Clarnell Inittetattg Hibrac}) Jt^ata, iHtw f ntk BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1691 PA 412.R8™" """'""•'' '■"'™^ The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021604602 DEMON STB ATION S GBEEK IAMBIC VEBSE. aontion: C. J. CLAY and SONS, CAMBEIDGE UNIVERSITY PEBSS WAEEHOUSE, AVE MAEIA LANE. Slaggoin: 263, ABGTLH STREET. Ulilljts: F. A. BKOCKHAUS. iSeto g0tis: THE MACMILLAN COMPANT. iSomlias: E. SEYMOUR HALE. DEMON STEATION S IN GEEEK IAMBIC VEESE BY W. H. D. EOUSE, M.A. FOEMEELT FELLOW OF OHEISt'S COLLEGE, CAMBBIDQE ; A MASTEK AT ETJOBY SCHOOL. CAMBRIDGE : AT THE UNIVERSITY PRESS. 1899 [All Bights reserved.'] Csmbrtlige : PBINTED BT J. AND 0. P. CLAY, AT THE XJNIVEKSITT PKESS. PKEFACE. f I ^HESE Demonstrations are not printed with any idea -*- of entering into competition with the masters of verse writing. I believe they contain no blunders, and they are as good as I can make them ; but my aim is practical, namely, to teach those who know little about verses how they may learn more. In games we often learn more from those who are just good enough to beat us, than we could learn from professional players ; and so I trust that if these verses are only a little better than the learner can make, he will learn from them none the less. What is here printed is the substance of composition lectures which I have been in the habit of giving for the last ten or twelve years. They have taken shape gradually, and bear signs of their origin in the cautions which will be found here and there. When the pupil is warned against a mistake, this is generally one which some pupil has actually made, and very often one which most pupils make. Sometimes I have taken a phrase or a line from a pupil's copy, as being better than any other I could VI PREFACE. think of; and if any of my former pupils recognise their own hand, I hope they will pardon the innocent theft. The lectures are of course not given exactly as they are here printed ; but as far as possible all information is evolved from the class by questions, more Socratico. The requisites are a blackboard (or two, if possible, one for rough work and suggestions, one for the copy), chalk, and thorough preparation. The teacher can then begin with a simulation of ignorance, and by judicious hints and questions draw out one word or phrase after another, until he has material to begin the first section. Each phrase, when moulded into metrical form, is written on the board in its place in the line, with marks of long and short set between to show clearly what is wanted. By the time he has done his rough work thus, the line or group of lines will be written upon the board, and he can proceed to the rest. I am not without hopes that some teachers may find this book useful, as I am not aware that this method of teaching has been advocated before, and I never knew any one who used it. If they try it, they may be sure that they will find their work more interesting and their pupils more interested. It is impossible to do without individual criticism, of course; but after the piece has been gone through in this way, each copy may be dis- missed in five minutes. How weary we get of pointing out some common mistake a dozen times to a dozen different persons! This drudgery will be needless when the common mistake has been pointed out in the Demon- stration. But the real advantage is, that we not only PREFACE. Vll show the result to a class, but the way in which it is attained. If they do not learn ten times as fast when this is done, then Greek Verses differ in principle from all other learning which is learnt on earth. Another class of persons I have in view are those who have not had a good training in verse composition, or who have begun late and can find no teacher. Such as these will benefit most by the book if they use sheets of paper instead of blackboards, and write down each step as it is taken. The earlier pieces are easy, and are treated in greater detail than the later. Words and Form are at first kept separate ; but when the pupil may be supposed to have made some progress in understanding the principles of working, the two are dealt with together. A few have been taken from Holden's Foliorum Silvula; the rest were selected by myself. Before concluding I would express my firm conviction that time spent on verse composition is not wasted, even if the pupil never writes a good copy. A knowledge of verse rhythm is worth having, and he will probably never get a sound knowledge of rhythm, either verse or prose, unless he has written verses. Rhythm is so marked in verse that it cannot be missed by any except the utterly hopeless. How any ordinary person can under- stand the rhythm of prose if he cannot understand the rhythm of verse, passes my comprehension ; on the other hand, verse once understood, it is a shorter step to the teaching of prose rhythm. Then again, the vocabulary of the poets is so much richer and finer than prose, so full of Vlll PREFACE. fleeting allusions and fresh metaphors, that the verse- writer is bound to learn a great deal more about any language than he can learn from prose merely. Nor is it of small importance, that the translator has to use the most searching care in examining pieces of classical English. An English reader seldom gets at the heart of what he reads ; never, unless he makes it his business to do so, with the same care as he who has to translate it. Further, it is a curious fact, but so I have nearly always found, that a boy loses by giving up verse. He very rarely writes prose so well as the boy who does both, although he usually gives to prose the time which others give to both. For all these reasons, besides the mere intellectual pleasure, the teaching of verse composition is of real importance in all linguistic studies. I wish to express my thanks to several friends who have been ao kind as to look through the proofs of this book, in particular Prof Conway, of Cardiff, Mr W. G. Rushbrooke, Head Master of St Olave's School, and Mr J. H. Williams. Prof. Conway's searching criticisms have cleared out many things I am glad to be rid of. I have also to thank the Staff of the University Press for their care in detecting errors which had escaped me. CONTENTS. PAQES Inteoduction 1 I. Metre and Rhythm ... . . 3 Position 16 Crasis 18 Metrical Variants ... . 21 Grammatical Usage .... 23 II. Language and Style ... . . 25 Simile 28 Metaphor 30 Proverbs 48 Personification, Antithesis, Repetition . 49 Paraphrase 54 Epithets . . 71 Exercises: Preliminary 77 I— XXII 81 Index 249 EEEATUM. P. 60, 1. 8. Delete 1316. V< INTRODUCTION. He that would learn how to write Greek verse generally begins with some knowledge of the Latin Elegiac. Such a one must be warned at the outset to cast aside all pre- possessions formed by the study of Latin elegiac verse. In Greek iambics rhetorical tricks are much more sparingly used than in Latin elegiacs. The structure of the verse approaches more closely to prose, and it has nothing whatever of the couplet or stanza form. In Latin elegiacs, it is necessary now to compress and now to expand ; the couplet is a kind o£ Procrustean bed, which must be fitted. But in writing Greek iambics we have (within reasonable limits) a free hand. Often an English line will go into half the space in Greek ; more often it will take just a little more space. Good translations rarely count more than five lines of Greek to four of English; but up to that limit, and sometimes even beyond, the translator is free. Indeed, if he produce a good copy, the number of lines will never be closely scrutinized. The problem before the translator is twofold : he has a translation to make, and it must be metrical. The first needs a knowledge of Greek words, grammar and idiom, the second of the iambic metre. Eor the first he has. B. 1 2 GREEK VERSE COMPOSITION. been training ever since he began to write Greek prose. A certain amount of this knowledge is assumed to exist in any who shall use this book ; but there are some points in which help may be given. The dramatists have to a certain extent their own vocabulary; and I shall endeavour to point out some of its characteristics. In accidence,. and to some extent in syntax, the dramatists have forms of their own which may be used; and these also will be pointed out. But it cannot be too often said that a good copy of Greek verses may be made with the simplest possible words. The student will acquire his vocabulary in time ; at first all he need do, is to reduce the English to its simplest terms, and so translate it. The second point is the metre. Here again, it is assumed that the student has learnt the elements of the Greek iambic. He should know how to scan, that is to divide an iambic line into feet ; and what feet are allowed in each part of the verse. But although the knowledge of scansion is indispensable to the student, it will help him but little in composing a copy of Greek verse. He will not find ' feet ' in his dictionary, or in Greek authors; but words. The problem is, not — given a line, to find its feet ; but, given a word or phrase, to find its place in the line. If he has learnt verse-writing on the true principle, he may proceed to his translation unhampered. But most elementary books regard the verse as made up of so many feet ; and those who have hitherto looked at verse from this point of view, must consider the remarks on Metre given below', or they will not be able to understand the Demon- strations. What follows will be grouped under two heads : I. Metre, II. Language and Style. 1 These remarks are baaed on Damon, a Manual of Greek Iambic Verse (Bivington), where they are more fully worked out and illustrated for beginners. INTRODUCTION. I. Metre. Explanation of Terms : Cretio — v^ — ijyc/i(ov. Iambus w — Bacchius <-- — afLtivrnv. Spondee Falimbacchius ^j Xwavres. Dactyl — v^ w Amphibrachys w— v/ irdpea-nv. Anapaest v^ v.. — Molossus \va-d.vTmv. Tribrach yj^^ Trochee - w tovto. The caesura divides a normal line into two unequal parts: one of five syllables, the Penthemimer; and one of seven syllables, the Hephthemimer : either of which may come first. avrjp. rovTun', Kaipia. dvi^rfv. irwrepa. 1. The Word or Word-group. If we look at an iambic line, we shall see that it very often contains a word, or group of words, scanning as Cretic, Bacchius, Falimbacchius, Amphibrachys, or Molossus. This is because the Greek language contains a great number of such words, and a stiU greater number of groups having the same scansion. It must be remembered that in speaking we do not utter words separately, but in groups; and it'is of the first importance to realize this as to any foreign language. If T^yip-iiiv is a cretic, so is tovt l;^«t, and so also is tovto fnov : if XvtTavTK is a palimbacchius, the same are tovto)v Bi and TOVT, ia-Tiu. Enclitics and the like form one group with the word that goes before ; articles, prepositions and some con- junctions with the word that comes after. Thus tok Xoyois forms one metrical group, a cretic; Kal TovTtov is the equivalent of a molossus, Trpos avrovs of a bacchius. No metrical break (caesura, for instance) can ever come between the parts of such phrases as these last, though it may come where the parts are less closely connected, as in tovt io-Ti. The first thing the 1—2 4 GREEp VERSE COMPOSITION. translator has to do, is then, having got his words, to arrange them in natural groups, which shall be metrical. Let him remember also that the most useful groups are bacchius or amphibrachys, and cretic. If he can find one of each, his line is practically done. Suppose he has the word y/e/iMv and the word o/ittVuv : let him place them together thus dfitivav rjyefKiiv and he has left to find only two syllables (an iambus or spondee) for the beginning; and four (^-v..^^) for the end. For example : ovk ia-r may stand first, and tov/iov iraTpos last, and there is a line complete OVK Io-t' I dfieCvoiv \\ ijyt/ioiv | tov/iov iraT/oos, with the caesura after a penthemimer. Now iambic or spondaic words are so common, that he can be fairly sure of finding some. It follows then that, given bacchius + cretic, the iambic verse is as good as done. The iambic verse may generally be divided into four groups in this fashion, though the groups are not always the same. We shall come to the different Types of line presently ; but another general remark is still to be made. This is, that these 'feet,' cretic bacchius and so forth, may (within limits) have one of their long syllables resolved, the resultant form being metrically equivalent. Thus iroXe/ttcov is metrically equivalent either to dfieiviav (with second syllable resolved), or to ■qyifiiiv (first syllable resolved) ; and wherever these can stand in a verse, there can troXtfiimv stand. Equiva- lents of spondee are dvi^-qv (anapaest), and xatpia (dactyl) : in some parts of the verse where a spondee may go, these also may go. In this same way, a tribrach <-> v^ w is equivalent to either trochee —v./ or iambus w— . But the learner must be very sparing in his use of such resolved equivalents. In a careful writer, such as Sophocles, there is hardly one instance in each twenty lines. Euripides used resolved syllables ad INTRODUCTION. 5 noMseam ; we must imitate the more dignified style of Sopho- cles. The resolved cretic is the commonest form, when resolved forms are used. It often happens that the student has to get into the line some word longer than any of these groups. Let it be said at once, that there is no restriction on the length of the words, except that the caesura must be kept. We often see one word taking up half a line, as oSoiiropoui/Tuv (first penthe- mimer), a-vyKa,ToiKTiovfi,evr] or i^Trrjpenjo'o/iev (second hephthe- mimer). Indeed, there is no reason why a line should not consist of two words only, e.g. airpotrSoKijTws cfairaWaj^^i/creToi, if it has a satisfactory sound. But no such line does occur so far as I have observed; though the following line of Sophocles (fragm. 494. 2) is metrically two words : T(3 KaWiKocrtra^ovvTi viKr]rr]pia. However, lines of three words are not rare, and often very effective. Thus a-irXaTov | d.^fii,p\r)Tov \\ i^iOpt^aiLtp/. Soph. /rag-. 355. v6(rriii,a | K-qhevovTa {| iraiSaycoyt^. Eurip. Orest. 883. 2. The Verse. The chief types of the Iambic verse are the following. Word-groups are divided by single lines, the caesura is marked by a double line. Examples are given first of the strict type, second with resolved syllables. A note is added to each of the place where common metrical forms may go. Type I. i^- I v^-i=i||-v.- I ^-w^ Cretic : First Position. Bacchius : only possible place. Amphibrachys. 6 GREEK VERSE COMPOSITION. XdOpa ii' I mrAiav || IxPaXcty | t|uCpeTai. Soph. 0. T. 386. (freq.) dXX' atr | 'Odu: TdpeirB' ipav. Phil. 1420. (rare) dvdSijpA { fi^lai || x^'P^s e£ irar^pa | t6v &niv || eiXoyoStiTo, ae. Phil. 1314. This type has the Hephthemimeral Caesura. Type V. ^-v^-i=^ II -v^ I -i^- I w^ Molossus as before. Cretic : Second Position. Trochee. ^vco|it|S 8' diroiS(rt]S II in]|i,a || •^lyverai \ fiytt. Aesoh. Eum. 750, This type has both Caesuras together. Type VI. !=!-^-v./||-v^-w|-v^" Cretic Final, which must have a short syllable before it. Double Trochee. us o^x viiip(|>«v II 6vr)T6v £vTa | \pi) i|ipovctv. Aesch. Pers. 820. odx dv iitBeliiv \\ ^- I H-v^ll — ^1 — ^ Cretic Final. Single Trochee. Palimbacchius : Second Position. j>vToU I vaaiuAnv || i^o/iip^o/uu. 653. ipeiyovaa \ xal rXScr || (pyor \ dvoo-uaraTov. Med. 796. Type X. ii-v.,-ii II -«-i:i- I w^ Five-syllable word, with molossus in second part. ovKovv I X^'YOvo-a || Ti|i,tUT^pa | 4><>.vci. Eur. Hipp. 332. Type XI. ii-|v/-i^-v..||-i=i-v^!=^ Five-syllable word. vaCciv I &cii6^pouri || 6i)X€uov arcp. Eur. Hipp. 624. Type XII. ii_^_ii||_.^-ii-„i=! Hephthemimerword. dXviros I dTT|S II l|airaXXax6iqepiri vuv | Kdjuoi yap ai€i;y)j9 KaKo. Phil. 641. 7. Tts 6 iroOoi auToiis iket', || */ 6«(ov j8ia 601. 8. OS iraripa irpia-^w, os <^i\ous, | 0% riov ip.£v 665. 9. o\A. iar tKCivta iravra A.eKTa, | iravra Se. .. 633. 10. e's avrKiav, es irpSpav, ts irpvp.viji', | ottov 482. 11. KOt /Aot xep', iava(, Sefiav ope^ov, \ cos.... 0. C. 1130. There is a pause possible, as may be seen here, after every syllable of the line. So far is this desire for variety carried, that the grammatical construction may ignore the metrical pauses, and occasionally elision is found at the verse-end. It is therefore clear that the verse-paragraph was pronounced continuously, with only just enough pause in the metrical INTRODUCTION. 11 breaks to prevent the hearer's forgetting that he hears verse. It may be useful to give a few examples of these two things. (a) Grammatical construction interrupted hy the metrical poMse (Quasi-caesura). At the Caesura : irrns eiTTos; ^ tw || 8i;L\.TaT, iyvmv || yap to |{ irpofTtjuivqiiA aov. 0. C. 891. In such lines as these there is no real caesura ; for the article and its noun are really one group, and so are eyvwv yap. The last line has actually two quasi-caesuras, neither of which is really a caesura. There are many other lines of this sort, and the type may be imitated ; but of course this must not be done too often, or it becomes monotonous in its turn. At the Verse-end : Tw Aa/SSaKEuii TratSt noA,v8ci)po« tc /cat 0. T. 267. apxeiv iXiadai avv i^d/Souri /j-SWov rj 585. aX\ ^ fi,4[irivapa^era,i — B. Ti ■jfpTJp.a; woiov tovto irayKOivov Xeyeis; A. — oo-o) KpoLTiarov KTyipaTiav ev/SouXta; Soph. Ant. 1048. A Tpurcdi yc Tnjyas' toi' TtkcvToiav 8' oXoi/ — B. rov Tdj/Se irXTjcras 6€peiv jxiBv. 0. G. 479. A « /not Bi/JLK y r]V aXX 6 ^(iopoi iirff o8e — B. Iv la TL TTpa^ets; ov yap a.vTi^. Soph. Phil. 1225. The construction of 1232 is never finished, but the answer catches up line 1233. The two speakers together make a sentence in A. TOV fiev Aios irXyiyevra Kairavea irvpt — B. ?! ytopi^ ipov (Js veKpov ddij/ai BeXcK; A. vat'" Tcyvi Se y oAXovs Trai/Tas ev p.ia irvpoi. Eur. (yw/jpZ. 934. Half lines are interpolated in the same way when necessary, in a succession of half-lines : A. fcai Tis av ye p. oiKT«rci6 — B. p.eya yap r/vyeveia aov. ^ Sc. iTrpa^a fpyov, etc. 16 GREEK VEBSE COMPOSITION. A. — Odvarov d(r\dX,X.u)v iraTpSov. B. Travra toBt' ei* o/u/iiacriv. Eur. Or. 785. A. trii Si fjtfviiiiv avTov irpb vafSv rg 6e£ — B. ti -jfpijiui Spw; A. — dyvuTov irvptriS ii,fXa6pov. I. T. 1215. See also I. T. 1206, 1209, 1217, 1219. The speakers occasionally have two lines each once only in a succession of single lines (0. T. 572). Irregularities occur now and then; as for instance one line divided between two speakers in a stichomythia (Soph. El. 1347, 1349, etc.), or two lines given once to one speaker (Eur. Here. Fur. 1403), or one line is divided in three (H. F. 1418, 1420, Ion 763). These need not concern us longer, but must be mentioned. The learner will of course keep to the strict rule until he is trained. Before passing on to the next section, a few Hints and Cautions may be given. (a) Position. Vowels must be long by position before two con- sonants (including of course ^, ^, and i/r which are double consonants, but not including Xt 0, which are not). Except a combination of Mute + Llqiuid or Nasal and that under restrictions. The Mutes are Breathed Voiced {or haid) {or soft) Aspirate K r X T 8 e TT P Gutturals Dentals Labials The Liquids The Nasals INTRODUCTION. 17 Now be it remembered that the Soft Mutes, y, 8, /8, aie the heaviest of the first group, and the liquid p is the lightest of the second ; and then it will be easy to see the reason for the following rules. 1. A Vowel must never be scanned short before a Soft Mute followed by \, /jl, or v. There are a few exceptions, e.g. y8uj8A.os Aesch. Suppl. 761, and occasionally a short final stands before yXdJo-cra and j8Aao-Tava> ; but the beginner were best never to violate the rule. 2. A short final should remain short when the next word begins with a Hard Mute or Aspirate followed by p. To this also there are a few exceptions : as toi/t' eKKo\i;7rTi (koi 6), ;^, eWiv, and also eyo), £/iiE, k^tavTov. So perhaps yp/ fiiij 'pTrg^ (or /xjj epjnys), Soph. Fhil. 985; /iij 'Xft;s (or fjL-^ eX^gs), Aesch. Sept. 714. (d) Synizesis may be sometimes used when two long vowels come together, the two being run into one syllable. The following are instances, and the student must be careful not to go beyond that which is written. The types are few, but common enough. p.-fli Soph. Track 90, 0. T. 1065, 1232, Ant. 544, etc. f^i Soph. 0. T. 539, 555, 993, 1140, etc. iyTov Soph. 0. T. 332, 1002, etc. ewei ov Soph. PML. 446, Aesch. Suppl. 910, etc. (/.■feiZora Soph. 0. C. 1155, Track. 321, Ant. 33, etc. /ti) is apparently so used with a short vowel in the following instances, though they are sometimes written as crasis, ju.d//icXe(v etc. : /iifa/teXeiv (cretic) Aesch. Slip. 725, £imi. 86. /u,ifa*8i(C€iv (cretic) Aesch. Eum. 85. /xi) ai^eXjys (cretic) Soph. Fhil. 933. fir] airoxX^go-oi Soph. 0. T. 1388. /xj; dfiaStj^ or the like in Eur. Tro. 981, Suppl. 421, Heracl. 459. /t^StKou/neVois Eur. INTRODUCTION. 21 Swppl. 304. ihTj dvaxaiTureie Eur. Bacch. 1072. jai/ an-ovocTTjjo-as Eur. /. r. 731. /x^n-oSe'^Tttt Eur. iTei. 832. /it^vri Eur. Andr. 808. See under (c) also, jn^ epTjjs, etc. The following rhythm is probably unique : £1 fii^ 6 KcXeiJtras fyucrerai fi,e fjirj Oaveiv Eur. Orest. 599. This licence is found, even where a sense-pause comes between the two words: d Se HI], ov Ka\a Eur. Andr. 242, 254. Hiatus is rare, and only found with interjections or questions : <3 ovros Soph. Aj. 89, 0. G. 1627. tC oZv Soph. Phil. 100. Tt eo-Ttv Soph. PAiZ. 752. (e) Metrical Variants. It is indispensable that the composer should have at his tongue's tip as many variations of a given word or phrase as are to be found. Often the same word exists in more than one form ; or there are different grammatical formulae for the same idea; or again, the idea may be expressed by paraphrase. Compounds and cognates, synonyms and equivalents — all must be ready for an emergency. Let us examine some of these matters. Different forms of one word. Adverbs, Prepositions and Conjunctions. an, Set, aiev (rare). aveu, arcp, arepOe, Stx"; X^P'^" ap/ioi (rare), Spn. av, avOn, avre (rare). avTov, avToBi. atff, aij/oppov. 8ui, 8iai (rare). iKilBeV, iKtUTi, Ktld€V, Ka ^^- A.iai', \iav. ore, OTTOVj ^/ios, oinjviKa, ■qvUa. 22 GREEK VERSE COMPOSITION. oTi, ovveKa, oOovvcKa. ovk, ov)(i, outi, ov&ev, ovSa/uus. ovirore, oinruiiroTC, ovSeTrwTrore. ovToi, 0VTa, aratjmi. viro, wat (rare). In composition, often dv- for ava-, and so sometimes Kar- : dyKaXovixai, a/ty3atvEiv, dfiixe/i.i'yiJ.ivoi, diJ.it.ivia, afiimmo, a/iwati, dvTtXXeiv, avToXi^, Kardavciv. Remember also that toioBtos and other words beginning with Tot-, even oios, may shorten the first syllable. The same licence is found occasionally in other words; as 'Boitanov Soph, fragm. 881, TroXatos Eur. Adjectives and Pronouns. cKEivos, Keivoi;. E/j.09, a/xos. , "cros, l, Xa^vjuat. \a(rKriiii, (^cttTKU). <^cvy(d, vyydvio. Nouns. yrj, yaia, aio. ^/top, ■qp.epa (notice the breathing). 