereas the rhythmic realization, i.e. an individual verse may diverge from it in various manners.) 20 URMUNSKIJ (1966) 17. To VERWEY(1931) this is apparently the primary meaning: "Ritmen zijn werkelijkheden, metra zijn schemata." (22). But, according to VERWEYalso, at the same time it is true that ''het metrum, voor zoover het samenvalt met het ritme

400

RHYTHMAND METRE due als regelmatige weerkeer • wel degelijk beetaat. Hen hoeft het geen met rum te noemen, men blijft bij de benaming ritme; maar ale men dat doet is men toch genoodzaakt nadruk erop te leggen dat men nu ritme niet ale etroom maar ale regelmatige weerkeer bedoelt. Bij echerpe begripsbepaling krijgt dus het woord metrum al een grond in de werkelijkheid: het beduidt ritme voor zoover di t een bepaalde vorm van weerkeer is." (ibid.). A similar ambiguity in SECKEL (1937). Cp. BROADHEAD(1933) 115/6, who distinguishes between a 'rhythmical' and a 'metrical' point of view, referring to the grouping of syllables and the grouping of scansion respectively. SCHULTZ (1972) 28: "die rhythmische Realisation der metrischen Schemata"; KIPARSKY (1975) 580: "(the tension between) the abstract metrical pattern and the actual rhvthm of the verse". Somewhat 3 confusingly, FOWLER(1966), after WELLEK& WARREN( 1962), refers to this verse-level by means of the term 'prose rhythm' (82ff.). 4 Th~ question has been sensibly discussed by ASMUTH( 1976) 58-61.

21 Ancient terminology is too diverse to be a real objection against the way of expression advocated here.•~, of course, is current as denoting all kinds of rhythmical material: e.g. o'ati ~dva, Plato Leg. 669 E 1: (6«.acru:nv ot 1101.TlUU)~ ~(i.e •• non-linguistic rhythm). The term ut"Q:10V denoting grouped rhythm is attested in Ar is toph. Nub. 641 / 2: ( ••• ) 6n >aUL.O'tOV 1,lttPOVI flyEt, n6tqx,v U> "CP'\.1£"Q:10V ~ lb 't~1. Sometimes, a distinction between verse-levels seems to be va~uely implicit in ancient ex11Et'101.1'l\Jt\lCI. f1VI) pressions (e.g. Xen. Hem. 1. 2. 21: ,:0, tv \Jtl:P,.> but of course, the idea of a formal principle is still far remote from the actual distinction of verse-levels. 22 Compare also meter, cited

PORTER (1951) on the in note 27 below.

pattern

of

the

Greek

hexa-

23 See DE GROOT (1932) 179. ALLEN's theory of a - rhythmically relevant - dynamic accent operative in Greek verse ((1966); (1973) 260 ff.) has been proved to be implausible by NEWTON(1969), whose "examination of the practice of Sophocles and Homer provides no evidence of the existence of dynamic stress in classical Greek. If such a stress existed it is easier to regard it as an automatic accompaniment of the pitch accent; the subsequent development of a dynamic stress would then be not so much a radical change in the phonetic characteristics of the accent as a readjustment of the phonological status of its ingredients." (370/1); compare PARKER (1970) 62; (1977); BARRY (1974): "the unconscious exploitation of a secondary stress system for the resolution of verse structure while making only limited use of the primary system, and the assumption that Greek alone among the lndo-European languages possessed such a secondary stress system fail to satisfy." (240); even WEST (1976) fails to see the relevance of this assumption: "That ancient Greek had some system of mild stress-

NOTES

401

is likely enough. But if the grammarians say nothing variation about it, if it has no discoverable phonological effect, and if suggests no simple and coherent principles, there versification (6); also RUIJGH is little hope of finding out how it operated." (1981) 399.

24 Roughly speaking, a syllable 1s long if it contains either a long vowel or a short vowel followed by more than one consonant; otherwise it is short. to realize that, so far as prosody It is of some consequence and thus the markedness of syllables - is concerned, wordseems as yet to boundaries are irrelevant. This circumstance shut out classical Greek verse from the practice, if not also from the theory of generative metrics. Most advocates of the 'generative' approach are mainly concerned with poetry in which the distinctive contrast is based on dynamic accent (with English poetry especially) - without, therefore, eschewing the pretension of universality. However, in classical Greek, both the essentially binary nature of the quantitative opposition and the irrelevance of word-boundaries to quantity are at variance with, e.g., the application of 'tree structures' which is basic to this approach. (Compare for instance LIBERMAN & PRINCE (1977) 273: "The essential generalization rendered by the (English Stress Rule) is that location of stress is calculated from the end of the word, and hinges on certain features also KIPARSKY (1977) 194, on the of the syllables counted."; relative/hierarchical nature of stress.) their See also DEVINE & STEPHENS (1984) 107 where they explain option for "the simple comb model in preference to the currently popular (binarily branching, rooted) tree model. ( ••• ) The latter model would have led us to make claims about the grouping of syllables into contours and about the hierarchical relationships between contours for which independent evidence is not 11 Furthermore, the current application of correspondavailable. ence rules in order to account for deviations from the metric pattern and in order to determine the 'metricality' of a verse is likely to lead to conclu(see e. g. HALLE & KAYSER (1971)) sions which are either trivial or faulty (see DEVINE & STEPHENS (A (1975)) - even if only stichic verse 1s taken into account. striking example of the latter category is provided by KIPARSKY (197 5), who interprets the anceps in the iambic trimeter as a "u-- after quantitative neutralization according to the rule verse-boundary" (• metron-boundary). The implausibility of this interpretation is concealed only in virtue of his misleading is a characteristic of statement that "(this neutralization) iambic verse only, and has no counterpart in trochaic verse, where /-/ in the corresponding positions cannot be replaced by /u/." (614). For criticism of the 'generative' approach as such, see STANDOP (1972), KLEIN (1974). DEVINE & STEPHENS (1975) argue that a "metrical grammar" may be applied to Greek poetry which "involves both structural and transformational techniques of analysis" and which therefore may be justly called 'generative' -

RHYTHMAND METRE

402

although the approach advocated by them shows more affinity to "traditional metrical analysis" than to the theory of metrics marked with that label (428). In this alternwhich is usually ative 'generative metrics', however, the designation to a coherent & hierarchical set of 'grammar rules' of essentially divergent phenomena such as the syllabic realization of verseelements, and the regulation of word-boundaries seems to be still quite problematic. (For example, the appointment to one and the same set of transformation rules of catalexis, brevis in longo, contraction and caesura ( ibid. 420, 428) is very unconvincing.) In short, the relation between the two main factors which operate in linguistically realizing a metric profile (viz. syllabic quantity and the localization of words) seeu to be too complex to fit into a systematized set of transformation rules. Apparently grallllll8r proposed by DEVINE& STEPHENS even the transformational does not escape the cri ticiam which they themselves address to current generative metrics: ''When one considers metrical rules in greater detail and takes account of bridges and coda restrictions, etc., it becomes clear that in principle the (generative) theory has to permit a potentially different mapping rule for every foot in each different metre." (1975) 415. - More fundamentally, it is obvious that a careful rhythmical/ stylistic interpretation of the phenomena involved is preliminary to any attempt to compose a "metrical grammar" - which seems to justify the conclusion that a generative approach, possibly useful as is devoid of any providing a generalized descriptive system, heuristic value whatsoever. 25 The multi-valued

scale of syllabic quantity postulated by WEST not indispensable to the understanding of Greek verse rhythm and should therefore be discarded. (In his recent monograph on Greek metre (1982) WEST does not explicitly invoke this idea of multiple quantities; on the other hand, it is apparently implied in his interpretation of C"'rtain particular phenomena: PP• 20, 24 (see note 14 above), 87 (compare our Ch. III sub e.g. 3.6. below).) In quantitative rhythm the actual duration of the syllables 1s irrelevant, just as in verse based on the recurrence of syllables with a dynamic accent, the actual duration of the interstress intervals is irrelevant to the perception of a regular recurrence. This point of view is most convincingly expressed by (1958) 17; CHATMAN (1965) 115: ''we GEORGIADES (1949) 20; also conceptualize metrical time in terms of rough equalities; we treat syllables of varying durations as if they were identical in duration. That we should do so is not remarkable from the psychological point of view; it is simply one more instance of our propensity to categorize experience, to consider things 1n terms of structural groups rather than fragmentarily, as legions of disparates. The motive is a simple principle of human economy 11 ( ••• ) • For the corresponding phenomenon in dynamic rhythm: DE

(1970) is

GROOT(1946) 19; LEHISTE (1977).

403

NOTES

Nevertheless, especially in Greek lyric poetry of the Hellenistic period there may have been a considerable variation in the realization of long (and short) syllables according to the accompanying music; however, there is no reason to suppose that this variety anyhow interferes with the binary nature of the rhythmical events as such. We may compare Longinus, Proleg. in Reph. 83.10-6 C.:

'tO lJt"tPOV,ij 'tO utv l,lt"tpov Tt£TD"IY6~ fx.£1. 1:'0UC ~, l,.O'HQ6vTE MOL&xtxuv MOL'tOV~ "COUlXIJV 'tOVNOi. '\}CV ~, c%:MOL~ ~ ~ ta't1. v 1\ 8',xxxuc;. b ot ~ ~ ~ fAM£1. 1:'0UC ~l"IO.UaKl.tycO., MOL'tOVecaxw ~ no1.Et ~•En

ml'VVV 01.~1.

