repetition of the first penthemim (πεv0-ŋμɩ-μɛpés, five half feet) of the hexameter. But syllaba anceps (§ 286, 5) and hiatus (§ 8) are not allowed after the first trimeter, but only at the end of the verse (§ 287, 2). The last two complete feet are always dactyls. A diaeresis (§ 288, 2) divides the two parts of the verse. The following is an Elegiac Distich : τίς δὲ βίος, τί δὲ | τερπνόν, ἄνευ χρυσέης Αφροδίτης ; NOTE. In the Homeric verse and in Lyric poetry, a long vowel or a diphthong is often shortened at the end of a word when the next word begins with a vowel. E.g. ὦ πόποι, | ή μάλα | δὴ μετε|βούλευσαν θεοὶ | ἄλλως. χρυσέῳ ἀνὰ σκήπτρῳ, καὶ ἐλίσσετα | πάντας ̓Αχαιούς (§ 10). This sometimes occurs in the middle of a word. Sometimes a short final vowel occurs in Homer where a long one is required by the verse. This can often be explained by supposing a following semi-vowel to have been doubled in pronunciation. Many anomalies in Homeric quantity are explained by the omission of Vau or Digamma (§ 1, Note 2); as roîóv oi (.— — —) for Toîóv Foɩ. ANAPAESTIC RHYTHMS. § 296. Anapaestic verses are measured by dipodies (§ 289, 2). The spondee and the dactyl (and) may stand for the anapaest. NOTE. The long syllable of an anapaest is rarely resolved into two short, making for And the olive of peáce | sends its bránches abroad. 3. The dimeter catalectic, or paroemiac, ἦραν | στρατιῶ τιν ἀρωγάν. οὕτω | πλουτήσετε πάντες. The Lord is advánc|ing. Prepáre | ye ! 4. The tetrameter catalectic, consisting of seven feet and a syllable, or of the two preceding verses combined. There is a regular diaeresis after the second dipody. See § 291, 2. πρόσχετε τὸν νοῦν τοῖς ἀθανάτοις ἡμῖν, τοῖς αἰὲν ἐοῦσι, τοῖς αἰθερίοις, | τοῖσιν ἀγήρως, τοῖς ἄφθιτα μηδομένοισιν. § 298. An anapaestic system consists of a series of anapaestic dimeters acatalectic, with occasionally a monometer, ending always with the paroemiac (or dimeter catalectic.) These are very frequently employed in both tragedy and comedy. E.g. δέκατον μὲν ἔτος τόδ ̓ ἐπεὶ Πριάμου NOTE. μέγας ἀντίδικος, Μενέλαος ἄναξ ἠδ ̓ ̓Αγαμέμνων, διθρόνου Διόθεν καὶ δισκήπτρου τιμῆς ὀχυρὸν ζεῦγος Ατρειδάν, ἦραν, στρατιῶτιν ἀρωγάν. Iambic and trochaic systems are sometimes formed on the same principle, consisting of iambic or trochaic dimeters acatalectic, with occasionally a monometer, ending always with a dimeter catalectic. LOGAOEDIC RHYTHMS. § 299. I. Logaoedic rhythm is a rhythm in g time, of which the trochee is the foundation, with a heavier secondary ictus on the thesis than is customary in an ordinary trochaic series. Besides the trochee it admits the irrational trochee ->, the tribrach the cyclic dactyl the syncopated trochee –. >; 533 2. A trochee or any equivalent foot which precedes cyclic dactyls in a logaoedic verse is called a basis. This trochee may be irrational and for it the tribrach or a syncopated trochee – may stand. An iambus (probably with ictus ) sometimes occurs; and even two short syllables rarely stand for a basis (§ 300, 5, a). Great licence is allowed in using different forms of basis, even in verses which otherwise correspond precisely. A basis is marked X. Sometimes there is a double basis. Sometimes an anacrusis (§ 285, 4) precedes a logaoedic verse, with or without a following basis. $ 300. The following are some of the most important logaoedic verses :— 1. Adonic: σύμμαχος ἔσσο. verse of the Sapphic stanza (6.) 2. First Pherecratic: énтanúλoiσi Onзais. This is the final 3. Second Pherecratic : Taidòs dúopopov åтav. _~|~ul_~ 5. Three Alcaics, which form the Alcaic stanza : Three of these verses, with the Adonic (1), form the 7. Eupolidean. (See § 288, Note.) and not as it forms NOTE. Nearly all the verses here described as logaoedic have been called choriambic (§ 301, 1). If we consider the dactyl here with the following long syllable; and thus, by the division hitherto common, the Pherecratics become (1) as ~ and RHYTHMS WITH FEET OF FIVE OR SIX TIMES. § 301. Some of the more important rhythms with feet of five or six times (§ 285, 2, c, d) are the following: 1. Choriambic rhythms, with the choriambus the fundamental foot : παῖδα μὲν αὐτᾶς πόσιν αὑτῷ θεμένα. NOTE. Choriambic verses of this class are rare. choriambic verses are here explained as logaoedic (§ 2. Ionic rhythms, with the ionic a minore fundamental foot : πεπέρακεν | μὲν ὁ περσέπτολις ἤδη βασίλειος | στρατὸς εἰς ἀντίπορον γείτονα χώραν. A ditrochee 21 as Most so-called 300, Note). often takes the place of two long syllables and the two following shorts. This is called anaclăsis (ávákλaois, breaking up): τίς ὁ κραιπνῷ | ποδὶ πηδήματος εὐπετὴς ἀνάσσων ; 3. Cretic rhythms, in which paeons occur by resolution of long syllables (~~~ or for - ~ __) : : 4. Bacchic rhythms, with the bacchius mental foot : τίς ἀχὼ | τίς ὀδμὰ | προσέπτα | ἀφεγγὴς ; 11 as the funda § 302. DOCHMIACS. 3 Dochmiac verses, which are used chiefly in tragedy to express great excitement, are based upon a foot compounded of the bacchius and the iambus, called the dochmius. This peculiar foot appears in nineteen different forms, by resolving the long syllables and admitting irrational longs in place of the two shorts. Its most common -1~ and ~_~_. As examples |