"and yet;" but is sometimes construed with the participle, like kai πεр. Thus,

καί τοι φαμέν γέ που ἀδύνατον εἶναι, ἀλλ ̓ ὅμως, κ.τ.λ. (Plat. Phædo, p. 68 E). οὐδέ μοι ἐμμελέως τὸ Πιττάκειον νέμεται καί τοι σοφοῦ παρὰ pwτòs eipnμévov (Id. Protag. p. 339 c).

623 For Kai To, in both its constructions, the Attic writers idiomatically employ kaì Taûτа, “and that too" (of something which has just been said, 411, (bb)), which may be rendered "withal,” "all the while."

(a) Like Kai Tep with the participle:

Ὅμηρος—οὔτε ἰχθύσιν αὐτοὺς ἑστιᾷ, καὶ ταῦτα ἐπὶ θαλάττῃ ὄντας, οὔτε ἑφθοῖς κρέασιν (Plat. Resp. p. 404 B), “ although they were living by the sea."

After the participle:

vûv yoûv èπexeípnoas, ovdèv ŵv kaì тaûтa (Plat. Resp. p. 341 c), "just now at any rate you have made the attempt, being nobody all the while" or "although you have made nothing of it, have utterly failed."

Followed by ὅμως:

καὶ ταῦτα τρεῖς ἀδικίας πράξαντες, ὅμως φατὲ ἡμᾶς παρανομῆσαι (Thucyd. III. 66), "and yet, after having perpetrated three iniquities, you nevertheless say that we have transgressed."

(b) Like Kai To with the finite verb:

καὶ ταῦτα κούφως ἐκ μέσων ἀρκυσμάτων ὤρουσεν (Asch. Eumen. 112), "and yet (or "and withal") he has leapt lightly from the midst of the nets."

With an adjectivе κaì таûта means "and that too" or "and withal."

We must not confuse καὶ ταῦτα with κἀκεῖνο, which is used with the participle in Plato, Resp. p. 442 c: exov av kȧkeîvo èπTIστýμηv Év aúт, "because that also has science in itself."

Obs. For the use of eneiye and oux or in concessive sentences, see above, 548, (16), (30).

§ XI. Conclusion. Irregularities of Construction.

624 Syntax, as a part of grammar, is concerned only with those constructions which are according to rule. Irregular or ungrammatical constructions, which arise from haste, carelessness or colloquial usage, must be pointed out by the teacher, when they occur. The following are the chief anomalies, which are found in the Greek authors.

625 Anacoluthon (avaróλovlov), or non-sequence, is when the end of a sentence does not correspond to the beginning, and generally arises from a change in the mode of expression, as if the writer had forgotten how he began; thus, ἀποβλέψας γὰρ πρὸς τοῦτον τὸν στόλον, ἔδοξέ μοι πάγκαλος είναι (Plat. Legg. p. 686 D).

626 Asyndeton (dovvdeтov), or non-conjunction, is when two really connected sentences follow without any particle of connexion, whether copulative or adversative. This omission is generally designed to produce an abrupt emphasis. It is most common in lyric poetry, but we find it occasionally in prose, for instance, after the adverb πάντως, as in Plat. Resp. p. 504 E: ἀλλὰ καὶ σὺ ἐρώτα, πάντως αὐτὸ οὐκ ὀλιγάκις ἀκήκοας.

627 Ellipse (Meis), or suppression, is when a word or phrase, which is grammatically necessary for the completion of a sentence, is so easily understood from the inflexions or construction that it is omitted without creating any ambiguity. Thus, if we say ἐτύπτετο πολλάς, we readily understand πλήγας. If we say οἱ πάλαι, τὰ πρίν, every one supplies ἄνθρωποι, πράγματα (399, (6)). Such words as idós, yŷ, &c. are constantly suppressed with feminine adjectives or pronouns; as τῇδε ἐπορεύετο, ἡ ἔρημος, &c. (166, 399, (e)). So also the neuter article with a genitive case, as тà Tŵv Оeŵv, “all that belongs to or proceeds from the gods." There is sometimes a suppression of the apodosis of a conditional proposition, when it is directly opposed to another alternative, as in Plat. Protag. p. 325 D: ἐὰν μὲν ἑκὼν πείθηται· εἰ δὲ μή, κ. τ. λ., “ if the child obeys willingly, all is well-if not, they compel him." Sometimes there is only a quasi-ellipse in this case, as in Thucyd. III. 44, which ought to be read ἤν τε γὰρ ἀποφήνω πάνυ ἀδικοῦντας

66

αὐτούς, οὐ διὰ τοῦτο καὶ ἀποκτεῖναι κελεύσω, ἤν τε καὶ ἔχοντάς τι ξυγγνώμης (scil. ἀποφήνω αὐτούς), εἶεν, " let that pass, what of that?" The omission of the former of two negatives in a disjunctive sentence belongs to the figure of ellipse; thus we have Esch. Ag. 515: Πάρις γὰρ οὔτε συντελὴς πόλις ἐξεύχεται τὸ δραμα TOû Táboνs Tλéov, "[neither] Paris nor his accomplice city boasts that the deed is more than the suffering."