~

The above does not necessarily affect theories of phonostyle such as that brought forward by DEVINE & STEHPENS (1978); (1984). seem to concern differences Possible differences in phonostyle in the performance of the rhythmical sequence rather than the binary opposition of syllabic quantity characteristic of Greek verse rhythm. As a matter of fact, it seems advisable to reserve the term 'duration' for rhythmically distinctive quantity in terms of the binary opposition (contra DEVINE & STEPHENS (1984) 106, 108); phonostylistic variation can be adequately expressed in terms of 'tempo of performance' or 'speech tempo'. See also Ch. III 2.1.1. note 124 and 3.1.1. for aeolic verse - in which 26 We must however make an exception case it seems to be essential that this is a rhythmical genre not originating in Greece. The underlying metric profile thus postulated is made visible by (• (1969) 6lff.), in the notation suggested by DALE (1951) 20ff. which the basic units are -u- (s: single-short) and -vu- (d: double-short). These units may be extended by prolongation (-v-u-: ss; -1.1v-vu-: dd) or by means of blunt junction (-v--v-e s 's; -vu--u.r : d 'd). Rhythmical events which di verge from the situation described in this manner are 'translated' into these units ( --• i or d; uuu• rs) or are written in (--v• -s; u- • ,.s). This notation surely has the merit of providing an economic way of describinr GreP.k verse within the limits of the definition as formulated (Ch. I.3.) above. It should be realized, however, that the notation does not necessarily provide information about the actual rhythmical effect (or even, 'nature') of the verse; sometimes it may in fact give rise to false suggestions, as e.g. by describing ionics of the form uv--vu-as ...d 'd-, whereas the metrical grouping clearly is uu-- , uu-- • In addition, the possibility of descrihin~, e.g., u---uas ...sis, uis or ...s-s alternatively shows that subjectivity of int~rpretation can not always be avoided. 21 See LOOTS (1979), referring to CREEK (1920): .. the expectation of movement on the part of the the recurrence of a particular listener" (22); also FRAISSE ( 2 1967) 301; (1974) 200; CHAntAN (1965) 207/8; VOS (1973) 103 (tthogere-orde reeks").

404

RHYTHMAND METRE The ability to do so may be connected with the human tendency to interpret a sequence of rhythmical events in a subjective manner ( 'subjective rhythm', see page 2 above) - whether ultimately based upon a 'motor readiness' of human perception (compare note 2 above) or not. DE GROOT (1932) 92/3: "Es kann ein Rhythmuserlebnis, einen subjektiven Rhythmus, ohne gleichzeitige Wahrnehmung einer objektiv rhythmischen Reihe geben"; "(es ist moglich), dass zwei kurze Silben infolge der Erwartung einer langen Silbe oder jedenfalls einer langen Grundeinheit an einer bestiamten Stelle, infolge der Einstellung auf die Wahrnehmung e1ner Grundeinheit, als e1ne akustische oder motorisch-akustische Einheit wahrgenommen werden." Compare also PORTER (1951) 8/9: "The hexameter may be defined as the sum total of all metrical usages of all the poets who composed in the form. However, in this mass of disparate metrical phenomena we can, by statistical analysis, perceive a norm, or rather a system of norms. This system of norms is no mere scholar's abstraction but is rather a pattern of expectancy present in the mind of the listener or reader. Indeed, a metrical system can hardly be said to exist until it is present in the mind of the listener or reader as an abstraction with which he compares the words of the poet as they come. The poet sometimes satisfies the demands of this ideal form, though constantly varying his method of doing so, and sometimes by distorting the form creates for his own purposes tension between what is expected and what is actually spoken." The expectancy of regularity and the human ability to interpret deviations from the metric profile plays a role also in recent discussions of the metricality of a linguistic utterance. See e.g. BERNHART(1974) 114/5: "The presence of ( ••• ) an expectancy of rPgularly recurring stressed syllables in the listener makes verse 'metrical'. So the metricality of a verse-line is formed by the guarantee of the expected sequence of stressed and unstressed syllables. This guarantee is given when a larger portion of the line affirms the pattern; if a greater part of the line deviates from the pattern the expectation of the pattern is lost and the line thereby becomes 'unmetrical'. So it can be stated that the criterion for determining the metricaU ty of lines is the predominance of pattern-affirriin& parts over pattern-contradicting parts within a line." (The criterion of 'metricality' in this sense has been (duly) criticized by STAND0P(l972) 16/7.) In the present context, we are concerned with the identification of the metric pattern rather than with nort'l8tive valuation of 'metricality'. However, BERNHART's modification of the above statement to the purport that "in some cases ( ••• ) it is not the degree of complex1 ty that becomes relevant for metricali ty but rather the individual distribution of deviations in the line" (o.c. 132) may be mentioned here in view of such restrictions as are those on the occurrence of consecutive resolutions in Greek iambic verse: see Ch. III 2.1.4.1. below.

28 For anceps as a structural see note 36, p. 406 below.

feature of iambic and trochaic rhythm, The same holds for the link-anceps of

NOTES

405

dactylo-epitritic poetry: in virtue of our awareness of the recurrence of the groups -\n,HJVand -v- (preceded by or) linked by means of single verse-elements realized by either a long or one short syllable we will interpret the second of the three consecutive long syllables in a sequence like -vv-uv---,u••• as the realization of a non-marked (anceps) element. The third possibility of a single-short interpretation concerns cholosis, i.e. the (occasional or institutionalized) realization of a nonmarked, single-short element which is the final one of a rhythnical (suh-)phrase - as in the choliambus, for which see 2.3. above - or, exceptionally, of a rhythmical group (as in the dochmius, where u---- responds to u --u-). 29 That is, in virtue of the recurrence of the same metric sequence in one and the same poem. The most common types are stichic responsion, in which all verses are the realization of one and the same metric sequence, and strophic responsion, i.e. the occurrence of two or more sets of verses corresponding to one and the same set of metric sequences. So, in the case of several occurrences of rhythmic realization of one and the same metric profile, the value of a verse-element may become clear in virtue of the occurrence of the 'proper' realization of the verseelement in question; e.g. -vu-uu-v- in responsion to -vu-vu---. For the terminology, see MAAS(1962) § 28. see nlso SICKING (1981) 30 Compare P• 5 w1 th note 18 above; "De beoogde rhythmische ken111erken zi jn met de opbouw van kolon uit lange en korte lettergrepen gegeven, en het zijn onderlinge betrekkingen tussen de kola van een vers en tussen verzen van een lied die verzen en liederen tot rhythmisch volle gehelen maken ". The more complex types of verse may, of course, exploit the biguity of a particular sequence within a particular context is often the case in the choral lyric of Greek drama, where is constituted by (variants of) the infrequently a strophe , -vu--, -vu-v-- ) • A similar kind of ambiguity quences -vv-uuoperative in music: see MEYER(1956) 37; 51/2.

243: het de de zinam(as not seis

31 Sometimes, the identity of the rhythm seems to consist only in the recurrence of a special 'motive', the remainder of the verse being apparently random. (But even here, one must assume that the underlying pattern which is in accordance with the definition of verse rhythm has been somehow indicated, e.g. by music or dance.) 32 Compare also the situation in dactylo-epitrite verse (SICKING & VAN RAALTE (1981)) and the "gleitende Ueberginge" in the choral lyric of Greek drama (SNELL (1982) 58ff.). Here, a special 'linkis achieved by an 'overlap' of the rhythmic phrase ing' effect compared with the boundary of the metric phrase by one or more verse-elements.

406

RHYTHMAND METRE

33 The term 'verse' is slightly preferable to the collllllOnname of associated with questions of 'line', which is unavoidably writing and printing. In stichic poetry, line and verse will usually be concurrent; however, the situation in, e.g., the odes of Pindar and Bacchylides is rather more complicated. 34 The phenomenon is brevis

in

(eleaento)

dactylic hexameter; be a more appropriate

therefore

not appropriately named (syllaba) as is most obvious in the case of the brevis pro (syllaba) longa would way of referring to it.

longo (syllab~)

35 However obvious this may be in stichic or (otherwise) distinctly phrasal types of verse, in verse in which the rhythmical phrasing is less distinct this way of defining '"brevis 1n longo n tends towards circularity. If there is no other index of verse-end (as hiatus or an argument to be derived from clausular characteristics or from observation of the rhythmical context), and, therefore, one cannot be certain about the metric profile of the verse in question, it is in fact impossible to be positive about the occurrence of the phenomenon. 36 The 'x' indicates an (eleraentum) anceps, i.e. an element of the metric profile in which a long or a short syllable may occur. In tetrameter, it is a non-marked versethe case of the trochaic position which may be realized indifferently either•~ a long or as a short syllable. In both the iambic trimeter and the trochaic tetrameter, the indifference to syllabic quantity is essential to the rhythm of the verse: the metrical grouping by four elements exists in virtue of the fact that the first, c.q. the last of every four verse-elements is not simply a short like the second, c.q. the third element of the metron. Otherwise, the rhythm would be perceived 1n groups ("feet") of two elements each: see Ch. III and IV sub 1. below. In view of this fundamental indifference to syllabic quantity the habit of notating an anceps element as O if it is more frequently realized as a short syllable and as Y if it is realized more of ten as a long is awkward (contra SCHEIN (1979) 4 note 19). syllable 37 It should be noted that a verse of such length as the types of verse discussed in this study is adequately structured into two cola (one 'functional' caesura): see 1.2.1. p. 5 above. '!'bis means that the assignment of more than one actual caesura in e.g. a concrete hexameter is not in accordance with the theory adopted here (see also Ch. II, 3.2. P• 70 below). There may, on the other hand, be more than one caesura position: see below. 38 'Rising', i.e. beginning with a non-marked event (element at the metric, syllable at the rhythmic level of the verse); 'falling', i.e. beginning with a marked event. The counterparts for the ending of a rhythmical sequence are 'pendant' (ending with a non-marked event) and 'blunt' (ending with a marked event).

NOTES

407

39 The description of the phenomenon of caesura may stop at this verse is concerned. point as far as stichic In verse without stichic or strophic responsion (or if only a single or few verses of a particular type have come down to us) the situation is rather more complicated. In such cases one can only choose one out of the existent word-ends as a hypothetical caesura; the relevant arguments may be derived from the (innediate or historical) rhythmical context. A conclusive factor will often be the position of word-end in relation to rhythmical groups (metra, phrases) to be distinguished at the metric level. Conversely, a boundary between two such groups should not be regarded as a caesura if there is not a potentially structural word-boundary at that position. In those verses where there is some sort of external responsion versebut no recurrence of word-end in a rhythmically plausible position one can only suppose that - if the verse extends beyond the length likely to be perceived as a non-structured whole - the structuring into rhythmical sub-phrases will have been brought to light by means of the accompanying music and/or dance. As a matter of fact, it may be no coincidence that this situation also occurs in Pindaric verse in particular: compare 3.1.2, p. 15 (with note 31) above. 40 In the present study, syllables or verse-elements have invariably been referred to by mentioning the number of the verse-position in which they occur. I am aware that this manner of numbering implies the debatable option of conceiving the two short rhythmical events which characterize double-short verse as one (sc. non-marked) verse-position. The expression 'word-end occurring at a certain verse-position' means that the final syllable of the word in question occurs in the verse-position mentioned. 41 It will be noted that we do not recognize the phenomenon of prosodic bridge. This is not meant to say that prosodic properties are altogether irrelevant to the study of bridges; on the contrary, they do play an important role with regard to limits set to the type of word-boundary which may occur in a particular verse-position - which may vary according to period, genre, or context. These are, however, phono-stylistic refinements and as such without explanatory value as far as the occurrence of bridge qua rhythmical phenomenon is concerned. Compare DEVINE & STEPHENS (1984) 134: "The term 'bridge' suggests a direct constraint against (phonological) boundary, which is just what the rhythmic bridge represents. The 'prosodic bridge', on the other hand, is a constraint not against a boundary per se, but against phonological properties which occur on syllables contiguous to a boundary, but which need not be uniquely distributed on such syllables. Thus, the term 'prosodic bridge' does not provide a direct characterization of the nature of the constraint, which is why it can lead to loss of descriptive generality. It is a

RHYTHM ANDMETRE

408 term that philological

belongs properly data collection."

to

the

pre-explanatory

stage

of

is perceived as pre42 It goes without saying that no syllable ceding the first syllable of a verse - which is an independent rhythmical sequence. Therefore, the word 'echoes' is essential to the present theory: there is no danger of misinterpretation (which is improbable also in virtue of the stichic recurrence of the sequence), but only of a disfavoured rhythmical association.