6dp&0i, 6pd(T0'S. Xaos, XcdaXiJ,6^. irdOo^, irddr] (f. rare), irei/^os. iroXis, iTToXis, TToXuT/ia, TrToXKr/*a. XotTTj, x'^irca/ia ; and many other pairs with masc. or feni. and neuter, irwpyos, Trvpyu/ta, iripyajxa, etc. INTRODUCTION. 23 (/) Grammatical Usage. Article. This may be omitted at will; aad indeed it is with Aeschylus generally, with Sophocles often, and sometimes with Euripides, used as a Demonstrative^ or Relative pronoun. The article should therefore be avoided in verse, as it is a mark of prose style. Examples are : Demonstrative. Aesch. Suppl. 439 rj toIo-iv yj toIs, ' these or those' : Eum. 693 Iv Sc t^, 814 « 8e toB : Soph. 0. T. 1082 TTJs yap ireipvKa, Trach. 549 : Sophocles also has Ik 8e tov. 6 /xiv and 6 84 belong to this cla^. So irpo toC. Relative. •niv = vv Soph. FA. 1144, Ttis = ^s Trach. 728, see also 0. C. 747, 1258, 1379, Aesch. Bum. 336, Eur. Andr. 810. These idioms (except 6 /xei/, etc., irpo to?) should not be used by the beginner, but are allowable in a good copy of verses with distinct Aeschylean style. TO is more frequently used with the prolate infinitive than it is in prose : as ti Spav ovk -qdikqa-av Soph. 0. C. 442, tXi/o-o/mxi xb KaTdav€iv Aesch. Ag. 1290. It is common with the Infinitive of Consequence, where the prose construction-sign is «oo-t«. Inflexions. The composer should notice the following : 1. Nouns, Pronouns and Adjectives. The dative plural in -ais and -ois may be expanded into the old form -ato-i(v), -oto-t(i'). More, the -v may be added before a consonant, merely to make position. The same use of -v is allowable wherever it may occur. Thus ttWoo-iv \oyots Soph. El. 1353. ' Of the weaker type called Anaphoric, referring to something mentioned before. 24 GEEEK VERSE COMPOSITION. TourSe is sometimes written roia-iSe (Eur.). The genitive singular ends occasionally in -6cv. Thus criOev — crov (common) : y^fltv (Soph. M. 453, etc.), irpv/jorridtv (Eur. Tro. 20, ffel. 1603, etc.), x^P'^^^v (Eur. Eel. 1269), 7r\€v'p6eev (Soph. rmcA,. 938), 'Apyo'ec (Eur. 7. ?'. 1182). Compare ayKadeu. The genitive in -ems, -€>i'os to irXelv, Eur. ML 824. Aesch. Ag. 868. Eur. /. T. 32. Soph. Track. 699. Jrag. 859. Eur. Hipp. 303- Or. 728. Eur. EercKl. 427. H. F. 1298. 30 GREEK VERSE COMPOSITION. / 9 w qtaey/ji, av ovk evtvpK, t/vik tv KaKia XtijiMvo^ etxf'', etc ovTm 8e koi (re... Soph. Aj. 1142. opas irapa ptCOpouri ^(Etjiiappois ocra &evSp(iiv viraKei, kXcSvos o)s CKO-^^eTai... aW eiKe dvjutS koi fjLeTa.ov dpnfvav en-(ii8as Trpos Top.cSi'Ti irripAvn. Soph. Aj. 581. (2) Metaphor. A knowledge of Metaphor is essential to good composition in any language ; and it is even more important in verse than in prose. The Greek language is rich in Metaphor, as might be expected in an imaginative people ; and the following pages will serve to give an oversight of the whole field as far as dramatic dialogue is concerned. In the classification which follows, those simple physical ideas which are used metaphorically by all literary languages are omitted. The student may take for granted that words with such meanings as bitter and sweet, bright and dull, cold and hot, deep and shallow, full and empty, hard and soft, high and low, rich and poor, rough and smooth, straight and crooked, can almost always be used metaphorically. The remainder may be classified as follows : 1. Agriculture: trees, plants, flowers; plowing, sowing, reaping, and the like. 2. Animals: including all sorts of creatures, birds, cattle, horses, with riding, driving, and the like. INTRODUCTION. 31 3. Art : music, architecture and buildings. 4. Books and Writing. 5. Coins, payments, fines. 6. Crafts and Trades : weaving, spinning, etc. 7. Day and Night, Light and Dark, Fire and Heat. 8. Dice and gaming, Lots. 9. Dress, cloth, etc. 10. Sating and Drinking. 11. Fighting, War, and Weapons: shooting. 12. Games and all kinds of contests: wrestling, racing, boxing. 13. Government: ruling and serving. 14. Human Body and Human Life: birth, death, marriage, physical feeling and natural processes. 15. Hunting, Snaring, Fishing: nets and toils. 16. Law and the courts, political and social life. 17. Physic and Disease. 18. Roads, paths, the act of going in various forms (walk, run, etc.). 19. Sea and Sky : sun and stars, calm and storm. 20. Ships and seamanship. 21. Stone and Metals. 22. Teaching and Schools. 23. Water : rivers, fountains, etc. (See also Sea and Sh/.) 24. Wealth. 25. Weights and Burdens. 1. Agriculture. ciJS irpos oTkov &\ereiero | <^an$. Aesch. Ag. 867. tout' ov irapaij^^TCTiras ev, KovSei/ Xiyiav. Eur. Bacch. 479. TToXiis Se irovTos oivex' '^poSri SopL... Aesch. Suppl. 1007. Compare Ant. 669, 0. T. 1257, 1485, 1497 ffi 32 GREEK VEESE COMPOSITION. IlaXXas <|>vTcvci Tiy/i* 'OSuo-jrews X^piv. ocras aviws /JMi KaroinreCpas (jiSCvcis. aW avrdSeXfjiOV aT/ta 8p{i|/a 952. 1005. Aesch. Sept. 718. r. 535. 1655. Sept. 72. ^^. 967. Soph. M. 765. 4;. 1178. Aesch. Sept. Soph. 0. C. 594. 437. iravmXeOpov \ avroxOovov irarptSov iSpurtv hofiov. a.k\a Koi ToS' 4|a|i.f)o-ai iroWa. Svirrrjvov iipos. luq fioL iroS.iv ye vpifvoBtv TravioKeOpov cK6a)ivCirT|Te SrjdXtaTov. p't'ns yo-p ovu\Xds iKeT' es Sofiovs, (TKiav mreprilvaa-a atLpiov Kvv6%. irp6ppiJov, lai eoiKiv, i6af>Tai yivoi. yevovs airauroi ^ijav l$>)|jii]|i.^vos. PaOiiav &XoKa Sia <^pei/o^ Kapirovp.cvos, e^ 1)^ TO. KcSva pXairrdvci PovXev/uiTa. St' r/Sr) iras 6 p.6-)(do% r/v itiirav. So Track. 728 6/jy^ iriircipa. Ttptiv' oiriipa 8' cv^vXaxros ov8aju.(5s. TO Ilcpo'tuv &v6os oi^CTat veaov. opS/XiV dvBovv ireXayos Aiyaioi' vcKpois. tUv (twv Se yoi^aTttiv irp(i>T6Xcia diyydvia i/cCTijs i(|i»pXXoi) (TTO/taTos iidirrmv Xtms. vjSpis yap IJavSoCo-' cKdpTriocrt (rTa)(VV anjs, o^ev ■n-ayKXourov ^aft^ Upos. Aesch. Pers. 822. Ai^vri, p.t.ylv(riv. ov8i yap Kakbv Svoiv yvvaiKoiv avSp' ev ip/las e;<£tv. irA.rjyeis 6eov [idirriyi TrayKoivio. Xivyfids eroifxai rjv i/juA dpos. XoXivov 8 ovK iiricrraTai ip€iv. o&ovvtK arr) truyKariitvKTai KaKy. XSerat Se wpvp.vas kol xaXivorijpui [ v (0 rX'ljp.ov, otq. ^ft,op^ lpntylrp\i. KciilOl T£ XVTTQ TTaS IXljXaTai. KttK^. lutimYi ^€101 yrjv Trpb y^s IXa^vopai. Kpvi^ij Kiipa ceCovtcs, ovS' ^tto Svy^ Xo<|>ov hiKaito% et^ov, (<>T^povs ttovovs. VTT anjs JevYXav daj^aXXet irecMi', TToC yap TOfTovTo K^vTpov us p-rfTpoKTovav ; Aesch. Eum. 42 / . vvv 8' "qv Tts oiKui/ irXoveriai' effrj aTVi|v... ^VLT.frag. 378. See also Aesoh. P. V. 672, 1009, Ag. 642, 842, 1540, Gho. 1022, 1044, &j»<. 793, Eur. Sec. 376, 5^i^p. 1303. Dog. imjvos Kvuv, Sa^oivos aicros. a-aivav fwpov te Kai IJ-d.)(rjv ouj/v)(tq., povqfw.Ti.. Sv/ppl. 929. ipiniKoXov|icv tppovTitnv veov irddoi. Ag. 669. ^89j yap £T8ov ofi/iaviv Taiipo«|Uviiv. Eur. Med. 92. (Of a girl) o-Ktjonj/i.a (idirxov s tfioPoi p.' Avairrcpot. Suppl. 89. irTT)vels SitoKcis, (S TtKi/ov, Ta^ c\iri8as. Eur. ^ra^. 271. 3. Art. Architecture. KpT|irls vTTecmv, aXX It eKirtSueTat. Aesch. Pers. 814. KaTeKTiv, aros TotrSe SpiYKticriav tftiKoK. Ag. 1283. TO XotVfliov Se 6pi.7Kds dflXtwv KaK&v. Eur. 2Vo. 489. T^(vijs Se vtv Zeis evOeov KrCo-as peva. Aesch. Eum. 17. Kai jrais phr apanpi irarip 2x" itifniav p.ir/av. Eur. .4ie. 311. Xt P'iv Ti}8' 4irvp7oOTo (ttoAJ. Aesch. Pers. 192. MeyeXaov eiTTOV, os ir£irpaY|i^vos. Soph. Ant. 235. ru yE OTO^d^ei Kdiro(|>pd7Vu6fli e^eto. ^y. 308. (Sto^Mary. ov iTETrXao-piEvos | 6 Ko/xiros. Aesch. P. V. 1030. So irXda-a-av in other forms. Music. £V TE yap /uaxpcd yjjpa IwaSci tu8e ravSpl (rup,peTpoi. Soph. 0. T. 1112. 3—2 36 GREEK VERSE COMPOSITION. TO. vvv l^iiufiwva Bt^tio/iara. Soph. 0. C. 619. raS' ov IwuSa rourw efijyytX/ievois. Eur. Med. 1007. KOI fjLoi irpoo'^ScO' vXd^aL rail iwrj SArovfivas. Suppl. 179. 6k hr xf>pevo% S^toiiti tovs Xoyous. Soph. fTCtg. 540. Koi ravT kiruTTut, koX 7pai^ov ^peviav ixrm. Phil. 1325. o-us yap vvv aKijKoas Xdyous Eii/ai SoKci (rot /«jSen-(i) V irpooi|i,Cois. Aesch. P. V. 741. KoX fxr] '^oXcCilrgs (Tirep/Jia Ile\.oinSiSv rdSc. (7^. 503. Setvois 8e Tai ropus -y^fufios SiajuTra^, ojs p^eVciv dpaporuis. Aesch. Suppl. 944. KaK(uv Tc TrdvTiov WKToves o-oi^toraToi. Eur. J/et?. 408. aprCKoXXov oyyeXov Xdyov fiaOeiv. Aesch. Sept. 373. INTRODUCTION. 37 Kpivm Si Tot viv (Zo-Tc (niYKoXXus t)(tiv. Aesch. Cho. 542. T6pTiir|j,ai vd\ai. Soph. Ant. 1036. 0(/io(- n'^irpafuu KairoXuXa. Phil. 978. fiwrrp/ liw-}($ovv koi KaTE|iiv6i)v wdvois. Eur. i/ec?. 1030. oTScf TO y* aM7;(poi', Kavoyi toC KaXov /JiaBmv. Hec. 602. Kayia Sixaios ToCSe toB 6vov pa<)>Evs. Aesch. jlg'. 1604. auTOS KaO avToB Tapa |i.i)xavoppaaos jUEya. Aesch, Pers. 300. ouTt viv vy6vTa ftiyrpoOtv o-kotov. uSepi. 664. traXiny^ 8' dtiT^ iravT Ikov l'ir^<(>XeY«v. Pers. 395. So also dvSpeL^ <|iWy ^'' T^'P "poXws e)(wv (Cho. 696). Koyw irctXoD T €Kvpci, TeVra... {risk the throw). Soph. 0. T. 1493. See also Soph./ra^. 511, 686, 809. 38 GREEK VERSE COMPOSITION. 9. Dress. rpurmfiarof rav Tr]pv!ov 6 Sevrepoi xOovol6)(€i Xa/Sdv. Aesch. Ag. 87(». Iiop^l 8' ov\ 6|waToXos <^v Tov/iif /i'^ \virciv fiovov I Poiririi|ia. .^Z. 363. /*a. T^v CKEivou SctXiav, j; p6pov ^eTo|e«orev ^pevoi. Andr. 365. See also Aesch. Gho. 692, 1022, ^5^. 1206, Sept. 441, Soph. PW?. 43, Eur. El. 954, il/e6aX|i.os (moon). (Sep*. 390. SiirXoSv iUtwitov lyv Suoiv (TTpaTivixdroiv. Pers. 720. euSovo'a yap (^pijv o|ji|ia(riv ka/Jiirpruvtrai. Slum. 104. Kai /Jirjv iuya8aX|ii$ oi rrarpoi rdoi. Soph. 0. r. 987. TO yap I 7r£p«r(ra 7rpotr«r€iv ouk ej^ei voBv ovSeva. Ant. 67. £V TOW Xoyourt S" ovk ivturi va-iv y ficnrXoTxvos «k kcivov ytytos. Soph. .4;. 472. .4cv i^povos. P. F. 981. PpC^ci yap aijua (cat fiapaiverai xepoi. Eum. 280. 01 8c T^s /AcWoBs kXcos ireSoi iraToOvTcs oi Ka6evSov(riv x^P'' •^fl'- 1357. Aeyots aV opxctrai Se KapSia 6^\j$. Soph. 0. T. 389. Kai jravTo rauTo XoJ op<3 iraTovfiEva. Aesch. Ev/m. 110. Trpos TaSra (cat ^piovra ko-l rovfibv trTOfia irpom)XdKtj€. Soph. 0. T. 426. vSi/ 8' es TO Ktivov Kpar 4vijXo6' i; 'nJ;C/. 263. ot/toi* TO (Tefivov cus /x' diroKTcCvci ro crdi'. Eur. ZTijop. 1064. KOVK eTdX/Aij(7€v TTOvuv o-(ov dvTiXci£u(r8ai vaprnv. Or. 753. Kai (T^s jUaXtora KapSias dv6ai|fCTai. ^eA 960. ipvXaiai p.^ OpaxTtK -rlx^ ipopov. Aesch. Suppl. 498. i^iKiL I uSiva rficTav vv^ KV^epvqTrj o'o^u, 769. oi r^&8' fpuo-i TT7S aVoiKias $p«y(i5i'. Soph. frag. 344, 6. iruOapxia yap ccrn Tijs cin-pa^tas | H"^TT|p. Aesch. (Se/7<. 224. cmyyeXof p.cf, mtrinp -q Trapoijuto, ?(i)S yecotTO |M)Tp3s evp6vri% irdpa. Ag. 264. exOpoitvoi vavrauri, |jir)TpvtA vecSv. P. F^. 727. Xiyioiv fieXaivav, oidX?;!' Trvpos Kcio-iv. iSep<. 494. 42 GREEK VERSE COMPOSITION. KoX vvv oStK^ rmvBe Krqpv^a o-TO/to. Soph. Aj. 651. n-oAAoiis 8' 46i]\w' es /ia^as op/;i(i)/aevovs. Enr._/rag'. 360, 29. See also Aesch. Ag. 819, iSfepi. 657, Soph. 0. C. 74, 726, 1662, Ant. 745, i'M. 1361, /ra^. 622, 839, Eur. Andr. 406, Hipp. 668, ^ec. 662. 15. Hunting and Fishing. Koi fj-apTvpeiTe (rvvSpofJiMS Ixvos Kaxiov pivi)XaTov(rQ Ttov irdXai irejrpay/tevov. Aesch. Ag. 1184. (}(^vos iraXaia; SuirT^K|iapTov ama$. Soph. 0. T. 109. 7r<3s yap ri%...'7rqii.ovrj% apKiioTttT' av v aypeufarav. 1048. dWd /jui^v t/icip' e/ios wois -n/vSe 6T)pairai woXii'. Perg. 233. SiKas I jucTEip.! toi/Se tjiwra Kd,KKwi)7ETu. Eum. 230. KaXoc TO 6i{pa|i*, -qv dXw, yev^irerai. Eur. Or. 1316. CXov Si&ovaa SA.cap avSpi CJo|i.aC Ti 8pav' to /x^ p.c\Xeiv 8' aKp.17. Aesch. Ag. 1353. Se Kai Sci ({lapiuiKav iraudviidv, i^roi K^avTcs 17 TC|jLovTc$ evp6v9 ■7reipacr6[i€CXTpa TdA./ti;s r^irSe TrXeuTTt]piipii,ai Tov TniOofiavTa/ Ao^tav. 1029. voo-otp.' av, €1 v6(ri]|ia Toirs e^pmii a-rvyav. P. V. 978. (jbdi/tji I Tu irpoadev tKKalvomn koI SfSrjyp.evoK. Gho. 843. Tovnjs p^v 8' l^ei |i.Ca(r|Ut ti. Eur. Hipp. 317. voDflcroij/Aei'oi ^i\un/ ImpSats ^tir^SovToi vpevtSv. Hipp. 283. StrXijs fiiepip.vr]s Siirrvxpvi iiov oSovs. Or. 633. (Tu 8' cuTpoxov fiiv y\wa-(rav cos <^povt3v ex^'*- Bcbcch. 268. ^ irou Tpa^Eis av juijrpos cvyevoBs airo vijr^y i(SveK Kcm' fixpuv «8onropeis. Soph. j1/. 1230. TO)(«ra ■irado^ov, KOTov, jxivoi, ■TTvpirvow /SeXos, etc. (TfiiKpov vi^avi rd.\ av tk iKirvtiia-ai jueyas XEil^ibv Kwraa-piaut rip/ iroW^v /8oi;i'. Soph. Aj. 1148. o a-Tparriyoi o\iirippovTT|Tos puoKiov. 1386. aXKa Tavra /M,ev | peCria Kar ovpov. Track. 468. atai, KOKiov S'^ irAo7os eppoiyiv p.iya. Aesch. Pers. 433. oraf kXvSuv KOKmv arf\6ri, iravTo. Stifiaiveiv ^iXei, orav S* o SaX/juov evpo^i, ireiroiOivat TOT aurov del Soi/iov" oiipiEtv tu^s. 599. viV T£ tre I ^lyXcS flavdi/Ta, Trplv KaKwv iSctv ^6os. 712. Tois (rais aTreiXais, ats Ix''I''''''"'T' Tort. Soph. .4»i<. 391. wrrpainjv Ttv' op-fiArinv €X"' fio^- 433. o^doXjuoreyKTCii SevETai irXiiii^ivpCSi. !Eur. .ilZc. 184. Notice the eflfect of the epithet. 20. Ships. Paris of tJve SMp: Anchor, Cable, Cross-benches, Helm,, Hold and bilge, Oar, Prow, Sails, Stem. f)(6pol yap i^iacn Travra 8^ KaXuv. Eur. Med. 278. «K ToCS" ava^o/jLevda irpvpiViiTriv kuXidv. 770. epTre vvv otof sroSos fioi. Or. 796. Tt eroi I oiot T£ flvTjToi Tcui/S' iirovrXfjo-oi 5rovo)i/; Aesch. P. V. 84. apa /«.^ KOi/A(i!v vrroi. /Sept. 3. oXXot' dvSpeuo KUTei | poiSirpippos. Soph. Trach. 12. xupct 8c irpviivav (of a man attacked). 'Env. And/r. 1120. INTRODUCTION. 45 2(m)(rav &VTC7rpij)pa (retovTcs ^eA.j/. Eur. El. 846. (3 irp^pa Xot^Sijs 'EtTTio, xXveis TaSe; Soph.yragi. 658. Similarly are used avrXtiv, SiavrXeiv, efai/TXerv, we^avrXcii'. See Aesch. Cho. 748, Soph. -£■;. 1290, Eur. Suppl. 838, ^. F. 1373, /Ei|i^vTi 8oK£t (' close-reefed '). Soph. El. 335. ETret dpacrvvii Koi^ woo-rAXei Xoyo). Eur. Or. 607. Koi S'^ ni^paar/jLaf Sevpo 8 4|oK^XcTai. Aesch. Suppl. 438. 178' eorTiv 57 o"(B^ovo'a, xal toutijs liri irWovT£s 6p6rj's Toiis pevei yap avrmi Bvjuiv (joKoorp^i^oiiv. Aesch. Pe/rs. 767. Tts oSi' avdyKiji eorlv olaKOirrp ji)>os ; P. F. 515. (TV 8' avTos yviS6i vavKXiipetv iroXiv. Sept. 652. Wreck. irav 8' firi/nrXaTO vava-flmv Kpuratov iinriKuv 'TTeSoi'. Soph. El. 729. 46 GREEK VERSE COMPOSITION. Xekoimff iTTTTKCoio-ii' iv vava'yCois. Soph. El. 1444. TTtpl S' iflM KOLpa irXT]7ticr ^ava-yrjo-cv ovrpaKOv/xevri. froig. Observe how often ship-metaphors are used of horses, and horse-metaphors of ships. 21. Stone and Metals. mSr|piS(|>p(av T£ kAk ir^pas etpyacr/i.ei'os. Aesch. P. V. 242. cri8r|po(|ipuv yap Ov/ibi dvSpfCa ^Xeyiov. Sept. 52. (TTOfw. I iroAA'^i' i^ov (rTO|juii»riv (edge). Soph. 0. C. 794. ov yap p. apt(TKei yXmirard ,ivr\. Aj. 584. ouTos yap opy^ a-vvrc6T)7|t^os ^ph/a^. Eur. Hipp. 689. KaTa|i.p\^av K«op. Soph. 0. T. 688. IV ouKCT oKViiv Kaip6$. ^A 361. INTRODUCTION. 47 oTTTji/iV itti evfios. Soph. 0. G. 434. Seivov TL irrjijja. Il/iiajuiSais knllio-tv. Eur. Hec. 583. eoXoi 8J KapSi'av. Ale. 1067. KvTTpts yap ov tfyopr/TOi, ijv iroXXij pu^. Hipp. 443. KUKuv Too-ouTMi/ ou;( opas liTippocis; And/r. 349. 24. Wealth, Poverty. Tts 8^t" e/Aoi yei/oiT* av avTi trov irarpU; Tts irXouTOs; ev o-oi wScr' eyarye (Tio^ofiat. Soph. Aj. 518. 0T|(ravpds av croi irais virrjp^ ov/jlos [leya^. Eur. JTec. 1229. oifWL, fi.eya% 6T|irai)pis (i)S dvoiyrurat KOKwi' (a world of troubles). Ion 923. 25. Weights and Burdens. TOiaS' in avTOLi ^Xde (rvp,w9 M, (TfiiKpas poirfjs, Kat vw p,ev i's rdS' ^/xap cv p^irci Otoi. iK.et yap tovto /xtj ravrg peiruv. TOVT iarlv ij&ri rovpyov ets e/ie plirov. VIKO, TO K£pSo;, TnjiJM S' OUK aVTippflTEl. £1 8' oSv dvdyKf] Trjfrh' linppliroi tu;^s. TouSfSc fiivTOi TTtjpaTmv a-iiTayf.{vov. 8fiv6v ye Tomrla-ayiLa. tov vojp,aTOs. a\Ki^v Xa^ois ai' KdvaKov(f»(ri.v Kaxmy. Aesch. Per*. 436. Soph. 0. T. 961. Eur. Eipp. 1163. Aesch. «Sept 21. Soph. Ant. 722. 0. T. 847. Aesch. ilgr. 574. 1042. 644. Soph. PM. 755. 0. T. 218. Miscellaneous. A few Metaphors may be added which do not fall in any of the above classes. e\] yap i^eiclinapjai, hpjXuui KaToirrpov, eiSwXoi/ (TKtas. Aesch. Ag. 838. 48 GREEK VEESE COMPOSITION. ..6pm yap r/fiai ovSev ovrai aXXo ■Trki/v ctSttiX', ocronrep ^<3/u.£v, ^ Kavtjyrfv o-kiov. Soph. Aj. 125. Ppa)(yv Tiv' airei p,v6ov ovk oYko" irX^mv. 0. G. 1162. TtVos X^P'" TOo-oi'S' aviiXii)dpom(Ta. 0. T. 380. ci) ^Xuira-a, triyijtrao'a tov iroKvv ^ovov. fvodg. 690. So Ipts Aj. 731, -j^pitvo^ 0. G. 7. Euripides supplies us with <3 So'^a 8o|a (Andr. 319), ^iXov virvov OtKyTjrpov {Or. 211), cu vuf /xiKaiva {El. 54), (3 Kaphla rdXaiva {I. T. 344), pevi. 1033. et jiAiJ |wdi|/v; iriiJs 8" av yo/n(3v aKovv. Soph. Aj. 267. ^p,7ri(imv |i6vos |Jl6vois. 467. KaKJs KaKus a^aiTTOs tKiriaoi -xOavo^. 1177. <^i\os /a' aTToWvcr oix iKova-av oi\ ckwv. Eur. Hip. 319. INTRODUCTION. 51 So with cases of avros and aXXos, very often. Or, again, the contrasted words may be placed one at each end of a line : Otol TToXtv o-ip^ouo-i IlaXAaSos 9eas. Aesch. Pers. 349. v^a yap, ovhiv Oav/JL, aire^fv)(6ri's viov. £ur. -El. 284. But the most subtle and characteristic idiom is the use of Antithesis where in English we should probably use none. A simple thought such as ' I prefer to be ignorant of such things as that,' is in Greek broken up into two parts : ' I prefer to be ignorant, rather than wise ' : dcXcD S' aiSpis, |xaXXov rj o-0(|iiis, KaKiSv { ttvai. Aesch. Suppl. 453. Or a statement such as 'All comes to pass, every jot,' may be put thus : o|iai iraOiiv rdSt. Eur. Ale. 1017. alvu [iiv, alvu. 1093. If used with care, it is effective, but it may easily be overdone; and Euripides is not without blame in this respect. There is hardly another example in Sophocles, and beginners had better keep clear of it altogether. But there is another kind of Repetition which is found in public speeches, and may be called Rhetorical Repetition. Here the same phrase begins two or more clauses, followed often by fiev and 8e, but some- times alone, and so taking the place of a conjunction. This too has its place, and may often prove useful. Examples are : 4—2 52 GREEK VERSE COMPOSITION. With ConjvMction. 8x<»v /AEV a.pxd^, as tKeivos t'x* irpii', ^wv Sc Xe/crpa Kai yvvat\ ofioariropov. Soph. 0. T. 259. ^vo-ai crcauToi' kox ttoXiv, pvo-ai. 8* c/te, pvirai 8e irav /tia(r/i.a tov tiOvijkotos. 312. ■qv /AEf KiOaiptov, Tfv Se Trp6a-xa>po'S totto?. 1127. «oo-t' «v So/jLouri Toltri trots onjira cr ayiov, (Ss ^Trio-KijiTTooo-a koi )i,v6ou|i4vt|. P. V. 664. KVKaroi TTavra Koi Topao-o-^To). 994. iKirXovs vXd,p«v<>iv. Soph. Ant. 492. irovvoTOTOv 8^ Koi'iror' avSis varepov. Aj. 858'. a^n; ir^Xas crov |i.i]K^t oiXXoo-e o-Koirci. El. 1474. (ra^, ouk oXXos /ipoTtav. 0. C. 1123. TOUTOlO-l KOVK dtXXoMTiv apjUrOO-^IJCTCTat. 908. bJS 8e irpSs T^os Yo'oiv aLKOVT , ovS' ir* copupci poi]. 1621. With the negative first : (OS ouiroT av6is, dXXa vvv iiovvototov. !Eur. Sec. 411'. The effect of this, and the kind of passage where it is proper, are seen from these lines of a Messenger's speech. The man is in fear of death, and much moved : ovK 0*8' cKci yap otiVe tov yev^Sos r/v irX'qyfi, oi 8i.k4XXi]s eK/8oXi/" orui^Xos Sk yrj Kal xe'piros, app| ov8' linf|ui$ev|JL^i] Tpo)(pt6-iv, aW anipios ovpya-rr)^ tipovSai 2iirTvp(oi viavlai. I. T. 1289. (So ij>pov8os oIxETai.) Tois i5iripTOXXoi;s a^av. Aesch. Pers. 794. Eir d[i|>oppov ij^oiiev iraXiv. Soph. SI. 53. (4) Paraphrase. It is most important for a composer to be able to express one idea in different ways. Simpler equivalents, such as TouTois, TovTOUTLV and ToitrSe, iyla and o8' avijp or oSe 6 a.v>jp, are here omitted ; but a number of less obvious paraphrases collected from the dramatists are given below to serve as models. After studying these, the composer ought to find small difficulty in paraphrasing. First and foremost, the composer must make his collection of Synonyms. I have no space to give such a collection as would be useful, but must refer him to a good dictionary, or better still, recommend him to make his own. A few hints may however be given. (1) Make lists of compound verbs. Thus oiSo, c|otSa, KwroiBa, (TvvoiSa, with eu otSa, (rd^ olSa, eyvuv, iTrCara/iaL, i^eTriaTa/Juu ; KT€ivopPf| TrapoXiois Ytvijo-eTai. Soph. Aj, 1065. So v^puTTqi yivy (1092), (ruKK'qirruip ytvov (Eur. Or. 1230), a-tiynjp ■yevoiTO (Aesch. Sept. 503). Karciirrao-is t^voit av ov8tv6i vd/iov. Aj. 1247. |j,to-os <^v TEK1] irpoo-yCYVCTai. £!l. 771. (jiopas ye Toi <|>6^vT|ijfuav. INTRODUCTION. 57 State. a/jifjxo ^vyipr Sx""" ''^^ avTriv 8djU,a)i/. Aesch. Cho. 254. Tt Srjra fLeXXel firj ov ■rrapovo'iav €\tiv ; Soph. Aj. 540. So e^*"' °^'*>l''i^v, davjjia, Trpodv/jLiav (with infill. ), jUcrajSoXas, &C. Transitive. dW oi/c ipcwav Tov Oavovro^ ?o-\«t6; Soph. irarep, XitAs Sx**"' ^- ^' 1309. "PV^" ^o^s av oiSe |i.4|i.i|/iv ets i/xe. Phil. 1309. irpodvfixiv tl\ o(j>6aX|idv ets Idcrova. Eur. Med. 1146. Passive Notion. iroW^v ap' ?|6is H.^|*+iv, €t Spda-tK rdSe. Eur. Heracl. 974. a /i€V yap e^eiprj/ca? aTvoCa p.' ^x"" Soph. Track. 350. ToidcrSc tl>a(rydvwv irXij^As '^x"' Eur. Andr. 1074. •yXuo'o-Tjs Sc yui'<", \l/v)(^'S irXovT](i.o KavaKCvijo-is ^p€i/<3v. Soph. 0. ^. 726. So Trpo&vjxia iroScov l^ei ( = KaTaKTavaJ). Aesch. Cho. 575. XdKTurjjLa Banvov ^vSikms Ti6e1.s dpa. Ag. 1601. o-vvTi6cls ^IXcDv 7ro\vv. Soph. 4/- 303. So Kijpvyiia Oelvai, Kpavy^v l^r/Kas. gov vvv Ka6app^v tcSvSc SaipdvMi'. 0. C. 466. 58 GREEK VERSE COMPOSITIOK. jiPpurixa 6c|i.cvos Toi' 'Aya/te/tvovos ■yovoi'. Eur. Or. 1038. vvv S* ciXdpnav rcovSc irpov6E'|ii]v Eyu. Soph. Ml. 1334. 7raiS^p£Lv (to be disgraceful, of things or acts), TJSovrjv epeiv (to please), -ttCo-tiv epav (to trust), and others. Other phrases ; fipopc yap Tis {ipKos Ik 0t(Sv /xcyas ■fj|«iv Tiv' iiirT£a(r(i.tt KHfiivov narpoi. Aesch. Aff, 1284. Tayetv ^xovto (nrijirrpov tvBvvTijpLov. Pers. 764. TTas S* iv /XCTOIKO) 7\u(r(rav fXTVKOV ifi^pei KaKTjv (=p^8«iis Xe-yei xaxa). Swppl. 994. ovK CKTOs; OVK £t|>oppov lKV€p.et irdSa; Soph. ^^'. 369. Ttvos X'^P'" ''■oo'ovS' dvtjXoKTos X^Yov; 1049. dv^p o8', (US eoiKEi/, is Tpi^cLs ^^. Soph. 0. T. 1160. X.pdXXa /xevEtv. 813. <5(t6' SpKov avTcp irpoo-paXtbv Suo/juxrev. Track. 255. Saicpvuv pi]$aacT\...K'qpv^avr txeiv (Ant. 31, compare 192). Other examples may be found. JH'^ote. The following phrases for the common ideas ' live ' and ' die ' are useful : Live : europav <^aos, XevtratLv tjuioi, ^XiTreiv ^aos (or simply jSXeTretv), <^ipas etpyaorat vcov; Eur. Hipp. 794. Time. ev |tc(ri)|jiPp{as | edXirei. Aesch. Suppl. 747. 6pas. ^Z. 449. yfvovs KaT* d^xwrreia. Ant. 174, Tpi\u> Se )(€p(Tiv, ov iroSoiKeCf. otkcVuv. Aesch. Eum. 37. ep^erai v v Siappocis. Eur. Hec. 567. INTRODUCTION. 61 (2) Noun with Adjective, for Noun. Wpavav irdvTa KonnjpTi o-toXov (=Kirupev6i ( ' with, from '), /jLvij/jLJii OTTO ('from memory,' on the spur of the moment), 6v(xv xaipova-iv ' do deeds of bloodshed,' 01 aioovs eiTTcii', 8i' eujreTeias. ^. Tv\bi ex SeSopKoTOi ' after,' ' instead of,' ck KvvayCai 'after'; dpx6[xea^d' ck Kpeuraoviov 'by,' ex rpLTwv 'thirdly.' «! 0|X|i.aT(i)v opBiSv re Kai 6p6rji pcvos ('with'). Soph. 0. T. 528. Kcivoi 8' {nrtp)(kiovTei Ik YXiio-o-Tis kkk^s. Track. 281. «v : 'in the sphere of, or person of,' so and so. iv Tots SiKOo-Tats KoiiK €/ioi TaS la'^aX.Tf). Soph. Aj. 1136. So €V (Toi yeXav (Soph. Ant. 551), ev yvtofxr) ika, iv toi(Tiv KevT-qtrere, vy^ (Aesoh. Pers. 470). TrXij-yeires avToxetpt otJv |U(l.v. Ag. 1386. So x°i>"' generally, ' to please,' ' for the sake of.' Similarly, we have ■in]p,ovrj% am) ' to heal,' iroivdraip ttotjoos 'to devour,' /xeiXty/uira 'to appease,' koXoctt^s 'to punish,' aruTKOTTO'i 'to behold,' ri/icdpos 'to avenge,' KaOaprfj^ 'to purify,' IXtaifua. ' to be dragged,' and a world of others. Note. Adjectives may be used in the same way: as K.d(rTopi Tt IIoXvScvKci t' hr aWipoi Tmj)(o.is ^vvOaKOi ecrrai, vavriKoii o-unjpws. Eur. Or, 1636. INTRODUCTION. 