i'-if ■ J*' ; :■»! ' .- .'-.rt,--! MA C N NO. ■i TE AT 91 -80 ICO -9 *j^ .-- •-• ' ¥-^ '■„ ' '' '4^*?*^'" . vj ' " T <7v^i?' MICROFILMED 1991 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK (6 as part of the Foundations of Western Civilization Preservation Project" Funded by the NATIONAL ENDOWMENT FOR THE HUMANITIES Reproductions may not be made without permission from Columbia University Library -^-^y'V.'^'f COPYRIGHT STATEMENT The copyright law of the United States - Title 17, United States Code - concerns the making of photocopies or other reproductions of copyrighted material... Columbia University Library reserves the right to refuse to accept a copy order if, in its judgement, fulfillment of the order would involve violation of the copyright law. AUTHOR: A 1 HT TITLE: C * * H nsoh I PL^ I I Yor" \ Z)A / » 19'' Master Negative # COLUMBIA UNIVERSITY LIBRARIES PRESERVATION DEPARTMENT Slzi£ioo.rJL BIBLIOGRAPHIC MICROFORM TARGET Original Material as Filmed - Existing Bibliographic Record Restrictions on Use: mm^^^mmi^m'fmmmm Goodell, Thomas Dwight, 1854-1920. Chapters on Greek metric. New York, C. Scribu* sons : retc, etc.] 1901. 5 p. 1., 251 p. 8*. (Yale bicentennial publications) 378. 7Y .;H86 ■ D8 8 7f 6 8 6 1 Dsaf G61 Copy 3, 1901 Oo py in Dap w ay ^ l Oollege Libi ' ai ' yi iDy in ClasBica'^ Reading Room 1901 Library of Congress Copyright 1-21917 1« »-u^ TECHNICAL MICROFORM DATA REDUCTION RATIO: FILM SIZE: S^*^ *^, IMAGE PLACEMENT: lA (ll^ IB IIB DATE FILMED: _7_-7_CL3l_ INITIALS.j/iWj^.... HLMEDBY: RESEARCH PUBLICATIONS. INC WOODBRIDGE. 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LL.D. 1904, Ph.D. Tflbingen 1879 Jay Professor of Greek 1895-1931 Dean of the Faculty of Philosophy 1902-1909 9iX6^oi-oo; f|V i I I t ♦ 4 If i/ :» 1 pale bicentennial t^ublicationjs CHAPTERS ON GREEK METRIC t # J i pale I6icentennial l&ublicationji 'I i /F"///; //;f approval of the President and Fellows of Yale University^ a series of volumes has been prepared by a number of the Professors and In- structors^ to be issued in connection with the Bicentennial Anniversary^ as a partial indica- tion of the character of the studies in which the University teachers are engaged. This series of volumes is respectfully dedicated to 1 ^ / h CHAPTERS « • • .QN... • • • '•' t G R E:E K * « :. M;E..T R I C 4 « • « • BY THOMAS DWIGIIT GOODELL Professor of Greek in Yale University NEW YORK: CHARLES SCRIBNER'S SONS LONDON: EDWARD ARNOLD 1901 • • • ■ • < » . * • > • «. .♦ I Copyright, IDOL Bv Vale University Pu! lishtd, Au^usi, I got I r 1 ' UNIVERSITY PRESS • JOHN WILSON AND SON • CAMBRIDGE, U. S. A. TEXNQN TE MHTPI TH2 T Eni2THMH2 KAAHI KEISeQ TEXNQN AE XOI NOMOI KAAQN KAx\OI CONTENTS Page I. Scope and Method 1 TT. RiiYTiiMicrs OR Metkicus? 6 III. KiivTiiM AND Language 58 IV. RiivTiiM IN Greek 99 V. Foot, 1( tus, ''Cyclic" Feet 131 VI. Com POIND and Mixed Meters 184 INDEX 247 CHAPTERS ON GKEEK METRIC SCOPE AND METHOD It is a mark of a living and growing civilization, in contrast with a stagnant or declining one, that in the former men are ever renewing the critical examination of the fundamental notions. This is true also of every separate art or science. From each new vantage ground attained the question is put anew about one principle and belief after another, supposed to be firmly estab- hshed : But after all, is it well-founded, is it true, is it fundamentid? To some people this is disturbing; they fancy that tlie very framework is dissolving and founda- tions disappearing. Yet all the while out of the con- fusion of decay, in wliich the outworn vanishes, there is growing up a new and sounder life. The questioning attitude toward the old is an essential conchtion of such growth ; all of the old tliat is worth preserving finds its place in a newly organized and higher type. The science of classical philology is in every branch of it undergoing that experience. Greek metric is a peculiarly difficult brancli, because the forms of verse are nothing except as spoken, and the ancients can no longer speak their verses to us ; there is always an unknown quantity in our reconstruction of the series of sounds which their lines represent. True, a consider- able degree of uncertainty or of known error in details is 1 rjiAPTEn^ ox 'iiniJiK Mirmic SCOPE AND METHOD 8 (•(Uisi-^tfiii \\'iili snl)>t.inii.ii truth to thf iiiru'e important t.icts .)}' rh\ liiiiiic.il iiio\<'nn'nt \\\ tlic [xx'trx' of a past iiLT''. O'lr prniiiuiciai i> >]i ot" Sliak>pfiv"s lii!.'> WMiild lui\'t' >Muii(lr!l l)arl)ai'o!i.s tri hiiH : yt't \v(,' aru certain that Willi ft'W fXct'piioiis \vc rcpi'tHiUiT his rh\'thm witli sii!>- st.iiitial iniih, allhoii^-h Wt- ha\r chaii^'.'-l the (pialitv of the \-M\\fl>. ^ ft u'hci'c tht' hasi.s of rh\ thiiiical stfUctui'e is V.) (hitft'ivnt a- iu aiicifiit (ircck \vh«'n (•(UiipaiTil with iiiiHlcin l-hij;!i.->h or (h'rmaii. it is alwa\s pMi>>i])li' that tht' IHiklloWii t'!i-!llt'!lt alTrcls the \rV\ (-->t'l K -f. W'idt'U' thtt-aviii vit'ws ha\'i' ht-fii hfhh and arc nuw hi'lth ahout thf natiiiv m! smjih' coniniMn rhxiiinis of (iivrk xa-r-c, (•« )n ; i'< )\a'r>h's are rih' and lu>t\". The nnhinkfr nia\' he pardai'Ml fd- h.'lit'vin'_f that all is uncertain and kiiowl- '-'luv una.tt 1 ;n,ihlt*. Vet on th<' whole the [>a>t ccnturv has ,--t-ai ^'ih^tantial [a'0'_i;iv^- toward thf rrruvcrx' of the aiKat'iii rn"!f!'N. h is no.t ww purpox' to rr'couiit the lii^tor\- ..t ihi^ i»roi:!-('ss, or t" di^(ai^s with an\ahin >• like '•"nipleirni'^- ih- MpiiiiMn^ now ciirrenl : hut raiin-r to otlcr, ii p''^-ii)h', a n)odr>! ront rihut io!i toward fai'ihrr advance. I'lif foH^winL:; « liapters wall ho d'-\oifd prini- arilv to di^rii^^ion \)\ fundanitaital principles. \\\\\ \\v\' ^^■'il iuiduilo al: to par- tianio time L'a\"o no douht as |o niv laaion of the j.aucticd hcann'»" o ot tlie conchi>iop.s ho!v dff.aiih'd. Such a discussion, to ho of auv u^e, lunst of coinxM rest U[)(ai adftpiat*; ac4Uaintan''o \vatli wliat ollaa'^ h,i\f done: hut it net^d not neco>^ari:\' he acoonip,nn.'(i at every ste[) hv detailed refutation, or rven euuniorai iou, of views dtdeuded hy others, wlu'lher at variauro or iu more oj- u-» chuM' a;_n-ernient with tho.^e of tlie auihor. The reader will meet here onh' the nnniinuui of rehu"- erice to previous writers on the subject. To avoid mis- uu(U;rstandin^^% diereh)re, a word of explanation is called h)r. It sliould 1)0 said at tlie outset tliat my motive for such onussion of references is not in the least a desire to conceal luy dependence on p)redecessors or to detract from their merits, (doser study of so thorny a subject tends rather to I'aise one's estimate of earlier work, in some lases c'ven of th(»se wdth whom one can least a^^•ee. liut iu the tirst place every new presentation must stand or fall on its own merits; and those most competent to jud^n:^ it, wdiose a[)praisal will ultimately determim^ its place, do not need to l)e informed either whert! I have learned from others or whose \'iew it is tliat 1 am endeavoring to replace with a sounder one. And ai^nun, the subject apj)ears to me peculiarly difficult to [)resent with sulhcient clearness to avert misunder- staudinL(. The constant citation of others' views, wliether to controvert them in toto or to explain a par- tial hulure to agree with them, or even to state that I have h»llowed them, would have added much to the btilk of these ( hapters, something to their obscurity, and noth- ing to their real value. There are then three classes of cases, rinuuug together more or less, in which 1 sliall not always {eel boinid to give precise references. First, the volumes of Rossbaidi and Westphal, Christ's Metrik, and the section by (dleditscdi in Miiller's Ilandbtich are assumed to l)e well kianni , ihey must in great part iurnish the basis for any newM^omer. Not the slightest originality can 1h^ supposed to be claimed for anything thiit is contained in any of these. This broiul acknowd- edgmeut of my great indebtedness to them wdll I hope he deemed sutliident. Secondly, my presentation will sometimes ( losely parallel that of tlie scholars just named CHAPTERS (jy GREEK METRIC SCOPE AND METHOD or of some one else, but with more or less deviation on essential poinl>. Whilr no eredit is clainuHl where such reiH'titinn orcurs, (»nu»i<»n of such parts re|K'.iteil from others w.'iiia li'avr my [.aL^e (.hsiuire, partieularly to (»ne who is not iiiivady «|iuto at hoiui' in this ticld. Simply to make mv oun concfption [)lain at tlif points where it diver-fs, u uih not infrripu'ntly U' nrrrssary, then, to ;^o o\rr .iLTain in dfiail sonic topic or portion ot a topic that aiiollicr ha- ahv;idv cj.Mrly elucidated. ('oni})ari>on will tXcn.aMilv >iio\\\ I iru>t. that t!ic (K-viations justify the repetition, lint eon>t;int reference to tlic points ot likc- aiid of dixcrL^ciici', ;u< was just said, would i^reatl}- ■tlicn the ar_ruiiie!it and introduce another and most in_^ source of ohscU!-!tv. Naturall}' the uiore tamil- • reader is with niciri'\il studies the more (*l such Ihirdlv, in some cases ot tunda- li/.ed nes> [Ci a ! n 1 ' I \" iar th( repetition will he liiu mental di>ai^ieenicnt, winch wiil at once he reeo^^nn as sui-h, the pnh'nii'- t^ei" will on principle he avoided ti> nnich as j!os>ihle. eveii to the omission ot names of scholars wlio are deservedly hoiioretl in the whole philo- ioL^ie.u World. CMiisir lookin:^ out the passapfes. Care will 1k' taken als(» to cite the (U-iixinal witli sutlieient fulness. Nothing more (piicklv destroys contidenee in a writer's singleness of aim than to discover that the full eontext nrat(U-ially eh;ui'j:es the aspect of a eitation on whieh his argument de|>ends. It may K' only his judgment that is at fault, not his sineeritv; but the etYeet on our estimate of his reasoning is the same. It is better to waste a little space bv citing at urmecess.irv length than to commit even unintentiontilly the mistake of garbling. It is good policy as well as a duty to put l>efore the reader every hieility for testing the argument for liiinself at every step. Similar eousideratious render some repetition of niv own argument unavoidable, as the same topic or the same statement of an ancient author may require exami- nation from more tlian one side. The whole subject has been so obscured by misunderstanding that whoever w rites upon it at all is bound to do his utmost for per- spicuity : the repetition involved need not lead to dif- fuse ness. Finally let no one imagine from what has preceded that my pr(\gnun includes anything so large as revolu- tion (»r re-creation of this branch of philological science. I'o not a few my conclusions will appear antiquated ratlan- than speidally new. The whole aim of these cha}> teis will be attained, if by steadier adherence to certain sotnid principles, that have been too little observed, our conception of (ireek verse-h.rms is brought a little nearer to the realitv. It will Ik' my constant endeavor to see things as they are, to avoid polemic so far as possible, and to keep an open mind. '4 Ij RIIYTIIMICUS OR METRICUSf II RIIYTIIMICUS OK METHICUS V Ix our ancient sriuivcs on nit'tric thciv is fr(M|ntMit. nit'ntinii of fortain (lilTercnces of opinion lu'twcm the pvOfiLKol ( rli\ thnnci ) or fxavacKot (nuisici) and thf ^erpLKOi {nuivici) or ypcifi^arLKoi ( LTi'anunat ici). Tlu'sc (lilTert'nci\s are well known and have Ikhti often dis- cussed: yet it will he uorih while to examine aLfain the more im[M)rtant }'ass;!;4.'> I'cferrinL;; to them. The exact ehro!i()lM.j;ieal ordei". e\tai if tliis could he alwa\'s nsade out, is of little con^e< jUeiice for our present purjiose. We may takt* first a hri«'f and very (dear one from the scliolia to ne[)!iaistion. 'Io"Te'of' ^t oTL a\\(Os \a/j.3(h'nvrn rois ^po'i'ou? of /u,tT- piKoi rjyovv oi ypapLpaTiKol, Kal aWws oi pvOjjLiKoi. o'l ypa^.p.ariKOi iKtlvov fj.aKp()i' ■^^povuv irrLaravTai top e)(^oi>Ta Svo ^^poifoi's-, Kal ov Karayii'oi'Tai els /j.tt^<)i> rt • ot ?t puO- pLLKOi Xeyivm rndt elvai fjniKpoTeJov rovdt'. cfxiaKovrt^ rrjv /j.a' T(oi> (Ti'Wd.'jou' aviU Fvo vuiaeMs ^povcov ti]V St rpiMV TT]i> tt TrXcKU'foi' • ()]()]' rnr ax "i ypapuartKot Xeyovai Cvo ■)^p6i'(Di> eh'cii,, 01 tt f)vthiiK')i tvn yjfiiiTefOs' S'Vo fiti' mv (d paKpnij ijuiy^povoi' dt' to g' rrdv yap avpL(b(oi'oi' Xt'ytrai eT(t;r r]^L)(_p6viov. (P. l*:' \Ve>ij)hal, p>. 16 noers.lieh inann. ) At much clival er l(M],.n!i ^h}riu-^ Victorinu< (p. -h* f. Kd ) riMuarks to the same ••^"i'f. ' ,.:i iht- -n-ai parx i (h^^e!i>io ^ F-r <>nTiv, nirncr t^ii- *-, :it:M.' will l.c >AU'\ in tlu' u-u;il way, In- Ki'ir- titu , \:\ (iraiii. La'. \'I, inter metricos et niusicos propter spatia temporum quae syllabis comprehendunttir." EspeeiaUy sigiiilicant is the sentence: ' Musiei, (pii temporum arbitrio syllabas commitr- tunt, in rhythmicds modtilationibus aut lyricis cantiom- bus pHM- circuitum longitis exteutae pronuntiationis Uim lon^is longiores 4 nam rursus per correptionem breviores brevihus proferunt/ As exami)les, however, he gives (,nly the isolated words Thersandrus and afX(j)teafM€vo<;, in ea( h .d" whi(di the lirst syllable is long by position, but i> made still longer by changing the short vowel to an 7j. d'he author sums ti[) by proposing to leave this '>ci'uiadositas" to the nnisiii and rliythmiei ; Miam quod ad nos attinet. notemus plerasijue syllabas ratione pares e»e. s[)atio autem sen sono impares, ut dicimus omnes (lermanos longos esse, (piamvis non sint omnes eiusdem st.iturae: sic di*-emus etiam has syllabas in genere esse, non in spatio, loiigarum sen brevium syllabanmi/ ddie earliest in date of these referenees is ui Dionysios Hah, as htUoWs: 'OfioXoyelraL Br] t^paxelap elvai avWa^rjV rjv Trocel (\>iov?]tv t^paxv TO 0. (o Xeyerai 6S09. ravrr] Trpoaredr^ra) tL> ypdfipa TMV })pLL(pm>o)P to p Kal yeveaOo) 'PoSo? ' fievec ptv en ,3paxela 1) auXXa^r], ttX^v ovx ofxoico^, aXV e^ec rifa 7TapaXXay}]v ciKapf] irapa rrjv irpoTepav. €TL irpoa- Ttd//Tfo TavTj] Toiv cKpcovcov ypa/ifxaTcov to t, Kal yeveado) Tp'>7TOs- fxtL^oov avTi] T MV TvpoTepcov €aTaL avXXafBcov, Kai hi ppaxtla p^veL. rpirov y en ypdp.p.a r^ avrv} avX- XaSJj TTpuaTLOvjco TO a Kal yeveadco aTp6^o<^ ' rpialv avrrj ^pi>ath]Kai^ aKovaTal^ fxaKpoTepa yevrjaeraL rrj^ iSpax^rd- T?/^. pt'i'ovaa eTL iSpax/ta. ovkovv Teaaape^ avrac /3pa%eta9 GvWa f-^jrj^^ l>La(})')pa\, Tr]V dvdXoyov ixovcraL atadyjaLV t?7? TTapaXXayijs' peTpov. o 8e auTo? Xoyo^ Kal iirl rrj^ (xaKpa^. T] yap eK tou ?/ yivopevi] crvXXalSrj, fxaKpcL ttjV (t)vaLv ovaa, Teaadpcov ypapp^aTCDP rrpO(jOi]Kai^ iTapav^T)6€laa^ rpLcov r { 8 CII.IPTEJIS 0.\ a REEK METIUC RHYTHMICUS OR METRIC VSf 9 TTporaTTOfiepcop eVo? Sk viroTarro ^ivci)i\ /caO* rjv Xeyerai ctitXtjv, fjL€L^(jou CIV StJttou XejoiTO elvaL tt]<: irporepa^ cVeiV?;? T7J9 fiovoypafiixciTov ' p^eLovpLevrj 8' av KaO' iv eKaarov royv 7rpoaTeOevT(s)v ypafj,iidTa)i\ ra? iirl rovXarrov TrapaXXaya^i aia6TjTa^ av ex'ii.. air [a he rjTL^ earl rov /njre ra? fxaKpa^ eK/3aLV€iv TTjV eavTOJv cfyvaiv, M-^XP^ ypaiifjicircDv eirra /jltjkv- vo/xeva^, /xrjTt rch fSpax^ia^. tw ei> aTro ttoXXojv ypa/u,- ^drcov avareXXo/xeva^, iKTTLTTTeiv tt)^ fSpaxvrijTo^, dXXd KciKeLva^! iv htivXaaUp Xoyco OeoipelaOai tmv /Spax^LMv, Kal ravra^i iv i]fJ.L(7eL row /xafcpoyv, ovk civayKalov iv ray rrapovTL (TKorrtlv. dpKtl yap, oaov tk rrjv irapovaav vTroOeaiv ijp- ^OTTti', €Lpy)aOaL otl SiaXXdrreL Kal /Spaxela avXXa^St] fSpaxtiai; Kal fiaKpd /ua/c/3as\ Kal ovre rrjv avrrjv e^ei hvva- fj-Lv, ovre iv Xoyot^ ylnXoU ovr iv 7T0Lr]p,aaLv rj ^eXeai Bed pvOfiwv 7J jiirpoov KaTaaKevatofJLevoL^, irdaa fSpa^da Kal irdaa fiaKpd. (Dv Conip. Vwl). lo, p. 178 iY. SchucUT. ) llu' same dnctriiie of the pvOfMiKOL ■di^ihKirs in Aris- tides (Jiiiutiliamis. 