43 See Ch. III

sub 4.4.

below.

44 Also HARDIE (1920) 3: ible by decreeing that lables".

"In the hexameter the end is made perceptthe last foot shall always be of two syl-

45 It may be noted that Dionysius' testimony does not, to say the least, corroborate the theory to the effect that (long) final syllables are somewhat longer than non-final ones (for which see e.g. DEVINE & STEPHENS (1984) 25); for if Dionysius would be right in positing that the syllable occupying the marked element of the dactylic metron takes less time than a 'full' syllable, one would expect, according to the theory of lengthening of final syllables, that word-final syllables were avoided in marked verse-positions rather than (as they actually are) in nonmarked ones (see 4.2.ff. below). The theory has in fact been advanced to account for the restrictions on word-end in the fourth and the fifth metron of the hexameter by PORTER (1951) 20: "The easiest assumption is that long final syllables are somehow more effectively long than other long syllables." For further evaluation of the theory of final syllable lengthening, see Ch.III,3.1.1. below. i.e. the rhythmic (• linguistic: see Ch.I, 2.1. above) 46 'Dactyl', realization of the dactylic metron by three syllables (- uu ); opp. 'spondee', i.e. a bisyllabic realization of the dactylic metron (--).

JAfCKEL's assignment of 47 I am aware that adopted throughout this study - either to bucolic genre could be called in question. rhythmical characterization of the inrlividual (1898) 329ff.; see also KUNST (1887) 5-61.

Theocritus' poems the epic or to the For a more detailed poems, see LEGRAND

48 The question to what extent the dactyl 'comes natural' to the Greek language cannot be answered without entangling oneself in all kinds of circularity. Still, PAULSON 's observation that (l) a Greek prose text comprises more dactylic sequences than a Latin prose text and that (2) the Greek language has a greater (lexical and prosodic) adaptability (cp. 2.5. below) is apparently not unconnected with the larger proportion of dactyls found in the Greek hexameter. (See PAULSON(1897) 34-7.)

NOTES

409

49 Compare CUNNINGHAM( 1977) 96/7: in the hexameters of the "fragmentary Hellenistic poets" discussed in his study there is an average percentage of 42. 7% of verses with one spondee, and of 32.2% of verses with two spondees. In Eratosthenes' hexameters the percentages diverge from the average most clearly: one spondee 25%, two spondees 46.9%. 50 See LA ROCHE (1898) 68. The hexameter counted by him as the verse is printed with a doublefifth example of a 'holospondaic' short jirst metron in the MUNRO/ALLENedition ( Il. XI.130): •A1:P£ ~ 6' OOT' tx 6l-GILLES, AC XLIV (1975) 686--9.4. FARINA, A. lpponl.lle. Napoli 1963. 430 n. 175. FAY,w.H. Temporal Seq~nce in the Peruption of Spuch. Den Haag 1966. 396f. n. 8; 398 n. 18. FJNNEGAN, R. "What is Oral Literature Anyway? Comments in the Light of Some African and R.s. (edd.), Oral LiteraJUreand tltt Other Comparative Material." in: STOLZ, A. a SHANNON, Formula. Ann Arbor 1976, 127-76.413 n. 83. FOURNIER, H. "Formules homeriques de reference avec verbe 'dire"', RPh XX (1946) 29-68. 73. FOWLER, R. '"Prose Rhythm' and Meter", in FOWLER, R. (ed.), Essays on Style and Language. New York 1966, 82-99. 400 n. 20; 423 n. 139. FRAENI.EL, E. Aeschylus Agamemnon. Oxford 21962. 423 n. 144. FRAENI.EL, H. "Der kallimachische und der homerischc Hexameter", Nachr. Gesellsch. d. Wissensch. zu Gottingtn, Phil.-Hist. Kuwe 1926, 197-229.71; 417 n. 105. -, "Der homerische und der kallimachische Hexameter", in: Wege und Formen fruhgriechischtn Denuns, Munchen 31968, 100-56. 71; 417 n. 105. FRAISSE, P. Psychologie du temps. Paris 2 1967. 403 n. 27. -. Psychologie du rythme. Paris 1974. 403 n. 27. FUEHRER, R. Ree. CRESPO (19n), Kratylos XXIII (1978) 181-3. 61. 1. ·• Prcistoria e formazionc dell' esametro". in: I poemi epici rapsodici non omerici e la GENTILI, M. CANTILENA, c.o. PAVESE, Padova 1981, 75-106. 103 tradizione orate, a cura di c. BRILLANTE, - & GIANNINI,,."Prcistoria e formazione dell' esametro", QUCC XXVI (19n) 7-51. 103. GE0RGlADES, t. Der griechische Rhythmus. Hamburg 1949. 397 n. 14; 402 n. 25. -, Musik und Rhythmus bei den Griechen. Hamburg 1958. 402 n. 25. GOODELL, TH.D. "Bisected Trimeters in Attic Tragedy", CPh I (1906) 145-66. 425 n. 155. GR0NINGEN, I.A. VAN,La polsie verbale gr«q~. Essai de mist au point. Amsterdam 1953. 409 n. 53; n. 56; 410 n. 65; 411 n. 71; 416 n. 103. GROOT, A.w. DE,"Der Rhythmus", NPh XVII (1932)81-100; ln-97; 241-64. 2; 226f.; 395 n. I; 397 n. 10; n. 13; 400 n. 23; 404 n. 27. -. "Wesco und Gesctze der Caesur. Ein Kapitcl der allgemeinen Versbaulehre. ", Mn Ill.ii (1935) 81-154. 425 n. 155. -, Algemene versleer. Den Haag 1946. 395 n. 5; 397 f. n. 16; 402 n. 25. GROSSMANN, H. De doctrinae metricae reliquiis ab Eustathio servatis. Strassburg 1887. 63. GROTJAHN, R. Linguistische und statistische Methoden in Metrik und Textwissenschaft. Bochum 1979. 41; 395 n. l; 396 n. 7; 399 n. 19. -. HexameterStudies, Bochum 1981. 41. HANEDEL, P. Formen und Darstellungsweisen in deraristophanischen Komodie. Heidelberg 1963. 30. DREW-BEAR,TH.

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JUNG, F. KANZ, J.

0

"Oral Poetry: Some Linguistic and Typological Considerations." in: STOLZ, a.z. A SHANNON, R.s. (edd.) Oral Uttraturt and tht Formula. Ann Arbor 1976. 73-125. 413 n. 83. The Rhythmic Structure of English Verse'', Linguistic Inquiry VIII (19n) 189-248. 40 n. 24. KIRK, G.s. Studies in Some Technical Aspects of Homeric Style". YCS XX ( 1966) 73-152. 64; 65; 71;417n. 107. KITTO, H.D.F. "Sophocles, Statistics, and the Trachiniae.", AJPh XL (1939) 178-93. 122. KLAUER, R. Dt Aristophanis trimttrorum compositiont artificiosiort. Diss. Marburg 1905. 421 n. 125. KLEIN, w. "Critical Remarks on Generative Metrics". Potties XII (1974) 29-48. 401 n. 24; 432 n. 198. KNOX, A.D. "Herodes and Callimachus", Ph LXXXI (1926) 241-55. 430 n. 183. The Early Iambus''. Ph LXXXVII (1932) 18-39. KORZENIEWSKJ, o. Gritchischt Mttrik. Darmstadt 1968. 30; 75; 82; 248; 263; 418 n. 117;422 n. 130; 423 n. 146. KOSTER, w.1.w. Traite dt metriqut grtcqut. Leiden 1 1962. KRAFFT, F. Vtrgltichtndt Untersuchungen zu Homtr und Htsiod. G0ttingen 1863. 73. DJEG, w. "Der trochiische Tetrameter bci Euripides", Ph XCI (1936) 42-51. 324; 349. KUNST, c. Dt Thtocriti vtrsu htroico. Leipzig 1887; Amsterdam 2 1970. 408 n. 47. LATACZ, J. (ed.) Homer. Tradition und Ntutrung. Darmstadt 1979. 73. LEE, K.H. "The Influence of Metre on Tragic Vocabulary". Glotta XLVI ( 1968) 137-43. 122. BAAAQ Compounds in the Tragedians", AJPh XCII (1971) 312-15. 122. LEGRAND, PH.E. Etudt sur Theocritt. Paris 1898. 408 n. 47; 410 n. 61. LEHISTE, 1. "lsochrony Reconsidered", Journal of Phonetics V (19n) 253-63. 397 n. 12; 402 n. 25. LEHRS, K. De Aristarchi studiis Homtricis. Leipzig 1865. 83. LIBERMAN. M. a PRINCE, A. "On Stress and Linguistic Rhythm". Linguistic Inquiry VIII ( 19n) 249336. 401 n. 24. LOOTS, M.E. Mttrical Myths. An Experimmtal-Phonttic /nvtstigation into tht Production and Ptrception of Metrical Spetch. Utrecht 1979. 395 n. l; n. 3; 403 n. 27. LORD, A.B. "Homer and Huso Ill: Enjambement in Greek and Southslavic Heroic Song.". TAPA LXXIX (1948) 113-24. 65. LOTZ, J. "Metric Typology", in: SEBEOK (ed.), Stylt in Languagt. Cambridge, Mass. 1960, 135-48. 397 n. 9. LUCK, G. "Parergon metricum", Journal of lndo-European studies I (1973) 352-3. 98. LUDWICH, A. Dt hexamttris poetarum Graecorum spondiacis. Halle 1866. 409 n. 54. -. Aristarchs homerischt Textk.ritik..2 Vols. Leipzig 184.85. 32. MAAS, P. "Kolometrie in den Daktyloepitriten des Bakchylides", Ph N.F. XVII (1904) 297-309. 427 n. 164. -, "Zur Verskunst des Nonnos". Byzan1inische Ztitschrift XXVII (1927) 17-8. 90. -. "Hephthemimeres im Hexameter des Kallimachos", in: Ftstschrift Bruno SM/I, Munchen 1956, 23-4. 415 n. 94. -. Grtek Metre. (transl. H. I.LOYD-JONES) Oxford 1962. 94; 97; 98; 99; IOl; 208; 405 n. 29; 418 n. -.