67 vii. Abstract Nouns. \ioVTtK cvycvov9 attowrU^ = Attovto^, Aesch. Ag. 1259. SiKoidiv o/i/jidTiov iropovcrCa = SiKatoi TtapovrK. Oho, 671. So with iprjiua. See also Soph. 0. C. 948, Eur. Ale. 606, Heracl. 632, /. A. 651. u o-vvT^aa, /li^ 7rpo8u<; irvpywfiaTa. Aesch. Sept. 251. oi/rcif fiapavai (= o^^oX/tovs, Soph.), 8(;^\os l/ijSocrts ('hoof,' Eur.), vauTtK^ avap\ia (=vavTai avapxoi, Eur.), KXi/xaxos vpotrap.- j3a X*P'> X^P"'"' X'^P'^"'' woSi, ttoSoIv, iroa-Cv, ofji/icunv, 66a\p,oii, (mtlv, and other parts of the body, which are common and idiomatic. (a) Instrumental Dative. (See above.) So the sun ^Xeyct dKTio-iv, a river aphci poats, or cv|i.Evct iror^, people are banished <|)vy^ or Siu7|i,ois. (6) Xeyu redundant is often useful. ovTia Se Ka/iE n^i/Se t , HA,€kt/dov \h(a. Aesch. Gho. 252. (c) Explanatory phrases may be added : Tt Tovs dva\tt>6ei'Tas 4v <|nj> Xeytiv; jlgr. 570. oi!, wpiV y av eijnjs i' la-Oi, ev tout' itrOi ; ri 8' ov)(j[, ir<3s 7010 ovxi, t<3s yotjO ou, irojs So/cets, tis dvTepei, oiic oXXcds Xeyw. 5—2 68 GREEK VERSE COMPOSITION. (e) A phrase is sometimes added at the end of a speech, such as etprfrai \oyos, TravT exeis \6yov, iravr aKrJKoas \6yov. ix^ Negative Idioms. The Greek love for saying less than is meant must be familiar to any one who has read much Greek. o«x ^fiora is actually a stronger way of saying /MKiara. This device is frequently quite enough to fill a gap in some line of the composer's. Thus we have xcAaSos oi5 irauavios (Aesch. Fers. 605), tJMOi ToS" OTK dirainrov 'iSatov irupos {Ag. 311), OVK afirfviTOV OeoL^ (649), OVK avavSo^, ovk a^pdvTitrTos, oi 6apvXka.Soi. Suppl. 32. ■yuvaiKa 8" oi yuvaiKO. Soph. 0. 1'. 1256. 'Apyeiog ovk 'Apyeios. Eur. Or. 904. Paraphrase with Intention. A paraphrase is often used with intention, in order to make the expression of some idea picturesque or sublime. To give full lists of examples would be to transcribe a large portion of the Greek dramatic poets; and indeed it is not necessary, since in this point we are more or less bound by the English. INTRODUCTION. 69 However, a few examples are worth giving, to show the wealth of poetic diction in Greek. It should.be borne in mind that he who uses fine phrases to express trivial ideas makes a fool of himself ; the result is not grandeur, but bathos. a^ ov TraXi/iTrXayKTOKTi )(tifJM^ei Spo/uoK. Aesch. P. V. 838. OyiXvKTOvia \ "Apti Safixvriav wKTipovpijriii, a-acf)' ladi, X«V(7t/x.ous dpas {Ag. 1616). (5) Compound words. Much of the beauty and power of the Greek language depends on its Compounds. The student should make lists of these on various principles. Thus he may group together all compounds which show a given element. For example, avTiSouXos, dvnKevTpO's, ovtiktovos, avTijuoXTTOs, avrtirais, dvTi- epvoi : or dvTlKTOVOi, TrarpOKTOVOS, /XIJTpOKTOVOS, ^eVOKTOVOS. A large number of useful compounds may be found beginning with tv-, 8v(r-, avTO; koivo-, /xovo-, ttov-, itoXv-, iXo-. 70 GREEK VERSE COMPOSITION. Or he may class synonyms together, as tftovevi : (rayeii, dvhpoavrqopPiiv ; or the equivalent, i'cdSpcirT09 (in some of its cases, or in position). Four-syllable words with trochaic rhythm (very numerous) : dyxiTepftatv, otjuaTowros, TTOvroi'oijnjs, c^iTUTrot/iuyv ; 7r66poi ; 8ul>pr]KdTrji ; SaKpvppotiv, ij/ev&iqyopeiv. Four-syllable words containing a Molossus (fairly common) : octftvjjoTos, SovpiKTTjTOi (in position) ; ^a/iaiKoin^s ; h.Tro\l/v)(etv. Five-syllable words of Iambic rhythm (one of these makes a first penthemimer complete) : a\rj5o/iavT«, d0da\p>TEyKros ; dyiavoOi^Kri ; yepovTayioyeiv. Five-syllable words of Trochaic rhythm (making a final penthemimer) : ai/ioToo-Toyi/s, irotKiXotrroXos ; j/rtoorpoi^os ; fir]- \avoppa4>ctv. INTRODUCTION. 71 Five-syllable words containing a Molossus : KaX.KmupymTO's (trochaic), 6iXov epvifwv airoXw iv ^(uo-iv vtKpov. Soph. Phil. 1018. airaK avavSpoi airoXis l^e^Oapfiivr), Eur. Hec. 669. avT^ Se hauhi}, ypavd.TLv clX(S(ri|iov T£ ^oi^iv (i.e. 'the news of capture'). Aesch. Ag. 10. ev6 eo-Trecriv ^Keipt iroXvKcpuv cjiovov, Soph. Aj. 55. i.e. the death of the horned herd. Xoi^aitrt irpwTov Kai Kaparojiois )(XjZaiiS^^iov ip.vvTe Ttti v<7avTi. Soph. 0. G. 1112. 5. Another use is the Proleptic Epithet, where the result of an action is anticipated. KTetvoiev cixECpuTov 'BWiji/cov (rrpwrov. Aesch. Pers. 452. 6 iida-a-av jSt'oros 7fv Ta6y Trpoata (' stretched out long '). 708. \a(l>vpa,..€Tra<7i}\l/c SiSp. dvT|<|>a((rTij>' inipi. Eur. Or. 621. y^v, 7) iroff vfuv xpiHroiri]Xi]Ka orajfuv trirapTiov dvrJKtv. Phoen. 939. ov vavs )(a.\ivoK XivoSItois op/Jiti criOev. I. T. 1043. 8. Lastly, we have a very pretty idiom. The Compound Adjective often contains a synonsnn of the noun it is joined with. (TiSripo^paiv Si Oupios. Aesch. Sept. 52. l|i,p6Xois \a\KOos. Eur. Med. 1335. 0) KaWtmixvv ExTopos ppa\tova | (ru^ovcra. Tro. 1194. KaK07XT«7-/ia ' flower ' n-iirreujua ^ovXevnjpiov p.e\.T]fia (rrvyiifia, o-ruyos Sei/xa fucurim. (TvyKOt/xiyjua ' be SijXrifw. fUtn^/M, fuao^ low' 8ouA.ev/xa olKovpTjp.a 'stay-at- v^puTfia epfjutjvevixa home* VTrayKaKuTfia 6pd.i\.r]ixa. 76 GREEK VERSE COMPOSITION. These words are most commonly used in the vocative, and under the influence of strong feeling. They may be either active (SiyXij/ia ' bane ') or passive {fucnjiw, ' thing abhorred '). Abstract nouns not neuter are also occasionally used in the same way : jj iraa-a fil^afiri ' that utter pest ' of a man (Soph. Phil. 622). EXEBCISES. Pebliminary. The student of Shakespeare is often surprised to find how closely he follows his authorities. In the historical plays, for instance, line after line may be found in North's Plutarch with hardly a change. It may be interesting to give an example'. North's rendering of the speech of Coriolanus to Aufidius begins as follows : "If thou knowest me not yet, TuUus, and seeing me doest not perhaps believe me to be the man I am indeed, I must of necessity bewray myself to be that I am. I am Caius Marcius, who hath done to thy self particularly, and to all the Volsces generally, great hurt and mischief, which I cannot deny for my surname of Coriolanus that I bear. For I never had other benefit or recom- pence, of the true and painfull service I have done, and the extreme dangers I have been in, but this only surname : a good memory and witness of the malice and displeasure thou shouldst bear me." Now hear Shakespeare (Coriolantts, Act iv. Scene 5) : " If, Tullus, not yet thou knowest me, and seeing me, dost not think me for the man I am, necessity commands me name myself... "My name is Caius Marcius, who hath done To thee particularly, and to all the Volsces, Great hurt and mischief : thereto witness may My surname, Coriolanus ; the painful service, The extreme dangers, and the drops of blood Shed for my thankless country, are requited ' But with that surname : a good memory, And witness of the malice and displeasure Which thou shouldst bear me." ' Compare Wyndham'a Introduction to North, Tudor Translatimis, pp. Ixxxviiiff. 78 GREEK VERSE COMPOSITION. A few changes, as we see, suffice to turn simple prose into simple blank verse ; and the same is true of G-reek. The fact is, iambic verse comes nearer in rhythm than any other to prose ; so much so, that complete iambic lines are occasionally found in prose writers. Demosthenes (with all his care and skiU) occasionally has a line of iambic verse; and half lines or more are found in many authors. In English, not to mention writers less distinguished, Dickens writes whole paragraphs in iambics, when he becomes emotional. Let us now take a simple piece of Greek prose, and see whether it can be turned into verse as Shakespeare turned his North. I open Herodotus at random, and take the first speech my eye falls on. Sep^s 8c duteijScTO keyiov, 'ApTa;8ave, /Stores /iev vuv avBpat- Tnj'iri's TTipi, iov(Tr]s TOiavrr)^ oiiji/irep atv Siaipeeat tlvai, Travcrio/MOa, /irjSi KUKoiv fitiJLveiaiJLeOa, -xpria-Ta. I;(ovt«s irpijyfuiTa iv X^ptri ■ paxTov Si p.01 To8c. et TOt 7; oi/rts Tov ivinrvCov p-rj ivapyijs ovtu) i^ami, «iX** "■" "^V^ o,p\aiav ■yviu/xr/v, ovk itov /if crrpareuifrBai. hn rriv 'EAAaSa, 17 pxTecrTrii av; tjiipe pxii Tovro drptKiiiK tliri. 7. 47. Uepirii Sf we note is a palimbacchius, and so may stand first, while ■qp.tifif.To will come last in the simplest typical line (Type I.). We require now a trochee or spondee —^ and a cretic — v/ — to follow ; and to get both all we need do is to paraphrase \iyutv by roto-Se rots Xdyots. Hejd^s 8e TOttrSe tow Xdyots ■^ptipero. Next get rid of the anapaest /Sionjs and substitute /Siov, when ySiou p.ev appears at once as a bacchius. There is no room for the name before it, but Xerxes may use ' '£A\a8a. (TTpaTevea-dai ought to precede the last foot, if used ; but it should come nearer the beginning, and must therefore be paraphrased. The simplest paraphrase, ayeiv a-Tpdrtv/jui, will scan ; so will -q /actco-djs av, which must follow the caesura ; and the two may stand together, if we place /le between them. The last word will be \eye. if>paxTov Se /i.01 toS'- et y€ tovt ivvrrviov ovTois ivapyfi; /Jirj 'tfidvrj tot , tTx*? a.v yv(aiu)v ouxv irpiv, ovk itav i 'EWaSa ayeiv (TTpaTevfid /*', ^7 fieriaTTji av; Xeyc. How close to iambic verse comes any simple speech or piece of narration, the above experiment will show. The verse as here made is only passable, it is true', but that is because no changes have been made except where absolutely necessary. It would be easy to work this up into something better with a very small knowledge of poetic diction. But let this suffice to comfort the beginner. If he can put EngUsh into simple Greek prose, it is only a step from this to simple Greek verse ; and his aim should be always to make the verse simple, until his knowledge increases and he feels sure of his own power. Half the mistakes of verse writers come from attempting to write finely before they can write simply. The beginner, then, who understands fairly the principles on which the iambic line is built up,, but knows nothing of poetic diction, may find it helpful to write down in plainest prose a translation of the piece set him. When he has done this a few times, and has gained some skill in noting the phrases which will be useful, he will be able to do the ' Toitrde Tois \6yois, for example, is bald prose. The dramatists hardly use the article with SSe. EXERCISES. 81 preliminary part in his head. By degrees, as he reads the poets, their phrases and words will recur to his memory, and his translation will begin to change from verse to poetry ; and the last stage will be reached, when he is able to hit on the nearest Greek equivalent for each phrase or metaphor in the English, and when he can embellish his verse with the allusions or metaphors most familiar to the Greeks. The exercises which follow will begin at the second stage. We shall assume it not to be necessary to write down a complete translation in prose of each piece ; but at first we shall begin on each section of the English by writing down a number of possible translations of the chief words or ideas, metrical or not, and from these we shall build up our piece of verse. The language will be simple at first, and gradually poetical phrases will be . introduced ; until in the concluding exercises, we shall assume a wide knowledge of the Greek dramatists, and draw on the whole area for our renderings. I. First we will take a simple piece of narrative from The Ea/rthly Paradise. A king there was in days of old Who ruled wide lands, nor lackt for gold Nor honour, nor much-longed-for praise; And his days were called happy days; 5 So peaceable his kingdoms were, While others, wrapt in war and fear. Fell ever into worse and worse. Therefore his city was the nurse Of all that men then had of lore, 10 And none were driven from his door That seemed well skilled in anything; So of the sages was he king; 82 GREEK VERSE COMPOSITION. And from this learned man and that, Little by little, lore he gat, 15 And many a lordless troubled land Fell scarce loth to his dreaded hand. This we shall now turn into verse, using only such words as a beginner may be supposed to know ; careful not so much of beauty of phrase or fineness of rhythm as of bare simplicity. A king there was in days of old Who ruled wide lands, nor laokt for gold Nor honour, nor much-longed-for praise. We avoid the word /Sao-iXevs, which as an anapaest is less easily managed, and translate ' a king ' by ava^ tk ; an amphi- brachys at once. ' In days of old ' is TretXai, or ttotc, or both together iraXai ttote, which in elision is another amphibrach. We have only to place rjv after it, when 7raA.oi ttot Jp/ presents itself as a four-syllable group of the proper shape to fill two feet at either end of the verse; ava^ rts, the amphibrach, added to this, makes a hephthemimer. Bearing in mind that y^wv is a poetical synonym of y^, we translate 'Who ruled wide lands ' literally os y\p)(f-v eupetas y^ovm, actually metrical without change. The last two words exactly complete our first line, and the others may begin the second. ' Nor lackt for gold,' ouSe •j(pvao\i kdiravltf-To, is not so promising ; though we can make a metrical sentence of it after a fashion. eoTravtf ero forms a final penthemimer by itself ; and as other nouns follow, we may add ^kv, making xpvcrov fiiv a palim- bacchius ; this may precede the verb, and ov go before it. The lack of a conjunction is abrupt, but such things are. As the verb ought to recall the noun o-Trai'is, we may also say ' where was no lack,' ^ -f^pva-ov p-iv ov o-Travts, and then irap-qv for ^v completes the line easily. The next sentence will be cast in a similar mould, ti/x^s 8e first, and second iiraivov re (in elision), which is at once seen to be a bacchius. ' Much- longed-for' is the same as 'very dear,' i.e. evijtikr}^, or €«0iX^s EXERCISES. 83 /SpoTois : cretio and iambus, leaving (when we have made the adjective agree) one foot to find. This may be oA.tS) a synonym of ov a-n-duK. The phrase may be paraphrased ov jSporot i\ovari, which in elision has the same scansion. The first lines then will be : iraXai iror 7jv avo^ Tts, eu/oeios )(6ovos OS r/p^ev, 7) ^v6Pav re comes next, and it needs small ingenuity to discover that a/iM suits verse and sense equally well. The next line cannot be rendered literally ; but we may say ' so as to bring ever an evil worse than the former evil.' From this we extract wa-r ay«v, clearly a cretie group, and KaKiov an amphibrach ; whereupon the student will per- ceive that the whole diflSculty of the line is solved. 'Than the former evil' is toB irplv kukov. Of these words xaKov will stand first, and tov irpiv in the fifth foot, if the last word begins in a consonant. But aei begins in a vowel; what is to be done now? Place <3o-t' dyeiv in the second cretie EXERCISES. 85 position (Type III.) ; then toC irpiv, which is a natural trochee, falls into line before it. We have now finished three more lines as follows ; TToA.X'g 8' airacra yOiiV ev elpT^vg /^ecei, Sopos irapovros aXXo6ev ^o^au B' a/w., KaKov KaKiov Tov wpiv iroi. pAyvcrucrj would give us a cretic, but the word is too narrow. Or we might say 'a, nurse of teachers,' SiSao-xa'Auv, or 'of arts' rexvuiv. This will suggest as a simple rendering, ■^ iroXis vir^p^e rpotfibi •jracruli' Texvwv ocras ei^ov avOpanroi, totc. Prom this we get for the first line vTr^pxtv (amphibrachys), y irdXts (cretic), and for the second o«ros tot' el^ov (penthemimer), avOpinTroi (molossus), and TEx^as last. The lines are now nearly complete. We now prefix ivOvi to the cretic in the first line, and place rpotfioi at the end ; placing ttoo-coi' before the amphibrachys in the second line. The relative will probably be attracted to the case of its antecedent, and thus we get : e^ (Si/ VTrijpxiv iv6vs i] TroXts Tpoi^os iraa-tov otreov tot' eixov avOpmiroi Texvmv, 86 GREEK VEESE COMPOSITION. 10 And none were driven from his door That seemed well skilled in anything ; So of the sages was he king. ' Driven from his door ' ought to suggest to all who have studied the Attic idiom, the phrase iKwiTrrciv, which is regularly used instead of the passive of cK/SaAAetv. The proper tense is an aorist, and l^hr&n is the equivalent of a palimbacchius, the second syllable being resolved. There is here no help for it ; a trisyllabic foot is inevitable unless we paraphrase, or make the king subject and write oiS" efe/SoWe (complete penthe- mimer). 'Door' will be 'house,' Smfidriov, a cretic at once. ' Skilled ' is e/Aircipos, which with av may end the line in the first construction ; a spondee or trochee wUl complete it, and this may be oiSek. But this is to omit ' seemed,' which has point (for the poet might have written ' was '). ' To seem ' is SoKEiv, but voixurBeui is a bacchius. cTvat might precede it, but this would take mv from the preceding line. However, ifiweipCav iX^iv gives the same sense, and will suit the metre. In the second construction, ' king ' must be inserted ; and that would sound ill with the phrase which follows ; let us then keep to the other. Now to proceed : ' king of the sages ' is ava^ tSv (TotfiiSv, whence we get a cretic at once in the last two words. ouTcos will not stand here ; but we may carry on the con- struction with St, r&v tro^mv 8' ava^, placing luTTq^, though the word has a special meaning ; but ^iKoa-6ov is a cretic equivalent (the first syllable resolved), and may follow oA.\ov. /mOtav may come next, and e^rjs, ' one after the other,' a bacchius. Set before this ttXcio-tos, and the first penthemimer is ready. ' Scarce loth ' is ovk (or ovSev) d/depiSv ^Xfles. It is easy to see that koL 8ia6epwv, a five- syllable word in rhythm, may stand last after a trochee (Type IX. —yj\—yj — yj—); or may follow the caesura, since the group begins with a trochee (Type IX.). av Tripcrtav is a bacchius group, and we now need only to expand o«s one syllable, by adding ircp, to complete five of the six feet. ^Xfles however is impracticable. Exchange it for irdpti, 'you are here,' and the thing is done. ovtnrep trv iripcrmv kol SiatftOepwv Trapei. Pol. O Gods, give eare unto my honest cause. Words. ' Give ear ' : aKovm, tlcraKovo), kXvw. ' Honest cause ' should be personal : ' me asking honest things,' aiToCwos Smaia. SiKrj is not impossible, but this is more idiomatic. Form. It is clear that aKova-are is a convenient form ; it may stand last, for instance, in several types; or by elision it may become a bacchius. aiToSvros again is a palimbacchius, or in position may scan as a molossus. Type II. is no help here ; suppose we try what can be done with Tjrpe VII., where the palimbacchius takes its second position. The student ought to perceive that but one syllable is needed to complete the latter part of the line ; and this is got by using the compound eio-ttKovcraTe, which has an extra syllable. SiKaia may now stand before oitoBvtos, the -a elided ; and first will come 6eoi, or better, <5 6eoi, the latter word being scanned as one syllable : (5 6eoi, SiKai aiTovi/TOS EiO'aKovo'aTE. EXERCISES. 91 Et. With foren power his country to invade. Words. 'Invade': eo-^SaWw. 'Country': irarpU, trdrpa, TToXvs. ' Foreign power ' : jSap/Sapoi, or a more literal transla- tion, ;^€ip pdppapo TOtoSros ei/i' Tg troKu. Pol. Since from my right I am wyth wrong deprived. Words. ' Deprive ' : an-ooTcpu. ' My right ' : hiKq, or use ■Xpaov, or to lo-oi/ (to icra), ' my fair share.' Whatever be the word, let it be such that ' wrong' can form a pair to it. Thus with St'/oj we should want ov Stxaicus ; with ■}(pe(iv, its negative ; with TCI i. Form. The passive form dirocrrepridrjcret is theoretically possible with short particle added, but no particle suits the context but toi. However, the middle form in this verb has a passive sense, and this fills the penthenlimer : dTroarepija-ei. ' If thou tarry ' is idv /J^evrj^, which becomes a cretic by simply changing idv to tjv. filov will stand last, and is best in that position because it gains emphasis. A beginner might be tempted to write tov crov piov, and to fill the hiatus with 8c, making a strong line flat as ditch-water ; not to mention that a Greek would laugh at tov a-ov, and wonder whose Ufe else could it be ? Let us avoid padding of this infantile sort, and seek for something that may really strengthen instead of weakening. Take for example the adverbial wpds, 'besides,' which again may be strengthened by xai : then we have, with the cretic in the Second Position, diroorepi/crct kol irpos, r/v //.evjjs, jSt'ov. 15 Pol. father, heare what injuries I take. Words. 'What injuries I take': ota Kaxa, ota irda-^ia. Of course Tratrxo) means 'experience' or 'feel,' not 'suffer,' but the meaning ' suffer ' is implied in oio. Or turn the ex- pression, ' what he does to me.' Porm. Place 'hear' first, as is natural, and jrarep pro- visionally last; aKovE {aKova-ov)...irdT€p. Now ola may stand second, just before the caesura, which leads us to choose aKova-ov. ■Trda-xio can easily be placed, but no suitable cretic is forthcoming. What can we say for ' injuries ' ? Suppose Kaxa be paraphrased as ov SUaia, which is as strong, or stronger, be it remembered ; perhaps the student will then see that he has merely to add S/iot, and a five-syllable group emerges into view. The object fi€ will avoid hiatus : aKOvcrov ota fi ov oiKaea opa, irarep. 96 GREEK VERSE COMPOSITION. Et. As thougli thy divellish deeds were hid from him. Words. 'As though': this cannot be literal; say 'do you think...?' ^ yap, or yap alone; or other particles may do. 'Devilish deeds': KaKovpyia or some equally strong noun, a good long one if possible, a mouthful of sound. 'Hid': \av0av. Form. T^v o-^v KaKovpyiav needs only ye to make a final hephthemimer ; but is ye allowable? Certainly ; for it implies ' such villainy as yours ' cannot be hid, though others' may. It is obvious that no cretic is now possible with o'ei yap, or ^ yap otei, so we write at once Xafleiv yap otct : Xa^eiv yap olei njv ye crrjv KaKovpyiav ; The student may now read the lines given to Polynices, and see that as in the English they run continuously, without break in the construction. III. King Edward IV. — Lady Grey. K. E. Now tell me, madam, do you love your children ? L. Q. Ay, full as dearly as I love myself. K. E. And would you not do much, to do them good ? L. O. To do them good, I would sustain some harm. 5 K. E. Then get your husband's lands, to do them good. L. O. Therefore I came unto your majesty. K. E. I'll tell you, how these lands are to be got. L. (?. So shall you bind me to your highness' service. K. E. What service wilt thou do me, if I give them ? 