1(jvtcov ovv ovtcjOs ix^d'Tcvv SedeiKTai rd fj-eyt'lh] tojv aToix<^i(iiv ToU htaaTr)fjLaatv ladpiOfia rov rovav ' to /xtv yap iXd^tarnv avTun> rov ^eyta-rov TtTapri^pnpiov iaTii', (D^ 7] Citato TOV T()VOV, TO St fxiaOV JjfMLaV p,€V TOV /it ('fo 1^09, SiTrXdaLov Ct tov iXdaaovo^- tt)^ fxev yap fxaKpd<: })piiatLd €(TTL fSpax^la, tT/? dfc- fSpax^di^ dirXovv avfxcfxjovov' dfjXov dt iK TOV T7]v f^pax^av i) dtTrXov av/x(f)d)vov TrapaTeOt'vTO^ rj iros 0a)2-'?;t-i TO? ytveaOaL piaKpdv. (I 'il, [). 45 Ml).) To sum up. thi^u, we lind this dilTerenee allirnitMl hetWiH'U the iwo schouLs. 'I'he uietfici cousidei-tMl the l'>n;j^ syllai)le as always twiei^ thi* leUL^th of the short; whatever variation from this ratio the varvinir eonstitu- tioii of syllahk-s produced was treated as too slii^dit to atYert the LTencral tlow of verse. The rhythmici, on tho other hand, h.'ld that long syllables differtMl i^reatlv from each other in (quantity and that short syllables dilYeied t*. from each other in some degree, apart from variations in tem[)o. The doctrine of dXoyla or irratioimlity, whereby some syllables were longer or shorter by a small unde- fined amount than the complete long, was associated by some with this theory, as in a passage of Dionysios Hal. which we must examine more fully later. (See p. 169.) Some, at least, atlirmed also that a single consonant re- quired half the time of a short vowel, and that two con- sonants or a double consonant required the same time as a short vowel: these writers accordingly set up a scale of nu'asurement for syllables, simply counting the num- ber of time-units reipiired, on this theory, by the con- stituent vowels and consonants. We may now add another passage from Aristides Q. 0/ piiv ovv avpL7TX6KQVTe<; Trj pLeTpLKTj Oecopia Tr]V irepl pvO/jLojv TOLavTTjv Tivd ireiroLrjVTai rrjv Tex^oXoyiav ol 8e n^a)puoFT6? eT€p(0<; rroLovcn. (I 18, p. 40 Mb.) ddie two schools are here distinctly recognized, along with a group who combined in their presentiition the doctrines of both; but a careful examination of the context is necessary before one sees clearly who the avfX77X€KovT€^^ liud tlic ;^cop/fo2^T€9 arc. The passage forms part of tlu3 section on pvdpLLKrj, which is intro- duced by the words, at tlie end of chapter 12 (p. 31 Ml).), fjL€Taf3cofji€V 8e XoLTTov iirl rrjV pvOfjLiK7]v Oewpiav, In chapter lo the nature of rliythm is considered; then in order come the to[)ics Trpcoro? ;!^/3oVo9, avvdero^ ;)^poVo9, TToi;?, *y€vri pvOpLLKd, then tlie pvdfxol avvdcTOL^ davvOeTOL^ and fiLKTOL. In cliapters 15 and 16 are taken up the SaKTvXiKov 7t7'o?, the lapLfSiKov^ the TraLcovLKov. In 17 we are told that several kinds of rhythm arise from the mingling of these yevij, — two Soxfii-ciKd^ and the so- called TTpoaohiatcoL Then are described two dXoyoc Xopeloi, the Lap.i3oeLSrj^ and the rpoxatoeiSr)^, Also, he 10 ciLirri-ns ox giikkk Mr/rnn'' adds, llicre aiv oihrr ovP^n ^iktoI. six in number, wliieh hi- iKUiicS and ilescril)c-, — the KprjTtKck (- -^ - ^ ), the 8a/cTi'\o> Kar ta^Sov ( -^ - ^ -). iKe Sa/cTL'\rK^ /caTa ^^a/c- Xelop Tov iiTTo rpoxtiLou (^ ^ ^ -), Un' d^^/criAos /cara /^a/cxetoi^ TO.' aTTo ai»u (^ ^). tlie 8a/CTt-\o9 Acara ^optiai' rov la^SotiC?) and the ^a'/t-ruXfK Kara X^'puni' tov Tp>ycuoacPp N<'Xt htllows (after a remark on thr names of ih.' la-t >ix I't/et ) thf |Kis>aL:e (piotrd ahnvf : '• Sneh i> I'h.' >\>lt'!n rnn>irurtiMl by lhn>t' who comhint' rh\-th- uiI'aI prinriph'> with thfir dx-trine of nu-lri"-: hut those wlm -.'oaratt' thi's<' nrorfcil otla'rwise. Namely, eie. Th.' -unnnarv which f.>llM\vs i> not im-v to unih-rsmnd in (h'laih hm i- chMiiy •• rhythmicah"' a moiv or h-ss ivm.a,' r.'ho I'f An>loxrno>, 3<>2 Mor. It mirodurr- the Kti'ul XP^^^'"^^ '''' rr^i>, dt'.ds with rhyihmioal raia*-, and (.uiitain> n- -nL:L:e>i i. ei ^A tiie jairely ••moirical doe- truif. 'rhi> ;iLr:v.'. with the intrnprrlat ion jihi L^iveii 1>Y tiaa |.a--;!U"e ({Uon-d. Chalitrrs 16 and 17 (•oinaill nnirh tiial i~> •• rh\ tiinn<-ar' in rharader (as the irra- tiuiial h'ct ),, minult d with not a hlth' that is di-iindive (<{ iiH- fxtrpiK'Ji. d'lu' Word ordrr iA the drtM-k -aW'S to fjLeTpiKiJ tlie ;^n-('at.'r proininmce. T]\\> oon-aha-ai mn is i){ -ume ('o!is,M.uon is the ruh* in ( irci-k, as the ax-endini: i> in l-hiixh>h and Fnairh. Oi avuirX^Kovre^ arc |>rimarilv mctrici, hut tht'V nidra\or to coiiihina' more or less of rhythnuoal doctrine wiUi that (»f the pure metriei ; o'l x^opt^ovre^ are lh\lhniic!. d'lii- [)a».i_:e ..f Ari-tid<'s has K'en dwell on at '^nvater len'j:ih hecau-e it indieat*'s the Lren.eral ailitU'le ol the author. His i realise hears the title irtpl p<>vaLK?i< and includes an outline of musieal tlieoiy : on*' thereh)re naturaliv assinnes that in his treatment ol verse he t^hould he Lounied as pLOvaiKo^ rather than u€TpiK<)s\ In RHYTIIMICrS on METRICUSf 11 faet however he is an eelectie, who drew^ from various sources, ineludinu^ some of the oldest and best; but everv statement of his on metrie must be examined crit- ieallv by itself l>efore it ean l)e aeeepted as anything better than that of a late pLerpLKo^} None of the preeeibng extracts gives a name or en- ables us to i(h'ntify any of the authors alluded to as rhvthnnei. Ibit Aristoxenos is often cited as 6 /jlovctl- ATfK, and since Westphabs lal)ors no one doubts the prom- inence of Aiistoxenos as the founder and leader of that sihool, or his fundamental im})ortanee in tlie study of (ireek rhvthmic and metrie. And for us he stixnds alone. His followers ap})ear to have added nothing of value to his treatment of the subject; their errors can no longer Im3 assigned with certonanls. And for the two reasons it is dillicult to heUcve that it was accepted by the L^reat pvOfjuKik. In the first [dace, his |ii!nci[Je of aXojLa (which we sh.dl see was applied both to ver>e that was spoken and to verse that was suult ) ^vas an impossibility, unless he recognized a consith'rabK- dcL^-ree of variabilitv in the leHLi-ilis of vowels and ennsoiiants. A \i)n<^ vowel plus two coUMiuants or a double consonant made, accordini^ to the pvOp-iKOL in (p.irstion. a syllable thrice as long as a s\'llable of orn' short vowt-1 onl\'. Yet it is certain that Ari-ioxeno> n-^aid.d a> irrational, that is, as havinc^ sonirtliirs'^^ le» than twice the leULTth of a sinLfle short vowfl, inanv such svllables. And secondly, the doctrine' is >o >elf-ce thi'ce ({)o>sibly two and a half) times the length of a short syllable, and every svllable cniitaining a short vowel and one consoniint would exceed the [)ro[)er lengtli of a short sylla!)le. Kvidentlv this tloctrine woidd destro\- all rhythm in iioetry as the (rreeks wrote it. The notion can have l^een nothing more than a bit of abstract theory, not even supposed to liave any practical application in verse. The passage from Aristides Q. (I, 21, above, p. 8) probably indicates the origin of the notion. From the fact tliat a short vowel makes a long syllable when followed either l)y a double consonant (or tw^o con- s(Hiants) or by a single vowel (making a diphthong) some one drew what seemed to him the ob\dous inference, namely, that a single consonant demands half the time of a short vowel. Tdie analogy of this scale of quantities with tlie ratio existing between the SiWt? or quarter tone, tlie semitone, and the whole tone in the musical scale miglit natundly, to a pvOpnKo^ of this type, appear like a rather pretty support for the doctrine. But of any seri- ous a}4)lication of the doctrine to any Greek verse there could be no (piestion. That the doctrine is still gmvely cited occasionally, and that Hriicke supposed that he hatl demonstniteto(Ml in rational coniicctii ai with othta* souiui principh'^, ;iH CunterinL^ in his ivcn^^nit i,,!i of the fact, that nictric was proiicrh' a branch ^f rh\th!uic, that rhvthni in lan'nia"-t^ is identical in natniv wiiii rliythni in manv oth^a' fMrms of physical niovcnicnt, and partitailarly with iii\thni in nuisic and the dance. (Ml the other hanil tlie nieti*ici, disrt^Gfardin-^ tlic re- lations ni lan^^uaL^e rhvihni, made im distinction hctwceii lon-^' syllables, d'o thcni >hort syllaJ)lcs were all practi- cally ei[nal, and a lc)n-_f syllable alwavs prataicalh- t\\ic(? >chool, and eontain only <:)ecasional reco._rnitinn of the other view. That fact is itself noteworthy. True, it may me.m n<»th- iu'j; more than that I'jyzantine and Italian students of tlie classics in tlie Middle A'j-es heund the metrici more intel- lii^ible and m^are useful for what they desiretl, and henct' neglected the rhythnfaa. The ancient oivhestic had perished and no Ioniser interested the medieval stirhait. Ancient niusie had underk:fone or was inidic was so closelv connected with that of poetry, that special mirsical hand- books appear to have Siiid little about that side n\ the su!)ject. It was therefore nattinil that handbooks wliicli treated the rhythm of verse witliout rehu'taic-' tet the other rhvthmical arts sh-tuld be tlcaiLfht sulhcient, .md i should alone be propaorated in the schools. An^-iway secli purely metrical liandbooks were the ones in com- mon use in l)oth the liyzantine and the Latin schools, ;ind have stirvived in considerable bulk, wdiile of the pvOiJLiKa (Trnixda of Aristoxenos only fmgments, com- paratively small, are extant. But ihmv is a fartlier sii^nihcance in this survival of the metrici. The ^Mnetrieal"" view of verse rhythms nnt onlv was the prevalent one in later times; it was \Nidelv prevalent in the classical period also, and was ohltu- than the " rhytlnnical." This lias been remarked l)v others, as by Ivawczynski (Kssai sur Torigine et rhistoire de- rythmes, p. 81), by J. Caesar (Grundzdige (h !• L^r. lihyihmik, p. 33), and by Susemild ((tcscIi. der gr. Lit. in der Alexandrinerzeit, II, p. 218 IT.). Susemihl reminds us that the use of the syllable as a unit of measurement by oi TraXaiol pvOfitKOL, wdiich usage Aris- toxtaios vigorotisly o[)posed, is itself a distinct indication of the " metrical '' stand})oint. More recently G. Schultz (Hermes, vol. 35, 1900, [.. 308 ff.) has showTi that the nanne to rrevjdfjieTpov for tlie iXeyelov^ implying certainly something of the same view, was already current in the early part of the fourth century. Some other things point the same way. Aristides i^' ;»t the close of I 19 (p. 43 Mb.) proposes, liaving finished his account of rhytlimic, to ti\ke up l)rielly the subject of metric; wdiich he proceeds to do. d'lie following chapter bt^gins : Wp^r) fJ-ep ovv T) T779 /jLerpiKr}^ 6 irepl cnoiyjeicov \6yo<;, elO' 6 Trepl avWaScov, eW* 6 irepl ttoScov, eW* ovtcd^ 6 irepl Tiov iierpcov, reXevralo^ 8e 6 Trepl TroLrj/jLaro^^ irpo^ evhei^LV Tou (TKoiTov tT/? pLeTpLfCTj^; 7rapaTL6efX6vo in his ivpoXt^ofxeva (p. \^'l VV., p. 4 lloersehel- mann) by the remark : 'Et' St Tol^ fM€TpLKoU el^ei'ai Sel ore rrdaa ^-^pa^ela tai] Kai iraaa fiaKpa tar]. KaOoXov yap at fieu elcn dij^povoL, al Be /jLOVo-^povoL. ivrevOev tov fitv SaKrvXav KaXovp^tv rerpdy^povov, tov Se 7rvppL)(Lov hl^povov, ov iroXvTrpdyfio- vovi'Tt^ rrj^ 7T0Lr]Ti>cy^]s Xe^tco^ t] auXXa^rj^ ra aroi-^tLa, ovd^ ev TToaorrjTi Kara^trpovpre^: rois ')(p6i'ov<;, aXX' €u 8vvdfM€L rrjs iroaoTjjro^. Th(^ thouirht is: Since in metrie we reirard all huc^ syllables as equal and all short syllai)les as ripial, we need not treiul)le otirselves to measure the pre-'ise (per- haps sli;_^htly ^Mtyinrr) Icn-j^th nor discuss the individual sounds that make U[) the syllables in [)netiy'. I^xeept for this onussion, Ih-phaistion follows the srhrnie preeisely. We lind now that tht\a)Pr)<=; Ik tojv ypafx/idrcov avyKeiTat^ T^;^ tt yXdjTTT]^ fiT) TOLavTTj^ ovarf; firj^e tcop ^ecXajv vypcov ovK dv ?)V (f>0t'yy€(T0aL rd irXdara tmv ypafifxaroyv' rd fxh' ydp tT;? yXd)TTi]^ elal Trpocr/SoXai, rd 8t av/i/BoXai tmv '^tiXiov. TTOia^ 3t Tavra Kal iroaa^ Kal rlva^ e^^i SLa(f)Opd^f Bel TTVvOdveaOaL irapd rcov fierptKcov. Further, Plato (Krat. 424 ])c) has the followdng: 'AXXa TK dp eh] 6 rpowo^ r^? hiaLpeaea)^^ oOep dp^erac ^ifielaOdi 6 /jLL/jLov]jLePo<^ ; dpa ovk iireLTrep crvXXa^al<; re Hill ypd]i]iaaiP j) ]iL]n]aL^ Tvy^dvei ovaa r?/? overlap, 6p66- ruToi' ean SieXeaOai rd aTOL')(^ela Trpayrop, (oairep ol e7ri')(^et- povPTe<; ToU pvOpicns t(x)p aroi^^eicop Trpojrop rd^ Svpafxet^ t'leiXovro, eTretra tcop avXXa^cop Kal ovt(d<; 7]8r] ep^oPTat €itI tovs pvOfiois aKeylrofxepoL^ irpoTepop 8* ov : dp* ovp Kal 7)]u.ds ovT(i) del TTpMTOP fiep Td (pa)vr]€PTa SieXeaOaL^ eireiTa Tu)P eTe'pcop KUTd elSi] tu re d(})a}pa Kal d(f)0oyya — ovTcoal ydp 7TUV XeyovaLP ol Setpol irepl tovtcdp — Kal ra av (pwpr]- €PTa /jLLV ov\ OV fjLt'pTOi y€ d(f)6oyya ; Kal aurayv rwv (fxovr]- ePTcop Odd hidc^opa etdi] €)(^ei dXX-qXoyp. From these passages two inferences can \^e drawn without (piestion. First, in the time of Aristotle, and c\en of Plato, a detailed analysis of the sounds and their syllabic combinations was already familiar to students. Hie rather minute (h-scription of the vowels and conso- nants which we lind in Dionysios Hah (De Comp. Verb. 14), with such a reference to Aristoxenos as leads nat- i-»i • >yi 18 CIIM'TKIIS (>X CREEK METRIC iir;illy to the su['pi)>inuii tli.a sul)«^t.llltially llu- whoU* (■liii[»U'r i^ drawn from him, \va< in the main iiiht'ritod i)\- AristdXt'nn.s from an farlit-r gi'ntT.ition. (Whether in thi^ followinir chapter al><), on svlhibles. Dionwsios had AristoxriKis in nnnd and drtnv from him, wo havo no wa\- of dt'tt-rnnninLT. ) Socondly, siieh ;uialy>is of soumhs and >\llahlfs \'.as thii> early considtn'ed a part of ^erpiKi). It was n-LTularly humd — at least w.is naturally to 1h' looked foi — in the ^trptKoi, who at thi.s date woiijd !>»• LTrnrriraHv tli(K-^o who wroti,* i>r lectuivd on nu'tor^. and Would he the same t/lass of |k''i|)1o a> Plato's nl ^m\ti' p')VVTe<: T'n^ 'pvOfiol<;. In thai LTern'rio sense Arrstnxtaios liine-t'li' \\M> ;i fxerpLKck I like the rest he had seetion> on the >ound-elenu'nts or lett<-r^ and on syllaolrs: piohahly al>o the^e wer»' tollowed 1)\' section.^ on iroSe^ and on fxtrpa. Wdiat madt' his work remarkahle, and the heL^in- nin'j; of a ne\^' si-hool, was not these ehapters, in which he iiKCie cL'>ely conformed to tradition, hut the doetiines ol the pvt^pLiKa aroc^eid. which put all these moi'f tra- diii'-nal p^aiions in a new li^'hl. Wh* may even ailmit thai his siM-tiou on syllalile> perha})s coiuained siieh a reco^^niiticn of the varyiiiLf »juantitati\'e elTcets of conso- nants as \\a.s e;isilv misunsler>toH id and was later cr\>tal- li/fil into the fallacious time-seale. We eaiine.t douht, then, that the treatment of verse rh\"thni> Itefoiv Aristoxenos was lar^'cly *• met ncah"* in this >»-nse, that it set out from consideration of sounds and syliahles, and onlv jiartiallv rcLfai'd^.,! rhythm in the other arts. Also, while we have no way (»f diseovtu- niL^ wlial precise deq-ree of elahoration the the<»ry had rerriNt'd at an\' e;iven date, it is clear that iH'hu'e the date of l'lato"s Kratylos a })retty complete syslem was rcjukirlv taui^lit, if not alrea.dv st't forth in puhli.shefl trealLse.s. The allu^ion:^ of Ari.stophaiies in the (Jlouds RJIYTHMirrs OR METRICUSf 19 (640 IT.) cany back a rathei' detailed nomencdature, that is, a system involving rather minute distinctions, into the hflh century. Ilownuieh earlier a fully deveh)ped and w idelv acceijLed svstem existed we do not know. Of course, throughout this earher period a great deal of j)oetrv was sung. Tlie singer consciously kept the time, ;ind the chorus leader heat time, that all might kee!) to<''ether. In sucli siui/ing there could be no real confusion as to the duration of syllables. The singers thertdore cannot have supposed, while singing, that all lou'^ svllables were e(itiah and that each was twice as long as a short sylLd)le. The chorus of old men in the Agamemnon, rendering the words, TOP (f)pov€LV fSpoToi/; 6Ba>- aavra, top irdOei fjLdOo<; OevTa KVpLco^ ^X^^^^ must have realized that thev j^ave to the svllable -^co- as much time as to the two preceding syllables, a long and a short, togetlicr. Still we must remember that (ireek song in general did no violence to the ordinary pronuni nation of the verse, as regards time; at the ut^ most the singer mertdy reduced to greater precision, T\dth a minimum of hirther development, in the musical sense of the woi'd, the rhythm which any ttntrained speaker naturally gave the lines in reciting them. This prin- eiph' is beyond question for the earlier period, whatever de[)artures from it may liave been permitted later. And the point to be empliasized is tlie natural and unforced character of tliis rhythm, to the (ireek. That is, no more training in music or in pronunciation was requisite to (mable a (ii'eek boy to read Greek poetry in the cor- rect rhythm than is now requisite to enable a boy whose native tongue is English or German to read English or 20 (7/.l/'7/:/^^ cA' '\' at laiuu;;.:*- :!.'