0

-.

0

0

-.

0

-.

109. MCLENNAN, G.a.

"Enjambcment

in the HymnsofCallimachus",

Hemu-sCII (1974) 200-6. 69; 416

n. IOI. -.

"The Longum and Bictps of the Greek Hexameter", Mn XXXI (1978) 68-70. 61. "Die expressiven und isthetischen Ausdrucksm6glichkeiten der Sprache. lhre strukturale und quantitative Beschreibung. ", Zeitschrift fur Lileratu.rwissenschaftund Linguistik. 111(1971) 9-38. 395 n. 3.

MALMBERG, B.

REFERENCES ANDAUTHOR INDEX

439

MARCOVICH, M. Thrtt-Word Trimeter in Grttk Tragedy. KOnigstein/Ts. 1984. 183. MAmN, J.G. "Rhythmic (Hierarchical) Versus Serial Structure in Speech and Other Behavior". Psychological Review LXXIX (1972) 487-509. 396 n. 6. JC. Die Homerische Kunstsprache. Leipzig 1921. 60; 61. MEISTER, MEUMANN, E. "Untersuchungen zur Psychologie und Aesthetik des Rhythmus". Philosophical Studies X (1894) 249-322; 393430. 395 n. 2. MEYER, L.B. Emotion and Meaning in Music. Chicago/London 1956. 405 nr. 30. s. (et al.) "Sentence Length Distributions in Greek Hexameters and Homer". MICHAELSON, Assoc. for Liltrary and Linguistic Compuling BulletinVl.3 (1978) 254-67. 411f. n. 74. MINEUR, w.H. Callimachus. Hymn to Delos. Leiden 1984. 92; 101;409n. 52; 410n. 60;415 n. 90; n. 91. MINTON, w.w. "The Fallacy of the Structural Formula", TAPA XCVI (1965) 241-53. 413 n. 83. -. "The Frequency and Structuring of Traditional Formulas in Hesiod's Thtogony", HSCPh LXXIX (1975) 25-54. 73. MORELLI, G. "Studi sul trimetro giambico" I: Maia XIII (1961) 14J.6I; II: Maia XIV (1962) 149~1. 257. -. "Callimacho e la legge di Nacke", RCCM VI (1964) 140-55. 101 NAGLER, M.N."Towards a Generative View of the Oral Formula", TAPA XCVIII (1967) 269-311. 73. -. Spontaneily and Tradilion. A Study in tht Oral Art of Homer. Berkeley 1974.411 n. 70; 413 n.

83. NAGY, G. Comparative St~s in Grtek and lndic Meter. Cambridge, Mass. 1974. 103. R.S. (edd.) Oral Literature and tht -. "formula and Meter", in: STOLZ,B.A. & SHANNON, Formula. Ann Arbor 1976, 239-72. 413 n. 83. -. "On the Origins of the Greek Hexameter: Syncbronic and Diachronic Perspectives.", in: Studies in Diachronic, Synchronic and Typological Linguistics. (festschrift o. SZEMER!NYI) Amsterdam 1979, 611-31. 103 NEUBOURG, L. DE"Le nom de ladsure aprb le 3- demi-pied de l'hexametre", Pallas XXV (1978) 3-7. 415 n. 93. -, "Mots longs apres les ditr~ mtdianes dans l'hexametre grec", AC XLVII (1978) 403-37. 416 n. 100; 417 n. 106. NEWTON, B.E. "Metre and Stress in Greek", Phoenix XXIII (1969) 359-71. 400 n. 23. NOOlDEN, L.P.A.S.VANTemporal Coherence in Tone Sequences. Diss. Eindhoven 1975. 397 n. 11; n. 15. NOOTEBOOM, s.G. & COHEN,A. "Anticipation in Speech Production and Its Implications for Perception", in:NOOTEBOOM & COHEN(edd.), Structure and Process in Spttch Perceptwn. Berlin 1975, 12445. 398 n. 16; n. 18. T. VANTht Homeric Hymn to Herma. A Study in Early Grttk Hexamettr Style. Diss. NORTWICK, California 1975. 73. NOTOPOULOS, J.A. "The Homeric Hymns as Oral Poetry", AJPh LXXXIII (1962) 337-68. 73. OLCOTT, M.D.Mnrical Varialions in tht Iambic Trime1tr as a Function of Dramatic Technique in Sophocles' Philoctetes and Ajax. Ann Arbor/London 1974. 122; 157; 158; 164; 232; 423 f.n. 146; 424 n. 148. o'NEILLJr., E.G."The Importance of Final Syllables in Greek Verse", TAPA LXX (1939) 256-94. 418 n. 113. -, "The Localization of Metrical Word-Types in the Greek Hexameter. Homer, Hesiod and the Alexandrians.", YCS VIII (1942) 105-78.32; 44; 80; 81; 82; 86f.; 90; 91; 93 ff.; 98 f.; 409 n. 52; 415 n. 98. o'NOLAN,K. "Homer and the Irish Heroic Narrative", CQ XIX (1969) 1-19. 103. OTT, w. "Metrical Analysis of Latin Hexameter- The Automatation of a Philological Research Project.", in: Linguistica Mattmatica t Calcolatori. Firenze 1973, 379-90. 41. PACE,G.B."The Two Domains: Meter and Rhythm.", PMLA LXXVI (1961) 413-9. 399 n. 19.

RHYTHM ANDMETRE

440

o.w. "Metrical and Grammatical Patterns in the Greek Hexameter", in JONES. A. & (edd.), TM CompUllr in Literary and Lingwtic Studia. Cardiff 1976, 85-91. 73; 413 n. 83. PAUEI, L.P.E. "Porson's Law Extended". CQ XVI (1966) 1-26. 427 n. 164. -. "Greek Metric 1957-1970. ", Lusmun XV (1970) 37-98. 400 n. 23; 429 n. 173. -, Ree. ALLEN (1973). JHS XCVII (1977) 191-2. 400 n. 23. PAUY, M. L •Epithlte tradilionnelle dans Homen; Euai sur WI problmu! de style homlrique. Paris 1928. (Also in PADY, M. TM Making of Homeric Ver.se. Oxford 1971, 1-190: "lbeTraditionaJ Epithet in Homer".) 73; 211 n. 68. -, La Formuks et la mltriqu.e d'Homln. Paris 1928. (Also in PADY (1971), 191-239: "Homeric Formulae and Homeric Metre".) 63. -, "The Distinctive Character of Enjambment in Homeric Verse", TAPA LX (1929) 200-20. (Also in PAIJlY (1971), 251-65.) 65; 68. -, "Studies in the Epic Technique of Oral Verse-Making. I: Homer and Homeric Style:•. HSCPh XLI (1930) 73-147. (Also in PAIJlY (1971), 266-324.) 73; 414 n. 85. PAULSON, 1. Lukrezstudit'n. /: Die lussere Form des Lu.lcntianischen Huamner.s. Goteborg 1897. PACKARD,

CHUICHHOUSE, I.I'.

408 n. 48. c.o. "L'origine micenea della tradizione epica rapsodica", SMEA 1980, 341-52. 103.

PAVESE,

TM Winged Word. A Study in the Technique of Ancient Gllt'k Oral Composilion as Sun Principally through Haiod's Works and Days. New York 1975. 68; 411 n. 73. PELCKMANN, 1. Venus choliambi apud Grattos et Romanos historia. Diss. Greifswald 1908. 431 n. 184. PEIJlO'ITA, G. "II poeta degli epodi di Strasburgo", S/FC 1938, 3-41. 257. PEIUSINO, F. "Tecnica e stile nel tetrametro trocaico di Menandro", RCCM IV (1962) 1-22. 329. PICKAID-CAMBltlDGE, A. Dithyramb, Tragedy, and CorMdy. (2 1111 rev.ed. by T.B.L. WUSTEJt). Oxford 2 1966. 325. PLATNAUEI, M. "Dactyls in Comic Trochaics", CR LXV (1951) 132-3. 329. PLEW, E. "Eine Eigentumlichkeit des Nonnischen Versbaus", Jahrbucher fur Klassische Plulolog~ XIII (1867) 847-52. 416 n. 102. PONTE, A. DEL "Lycophronis Alexandra: Versificazione e mezzo espressivo.", SIFC N.S.UII (1981) 101-33. 423 n. 145; 425 n. 157. POISON, a. Euripidis H«uba. Cambridge 1802. 248. PORTEI, H.N. "Hesiod and Aratus", TAPA LXXVII (1946) 158-70. 91. -, "The Early Greek Hexameter", YCSXII (1951)3-63. 44; 71; 75;80;81; 86f.;400n. 22;404 n. 27; 408 n. 45; 414 n. 88; 415 f.n. 98. POSTLETIIWArrE, N. "Formula and Formulaic: Some Evidence from the Homeric Hymns.", Phoenit XXXIII (1979) 1-18. 73. POWELL, 8.8. "Word Patterns in the Catalogue of Ships (B 494-709): A Structural Analysis of Homeric Language.". Herma CVI ( 1978) 255-64. 73. PRATO, c. "L' "enjambement" nei tragici greci", in: Studia Rorentina, A. IONCONI oblata, Roma 1970, 349-55. 160. -, "Lingua e ritmo nel verso recitativo di Euripide", in: Siu.diLinguutici Salenlini Ill, Scritti in memoria di 0. PAILANGEU, Lecce 1970, 237-44. 122. -, FILIPPO (t>tal.) Riurcht sul lrimetro dei trogici gnci: Metro t' vtr.so. Roma 1975. 121; 122. -, (et al.) Ricerche sul trimttro di Menandro: Metro e verso. Roma 1983. 422 n. 132. l'IESC01T, u.w. "The Position of 'Deferred' Nouns and Adjectives in Epic and Dramatic Verse", CPh VII (1912) 35-58. 67. PREZIOSI, P.O. "The Homeric Hymn to Aphrodite. An Oral Analysis.", HSCPh LXXI (1966) 171204. 73. PULORAM,E. "Attic Shortening or Metrical Lengthening?", GlottaLIX (1981)75-93. 410n. 66;418 n. 112. PYE, o.w. "Wholly Spondaic Lines in Homer", G&:R XI (1964) 2-6. 63. RAALTE, M. VAN & SICK.ING,C.M.J. Ree. NAGY (1974). Bibliotheca Orit'ntalis XXXVII (1980) 38617. 103. PEABODY, 8.