10 L. O. What you command, that rests in me to do. K. E. But you will take exceptions to my boon. Z. G. No, gracious Lord, except I cannot do it. K. E. Ay, but thou canst do what I mean to ask. L. 0. Why, then I will do what your grace commands. Shakespeare. EXERCISES. 97 K. E. Now tell me, madam, do you love your children 1 The Words need no remark, except ' madam ' : yivai. If we translate the sentence literally it runs: Z ywai, Xefov apa ^ike1% to. TCKva (or tous TraiSas); Here are two iambic words (yuvai and tjtiXivs) ; two trochees (A.e^ov, apa) ; and for the rest, a sufficient variety of combinations are possible. No cretic or bacchius appears. But there is a molossus, tous TratSas : and, as we have seen, half a line will be made if we can find a trochee and an iambus which will suit the sense. Now i^iXetg is an iambus, and apa a trochee : apa Tois watSos ^iXeis is therefore the latter hephthemimer. Now for the penthemimer. yvvai we place first, and the problem is to make Xefov a bacchius. This is easy, if we remember the polite idiom of command : Xe'yots av. yvvai, keyoK av apa Toiis iraiSas ^iXets; L. G. Ay, full as dearly as I love myself. Words. ' Ay ' : particle, ye or ydp, according to the construction ; ye if we carry it on, ydp with a new verb. ' As dearly ' : ovx ^a-crov, ouSei' ^o-o-ov, a strong form of ex- pression. Form.. A literal translation is unpromising : ov;^ ^a-a-ov ^ ifMLvnjv, which will probably tempt the novice to write ^ y e/te. But we shall clearly find it a help, if the pronoun can be changed to some other case, whether it be c/*oi, ifiov, or iyw. Follow up this hint, and see what it brings out : ovBiv •^(TiTOv ip.ol ^iXoi euAv ^ eyii (or aimj). Now the matter grows clearer ; for if we add yop to i/wt we have a palimbacchius : ifiol ydp. There are two trochees, each beginning with a vowel; place oiSev next, and ^o-o-ov wiU naturally follow it. (jilkoi. will stand last, and now we have only to block the hiatus in rj iyii to complete our line. Remembering the emphatic icat, we may write ^ Kayoj, and the thing is done, cjuot yap ov8iv i^(r(rov 17 xayu) ^iA.01. R. 7 98 GREEK VERSE COMPOSITION. K. E. And would you not do much, to do them good ? Words. 'Do good': eS S/jav or iroiecv with accusative (the beginner is sure to think a dative is right) ; or evepyereiv. ' Them ' : ovtous, vlv, (re, or tckj/o repeated. rorm. ap' ovK ov iroiotijs or iroioU n-oAAo, is easily manipu- lated, if we recollect that ttoi- may be short. If we use ■rroioiTi'i, we need only transpose av to stand after TroXXa ; or we may make an amphibrachys with ttoiow av. ' To do them good ' may be simply wot' evepyereiv, or ev Spdcrovcra, leaving room for VLv. An improvement will be to place av nearer the beginning (such is the Greek idiom); so ovk av Trototijs will be better than what was suggested. Now add ye, which is amply justified by the emphasis, and the line runs : — OVK av TTOioiijs voWd y ev SpdcrofV(rd vw; L. G. To do them good, I would sustain some harm. Words. ' Suffer harm ' : iratrx"" '"'> * favourite meiosis in Greek, used in a bad sense, as we use 'if anything should happen.' Let the Form recal the last line, and get in ev Spaxrova-a near the beginning. Spdtrovcra is a palimbacchius ; if we place it first, a spondee (or trochee) must follow, and we have only a monosyllable ev. But if we add an object, such as rsKva, or better rouo-Se, we can make a spondaic group : tou'o-S' ev. We have now irdOoip.' av ti left to make half a line of. irdOoip.t ti may stand last, as the student must readily see ; can we expand dv into a cretic? Will cyoj help? Yes; for the emphatic Kal is often used -with ov, and k&v eyu is a cretic. Spda-ova-a tovctS* ev kS.v eyii irdQoip.L n. eyia, please observe, is not meaningless, but adds still more to the emphasis. EXERCISES. 99 K. E. Then get your husband's lands, to do them good. Words. 'Get': KeKrr]fmi, viiraiiai. 'Husband's lands': perhaps xX.'qpos may help, or we may use yvai ; but aypot does not seem to be used for ' estate ' in dramatic poetry. Form. 'To do them good' must be so translated as to recal or echo eS Spda-ova-d viv; and there seems to be more than will easily fit in one verse. If after trying we find this to be so, there is a way to avoid a cramped or ugly line ; namely, to divide the sense between two lines, and interpolate another spoken by the second person. The interpolated line is merely 'What do you say?' or 'Say on,' or 'What am I to do?' or some similar phrase. Examples of this curious practice may be seen above (p. 14). This speech may be divided as follows : K. E. ' To do them good — do I make my meaning clear ? ' L. G. 'What must I do? that is what I wish to hear.' K. E. 'You must get your husband's lands.' First we must settle on the construction. It seems simplest to use Set, so that the echo of line 4 will be cos eJ Spoo-OTJtrav. Insert miv for 'therefore,' and it will be seen that one short syllable alone is needed to make a beginning according to Type VIII. Such a one is to hand in viv : Js GUI' viv \ cv Sjodcrovorav |. Finish up with a stock phrase such as ■q aai^mi Xeyia; (OS ovv VIV €v tpdaovcrav — jj iTau^ keyat; For the lady's answer, the student must draw upon his own memory. Phrases ought to suggest themselves : ti Set fie Bpav or iroielv, rC Spav irpocnjicei, will do for the first half of the verse ; 6i\u> kX-vuv for the end ; and tovto yap is the cretic : Ti 8pav irpooTjKci; toBto yap 6f\ai Kkveiv. The king now concludes his interrupted speech : Set 8' avSpds will make a paUmbacchius, and KiKTijirOai yuas may stand at the verse-end. A contrast of persons is implied, 7—2 100 GREEK VERSE COMPOSITION. which suggests ainjv for the spondee; but a trochee does not appear. Paraphrase xeKTi/o-^oi, then, by adjective + some other verb; the cognate adjective icn^'inos will give a oretic, and l^av will do for the verb. 8(1 a dvSpos avrr/v KTriOovm, dirapvovfuu, diroTTTvio (strong, ' spit away '). ' Boon ' = ' what I want': OeKut, xPbS"') "itio. Form. This is better put conditionally, as the Greeks love to do, with ov or rd^ av. With the combination kov, and dirtnrTvio, we can make a hephthemimer of Type X. : Kav airoTTTiJo-ais. A bacchius is easily made with ' What I want,' a xPV^'^i ^^^ ^^ ^^'^ °^^y st^'iicl if the speaker has a definite boon in mind. This seems really to be the meaning (see Une 13), not 'you will refuse whatever I ask,' a ov xpM"'- The Une may be ended with yvi/at : Tax o" 8" a XPBC<^ ''^'' aTOTrruVois, yvvai. L. O. No, gracious Lord, except I cannot do it. Words. ' Gracious lord ' : simply Zva^. ' No ' : ijficto-Ta, or ■^Kurrd ft. 'Except I cannot' : a literal translation is awkward, but we may say ' if I can,' iav , ijv trdivia, etc. EXERCISES. 103 Form. TjKicTTa is a palimbacchius, and may stand first : as (Si/al naturally comes second, we add the -yc often found in answers. But ^v o-fleVco is not enough to complete the line. The student must therefore cast about in his mind, or look in the dictionary, for synonyms ; and must be ready to para- phrase, using an adjective or noun containing the desired meaning. A poetical adjective for ' able ' is Kfiepfyyvo's, and a poetical verb meaning 'to be' is rvyxdvo) or Kvpio. These give the line as follows ; K. E. Ay, but thou canst do what I mean to ask. The Words are simple, but we must remember to echo the preceding line. epcyy\ioi el will therefore be the proper translation of ' thou canst,' and ' to do ' may still be infinitive (consecutive), or wa-re may be used, or a paraphrase with wpo's, as wpos ravB' a, xpM'^- ^7 adding Se or yap we can make epiyyvoi ei scan, and these words are best placed at the beginning, because they are emphatic. A paraphrase must now be made of the remainder. We may use the noun cognate with xPBC") *hat is to say xpioi, and write 'for my purpose,' Trpos Toi/itov XP^"*- "^ only is necessary to complete the line : €peyyvos yap ci (xv, tt/oos tov/xov xpios- L. O. Why, then I will do what your grace commands. The last line is easy enough. The idiom with la-Ot is here convenient : lcr6' ovv or aX\' ta-Oi, and we may complete the construction with Spdcrova-av or dpKiaova-av, words already used. 'What you command' is indefinite (not known) to the speaker, for which reason a xpy^ei^ would be wrong, and av XPH&' is right. This is a molossus, and its place is in- variable. Observe now, that the molossus wants a trochee 104 GREEK VERSE COMPOSITION. before it, and both the participles end in a trochee ; we therefore follow Type VII. or VIII. ovo^ may stand last for 'your grace'; and fie inserted before dpKi ava^. IV. CrEON — TiRESIAS. Cre. Why wouldest thou that he should not be here? Tw. I would not have him heare what I should say. Cre. He is my son, ne will he it reveale. Tir. And shall I then while he is present speake? Cre. Yea, be thou sure that he no lesse than I doth wish ful well unto this commonweale. Tir. Then, Creon, shalt thou know : the meane to save this citie, is that thou shalt slea thy sonne for his countrey. Cre. Oh, oh, what hast thou said, thou oruell soothsayer? Tir. Even that that Heaven hath ordered once and needs it must ensue. Cre. How many evils hast thou knit up in one ! Tir. Though evil for thee, yet for thy countrey good. Cre. And let my countrey perish, what care I ? Tir. Above all things we ought to hold it deare. G. Gascoigne. These lines are a free translation of a passage in Euripides beginning at Phoenissae 911, where the student may look for hints if he will. This piece, it will be observed, is less regular than the last, for in the middle of it the speakers allow themselves more than one line each. "We must be allowed the same liberty, only be careful to give each speaker the same number of lines (two or three as it may be) for each pair of speeches. EXERCISES. 105 Cre. Why wouldest thou that he should not be here? Words. ' Why ' : ri, rivoi x^P'") ^t"- ' ^o* ^^ ^^re ' : /itj vapeivai, aireivai, dwocrTartiv. ' Wouldest ' : ^cXeis, )(prj^eK. Form. We see a bacchius at once, direlvai ; and perhaps it will be noticed that rtvos needs only to be changed into its short form to give a cretic: tov X'^P"'- 'He' may be expressed by TovTov, which with 8e can be made to scan. There remain but two feet, and we have one all ready for us in xjyri^ei's ; the last may be a vocative, yipov. TOVTOV 8' diTtlvai TOV xo-piv xpjj^ew, yipov; Tir. I would not have him hears what I should say. The Words are so simple that we may consider them with the Porm. This sentence may be put independently, with yap as ov yap 6i\oiiJ av ; but it is usual in stichoi to carry on the construction, hence we will make the line subordinate, and begin with /xij. 'Hear' would then give a bacchius, okoiJj;, and with wus interpolated a penthemimer would appear. ' What I say ' might be av Xeyoj, but this would cause hiatus in the First Cretic Position. A simple paraphrase 'is toiis Aoyou?, also a cretic, or toiis «/ioiis Adyovs. The line might end with Kpeov. But this would be a stupid line, and too much like the preceding; it would have the effect of flip- pancy for that reason. If then we cast about for some more poetical phrasing, we may think of ^wo-Toip 'privy to'; and then after changing Xoyous to the genitive, we should want only a verb. ^ is too short, yevrjrai is impossible, being a second bacchius; but aireivoi suggests Trap^, and this leaves us with the following line : fiT] irus ^wio'Tiap TOiV ifimv Traprj Aoyeov. 106 GREEK VERSE COMPOSITION. Gre. He is my son, ne will he it reveale. Words. 'My': e/xds, a/ids. 'Son': Trals, teki/ov, ydvos, etc. 'Reveal': 8»jXow, eK^otVu), eKKoXuTTTO), avairnjcrtro). Or negatively ' not reveal ' is triyov, (riunrav. Porm. This sentence will be linked with the last by yap. It is possible to be quite literal thus. €/i.ds yap makes an amphibrachys, and iraw icrr can stand before it as a spondee ; the sentence continues with oiSe, leaving room for hrqkioa-ti (molossus) with to'Sc in the .last foot. But this version may be improved on. It may be made one sentence, eo-rt becoming (Sv, and e/Aos yap standing as the first word-group, o-i-yi/o-erai is a strong word to end with, and the speech may be clinched by a contrast, 'even if he hears,' (coi kKvihv (cretic). So written, it will be idiomatic and forcible. €/*os yap av Trais koi KXviav iriyrjiTirai. Tir. And shall I then while he is present speake? Words. 'Shall' is better rendered by a deliberative subjunctive, or by Sci, yp-q, and the like, or jSovXei. ' Speak ' : \ey«v, etTTEiv, crai^>jvt([eiv, SijXoBi'. ' Present ' : irapuvai, irapa- CrTOTClV. Form. )8ov\ei toS* enrVKt rfjSe rg mXti, yipov. Tir. Then, Creon, shalt thou know : the meane to save this citie, is that thou shalt slea thy soune for his countrey. Words. 'Then': 817, vw, or both; Trpos ravra, ouv. 'Thou shalt know': XtrBi, etc., aKW^, aKova-ov. 'The meane is': no noun is needed here, but use a participle as shown below. ' Slay ' : KTCivciv, KaTaKTiivtiv, etc. ' For ' : mrip, Ikoti, x'»P"'> oflowexa. Form. We must be careful not to exceed two lines in this speech, as it must match the last. It is easy to make a 108 GREEK VEKSE COMPOSITION. penthemimer out of the materials : axovc and aKovcrov are each an amphibrach, and 81; wv may stand after the first, irpos ToOro before either. The particle toi should be used in the following sentence, as is the wont where the speaker dictates, or professes superior knowledge. The idiomatic form is ' thou shalt save this city by slaying thy son.' We get hence nyvSe Toi for a cretic (First Position), and a literal translation gives crtv is less strong, but would do). ' Cruel ' : ^apw, etc. ' Soothsayer ' : /aoVtis. Form. The vocative may be used, or (which is more idiomatic) a participial phrase : ' What is this thou hast said, being a cruel soothsayer?' ' Said ' may be cTjres or iXe^w ; the latter, we need hardly now point out, suits our verse, for with Tt TovT it makes up the first penthemimer. aiai may stand outside the metre, as exclamations frequently do. From the remainder we get at once /^avTis wv, a cretic ; j8apv$ may stand last, and e/uoi between. (Notice how flexible this phrase is : we might write &v ifiol \ /iavris /Sapvs.) alai ri TOVT cA.£^a$, /juxvti^ Av i/j-ol /Sapv^; EXERCISES. 109 Tir. Even that that Heaven hath ordered once and needs it must ensue. Words. 'Heaven': 6toi. ' Ordered ': use apape, or ISole, the technical word for decrees of the Ecclesia. ' Ensue ' : say ' shall happen,' yevijcreTat. 'Must': avayxij in some form ; but see below. Porra. Be careful to get the English into one line. The construction is carried on (as in the English), by a or airep, a ^rj, a Toi. There is no room for /xev and Se, but we may again use the idiomatic participle: then 'once hath ordered' becomes aira^ Soiavra, with fleois in the dative. We notice that So^avra is a palimbacchius ; and by scanning fleois as a monosyllable we can make a line of Type IV.: a fleow aTra^ \.86^avTa 1 1. Five syllables remain, and ytvija-CTai has but four ; dvayK-q is too long to come in ; we add therefore the emphatic koi to express ' must.' a fleoTs aira^ So^avTo koI yevrjaerai. Gre. How many evils hast thou knit up in one ? Words. 'How many': oo-a. 'Knit up': the correspond- ing metaphor of ' weaving ' expresses rather ' making plans or plots ' ; but in Greek ^ev'yKu/xt or trv^tvyi'V/ai is the equivalent. ' In one ' : eis h, literal. Form. This line is not so simple as the others have been. ^iifiv^wi, preceded by a monosyllable, would stand just after the penthemimeral caesura (Type X.). No monosyllable, how- ever, is forthcoming; for «is tv go together in rhythm, and form a trochee. Suppose we paraphrase ^vit,eu^ws, by finding another verb compounded with ^i/, and adding (if we please) ^«v|as as a participle. Such a verb is ^u/i)8oAA«v ; and its aorist, ^vvt^SoXes, is a cretic with the first syllable resolved, ets ev will precede this word in the First Cretic Position, and feu'^os may follow it (but is not necessary). We now want three syllables to precede «is Iv, and oo-a (which must be 110 GREEK VERSE COMPOSITION. elided) has but one. Suppose we write ' llX.ov, (^tXrarov. Form, vofii^eiv as a bacchius finds its inevitable place ; and )(pij with a particle, yap surely, will precede it. i\TaTov will follow, and ' it ' may be vokiv, placed last. We will add TTovTCtfv to strengthen ipCkraTov, and thus appears a simple line of the First Type. )(pri yap vofJii^civ i^tXraTov iravrtov ttoXiv. Young Mortimer. Lords, Sith that we are by sufferance of heaven arrived, and armed in this prince's right, here for his country's cause swear we to him all homage fealty and forwardness ; 5 and for the open wrongs and injuries Edward hath done to us, his queen, and land, we come in arms to wreak it with the sword ; that England's queen in peace may repossess her dignities and honours ; and withall 10 we may remove those flatterers from the king that havock England's wealth and treasury. Maklowe, Edward II., iv. 4. 18. So far our task has been simplified, inasmuch as one line of English had to be got into one line of Greek. But that is of course not so as a rule. Iambic verse in Greek, as blank 112 GREEK VERSE COMPOSITION. verse in English, depends for much of its beauty on the Verse Paragraph ; or in other words, the arrangement of the pauses. One of our aims must be to avoid too many stops at the end of a line, and to break the sense in different parts of successive verses. It is generally found, moreover, that a good Greek version contains rather more lines than the English. In translation then it is allowable to make about six lines to five of the English, or even five to four. We shall no longer proceed by taking each line by itself, but we shall take a whole sentence, or a couple of thoughts closely connected, and in that manner proceed. Lords, Sith that we are by sufiferance of heaven arrived, and armed in this prince's right. Words. 'Lords': u ovSpes simply (piva, for the simpler etvat tvireiOeii is impracticable, ex*'" ™^y come in the second foot according to Type VII. ; and if we adopt this type we want a word scanning i^ — ^ to follow. euToX/ios is of the kind we want; and with this the next line is complete : ^ jxriv txeiv evTo\iJ.ov iVTruOij tfipeva. The two compounds of ru in succession are eflfective, but ej(«v is weak. A more expressive word is Tpiuv ' to cherish,' let this be substituted. One idea still remains, ' fealty,' and we might express this by irumjv re ; but it will be neater to vary the expression somewhat, and use one of the other phrases for promising faith. Sovvat irto-riv is common in such a connexion, so that the next line may begin TTioTiv SiSovras. and for the open wrongs and injuries Edward hath done to us, his queen, and land, we come in arms to wreak it with the sword. There is little in the Words to call for remark, and they EXERCISES. 115 are best considered along with the Porm ; for the idioms of the two languages differ here. We must observe first that the English is of a formal cast, and almost like a legal indictment with its repetition. The same effect may be got by a formality in the Greek, though not necessarily the same formality as the English. ' "Wrongs ' and ' injuries,' I mean, need not be two words, but it may be better to use the device of antithesis, of which examples have been given (Introduction, p. 50). As this is not a commonplace in Greek, as it is in Latin, the greater is its effect when used. An opportunity is given by the words 'his queen.' If we insert the implied 'king,' and write ava^ avacrcrav, we have done what the English does by different means. The second point to note is, that 'wrongs' is best translated as a verb, with a neuter relative as object. In other words, the sentence in plain prose would be, avO' Sv iJSiKijo-ev ava^ avacrcrav. Next we must decide on the main verb. This should be some compound of avTi-, such as dvTinaatrOai or avriTifjuapeia-dai (middle, because the speakers are interested). Thirdly, we may Grecise the name, as a Greek poet would have done : not picking out Xerxes or Philip at random from the astonished pages of history, but rather making a name as much like Edward as possible, and yet not unpleasant to Greek ears. The simplest plan here is to omit the w, and write 'ESdp8io^. We are now in a position to tackle the translation, re- membering that we left the line just at the caesura. A trochee or cretic is wanted, and this must include the relative. Hence dv6' avioi. Finally we add rpirovi (as in Soph. Aj. 1174 koiuh? ejuas KoX t^itSe koX travroij t/ditov) : this is another term of formality, like the never-forgotten htKaroi auros : KoX Tov% TToXtras e/i^av(3s, }(rlfiiJ3s TpiTovs, 'We come' must not be ^Koit.iv again, but suppose this time we say Trdpi(riJ.€v. Now observe that a whole final hephthemimer is made by the participle of one of the verbs suggested above, avririfKDpovjMEvoi : a fine mouthful, which must add to the impressiveness of the passage. But can any word, not mere padding, be found to complete the line? There is one, if we remember that the correlative of povp.evoL. There remain two phrases, ' in arms ' and ' with the sword.' But the word w-irXuTfLevoi has been used already, and the vigorous determination exprest by them is fully brought out by the strong word we wrote last. We may, however, begin a new sentence here, by saying : ' nor will we cease,' kov XjJ|o- jutV iroT£, or ' we will fight with the sword, until...' EXERCISES. 117 that England's queen in peace may repossess her dignities and honours. Words. 'England's' will be omitted; a Greek would say simply 'the queen,' if he owned one. 'Dignities and honours ' : formality again, but rt/xi/ and yepos are exact translations. ' Her ' : the article, or oi irpiv, cos to irpiv, etc. ; or again, ol irpocn^Kovres. ' In peace ' : elpijvri, or look at the prepositional phrases (Introd. p. 62), and follow the type ; 8i' flpnjvrji. ' Repossess ' : exm TraXtv, ov, av6K. Form. Beginning with the phrase already suggested, and placing etpjjvjj in the molossus position, we may complete it with 'until,' eo-r av, and 7rdA.1v: Koij Krj^oiiiv TTOT, tcrr av ctpijvi; irdXiv The next line is practically made already. For we at once mark a spondee rt/ids, an amphibrachys avaa-cra, a five- syllable group ras wpocrr/Kouo-as, and an iambus exy : Ti/jLai avotrera rots ■irpo(Tr)Kova-a.i\riiia, tfuXrarov tckos. EXERCISES. 121 How chance thou art not with the prince thy brother? Words. ' Not with ' is St'^a, av^v, drep : or, according to the context, ovk dywv, oi waiting upon. ' The prince ' is best omitted. For 'brother,' besides dSeA.