Aposiopesis (amoσinois) is a kind of ellipse. Thus we omit the imperative in Soph. Antig. 577: μn Tρißàs er! and in the corresponding English, "no more loitering!'

628 Brachylogy (Bpaxvλoyía), or brevity of expression, is when something is formally omitted, but really included in some other part of the sentence from which it may be supplied. This is of very frequent occurrence in Greek, as in other languages. Thus in Asch. Αg. 364, καὶ τὸν μὲν ἥκειν, τὸν δ ̓ ἐπεισφέρειν κακοῦ κάκιον ἄλλο πῆμα, we have to supply, after ἥκειν, the words πῆμα Kaкòν þéρоvтa, which are suggested by what follows. One of the most important kinds of brachylogy is the zeugma (Sevyμa), when a particular verb, which is properly applicable only to one part of the sentence, is made generally applicable to the whole context. Thus in Pind. Οl. Ι. 88, ἕλεν δ ̓ Οινομάου βίαν πάρθενόν τε σύν Evvov, the meaning is, "he conquered the mighty Enomaus, and obtained the virgin as his bride," so that eoxev must be supplied for the second clause. By another species of brachylogy we have contractions of the sentence, as in Thucyd. II. 59, оiкт σwḍpovi Maßóvras, where the noun and its epithet must be repeated in the accusative after λαβόντας.

629 Pleonasm (πλeovaσμós), or redundance of phraseology, which is the converse of brachylogy, can hardly be considered as a grammatical irregularity. Omissions may produce an ungrammatical structure, but superfluities leave the syntax as it was. The figura etymologica (464) very often amounts to a pleonasm. Repetitions of synonyms, such as πάλιν αὖθις, τάχα ἴσως, secondary predications of the main predicate, such as eon Xéywv, and repetitions in a negative form, such as οὐχ ἥκιστα ἀλλὰ μάλιστα, γνωτὰ κοὐκ ἄγνωτα, μή τι μακεστῆρα μῦθον ἀλλὰ σύντομον λέγων, all belong to this class.

630 Hyperbaton (ὑπέρβατον), or inversion, is when words are placed out of their natural order. Plato uses this term in speaking of the transposition of the word μév in a passage of Simonides (Protag. p. 343 E), and exemplifies the thing in Resp. p. 358 E, περὶ γὰρ τίνος ἂν μᾶλλον πολλάκις τις νοῦν ἔχων χαίροι λέγων καὶ ἀκούων, where πολλάκις belongs to the participles at the end of the sentence. The hyperbaton invariably takes place when there is a brachylogy of opposition, as in Asch. Prom. 276: πρὸς ἄλλοτ ̓ ἄλλον πημονὴ προσιζάνει, “ calamity sits down, now by one man, now by another” (ἄλλοτε μὲν πρὸς ἄλλον, ἄλλοτε δὲ πρὸς ἄλλον).

PART VI.

METRE.

§ I. Definitions.

631 RHYTHM (pvoμós, numerus) is a certain symmetry produced by a methodical arrangement of words according to their long and short syllables, and by a recurrence of an emphasis at intervals. If the rhythm is not regulated by fixed laws, it is said to be prosaic (solutæ orationis numerus). If the emphasis recurs according to a definite measure, the rhythm becomes metre (μéтpov). Every recurrence of the emphasis is called a metre, and those collections of metres, which recur as distinct wholes, are called verses (σTixo, versus).

632 The emphasis on which the metre depends is called the ictus, because the time was marked by a stamp of the foot; and when the emphatic and unemphatic parts of the metre are contradistinguished, they are called the arsis (apois) and thesis (0éσis) respectively, i. e. the raising and lowering of the voice.

633 It has been already mentioned (34) that a short syllable is considered as one mora, or time, and that a long syllable has two of such mora.

634 It is customary to call every division of time, from two short syllables up to eight mora, in certain combinations, by the name of a foot; thus we have,