REFERENCES ANDAUTHOR INDEX

441

IAUSCHEJt, G. In lllCHAJtDSON, N.J.

sclwliis Homericis ad ~m metricom sp«tanlibus. Diss. Strassburg 1886. 63. The Homeric Hymn to lnmettr. Oxford 1974. 409 n. 52; 412 n. 78. am:HIE, w. The AlllMnticily of lM Rhesus of Euripides. Cambridge 1964. 418 n. 117; 419 n. 121. ROCHE, J. LA "Die Stellung des attributiven und appositiven Adjcctivs bci Homer", WS XIX (1897) 161-88. 67. -, "Zahlenverhlltnisse im homerischen Vers", WS XX (1898) 1-69. 31; 39; 40; 409 n. 50. -, "Untersucbungen ubcr den Vers bci Hesiod und in den homeriscben Hymnen", WS XX (1898) 70-99. 31; 32; 40. -, "Der Hexameter bci Apollonios, Aratos und Kallimachos. ", WS XXI (1899) 161-97. 31; 40; 83. -. "Zur Verstechnik des Nonnos", WS XXII (1900) 194--221.31. ROSE, H.J. A Handbook of G~lc Liltratun. London 7 1964. 430 n. 180; n. 181. ROSSI, L.E. Mttrica t crilicastilistica:II krmino 'ciclico't l'a'Y'JTYTI ritmica. Roma 1963. 30. -, "Estensione e vaJore del 'colon' nell'csametro omerico", Studi Urbinali XXXIX (1965) 23973. 71. RUCKMICH, c .A. "A Bibliography of Rhythm", American Journal of Psychology XXIV (1913) 50819; XXVI (1915) 457-9; XXIX (1918) 214-8; XXXV (1924) 407-13.395 n. 2. RUUGH, c.1. L'l/lme,u achltn dans la langut lpiqut. Assen 1957. 412 n. 76. -, "Observations sur la ·metath~se de quantite' ", Lingua XXI (1968) 382-99.61. -. Ree. WYA1T (1969), Lingua XXVII (1971) 263-76. 61. -, Ree. ALLEN (1973), Mn XXXIV (1981) 399-409. 401 n. 23. RUSSO, J.A. "A Ooser Look at Homeric Formulas", TAPA XCIV (1963) 235-47. 73. -. "The StructuraJ Formula in Homeric Verse", YCS XX (1966) 217-40. 73; 413 n. 83. -, "Is 'Oral' or• Aural' Composition the Cause of Homer's Formulaic Style?", in: srou, a.A. & SHANNON, R.s.(edd.). Oral Liltratw"tand tM Fol'1ffUUI, Ann Arbor 1976, 31-71. 413 n. 82; n.

83. "L'hexa~tre du lapidaire orphique: pour une etude metrique des 'Orphica'.", RPh LV (1981) 73-90. 32; 81; 87. SCHEIN, S.L. The Iambic Trimeter in Aeschylus and Sophocles. A Study in Mttrical Form. Leiden 1979. 105; 107; 121; 122; 123; 134; 160; 161f.; 163; 194; 208; 248; 270; 406 D. 36; 419 n. 123; 422 n. 138; 425 n. 153; 426 n. 160; 428 n. 167; 430 n. 182. SCHULZ, H. "Methoden und Aufgaben einer zukunftigen Metrik", in: Spracht im technischtn Ztilalttr XLI ( 1972) 27-51. 400 n. 20. scon, J.A. "The Influence of Meter on the Homeric Choice of DisyUables", CPh IV (1909) 24855. 61. -, "The Ethos of Dactylic and Spondaic Verses in Homer", CJ X (1914/5) 326-30. 63. SECKEL, D. H6lderlins Sprachrhydunus. Mil tintr Einltilung abtr das Problem da Rhythmu.s und tintr Bibliographit zur Rhythnws-Forsclumg. Leipzig 1937. 400 n. 20. SEVEllYNS, A. Homirt, II: Lt p.nov) 157; 221; and clausula 158ff.; and monosyllable in pos. I 216 Trochaic Tetrameter: 336 Enjambcmcnt of the Metric Colon 177; 186; 285; 388 Epidlannus 422 n. 129

Eplrrhematk Scenes and low incidence of resolution 325; and verses without a ceasura 344f. 'Equjvalenc:e'of- and vv (29f. ); 382{. Eubulus SEE Comedy, Middle Eptanm, Hellenlstic(A""°'°Jia Grotta) comparatively large proportion of short syllables in the anccps positions 106; in pos. 5, and single hephthemimeral caesura 112: in pos. 9 109, and low incidence of word-end at pos. 10 110 proportion of resolutions comparable with the Sophoclean trimeter 122; comparatively high incidence of resolution in pos. I 130; resolutions listed 229 comparatively large proportion of hephthemimeral caesurae without concomitant word-end at pos. 5 180; clausula not unlike that of early iambography 208 EntOldlenes SEE Hellenlltk Poets, (FnlllllfJll&ary)

·~·

of verse-types in the dactylic hexameter, hypothetical 63f.; in the iambic trimeter. ,dem418f. n. 117

EupborionSEE Helleultk Poets, (Fnpneatary) Euripides SEE also Tnaedy Iambic Trirneter: remarkable difference in frequency of resolution in different (earlier/later) plays 122 comparatively high incidence of word-end at pos. 5 166; 169; id. of penthemimeral caesurae 180; low incidence of word-end al pos.7 169; comparatively few occurrences of caesura media 194 later plays: proportion of short realizalions of the anceps in pos. 9 decreasing 109; remarkable increase of resolutions 122; 125; of resolutions followed by word-end 242 increasing frequency of 'falling double-short' verse-beginning 142; larger proportion of elision at caesura 167; comparatively high incidence of verses with word-end at both pos. 10 and pos. 8 207

452

RHYTHM AND METRE

Trochaic Tetrameter: relatively large proponion of shon realizations of anceps in pos. 4 314; 31 'l; comparative infrequency of verse-types with three long ancipitia 319; increase of resolution 324 comparatively small proponion of monsyllables in colon-initial verse-positions 353 Orates shows word-end at poss. 3 and 5 more often than IA 348; IA higher incidence of wordend at pos. 4 3 I 7; 348: greaterrhythmical strictness in Or. ofthe second colon as well 349: 352 Effllt, Rllythmical SEE Stlmul• Es:pedadonSEE also Reaulartty;Predktablllt)';T_.. anticipation of rhythm based on awareness of metric profile 13; 403f. n. 27; and colometry 5; 387; and rhythmic divergence 13; 14; 381 Expnsslveaet11SEE also Stylilda, Rll:,tlunbl of caesura media 194

Extemlon, Rllytlunkal by means of prolongation 29; 105

F...... Rll)'tbmSEE Movemenl, Rb)'thmical Foot SEE Metre I FormulaicDiction 28 n. and rhythmic defects 62f.; verse-end 64; enjambement 67ft.; and monosyllables at verse-end 90; and caesura 72f. FreeVerN 2; 5; 396 n. 6; 397 n. 15; 398 n. 18

Genendve Metrics pretension of universality not legitimate 40lf. n. 24; tree structures inapplicable to Greek verse rhythm 401 n. 24; and formulaic diction 413 n. 83 Grid, Metric SEE also Vene--Prollle;Metre D 7;8

Hellodorus 276 Hellenistk Heumeter SEE DaclyllcHeumeter (Hellffllsdc) Helleutk Poets, (Frasmmtary) 32; 92; 409 n. 53; trochaic caesura more frequent than penthemimeral caesura 414 n. 87 Antagoras 409 n. 53 Eratosthenes 409 n. 53; large proponion of verses with two spondees 409 n. 49 Euphorion 409 n. 53; n. 56; 416 n. 103; occurrence of holospondaic verse 409 n. 50; bucolic dihaeresis comparatively infrequent 87 Hegesianax 409 n. 53 Theopompus 409 n. 53

Herodu rhythmical similarity of his choliambi to the trimeters of tragedy 2n; 288; follows Hipponax only occasionally 278 realization of ancipitia more like Hipponax than like Callimachus 266; comparatively large proportion of long syllables in pos. 5 265; effect of pseudo-cholosis 265; percentage of resolution similar to that in the trimeter of Aeschylus· earlier plays 270; resolutions located at the beginning of the verse especially 272; resolution in pos. 2 generally preceded by a long syllable 274 practice of internal structuring similar to ( esp. Aeschylean) trimeter 278: word-end at pos. 10 288; at both pos. 10 and pos. 8 309; beginning of verse 290; penthemimeral caesura with concomitant

GENERALINDF.X

453

word-end at pos. 9 only an alternative for id. with word-end at pos. 7 .303; monosyllable in pos. 6 less frequent 284; infrequency of caesura media 287; low incidence of word-end in pos. 8 288; evident breach of Porson's Law 302; resolution in pos. 4 followed by word-end, and general high frequency of word-end at this verse-position 299

Heslod rhythmical similarity to the Homeric hexameter (diversity of verse-types) 53; 54; more spondaic verses 5l ; penthemimeral caesura in gnomic passages 75f. Thtogonia relatively high percentage of unperiodic enjambement 69; increase of penthemimeral caesurac in second part of the Erga 14; 15 Hladua prosodic index of verse-end 16f.; rhythmic 'defect' 62