(^09, we have Kaa-iyvrjTO's, which if used finds its place in the verse inevitably (see Types IV. and V.), or Kao-is (defective). Form. ' Why have you come without your brother ? ' TL 8' — ^ ^X6es Tov Ka(Tiyvi]Tov SCxa ; to which we may add avT6s,^ 'by yourself,' echoing the idea. The translation is literal, and needs no further comment : Tt 8' awTos ^X6es rot) Ka(Tiyv7)TOV hi)(a; He loves thee, and thou dost neglect him, Thomas. Words. Contrasted pronouns must be used, as always where there is a contrast of persons : kcivos (not airos, which means ' by or of himself '), 6 /iev x a-v Se. ' Love ' is always a diflBcult word. Do not use ipav (' to be in love ') or toO^Iv ('to long for, desiderare'), but ^iXeiv or a-repyeiv (rather weak). ' Neglect' : perhaps afieXeiv may come in useful; or KaTapov€iv, though this is stronger than 'neglect.' Form. $i\«t o-e Kcivos makes the penthemimer : note that Keivoi is strong enough to do without iji,€v, if convenient. (Be careful not to write Kctvo's o-c crripyei, with o-e in position before ut: a common mistake of beginners.) crii 8e Karaffypovm completes the sense, and we may stop here, if we can see our way to the next phrase. But remember that a final iambus, if stopt off from the rest of the line, should contain a con- junction. Thus a phrase like crv 8e, o Si may end a line; but an iambic word without conjunction, such as exeis, is im- possible in this place of tlie verse. Suppose then we expand the verb by some participial idiom ; we then have i\ti (re Kelvo's, cru 8e KOTO^poi/eis i\t!}V — w — o — Xa^wv. The gap may be filled by a dative of person judging, and EXERCISES. 123 it will be convenient to use a name : t<3 ye TcvSpiKw. There is here a jingle of yc Tev-, which we may avoid by some prepositional term, as rdiro TevSpiKov : dXX ladi yap rot ■7r\.€iiSv Tairo VevSpiKov Xaj^cov. Note that kayxavio takes gen. of the whole, thus — evvoiai Xa^tiv, but the idea of ' part ' is understood, and if ' part ' is exprest by a word, that word will be accusative. and noble offices thou may'st effect of mediation, after I am dead, between his greatness and thy other brethren. Words. 'Cherish' is rpit^av. 'It' may be tij'vSe (sc. etnroiav), or repeat the idea, e.g. by using Trpodvfjiiav. ' Noble offices,' etc.: this may be paraphrased personally, 'you may reconcile him and your brothers when quarrelling, crv/t^aX- kovTai...epiv'; or 'you may make a reconciliation of anger, SiaWayiiv (8id\v(riv) )(6X(n> 6elr]i av ' (not Troioir]';, which means to ' manufacture,' nor irowlo ' become reconciled '). ' Noble' is important enough to be made a statement in Greek, not merely an allusion. This can best be done by the Accusative in Apposition to the sentence : KoXijv Sianav, mpalov irovov, or the like. The dative will follow. ' When I am dead ' : e/xov OavovTos, which may begin a line, or otui' ddvm yap, the same + a necessary conjunction filling the same space as the last. 'His greatness' may be kcivos simply, or better 'the king.' Form. Tpi6ovo^. 'Lead': criravilw. 'Warm': ddXTTu) or 6ekydovos 8e ^cip uxTT 7]v (TTravi^ri tis /iaXatro-erat Keap yauK KJyuaiv rpe^owos i/Xiou Soct/v. The learner will observe that the third of these lines has no real caesura, since tis goes in speech-rhythm with the preceding word. See Introduction, p. 11. yet notwithstanding, being incensed, he's flint ; as humorous as winter, and as sudden as flaws congealed in the spring of day. Words. 'Yet notwithstanding': o/«os, avdis. 'Flinty' is in Greek a-ih]p6<^p(av, Ik irirpas TreTrXacr/tei'os, or the like. ' Humorous ' is of course used in the old sense of ' capricious,' EXERCISES. 127 full of ' one-sided feeling ' ; the old medical theory being that in such minds one of the ' four humours ' overbalanced all the rest. This would be in Greek literally ircpto-o-o^ptuv x dprl^pav, ' with a well-balanced mind.' But the word ' winter ' suggests 'stormy' as a better translation of the poet's thought; for irepio-o-o^pcov refers rather to the intellect than to the passions. For this we have SvVxtjuos, 8ii(r;(«t/t£pos : to which should be added Ovixov, the better to define the metaphorical sense of the -word. 'Flaw' (or 'floe') is 'ice,' Kpvo-raXXos; and 'to freeze' is m/yvwoi (trans.). 'As sudden as flaws' is best rendered by 'cracks like ice'; and we may use the gnomic aorist. 'Ice' is KpvtrraXKcK. 'Incense' is yipKoia, xaken-aivw, or a phrase with 8i opyrj's. ' Spring of day ' may be simply Form. -ffoKuiBiii takes the sole bacchius place, and crtSijpo- <^p(ov will be put last ; ta-O' ofuoi make a good cretic ; and avOi^ completes the line. Sva-xeCfitpo'; re Bvimv is already metrical. A slight difficulty offers at the end of this line ; as a vowel must follow, Kttt cannot stand ; the rarer -qhe. will prove useful, and we must find a compound instead of ippdyq. In the concluding line, €^ eu> Trayets goes naturally at the end, and will be naturally preceded by Kpuo-ToXXos ; we may echo the idea of ems by an adjective, such as opdpioi. There is now no room for tSoTrcp, but ma-Ti is often used with the same meaning : e.g. Medea 523, Ofi.s ifrO' ojuus op€iv, Sva-xtpoLLveiv, KvlZficrBai. ' Sit ' ; ^/xai, KaOiqiwx, or compounds ; t(|a), etc. Form. Several different lines might be made to render this sentence ; for we have only to put each of the above words in its proper form to see metrical phrases. Kvi^io-Ot might stand first, Sva-KJiopeiTe completes a penthemimer after 17, SvcTxepa-Lvert is a final penthemimer. The noun will be in the genitive absolute : rovSe ivOdS' rjfiivov needs only a very natural ye to make it scan, Ka6rifi.evov may stand first or last. EXERCISES. 129 and so forth. Or a partieiple may be introduced, say opcuires. On the whole, ^ Suo-^opetTt makes the best beginning, because the simplest; and a more impressive ending will be got by using the compound o-vyKcidrjfiai ('sit with me'), which the context shows to be the meaning. rj ouo-i^opetTe roSSe crvyKadrjfi.evov ; It is our pleasure, and we will have it so. Words. ' Pleasure,' as a technical term, is Soxeiv ; or still stronger, dpapc. 'Will': use xPV> XP™''> avayxij or the like: or perhaps yevT/o-cTot. Form. owTu) Se'SoKTat is a literal rendering, and it forms a half-line. Another half-line is oSs tout* apape. The com- pletion is easy, koi yevr^creraL is a five-syllable group, and with TaSe last we get a line of Type IX. But after all, this has happened, and the future is out of place. Then it is equally easy to make a half-line with xpe<">' (avayxi? is barred, being a bacohius). Kai xpeav is a cretic, rdSe comes last, and elvai between : OUTO) SeSoKTai, koL )(p€!av etvai rdSe. Lancaster. Your Grace doth weU to place him by yoiu- side, for nowhere else the new earl is so safe. Words. 'By your side': TreXas a-ov. 'New earl': i/eos Toyos, Swdartap, or perhaps 6 veioa-Tt Koipavos, or rayos. ' Safe': (reus, aa-ffiaXrji, or of places jSi^aioi, ixeyyvoi, atrvXr/ro^. 'Else- where': aXXap^oC, aWos TOTTos or ASkos. 'Your Grace': tSvaf. The Form of the first sentence will be in Greek 'Well you place him beside you,' a'XV ev fi,ev ^ew iriKas crov. This gives the beginnings of two lines : aW ev ij.iv, palimbacchius, and TTtXas o-ou bacchius. These can also stand together if we omit either jticv or dXkd : eu fiev ireXas crov But though the second line could be got into the remaining 'space, 'your R. 9 130 GREEK VERSE COMPOSITION. Grace' must then be left out. Here the phrase has some point, its formal respect giving emphasis to the veiled inso- lence of the rest. We will keep it then, and begin the line : aW eu //.ev, wva^... with Ixcts ir«\as trov in the next. The space between them may serve for ' the new earl,' which can be taken out of the succeeding sentence, and will just complete the first line : rbv veov SvvaxrTopa. Our business now is to expand : the next sentence may accordingly begin with koI yap. 'Nowhere else' would give a rather awkward phrase, unless we wrote ovk a'AAa^^oB simply. The paraphrase with OaKo^ is more convenient, ' no other seat is so safe ' ; and this, it will be seen, is capable of expansion. Translated simply into prose the thought would be exprest thus : ovk oWos OaKOi ouTMS ao-^aXifs iirnv. Here are trochees and spondees : what we want is an iambus. Change Icttiv to SoKti, and there it is. Now we can utilize our trochees by making the line of a trochaic rhythm, that is to gay, by following Type VI. Let ov SoKsi be the final cretic, and place aKkos before it. Next, if we take the word for 'safe' which scans as an amphibrachys, ovTO) ^ScySaios will give an initial half-line. This completes the translation, but we must finish the line; and it is easy to expand by completing the construction of aWos. ' No other seat is so safe as that,' -q KeTvos, to which again juovos may be superadded. The piece then is completed as follows : aAA eu fiev, (uvaf, rbv vecoerTi Koipavov €;(ets ireXas (tov koi yap oWos ov SoKci ovTO) /Se/Saios ^Skos ij Ktiva ftovos. These lines are slightly inflated, it is true; yet a terse translation would have to sacrifice something. 5 Mder Mortimer. What man of noble birth can brook this sight 1 Words. ' Noble birth ': yevvaios, €uyev7?s. 'Brook': rXiji/ot. The Porm of the line is practically settled by Tkairj av. These words reversed make up a molossus, and evyivrjs becomes EXERCISES. 131 impossible. But yewatos may stand immediately before them, as in Type IV. tis must begin the line ; and ' this sight ' will be in our sentence ravr ISelv or the like. The adjective how- ever cannot stand thus alone. We must add an indefinite ns, which would be poor in style; or wv, not much better; or dvTJp, which is exactly the right word. But avijp cannot stand last; place it then before yevvatos, which is exactly its right place, and find a verb meaning 'to see' which shall begin with a consonant. It is easy to think of jSA-eiretv, and the line runs Tis ravT dvrip yevvaZoi av rXaii] pXeirav; See what a scornful look the peasant casts! Words. 'Peasant': aypdrijs, aypcucm;?, etc. 'Scornful look': use an idiomatic paraphrase, e.g. v^piv ySXeirei, crefi- vivercu. Form. With these words a good line may be made. ' The peasant' will be dypoTijs (=6 aypoTijs), or aypo'njs -n-pXv &v, and jSXeTTEi will then complete a final hephthemimer. tus v^piv is a palimbacchius, and outos completes the line. The jingle of pXerniv and )8XeV« can be paralleled (e.g. Soph. 0. T. 777, 778); but it is to be avoided if possible. We will try another way. Contemptuous expressions are often made with neuter nouns, and 'peasant' might be dpip.pxi Svo-yevcs. Here we have a possible cretic ; and if we place o-e/xvuvcrat after it, the line is as good as made. oSs toCto may begin it; or better, oJs Opip-fux, which gives a true balance to the words : (OS Gpiix/ia TOVTO Svcryevei crtforuverau The unemphatic tovto between two strong words throws up each into stronger relief. Pembroke. Can kingly lions fawn on creeping ants? Words. 'Kingly': /Saa-iXiKos. 'Ant': /tiipfn?^. 'Creep- ing': there is no suitable adjective to translate this, but the 9—2 132 GREEK VERSE COMPOSITION. tone of contempt may be reproduced by (j>av\oi or some such word. 'Fawn': o-aiVm. Form. The line is very simple, and there is little choice of words. All we need premise is that the singular must be used, because there would be no room for the plural. For the same reason, ' can ' must be omitted. ;8aav)*jov a trochee. fivpHTjKa av\ov ^acriXiKOS (raivei \iwv; Warwick Ignoble vassal, that like Phaeton aspir'st unto the guidance of the sun! Words. 'Ignoble': Bva-yeirqi, ayewrj's. 'Vassal': SoSXos, S^u's, TpiSotiXos; or by a favourite idiom, SovXtv/ia. 'Like': m, mrirep, SiKT/jv. 'Aspire': dfioBv. 'Guidance': use cXaweii/, SujiprjXaTeLv or a similar word. Form. The beginning of the line admits of various arrangement, SovXeu/ua may stand first, and be followed by dyewis; or we may write u XPV/*' ayeiTes. Again, by Type IV., we may place Sovkevfui after a four-syllable group, e.g. <3 Sv(Tyev£'s. (Observe however that Suo-yevijs has just been used.) ^aiOovros is a molossus equivalent, the first syllable being resolved : this with Stmji' will naturally form the final penthe- mimer. A relative to connect the two clauses is os, which by adding ye (allowable, like irep, with almost any emphatic relative) will make up the line SouXeu/t' dyevvU, os ye ^aidovroi SiKrjv.... In the next line we have the latter half ready for us, allots being a cretic, and Si^pi/XaTciv the proper end-word of four syllables. ijXCov cannot be used, because there is no room for a second cretic, and the article cannot be prefixt to it with- out hiatus. A slightly longer phrase is necessary, and the EXERCISES. 133 context suggests that ' chariot ' be inserted : apfia is of no use, but the sun drove a four-in-hand — TiOpvtnrov. Add ^oi^ov, and write $oi)8ov riOpi/n-irov d^iois 8ipr]\aTttv. Yov/ng Mortimer. Their downfall is at hand, their forces down. The Words can hardly be discussed separately; most of them are simple, but there is a metaphor, 'forces down,' which cannot be reproduced. A Greek might say ' they are down,' Xapai, or 'their power is gone,' pov8oi oixtrai. This will give us an excellent ending : ^poSSov oix'Tai Kparos. The first part is best exprest by a verb: 'they are falling,' irtirTovcn. A spondee or trochee remains. Why not repeat this verb, transposing <^povSov and olxerai ? The asyndeton wUl greatly strengthen the line : irtirroucn, irtirrovcr', oixerai pov8ov Kparo's. we will not thus be faced and over-peered. Words. 'Faced': evoi'Tioi' pXiirciv, or 6p6oii o/x/i,a(r(v, is used of bare-faced impertinence. ' Over-peered,' i.e. overhung or overshadowed, tyrannised over, put in the shade : some paraphrase is necessary, perhaps one that suggests the being S puffed up with pride.' Kop-iroi may be useful, or oyxos, or its verb i^-oyKOV&Oai, Form. We can see from the first words that this line cannot be compressed into one. For 'we wUl not,' if it is to be properly rendered, must be rendered by some phrase like ouK la-ff oirws, or a string of negatives ; and here is half the line filled already. The phrases given above are also long : IvavTiov jSXeTTciv is half a line exactly, i^uryKio/jia'OL is a final penthemimer. We must therefore make two lines of it. Now we can choose with more freedom; and the sense suggests oiiK io-T avcKTOv for a beginning, or more idiomatically, ettei ovk 134 GREEK VERSE COMPOSITION. avcKTOv (circt ovk form an iambus by synizesis). i^oryKiofi.evovK£ yap xetvos, which contains the required form. Or we may continue 'who will take Gaveston 1 ' which with an ethical fioi gives : Kcivov [nev ow • Ti's Xijij/tTai TavaTwd iioi ; Kent. Is this the duty that you owe your king? Words. ' Duty... owe ' : a paraphrase should be made with TriVrts, TTiiOapy^M, crefia^, and otjaeiX-eiv ; or the sarcastic idiom with xaXws — 'nicely you obey your king!' A proper particle is apa, 'as it seems.' Form. 'Your king' may be literal, but it is a cominoil idiom in Greek to use the indefinite plural: 'you know how to obey kings, it seems ! ' This will give Tupdwoii (a bacchius) for the second place, and Kakmi we will put first. 'Obey' gives us a molossus, ■jretdapxelv, and tore will stand before it, dpa ooming last (the particle might go almost anywhere) : KaXcSf Tvpavvofi itrre TruOap^^elv apa. 15 Warwick. We know our duties — let him know his peers. Words. 'Peers': ol la-oi. Form. A /acV and 84 sentence is clearly called for. We commence with ij/tcis fiev, palimbacchius; the pronoun is necessary to make a balance to 'him,' oSe, ovros. icr/x.ei' follows as trochee (Type II.). 'Him' is Gaveston; the second clause will take this shape — 'but this man (knows) not his equals.' toiis 8' *oroi;s falls into the third place, as a cretic, and ovK oiS* o8e may stand last, as usual. A more forcible line may yet be made of it, if we get the negative last. Leave out the verb otS«, and let the last foot be o8' ov 136 GREEK VERSE COMPOSITION. (accented, by rule, in this position); then move the cretic forward to the Second Position (Type V.), and insert ravra for the trochee: ■qfiLtii fihi tcrixev raCra* tous 8' i€peiv. 'Stay': Trauto-flai, or better eino-x«iv. 'Shall': some word like )(pij, xpew will do. instead of a future, if so it prove convenient. Poim. The first phrase turns out a palimbacchius without alteration: iroi 8" a^ere, with elision. Either travicrOe or hri- trxere (elided) can stand before the caesura, according to Type VIII., if a monosyllabic particle can be found to precede it. aXXd is often used in excited commands ; so we write aXX.' hcur-j^en. The remainder is no less easy : rj Oavuv comes next as a cretic (Second Position), and xpemv may end the verse : iroi 8 a^tT; aAA €Tri o*" ^s that will not scan, replace it by xalpoiri //.oi : (S x^'PSt' avSpes TavTLKoC, xaipoire fioi. 138 GREEK VERSE COMPOSITION. This is the last time you will see me here. Words. ' Last time ' : vcrraTov, iravvaraTov. ' See ' : opav, I3\e7rav, &c. 'Here': ivOdSe, ivravda. The Form of expression is a familiar catch. In English, if it is desired to emphasize a word, the word has to be put in a separate sentence: 'it is I who speak,' 'it was this I wanted.' But in Greek, emphasis is made by putting the word out of its natural place ; at the beginning, if possible, or else at the end of a sentence. ' Last time ' will therefore come first. Another mistake beginners will probably make in this sentence is to translate 'will see' literally. The right way is to render it 'For the last time you now see me': vcrraTov fie vw opart. A link is necessary, and yap is the best. It will now be noticed that vtrraTov yap needs only one syllable before it to complete a penthemimer. A longer word is to hand in the compound -iravva-TaTov, which suits our present purpose. Ag^ui : opare /ac may fill the last two feet, leaving a cretic gs^p. Is there any word meaning 'here' which has the required scansion? There is none, and evOdSe (in eHsion) falls short of it by a syllable. But it is easy to turn the verb into a compound, and then we have wavvaTaTov yap iv0d8' eldopari [le unless God prosper me past human hope. Words. 'God': ^eot, fledsTis, 6eu)v Tts. 'Prosper': jSoij^etv, or subst. ^cnjOeia. ' Past ' : i.e. beyond, vipa ; or in para- phrase, 'greater help than...,' p-atfav rj Kara 'Human hope': cXttIs ppoT&v or Ppomla, dvBpunrtav, etc. Form, el 11,-q of course should begin the line. A future indicative may follow (PoirjOiija-eL), or an optative (jScyqOot, Type I., or ^oriOoirj, the more usual form). The two longer words need only the addition of tis to make up a hephthemimer of Type XL The student, it is to be hoped, will not fail to see EXERCISES. 139 that iXmSo^ irepa gives a cretic and iambus which will complete the line. The next should begin with Oeds, and a bacchius to follow is ^poT€tas: fl fj-ii l3or]9oirj Tts «\7rtSos irepa Oeoi PpoTeia.%. Note the additional force of these two words in antithesis. I thank you for the dutiful demeanour 5 which never — no not once — in any of you have I found wanting. Words. 'Thank': oT8a y^dpw. The construction should be oTt or some equivalent, with dependent clause. 'Dutiful demeanour': i.e. 'that you have behaved dutifully,' or 'that you have shown (used) obedience': -reSapy^iiv may be used, or TTcidapy^ia ■^^ptjo'dai, '7rei6ap)(0's, eiiiraflijs. The student should always think of all possible parts of speech which may express a meaning, so as to vary the construction if necessary. 'Want- ing': use eAAewreiv, eWnnys. Form. We begin after the caesura ; and note first that oiSa may follow at once (Type V.), with a suitable conjunction, such as 8e. x"P"' "^^7 come last, and it is allowable to add such an adjective as is found in thanksgiving. ttoWtJv occurs first to the mind, but this will not scan ; however, the same idea will scan if put negatively, oi cr/xiKpav. This line finished, we pass on to the next ; and the beginner will probably elide the final of on. But this is never done in iambic verse, either tragic or comic. We may if we please substitute iiret, but there are more exact synonyms which will do, ovveKa or oOaiviKo. If we add act to the latter, a penthemimer is ready made. Tr€iJdap\la, may now end the line, the verb ixp^trOe being kept for the next. A careful composer will not fail to observe that there is alliteration in the English, 'dutiful demeanour ' ; and if an alliterative adjective can be: found for TTeiOapxu}, such as will suit the context, it will be justified. 140 GREEK VERSE COMPOSITION. Trai/reXiys will do for the purpose, and this we accordingly use for the cretic. 'To me' remains, and this is quite simply trans- lated by Trpds /i£, which may follow exptj. oi yap Ki)(prj^i. would do well enough to begin with, but it will be difficult to go on without ye ex maohina. On the other hand, a slightly difiFerent arrangement gives another kind of penthe- mimer, oux '^e 8if, predicative. The article added to tijxi? makes a cretic ; and the verb may be used in the plural, a frequent idiom with speakers : ov)( iXeu) S'^ TTj TUX2? K.f)(pnjiJie6a. ' Friends ' is unnecessary ; but it may easUy be brought in later. 142 GREEK VERSE COMPOSITION. but let not that deprive me of your loves, or of your good report. Words. 'Deprive': dwo-oTcpeii/. 'Love': difficult to turn by a noun, but aripyrjBpov may do, or KifScv/xa, or irpoOvfiia. Do not suppose these all have the same meaning ; the verb must be chosen to suit them. 'Good report': KaXij ^So'^is lit,, or use (cXvetv tv. Ponn. As xXveiv ev is so good a phrase, it will be more convenient to reverse the order of the clauses : ' May I be spoken weU of as before, and not be deprived of your love.' KXvoifi ev makes a bacchius, and a strong 'but' is ofjuai, which we place before it. o5s to TrptV might follow, but for the hiatus. Turn this negatively, and you have 'no less than before,' /jLTjSev rja-a-ov rj to jrpiV, which scans without more ado : o/^(US kKvoijx ev fxT/jSev ij<7(rov -q to irpiv.... ' And may I not be deprived ' also scans, /tijSe o-Tcpot/Ajp'. T^s ■KpoOvp.ia^ may stand next (Type X.). 'Your' cannot be got in ; but the vocative ^t\oi may be added, and in this connection the meaning must be 'your,' unless there were a stronger reason to the contrary : /xjySe iX,oi Be this the word : My rule was brief, calamitous, but just. Words. ' Rule ' : rvpawii ; dp)0 better, as less invidious. 'Brief: /Spax^s. 'Calamitous': oixTpos, Suonjvos, Svir-dOXuji, etc. 'Just': Sucaios, IvSikos. Form. ' Be this the word ' cannot be translated literally. We shall use as a model Kat ttote tis eiTriytriv (Homer), or similar phrases. Connect this with the rest of the sentence by <3ot£ or (US : wot' flireiv Ttva, or ] to come into this part of the EXERCISES. 143 sentence, 'about my rule,' irepl t^s ejn^s «PX^s- Here is a cretic, t^s e/*^s, and by placing irepi last we get the line ft)S Kav riv tlireLV r^i e/x^s apx^s mpi.... In the remainder one point must not be missed. 