■ i-^'"''}' ■'^' in-'::''' :- a- x-: 1;;::.' \n'\\,'V \\\.[\\ ri,.:u^: but wiu-ih'-r '■Ul: hui!I^a IFl^;* «-: ,; w;-.^;''' t Tli iTIt ■ m].- may have n>' a n jH f r music, — if onh iL«\ i:ave a vernacular conimanti f the language, and at lin same time understand tlie meaning and are not specially defi- cient in taste, — read tlie same verses in substantially the same rhythm. Nor does the poet himself need any theory to help him compose. As regards the fundamental character of rh}'tlmi in his verse he commonly has none ; he may, have a quite wrong one, and still compose well. He is guided by his ear, — that is, by native artistic sense trained by the study of poetry and by his o^vn practice. Skill in manipulation, clear perception of the artistic value of effects, — these he must have ; whether he can describe those effects in scientific terms is a matter of indifference. So the painter must have a sense of form and color, and great skill in manipulation ; whether he has a scientific knowledge of optics and the chemistry of his pigments and the mathematics of perspective is of no consequence whatever for his art. Why should we suppose it to liave been otherwise with the Greek poet ? Music, so far as it dealt with scales, modes, tuning of stringed instruments, notation, and the like, the ancient poet-musician had to learn, as one has to learn the like now. These he had to know in a system or theory be- fore he could use them; they stood in no such close relation to anything in universal daily life that one could acquire them unconsciously or half consciously. But the rhythm he did not need to be taught in that way ; he ii»'im1(m1 no llirory (»f it, as .air poets need none. It was ^l^'■l^'■*l in ilie svll.ihk's, and coninionly liad no oilier n^aaiaai iIkih the svHal)le^ in tlieir ordinary s])ellin\ilal)P-> ueiv therefore tiie natural >iar:;!i:4-p'aiil h-r nu-irii/al theory, and a dreek })oet roiod l.ai'olN' I'-' rxpcrtiMl. (m Ire] a net'd either of iioinuf ' s'-f any ]nnre tdalxirate I i*tni4 and shnrt sylla- rii\ Una raifif of itself H 'U> ell ft a 'i i I i '% i. I 1 ii a II. ■ 'mII Wilt •ai: liic ■ o 1 -' 'nnsr- -•A W .! f a rltyili- i> 1 ally >hared :ia,' haa^ -a caiital S. I S K K i. I Iia*'' by the unconscious ? r mizing impulse ^\ hi 1 1 ho i r- \\ith him, so that a more ex . t and short syllables themselves i for. Precisely so with us. nintatis muiai i - ^ ' a in EngUsh or German, deals with accente 1 aiai cented syllables of var^dng constitution; the rhyUiiii uf a given combination results from the unconscious or half- conscious working of a rhythmizing impulse which we share fully with the poet, so that in verse we ask for no more exact notation than is offered by the words in ordinary form. The illustration may be carried still farther. There are many modem songs in which the time of the music stands in exactly the relation to the words which existed in Greek song. It is worth noting that a large proportion of the songs that from time to time acquire a more or less short-lived popularity among the less cultivated — songs put in circulation by the circus and the music-hall — are of this character as regards rh}i:hm, and not infrequently words and tune are com- posed by the performer. But there are plenty of ex- amples of a higher grade. The change from the speak- ing to the singing voice, from the speech-tune (awexv': Klvrjwinj<;) to the melody (BLa(rT7)fiaTL/crj icCv7}(tl^ 22 CHAPTERS ON GREEK METRIC Trj<; (ovrj^), brings with it a closer observance of time- ratios in the rhythm ; that is the only rhythmical change made when one passes from the recitation to the singing of those Unes. The naturalness of the process and the shghtness of the change are neatly illustrated by the way in which children tend to read simple verse in " sing-song." An example of the extreme limit of the change is seen in Schubert's music to Goethe's Heiden- rCslein. The natural rhythm of the words is observed throughout ; but in certain places the time is filled out by prolonging the notes in place of the pause which one more natumlly makes in simple reading. The first stanza runs: Sah ein Knab' ein Roslein stehn, Roslein auf der Heiden, War so jung imd morgenschon, Lief er schnell, es nah zu sehn, s . iCxcii i' icuuen. In t!.- i:^- :• rt'.ul It ), aii'l rx-<'; 'I'l.r'i' ihf \V'i*r'N '■'■'■r, i>C,\<'i I : Liiiic, vjrh M-n,;!':.- ha- aii rlaii'h f^XPf^pt tail schhtll i^ ht'i'i ^t i:':!t': ^- ^a ■'■'•■':>"1 < ;i- «-!*' \\'(">n;!l iialui'aliX' t,.a :;t tiiC fiul *'t rai'h in.*'. ;;» ,* I ^' ' '< vn-vi \a' racli a Filially a; li.-' •■n-l -t hat- ;u^> aau a^a- ^\sa.< m m- N',--''fl^ nnd syllables i.a\'' '^'hv i!.- i-a.nli t N • .' Knab' em Roslein, without sUkii). • r. «!. r wait>, until the line and pause togetl- i .au:! ni time the other lines. It is as if the sec :.! an. u ae Roslein auf der Heiden-flur, and the reader subbuuiicd a pause for -flur. In the melody, however, this pause, like the one at the end of the other lines, is filled out |a.M In^ t ■^ ^ ' - a ! ! ' ! u M la i i. 1 1 ' n L' RHYTHMICUS OR METRICUSf 23 with musical sound, in this case by prolongation of the next to the last syllable ; so that Jlei- and Freu- receive each a quarter note, while -den also receives a quarter note, or an eighth note and eighth rest. Thus among other things illustrated by the stanza are two forms of the Greek catalexis. And to make the example all the more significant, the same words were set to music by another composer, Joh. F. Reichardt,^ who employed the same time and preserved the natural rhythm of the words in the same way as Schubert, except in one mere trifle. That is, he wrote two eighth notes inst. a] f lotted eighth and a sixteenth for the words schndl es ; a. 1 h* in the singer might v^'vy \\]'(Ay mukv u>^ .nilarenoo w hat- ever in the rendering. I have ventn-v] to dw-ai >^]\ these artail- iii nrdrr :<> make clear thu iuiiu\\i:,a h)-n In iai^ij> hkr tin-, if ptjci ancniua he \\..aM]..a,'' iM'-h'-d i'mi <-nia} " »-.i])rr this and oihta' uina> on thf -,au H' a.il a a- I h.a. ' ■ aa. ■a"< I f -.au-' jaiia'ii'i'a laah-da-s only, wathniit harnmny . -ini'.aaaitait .a' dhTiainaf rlivthin, iin svsteni oi -n U'V III,' rhylhnn and no d^'taih'tl tliaory as to ^ai tlu' various ^vilahh's or notes. 'I M't waaa 1 1 o |-: h'.- o\aa iha -^yiiahjas si^ns indicatinL^ tlu' place whicdi r.;r!i Tif^ta had in tht^ scale, leaving the lime ninnankcd. exce}'t a^ ih«* w.ad- in ihtdr oi'iHnary spelling indicate the ivadaig, wiaiM In- >nhicient to]- any singer wlio nad^a;^U)inl the -x-^natn If sn]i>ia]ilial]y all song wv-ve ra' I hi< ^'ha]\ai(a , ili.- pota-inU'-i^aan A\a)nld h a • ! i . Ci'i no not'ii oi ,1 a. a. a, -a --a lainc nirorv >o lar a> that cc>nee]i]> a Statenaait di " ' ni *!* a p'-taaan^iaam might, as the poet now maxa aia r h ^ 1 In Peters's Liederschatz •r qiute uniniere>teci 24 CHAPTERS ON GREEK METRIC in the scientific theory on those points or hold an errone- ous theory, and still write good poetry in exquisite rhythm, to which, if he possessed the required skill in the other departments of music, he could add exquisite melody. Nor do I see that the addition of a dance, itself also conforming in rhythm to the words, would alter the requirement in the least as regards rhythmical theory. That would be implicitly contiiined, sufficiently for all his artistic needs, in the doctrine of sounds and syllables, and of feet and Larger units as made up of com- binations of syllables, — a doctrine leaving room for a considerable amount of uncertainty as to some of the exiu^t nitios within tiiu foot. N Beff.i f.-t . A \ ! !vcisely the case \" "ji fi - -:'\A- ills of ver>:'"!^ ri';-- w n-vl-s. I ' I to rx; ^^::I; li: ? ■ 1 ^i 1 I'll .Mr., . 1 I'lT'T Ulil! •> ;i. inaf !*■ Kp 1 [.■.■! 1 ! ci iiii- 1 luHiitlMlis iit -^\ ii.ihli'-'^ It) \\li;i-li 'h'\- LT.IN'*' til'' lialllt' TToCts — r(»Htai!i''u. \\!.--ii SiUiti, a pari niarlvtMl and aft-nnipaiiitMl 1)\' the (ln^\-]i-l)fat and aNn a [>a!'t that \\as suni; wliih' til-' ht-at in'.: liaial di' foot was iviunii.ti^r to ilir startinLT- poi]it. Tlit'-f were iht' pnrii.iii-. knnw-n as tlir^is and arsiv, standinL: t<> eadi ntht-r in thr ratio of 1 : 1 , :2 : l,or 3 : "2. So niucli it was nctMlful to know in order to In-at time or to keep the tiint- in siirj-in'j;. Fajlla'r, in rt'^nilar dactylic or anapa-stie vrrs.', and in ilie vast niajoi'itv of eases in ianihie, trochaic, and paionie verse, it was ch^arly hrou^ht out in tlie [)roceu.-- ing, there would still be uinemeiit. \hrn\[A\ pt j ]t^ who agreed in practice miu^iii iiiT* what they did, a- e. \vvi\\ix:\a\ iuodcrn ver^c.' Ai any i-a.ic w ! 'f interest in sncii [-. .in!> unni A n^toxenos took them up. He \\a- ;a iihcr port n^ ^r nni-i«-ai composer, but a >cli(ji.ir and Uiaii *'! scuaa'c, ilio [nipil oi Aristotle. He Ti'n^ also a man ^A Ia--tc, fcinder of the great classical p...-:- .md niu^icians than of the productions of his coii- oaa! -Maries, d'he scientific aspects of the arts interested anil he hoped that a l)etter statement of theory :ii ; Ut w explanation § .1 • he X CUKEK MF/mir^ LiiiLrUiiL:'*.' >till li^r*], with <|uaniitit'> and iiitniiat inn< siih- staiitialh- uiirliaii---'!l, and {nnAir prnductinii, rvcii lli(»iiu-h not of ih.' i4TtMt.'-i, >\\W u'oiiiL;: "H. An( •pularil y, tliat al\\'av> inlirrcs in llif alistrart oxaT the cnncri'tc. I nifan this. S\dlal)U'^, woi'd-, wrx/s, arc sonit'tliin;^ audiM.', vi>ihU', siL^nificani : cvitv nnr frll lit' \u\v\\ prcity w^H wJial thi'-t' wa'iv. But tinu' is alisiract, ini|)al[Kd)l.'. an t'ni[>iv xtnit'tliin'j; tlial accnnipanics tlu' sounds and is net ra^ilv t'..nct'iv(Ml alou-'sidr tlu'in. A ;^/3oVwr ni^i^ is not ('a>ih dcx-rihtMl dr Lrraspficians. AiKat'Ut niu-i<'al notation L^avc tar loss li('l[» than oui's dot's. I>tU tlu' rhvtlnnif of AriNtoxmos n'(|iiiiv(l on*' to ^ fix his attention on tiiiu', tinif-inttTvals, and tiinr-ratio<, apart fr<»ni the >\llahlr>, note-, or >tr[>s in which tho^r tinit'-rtdations wen' tanhodicih — t'» separato Ironi the various fanuUar pvO iii':^'') f^ttva a svstoni of pvPfiot in tlu' al^tract. Wr our^chr-, trained as wo all aro in '••ooniftrv and alu^'hi'a. find that not oasv : ni(»>t students of modern Ncr^e have aosolnttdy rtdusod ii» niako an offort which .ipj'oar- to thcni so usclos and so lallaciou->. Aristoxcn^'s found no linlc ditliculty in niakiiiL;; people soo [tn'ci->el\- what he meant h\- hl> irpo^ros^ xP^^^'^""^ vwii (2S(), 2Sl\ Ml).)- 'riic^e pvf'fiOL, which had no eonci-ete existence except in one or another pvOfii^dfievov, the stuch'Ut was i'Xpected lir^t to eontemplati' in an abstract system and then watch them, as it weri^ rei'mhodyinL;' themselves in W(n'(h^, siep^, .md notes, wit!i more or letinLru!^h car^dulh' pvOfio^ and pvOiioTToiia} Not nierclv is thi^ doctrine ol ^ See tlu- pa>«ai:r- Ik'1"\v, p, i<>l ;T. LW/yriiMirrs on MErnrrrs? 27 :ni aV)Straet system, wlueli is varied greatly in practical a['plication, dillicult for us to grasj) and keep clearly liefore us in readiuLT <>ur fraijments of Aristoxenos; it is e\ident also th.it the author of it felt himself to be makiuL,^ a eonsiderah)le demand on the understanding of liis contemporaries. All things considered, it is no way surp^rising that his method failed of universal, or even \ aaw general, acce[)tanee. All the more nattiral is it that in the later period students of poetiy and writers on metric should pretty giMierally ap[)roa(di the std)jeet from the ''metrical" standpoint, that is, shoidd deal with syllables, feet, and meters directly, with little or no reference to abstnict rliNthmic. In so doing thev simply adhered to the older wav of looking at the matter, and to a method that was practically sullitient h)r readers to whom (ireek and Latin Wiue living tongues, modern still if also ancient. 1 would go a stej) farther in recognition of the metrici, early and late alike. At bottom, if we take their tenns in their sense, they were right. AVe gain nothing, and are certaiidv mistaken, if Wi' lightly assume that liephaistion and the rest, together with the earlier writers whom they copied or followed, were ignorant of wliat they wrote about. First we mtist understand them ; next, if a doctrine still seems (dearly quite untenable, we shoukl try to trace the error, with the presumption that the error will be found intelligible and not unreasonable, pierhaps even instructive, if we c;ui ordy discover wdiere and how it came in. At the risk of some rep)etition — for the point is a fundamental one — let us make a little 1 art her attempt to put ourselves in their place and see the matter with their eyes for the moment. I ho[)e it has Ihhmi shown tliat the syllable was a natural starting-i)oint for a systematic exposition of the i i- 28 CHAPTERS ox (;m:KK MF/n:i(' PdlYTlIMICUS on METRICUSf 29 formal side of versification. In the vast maprity of cases, in all meters, the loni,^ syllahh^ was seen tn W twiee as L>U'_( as the short syllable. In every foot, that is, in everv small eomhination nf syllables to whieh they ori"-inally ^••ave the name ttous, snch that a vrrsc mi^iit re^nilarlv consist of a succession of like teet (as dactyl, ana[)a.'st, s})ontlee, trochee, iambus, ionic, cretic), that ratio always h(»Us. If anything at all was saul about the matter — and in counectinu with soii^C the matter could not l)e [nis>cd over — that ratio was the one to ence <»f tlic' .ii'si^ syllable or syllables, and the adjustment required — whatever it was — when spondees or dactvls or amipa-sts were mixed with tro- chees or iaml)i, caused no |)ractical ditliculty to tlie native. Fit conductor and sini^nu' alike we must remem!)er tliat the natural [pronunciation of the words, familiar to all, constituted t!ie basis; the situation was not what it is wlien a urnlcrn conductor leails an orches- tra or chnrus, renderim^^ music that employs far more complicated ratios, all ^^i necositv marked with pn- cision in our notation. If the (ireek com[)oscr in a com- plicated lyric rlivtlnn ma combinations to which the onlinary pronunciation of the words was not a sulVicient guide, that was his sj)er'ial affair, t-) be indicated in his notes bv additional sirrns :ind then tauLrht tc) the simmer; tlie f^eneral writtu' on metric did not need to consider it. The ear could rec(Hj:nize easilv the normal ratio of "2 : 1, and could always distinguish easily the long from the short ; but it was often not easy, it was in some cases im[>ossible, to state exactly the ratio between adjacent loiiL^ and short in the combinations not included in the normal feet, altliongh, be it always remembered, there was no pnictieal dillicnlty at all in rendering them, !)ecause the inmite rhythmical sense — the ''unconscious automatic mathematician,'' — was the same in alL^ In view of all these considerations it is not surprising, and docs not im[)ly stu})idity or ignorance, that the metric! took no account of any other than the common ratio, thcit nti>it ])Uts into an equation." (La Farge, Considerations on I'aintinL% p, l^'.e.) 