Hippoaax small average of words per verse 279; comparatively large proportion of long realizations of the anceps in pos. S 264; and pseudo-cholosis 265; comparatively large proportion of short syllables in pos. I 265; incidence of resolution similar to that in Aeschylus' earlier plays 270; located in the beginning of the verse comparatively often 272; one occurrence of double resolution 271; resolu• tion in non-marked verse-positions 272, and subject-matter 272; notorious for rhythmic divergen• cies other than resolution 276 low incidence of bisyllables in poss. 6 and 7 278f.; virtual absence of penthemimeres with concomitant word-end at pos. 7 279. and frequency of words reaching from S to 9 279; 289; 302; .305:large proportion of single hephthemimeral caesura 279; scarceness of monosyllables in pos. 6 284; wordend at pos. 10 comparable to the siruation in Archilochus 289; incidence of word-end at pos. 8 somewhat lower 289; observance of Porson ·s Law only apparent 302; .303;no clausular refinements .305ff.; some occurrences of word-end at both pos. 10 and pos. 8 289; 308f. Holodadyllc SEE Dactylic Hexameter HololpondaJcSEE Dactylic Heumettt; Homer Homer hexameters characterized by diversity 53; all possible verse-types are actually found 52 (all possible spondaic verse-types 5 I); holospondaic verses 34; 409 n. 50; greatest variety of word-types involved 91 Hymas.Homeric treated as a homogeneous corpus 28 n.; rhythmical similarity to the Homeric hexameter (diversity ofverse-types) 53; 54; more spondaic verses 51 Hymn to Apollo alleged bipartition 28 n. Hymn to Arts 28 n. Hymn to Dtmtttr large proportion of spondees 409 n. 52; stronger types of enjambement relatively frequent 69 Hymn to Htrmts unperiodic enjambement relatively frequent 69

Iambic Metroa SEE Metre I Iambic Trtmeter metric profile 12; 19; 20; 105; metron structural unit 105; 384: 'basic' metric profile 12; schema of comic trimeter vs. schema of tragic trimeter 9f.; compared with trochaic tetrameter 336; 345; 348f.; 431 n. 192 realization of ancipitia IOSff.: verse-types 115ff., and 'ethos' 418{. n. 117; resolution 14; 120ff.; increase of total number 122; incidence of resolution per verse (multiple resolution) 126f.; distribution over verse-positions. becomes more even 129; rhythmical context 140ft. rising verse-beginning 20; and long realization of anceps in pos. I 20; and resolution in pos. 1138. in pos. 2 140; caesura 19: 20; 161ff. falling second colon 20, and resolution in pos. 6 20; caesura preceded/followed by bisyllabic 17lff.; 175ff.; 179; penthemimeres followed by a monosyllable 186; caesura media 193ff.; clausula 207f.: clausular return to (rising) single-short rhythm 21; 110; 149; rising double-short 149; bridge 23l ff.

454

RHYTHM ANDMETRE

lambognplty, Early SEE also ArdlBodll•, SemDllldea,Solon

Iambic Trimeter: high frequency of short syllables in pos. 9 109; 248; 257; low incidence of resolution 122; always at the beginning of a word 226 remarkably small proportion of elision at pos. 5 167; comparatively high incidence of word-end at pos. 7 169; no verses without either penthemimeral or hephthemimeral caesura (accordingly no caesura media) 193; clausular effect by means of word-end at pos. 10or at pos. 8 alternatively 207; 256f.; further refinements 252ff.; clausular rhythm and the comparatively low average of words per verse 256 Trochaic Tetrameter: word-end at pos. 11 and pos. 13 alternatives 349; 375 lmltadoa, Rbydunlcal of Homeric practice. or shared preference? 54; Aratus and Hesiod 91 1111111 SEE also 'Etllol' 183 lndo-Europeu Oripl (of Dactylic Hexameter) cannot be established 103 latep'adoa of metrical groups: and realization of anceps 315; and caesura 18f.; 23f.; 70 (trochaic caesura in dactylic hexameter maximum of integration 75); 231; 385; absence of integration in trochaic tetrameter 386, integration of metrical groups within cola 386

•••llm

Latin

the Latin hexameter and statistical research 41; smaJJer proportion of dactylic sequences in Latin prose 408 n. 48; smaller proportion of dactyls in the Latin hexameter 408 n. 48 l..ea&tbmJnl SEE also PbOROltylt lengthening by position 60f.; 418 n. 112: omission of lengthening by position 61; 62 vowel lengthening 61

Lycophroa trimeters characterized (rhythmical monotonousness) 123; alleged kinship with trimeters of early iambography 208 largest proportion of long syllables in the anceps positions l 06; I09; anceps in pos. 9 also realized as a long syllable more frequently than as a short one 109; small proportion of resolutions 123: resolution preferably in pos. 6 129f.; listed 229; invariably preceded by word-end 226 general scarceness of elision 167; 221; not specifically in the case of monosyllables 221; comparatively large proportion of hephthemimeral caesurae without concomitant word-end at pos. 5 180: high incidence of word-end at pos. 10 208; comparatively few trimeters with word-end at both pos. 10 and pos. 8 208; comparative frequency of three-word trimeters 183; hyperbaton 162 Lyric Poetry (Greek) 2; 5; 12; 396 n. 6; and the origin of the hexameter 103; til.oyia 30 drama: linear variation 15; 380; 405 n. 30 unpredictability of rhythm 15f.; rhythmic phrase vs. metric phrase ("gleitende Uebergiinge") 405 n. 32, 'dovetailing' 386

Markednea SEE also Prominence

rhythm of ancient Greek based on syllable length plus/minus marked for quantity 12f.; 380 Meander Iambic Trimeter: greater diversity of verse-types than in Aristophanes 152; but his verse more uniform 152 resolution in pos. 10 less rare 138 (preceded by word-end comparatively often 226); comparative preference for falling double-short verse-beginning 141; 15lf.; 155; 427 n. 163 larger proportion of elision at caesura 167; comparatively free realization of verse-end 138; 160

GENERAL INDEX

455

Trochaic Tetrameter: somewhat lower incidence of resolution than in his trimeters 325; frequently preceded by word-end 359; word-internal resolution in pos. 7 comparatively frequent 368; small proportion of elision at caesura 337; no increase of verses without a caesura 337;comparatively small proportion of monosyllables in colon-initial verse-positions 353; comparatively large proportion of monosyllables in colon-final verse-positions 353; monosyllables found without elision comparatively often 355. connected with non-colon-initial monosyllables 355 'Metathesis Quand1at1s• 61 Mtttt I (MetricalRhytbm)SEE also l■tesntion defined 3 (see also 5f. ); lff.; 4; 27; 380; vs. Metre II ('metrical' vs. ·metric') 6ff.: lerminology used by modem authors 396 n. 7; metric profile easily recognized 13f. basic or simple metrical group ('foot'): dactylic metron 18; 23f.; 29: constitutive of iambic & trochaic metron 12; 109f.; 384; 385; 406 n. 36; 'pseudo-feel' 375 complex metrical group (iambic. trochaic metron) 12; 25f.; 105. 109f.; 312; 385 Mtttt II (Vene.Prollle: Metric Lenl) introduced: sequence of verse-elements 6ff.; 13; 26f.; 381; terminology used by modem authors 8; 399f. n. 20; rhythmical norm 6; }Off.;26; and rhythmic divergence 13ff.; 381ff.; and metric bridge 21f.; 389; explained in terms of rhythmical awareness 13; easily recognized (only) in the case of internal or external responsion 13ff., in the case of metrical verse especially 15 and rhythmical movement 16ff.; caesura included in metric profile 19; metric group and rhythmic group 385ff. Basic (Simple) Metric Profile. defined 12; and Porson's Law 25; 248: 302f.; 391; and clausular refinements 257; 309 Metric Colon 19f.; 130; lTI; 186: 285; 388; metric unit of perception 387. may serve elsewhere as unit of composition 19; 387 Metric Proflle SEE Mtttt II MetrlcalRhythmSEE M~tt I 'Metrlcal1ty• 401 n. 24; 404 n. 27 µhQOV SEE also Metre I 400 n. 21 xata µhQOV 8 MlmlambusSEE Choliambus Monosyllable defined 416 n. 99 phrase-initial: at the beginning of a syntactical phrase 87; 216: and elision 216; 221: in Semonides 112; and split resolution 232ff.; and Porson's Law 249 frequency at the beginning of a rhythmical (sub-)phrase 87; 293; 353; and elision 216; 221; 225; 293ff.; 297; 355 increasing proportion of monosyllables without elision. and decreasing proportion of phraseinitial monosyllables 216; 355 at verse-end. mannerism 88f.; 218ff.; 353; comparatively low incidence of elision 216; emphasis 2l8ff. Dactylic Hexameter 87ff. Iambic Trimeter 216ff.; in poss. 6 or 7 186ff.; 191; and Perrotta's Bridge 258; in pos. 1. wilh enjambemc!nt 216, proportion of elided words smaller 216; in pos. 5, pos. 12 216; 218ff., comparatively low incidence of elision 216; in pos. 9, and Porson's Law 249 Chol iambus 293ft.; in pos. 6 284ft .. comparalively rarely with enjambement of the metric colon 2X5; in pos. 5 294; not a single occurrence in pos. 12 295 Trochaic Tetrameter 352ff.; in pos. 8, in pos. 15 353

456

RHYTHM ANDMETRE

MecorT'beory 3; 395 n. 2; 404 n. 27 Mofflllell(,, Rlaydunkal 16ff.; and rhythmical coherence 27: rising/falling, pendant/blunt 18; 29; single-short/double-short 14; 403 n. 26; applies at both verse-levels 7; 18; contrast metric vs. rhythmic level 19;130 caesura 18ff.; alternation of rhythmical movement, and integration of metrical groups 18; 25; 70; 75; 166; 385 dihaeresis, and absence of alternation of rhythmical movement, in catalectic verse 336, 386 clausula 20f.; return to basidinitiaJ movement, and coincidence of word- and metron boundary 21; 25f.; St; 53; 83f.: 2fJ7ff. alternation of rhythmical movement, in catalectic verse 349; 386 bridge,rhythmical: concerns internal structuring and modulation of rhythmical movement 22 23ff.; 92ff.; 248ff.: 30Sff.; 37lff.; 389ff. Dactylic Hexameter: long final syllable in non-marked verse-position produces pendant. verse• finaJ effect 23f.; 29; 94; 99; 102; 390 Iambic Trimeter: ·underlining' of rhythmical movement of second colon by bisyllable in poss. 6 and 7 17lff.; 175ff.; 'underlining' of rhythmical movement characteristic of metric profice by word-end at pos.2 213; word-end afterresolution with reinforcement of preferred rhythmical movement 237f.; 240f. Trochaic Tetrameter: rhythmical movement opposite to that in iambic trimeter 21: 29; 348f. Matk musical phrasing 398 n. 17; possible role in identification of metric profile in Pindaric odes 15. of caesura in Pindaric odes 407 n. 39 recitative 324f.; 344f. ambiguity in music, compared with ambiguisty in choral lyric 405 n. 30