'Calami- tous ' and 'just ' are in strong contrast, and ' brief ' stands on a different footing. In prose it would be oiKTpus fiev, SiKatus Se ^px^v, and 'brief would be put in a different form, say oXiyov xpovov, ov (Tvxyov xpovov. Now otwrpaJs /j-ev begins the line well enough, but leaves no room for the bacchius SiKaiiai. However, IvBikus may replace it in the First Cretic Position. ^PX^v may follow either; but as oXiyov can only fall after o'lKTpws fiev, we place rjpxi-v after Ji/Sikcos 8e. Then xpovov takes the last place, and we have finally olKTpios jnei/ oXiyov ivSiKuis 8' ^p^ev XP^^""- This sentence is in direct speech, and in prose on would intro- duce it ; but that is not indispensable in verse. IX. CODEAGE IN DlPPICULTIES. Great lords, wise men ne'er sit and wail their loss, but oheerly seek how to redress their harms. What though the mast be now blown overboard, the cable broke, the holding-anchor lost, and half our sailors swallowed in the flood? Yet lives our pilot still: is't meet that he should leave the helm, and, like a fearful lad, with tearful eyes add water to the sea, and give more strength to that which hath too much; whiles, in his moan, the ship splits on the rock, which industry and coiurage might have saved? Ah, what a shame ! ah, what a fault were this ! Shaebsfkabe 144 GREEK VERSE COMPOSITION. Great lords, wise men ne'er sit and wail their loss, Words. 'Great lords': avSpes (^epioTot, etc. ' Sit' : literal, or use evTos fievtw, 'to be a stay-at-home.' 'Wail': 6prfv&, alAtfD, oifjiM^m, etc. ' Loss': ^r/iiia, or paraphrase such as ro /x^ KaTop6ovv; SvtrTvxqiJia. Form. avSjoes ipepia-Toi, which is already a penthemimer, naturally stands first. ' Wise men ' may be ol (TooC, or more idiomatically, o-oc^os tis; and, taking the conditional form of sentence which comes unprompted into the mind, we get ovk av O-O0OS Tts, another penthemimer. If we follow up this hint, it will be necessary to put ' wail their loss,' or part of it, into the first line, ^yjixtav drops easily into the First Cretic Position, but oi/xou^oi, a molossus, can find no place in the same line as a cretic. But /aev is called for by the context, as looking forward to Se in the second clause. Place this after ^ly/uav, and the group becomes a double cretic. In this type of verse (Type VI.) the student will remember that a final cretic is necessary. The words of the English furnish no other ; but one is readily evolved. To a noun used indefinitely rtva may be added ; and a paraphrase for riva is d tvxoi, ' should there be one.' The second line is already half done; and oi/iu^oi falls into its place, leaving the last foot for fn.evmv. A trochee is now needed to complete the line, and evros is a trochee, avSp£$ 6s ris evtos oI/ju^oi fi,ivmv. but cheerly seek how to redress their harms. Words. ' Cheerly ' : evOvfioi. ' Seek ' : ^ryretv, a-irevSeiv. 'Redress': use metaphor laia-Oai; or, less picturesque, opdovv. ' Harm ' : vdcros, kokov, pXa^r). Form. Here we perceive another molossus : lacrdai. As for ^rp-ftv, in its usual form ^ryrohi it is impossible in iambic verse : the ^ would lengthen any preceding vowel, and hence EXERCISES. 145 a trochee could never precede it. We must therefore use the shorter and rarer form t,r)Toi. Now this, ■with the necessary 8e, and av following, makes a palimbacchius : ^r/rot 8' av. We now need a long word of four syllables (as in Type VIII.), or a double trochee, to come next this first group. eS6v[i.oi is too short by a syllable ; but put the same thought negatively, ovk aOvfios, and you have it. Kara will now stand last, and the line runs thus : ^7)701 8 av OVK aOv/jiO'S laadai xaxa. What though the mast be now blown overboard, the cable broke, the holding-anchor lost, and half our sailors swallowed in the flood? Words. 'What though': el, the sentence put as a simple conditional. 'Mast': Jo-tos. ' Blown overboard ' : use Tri'irrcti', adding 'into the sea' if you will, with some instrumental phrase, irvoatsor the like. 'Cable': xaXcus. 'Broke': diroppay^- vat, or adj. Bi)(oppayr}'s. 'Anchor': SyKvpa, or icri^ds, which is literally the 'holding-anchor,' Soph. Frag. 669. 'Sailors': vavrikoi, vavrai, vav^aTat (avSpei). 'Swallowed,' etc. : irovTitTOw. Form. Sea metaphors are as familiar in Greek as in English, and the sentence may be translated literally. On the other hand, it is just as neat and rather more convenient to introduce it by a simile : ' What if we are like sailors in a storm, whose mast,' etc. This gives d //.ev yap as a beginning (palimbacchius), and acrirep or wore to follow. There is more than one cretic available: vauySarat, vavriKoi. 'To be in storm' is a-aXeveiv, which gives the desired four-syllable group for the verse-end. We thus get a line of Type II. : et /icv yap, tScrirep vav/Sarat, (rakcvo/iev oh will of course begin the next line, and if we place lords next, the result is another palimbacchius, but of difierent R. 10 146 GREEK VERSE COMPOSITION. internal rhythm, eirfo-e may stand next as trochee-equivalent. As the mast has not merely fallen, but been ' blown ' down, it is necessary to add the winds in one shape or another : rats OT/oats as an instrumental, or e/c tti/o^s, to which we may add a ' stormy ' epithet, 8ii(rx«t7**P°5 ^o*" example, or Sncnre/ii^eXos : ots itTTOs eireaev tK Trvorjs 8v(T7re/x.<^£A.ou. . . . The next phrase may be a similar sentence, or a genitive absolute. The line may begin with Sixoppajj^s, but this helps no further. On the other hand, airoppayevros suggests Type XI., and before it we may place KaXw with a conjunction Se (if a finite verb is to come), or re (if another genitive). The latter suits our line better ; for lerxaSos r airo will just complete it: Ka\o's. is't meet that he should leave the helm, and, like a fearful lad, with tearful eyes add water to the sea... Words. 'Meet': Trph-ei. 'Helm': oia^. 'Like': Sikijv. 'Fearful': iiLaXOaKo^. The rest must be paraphrased; see below. Form. The English gives oipa, or with a natural particle ap' ovv. TTpiirci avrbv is impossible. If the pronoun be omitted, we must seek some other word to settle the Type of verse; but replace it by viv, and you have an amphibrach. 'Leave the helm ' gives a palimbacchius oiaxa, and a spondee XetWetv', which may go in the next verse; this therefore is the place for the simile, 'Like a fearful lad' is metrical without sophisticating : /laXOaKov (cretic) TraiSos Stxijv (four-syllable group) : ap' GUV irpeirei viv, paXOaKov iraiSoi Slktjv, otoKa keiireiv What remains is somewhat affected, and it is neither meet nor possible to translate it literally. The student must draw 1 irpodoSiiai might be used. 10—2 148 GREEK VERSE COMPOSITION. on his memory to find something that will do, and beat out a phrase such as this : ' increase the sea with a flood of tears,' or 'by pouring tears out of his eyes.' Now 'flood of tears' is a worn-out metaphor in English, but in Greek it is strong. Yet it is actually used : Eur. Ale. 183 Troiv Se Bifjuviov 6<^da\n,o- riyKTia Seijerat irX-qfifaipi^i. This is exactly the turn of phrase we are looking for. Place SaKpviav instead of Several, and you have the very thing. To finish the line we left half done, we have to bring in a conjunction, verb, and the word 'sea'; av^eiv or av^dveiv 6d\(W(Tav. Now here we have the materials for a hephthemimer. Place koX before BdKacra-av, there is a double trochee (Type VI.); and aiidveiv may stand as final cretic : ...Kat OaXaar(Tav avidvtiv o^^aX/iOTeyKTo) SaKpviav irXij/i/tvpiSi. and give more strength to that which hath too much. Words. 'Strength': Kparos. 'Too much': Xiav, ayav. Form. This line is equally affected, and it is to be feared that it will never look well in Greek. Such an exaggeration of sentiment would have been impossible to Sophocles, and we may say then that he never could have written such a line. But there it is, and it has to be translated ; our business must be to so translate it that a Greek could have understood what was meant. This is not difficult. Sovvai is 'to give,' and Kpdros with the conjunction re may precede it as an amphi- brach. It will be rather neater to express the idea by a participle : xparos SlSorra. But ' that which has too much ' must not be translated t<3 Xiav exovri, or anything of the sort. The noun understood is 'sea'; no Greek would have been likely to take tw expvri as referring to the sea, nor indeed would he have used \Cav ex^iv together, we may be sure, when an adjective is really wanted. A Greek would put the thought into the verb, using Kparvvo) or a synonym. This we will also EXERCISES. 149 do. ry KpwTvvowrr) is a five-syllable group suited to Type X., and Xiav may stand last : Kparoi StSovra Trj KpaTwovcrr) \iav. whiles, in his moan, the ship splits on the rook, which industry and courage might have saved? Words. 'Whiles': iv . 'Industry': no convenient noun, but aoKvoi may be useful. ' Courage' : Gdpa-oi, dvSpeia, &c. Form. A literal translation gives iv <3 for the first group, and TO Trkotov (amphibrach) for the second; a-wTpCfieTai will stand last. ' On the rocks ' is in Greek idiom irtpl mrpaK, the thing which is pierced being the centre of thought, not that which pierces, (irpos irerpais might also stand, or irerpais ■ alone, besides other constructions.) Now Trepl Trerpai% is equivalent to a cretic with the first syllable resolved; and we thus have a complete line : iv w TO irXoibv irepi irerpais avvTpt^erai orei/ovTos avroS may begin the next line ; but it had better be left out for more than one reason. The chief reason is that the phrase might imply he was groaning at the catastrophe, and might be retranslated 'to his dismay.' This is not the meaning at aU, and it would spoil the picture of unconscious- ness which is drawn by the original. Another reason is, that it ought to come directly after ei/ u if it comes at all; and lastly, it will mean in the end another whole line of Greek. The sense is equally clear without it ; be it therefore omitted. The succeeding sentence should be made personal in Greek, the same subject being kept : ' which he, had he been ookvos and avSpeios, might have saved,' tcrwcrev dv. ' Had he been ' is simply Mv, the av giving a conditional cast to the whole 150 GREEK VERSE COMPOSITION. sentence. Thus we have a number of metrical possibilities : four-syllable groups eauxrev av, ookvos ojv, avSpetos mv; amphi- brachys aoKi/os, palimbaccbius avSpcios. The emphatic kou may be added; this will give o kAv for the first group, and io-uxre may follow. This is a line of Type I., but no cretic appears. However, we have only to elide the final of ea-uxre, placing after it either of the adjectives, to get a hephthemimer of Type IV. The other adjective with £v makes a four-syllable final, if a conjunction can be found to stand between. This conjunction must be, or become, a monosyllable, and must begin with a vowel. Hence koI will not do; but just such a word as we want is lySe: ...o Kav wuKT avSpeios 178' aoKvos \ovtTav ofyyijv (rrjv dTriodrjcrds r cjUE. ... ' Take your good grace ' is d^^Ovau or i^eiXov ttiv evvoiav or cv/ieveiav. The verb, it will be seen, is a molossus ; con- sequently we shall follow Type V. or XI. or some modifi- cation of them. Either noun may stand before this verb; but the longer is here better, because we want to fill out the line. Koi wiU stand first, and a trochee now remains to be found. If we add vpiv to the article, we get our trochee; choosing a longer verb we have Kai TTjv irplv ev/xiveiav e^airoo-T«p«s; EXERCISES. 155 Heaven witness, I have been to you a true and humble wife, at all times to your will conformable. Words. 'Heaven witness': 6eol ^via-rope's, Oeovg /mprvpo- /xai; perhaps irpos Oewv, though that is better suited to a request. 'True': itottos. 'Humble': euTrctfli^'s, cuTriffifs; perhaps Toireivo's, but this is less respectful. 'To thy will conformable': the same words will do, or e/i./x.cA.)f9, ^/i/ierpos, for 'conform- able,' ^ovXevfw, or PovXrj 'will.' A metaphorical phrase may be useful, e.g. veprepa, Trpoa-qfx.evo'i Kiiirri, 'sitting at the lower oar,* 'playing second fiddle.' ' Wife': ywij, hifrnp. Form. 'For' may introduce the sentence; but it is better to use the idiomatic ijtis or ^tis ye, the latter of which as a palimbacchius may stand before irurrri (Type II.). Now observe that 6eoirs /jiaprvpofiai will serve to complete the line, if an article be added ; the phrase may go in as a parenthesis : ^Tis yt xiiJT^ — Tovs Otoiis [lapTvpo/iai — . ... ' I have been a humble wife ' is the thought which has to be translated in the next line. The words suggested include a cretic (ev7rt^i;s) and a tnolossus {emeiOi}^), while Sd/xap may stand last. The verb may be ttci^vkc, or, if the construction prefer a participle, yeywa-a; and oet will stand as the first foot. A foot still remains unfiUed : trochee or iambus accord- ing to the word we choose for 'humble.' xai is natural, as another adjective iricrn; has already been appUed to the subject ; and an emphatic /toXa makes up the remaining syllable : del yeycocra, kol /idX' evTrfi6TJofiei(r6ai, rpeiv, rap/Setv; with the nouns cognate, which here are not likely to be needed. 'Kindle': the corresponding metaphor would be too strong; we must simply say 'earn,' 6(^A.eiv, etc., or 'arouse,' kivuv, etc. 'Dislike': direxOeia; or use eirC6ovo^, a7rc\6ear0ai,. 'Subject, etc.': use 7r\otro-£iv (TT6iJi.a, with Kara, 'according to.' Form, rap^m yevicrOai forms a penthemimer; and Itti- (f>0ovo% may stand last, with the cretic rots TpoVois between ; this may be helped out by adding StxooraToijo-a 'if I should quarrel ' : rapP6ovopov TE Kai fiij cr^s Kara poinjv tjiptvoi. EXERCISES. 157 XI. Herald. Lady, good cheer and great ; the boar is slain. Chorus. Praised be all gods that look toward Calydon. Althaea. Good news and brief; but by whose happier hand? Herald. A maiden's and a prophet's and thy son's. 5 Althcea. Well fare the spear that severed him and Ufe. Herald. Thine own, and not an alien, hast thou blest. Althcea. Twice be thou too for my sake blest and his. Herald. At the king's word I rode afoam for thine. Althcea: Thou sayest he tarrieth tiU they bring the spoil? 10 Herald. Hard by the quarry, where they breathe, O queen. Althcea. Speak thou their chance ; but some bring flowers and crown these gods and all the Untel, and shed wine, fetch sacrifice and slay ; for heaven is good. Swinburne : Atalanta in Calydon. This piece, like most of Swinburne's Une-for-line dialogue, contains more than is easily got into the same number of Greek lines. The translator's skill will be taxed if he is to do this piece without dropping something. Herald. Lady, good cheer and great ; the boar is slain. Words. ' Good cheer and great ' : x«'P« ■n-oWd, or a para- phrase such as euayyeXos /xer ri\6ov. 'Boar': crBs. 'Lady': yvvq, or in this case, avooro-a. Form. a four-syllable group suited to the .last place. One syllable remains to find. The beginner may be tempted to use vvv or 158 GREEK VERSE COMPOSITION. some other obvious pad ; but a moment's thought should convince him of the flatness and fatuity of such a word. oSs however may be used, as a conjunction : (B X^'p") o.va(Ti fnev etiras, ev 8e- tis 8' ap' yfirvxei; EXERCISES. 159 Herald. A maiden's and a prophet's and thy son's. Words. ' Maiden ':, Kopj;, TrapOivo^. 'Prophet': /mvTK. ' Son' : uids, irais, TeKvov are the simple words, but there are many periphrases. Form. The construction is settled by the previous line; these nouns must be in the nominative. 'Son' should be kept to the last, or its emphasis will be lost; the other two do not so much matter, which is lucky, for xai fiAvris cannot stand second. Koprj re, however, can (as an amphibrach), and Iw.vTi's falls naturally into the first place. (We might write Koptf T€ /ittvTts T, if elision were used.) The next words shape themselves into a cretic; koX tckvov, with to a-ov next, or xai to i^€Lv. Of course kt£iv€lv alone would give the sense at its simplest; but the form should also be kept, if possible. Form. The verb should be in the optative of wish : evrvvpCi], which with a prefixt d\A.a will make a penthemimer. The rest of the sentence would be in prose, taking the words suggested, to Sopv o iv6crL(T€v airbv fiiov. There is no room for all this. We drop the article at once, and the object (which may be easily understood) ; a participle may now 160 GREEK VERSE COMPOSITION. replace the relative clause, and this turns out to be a possible cretic, voaricrav. Thus exactly enough is left, and not too much ; for )3toii Sopv, thus arranged, make the fourth group in lines of Type I. or II. dW £vru;^otij vocrtjtiaav ^iov Sopu. Herald. Thine own, and not an alien, hast thou blest. Words. ' Bless ' : eiXoyeiv, or some word that recals cu-Tuj(£tv by its sound. Form. The meaning is ' thine own kinsman,' as ' alien ' shows; not 'thine own spear,' as the careless observer might imagine. ' His' in the next line bears out the same interpre- tation. Obviously then the beginning will be rov trov fiAv (palimbacchius), or tov aov ye. 'Not an alien ' recals a common type of sentence in Greek : kovSeis aWos, (Ak aXXos ns, etc. Either of these will suit our line in the accusative, making it conform to Type VIII. eiXoyas then falls into the Second Cretic Position ; and the line may be completed by some word meaning ' thus,' e.g. the adverbial accusative rdSe. rov (TOV fi,€V, ovSev' aXKov, tuA-oyeis TctSe. Althcea. Twice be thou too for my sake blest and his. Words. 'Twice': Si's. 'Sake': xa'p'v, «««". Form. Either of the words already used may be repeated; 81s evXoyiS o-e, or 8is curu^otiys. The former allows of a literal translation : ifxov x^P'" ^eivov te forming a hephthemimer ; but the latter gives a more telling line. We shall follow up the verb with koI ipuv, or tjtipuv with defining adverb, such as otKaSe. 'Spoil': IXoip, aypa, or 'boar' again. 'Till': Ims, «o-t' av. Form. 'He' must be exprest, and will be some such word as xeii/os, exetvos. 'Tarries' is the significant word of the sentence, and we will therefore begin with /iei/et Se: the pronoun may follow. Next wUl come the conjunction, be it E. 11 162 GREEK VERSE COMPOSITION. lo)s as a monosyllable, or the trochee icrr av. We take the latter by preference, because it is likely to help in constructing the verse more than ews. The verb in its proper form is i(Tepoi(rL, and if we place ekiop last (eliding the -i) the line is finished : fiivei, 8' exeivos «ot av Ecr^cpoKr* f\mp; The essentials are all here; but if it be desired to give expression to 'thou sayest,' that is easily done. Then we must get a shorter word for 'he': viv or o-^e. Xcyets viv is an amphibrach, which may follow fiiveiv; and epioar' eXuip; Eerald. Hard by the quarry, where they breathe, queen. Words. 'Quarry': see 'spoil,' 9. 'Hard by': ire\as, ir\yjavovv, or a phrase with errec^avos. 'Lintel': imepOvpov. 'Shed': iK)(eiv. 'Sacrifice': lepov, Ipov. 'Slay': Bvto, Kreivu), or use ay^. 'Heaven': oi 6eoL 'Good': use a word customary in prayers or religious phraseology, such as i\ea)s. The words are simple for the most part, and there is not much choice. Form. ' Some ' and ' others ' would ordinarily be ol p,ev — Oi Se, but here they follow mention of another person, crv p-iv. It will be necessary therefore, either to prefix xai, or to use 01 Se for both classes. The latter is most convenient; and if we insert evdcus (which is natural enough) we get a four- syllable group suited to the last place in oi 8' ivOiuf;. The rest of the clause literally translated is (^epovrmv av5i;, which if transposed becomes a penthemimer of Type I. But it is impossible to go on literally, because the imperative of tm- (f>avovv is not practicable in iambic verse at all. a-T€avovv can however be used in the infinitive or subjunctive, and the construction may be varied so as to admit of this : ouo-tc 11—2 164 GREEK VERSE COMPOSITION. (TTeiJMVovv, for example, or oJs or ottois (TTeavSiiLe.v, oSs irapy o-T£0avow ' that it may be possible to crown.' None of these words is of any use structurally, and we turn to the object. The prospect improves at once when we observe that ' these gods' becomes toijo-Se rois Oiov's (trochee and cretic). ottojs might end this line, and the next might begin o-ref^avui/Aev. ' And all the lintel ' becomes ttSv ff vTripOvpov, to which we may add roSej thus leaving a trochee or spondee to find. Nothing suggests itself but tvOv^, which would fall flat after evOeois. It remains to paraphrase; and we may say 'to honour (or adorn) with garlands,' o-rec^dvois aydkXeiv, replacing oTriog by irapfj in the line above. The sentence now lacks a con- junction ; but observe that ms ^eoiis combine into a cretic group, while rova-Se may become tovtous, and we write ... 01 S eiOioys av6rj pia-vK\ois. The next line will be easy to make out of our materials : Trit^piKo. jSatVovcra (a lady speaks, please observe), followed by the hephthemimer already made. iraKai however is not precise enough for ' when first I trod it,' and we can go on, without hesitation, eirei with to tt/diStov for amphibrach. There is no need to repeat the word jSatVo), but we may choose any convenient phrase for ' came hither,' hevp' atjuKofLriv. The line must be finished, because a final iambic break, without conjunction, is not to be thought of; this we can do by adding eyu; which completes the piece. KaracTKios jjh) (tm yu,eA.a/t<^ijAA.pi,Ka j3aivtyv(T , oiSei/ rip.a fv\eph. 'As at first': iXTd.T(i>v, without anything more, may mean 'be- tween me and my dearest.' Form. flaXao-o-tos with yap added gives a penthemimer, and the line will be completed by iv /xeo-a> tiSv ^iXraTwv; kX.vSuv comes in the next line, and the sense is now complete ; but if we add KOTetpyei no harm will be done, and the rhythm improved (for an initial iambic break is not pleasing). daXacTO'ioi yap iv /x.ecrai T(ov i\TaTO)i' KXvSuiv KOTtipyei. and day by day upon the shore I stand, my soul still seeking for the land of Greece. Words. ' Day by day ' is Ka6' ■qi/.ipav. ' Shore ' is Aktt] or ajtrai, and it will be better to add an epithet showing that the seashore is meant, such as OaXda-a-io^ or aXCppvToi. ' My soul seeking ' must be paraphrased : say, ' feeding my soul with longing for Greece,' Ovfiov ^oa-Kova-a iroOta 'EXXaSos. Porm. By adding kol and iyu> we complete the line. €ir' aKTg is a bacchius, and aXippvTia will come last ; if the phrase be made plural, ad at the end will complete the line. ^oa-Kova-a as antibacchius will best stand first, and Ov/jlov will follow it; 'EXXaSos is a cretic, and can be placed next, with TToOif following, or if an epithet be added, at the end; and we have KOL Kaff ij/jiipav iyai CCTIJK €7r oKrais raccrS' aXtppuTOis del, PocTKOVixa 6vfwv 'EXXaSos iK-q^ iroOio. EXERCISES. 171 But to my sighs, the hollow-sounding waves bring, save their own hoarse murmurs, no reply. Words. 'Sighs': cTTtveiv, cTTovoi. ' HoUow-soundiiig' will be /Safxva-Tovoi, fiapv^pofw^. (Do not use koiXos which means no more than 'hollow-shaped.') 'Wave': kA.ij8epei may end the line. ' No other ' is ovSe/jiCav a\X.T]v, which is not pretty in verse ; we use ovrtv' with elision, or trochee, and these words are easy to arrange for all who understand the structure of an iambic line. Line 13 can be completed by otfwi, a natural exclamation; then, adding to the 14th line Pp6p.ov if the first alternative be used, or \oio-^ov if the second, we get finally ot/u.01' UTevovaifj ^apv^pofjio^ TpiKvixCa aXKriv dfiOiPrfv ovtiv' t) \olcr^ov fftepti. XIII. Oedipus. Suspend your thoughts, and flatter not too soon. Just in the place you named, where three ways met, and near that time, five persons I encountered ; one was too like (Heaven grant it prove not him !) 