'Dk- rliythniic sense that is in every reader of verse !> the saine kind of a mathematician, though not necessarily in so h!_:h a degrt-e of develoj)ment as in tlie creative artist. t » ' %^Ut' ^ 30 rn.\PT]-:i:s ny (iiiF.EK Mi:i'i:ic (\oo> not follnw tluit tlifv liiado no iiii-t.ikt's. T\wy were COIll})ilt'rs, l}h'\' SnllU'timc^ illrludi'*! ilU<)!!>istr!il (loc- triiit'.s, th.-ir riire iilUMii[)ts at ori^-in.ilil v wriv ii.'i likely to Ih' Mirci->-fiil : ill the l.itt'^t [u'riud tht* alTair is coiu- plicatril 1>\ the fact that iIm'V >( •iiietinies had in mind nioiv or less the aceentnal princ!|)lt\ wiiii-h was uTadually o-ainiii.r oil the (iiiantilativi' : tht'ir tht'orit-s as t<> the dt'\ rl 'lant'iit of iiiflrTs from one aiiotluT arc i^fnoi'ally \vurililr>s, ht'caiist' their aoit hors had and could haxc no erni('C|)iion nf true liistoiiral method in inve^ti^atinl^ >nrli prohh'm^. Still it i> true that not a few of their sl<;ienieni> whirh at lir>t .i[>[M'ar i^-noi'ant and worthioss ari' in hiet scn^iMe, and not inconsistent wiiii Aiistox- eiios, when >efn throuu'li their eyes. To illu^trato the point 1h-|m;v ^-Min-j; farther, let us look hrietly at the elc'_;-ia.' [Haiianii'lcr. 1 Ie|>liai^ti"n*> aeeount of this line is as follows: Toe c't CiiKTvXiKov 77€i'0r)/j.ifj,epov<: BU XajjLi~dai'Ofj.tT>ov ytyrerdt to iXtydov • ciWa to ^tv ^evTtpov avTov fiepo^ €77T(iav\\a3oi> ati fiti'ti, €k tvn SaKTv\a)i> Kal avXXdf^P]^^ TO Ct TTpOTtpOV KH'OVfieVOV^ fc';^t7 TOUS^ ^:V0 TTo'das", (i)(JTt rj SciKTvX'iv^ ai'Tois yiyi'taOai 7} a7Toi'Stiov<;, ?) tov fiti' 77/20- Ttp-)i' ti'iKTvXoi' TOP 8t deuTtpov arrovhtlov ' j) avdrraXtv TOV fjLtl' TTpOTepOV aiTOvSeloV TOP St StvTi:poi> SciKTvXov ' Trap'' i]i' (I'Tidv TO fitu StUTepov fiepos atl hLTrXaai(i'C<)fJLtvov ^ iXtytloi' 7T0L€L, TO Sk TTpOTtpOU OVKeTl, IciV fJil) tV hvo SciK- TvXwv avveaTi'jKT]. (P. f)2 \V.) To the same effect Marins Vict, says: Com['o>itns est [versus [)entametrus] dt^ liexametm it;i, ut de ti'rtio [)e(le partem orati(mis complente st'mi[)es tollatur, iteuKjue ex ultimo pede, (|Uem spondeum esse dt'lu're in dul)ium non venit, adae(|Ue postrema syllalja retndiattu'. ( W T»7 K.) The tirsl example which he gives is the hexameter: Ir:-; Ji nilYTIIMlCUS OR METRICUSf 31 Mars pater liaee poteris qtiae nos quoque posse negamus, wliieli is eliaiiged to a pentameter by omitting nos and -tis : Mars pMter, luiee poteris qtiae qno(|ue posse negam. Tlie next example in both forms is ])arl)arico |)ostes auro s})()liis(pie siiperbi, barharico postes atir spoliisque super. In like manner Aristides Q., enimierating the ro^ai of the dactylie hexameter, gives first, ?) fiera Svo TroSa^ tK avXXa^}')!', }'} Kal 8iTrXaaLa^o/jL€i>7) TTOiel to iXeyelov, ov 7rt'(i)VKci' cipeTr) TO TJ]V p.kv T?}? TrpoTepa^ av^vyia^ avXXafir)V 7rtpiTT7]P e^ uvciyKi]^ paiKpav €)(€lp, ttjv Be hevTepav av^vyiav (H'iip.(f)Lf36Xo)^ i^ ufxcpotp avyKelaOai haKTvXdiv. (P. 51 f. Mh.) With these descriptions, apparently quite simple and clear, agree fully those found in other grammarians. The verse is consistently re[)resented as made up of two dactylie [)enthemimeres, or twice twT) and a lialf feet, with a word ending alwavs at the end of tlie first tw^o and a ludf. Abxiern scholars have been unanimous in un- derstanding this to mean that, in reading or singing, the syllable or half foot at the end of each lialf of the line stood rhythmically h)r a whole foot; that the time was tiih'd out by pi'olongation or pause or both combined, so tlicit the entire line was equal, in actual time, to a hexameter. It is true that our metrici mention also another y\qv7 ^^]lich treated the line as rhythmically a true pentimeter, of the form This view has been latelv defended as tlie only sound one. In the article before (quoted (Hermes, 35, p. 308 ff.) v^ i ' <► - V " 32 CII APrERS ON GREEK METRIC RJIYTILMICUS OR METRICUSf 33 G. Scluiltz brings forward in favor of that vii'w, (1) the anti([uity of the naniu pentameter, ('2) [)assages in the granuiiariaiis which eall the third foot a spondt-e and the last two ftn't ana[)a'sts, (3) thf iinjjossihility that tlie aneients, while they still sang elegiae verses, heating time, eonld h.ive ei'red l)y an entire half-foot in tho middle of the line. In farther su[)p(»rt of this manner of scanning he maintains that ietus in the sense of increased stress ai'rnm[)anying the down-beat was not present at all in ancient verse. This last (paestion, on the meaning of ictus and the prt\scnee or al)sence of stress, had been prettv well threshed otit, shortly U'fore Schnlt//s article appeared, by liennett (Am. 'lourn. Phil., XI X, ')*)1~3S3 ), Avho look sul)stantially Sehtiltz's view, and on the oilier si.le by Ilendrickson (A. J. P., XX, l',iS-21<). The d\<- ('U»it)n was coiitinrird in the same journal, XX, -U'J-bM). This p)art of Srhuliz's argument, though important for Lis view, I therefore [kiss l)y, and go at onee to tlie heart of tlie (pK^stion. The antiquiiv of tlie nanu^ pentameter nnrst be con- ceded; also that no less an authority than (^Juintilian spc iks of the ' pentametri medius spondiu>,' which sciuns to carrv with it the treatnuuit of the last >ix syllablt\s as two ana|)a'sts. Hut let us look more closely. We will take tirst the [nissage on which Schultz c>peciaily relies, Quiniilian IX, 4, 1*7 f., which reads: Noil nihil est ([Uo : Durch den Ausdruck 'latens tempns,' sowolil wie dnrcli das erste In-ispiel ' criminis causa,* wird uns bezeiigt, dass die Pause in del" Mitte des Pentameters ebenso verseliwand, wie die zwischen zwei gewohnliehen Worten in fortlauf- ender Reile. l^)Ut this is palpable misinterpretation. The point of C^uintiliaifs com[»aiison, it is true, lies evidently in that 'latens tempns," which exist^s in 'criminis causa' as in * pentametri medio spondio.' But it does not follow that the likeness lay in the fact that in both cases the 'latens tem[)us ' vanished, was imperceptible. 'Latens tempns' can onlv mean a time-interval not marked bv or filled with a distinct speech-sound, — that is, a pause, (U" p^er- ]i.ip> ['rolciigatioii of the })receding syllable. It (^xists ']['>.[ divi>ione verl)ornm,* and in the phrase 'criminis caiisa," employed by an orator at the close of a sentence, a:^ m th.e middle s|)ondee of tlie pentameter. If the sen- tenc(> sto[>[.ed here, as it is made to in Schultz's (juota- ti*>M, one inight [)erha})S maintain that there is no such pauM' in either place, and that (in spite of the word- onler) 'laiens tempns* means no pause at all; in -which e could not but wonder wliy Quintilian used Ihistration. Ibit the sentence does not stop here. (,|uintilian adds, to make clear what lie means bv 'latens teiiipirs* and wherein the likeness lies, the clause al)ove g;\-'n: 'Mvluch [namely, the ' medius spondius '] does ii"t make the verse uidess it consists of the end of one Word .uid tht^ lu^giinnng of another.'' Even if tliis ( lausc weiv not fartlier elucidated l)y similar expLma- ii-ais in ..ther authors, it would show that Quintdian i'lt in tliat middle spondee a 'latens tempns' produced '*> ^^"' Very di\ision betwet^Ti the words, — a pause or break of some kind, not felt at all l)etween successive syllables of the same word, and distinctly longer than ■e oi o ]4 ■iiArTf:n< ny i,i:Ei-:K Mi-yniir niiYTiiMirus on METRirusf 35 that inipt'ivt'ptilile (tiie, nftm iioii-cxistt'iit, botw ft-n two surft.'^>i\«' cIIkI rlosi'lv (,,'niint'cUM,l wt ii'ds in com inuous (liM-nursi'. And tln*n turninLT t'> the pR'(•lMli!l^■ ('ontt-xi, n'lh'C'iin^^ that (^uintihaii i> ^pi/akini;; ot' the rhytlmiical cldSi' of the M-nti'nce, we may lec-all that piciix'h at the ('ln>c of a sentence of >erious eharader, whoit' rhvthni hocomes of special ini[)ortance, any jnihlic spciker nowadays will often a\'ail himself (tf tlic hroak In-tut'cn Words, even eloselv comiccto!i words, t^ make th*' rhythm more pleasinij^ hy snch a sliL^'ht {■rolnp.-^a- tion or [)an>e as wmdd not h.' natural hi'twemi sinnlar Words in a dilTcrent situatio.n. dims (.^uintilian"> illns- trati<»n l)cc(.mes intcUi'^'ihle : hnt it is no loiiL^ta- (jUf^t- ahle LIS evidence that the Mncdirc- >pondius" ol tlir pciUameter was identical with the spon(h.'e at the end of a hexameter. And then that last clause nni^t he viewe(l in the li^'ht of otlier accounts of the same [thciiomcui ui. In Sdnflia B. to IIc[.hai>tion (|). 171 f. W., p.. llM'. II.) wc tii:.! the statement that >ome say the eXtytloi' is really 7rtz'Tf//itT- poi\ the third foot hein;_r a -|M)ndfe, the fourtli ;;C<1 lilth ana[)a'>ts. But, the auih'T add^, •• it i- he' tor t^ measure ' it in this wav : Since it i.^ in t.ict di\ide!l t/> cvo rrtr- 6r]/j.LlitpP] (and the pcnilicniimcvc-. cMn>i^t"> ot two jrm and a s\dlahle) it adnnt- in tiic lir-^t two phwe^ d.a-t\i i»r s[iondee iiiditTcrent ly, then a C)n_f >yliahle iaidiiiLT a wad, and after this a;_^ain a >eck>, ^ht-uld. tiiis more eom[>licated division survi\'e, why [larticularly should it he considered hettta-, evtai in Hyzantine hand- books, if that middle spondee was in readiiiL^ and ^ini^'ing alwavs no other tliati a conmion spondee? Indcrd. why should a Word alwax's taid in the middle ot tiiat ^-piuidce ? The hexameter, nearest relatne ut the pvait,nnctei', has la* one sucli fixed di\isi()n. Terentianus Maiiriis aLso ( lT.V')-h^'H) ) rec-ounts at some lenij^tli the two different mea-ui'cmeiits, and describes that strange way of scanning wherel)y. in tht' [)nictice of some, tlie syUable that ended the !ir>t half-line was saved out and put with the syllable tliat ende(l the second half, to make a spondee at the end. Those who (lit I this evidently were led to such a qtieer proccilure by the feelini'- that there was sometliinof unusual about that nnddle spondee. Maritis Vict, also (p. loT-llO K.) goes pnnty fidly over the same ground with d\'rentiaiHis. Ibit a later panigm{)li of Marius Vict, throws farther light on the matter, as follows: Hoc (pio([ue notandum in enuntiatione pentametri ele- giac i : nam plertinK^tie aurem fallit, ill in illo graeco versu, T)fx€U 8' etVEXX?;? TTOVTOV aireirXeofxev, nam si coniunctim ' KWi^airovrov eiumtiarimus, eifngerit auiium sensmn, ut ne(pia(iuam versus esse eredatur. at si per hemistichium prontnitiemns, ipsa sulxlistinetione gciHis metri (U'clarabimus, it^i ?;/xet9 8' ek "EW?;?, deliinc r-nvTov aireiTXeofxev. unde pentametriis duobus pedibiis et s(aui[)ede colon ternnnare debet, ut qui audierit, ante- qumn [*ercutiat, versinn intellegat, velut labitur hinc Ilelles, pontus in Oceanum. item ventu'unt inter, lunia sancta polo. nam si })er se (bcas ' inter' et per se ' lunia,' media sub- distinct i one interpositii, reeipiet formam elegiaci. (P. 112 K.) I see no room for doubt about tlie meaning of this. To Marius Vict, and to his authority, if that middle s|)ondee was pronounced as an ordinaiy spondee, ' con- n oh ciiAPTEiis <>x r,T:rj:i{ Mirriw imictini,' ih'-r'' \^as ii\h-\i fiiiiibiuatit >iis as (.la- wnuld iial urallv, unlr-^ warnnl, read fu't'tlu-r, as (.'oinixtuiifl \\nrd>. lUit thai \s«aiM (k'sircv lia' inctar, Mit iM'(|U;i<|Uain \a'r>iis cssa (avd;t{iir. Il' nil tha ollita' h;!!id W'c sapaiatc lla- twn haini--l iah>, tlia wlidt' will tlaM! rri-riva llir I'm'.-ih df tla- t'lr^'i.a' liia\ This niakr^^ (^{uiatiliinr-^ raniark plain. W'a nt>w sra whv a w^^vd niii-l ta:d with thf tirst halt'-liiha nana-ly, to 'j;iva di>liiicl \vai'nin'_,^ id" iha hraal-;, to inda-ah- tliat thi^ is net an (»rdinarv ^^[Hiiidfta ^Mhal iha li>tr:i.a' ni;i\' niidta'stand the vnx' vwu lu-itirf la' haat^ tht- laar ihrniiL^h it." \\^' nnw xt aK<» \\ii\' th-' ^-M-oiid hall-iinf n 1 n : ■ t ja'oparlv ha\t' {wn (l.\r[\ i> . I tallaa' Wfi't' a >iM)ndi'i', it Wiadd ha lr->-> clr.ir, nr qnilt' nniMa-t.i: :a wliiidi was ai>is and \shi(h thc^i-. Wdiat iv-Mai \nr this rnla id' tlu' Si'cond la'ini^tich i^ ci aa't'i\id. •!«■ on tlaj sup[t< « no ^urh hraak in th'- n:''\'<'- naait at tha niiddU' of the Una ? ( )no sarks in \'i\\u l^a- a [tarallal in any otliar ila'tx'ha- voi->a. 1\) i\n> *'vidrn<'a inn-' ha addod tha di-tiia-t stattanaiit (d" An-ni^tin,.' ilh' Mas. IV, 11, Mn^t.-ih and coiiar.a.Ml with guintilian IX, 4, 1*^, hy Chi'i-t, M.-trik, |..!'ll.): Dno aon>titinint ur iimh [^hin [u-h-s. unus m a;tpita, adt**r in tina, quails i>tr a.^i <'^(Mitilas nor, ct tantnnd«au in lliia silautiuni a^t. How can one iLfnova and traat as ]a)n-axistant siadi a mass (4 wall known avidanoa, as'«-ast' wlio taka his \daw ara aariain]\' hound tn oilor soma nilYTllMirUS OR METlUCUSf 3< exp!::nation of thasa passages that make against their doaiiina of the pentameter. And now let us h)ok again at tlie name pentameter and the common desc-ription of tlie line, reealling the aniacad»ait ((aKa'ptiaru im whiah the name and descrip- tion ara hasad. Aristoxenos and tlie metriei aUke called noihing a foot that consisted of less tkin two syllables. .\ii>li txanos sa\s : "Or; fieu ovv -'^ evo^ ^poi^ov irom ov/c av eti] (fyavepoPy eTTtio/jiTLp '^u orijiiuoi' ov TTOLtl dLaLpt(7LP )^p6uov ' civev yap Sinipt'atcD'^ )f^p()i'()u TTOL/s" ou SofCtl yLueaOuL. (P. 288 Mor.) Whofvar will examine these words attentively in their aon'a'xt will saa that ;)^/3oVol' in the first cLiuse signihes, not )(^p()U()^ irpfoT')^, hilt ^(^poix)^ ttoSlko^, — that is, an ar>is, tha.sis, whole foot, or soma time-interval that is icjacstaitad hv a sa[) ii'ate syllal)le in the fundament;d noi'iaal foot. (Saa halow, [). 184). He means that one .svll.ihla, however [prolonged, eannot make a foot, l)ecause its time, a longer ;j^prn'o? 7ro8fjk:o>, is not audibly divided. The anrient eonca'ption of tlie ttov^, unlike our concep- tion (d' the measure or l)ar in nnisic, involved as esseti- ti.il .in audible division of its time by the transition from one svllable or note to another. Herein Aristoxenos a'_^reed with tlie metricd from the earliest to the latest. Su[»[)o>iiig then that the pentameter as sung had the form w w liow should the early metrician describe it? Obviously, as made' up of two j)arts, each consisting of two and a half feet. He could say that without in the least mean- ing that the half-foot was strictly two-timed. He could not say that eaidi half-line was made up of three feet, tlu' last consisting of one [)rolonged syllable. In syllabic character that tetniseme was but a half-foot. He might a •il 1^1 L :i.J 38 (■n\PTi:i:s ox {.rkkk met hi c iiitleed li;ive said that fadi hilf-liut' was iiiadt' up (»t' t\vr» ft'tjt aiit syllahU' was ncr,-ssir\. Fnr his ivadiTs it was not necessary, and he couM m^t tV)rrSi't' our i^'noran.-t'. In many ca.^rs, too. al\\a\'s wht-n at tile t'lid 0} the Im*' a hrcak in st^n^c occurs, antl •'ften in till' niiddl.' --that Ioiil^ Nvllahlo wa> uni, in ivcitation, >o proion^N'ihhut the tinic wa> natu!',r!l\ lillfd out by a pause. I do n<>t >.'t' then hdwhr .■..iiM think of the line oiherwase tlian as nitde u[> of twire two and a half fi't't. And twi.'e tw. > and a half i.^ liw. It w.i,. inevitable that the name ^"live-measure" slxadd b.-coiuo current alongside of iXt^yduv. The true eharaet<'r of that halt-foot, whieli thev saw no need of eiueriu"- into, is indicated to us by the care with which the metriciaii> emphasize the break lietu'een the hemi>tiehs. All in-i->t that a Word must viA there. }-'.very full deseriptiMU that we have recor(ls. as the ordi!rir\' di\'ia'sts, call the othici divi-^ion K'tter (Schol. 1). to Hepth., cited above) or nioiv usual (Diomedes. }>. oU:' K.): Marine X^ict., b\- t!ie very ternrs he emplo\> m stating that di\-i^ion (p. Ijd K.), show> tliat to him the second licmistich wa^ dactx'lie and not anapa'^ti<\ and the [)assage (jUnted a.bo\--^ from him indicates di^t inct 1\- how the line sounded to liim. Th*' t'a<-t al-^o ivcordfil by him (\). Ho K.) thn >otne allowe iuoxplica- ble if that s\lla1)le w real^- 1\' part (>t an ordinaiw >p< > 1- dee. That pei-uhar mfthn(] of scaniuU'.; whicli p.