NaaOI dactylic hexameters show tendency to rhythmical uniformity 30; 52; 53; SS incidence of spondees as low as possible 33, and use of uncontracted word-forms 30; high average of dactyls per verse 30; no verses with more than two spondees 33; most of spondees in the second metron 36; 37; 42; comparatively few in the first metron 37; comparative frequency of verses with a single spondee which occupies the fourth metron 44; avoidance of two consecutive spondees 48; 55 large proportion of trochaic caesurae 73

Oral C4Nllpoadoa SEE FormulaicDidion

OrderSEEReplartty 'Orphic' Hexameters 32; caesura 81; bucolic dihaeresis 87 Overlap rhythmic group and metric unit of composition 385ff.; in metrical verse this implies an alternation of the rhythmical movement 25; 'dovetailing' 386 rhythmic group and metric unit of perception 193; 387 Enjambement: completeness of rhythmical sequence, incompleteness of linguistic utterance 388: SEE also Styllltlcs. Rhytlunkal

Paratragoedia

412 n. 125; and realization of ancipitia 115; and resolution 122f.; and the alleged observance of Porson's Law in Middle Comedy 250

GENERAL INDEX

457

Panaenklea poverty of verse-types, variety of distribution 53; comparatively great divergence from Homeric order of verse-types 55; cognitive subject-matter 31 comparatively low percentage of holodactylic verses 34; high frequency of verses with two spondees 31; 33: relative frequency of symmetrical and alternating verse-types 45; 48; dactylic realization of first metron comparatively favoured 37; spondaic verses relatively rare 52 clausular rhythm neglected 44; 84 Parody, Rhytlunlcal 139 Paroemlac and penthemimeral caesura in dactylic hexameter 75f. Par1tclesSEE also Moneayllablt; Appolklfftl elided particle and 'artificial' lengthening of syllable 60 >«llfollowing trochaic caesura 411 n. 67; 417 n. 106 Pmdant SEE Movemeat~Rhythmical PerceptionSEE also Rhythm I; T~ perceptual theory 8, and rhythmic divergence 13 linear perception of rhythmical phrase 5; 15 PboaOllyle phonostylistic variation 403 n. 25; rhythm-independent nature doubted 163 lengthening of final syllables not corroborated by Dionysius of Halicamassus 408 n. 45; relevancy to the rhythm of classical Greek questionable if on purely phonological grounds 163 and ·prosodic bridge' 407 n. 41; and resolution 419f. n. 124: 325; and split resolution 426f. n. 161; and elision 424 n. 148; and caesura 202f.; and Porson's Law 419f. n. 124; 427f. n. 166 initial/medial syllables 39 Pllra1e, RhythmJc:al SEE Vaw; Colon Pllnsln1 SEE also Movement, Rhytlunlcal manners of rhythmical phrasing 398 n. 17 rhythmic phrasing SEE R.llythm II: Rhetorical Phrasing Plndar metric profile odes often unclear 15: 405 n. 31; internal structuring idem 401 n. 39 ......

Dtstrll,atlea

and multiple resolution 126ft.; 271; 328 Ponon'sLaw SEE Bridp, R.llytlunbl Pndk:tability SEE Replarlty; Expect.adon Prefb-Boundaries and caesura 203 Pnposidves SEE Appoeidffll Prolonptioa SEE Emndoa, R.llytlunbl ProminenceSEE also Manedlle• 3; optimal time interval between two prominent stimuli 4 Proper Names and resolution 120f.; 135; 329; and formulae 90; 414 n. 85; n. 86; and verses without a caesura 82 PnaRhytbm 2; 56; 380; not rhythmical in the strict sense of the word if based on rhetorical contrast only 388 Proee-Sample quantification of syllable-types 102: proportion of long and short syllables 106: length of words 17lf.: 394 PrmodySEE also Quadty; Pllonoltyle; Bridp, Prmodk; ............. Sllor1ealna; ElllcNa 59ff.; prosodic indices ofvene-end 16f.; 423 n. 141; prosodic neutralityofverse-final syllable 17; rhythmic divergence not always to be distinguished from prosodic peculiarities 276 diphtongs 3 I : 229; 276

458

RHYTHM Ahl> HETRE

Quudfk:adem SEE also Aulytk Table olConteau: TABLES; ........s.mp1e and textual criticism 31 ; and prosodic options 31 ; and types of word-boundaries 162ft. Dactylic Hexameter: dactyls and spondees 3 If.; verse-types 41; caesura 79ff.; bucolic dihaeresis 86f.; monosyllables 87; 90; bridge 93; 97 Iambic Trimeter: 104; ancipitia 107; verse-types 117: resolution 123; 127; 135; l43f.; 146: wordend 162ft. Choliambus: 262 Trochaic Tetrameter: 312; verse-types 322 Quality (Duration) 3; binary opposition of syllabic quantity distinctive of Greek verse rhythm 12: 380: 401 n. 24; not affected by cdoyw 30; multi-valued scale criticized 402f. n. 25; 426 n. 159 (SEE also Bridge. Prosodic); to be distinguished from speech tempo. pbonostylistic variation 403 n. 25; no bars in classical Greek poetry 397 n. 14: proportion of long and short syllables in prose-sample 106 Maximum Time Interval SEE c..-e.e Optimum Time Interval. no conditio sittt qua non 4

Redtative SEE Music llKurnace of stimuli: maximum time limit 3; vs. successiveness 4 of prominent stimuli 3; 10; rhythm involving only a single recurrence of a prominent stimulus 2; 4; 5 of groups of stimuli 2; simple/complex 2; invariable recurrence of identical groups (metrical rhythm) 3; 5; 7; no recurrence of identical groups 8; vs. linear variation 15 Stichic Recurrence 17 Replarlty involves predictability 3; often based upon perception of temporal equivalence 4 degrees of regularity 3: 4; 380; in the verse rhythm of classical Greek 10; 13

R..audon defined 14; of marked clement, double contrast 38lff.; of non-marked element, single contrast 382; outside comedy mostly of marked elements 22: 382 and phonostyle 324f.; 419ff. n. 124; and colometry 19; 20; 192; and proper names 120f.; 135; 329: and vocabulary 122f.: 144; and subject-matter 122 preferably at the beginning of a word 145; 213; 226ff.; 297; 359; split resolution avoided 22 (SEE also Bridp, Metric): followed by word-end with rhythmical motivations 237ff.: 299f.; 366f. absence of resolution of the longa in the dactylic hexameter 29f.; 382f. Iambic Trimeter: 120ft.; multiple resolution 126ft.. no general avoidance of double resolution 126; in non-marked verse-positions 22; 120; l 38f.; 382, in pos. 1 22; 138; distribution over the several verse-positions becomes more even 129; in stricter genres most frequent in colon-initial versepositions 20; 129; avoided in two successive verse-positions 127; 140; rarely in pos. 10 137f. followed by word-end: gradual decrease of rhythmical motivations 242; not particularly often with elision 242; no avoidance of 'split anapaests' 242; increasing proportion of word-internal resolutions 245; no tendency to equality of colon-length 192 in pos. 2, pos. 3. and word-end at pos. 2 213; 237f.; in pos. 6, bisyllabic words 238f.; in pos. 8. pos. 10. and lrigoin's extension of Porson's Law 254f.; pos. 4. pos. 8 in comedy 240f. Choliambus: 270ff.; occasionally also in non-marked verse-positions 270; 272; no avoidance of double resolution 27 l; especially frequent at the beginning of the verse 272. and cholosis 272 majority of resolutions word-initial, but less frequently than in iambic trimeter 297; in pos. 4. followed by word-end (Herodas) 299f.; word-internal resolution comparatively frequent 300 Trochaic Tetrameter: 324ff.: in non-marked verse-positions only in comedy 324; 329; 382: increase of proportion. Aristophanes excepted 324f.; no avoidance of multiple resolution 326; especially frequent at the beginning of the verse 327. and catalexis 327; in pos. 3. pos. 5, pos. 11, followed by word-end 366f.; proportion of word-internal resolutions smaller than in iambic trimeter 367f.

459

GENERAL INDEX

Respouion and expectation of rhythmical shape 5 Internal Responsion 13; complete (acatalectic verse) 14; 29; 385; 390: incomplete SEE Catalnls, Metrlal External Responsion 15; 405 n. 29; srichic 17; 405 n. 29: strophic 16: 405 n. 29; and identification of caesura 407 n. 39 Rhytlun I (General Notion) defined 3; lff.; 379; 380; 388; "rhythmical", vs. "rhythmic" (Rhythm II) 6ff. rhythmical groups (metrical and non-metrical) lff.; 6f.; 14: absence of groups 14f. characteristics of Greek verse rhythm 12f.: 380; 401f. n. 24; 402 f. n. 25; pitch accent irrelevant 12 primary and secondary rhythm 2; objective and subjective rhythm 2: 404 n. 27; metrical and nonmetrical rhythm 3; SEE also Metre I rhythmical movement SEE Movement, Rhythmical rhythmical stylistics SEE Styllsdcs, Rhytlunkal Vent: RhythmicLevel) SEE also Word-Boundary;Word-Type;Moaosyllable; Rhythm II (COIK'l"ete

Bisylable introduced: sequence of syllables 6ff.; 26f.; 381; terminology used by modem authors 8; 399f. n. 20 rhythmic divergences from metric profile 11; 13f.; l 9f.; do not affect perception of rhythmical movement 19f.; SEE also Di'ffflflltt, Rhythmic rhythmic defects as measured against the metric norm 62f.; 276 rhetorical phrasing 175f.; 176f.; 189; 387ft.; SEE also Styllsdcs, Rhythmical Rhytlunkal Groaps SEE Rhytlun I

Rhylhmldans on Q).oy(a Qu6µ~ 400 n. 21

Risina Rhythm SEE Movement, Rhythmical

S.ndllt-PhenommaSEE also ~I series interrupted at verse-end 17; frequency of a particular .. liaison syllabique" at bucolic dihaeresis no independent significance 86; 101

Satyr Drama excluded from quantifications 123: 421 n. 126 Scanston, Automalk SEE Stadsdcs