5 whom you describe for Laius; insolent, and fierce they were, as men who live on spoil. I judged them robbers, and by force repelled the force they used. In short, four men I slew; the fifth upon his knees demanding life 172 GREEK VERSE COMPOSITION. 10 my mercy gave it. — Bring me comfort now : if I slew Laius, what can be more wretched ? From Thebes, and you, my curse has banished me: from Corinth, Fate. locasta. Perplex not thus your mind. My husband fell by multitudes opprest; 15 so Phorbas said; this band you chano'd to meet, and murdered not my Laius, but avenged him. Oedipus. There's all my hope: let Phorbas tell me this, and I shall live again. To you, good gods, I make my last appeal; 20 or clear my virtue, or my crime reveal. If wandering in the maze of fate I run, and backward trod the paths I sought to shun, impute my errors to your own decree; my hands are guilty, but my heart is free. Dbtden, Oedipus. For this piece, some hints may be got from the Oedipus Tyrannus, e.g. 742—753, 800—813. Oedipus. Suspend your thoughts, and flatter not too soon. Words. 'Suspend,' i.e. 'restrain': c'jre)(£iv, «rtcrxetv. ' Thoughts ' : povTis, or in this context (but not so good) eXttis. ' Flatter ' : dwTreveiv means rather adulation ; the sense here is ' do not lull your fears to sleep,' or ' don't rejoice too soon.' See below. ' Too soon ' : dacrcrov. Form. When a negative and a positive come together, the tendency is in Greek to put the negative first ; though this is not necessary. Here, however, it is convenient; for ' do not go on too fast ' gives a penthemimer at once : firj S^ra (palimbacchius) Oaa-aov (trochee). It is difficult to turn ' flatter ' so as to convey the same idea as in English ; and as these words as they stand, without a verb, are strong and efiective, we may leave them alone. The positive command should begin with dWa, and we now want a cretic or trochaic EXERCISES. 173 word. It needs only the addition of xat emphatic to make a cretic of eTrcx^ii', and if we would keep the infinitive, some such word as Xeym ' I bid you ' must be added, ttjv (^povrtSa with eUsion may begin the next line, being a palimbacchius, and we then have : ju,^ S'^Ta Oacrarov, ix\Xa KaTrej^etv \eyut TfjV povTi8' Just in the place you named, where three ways met, and near that time, five persons I encoiintered; Words. ' In the place ' : oSirep, u ev totto). 'Three ways' : TpiirXrj 68os or KiXe.vBo's, and the junction may be exprest by apOpov or crvfu/BoXT], ets ev e\6eiv, or any similar phrase. 'Near that time'; crxeSov totc might do, but see below. ' Encounter ' : diravTav, e7rtTvx«iv, ivTV)(eiv (TD^^eri/ alone is rather 'to get'), lyK'dpuv, ^vavrav, ^vavTid^eiv. Ponn. We begin this line at the second group, which is to be spondee or trochee. The narrative will be best intro- duced by yap, and this gives the required group at once : ov yap, or M yap followed by the cretic ev tottu. The verb will be Xeyets, or (as this word was used in the first verse) a-v <^ijs, with rdSe to round off' the line : ' Where three ways met ' is easy to translate with our materials. We have an iambus TprnXyj, an amphibrachys KekevBo?, and a cretic aTip-fioXtj : TpiTrkTJs KeXevOov pevfi yvmii/q% a'lrjjfov. This will give ovSe tov )(p6vov as a final penthemimer, and air^^as will stand first or second in the next line. From the context we get throva-a, which may- precede it. 'Persons' must be translated, and the word is avSpcs or oSoiTropoi. A combination of two, ttcvO' oSonropon, makes a five-syllable group according to Type X. eycu suffices to end the line. Lastly, we choose that verb for ' met ' which is most convenient for the beginning of a line, ivvrivrla^ov, and the section as finished stands thus : . . a> yap ev tottoi yi raSe, TpiTrX-^s bSov irpos apOpov, oiSe tou ^ovov eiirova air^^as, irevd' oSotTTopois iyu> one was too like (Heaven grant it prove not him!) 5 whom you describe for Laius; Words. ' Heaven,' etc. : o p,^ yevoiTo, with finishes the line. The next line begins with o /j-ii (iambus) yivovro (amphibrachys); and Kara tovs aivovTo will serve, if its final can be elided. 'To live on spoil' should contain the noun jStos or ^lotos, and in prose we might make some such phrase as jSioi' povp6i = wpo-opds, Ti/ia-opos, TruXupos, olKovpos, and a gloss in Hesychius ;8(3pos* 66aXfi.oi). 'Force': /3ta. 'Repel': a/ji,vvo>. Form. The most idiomatic rendering brings the two clauses into one, thus : ' I repelled them, as (in my opinion) robbers'; and be careful to keep 'force' and 'by force' together: pta piav. We now get oSovpovs for the second group (bacchius), and (OS with a particle such as ovv for the first, ovras may be added, and being a trochee,' may follow the caesura. The proper form of the verb is rjfivva, which cannot stand in this line, but may follow pia. /StW in the next as in Type VII. If we retain this form of sentence, some addition is necessary; and this may be any participle with the meaning 'attack.' It should scan as a cretic, or as a whole penthemimer of the Type used. ia-irOnTiov will surely occur to the student, who may finish the line with cyoJ. ...(Type X.). In the next line, aOXuarepoi will come last (Type IX.), and TovSe y may precede it as a trochee. Using yevia-Oai we have for the penthemimer tk dv \ yivoLTo (Type I.), or Ti's 8^ yevovT av tovM y aOXmrtpoi; From Thebes, and you, my curse has banished me : from Corinth, Fate. Words. ' My curse ' : oi/ceta dpd. ' Banished ' : ifttvyeiv, tKirtTTTetv. ' Fate ' : /loipa. Porm. This sentence must in Greek be connected with the preceding; and the best link is the relative, 'me' being changed to os. 'From Thebes and you' gives at once Ik re ®T]pwv Kairb crov, which scans if we place os before it. ^euyetv )(p€vy€iv xpewi'; and now we may add /tei/ after ®ri^i5v, and place v. Observe that the first of these two lines has no real caesura, ^ See page 59. 12—2 180 GREEK VERSE COMPOSITION. as &qPSiv (i.a> is one rhythmical group ; but that does not matter once in a way. (See Introduction, pages 12, 13.) Carrying on the same construction, we get fiolpq. KopCvOov. Here the speech might end, but the words without a con- junction 8« would be most obscure. Si must in fact be got in : it is not too much to say that a Greek would never have written them without it. But Kopivdmj can stand nowhere else in the line ; it must therefore be changed, say to some- thing which is able to stand elsewhere, say y^s KopivOias. A rather neat antithesis is suggested by /iotpa,, which recalls the adjective afwipoi ' with no share.' Add now an infinitive ' to be ' which scans as an iambus, iriX.tiv or p.evav, and the verse stands complete : fwCpq. 8* a/xoipov yrji Kopivdiias iriXew. It must be granted that this rendering of the present section is weaker than the English ; but it seems to be inevitable if we have to use ouceuus dpai^, and to bring in a proper antithesis with [liv and Si. locasia. Perplex not thus yovir mind. Words. ' Perplex ' : rapdacreiv, Kvi^eiv, Xinrelv. Form. With such a word as rapda-a-nv the Hne is easy. fx,ii hri Tapaara-e is a natural translation, and scans as a penthemimer ; ovtco tjipiva is the kind of four-syllable group which we need for the last group ; and the tone suggests a parenthetic appeal, irpos 6fiSv or the like : fit] S)j Tapao"cre, wpos ditov, ouTo) piva. My husband fell by multitudes opprest; 15 so Fhorbas said; Words. 'Husband': ttoVis. 'Fall': use oWvtreai, dvg- (TKCLv, or the like. 'Multitudes': irX^^os with defining genitive, such as avSpmi, -xtpiov; or ttoXXoi simply. 'Opprest': EXERCISES. 181 a participle meaning 'killed' will do, but the word may be omitted ; vir6 is enough. Form. Using the proper link yap, we get the amphi- brachys iroo-is ■yap, and ovjuds will stand before or after it. The verb gives either edavev, a trochee-equivalent, or wkero, which is a trochee in elision, or may stand last with cretic rhythm. ' By multitudes ' is n-oXXuv vtto ; and we should not lose the opportunity of strengthening the phrase by antithesis — 'not by one, but by many': oi;^ vVo evds, aXKa ttoWSiv. Now if viro ei/ds be paraphrased eros x^pi, we get a five-syllable group suited to Type IX., and our first line is done : iroa-is yap ou/ios coXer ov\ cvos xepC... ' So Phorbas said ' gives ovei;s (adj. or subst.), or use ippa. ' Maze of fate ' : Xa^vpivdos will not do, but the 'maze' must be paraphrased by ai^avijs, njijiXos, or the like. ' Fate ' should then be ' fated path ' or the like : /xo'pcrt/xos, ivata-ipx)^, poipoKpavToi with dSds. ' Backward ' : ai/roppos, 2/x- TraXtv. ' Tread ': jSatVu), ■Trpo/SatVo). ' Sought to shun': (^euyetv; or use aKcov, ovx €kw, or \aOiiv ipavrov. Form, ei yap naturally stands first, and irXavijnjs next as a bacchius. Now p^pinp,os may be made a cretic, with dSds 184 GREEK VERSE COMPOSITION. last; but" there is a better way. We perceive a double trochee in fioipoKpavTo?, and this form is suited to the Type of the Final Cretic (VI.) ; whilst o8ds needs only a prefixt ew to make the cretic. Hence our first line will be (applying TrXavijTijs to the road as a cumulative epithet) — ei yap wXavjjTijv /wipoKpavrov €is oSdi' Next we may paraphrase ' maze ' by irpoPaiviav a,av7J ; here is a bacchius, which places itself, and an anapaest may stand first in the line. The next idea to be rendered is 'turning back,' which gives us a cretic c/iwraXiv, and a simple para- phrase oT|D£i/'as troha for the final group — dtftavrj Trpo^aivrnv, t/xTrakiv trrpei/'as irdSa.... Now may follow the main verb, say \e\riff ip-avTov. ' Sought to shun ' will be reinforced if we add another clause, such as 'and fell into what I fled from': €p.irtxratv re oh l^fvyov. In this clause we again perceive a double trochee (ois h^ivyov), and a cretic for the last place : XiK-qff ifiavTov, ois t l<^evyov ip.Treipeiv, or simple verb riOivai. ' Errors ' : a.i]uipT7}p.aTa, or simply rdfui in this context. ' Decree ' : /SovXi;, /So-uXcv/xa. ' Guilty ' : atrioi, apjiprdvuv. ' Free ' : use the opposite, avamos. Form. The infinitive may be used in a formal command; or a paraphrase with xpif- The latter gives the easiest version : XP'^ ra/ia being a palimbacchius, and Otivai a spondee. The construction must be the genitive : t^s 6tpotfuov be used for dpxij ; and it will be seen that ti (l>poCfiLov is a four-syllable final. Now let /Mixt^ have its article, and write €p £t7re 8j; fiof rlji p^XV^ '"' ^poip.iov; Captain. We lay, expecting no attack, at Neustadt, entrenched but insecurely in our camp. Words. ' Lie ' : KiurOai., or eivat simply. ' Expect ' : TTpoaSoKav, KapaSoKCiv, IXtti^uv. ' Attack ' : ■irpopoi opvKTaC, or some such words. 'Insecure': ovk dcrip' elm in the first line. The proper particles are Koi Sj; ' well, I am telling EXERCISES. 187 you ' : KOI 8jJ Xeym aoi is spondee + bacchius, a penthemimer. There we may stop ; or we may go on thus KOI Srj Xeyid dCvovT09 ijA.tou (amphi- brachys + cretic). Last in the line comes the four-syllable final Kovccus vei^os. We may now place optS/jLcv first in the line following. ' From the wood ' is v\r]i airo, which may stand last ; and TowreKctva before it will be a cretic. In the vacant space a participle may be placed, ' rising ' from the wood, dpOev. The two lines then are Koi fi/qv 6ivovTO% -qKiov KOVC(i)$ veo^ bptS/iev dp6cv TOVTTiKfiv uXijs airo. our vanguard fled into the camp, and sounded the alarm. Words. ' Vanguard ' : ol irpoa-Oev or rd irpocrOev ; irpo- fjui^oL may do ; oi irporeTayfiivoi is unmanageable, but ol irpo- TaxOevTK is not. ' Sound the alarm ' : say ' raise a shout,' or the like, jSoi^i' wutriv or laraaiv (cf. Philoctetes 1263). 'Into the camp ' will be simply ' backwards,' or Trpos i^V^s. Form. The ' vanguard ' with ow will make a metrical group, 01 8' auv irporayQlvTK, but not one which suits the iambic line. One short syllable is needed to make a full hephthemimer of Type XI. Suppose we turn the compounded irpo- into an adverb, irpocrm : the thing is done. ' Fled into camp ' gives evyovcri (palimbaochius) and Trpos ■qp-ai (bacchius), which cannot stand together, i^euyovo-i may be changed to EXERCISES. 189 It^vyov, though at some sacrifice of vividness ; but a neater way is to paraphrase, <^t)yg rpeiroftevoi, the latter word being a cretic with the first syllable resolved. jSoiJy may now stand last, with iroXkrjv before it, and laTacri first in the next line (palimbacchius, Type II.). This does not quite translate 'the alarm,' and we must Consider what the words mean. The object of the alarm is to get under arms ; and we are justified in adding ' to bid us take arms at once,' oirA.' yjSi] Xa/Stiv. A double trochee remains to find ; and if we take the technical word for ' signalling,' o-jj/taivco, we get what we want. There remains still half the first line undone ; for which the context suggests some such word as ' fearing,' (^o;3ovju.ei/oi, which needs only to be compounded, and we have a final penthemimer : 01 8 ovv irpotTdi Ta^devre^ eK<^Oj8ov/x,£voi vyrj irpos Jy/tas Tpeirofitvoi iroW^v ^tnjv Scarce had we mounted, ere the Pappenheimers, their horses at full speed, broke through the Hnes, and leapt the trenches ! Words. ' Scarce ' : iwXk, crx^^V- T^s suggests the idiomatic verb i^Odvia. ' Mount ' : e<^' ittttovs dva/SijvaL (the participle may be written a/^j8as in verse) ; or tTTTrotcriv £/i;8e- j8oiKrj's. Form. iWoio-i 8' e/t/Sc^SuTes (in its proper case) might do for a beginning, but /xo\i; should certainly be the first word. This the participle can follow if we insert the enclitic wv 190 GREEK VERSE COMPOSITION. instead of 8c. hriroun will now come in the molossus position, the final being lengthened by cjiOdvei.. So the line may stand, if the rest of the sentence be so made as to allow of a singular subject, and of a verb which will not govern the genitive. The subject should now be a word meaning ' troop,' and t\ri is a technical word for a troop of cavalry. The following line may then begin tXr] tis (palimbacchius). Now for the ' attack,' ea-irea-ova-a, a double trochee which may stand next (Type VIII.) throwing the object into the accusative (Soph. Ajax 55). na7r<^otKEW comes next, as a molossus, and Spo/JM ends the verse. There is no reason why Ta;(£rav opfirjv should not be added as a cognate accusative ; the effect will be heightened by it. oiKiti>v Spop-io Ta)^elav opp-rjv, (otrre prfyvvvai TiX-q TO. irpocrd', vTTfpBpitKTKOVTei vmriKia fievei ra^povs opvKrdi. This translation is rather long, but it will probably be admitted that the gain in style and effect compensates for the loss in concentration. EXERCISES. 191 but their heedless courage 10 had borne them onward far beyond the others. The infantry were still at distance, only the Pappenheimers followed daringly their daring leader. Words. 'Courage': ^pa'o-os, avOaZLa. 'Heedless': a variety of adjectives may prove useful ; but none is necessary with the nouns given. Bpauvs, aiOdStj's, TAiy/xMi/; TravroX/ios, iravToToA,/*os. (Do not use a^povri^, which means ' foolish.') Form. These lines have been grouped together, because there is an implied contrast between Pappenheimers and infantry, which ought to be clearly brought out in the Greek. The sentence will take form something like this : ' To such a point of recklessness did they come, that the one class (roiis fjiiv) actually rushed (€pccrdai, used of runaway horses) far beyond, while the foot (t6v 8e intpv) remained behind. The others however (oi 8c) followed their leader, bold (following) the bold, ^pacrets Opcurei.' The first phrase we fasten upon is 'to such a point,' U TovTo (rocrovTov, rotrov, TOtrdi'Se) avSaStas; from which words a hephthemimer is easily composed. This completes the line we had begun. The next must be wholly taken up with rjXdov, w(TT€ TrepaiTcpw, or words to that effect, because it is important to keep Tois fxiv and tov Se iretpv in one line. Moreover, since epea-6ai is a bacchius, and tov Se ire^ov a double trochee, this line is as good as made ; a cretic only is wanting, which should mean 'to be left behind.' For this iKXeiir — Acotov Xcyo), KEiTOi ^Xov Tt KOVK dvrjp TTap iaricf, wv€V, ovk aKovti is not only impracticable in the verse, but is both monotonous and clumsy. It is better to use the line of Sophocles (0. T. 371) tv4>X6<; to. t' (Sra tov T€ vovv TO, T o/x/iara, which exactly hits the nail. Form. n^KCTai is a cretic, napalverai fits the verse-end : in Kar rump we have a bacchius. The line runs into a simple mould, yrjpai\raTe in (12), which clinches and sums up the statement just made ; and this completes the paragraph. Tw KacriyvTjTto 8' en vaiov(Tiv eyros T<3v TvpavvLKwv So/ttov i\to fiev afxv. As ttrflt is too short to be placed between them, we take the compound Karia-Oi, and add p.€ : ^iXovvra o-e completes the line : to iX,TaT , €1 yap t(ov ifjuSv Kpttccuv ttoXv Siopiav, KaTurOi p,' i-X.ovvTa. ere. if for these dignities thou be envied, I'll give thee more ; 'Dignities' may be left untranslated; and 'for these dignities' will be simply avrl rrnvSe or tovtuiv. If we use that participial construction which the Greeks are so fond of, and write 'being held worthy,' d^tco^ets, instead of dvrC, we get a more distinct expression of 'dignities' in a difierent way. The conjunction rjv (as the supposition is general) with this participle makes up a penthemimer. ' Envied ' may be hrL6ovo%, or the construction may be changed so as to use tjiOoviiv with a general subject. The former is more simple, and moreover TuvSc will combine with it into a five-syllable group after Type X. "We have now only to find a verb which in the required form wUl be an iambus, ctvai will not do, but yiyvecrOai wiU : yevrj. ■^v 8* d^uoOels ToJvS' iiri6ovoi yivg... 'More' is TrXtMo or wXeiova. A possible translation is irXeim BiS(opi; but a strong line may be made by reinforcing 200 GREEK VERSE COMPOSITION. the idea of 'more': adding aWa, and the emphatic koi, and using the compound ■n-poaSiSmfii. We get now koI irXeCov akXa as a penthemimer (palimbacchius and trochee, Type II.). The verb forms a cretic in its participle, rrpoo-SiSous, and this becomes possible for us if we make the main verb a quasi- auxUiary, such as (ftavija-o/jMi. Kal TrXtiov SXKa. wpotrStSotis (^anytrofiat. for, but to honour thee, 5 is Edward pleased with kingly regiment. 'To honour thee' becomes in the emphatic Greek idiom, 'for this,' rovTov IviKa... 'that I may honour,' oircos (or Iva) TLfjLijcrto ere. '"Pleased with kingly regiment' is simply 'I rule gladly,' using rjSonai or ?;8eiX.ov. EXERCISES. 201 Fearst thou thy person? thou shalt have a guard. Wantest thou gold? go to my treasury. In doing these two lines we should keep the proportion. In the English, half a line is given to each question and half to its answer. This is impracticable in Greek ; and we should accordingly give a complete line, or something near it, to each. ^ yap is a natural phrase to begin with, and ' thy person' will be (Tiafiaroi irepi. The verb we want should scan as bacchius or its equivalent ; hence we choose not oPet, but SeSoiKas or irpoTapPeli. (roift.aTO's (as a cretic) may come next, with irdpi last, leaving one foot between. Here may be placed tov povpoi can easily be expanded into a phrase : i^povpriiJ.a ttlo-tov, for instance (which scans already), with some explanatory genitive such as the times would suggest. Sopv6pu>v next. dv8pop(av dvSpiSv Trapa. The next question and answer may be comprest into one line; xP""'"" ^«'X«'s ma^y stand first, as in Type VII., and ' treasury' gives a palimbacchius to follow — drjcravpo^. A. literal translation of 'go' will not be idiomatic; a Greek would probably say ' there is,' ' I have,' ' behold.' ea-Tiv may follow next, and it is not difficult to think of iv So/xow as a final critic : Xpva-ov 6eX.eK ; OrjO'avpoi io'Tiv iv Sofiois. 202 GREEK VERSE COMPOSITION. Wouldst thou be loved and feared? receive my seal, 'Loved' and 'feared' can be forcibly exprest by nouns: ' wouldst thou become love and fear,' apa (or ^ koI) yevoio av TTo^os Kai Sei/jui; This gives two groups of Type I. immediately: r) Kav yivoio. Sa/ia will follow after, and koX ttoSos take the Second Cretic Position. It is natural to wind up the sentence with TToXei, acTTots, or jSporois : 11 Kav yivoio Sfi/ia kol TroOoi jS/ootois; 'Seal' is (rpayU, and a-cfypaytS' l^e may end the line, nji/ iixrjv preceding it as a cretic. (A line of Type VII. may also be made, beginning e/x.i;i' I^e cr<^payi8a...) The first penthe- mimer may now be iSou, -irdpea-Ti, or something of the kind. ISov, ■7ra.pt(TTi, r^v ip/qv o'ffipayiS' i)(e. save or condemn, and in our name command 10 whatso thy mind commends, or fancy likes. a-ii^€iv is ' save,' and its opposite KTtCveiv will be better than any literal rendering. A beginner may now be tempted to write KOL v; 'command' is Taercrc, Trpoo-Tao-tre, KiXive, and so forth. 'Mind' and 'fancy' will be well trans- lated by ijypovTi'; and 6vp6% ; the verb may be simpler than the English, and one will do for both, with such a meaning as 'prompts' or 'teaches': say SiSaa-Keiv. This gives a bacchius; and with the conjunction oJs dv will take the form SiSaVio;. A molossus is made by coupling ^ with either t^povrU or 6vp6^, and the other being in either case a trochee may precede the phrase. ' Thy' now remains ; not necessary, but here con- venient, for in its ancient form a-iOiv it just completes our line. Returning now to the line before, which is still un- EXERCISES. 203 finished, we note that ra'cro-e with tx"" ma-^es up a cretic group, while exeyyvov is of the right form to complete a line of Type I. ; and placing ft,i before this we have Koi KTEive, o'Cd^£, rdtTir' ex**" /* kx^yy^ov 6pu>v before it, we shall make a line of Type IV. or VII. apiiaruiv follows, but thus there is left a foot with nothing to fill it, unless we pad out with ttotc. As this would weaken the effect of the line, suppose viKij^opwv be reinforced by another adjective, such as TrayxpaTouv, and 8t<^po>v end the line. The student will remember that it is true Greek idiom to add two or more adjectives to one noun without any conjunction. We then have for the final verse vi,K7jpuiv, XVII. Gods, what a sluice of blood have I let open ! My happy ends are come to birth ; he's dead, and I revenged ; the Empire's all afire, and desolation everywhere inhabits ; 5 and shall I live, that am the author of it, to know Rome, from the awe o' the world, the pity? My friends are gone before too, of my sending ; and shall I stay? is aught else to be hved for? Is there another friend, another wife, 10 to linger here alive for? is not virtue, in their two everlasting souls, departed, and in their bodies' first flame fied to heaven? Can any man discover this and love me? For, though my justice were as white as truth, 15 my way was crooked to it ; that condemns me. J. Fletcher. EXERCISES. 