^it th*- lUIYTlJMirrs on METRICUS? 39 I two lialf-fc^t into a ,^|.ondee at the viul, ar > maoe certain that oiu' felt tlie two feet preceding tliat arti- licial tinal s[)onrejudici-d experimenting will convince any one with an ear for rhythm and a good control over his own rhytlimical performance that it is not dithetilt, in recit- in^r nr reading — personally 1 should say it is not diffi- cult in >inging either — to pass from one method to the oth.T. still observing exact time. Even for us this is nnt difli.adt, in s[)ite of (mr habit of giving a sledge- hanuner stress, in Knglisli and German, for the ictns. We nrike the middle spondee by giving equal stress to both svliables, and so elTecting a shift in the rhythm, sncli ns wi' often make unconsciously m prose and m common ^[n'eeh. I should think the middle sp(mdee would be still leeinamet(U" wotdd come clearly under the /jit'aa fierpa. or ambiguous meters, of Aristides Q. His deS(uiption is : Mtaa t't KciXelrai fierpa ore hvo ttoSmv avriOercov eh fitTii^v Trirrrcoi', OLKti(')Ti]Ta 7rpo9 afji(f)OT€pov<; e%a)2', Bva- IniiKpiTov TToid T7]i> fSciaLV olov el, eKKeifievov j^ev kvo<^ SaKTvXou hi^erpov Se avairaLarLKOv^ /cara jieaov ireifOL ^J ■J I I 40 CIlArTEIlS (lW (,111: EK METlllC (TTTOvdelo^s adr]\oi> Trorepa dvo (f^fjao/jiei' elvai fierpa, to fitp ociKTuXifCoi' TO b' avairaLdTiKov, u/j.(f)a) difxerpa, ,7 to avfi- Trav rerpa/jL^Tpop avairaiaTLKov • kul tV aWcov ^t /jierpcov ra vTO i> Otcoptirai. (W o 7 Ml).) The e;i«M|Ut,'nct' of svlhihh's that ni.!!-:*' ii|> th*' t'l, •■_»•, 'ii 111 i> rtpially aiiihiL^U'. (lis, — cxcfpt iiuh-r.!, as was saifh that the t>'[H* is so famih.ar. And vt't. as wt' havt^ mumi in the case of (^)!rnit ihan, not ex't'i'v one who spoke of a niidtlK' spoiKh-t' i-; ts> ht* a.^-unh'ti to havt' had in mind thi> latrr nu'thod (»f rtadin-j. F<»r it wa.s a natural I't'sult of iuniorinL^ dirft'r('nfr> in k'nLi'tli In'tWi't-n svllahlc- of the sanu* Lr<'nfral class, lon-r or short, that a nirtririan nh^'lit call an\- two >iic( ('s.^jx-e h'U'j; syllaMcs a spondfc, as hr niiu'ht cadi an\- lon^- s\llal)le hillowt'd hv anv two shorts a dacnl, anv I wo sliorts followiMl Ity any lon^- an anapa-st, and so on. Also, sirii <' tlu' h»n'j^ was oi'dinarih' and thcoiTt icadlv twice thi' Icn^lli of a short, the nictricus counted tlicni so, and nuLiht sum np the *Mimcs " of any sxlhthic scrit'S on that ha^is. rnmistakahlc illnstratioirs of hoth prac- tices are casilv fonnth .md in many cases lead to no nii>;nter[»retation. For example, in the passa.L^-e hcfore translated (p. '-'A) from Schoh 1). tc) Ilcphaistiou (}». 171 f. W. : 19 f. II ) the deserip)tion of the cKeytlop be'_fins : To 8t' eXtyelov fierpoi' r/z'ts" /xev TreprdfieTpov nvrn (.txicnv elvat^ avvTiOevre^ ra^ jjikv tvo ^copa<; avrov, ryjv ptv 7rp(OT7]i> Kal T7]v devrepap, arro SaKTvXov kcu arropdeiov (\Sia(f)()pcjOs, rj ciiKpi/jLciKpov rj TraXtpLfSaKxeiov. KaOapCop perroi kul ip TCl^ei SafCTvXcDP Keipt'pCDP^ ak KCiI 6P T(t) ))p(OlKCi) el'pJJTdl. Here wc' have the ap(hifj.aKpo<: and 7raXip.,3(iKy^€^ns in- cdiideil umonLT the feet that iiiav oectir in the p^entameter RiiYTinricrs on metricus? 41 or liexameter: htit we do not niistinderstimd the writer. He applies the name am|)liimaeer, for example, to any stieeession of sy Hal )les that, taken by themselves, would he called rt\^pe(tivel\' loni^, short, long. Stieli a "foot'' ma\' stand for a daetyi whenever, in that partictilar eom- l)i nation, it is a daetvk the last svllable beinef shortened Infoic an initial vowel: but even in that ease a metrician nn.udit still eall it an amphimaeer. To like effect Marius Vict.: Memineris antem saepe Graecos hiiic metro molossiim et parnnbaeehinm et eretieum loco dactvli sub leire svlla- barum comiiinnium admiseere. nam et apnid nos similis M-rsus reperitur in (}iio prinuis amphimacrus est, ut Miisulae lonio in nrej^no.' (P. 72 K.) Again, near the close of his account of the iambic trimeter with its nnmerous permissible substitutions (p. v^'5 K.), Marins Viet, tells us: Et syllabarinn quidem incremema sic recipit lit a XII svllabis ad xvii svllabas protcndatiir, temp(»rum autem ita versus liabet incre- menta, nt a xviii temporibus ad XXlin porrigatur. Ohiviouslv he obtains the larger number of "times'" bv conntine; one for everv short and two for every lonix svllable anvwhere admissible. No one is misled l)v this. U the irrational svllable existed anvwhere it existed in i.iml)ie verse when a long syllable came where the pure iambic would have a short syllable: nor do I sup})ose Marius \det. was unaware that his nimiber twenty-four was correct only in a conventional sense. He cannot liave supposed the line with the full ruunl)er of substitu- tions to be really e(|ual in lengtli to the dactylic hexame- tei'. So when Dionysios Hal. (I)e Comp. Verb. 18) andyzes clanses from the Periklean funeral oration, d he lirst kolon, 01 /lep ttoWoI tmp ipOdSe tj^tj elprjKorcDP, lie diivides into the following feet: iirst three spondees, f; n 42 rjiM>Ti:i:< ox f,i:i:i:K Mi:n:ir juiYTJnnrjrs on METRjrrs? 43 then an ana}![vst, tlu'ii a spondee, then a eretir. Hie followinii; kolnn, eiraivovcn top TTpoaOevra rco r6fi(p rnv Xoyou ToV^t, 1r' divitk'^ into two virOfSaK-^tloi, a cretic, ae (•!' A ri^t-'X^nos : In' was LfivinLT the (luantitics of the s\llalile> in thr cMnvcn- tiitnal wa\', and his readers >o nnder^tond him. (^)nint!- lian was doinLi; the same in speakiiej; oi • crimini.^ c.insi " and illustratin;j;' the ' latens tmipus" Inaween tho^e wonLs l)y tlu' 'pentanit'tri niedins spoiuliiis.' l>llt enoui^di has Ihtii said. I hop<', to show that tlio })oiiit of view and method of trcatmriit adMptfd lt\- tin' nieirii'us \\'t're not diilv oldt'r tlani tho.x' (>t Aristoxrno^. hut also natural and rfasonahh.' : that some dtM-triut'^ nt tilt' nietrici, whfU intrrprctt'd in the >ru>t' intrnd«'d, thoU'di st's-miu'dx' at xariance \\'ith Aristoxcnos, arc in fact in harmo]i\- witli his doctriiu's, and true. There is farther an iiUiU'f ^tiiiL^ srrir.^ "i pa>>;i'jft's d<'- tiniiii:^ or dfsmihin^ put^fn)^, most ol thrm carrliiliv- dithuvntiatin^ thi^ from fjierpov. Idu- mn>t .su^-'_;-r>ti\"i' of these are suhi'-int'd, with some comintaits. (1) 'VvO^os Ci Ti t'(TTi : — (a) )(p6v()V KaTiiueTpijcns fj-tra KLvr](T€(jL)s yivofj-ei'ij TTnids rn'os. (h) Karn St ^-Ihiltpijr pvO- fj.(k eaTL avWd ^San' Ktiu.ti'(or 7T(0^ irpos aW/]\cis eputrpos OecTLs. {'•) Kara dt Wpi'TT<)^ti'Oi' y^povos ^///p;/Ufcros oi)' eKci(TT(p Tool' pvOpi^eirOiii dwafxeua)]'. (d) kiith Ct "Sik')- pLciyov y^poi'Mi' tvrciKT<)< KLl>r]aL^, (e) KUTU Ct XtnctxiVTOV ypovcDV avvOtais Kara avaXoyiav rt kul crvpfitTpLnv -rrp(H eavToi)^ OecDpovp-t'i'Mi'. (1) Kara dt A/fU'uor (f)(oi'fjs iroius a-)(7]paTLap.(k. — /; pti> ovr (provij ttokos (jy^ijpdTiuOtlaa pv6 pov LiTroTeXel, yi'rtTiii Ct ovrn^: i) 7Ttp\ Xc^w /; rrtpt /xfXos" y) TTtpl crajfidTiKrii' k'ii'j]aii>. ( I >acci ica »■> [K]^ p. ,'',13 .1 . ) It is plain that dernutions (^a_), {j-j, (dj, {yj, ami the last elattse [yiverai Se, etc.), regard rhythm as primarily a matter n\ " times"': wliile delinition (f), and still more elrarlv (h), stai't from the syllahle, that is, are ''metri- cal " in chai-ac t<'r. Yet it is eipially plain that these dclinitious are not ineonsistent with one another. Thev diffrr in extension, and in degree of precision and Iticid- itv; hut so hir as it goes (h) is entirely sound. As v. Jan points lait in his edition ( p, :2s9 f . ) the entire pass- aij'e s'.>-l"l shows a similar minLrhi^^N iiJiXf)yLcn'. ALi'ain, among deiinitions of ttou? dis- (UsxmI hv 1 loersehelmann (Kin gr. Lehrlmch d. Metrik, p. 'Jo lY. ) distincti\-ely 'Mnetrical"" in cliaraeter, such an addition as the i lause i^ (ov [or iv aU^ yvcopi^opiev to tov perpov eJSos' re Kai pteyeOo^ is identical in substance, as lar as it iz'oes, with the delinition of Aristoxenos, cS Gi]paLi'6pt0a TOV pvOpLov Kai yvcopipLov irotovpLev Trj alaOr)- aei. So in the various lists of feet, those who arrange the--e aeeording to the ]Hind)er of '^povoL^ like Dionysios Hal. and Hephalstiou, in so far approach the '' riiythnii- cal " N'iew. ('J) '() (^f avTOs pvOpLo^ ovT€ TTcpl ypa/ipLciTcov ovTe rrepl (Tv\Xa,:^o)v TTOLelraL tov Xoyov, aXXa irepl tcov ypovcov, tcl [tocs p.] pLtv eKTtiveiv KeXevwv tcl ^tov^; P.] Se avvdyeiv T'jvs tt laois TTOit'Lv a\X?;\of?. fcal tovto iroLel fievovTcov Tu)v avXXa{-io)v Kcil tmv ypapL/jLciTcov. (Excerpta Neapol. 21, p. n^ J.) When read in connect iou with the remarks above citt'd ( |). 1*) f.) from Aristotle and Plato, this exeer|)t is seen to eontuin a polemic I'ecogin'tion of the metrici. P.^peeiallv notewoi'thy is the last sentence. It accords perfe.tlv with Ai-i^toxcnos in teachino: that, while svl- lable^ and l.'tters remain, witli no diminution of essential eh.inictcri-iies, the times uv quantities of the siune syl- i 44 rilAPTEIlS (>X nnKEK MKTUIC Llbu'S IILIV www TluM't'ft )r(,' we .UH? fnivrd, if we wouM (U';il ;ii>tently treat the>e, rather ihaii sviiablo, as the rral fhaneiits of rhvthiii. {'-]) ALa(bt'p€L jjvOfiov TO fierpoi' fj to /xtr fithpov rreTrrj- yoTci^ e)(et tov-; ^poi'ofN, jJLaKpov Te kciI f']pa')(vr kui tov fJ.€Ta^V TOVTCDV TOV rvOLVOV KClXoV fltVOV^ (>> Kal (IVTOs TTIU'TCO^ jJLilKpO^ eCJTi KCli ^3pa)(ys, O Sc pvOp.(H W9 ^'^OVXtTdl i\Kti Tov<; ^povov^ ' iToWaKL^ yovv KCli tov l^pay^vv ^^p'n'ov Troitl p.aKp6v. {\jm-j^\\\\\< on Ih'ph., p. SI \V : p. '1 11.) With lili> lllU>t ht' i-i »li^i(h'!f»l the two f!tlln\vin'_r. (4) Khythiniis fst |K'ihinii ttanp. (ninKpitMiinct m-a> \ clox: (livr>a ill ar>iu rt tht'>in \v\ tt*:ri[)iis quo ssllaha^ nicti- luur . . . (Ufha't autt'iu rhythmus a nictro, (juod nirtruni iu verbis, rhviiunus in nrxhilata )ne ac niniu roi-pifiis sit: et iprxl nit/tnuu pednni sit (pia'ilarn coinpt >^iiio, rhytlnnus aut*'ni trni[)oruni inter se oulo (piidani: ft (pit)il leit'tr nil ccrto nunu'ro .syllaharuni \ el prdnni lini- tuni >it, rli\ilinius autt'in nuniquaiu nunirri* cirrnni-cnlH atur. lunn ut volrt prtttraliit tciii[)s>ra, ita ut ])rf\f teni[)Us [)lt'runitph' htn^aini eiliriat, longiini contraJiat. (^Mariu> \'irt., [>. 41 f. K. ) (5) Int*";- nietruni I't rhx'tlinruni hoc intrrc^t, ine [ilasniatc jiri'latuni proprit'tatcni siiam >crvat. rii\thnius aiitcni ininnMiani sine j)lasniatf vau'l»it. ( Atilius Fortun., p. -^2 K.) 4'hat tla'sc three pas>aL;"e^ are closfly related i< clear, as also th.it all aJikc in![il\- a triu' notion ^^i ih<' natui't; (){ rh\'thni. 44 ic words • tciiipoiann intei' se ordo (paid;nn ' are a i^uleet translation (4" Arist<»\'cnos"s delinitioii yp6i>(t)v T(!^i^ (i(h(tipiafj.€'v7j. lint in them all ap[»e;i!'> al (4' words that fadls under the concep- tion (4 ' nietniin ' ( /. c, a concrete ' nietrinn *) exliibits its proper charactt'r as Mnetruni ' when pronounced in a sim- ple manner, with no modulation of the syllables in order to iihikc the time inti'rvals more perfectly rhytlnnical ; in contra.st hcrcv.ith. Mliythmus" will never be (piite right witliout such nioilnlation or moidding {irXdafjia) of the limes, ddie last mentioned factor in tlie conception of ' met rum * is (4early stated only in the sentence from Atil- iii- : but that sentence furnishes the most natural ex- plaiiation of the phrases rrtiTn^yoTa^ €)(6L Toif) Siipia aiitem a[)ud poetas lyricos aut tragicos quisj)iam rcp[)ererit. in (piibus cerhi {)edum conlocatione ncL^lecta sola temporum ratio considerata sit, meminerit ea, sicnt aputl doctissimos (]uos(]ru' scriptum invenimus, iKui metra sed rhythmos a{>pellari oportere. scribimus iu'itnr ita de metris, ut ab his rhythmos procul remove- amus, atque in his omnino nulliun sit, in quo non pedinn detixa ratio cum dulcedine adsocuatii atque permixta sit. (^hdlu-< 44ie()dorus, p. 5SG K.) 4'ahen togcthei-, then, the four preceding passages tell us this. Some of the metrici — sliould we not say all, so far as we have them? — recocrnized that the syllabic prin!' in wliirh tiu'V |)nvri\a'(l ilit,' rhythm {n \h- tno c* ti!i[)liratt'salil\' wt-rt' set niT as /jvOfioi, and h'li In Ih' i-huailaU'tl 1)\- {\\r ^jvO^iKin and /J.0V(TLKOL : ihu.-x/ whirh 1 hr ** 111* 'l lii 'a 1 " " lhr.>r\' x'clnrd ttt dt'ScrilK' a(h'i j uah'h' in which, nini.'h. ihc ralin '2: 1 was nni in itH) ctn in^ imwiI raalKiinn im tlif fad^ tht'\' rt'taincil a> ihc hi(ij>rr >|ihri't* of nit'lri*-.' Thr laiba- — the inetni in thi> ^pcrial srnsf — inrludrd all of the rt*citati\e .md luaivh txjM'aiid the ^in!pl(■!■ nirlic lorni^, — all m which a ^in^h- liiic cr a hrirl >trn[«hf wa^ nianv times leprated with NliL^iit \ariaUnrh a.'> the ni'ir,- clahM >!-at*' and varit'd >ti'i'phcs d choral hric m' nl the monfMlic K(')/j./j.oi and fitXij arro aK7]Vf)s <>t tra;4cdy. tla-y d;d not meddle wath. Accorilin<_fl\' wc find that ^^wv mdriia in fact hardh' touch upon thox' nioi'c complicated mdie forms. In pTrciscl\- tliat portion ot an( icnt pociry where wc tind thr LTi'^'^stcst dillicult\ in un.dcrMandnii; the versitication the nictrici Lri\"c u-^ no help. As iv^^ards tlu' conception of Marius \dct., the .ihoxa^ j)a>>aLre is su{)plemented hv others. In the seetiou on jcet ( p. 43 f. K.) he defines the foot, in full aeeord with Ari>tox- euos, as M'ertus miuliis s\'llal>arum situ< ex suhlatione et posi- tione.' Then, as the tiu.d item in his ehuadati^ui of the definition, lie adds : (7) Inter pedem atitein et rliythmum hoe intei'est, qtiod pes sine rhvthmo esse non potest, rhythmus autem sine pede dectirrit. non etiim irradiuntur mele pedum mensi()iiil)us, sed rhythmis tiunt. (1*. 44 Iv.) 1 Cf Christ. M. trik, pp. bS-'J2. - As above, two senses of ' rhvthmtis ' must l)e distin- gtiishefP namely, tlie abstract sense, rhythm, and the ce)ne[ett' sense, a combination of syllables or words con- stitutini: a '• rhythmus.'' Thus in T^nglish paraphrase: *' Hetween foot and ' rhythmtis " there is this difference, that a foot cannot exist without ihvthm, but a * rhyth- mus' moves rhvthmieallv without beins: di\dsible into feet." If one starts with the universal ancient idea of the h)ot, then ixeXi] in wdiich a avXXa(3r] TpLa7]fjL0tan- tially ('4uiv.L]t*iit to oiii' an(»tht'r. He procerus: I'linia aiitt'iii iiU'tra sunt svllaha hrcvis ct svllaha hni'jf-a ; ex his eiiiin inrtiinur i[tSMS prdcs ac nirsus fX |HMlihus iiicir;{ ct (h'iiii-i'ps lU' metris canniiia. I lere ' nu'tra " is uin|)l( >\ <'il in two M'liM'S, iirst in the ^Ut'iuTal s.'iis*' of" nifasnrc^, thru in the technical scnM' {)\ dctinitc pieces of nicliical (not freer lyiic) eoinpnscs ot Mnctra,' nanifly * cpr-a, niclii-a, cninica, tni^'ira," wiiifh he i^ocs on to th-scrihc. I'hc dc-^ciiption i>\ the- scc( »n(l cl:i>s is intc^cs^nL^^ It is, in fnll : (.^) Mclifuni autcni sivc l\-i-icn!n, (jUo<] a.l moiluia- tioucin lyrao cithanievc coniponitur, sicut h-'-it Alciieus el Sapi'lic), t sc( utu> noraiiciS. cir- nien auteni lyi'icuni, (juanivi> nidro Mih^i^tat, poif^t t.anit'n \a>leri extra IcLfcni nu'ti'i ose, tjuia h!)ero >t'ri!(en- tis arbiti'io per I'hvtlnnos (cxi^ntnr. (P. o() K.) Arc \vc to su[){>ose here an utt»'r I'onfusion of thon'_,Hit an; these can he aa'cui'.itch' ilescrihed and easih' leanicd: the poet does not, like Tindar, i)Y likt' the Attic tlrama- ti>ts in their lyrie part^, disconcert the barbarian readtu' by inventiuL^ new foi'ms and combination's for e\cr\' new po'Mii. This eom[)a]Mtive lixitv of t\'pe enables the luetriciuii to include them tmder the ' metra ' : yet our i. ft . : [^ autlior perceives that they are ' rhytlimi ' as well. A hard and fast line between the classes caimot be drawn. There is also in C^uintilian (IX, 4, 45-51) an interesting discu>sion of Muimeri' (here, as he explains, equivalent to • rhvthmi ' ) and Muetra,* w hich tmverses much the same ground : the difference in j)hraseology oilers a good test of our interpretation. 