Schema Introduced: sequence of symbols 9f.; schema of metric profile 9. normative 10; "the" schema of a type of verse includes all possibilities 9 SemomdesSEE also lambography, Early comparatively large proportion of long syllables in pos. I 109. and phrase-initial monosyllables 112; 216; 418 n. 116; comparatively large proportion of short syllables in pos. S 109; Ill. and 'hephthemimeres only' 111: large proportion of hephthemimeral caesura without concomitant word-end at pos. S 111; 180 Shortenlna, Vowel 61; 62: correption 229; in Archestratus 31 cn«i~wv SEE ChollamlHls Solon SEE also lamboanplly, Early Iambic Trimeter: comparatively large proportion of short realizations of ancipitia 106; especially in pos. 9109. and low incidence of word-end at pos. 10110; comparative frequency of word-end at pos. 8 207

460

RHYTHM ANDMETRE

Trochaic Tetrameter: sample very small 313, et passim comparatively large proportion of short realizations of ancipitia 313. in pos. 4 314; verse-types low correlation with those of other tetrameter poets 319 SophoclesSEE also Tnapd:, Iambic Trimeter: no chronological development in frequency of resolution 122; 419 n. 123; low incidence of resolution in pos. 8 130; comparatively high incidence of resolution in pos. 6 not preceded by caesura 131; resolution in pos. 10, followed by word-end 240 preference for deferring syntactically significant word-boundary over metric boundary 131; violent enjambement(dbo(; Ioq>inc.Anov)l57ff.;enjambement of metric boundary and positioning of phrase-initial monosyllables 221; rhythmical strictness of second colon 130.contrast situation in first colon 213; high incidence of elision 167; 221, produced by monosyllables with elision 221 Trochaic Tetrameter: sample very small 312, et passim high incidence of resolution 324; low incidence of a bisyllable in poss. 9 and 10 339f.; absence of colon-internal variation of movement in the first colon 345. strict realization of the second colon 345: word-end at both pos. 13 and pos. 11 remarkably frequent 349; monosyllables in pos. 1 without elision relatively often 355 Span of Atteadoa SEE also Time Interval

1 'Split Ana,-u' SEE ReNladoa SpoocWc Vent, versus spondiacus SEE Dactylic Hexameter Spoaclft SEE also Dact:,lk Hexameter defined 408 n. 46; 29ff. in third metron, and caesura 44; 74 Statillks automatic scansion 41 of rhythmical phenomena 41; verse-types (dact. hex.) 41; random incidence of multiple resolution

126 statistical aspect of caesura 82, bridge 21 Sddlk Vent SEE also Rec:wrence;llapa•h•• Edenaal identity of verse-elements, internal structuring relatively distinct 16; 27 O"dXO(;lax~OQQWYuc.6; 264 Stimall, Audkery events constitutive of rhythmical sequence 2ff. conditions for plurality 3; identification (metric bridge) 2lf.; prominence 3 non for rhythmical experience 2f.; recurrence recurrence of identical groups not a condilio siM qU1.1 of identical groups ( = metrical rhythm) 3; 13 Stroplle

5

StructuriaaSEE

Colon;MMement, Rh)'lluDk:al

St:,lildcs, Rhydunkal defined 162; 388; 392; and rhetorical contrast 388f. Dactylic Hexameter: 9lf. Iambic Trimeter: l6lf.; 175f.; 186f.; 218 Trochaic Tetrameter: 339f.; 353{. Subject-Matter adaptation oftechnical ('cognitive') terminology, and average number of dactyls 30f.; and distribution of spondees 37: and spondaic verses 52, symmetrical verse-types 44f.; and resolution 122 Succetlllveoas SEE also Stimuli, Audkery 3; vs. recurrence 4; concatenation 396 n. 6 Sarface-Structaft SEE R.laytlunII

Syllable marked vs. non-marked 5; in classical Greek: plw vs. minus marked for quantity (long vs. short)

GENP.RAL INDEX

461

12; 380; variations in performance rhythmically not distinctive 12; 30; differences in phonological

shape no rhythmical significance 30 possible coherence with semantic level 226f. quantity of verse-final syllable irrelevant 17 Symbols, RhytbmlcalSEE also Sdlelu XVlllff.; 9f. Symmetry, RllytbmlcalSEE also VetW-Types symmetry of verse-types. instrument of emphasis? 45

s,..._. 61

TempoSEE aJso Pllonoltyle "Vortragstempo" 4; vs. quantity 402f. n. 25: of holodactylic verses, and a).oyla 30 Telllioa,Rbytbmlcal expectation not fulfilled 38 l; 383f.; 432 n. 198; prosodic continuity vs. rhythmical discontinuity (elision at caesura) 169; enjambement of metric colon 186; 388; caesura media 193; 195; 387; split resolution 232; 381

Tbeoc:ritm comparative frequency of hexameters with a spondee in the first metron 37: 43; 56; frequency of bucolic dihaercsis 84; distinction epic and bucolic hexameters Q n. 47 Epic Hexameters: comparatively great resemblance to the Homeric hexameter 55; greater diversity of verse-types than bucolic hexameters 53; comparatively high average of dactyls per verse 30; comparatively large proportion of verses with a single spondee 30f.; relatively large proportion of trochaic caesurae 73 Bucolic Hexameters: remarkable divergence from the Homeric order of verse-types 54; comparatively low percentage of holodactylic verses 34; 55; spondaic verses rare 37; 52; frequency of verses with a spondee in the first two metra 47; 55; of verses with two consecutive spondees in general 47; frequency of verses with a spondee in the third metron 54, and low incidence of trochaic caesura 54f. ; 73 (Mimic Hexameters: compara1ively many exceptions 10 Naeke's Bridge IOI) Tll.ree-WordTrtmeten SEE Word-Types

Time lntenal maximum time-limit ('span of attention') I; 3; 4; interval between two prominent stimuli, with 'optimal' length 2. no conditio sin~ q1111 non for the perception of rhythm 4; 5; impression of equivalence (undercstimalion and overestimation of time intervals) 4

Tone,.Sequences auditory research 2

Trapdy Iambic Trimeter: first two ancipitia more frequently realized as a long syllable. the third one as a short 109; virtually complete correlation of verse-types of the tragic poets 115; increase of resolutions 122; distribution over different verse-positions becomes more even 129; highest percentage of resolution in pos. 6 130 clausular effect by means of word-end ar pos.10. pos.8. or both 207 Trochaic Tetrameter: correlation of verse-types of tragic poets comparatively low (in virtue of Sophocles· practice especially) 319

•Tramladon', Rhythmical rhythmic sequence 'translated' into metric profile 11

Trocbak MetronSEE Metre I Trocbak Tetrameter metric profile 312; catalexis 18; 312; 386, and the definition of ·metrical rhythm' 6; compared with iambic trimeter 336; 345; 348f.; 391; 431 n. 192

462

RHYTHM ANDMETRE

nature of passages involved 300f. realization of ancipitia 3l2ff.; large proponion of long syllables in pos. 8 314. and caesura 314; large proportion of shon syllables in pos. 12 314f .• and clausula 315; anceps in pos. 4. and integration of metrical group 315; .371; verse-types 318ff.; resolution 324fL resolution more frequent than in iambic trimeter 324; increase of incidence. Aristophanes excepted 324f.; resolution in anceps position exceptional even in comedy 313. in non-marked versc-positions in general 324; 329; resolution mostly colon-initial (esp. at the beginning of the versc) 327 caesura 336ft.; •fixed' caesura 336; 386; involves metron dihaeresis 336; 349; 386; ·asynartete' 386; bisyllable in poss. 9 and lO 339f .• and clausula 340; tetrameters without a caesura 341ff.; coloninternal rising movement involves variation of the basic rhythm 345; 349; 391; bridge 362ft.

Variadoa. Linear vs. recurrence of rhythmical groups or phrases IS Vene (RhythmicalPbrale) S; 11; 16ff.; terminology 406 n. 33 beginning of verse tolerant of rhythmic divergence 36; 129; 382; 409 n. 51; conservatism towards end 137 structuring into two identical parts usually avoided 18 Vent-Element SEE EleaNllt Vene-Ead SEE also E"6ambemeat 16; 64ft.; prosodic indices of verse-end 16L; rhythmical indices l 7f.; 20L and bridge 26; 94; 99; 102; ·voice pause· irrelevant 157; 423 n. 141 Vene-LeYelSEE also Metn II; RlaytlulllII 6ff. Vene-PruftleSEE also Metre U 6ff.

Vene-Type1 Dactylic Hexameter 41ff.; statistical research 41; symmetrical and 'alternating· 44; 50. comparatively frequent in verses with less 'literary· subject-matter 44f.; 'ethos· of verse-types 63f. relative frequency 53ft.; all possible verse-types only in Horner 52 Iambic Trimeter (without resolution) l lSff.; in comic trimeter (resolution included) 150ff. Trochaic Tetrameter 318ft. Vent RhythmSEE also Rh:,tlamI species of rhythm 3; verse rhythm of classical Greek IO; 11; 12f.; 380 'Vene-W"sht' 105

Wilamowitzlan• 380; 432 n. 196 Word BoundarySEE also Phoaoltyle irrelevant to quantity of syllable 163; 401 n. 24 differentiation of word-boundaries 162ft .. potentially-structural 162; 164ft.; questionable effects of distinction 162; 196 at verse-end 16; 64; caesura 18(.; lexical phrasing 398 n. 17; clausula 18; 20f.; bridge (low incidence of word-boundary) 21ff. supposed concentration on beginning of word. and resolution 226(.; alleged phonological properties of word-beginning 39; 428 n. 170; of word-end 408 n. 45 contrast/coincidence with metric boundary 384ft. Word-EndSEE Word-Bouadary 0

GENERALINDEX

463

Word-Fomu option for particular word-form and preference for daclylic or spondaic realization 59f.; restrictions on use of word-forms enforced by metric profile 59f.; word-forms coined 61 Word-Types 60: 171: vs. words 163 Dactylic Hexameter: variety of word-types 91f.; increasingly limited 91: long word-types. and verses without a caesura 82; word-types and bridge 93ff. Iambic Trimeter: extension of variety in Euripides' later plays 141; word-types adjacent to caesura l 71f.; 174; preceding single hephthemimeral caesura 185; three-word trimeters 183 Choliambus: word-types and realization of the anceps in pos. 5 269 Trochaic Tetrameter: word-types and verses without a caesura 341ff.

uugma SEE Brldp