205 Gods, what a sluice of blood have I let open ! There is no lack of Greek words to express deeds of blood, but just this metaphor of the ' sluice ' was not familiar to them. A ' sea ' they might have said, daXaa-fra or TreXayos ; or as the ' rushing ' of a flood is essential to the idea, peos, poij, some such word as these. We thus get for a first draft ov6ppvTov peos or <\>oiviov peos. For the adjuration, Oeol or Zev will do; and 'what' is simply ttolov^. We find thus two types of line to be possible : in either, ZeC ttolov will come first, as a palimbacchius ; the one will contain a short verb (spondee or trochee), Type II., the other will end with oiviov peos, and contain a double trochee. Now the simple idea of letting out the flood is exprest by some compound of lij/At, say l^Ka ; but it so happens that the double compound iiavrJKa is at once more expressive and exactly fits the space. Zev, TTOiov i^avrJKa ^oiviov peos. My happy ends are come to birth ; A glance at the wording of this sentence ought to recal the familiar heading of inscriptions and public resolutions : aya6^ '™X3?j 2''^^ felix faustumque sit. Neglecting the word 'ends' we go to the heart of the meaning, which takes this form : ' what I planned {or wished) has turned out luckily,' povBoi y i/iov irifu^avTO'i oi)(pvrai pov8oi, irponroixTTorv riji Eju'qs X^poi, <^iAoi. and shall I stay? is aught else to be lived for? The first phrase has only to be literally translated, with the deliberative subjunctive, and scans so : cyu Se | (leivu); (amphibrachys + spondee, Type II.). The second part is not quite so obvious, but it ought to suggest the verbal /Susreov. Now if we can find a cretic for 'why,' the line is done; and there is a cretic for 'why' — rov xapiv. eyo) 8e fitCvuy; toB X"'P"' ^i^oyiov; Is there another friend, another wife, to linger here alive for? If this be translated literally, we get ap' ia-rlv aXXos tk tj)i\oi, aX\r] yvvq, which almost scans as it is. But it is easier, and better Greek perhaps, to say 'What other friend is there?' r« a\Xos (amphibrachys), with 4>C\o^ before it, makes a R. U 210 GREEK VERSE COMPOSITION. penfchemimer : t« 8' aXkij (molossus) with ywij after it, a final penthemimer : place earl between and you have <^iXos Tis oXXos eoTi, Tts 8" aWij yvnj, a much better sentence ; for it throws up the first word <^iXos into sharp contrast with the last word yvvij, and these are important words. ' To live for ' gives av xapiv t,-qv Sei fie, or something of that sort. But a cretic is not what we want for the earlier part of the verse ; it must be altered ; and the first thing that suggests itself is to write wvirep, making the cretic an iambic quadrisyllable. Now t,^v Set /it can follow im- mediately after, according to Type VII.: mvirtp xdpiv &jv Set fit; is not virtue, in their two everlasting souls, departed, and in their bodies' first flame fled to heaven 1 We first notice that the sentence will almost certainly begin with a vowel, apa, ov yap, or the like ; and that a vowel cannot stand after //.e. But the English justifies our adding €Tt, which meets the difficulty: A more serious difficulty is found in the thoughts we have here to translate. The Greek idea of a future life was so far different from ours, that any allusions to it are always hard to translate well. But the idea of virtue flying away to the gods is familiar enough. So far so goodj virtue may fly to heaven : but what of 'immortal souls'? There is nothing for it but to use i/fvxif, which no doubt to an educated Greek would mean something more than the mere life of the body, although it is often used for this alone. But immortal, as a stock epithet, is quite impossible. A Greek poet might state that the soul is immortal ; he would never assume it. ' Im- mortal' must therefore be made part of the statement; and the neatest way to make it so, is to mould the whole EXERCISES. 211 sentence after this fashion : ' Has not virtue {oLpenj, with crasis) flown away to heaven (irpos ovpavov), with these two, to live for ever with their souls, ^woiKija-ovcra Ad tois i/fuxais?' The rest needs only one remark: that 'bodies' wiU probably be ' flesh,' and this in Greek is usually a-apKCi (p^-)- We may now proceed to the composition. A penthemimer remains of the line we have begun, and a cretic has been found in ctpenj (■j aperrj) ; place before this 6v yap as the interrogative, and the line now runs — wvTnp xa-piv irjv Sei /t' er ; ov yap aperq ' With these two ' is ^v roivSe, and it is not difficult to find a verb for ' flown away,' d;reirTaTO, which could follow next in elision. (ajrup^tTO or d.Tnj\6iv would do also.) irpos ovpavov, an iambic quadrisyllable, will stand last. For the cretic, we may use an epithet to enforce the verb, euTn-epos. This will imply both 'flying swiftly' and 'winging its happy way'; and so is one of those words pregnant with meaning which poets love. This line is now done : fui/ TotvS' aireirrar euTrrepos irpos oipavov — ' With the first flame of their bodies ' is ^i* wpoorats a-apKiSv ^Xoyalsj in which it is not difficult to see a cretic, ^ ^Xoyots, a spondee a-apxav, and a palimbacchius TrpwrauTL. To complete the line, we need an iambic quadrisyllable. A new sentence begins here, and one of the words in it is ' for ever ' : this gives act 8e, and if we add irov, we may put down the line complete : irpTr)^ 'a prisoner.' For 'suffer' trdtrf^to cannot be well used along with these, since it is rarely used with a noun of any kind ; we can say, however, iraa-;^£iv rdSc, constructing the others as participles. But there is no need to use Traa-xuv at all, for a phrase like v^pi^ecrOai toS« is the Greek idiom for 'to suffer these torments.' We can get a strong line by throwing the two ideas of ' chains ' and ' torments ' into participles : SeSefiei/ous is a cretic-equivalent, and vfipurp.ivov's completes the line, iratrxuv ra'Se, with elision (or irda-xeiv del rdSe, as shall EXERCISES. 215 prove convenient), may now be placed at the beginning of the next. We then have : ap' coSe fjiavXoi tfafxtv, ck Beiav yecos yeycoTES, apa Xa| ■jraTov/xei'oiis ■)(p€u>v, ap eKirecrovTas, StBiixevovs, -iPpurpAvovi Tra.(T)(€iv dii TaS"; better these than worse, by my advice ; since fate inevitable 5 subdues us, and the omnipotent decree, the victor's will. The first words give a thoroughly Greek antithesis, and a metrical turn at once : ravr dfLavm )(€ip6viov, containing cretic and bacchius ; which with the emphatic (cat before it, may stand as the first penthemimer of the line which follows. This leaves ' by my advice ' for completing the unfinished line. Perhaps the student will recollect the phrase of Euripides Tv\riv yap e'xojuev 8i8acrKa\oi' (Med. 1203), after which model it would be possible to say ifwiye xpio/Mtvoi StSao-KoXai. But this does not suit our purpose, and further Kpinji comes nearer the thought we have to translate. Suppose we apply the limitative infinitive, and say cas Ip-ol xpwdai KpiT^. 'Fate inevitable' is /xoip* atfteuiero^, and a literal trans- lation with this would do well enough. We will see how the rest turns out. For decree, Pov\.evp,a is the proper word, if a noun be used (not dihqfui, which means ' wish ') ; or a verb such as Treitpwrai ravra, or ScSofcrat, would be good and idiomatic. ' Omnipotent ' may be irai/aXKiys or irayKpoTifs, and is much better applied to /jLoipa than to ^ovXevpa, as iwipa is more readily personified. This can be done by making atftevKTOi neuter, and placing imlpa TrayicpoTi/s in apposition with it. With the particle yap we get a four-syllable group aevKTa yap, just what is wanted to complete the line in hand. The next has already a trochee and cretic, fioZpa irayKpaTrj^, which 216 GREEK VEKSE COMPOSITION. only need the amphibrachys or palimbacchius prefixed to carry on the versification from that point. Either raS' icrrC or TavT iarC will do for this. We may now finish the line with fiavXeviui tc. ' Subdues ' has not yet been translated, and 'the victor's will' offers a fine chance of antithesis by com- bination with it: 'the will of the conqueror conquers us,' to jSovXevfta ToC vucavroi vikS.. It is only necessary to place to ToC viKuvTos together, and we see at once that a prefixt spondee will make up a hephthemimer : vikS, is the spondee, and this section is done : (OS y' iixol xp^aOai Kpiry, KoX ravT a/i£tVo) \€ipovniv atVKTa yap ravT ioTi, ju,oipa 7royicpaTi;s, jSovXev/ua re VIKO, TO TOU VtK(3vT0S. To sufier as to do, our strength is equal, nor the law unjust that so ordains. Translating the first sentence quite simply, with a suitable conjunction, we get dXXa % koX ■TraOtiv, ovS' ckSikos vd/xos Kckevci ravra. Note that ov8' IkSikos is inseparable : ovSi cannot stand last EXERCISES. 217 in a sentence, and therefore €K8iKoi cannot be regarded as coming under the rule of final cretic. This was at first resolved, if we were wise, against so great a foe 10 contending, and so doubtful what might fall. The connexion is exprest by koI ydp ' and indeed,' or Kol yap 8); (' you know '). For ' resolved ' use ScSoKrai (with 17/utv, if you will), or ^e^ovXevrai ; ' at first ' is iraXat or Trdkai iroTt. From these materials the line now in hand can easily be completed : koI yap 817 is a molossus group, and irdXai is the final iambus. The next line we may leave until we see what will come next. A familiar turn suggests itself for 'if we were wise,' eS ^povoui'Tcs. As the last word is an amphibrachys, this can be moulded into a penthemimer by the addition of •yoli', which combines with eS into a spondee, tv yow ^porovcri then will begin one of the following lines, cx^pu too-outo) is a phrase of the same scansion, and the remainder must be fitted if possible into the latter half of each verse. ' Con- tending' would be in Greek 'as about to contend,' o3s iia^ov- /uevois. We must now try to get in ^Se/SouXevrai with a hephthemimeral caesura ; it requires a spondee or iambus before it (ijfuv) and a monosyllable after it (irore). 'Doubtful' is aTTopm, airopoi, a/ijjxivo! or dp-i^xavoi. Of these we choose oTTopoi, because with the conjunction it becomes a cretic : xdiropois. ' What might fall ' will be put as a dependent question, rt- /teXXet, or with rvyxdvia in the future (not sub- junctive, of course) : tC T€vitTai. The result is as follows : Kal yap Sirj n'aXai ij/uv yScjSoijXeuTai vod', povovoi, and write the completed line thus : CO Trpeafioi atos njwSe, 7rayr]iJi.etv, or ev(l>rip.ov (rropa or which may be helped out with aiScuf. Do not use tftOoyyoi, which means not a 'voice' but an inarticulate sound. A cretic could be made with Set ex.'^cv but for the hiatus ; and this ought to remind the student of the aorist crxefletv, ' strong ' in form and in meaning, for it means ' to get, keep, hold ' rather than ' to have.' We have now the materials for another line. tvvv, 'Tis not the wantonness of youthful blood that fires my spirit; The metaphor of ' firing ' is not strange to Greek, but the form it stands in departs somewhat from idiom. To say that wantonness fires the spirit involves personification as well as metaphor; and though either may be used, we should be sparing in the use of both at once. The idea is better trans- lated by keeping the personal subject, and saying ' I am not fired by wantonness.' 'Youthful blood' again, if literally rendered, would be stronger in the Greek than in English; and we have to ask whether the tone of the speaker justifies so much accumulated agony. It certainly does not; and we should try to find some word which would occur to a Greek as naturally as 'youthful blood' occurs to an Englishman. The best plan will be to give the epithet to ' wantonness,' and to use \.rjij.a for ' spirit ' : 'I am not fired in my spirit by youthful wantonness.' There are several words one may use for ' fired ' : ■Tmpovfi.ai or ^lairvpov/iai for example. As regards ' wantonness,' uySpts is a great deal too strong. It means such an act as violent outrage, an act of infamy, rather than an act of mere impertinence or bragga- docio, which is Opda-oi. The careful student will see here a further opportunity for antithesis : vcos s or wart, and (OS kclv may be the first group, the bacchius irerpiaSei's standing second. Some form of this or another verb must now be found which contains a cretic or trochee. For this the present stem will not serve ; but from the aorist we get oIktC- a-eiav or the infinitive oIktio-ox, either of which can stand. By repeating av we should get otKTiVciai/ av \COoi (Type X.); or with the infinitive, adding i/ie at the end, p6v last, we have our three lines complete : a a ■ 6a\ap6v. thou toilst in peril, and the windy storm 5 doth topside-turvey toss thee as thou float'st. So much for the simile; the clause which follows begins naturally with outojs or ovtm Se (8e in a/podosi). If we use a simple translation for 'toilst,' we may write ovtw v, and then the final iambus remains for the verb, (rdivoL. 'To combat' in poetical phrase is avuPaXetv tiid\r]v or epiv ; and ^aXaVo-g finds its place easily in the verse, giving the greater part of a line of Type I. : paxqv daXaa-a-y (7vii.^aX.€iv. The lines then run thus : lo-Tos 8 iKkdirOr], Kaweue crrrjfjLoppayovv \ai0's, (TiroSeiTat irXeUjoa, ceX/iar' ippdyy/, CTKivrjv Te Traicrav vaiav aTroiXecas, oi8' av Tl vaSs acTKe.vo's ivT€tov (rOivoi fJMyyjv 6a\d(r(7rj ^u/A^a\ctv. [It may be worth while pointing out that one line might suffice to translate the last line and a half : TOts TOi TOLOVTOis SuCTiraXij? ttoVtos TreXci : TotoSros being often used instead of repeating an adjective or the liie.] 232 GREEK VERSE COMPOSITION. 10 See how the rocks do heave their heads at thee, which if thou should but touch, thou straight becom'st a spoil to Neptune and a sportful prey to the Glaucs and Tritons, pleased with thy decay. If we translate ' see ' ap' ovx opas, this will complete the line left unfinisht. Then ' rocks ' may be attracted into this sentence, by the common idiom of the type, ' I know thee, what thou art ' : irerpas. An iambic word for ' how ' is oirojs, and ' at thee ' is the ethical dative , 1] KoX Kairpovi oiKovpov . etc. according to Type VII. Here will be no room for 'be wise,' p6v(L or (fipoviSv ev. It would be possible to make a line and a half out of this, but not two lines without weakness ; moreover, the following line (as we shall see) can be translated by one line in Greek, and would suffer by expansion. By all means therefore the sense must be got into one line and no more. Let us see whether the sentence can be shortened. For one thing, ol may be omitted, and 6eoi scanned as a monosyllable; and by using Imj instead of X070VS, we can get rid of another syllable : ov ^tXoSer' cttt; Kevd. 238 GREEK VERSE COMPOSITION. (oTifyoCo-j may even be used for ov fjukovcri, but is less suited to Greek idiom.) The line may now begin a-iy, tv t^povn' or TraBtrai, p6veL- the word Oeoi following as a monosyllable ; with ye, which is not only indispensable metri gratia, but is a common particle in conversation. We have now to choose between two lines. One runs easily but omits ' be wise ' : triy, ov Aoyovs i\ov(nv ol deal Kevov?. The other is somewhat less neat, but gets in all the sense : TraStrai, (f>p6v(i- Otoi y ov (jyiXovir iirr) Kivd. It is a matter of taste not easy to decide ; but as the latter line does not absolutely offend, this seems better. Plexippws. Nor any man a man's mouth woman-tongued. The form of this line must be obvious : ' Nor men a man woman-tongued,' oiS' avSpts avBpa ye. It is simpler, and more effective to say this, than to say as the English does 'a man's mouth -wovaan-tongimd ' ; and no jot of the meaning is lost. It is not conceivable that a Greek would have written OriX-i- yXmtriTov (ttoiul ai/8po9, when this was open to him. drjXv- y\o)tro-os, though good enough as a word, is late ; but there is a classical word S/jXua-To/ios, which we will place last. We have now a cretic gap in the line. The simplest way to fill this is to make a dependent clause : ' hate a man, if he he woman-tongued,' rjv tvxo, and this gives finally : ou8 avSpei avBpa y, rjv TV^J? 0rikv(rTOfioi. Meleager. For my lips bite not sharper than mine hands. The form of this line shows affectation, and we must get to the heart of it. We may say : ' my hands bite no less sharply than my tongue,' Solkvovctl x«pes ovSev ^cro-ov ^ ord/ta. But it EXERCISES. 239 is neater to echo the adjective 6ri\varoit,o'; thus : ' sharp- tongued am I (jueV), but no less sharp-handed (Se).' This gives at once a good antithesis : ofuoTojuos i>.iv, o^vx^ip Si. The words scan as they are, and the two feet remaining will contain the verb, et/ii does not suit the rhythm, which here is iambic ; but €\.vdpei. There are some good words which we may use in paraphrase : o-To'/Aapyos (Aesch., Soph., Eur.), yXwo-craXyos, (TTOfjMpyia, y\ii)tToi as a bacohius would then find no place ; but o-tyarc is an obvious substitute. EXERCISES. 241 'And thou, my son' (the pronoun being necessary in a change of persons) gives a cretic koI suggest to the mind several metrical phrases. SeXot/i' av, for instance, and o-uvto/acos, occur to the mind at once ; and these got, the first line is practically done. After the amphibrachys we place wSpes, and \eyeiv last. ' A few remarks ' is dXiya, or better TratJpa, which we place after the caesura, putting the cretic in its Second Position (Type Y.) : deXoifji. av, (DvSpes, iravpa s Xeyeiv... irpos TaCra will begin the second line ; and ' of Irish matters ' becomes irepl twv 'lj3epviK and this ought to suggest that the antecedent be inserted, which just meets our present need : ev fjiiv yap exin tov$' o Kal XvTrfi ttoXv... A bacchius is waiting to take its place in the next Une : 8i' Ix^pas. Before this may come the word introducing the speech, or the infinitive if it will fit. ' Prepared ' is fiiWtiv rather than etoi/ixos, and this spondee we place first. ' Sus- picion ' must be an abstract noun, uVoi/'ia ; but it is difficult (8ia being already there) to find a preposition which will do for 'with.' Perhaps e^ may do; but neither this nor fUTa. looks right. Remember how fond the Greek language is of EXERCISES. 245 negatives, and you will soon think of ovk avev (or arep) woi^tas ; which with the necessary xai, and a little adjust- ment, takes shape thus : ...fji.iXXuv Bi l)(6pai Kovx viTOij/iai arep... ' Our proposals ' contains the materials for a half-line. To begin with, povXtvoficv is of that form that it may stand last in the line ; and though oo-a or ocr av helps little, it is easy to substitute ei n. An emphatic xat fills the gap. But the phrase may be better turned than this. The proper phrase for a resolution of the assembly is SoKelv ; and since this also means 'to seem good,' in ordinary speech, it is most appro- priate here. /SovXevtiv is an excellent molossus ; and ySovXeuetv SoKet is a more idiomatic rendering than the one first sub- mitted. A verb is now wanted ; what is it that the honourable gentleman is going to do 1 Obviously aVoveti/ ; and here we have a bacchius. Now prefix -^/jimv, and the line is done ; ...•qfimv d.KOViiv, ii Ti /3ou\eueiv SoKft. .. ' The evicted tenants.' remain ; and seem like to prove as Tinmanageable in verse as they are in their native land. How oan we discover a Greek phrase which shall be equivalent? There is no phrase in Greek used habitually in the same way as this is used. But the idea is easily capable of translation. The word ' tenant ' ought to recal the K\yjpofvxo<: who settled in an allotment of conquered territory ; and ' evicted ' may be translated by iKireo-civ. The sentence takes shape thus : ' about those KXiypoB^oi who have been turned out of their farms (xojpt'a).' The words are much more easily managed in the singular ; and so we fall back on the general supposition ' if any tenant is evicted from his farm ' : yjv Khqpovxoi tis ck 246 GREEK VERSE COMPOSITION. Tol \a>piov tKTria-y. Now the matter becomes simple enough. Who will fail to see the cretic iKiria-y or the palimbacchius- KKr]povxps 1 Place kXijpoC^^os first and rjv tis second, follow up with the cretic, and the remainder can stand last, the pre- position being omitted as unnecessary : K\ripov\os Tjv Tts iKiricrri tot) j^wpiov. I regret that, and I am astonished, because I do not think that there is a single man in this House who is less capable of anything Uke poUtical vindictiveness than the right hon. gentleman. (Cheers.) We begin by echoing the \virfi of line 4, with either a Unk or some pronoun. Xvirii to8c in elision will make a good beginning for the line, and we may go on to emphasize iroXv- (line 4) : repeating the idea as (say) oi;^ rjKLo-Ta. This brings- us to the hephthemimeral caesura. 'Astonisht' at once suggests Oavjid^m 8«, and on may end the line. To complete the construction, add something like ravr fhrfv, or TotavT" Xvirii To8' oix ^Kiarra, OavfiAifit 8' otl T01.0.VT IXe^ev. In the next sentence a well-known idiom lies concealed, A Greek would put the idea thus : ' He, if any other man (eiTis KoX aXKo^, or €t tis aWos), would shrink from...' It will be needful to paraphrase ' political vindictiveness ' : the plain meaning is 'to be an enemy {iy(0p6%) to his opponents (cvafTtot) in political life (ev irdAei).' Here we have several useful phrases, ei tis aX\os is a double trochee ; ev 7roA.ei a cretic ; IvavTioi a proper final ; while i)(dpoi may be used in many ways, ix6poi y€via-6ai (penthemimer), ixOpo's ctvai (lacking one syllable of a penthemimer), c^flpos ipav 58 Parataxis 169 Pause at the half-line 12 Personification 49 Physic and Disease, metaphors from 43 Picturesque Epithets 72 Poetic diction 26 Polite Imperative 124 Position before two consonants 16 Prepositional Phrases 62 Prodelision 20 Proleptic Epithet 73 Proverbs 48 Names, how treated 120, 135, 137 Quasi-caesura 11 INDEX. 251 Bedundant elements 67 Belative article 23 Repeated word 169 Repetition of words 51, of ideas 52, 213 Resolved syllables to be avoided 4, 86 Road metaphors 43 Sea and Sky, metaphors from 44 Sense pause, where it may occur in the verse 10 Ships, metaphors from 45 Shortened forms in verse 25 Simile 28, forms of 29 Simplicity and dignity 26 Simplicity in Greek 100, 112 Stiohomythia 13 ; interpolated lines 14, 15 ; construction interrupted 15 ; irregularities and rarities 16 Stichomythia exemplified 89, 96, 104, 128 ; interpolated line 99 Stone and Metals, metaphors from 46 Suspense and emphasis 174 Synizesis 20 Teaching, metaphors from 46 Time, phrases for 65 Types of Verse 5 Verse-paragraph 9, 112, 122 Water metaphors 46 Wealth and Poverty, metaphors from 47 Weights and Burdens, metaphors from 47 Word groups and Words 3 CAMBErOGE : PRINTED BY J. AND ts. F. CLAY, AT THE DNIVEBSITY PEESS. K^ *-/ Type I. ^- Pv^_ii||_, Xdepo n' I hrAiav || ^KpaXelv | t|i«'p"-v. Aesoh. Pers. 836. Type IV. ^jv.,- I i^i-^ll-ii- I ^i. SioC^erii I e^a|ta 8' || eto-iSipei | .rs ovx virlp(j>Ev II 6vT|Tov ovra | xpi) if>povEiv. Aesch. Pers. 820. Type VII. i^-„-|!=i-^||-v^|_^^ =i o-iYno-or' I (S YuvatKCS || ^EipYdir|u6a. Eur. Hipp. 565. Type IX. . ^ ^ o-iyj I |caXvi|/aS' || dv6dS' || El(ri)Kova-aTc.' Kur. Hipp. 712. Type X. ii_^-ii II -v.-^- I v^i^ OVKOVV I Type XI. ^-\ I v.,-^-v vaUiv Type XII. ^- dXuiros I I iiA'^ava-a || TipiuiiT^pa |