1 select a few clauses only. ^VhlM.uudi both eonsi>t of feet, yet they differ in several wa\ s. Nam primum ninaeri sp)atio temporum constiint, metia etiam online, ideo(|Ue alteriim esse quantit;itis videtur, altermu .pialitatis.' That is, in a ^ metrum ' the scoiicnce of h-et, svllablcs, and times is fixed: tlie poet was not free to vary these, exeeja within very mirrow Innit^: while in writing Miumeri ' great freedom was allowed, if tlie due ^ s[)atiimi temporis ' was observed. A little later he [)roceeds : (9) Sunt et illadiscrimina, . . . qtiod metrimi in verbis rnodo, rhvthmos eti.im in corporis motu est. inania quo- (pie ttunpora rhythmi faeihus accipient, quamquam haec et in met lis accidunt. maior tiimen illic hcentia est, ubi tianpora etiam [animo] metiuntur et pedum et digito- rum ictu, et intervalla signant quibusdam notis atqiie ac-timant, (plot breves illiid s})atium habeat: inde rerpd- (Tiifjioi, TTti^rdaTj/jLOL, deinceps longiores sunt percussiones, nam ai]^eh)V teiiq>ns est unum. Ihspecially noteworthy is the plain statement that re ('inania tempora,' Kevol ^(^povoL) oqqwy in ' metra, ihoU'_di natundlv more freely in ' rhvthmi,' wdiere the ptu former or leader beats time, and wiiere the composer adds, if iifcessary, signs that indicate the longer time- intervals. Still another remark of Marius Vict, farcher sets fortli his view of ' rhythmi ' or /leXr). (1") llinc pioeul tlubio intelligi dattir prosam numeris 1 cilM'TElls ny nUEEK MET!:ir RllYTIIMircs Oil METllICUSf 51 suhsistt're. ii;im et Arist<>tflt'S, lioino suliliniis iiius iiK'urraiit. ([ui sai'^it- iiiipruiU'iitihiis >iil)i(,'|»iiiit, ([U'kI L't CictTf* in ( )r.it()r(' suo tan^"il, i{>>ii (|U(M|ih' l\rira ]H>riiiaUi siihlalu inndul;iti(»nt' \()cis uu\i ultra soluiaia oraUMUuiH prncurrunt. (P. 113 K.) This |)a>>c!gu iiniiitMliai('l\- fellows that (|Unt(Ml ahox-e (p. •J,")) (»ii tla' pt'iitaiiU'lrr, 1<» whifli ' hiiic " rctri^ h.uk. Karh [taragraph throws liL^'ht (»n tla- othrr; and if tla^ rcadt-r dt'>ir('S to stuj tla'ni in thcii' trut/ relation In- will d^^ \w\\ in turn to tlieni in Kt-dV [ml^i's. I tak*' this ini-anini,^ to Ik- clrarly invt»lvfd in tla-ni. In tin' illu.s- trati\'e pcntana-tcrs whirli ,\hirin> \"\c{. ha> pi-t L;'i\t'n a fL'i'tain >light dcirriH" of 'inodulatio" or TrXdrf^n is ivijUi^itf in ordi*r to [)rodii('t' thr \'i'r.vr : without that thrv arc prose. i;ont car, a true ' versus.* d'his mahK-s u> to <(M' Itcxamd (|Uf>tion, he says, lioxe pro>r should contain (as Aristotle and Cicero direct ) Miunicri " hut iutt *\ rrsus.' Auain. i-vvn lyric [)oenis (that is ^cX;/). like the picntanictcrs ([Uot^'d, it voii take awav that still hi'dicr dcLrrec of 'inodulatio vocis (th.it is irXda^a. the more exact ohscrxaucc (if rhythui that g<»es naturall}' with the sinLrini^^ voice), hcconie in their inoveinent nowise ditTcreiit frotu rli\th- luical pi'ose. In other terms we mii^dit say : the avWd^Sul Tpiar]iioL and rtrpdcnjfjiOL ()f the full musical reiiderin;^ are in such "unmodulated*" rendcriuL,' not fully pre- served : patises and shifts of rliythm take tlieii' pi. ice in a dcLTrce suflicient (the deun'ee nc(.'d not he gie.it) to ohscure the full musical rhythm, and chanLTc it to the less consistent rhythm, nKU'c shiftini:^ and less easily noted in exact ratios, th;it pleases in 'j^oinl prose. For the sake of the little additional lii^ht on this mattci^ id TrXcia^a. the following is added from Aristides {). : '0 (11) 'VvOfj.6<^ Be [poelraL] fcaO' avrop fiev enrl yjn\rjs\ ftcra de fieXov^ ev /ccoXoi?, fiera Se Xe^eo)? fjiovrj^ tTTi Ta)P TroLTj/jLcirayu (Mtra 7r€7r\aafM€P7]'^ vTroKptaeco^^ olov TUJU ^COrdSoU KLIL TLPCOP TOLOVTCOP. (P. 32 Mb.) d1iat is (takinLT into account the context): " Rhytlun without tune or words is perceived in unaccompanied dancing: etuubined with tune it is [jerceived in passages of instrumental nnisic : cond)ined with .speech alone, m poems declaimed with a Mnt»idded ' delivery, as those of Sotades and the like." The degree of TrXdapua here intended need not be very great. Presumably it Would h(^ about what we are all ;iccustomed to in pubhc re( it.itioii (d" poetry; such a degree as Probus had in mind in saying: Item Aeneida (|Uoniarn p)lasniate legi V(»lchat, ait "arnia virumque cano " (cited by Keil on Atilius Fort., p. 2>^'2 Iv.). That is, we are not to suppose that TrXdafxa hnplied great artihciality or extraordinary piolongations and contnicti(»]is. The phenomenon thus na.mcd is one [)erfectly himiliar to us in modern speecli and \erse, as we shall have occasion to note in the next chapter. ( hie more passage is worth citing here, tliough it deals with the contrast, not between ' metrum ' and ' rhvtlmms,' but between prose and Mhvthmus.' (12) H pLep yap Tre^rj Xe^t^ ovSepo^ ovr* opopLaro^ ovre pi]pLaTo^ /Sidi^eTaL tov<; )(^p6pov<; ouSe pLerariOrjatP, aXX* ol'a<; 'rraptLX7](f)€ rfj (pvaet rd^ avXXa/Sd^; rd^ re piafcpd^ Kal rd'i t3paxtLax <.ni:i:K Miyn:i< luivTiiMicrs on MEriucus? 53 ! ii '.t 1 1" lit' by contnist to tla- ivmain.K-r. And in that, the iwo rt'iiiiiiiiini^ seiUt'iicv's. we tin*! aiiiplf wm^^wMMni of ij,e fuel th.il ill CircL'k i\Tic nu'icr^, >*> far a> lla'\- runic uikKt wluit wc havr >t'i-n calltMl ^t\;/ and [mO^nl i^v M-hythnii,' hnvj: an\ilahlt'^ aiikr wciv na.rr or lt'>s variabli'. In >t>nif \\a\" - in-i hew, we will niiiur \\\v rradt-r ivnrw in wliai rli\ihn' Sfhcnit' or p.itu-rn lla' |,MU't intcndfi] the vrr^r rfntlfri'ij. '\\^ rrpiiMlurr ihe rlivinniiral [.allrrn which tlu- jHM'i [ia(] in nnnd, th.' sinLffr, if nni aUn tin' rf,;J.a-. inadt' >n!ae luni^; sUlablo Imum-,.]- .||,,| ,)t|i(.r> >liMri.T tlian two y^povoL 7-pooTuL, aiid made sonic short svhiahif,- hui^'.'r tlian one ^pat'Os 7rpo)T(Js. It seemed to I)inn\viMv in tho>e ea>es thai one did n^t v(» nnich re'_;-id;ite the linirv by the syUable-, but r.ilht'r re^-ulito.j th.- ,s\ilab|r~. b\- the lime-. It i> hiL:h]\' piMhabh- that I)ion\>inv h-a'C (b-iuvs from some earhrr wi'lirr: bni whcihe!- h»' d^i - or not, we cannot ^^!['{Ml^r that in the time of A ti'^^'ir'-niN sueh st, by a !nan ]ik'' I )i( •n\'->i( »s, an'e in an\' (h'^reo sii^ijt'sted by a brcal;inL: down of the >on-r U>i the ehissieal « j uant i t ;••>. Hn the oliier liand, the foil.»\\- inj; eont,uns an unmi>iakabh/ referenia' to the me(He\al and modern prinfiple. (1-)) Ab'ivnni poeiirum (paid r-bis minnsve erit, pe> si\-r \-ersus minnnr con.^tadiit. na-ti'o i'^iuil \-idt'~ till" esse eon>imih'"/ rhvthmn^. rhxnhnnr- i ? verborum mo.bil.ita eompo^iiio non nmtriea ratione, >ed iiumerosa seansicaie ;!d indiciinn anrinm exannn.ita, nt pnia vebiti sunt eantira poriarum vnlifarinnn rh\th- I inns eriro m metro nori r-. i p'o' t •--! t " no tT""' di>tat a nietio ? (jno* I nmn^ p. a' >e >i! pott^st, metrnm sine I'liythmo esse non potest, qiiod h.anidius ita delinitur, metrnm est ratio eiim mo(hilatione, rhythm lis sine ratione metriea iiiodulatio, })lerumque tam.an ea>n qiKxhim etiam invenies ratioiiem inetrieam in ihythmo, non .irtilitdi observatioiie servata, sed sono et ipsi modnlatione (bieente. (Ars PaLienioiiis de ^let- riea, p. 'Joti f. K.) Idle clause Mit puta vebiti sunt eantica poet;irtim vul- pirium" h'aves no doiil)t what ' rhythmiis " refers to in this btth* (hah'L^ue. Idioni^di the form of statement is infiu- ence(l by the older doctrine, exliil)ited in the extracts prect'dini^ what is here contrasted with Miietrum' is not the old /x6\7;, the '' rliythmi '* of Marius Vict., but the modern soni^rs of the poets of tlie people. We have reached now a new meaniuL^ of • rlivtlmius ' and ' rhvthmi,' the medieval usaire. To the new style of accentual Latin verst- the term ' rhythmus ' was now appHed, in con- trast with the ohl (|uantitative verse, or 'metrum.' This intcrestinij^ subject falls outside the scope of these chap- ters: it is the centnd point in Kawczynski's book, before cited where it is discussed at length (p. 115 ff.) and other testimonies collected.^ Through the foregoing survey, if our metrical friends liave Ikh'Ii rightly interpreted, we have arrived at some conclusions that are of value for farther investigation. iMrst, contemptuous rejection of clear and consistent teaching of tlu^ inetrici is unwise and likely to lead astray. Sympathetic study is not thrown away on them, even the most foolish of them. They are sometimes in- consistent with one another and with themselves ; some- tinu\s it can be proved kwond a doubt that one is wrong; i Kawc^^yriski's chapters, IV-VI, traverse in part the frround ^one over in thi' pnce.iiim paL'es. They show much acuteness, but also too large an admixture of error. 54 ciiAPTi-L's >>y ^;i:r:i-K MF/nw RllYTIIMICUS OR METRICUS? 55 in that case w*' iit'r(l imi tr»'at his ini^takc as aiiytliiiiL: iAx' than what it is. I)!it ii a a lilt It' wliich has h<-'-ii calh"l iionstMisc is really vrw ;j;')».l staisc wlini undtT- stotxl. We>lphal loiiL^^ a'^o iit)t»'(l \\i)\v rcma rkahly sonic of the Vt'ry latrst aiimn^f ihcni have [(rocrvtMl for ii-^ irond aii'l .soiiMil (1 x'ti'iiii' lvn:\\ ai; t-> ran [)(']';o(L liy ll: (' fourth ci'iuiiry l>. (\ tlici-c was already in cxistenct' a Lu'Lf'' hody of Well scitlcd iirarical tra>, hut in u'eiuTal il \sa.^ liauilfd on troni -^'eneration tc^ "■eneraijun wiili liitle cdiauL^e, tht' aL^'reenient oft.'H exiendin'_( to >niall \'»a'l>al details. ( )ur seiiool-hoi ik< on aril hniet ie. oi- on 'j;raniniar. are fair nio(lern parallel^: textl)oolv> of L,^eonietr\" and of loL;'ii' have e oiut' down in a >inular wa\' from anii(|uit\', rematiiiin-j; in eiirreni use, wiihnm l)'ein'_^ afh'eied in an\" de;4ree that eould h- called trair^formi !!'_:;, until *juile reeently. That l>nL;' trair^mi^^ion of a lar'_^^' traditional svstem makes the stud\' of sources for anv Lnven hand- book both enticine* and exeeedin'_^'ly slippei-y. Secondly. \vc nni^t not ex[)eci to thiii in the metrici a(hM[tiat<' eX[)lan.ition of the nr»rt' eomplicated and diili- cult lyrie meters. Thev left that, eoiis.aoiisjv and on prinei[)le, to others, atid restricted themNclvcs in i^eiier.d tn mettM's which tliev wei'i' accustomcd to read and to hear read and reiated. 'Idiese they treat<'d with little or no reference to the actual times of syllables, when the ratios were soniethinu- cNc than tlie convciuional 1 : 1 and 2:1. I-'or the nielic rhvthms in i^^aierah particularly tile freer form>. we have to fall back on Aristoxeuos, and inter|)ret b\- him the deS(aipti(Uis and scattered hint.s supplied bv the metrici. If a real contradiction is h)und l)etween him and the Litter, we can but fi)llow Aristox- enos as the better ifuide. Finallv, the teaehinirs of the metriei eainiot be aec(M)ted f m • without caution : we must lirst of all exercise the utmost care to discover the precise sense intended. Their st^md- point, while natural and rationab was different from that i»f Aristoxeuos; the same facts, viewed at such dif- feient aiiL^les, and then stilted in terms tliat bore a par- tiallv difh'reut meaning in the two systems, are not al- wavs easily reeoo-iiizable as the same. Their metliod, while not seriously defective for their purposes and their eontem[)oraries, is for us defective and apt to mislead, even in rei^ard to recitative verse. If we wotild keep our minds elear in rt^gard to rhythm in language, we must ^'■m ])ack i>i the s\ liable and keei) steadily in view alwavs the time, the time-intervals, and the combinations of time-intervals, emboibed in the wonls. Wliat we seek is the aaaual rhythms of anident verse, as these reached the ear and movi'd the soul of the Greek listener: to that end alone are the old metriidans worth our sttidv. The end is worth a Lfreat deal, and is dillicult to attain: there- fore anything, in methods of study or of presentation, tha.t hindm-s its attaimnent shoidd be ptit aside, and tlie end should he soui/ht in the most direct wav. Now the methods that s[uMdally characterize the metrici, as against Aiistoxeuos, thoULrh ])robablv not a hindrance to the mass of their contem]:)oraries, are to us a hindrance; to us they often do not state the facts withotit frequent, atid fre([ueiuly (dianging, rein terpre tat ion of their form of statement into anotlier form. Here is a constant Source of dillicult V and of tendency to misunderstiindincf, not only h)r l>egiiniei^, btit also, as we liave seen, for Well tr:une(l Ilelkuiists and even specialists in metric. Keeping in xdew the real facts of rhytlnn, as the verses Itdl from the lips of the ancient reader and singer, we slunild make our terminology and entire mode of st^ite- meiu coirhu'm to those facts and present them as directly 56 r II Aim: lis nx >;in:i:K Mirrnic as possihlt'. with the niiuiinuiu of amhiLfuitv or of n. '(■(■>- sity for rrim.Mpi'eliitioii. 'rht'ri'ft)re in (h'scrihiirj; fvcii tht' ^iIIl[>h'^l m.-tt-rs It is h.-ttcr to t'iii|Uov vwvx ;i\;iilal)U' dt'vi.-,' for rii.ihHiiL^ us to say exactly what w mean. It is hettfi' not to say spoiid,',' when we iiifan an irrational trochee, ans, to the rhythmieal notation eon- ' taine(l in the woi-ds. The has Ihm'U wi(kdy adopted for that ptirpose : it is Ih'ifcr to tise it than either to invent another or to i^^o wiihom an v. In all these matters the utmost precision in recordi and deserihinix rliythms is none too Lfreat. Yet one more point. In tin* study and teachin'^^ of the otlier aspei-ts of lan^niaLre we have taken wliat the (ireeks tauu'ht us, and after masterinu^ their facts and their system <^{ stnd the ancient system, not hesitatini^ to recast it completely, hrimxino^ to bear on tlie subject not onlv many new phenomena but also an improveil method which the Crreeks eould not know. All (k-partments of Cframmar are still underefoimx tliat recastiuL^ i)rocess. The same proct>ss — thoucrh })erha})s in less degree — is naturally to Ix^ expected in the study of this aspect also of the Greek langruage. I have sunicientlv emi)hasized the point tliat the first step in tliat j)roeess nurst be the more complete mastery of the ancient learning. But we F. P 1. -A' 'J A.. nUYTHMICUS OR METPJCUS? 57 should no more expect to stop witli that than we expect to sto|) with tlie ancient learning m morphology or syntax. And the line of advance toward this desideiii- tum, a better and fidler knowledge of the rhythms of (Jreek poetry, and a knowledge armnged in a better system, lies along the path opened by Aristoxenos. t-^ nilYTIlM AXD LAXniWGE 59 III KIIYTIIM AND LAX(,UA(;E No bt'ttor (li'tiiiilioii of rhytlim has lu'cn i^ivi'ii, or iifcd \)v S(iii;4lit, than that of A]i>tn.\t'ii( >s, ^ponov tci^l^ cKpcopLafiein), U*in[u)ruiii int^T sc ordo (jiiidaiii, a (h'tiniio arraip^t'iiu'iit (^i tiinrs. This is proliahlv the carlitv^t, reriaiiily thf iimst widely cunvnt, trchiiical si'iix' of pvO/j.(k \uiu)]\'j^ the (irt't'ks. Wdioii tht'\- ralh'd a >latnt' 6f'pf(9/xo9, or said that a p"r>(>!i walked tupvt^fxa)^, and the like,* these wcw pri^hahly hL^urativi' ai)|)licali« 'ii^ of tlie teehnieal tenn ; thonL:;li it i-< tnie sueli rises i!ia\' ha\e heen iiidependeiitlx de\t'l( ipeil from the earh' !iieainiii^% onh'r, or law, which the won! lia> in the line of Arehiloeho>, yiy I'coaKe S' oTca"" pva/jLcs at'Opwrrnis e)(ti. The essential identity and the speeiiie eharactei i>ties of rhythm in man\' activities i)\^ liU', natnre, and .trt were aceuraa<'l\' noteil and described l)\- Arist* ixenos. It rs the more to 1h^ reLrt*'tted that manv [K'ople - moi'e es[)eeially in l'aiixli>h->i 'eakin'_^ conntries — \\ho>e stndies have not familiarized them with this department of (ri'i'ek seience, still nse the term, and ('\"en deliiic it, in a loose, eoiifirsed, and nttcalv nirscientitic wa\v Partic- iilarlv on the snhject heen clear as to what rhythm is. In all ^uch technical discussion no other 4. ^ ATi.ii^]. \' <,i:i:/:k Miynu'' mind i< ;il,)li' to L^rasp. inul to analy/c in dt'iail if it will, extri'iii'.'lv coiiiplfX I't'lalinns of space in ihc pai'ls, pfo- vidt'il tliost' main ixmnps of parts ar<' p»].iinly niarkt'il, aiKl are hut few, prfftM"al)ly two. In time, howevt-r, duo {)r(>[H)rtioii of nu!nt'rnu> |)arts is not perceived so read- ilv, if at all, unK'.^s the iiuniher of distinctly marked fjroups is lare-er, extendinuf to at least tliree. ])refrrahlv more. No two j_crf)U[)S of times, no two pans of tli*^ smallest time Lfroup, are cont<'m[)oraneous, or cm remain under contem[)lation toL^ether except in the mcmoi-y. Hence re[)etition is necessary. An amount of repetition which ipi sp.ict^ wouhl seem monotonous, or at lM^sl an example kA very .sini[)le ait, diocs not st-em so in tinu.', btit aids the mcmorv and Lfives [>leasure. The h)rm of symmetry that is mo;hort [)attiuai man\' times re[)i'ated. I^x- amples are the nieandirrs, the lotos patterns, the eu^ix-i^^'d- dart moiddin'_fs and other ornamental hands so freipienl in (rreek art, or our cflLrinu^s of hicr and tanhroidery, and ornamentition, or to anv of the [)ainte(l L^roups in the Sixtine ('ha{>el or the Stanze of liaphatd, would never he reco'_rni7,t'd as rhythmical, uidess at the same time tlitu'C ran throui^h the whoh\ eom{>rehendinLr all the parts, a simpler system of efroupini^, analoc^ous to that of tla» meander. An ode of I*indar, or a movement of a s\uriphonv, is held toirtther and uiutied by the lUIYTIlM AXD LANGUAGE 61 repetition of a small ^roup of tnnes, the measure or foot or the like : on that substratum, out of that coiitinu- ouslv re[)eated thoiii^di varied small group, are formed, by the aid of recuiaang variation in time and melody (and in Pindar ^^i the danee), etmcepts of Lirger and yet lar -er 'nouns, until, 1)V repetition of groups both smaller ansi(»ii of e(|ual ii!iit'>, ilit)Uu,^li fxpuriiiit'iits have shown liuLl ihv L^rcui niajMruv of H>b'i>«'rs woumI i!i\-(>1- uuiarilv i!iia_^i!it' ^••)\\w •.litYt'i'-'ih'f h. aw'-cii the >iiuii(l< or tht' init'iA al>, and m) 1»\' a [airrK |)>\ cholo^-ifal nriM-^ss Would i[iit.'i\'ntiali' the tinio, L;"roU[) liu-ni. and inia^'inc ii rhyihni whrre » •l)jv'rii\'t'ly ihtTc wa> n<>nr. l>ui if in tiial >U('>,-'.\>>i(>n (»f un;'han.;-!!i_^^ drunid»;Mt-, lH'Lrin!nn;_^^ anywhiTi', you omit the >t_'rond, fourth, and ci'^dith, \-ou will nudvt.' a Li;r^»U[tin^ t^f tini.'>; thai series rr[K';iifd is oui' >ini;)lt,'>i druin-rhyihni for niardiin:^, 'V\\r ariion of w.ilkin^', in whirh the ft-t't alt<'rnat<'ly arr liftod. nio\,-d tt)i'ward, and pLua'd, with rndh'^>lv \'ai'i<>u.^ |«la\- of niu>flr.>, ['I'oduci's auoilicr i^n"«'n>t' of the walker, thoui^h to i\w ear, wlaai airlihlf at all, a rather simple one. This neeessity o{ a tli^l^ in rh\'thm is the more to hi' insisted on beeause many writers on nio(h'rp verse- rhythm iLjmore it. In reeent years rhythm has been, and euiitinues to be, the sui)jeet of many-sided in ve^tii^ation. Ph\'si(a>i^ and naturalists of e\erv sort have been eom}>elled to take lari^^e aeeount of this factor in tlie jihenomena of nature. Periodieit V, alwavs obvious to nrin in the procession of tlie seasons, in the bmar pha>es, m the alternation of day and nii^ht, is disco\-.'reil to characterize about every kind ^A motion auid chan;j;e tha.t the student of {ihvsics can measure, d'he periodicity of astronomical and inor- ganic forces is retlecteil in the life of pilaiUs and animals of every L:fraeries of spe( ial investigations along this line. This is not the place to recapitidate these studies of rhythm,^ so numerous and so various, nor even to stimmarize their results. P)Ut without some realization of the ex- trp.t to which rhythm jH'rvades the kosnios, including tlie uncoir^ciotis life of man, one is liable to approach th(^ subject of rliytlnn in language with prepossessions >o deep-rooti'd that aigtiment on some points will be w .l-tcd. in harmonv with the unconscious, involuntary rhythms of the human org.inism, in part certainly and perhaps wholly the con^etiuence of them, is the fact that rhytlmi in the broad sense pervades also all of man's conscious and voluntary action. Alternating exertion and repose, t<'nsion and relaxation, is a law of the life that is regu- lateil by will, from tlie larger tasks and recreations to the movement of the smallest nuiscde. But for our purposes this broader sense of the term must l)e narrowed. We are concerne(l only with forms of rhvthm in which the lesser time-inter\'als that make the larger pattern are comiurativelv short. Al)solute Ihnits can hardly be gi\ en : but expieriments appear to show that if the short- est unit is as long as two seconds, the mind does not coordinate the intervals and group them distinctly enotigh to U' conscious of a rhythm. On the other hand, if the intervals are too short the mind does not sepanite them; they nni together instead of fonning gi-oups ; but of cour>e continuous tones that yary regularly in pitch or intensity, or C(.ntiruious moyements that regularly change their direction, may by those regular yariations di\ide i StH' Bolton, lUiythni, in Am. J. Psych., VI, pp. 14-5-238; Wundt, VMlkcrp>ychuk)-ii., Ch. VII; Studies frum Yale rsych. Lab., IX. 64 cjiAj'iKns (L\ (,i:i:ek MErinn time into intervals thiit tall within the necessary limits and are [HTceivtMl as a rhythm. Now the fiin(IamenLl;iuii'_;' rcj uiremrnis tliai to ln> mind take [precedence. Man i> n<>i nicrcK^ .i rhythmical animal, as all animals are ; he i>^ a iii\tlimi/.- in;j; animal, a> truly as he is a })oi!iiM;tl animal. As men tend to unite int*> political cDmnninii i<'>, so the indi\-idual tends to rhythmize everythiiiL,' that he coinhirt- ably can. This tendency is not simph' a mailer of musi- cal endowiinait, po>se>>e(l hy some and not 1)\- others: it coiiirol> more or K">s fuUv everv human heiu"-, irenerallv without hi> heiuL^ aware of it. The inili\idual merelv acts in the wav that he finds easiest or most natural: and he .ict> in rhythm. Tliere are said to Ih- people who eainioi keep! step to a t't 1»\- somc- tliiiiL,^ Iroiii without. Hut even one who h.i> that de- fect makes no cn.i of p,'i1\'ct rhythms of hi- own. He makes \\\> i)wn >icp- rqual, (»r if uncipial then rc'^u- larh' unequal: if he dri\'es ;i nail or lairrie^ a h.c.'se or rows a boat or ehews he- iiuid or drink> .i Lrla>> o! wae-r, he makes as o-""d riivihms as an\' one el>r. d'iie ten- d.encv a|>pears to he adts<, shit rh' univau'sal : the onl\- difi'i-r- ence l)et\s'een peo[>u' in thi> rcLXard lies in ih<' dc^^Tfc of consciou.sness of tic rhvthm one is produi in^-. and the conse(pient po\\ rr of conirollin'^ and c in>ca cch- xarxiu'j; the rhythmic movtaneni. There, it is true, p-r^.p].' not affcet the truth r>{ ihc -lalemnu just nilYTJIM AXD LANGUAGE 65 made. It is a iiniversiil Liw that man is a creature who rhythmizes, in the strictest sense given to the term, every kind of action that iuhnits of it. Men differ a good deal in capacity fc^r ac(piiring languages, miicli more in capacity for teaching them ; hut all men not physically (U'fective art; endowed with s})eech, and sjMjak the lan- iruaLTe thev liave heard from inhuicv. The rlivthmizins: impulse is no less universal tlian speecli. Plato rccogihzes, putting it in his mythological way, the inhorn characto Were noted by Greek writers. We find Aris- tides C^. (I lo) citing tlie j)ulse-beats as an illustration ot the rhvthm jHU'ccived by tlie sense of touch. Lonm- kit Q no^ on Hcp.haistion (}). 84 W) refers to the sound of blacksmiths' hammers, the walking or galloping of lior>e>, the movement of lingers, tiie flight of birds. 06 ''IIAPTERS (>y (,1:KI:K MKTUir nilYTIIM AND LANGUAGE 67 Probalily all tliesc eximiples wt-n' t- toxt'iu^s. I'lit' tir>t words in our io!i;j;r.st fragiiicnt i\\ iiis put^jj-iKci aTOL^ela art': Otl fxtv irXtiOis ttal (pvaeis khI TTOLCl Tls avTCOl' €Kci(TT7] K(IL ttCl TLVa-; CliTLas tT/V UVT)']-; erv^oi' TTpoijriyopia^; Kai ri avrcoi' eKciarr) vTTOKtiTat, h' rols e^TTpoaOtv ilprifjievov. rvi> 6f tj/j^li' Trtpl ainov XtKTtov rou ev fiOvatKTj TciTTOfxevov pvOpov. (I*, 'l^^^^ 1. Mor. ) I'lit' priM-i'diii'^ hook, tlu'U. had iiududrd sonic discus>it'n of tiic dith'rcnt kinds ^A rhythm out>ido of th-' a.rt^. ddit'ir nainri's, the undrriyiiiL^ matrrial of cich, th*' \ari- ous a['|>Uct't forth to tduar thr \va\'. anil rnahlr him from thi>. ])oint « 'U to r'(->n>idrr tho rh\"thm^ of art onh". Thfr*' \\'as tho natural I'larc tiu* >ui'h t'Xam{)lt's as thf alMi\,-, ^vhi(dl \\'o nia\" Ik.' prottv >ur<' were introdurcd inio the lc'Xt-h(u)k^ i)\' no Liter rliythnnrn>. \\\\- olc-rrxrr toda\' nri\^ find nmumcrahh' otlp'r exam- ples from the whole ran'_;"e ol xnluntarv human aeti^n. The ehild [^reh^rs to ski|> and. dance aloui^' rather th;n! walk: the ili\tlmi is le<< monotonous and more pie. M-^i Littlf u^irK junqtini^ i""l'*' 'ike to vary the step> : the l)(»v"s liMp, -kip. and jump i^ hetter fun than plain jump- in'_r. A hutehei'> hov ehoppin'4 nu-at on a hloek- dix-s ;i\\'.i\' with mtineitopiV and u"et> a toueh ot art nit^' Ins task hv pla\in'_^ whole drum-iunes with hi> two heavy (deavers. >ueh ari' the >kelet<'n tunes pla\tMl hy a drum-eor]is. with no instrument to furnish the melod\', — - like the -shadow picture which the X-rays make ol a human hand. In the houvrhold. heatiuL^ tip an eLru"' rtihhim^ (dothes on a washhoard. mouldiuLT hreaid, {),irinLr a^ipk's, sludliii'jf })eas, — all alike tend to hdl into lk,but })retty corrstajit for any one kind in the hands of tiie same per>on. The operations ot the shoe- maker, the joiner, the coaldieaver, the stevedore, exhibit the same t<.'udencv, so far as their nature penuits, and are appreciably lightened there])y. Siudi ol)servations have led to extended study of hke phenomena. Prof. Karl P>Ucher, approaching the subject tirst from the stiindpoint of liis own department of study, economies, soon saw that other sciences, as physioh^gy and psy(dioIogy, must also be called into council, Avhile the subject bore directly on the origin and development of sevend of the arts as well. His book, Arbeit und Hhvtlunus,^ cont4uns a mass of material of great value for the student of })opidar music and poetry. For metric Biicher's results are all the more valuable because reached by a tndned scientitic observer from another field — one who is both (^omp(dent and at the same time quite free from the })rejudiee of a preconceived metrical theory. Hii< her t may he very simple, pr'rha[)s nothing m<>n' than inartic- uLite cries, often nearly or (piitc nonsense; often on the other hand it is an intelligihle piece of verse, iis suhject more or less closelv eonnecteical, to a f(ilk-tuue that a musician's ear is j)leased witli. The soul: ol)serves the simc rhvthm with the work, which regidates it, and at the same time is furthered ])y it. Tiie ad(htion;d eX[H'nditure of ener'_fy is overhalaii.'cd in elTeet on fatiirue h)V the ph/asure and stlmidu-^. liiirhcr gives the words and ]nu>ic h)r a large nmiiber of these work-songs fiom all (piarters of the earth, l^spfcially noticeable is the rhythmical form, and the eth'ct of >uch rhvthirhzinLT of work, when two or more work together. The rhvthm of labor, often with song, is then not only ivnilative for the individual, but it becomes a meairs ot eoOrdinating seveiul workiuen. Hiat is [nirticuLirly the ease when the work demands cotl[»eration, and that in various wavs. The sim{>lcst kind ol such ettect is seen when sailors liaulim^ on a rope lUter a rude c.iU which is haixllv song, but which marks the time ior tcirsion and ndaxation of elYort, and s(> enables all to a}*ply their strent'-th at the same instant. The .stimulus of rivalrv is ofteti tlitis introduced, as in the c;ise, once himiliar in many lands, of a company of mowers or rea[»ers. < )ne leads off, tht^ next tries to kcf'p as near him as possible, in order not to seem inferior to the tir>t and not to be catile phoiielie character, exj)ressiiicr eiiu.tion mainly, retain always the capacity of almost indefinite prolongation that l)eloni;sto j)urely musical or inarticulate vowel sound. Words like ah I whew I are not distorliMl in the least by a lengthened pronunciation in a sliding tune: such utterance merely increases, while it mav m(»re closely deline, tiie emotional ex[>ressi()n. In jihonetic and semamic character such words a[>proach puielv musical sound, and naturally a})prt)ach it in their treat- ment as regards een largely stripp»ed of that and now are merely expressions of emotion, liJ^e those m tfie former class. Such are manv ext'lanritions likt; 'n-acious ! mercy! or IT rr -h ! Again, in loud calling to one at a distance, a simple phrase, or the List s\ilah)h' of a name, may be likewi>e j rnlona-cb in a manner that in «.iiier circumstance's would bean ina(bnis>ible distortion, 'i'he need of m.dving the >ound> carry an unusual (Hstaiife, or against unfa\a«rablc ct.ntbtinuv, we accopi as cxcusnn: what we all nevertheless t'eel to be abnormal thou'di n^t uncommon. ( )nce more, in modern singing we acicpt now as a matter of cour>e, fc>r the sake of the musical eilect, extraordinary {cmloii^^Mtion of \'owels. We allow the i'omposer to subordinate tlic' word-form, amd the meaning of the words in tlctail, al)solutelv to his musical idea. Handel s oratorios exliii)it this in extreme e iixed by the organs of speech or the duration of the breath, to exceed which hi speech or in artless ^,,]i,_r -^ that is, in song not composed by one well schooled in the specitically modern (leveh)pments of music — appears unnatund, a distortion of the word, and is there- fore not admitted, except for a distinctively comic purpos(\ dlie fact seems indispuudjle when we hdlow in thought the rise of one of these work-songs. AVlien words with a delinite meaiung are made to accompany the worker's motion, in order to ht the rhythm in a way to >ati>fy the worker they must liave been selected with some reference to those 'MiaturaF' — that is, previously and el>e\\here determined, however elastic — Hmits of iclitixe duration in tln' syllables. In languages employ- ing- a nnirked stress or word-accent, that element too mu>t be rcuMided : a syllable that in the same context wmild receive when si)oken a markedly stronger stress i> not in satisfactory harmony witli the work-rhythm, if so placi*(l as to accompany the weakest muscular tension. I tiii^t the })oint is clear. While it is true tliat the rlixthm of th(^ work-song is primarily determined by the woik-rhythm, the words also possess, before being seU'cted and }»laced in the song, inherent rpialities of syllabic length, perha{)S stivss too, such that the com- pleted specitic combination of words naturally carries the s.inie rhvtiim inde])endently, wlien dissociated from the work, and even to those who liave forgotten or never knew the work-rhvthm in itself, provided they know %■ 72 rilAJ'TEns OX r;i:EI-h' M ETHIC RHYTHM AND LANGUAGE 73 the Luir^uaire. Tlu- wrnk-rliythin Knuls the worker t.. civate a [)ar.ilk'l I'hytfuii in another inediurii; the srcon.l pvOfiLi;6^evov is of siu-h character tliat its liivthin is r.cr- tectly preserved hy it i!i stronger t( .make tluar rhythm more in(h'pen(hait Iv t lear. With a view to tile farther coui'se of tliis chapter it seeme a Mngie human activity, a solution i^i woi'k, [.!a\\ and art. In this unity of physical and na-nial acticm We perceive the ^<^vm^ nf development aleUlLT all those lira's. , . . The arts of motinn (niusic, dance, poetrv) come into beinu^ in the perhirmance of work : the arts nf rest, of f, .rm, are embodied, if ,,uly in the form of orna- ment, in the results <.f work. This is all sim[.lv the iiistiiictixe at^tion of life in common, averai^^' humanitv, — m savaLT.'s, m peasants, in workiiiL^ people. Hu. bond that holds toLTether these elements, which we have come to think so unlike, is rhythm, whose source is in the \-eiy essence of the human orufanism." Allied to the work-souif and a little nearer to our L,^o;il are verses that children recite or sijiL^ in con- nection with [)lay. (rreat numlhu's of these are (Uirrent, probably in all languages in which chiUren enjov o-ames together. They are hande(l on almo>t puivly by onil tradition, many of them from one child-^-eneratie.ii directly t(t another, or ratlaa' from sli'dit \\ nlder t o f; % Mi shghtly yomiger children joining in the same game; parents who have forgotten them discover suddenly tliat their ( hildren are reciting them. Others are used by parents and nurses to amuse infants. Some are very old. existiiiLT ii^ manv versions. I will cite onlv a few, (pioting, if at all, in tlie exact form that was familiar to m\ childhood. ('ountiuLr out rimes ^ are generallv doggerel. One child '' counts out" by repeating the w'ords, pointing in succession to all ai^oiind the circle, to a new individual with every heavily stressed syllable. The person pointed at on the last syllable of the stanza, alwavs a stressed >\l!al)le, is '^ out " : the operation is repeated with the rest, luitil only i>iie is left, who is 'Mt." The rhythmic pitintinLT is a sort of beating time; the stressed svUables rei ur at tKpial inteiwals ; between tliem may be one or two syllables or none. Xo attentive onlooker can fail to distinguish, whether he can describe it correctlv or not, the very exact rhythm. The following is a verse that mav sound like non- sense, but whiidi still liad a verv distinct and a(jfreeal)le meaning to many New England country families tliirty- tive vears ago. Bean porridge liot, Bean porridge cold, Bean porridge in the pot Nine daj's old. This was accompanied by a play, which must l>e de- scrilK'd in full. Two persons are seated face to face and close together; while the words are repeated by both or by one alone, both make the following movements. ^ See II. C. Bolton, Connting out Rhymes of Children, London, 18bS. 74 ciIAPTKns nx fillEKK METUn B^'an — each juTSt^ii sl:i[)s !)t partnor's, right against k'fl, h'i't against right ; B^ ait p'^rrilje chl — >auit' phiy ro}>eatc'rn'idije — as hi'fort- ; /// — right pahii agaiii>t partner's rig] it ; ■^,.,f — -both [iahiis t«'gL'ther; JV7//e — left pahn again>t partner's left ; ihtij6 — l)nth pahns together ; uld — bt'th pahns again>t partner's us <«n h'jt. [Thru repeat ad libitum.] The h'^nder the sht[.ping noises the LTreatcr the fnn ; gt'nerallv the s[hh'(1 would be gradually inrreased until (aie or the other ukuIc a mistake. 'Idie rhythm of the plav is >harply marked, and tlie words being well kn(-wn ^vere often not reeited aloU(h merely running aloU'^- in the nnnd of the players to help them keep the order of the ehan-j^es, AihI ' >n the other hand the rliythiu t)f the \vords witliont the [>i i\' i^ just as distinct anay : but as the words lia\c an inde[)endent lueainng ;uid the play has not, I should ltuc^s the weird-iiuu^lc to ha\'e been lirst invented. And the rhvtlmi is lilaiiilv thi-, expre»etl in metrical >\iubol>: V V/ nilYTHM AND LANGUAGE 75 The sym!)ols are intended t(^ indicate merely the time- intervals and their arningement. Where two are writ- ten the upper indicates the intervals maikei off i)y the syllables, the lower those marked off by the play. So written the word-rhythm appears a trifle more varied than the idav-rlivtlmi : l)tit that is merely because the s\]nbols hiil to note some of the changes of the play. In hu t the four hands in alternating pairs, now^ against each other and now against the knees, make a rhvthm that is rather complex. The hand-rhythm alone is indeed tiireehdd, according as it is })ereeived by the mus- cul.ir sense, the t'ar, or the eye. In like manner that of tilt' Words is twofold; no symbols have been invented that really repiesent more than the larger divisions. In the W(»i(ls e.ich distinct time is marked by the begin- ning of a syllable, or by tlie transition from one syllable to the next: more precisely by the beginning of the \owel ^A each syllable. The word-accent is prominent as a strong stress im the vowels of tlie more importiint intervals ; stress on the hrst syllable of porridge and on d->i.s is slightly subordinated; that of 2?z, which is not \\\ itself a strong wonl, is treated in the rhythm as equal to those that would ordinarily be considered lieavier. Whether the words hi>t, coId.iuuX old reallv fill the whole interval (except h)r a mintite fmction required for the break in sense), or wln^ther they occupy but lialf, the remainder being left vacant, one mav feel uncertain. At hrst thought one would say the latter; but closer ob>ervation, and examination of gramophone records, nichne me decidedly to the former explanation. Rhyth- nhcally it makes no difference wliich ; in either case the whole interval from the beginning of the syllable to the beginning of tlie next is the same : and that is what liic ihytlimic sense takes account of. In the play each rilAPTERs O.V (illEEK METIU' dislinc't time is marked at its lK'o;iiiniiig hy audible coiiUiet of the j»alm with the knee or auotlu'r hand; the n*st of the interval is to the ear vaeant, to tiie eye and mus- cular sense it is tilled out hy the l)odily movcnu'nts. Tlie close of the last interv each line is a grou[), the lirst and second t(»gcther are a lar;_^er group, as are the third and fourth: rimes are one sign of this, but the variations of times, apart from the rime, would alone sutlice to group the whole in the same manner. The simc grouping a[ipoars in the play as well. So far in this description ti'chnical terms have been avoided, but it is ([uite clear that the I'hythm is what the (ireeks called dactylic, in wjiat musicians now call conunon (or j)erha[ts | ) time. Each foot or uums- urt^ is a dactyl or its ecpiivalent : the single intervals aie of thnn_' magnitudes, standing to each other in the ratio of 1, *2, 4: in the terminology of Aristttxenos the ji^poi'oi TToStKOi arc the ^poi'o^ rrpcoro^;, ^(^poi'o^ ()(Vr;/xos". ^po'z'os- T€Tpda7]fio<:. The entire TrtploSo^ consists of h)ur KcoXa^ grouped bv twos, each kcoXov being a dipodv. There is a little three-part round that is often taugiit to companies of ohler chihlren. It has doulttless been printetl, but 1 do not rem(Mnber to have seen it : it lends itself easily to tlie (ircrk method of nuisical not,ition, as the rhvthm of tlie nielodv is that of the words, onlv more exactly ol)served. Placing abo\-e the seveml syl- lables the lettei's that indicate the notes of our scile (tlie middle oct,ive in capital^, A-G, the n.i'Xt abo\ e in small letters), it runs, in the key of (\ as on the c^j^posite page. In reading the wiuds (piietly, withmu rrXdap-a, there are ptlaees where the rhvthm iikiv b)e doubt ful. Some lUlYTlIM AND LAXGUAGE 71 E D C T. Three blind mice; [tlirice] G F F E II. See how they run; [thrice] G c cbab cG G III. They all ran after the fanner's wife; Gcc c b abcG G She cut oil their Uuls witli a carving knife: G cccb abc GG G You never did see such a siglit in your life. [Repeat ad libit am.] phrases might be sj)oken in (piite another rhythm, were thev not associated with corresponding phriuses that admit of no douljt. P)Ut in the whole combination, if one simply takes the youthful attitude towards the hues, pro- nouncing them with vivacity, so as to rouse the children's imagination and make them see the scene described, ■ — that is, if one pronomices tliem wdth appropriate TrXciafia — then the rhythm is not (hiubtful at all. If one carries the vivacity a trifle farther, and gives to his utter-.uice the musical (juality of the singing voice, the rhythm becomes uneipiivocally that in wdiich the lines are always sung. I. II. V^ -t^>- I — I- m ^ M^9 1 0- fj Jt^-J. -1 — t- 0- -5V- -iu III. A- n -* ^ # \ ) , ^ «-n A .-J~:,^d_. -^ ■ *-.-,..- , A • tJ A-A- 78 ^'V/.!/'77:/;> "V \]iibul> ; I V W V_^ -s^' \_,' "s^" \^' — K^' V^ 'v^ v^' W V_/ As tlie throt" parts art' Iieard toLT'-thrr, no cnnfusinn as to thu rtlalive haiunhs of svllal>l(/> is possihlr. 1"ln' inownR'nl is trochaic. Tlu' lir>t Trtpiudo^- (•onsi>ts of tln-ee triscmcs, niakin;^^ an incompK'tc (linicttT, thrice re|)catc(l : the second is siniihir, hut the second h>oi is now a phiin ti'ochee : tlie third con>ist> of three (hnieit'is, with one trocliee resohcd into a trihrarli in the tir>t kmXop, two in tht^ secoinh thrt'e in the thinh No one will (h)nht that this correctly represents the tiini' inter- v;ds of the niusie ; any one who dulv considei's the terms in which I have stated the relation hetween the spoken rhythm and that of the music, and the true character and function of what the ancients called rrXda^a. must allow that the words carrv the same rh\ thm inde- pendently. As was remarked in the prt-cediuL^ chapter, a i^rcat iitimber oi lyric poenrs have been set to mu>ic on the same princi{)le. Hie composer is absolutely free to suh- stittite his own for tlie poet's rhythm, and comnutnh- does so; hut the <»lder i-elation is so natural that it is even now often pivh-rred throu^diout a sone\ and still oftener with onlv a few sli-^dit deviations. I will cite two examples to ptit beside the Heidenroslein, foi' still ftdler illtistration of what seems to me an important side of otir sul)ject. The first is an old scttini:^ of Ben Tonson's To Celia;the metrical symbols ahaie will sulTice, conform- ing strictly to the nnisic, which mav be foiunl in the llIiYTllM AND LAXaUAGE 79 Collection LitollT, No. ^39, English National Alljtim, p. 16. Where the time, however, passes from one [)itch t(! another on the same svllable, mv scheme unites the two ei'dith nott^s into one: the relation is exaetlv the same as in (ireek music. Drink to me onlv with thine eves, \j WW — w! W And I will pledge with mine: w ! — W _ w t L_^ A i Or leave a kiss Imt in the cu}), \j W W v^l — v^ And I'll not look for \\ine. W ! W W I I L_J A The thirst that from my soul doth rise \j KJ wl w Doth ask a drink divine ; W I W W I ! L_l A I But might I of Jove's nectar sup, w w w w — w I would not change for thine. w- I w ^ ! L The musical time is |. Two things are noticeable. First, the syllal)les " Or leave a " and '' But might I " would be read more naturally as ^ I — v/ ; but since the corresponding syllables of the opening line naturally take the musical fitrm vy w w , the composer has chosen to treat that as the model, and has followed it at the begin- ning of each couplet, except on tlie words "The thirst that." Secondly, it is a part of the 7r\da/jLa, here carried a step farther than it was by the ancient musician, that all irrational syllaljles are in music made unequivocally short in the writino^. On the other hand a solo singer rendering these Ihies with expression, giving the words <0 rilAPTERS OS aUEEK METRIC lUlYTlLM ASD LANGUAGE 81 their due weiLfht, would cerUiinlv depart from tlie exact rati<»s of the written notes, and would restore the irra- tionality. When irrational syllables are r.ither nunu'rous in the verse, a composer who otherwise follows exi(' are well known wliereyer I'higlish is spnkt-n. The time is again \. v,/ \^ '--^ ^•■ \J V> ''.-'■ /\ \^ K^ 'v^ ^ — vy . — v_/' . -. V/ ■•-' v.^' W ' ! . I _ \~-- *^ V^" "■— '' \-.' \^- '-^ \J Sweet and low, sweet ea. Low, l(»w, breathe and lilnw. Wind (»f the western, sea. Oyer the rollinj^ water> g", Come from the dying mouii and blnw, I)low him ag;iin tn me : While my little one, v.hile my pretty ftni' Sleeps. Two details call fnr iartlier notice. The last word, standing as it does for a whole line, is by the mu>i- cian made equal to a lin.e h\ prohuigation tlire.ugh twt) measures: in the air and bass the whole i> on one j)iteh, while the harmony is yaried by simple ehanges in alto and tenor. This i< an i'Xtreme instance oi ron] to till the time which a reader Would simply Icaye ya- cant, waiting silently hu' the propter inter\al t" elapM* bi'fore beirmning the next stanza. Al>o to the words -little" and '• pretty," the composer gave a dotted ei-dith and a sixteenth note inst^^ad of twx) eighths. These are the oidy depaitures from tlie rh}tlim given HI my scheme. The signiiicance of these and like songs for our pur- p^ose lies in this. The musician felt and expressed the same rhythm as the poet. But the only notation of the j)oet was the words. They suffice in practice for one who knows the language, and they were enough to give the rhythm to the musician. But they do not require either in»et or ivader to analyze and suite, even to liim- self, p.recisely what the rhythm is. But modern musical notation, yastly superior in this to the ancient, not merely permits but rcijuires the rekitive length as well as pitch of every note to be written, and that too \\\lh a precision which often goes beyond that of the actual renilerintr, so that various simis, as a hold or accelerando or tu;ij>" rulafu, are re(iuired to give warning that the rigid rati* ts of the notes are to be varied somehow. 0\\dng thert fore to this characteristic of liis notiition, the com- pioser of necessity and ]ial)itually analyzes the rhytlmi oetic rhythms described for us bv men of sp.eci.il training in just that direction. Nursery rimes that are not sung, nor accompanied by a rhythmical play, but are recited with delight by chil- dren, are another class of verbal combinations in which the rhythm is both independent and unmistakable. (dnldren like to re})eat them with complete TrXaV/ia, wliieh in this case we call sing-song, of a kind that in them IS often cliarming. It is chiefly the rhythm that makes the jingle phrasing : they tlierefore like to make the rhytlmi [perfect with httle reference to sense. When 6 82 CIIAJ'IKRS nx GREEK METRIC ix'dl poetry is taki'ii in lumd, tlir cliildish tciuk'ncv to rt'cite it in a similar way has in \)v (/orrecU'ci, until what adults ctiiisidcr the propt-r halancu iK'twcrn rhythm and st/nse is attained. But m the hitter case also the e>>rntiai character of the rhythm is the same. Without irXda^a tlic rhvthm is not mathematically exact : an eion of a marhino-woven pattern; hut a LTeometrically pi-rfect pattern mav he said to he at tlic l)a>is of the i'ersian wea\er"s design. So in ver>t' there i> an exact [)attern undei-ncath, to which the rc;ider approximates, now more clo>ely, nowle^s, as the [>honetic chanicter of the word> or the requirements of seii^e and expression permit ordemaiitl. ddie u'rciit mass(d l-uiuli^h [)oetrv moves in one or an.otlier variety of triple rhythm ; !)ut ma!iV ex.imples, more especially hut riot exclusively comic, are in douhle or (piadruple time. Some have denied tins and maintainecern in some i[Uarters the notion that a Hellenist, hv reason of his actpiaintance witli aiaaent metric, is somehow disfpialitied for giving an 0|anion on tlie metric of modt-rn languages. I'here is a historical reason for such prejudice, in that attem[)ts have occasionally been made to apply rules of classical prosodv to Knglisli, and men impt'rfectly acfiuainted wdth l»oth (ireek and I'hiu^lish meters have tninsferred to the latter crude ideas of tla^ former, with unedifying restilts. Hence an a.tteiiqtt to state in terms id" time- ratios the rliythms of English verse rouses in some people a feeling of suspiciitn that sadly disturhs the judicial balance. In fact there is in the study of these rhythius I ■if SaS'j nilYTIIM AND LANGUAGE 83 an almost imworked field for one who has the requisit^^ preliminary training and is able to devot<3 his attention without i>rejudice to the actual hving facts of speech. What is needful is that one should cahnly ask and con- sistently apply the answers to two (questions — the same which Aristoxenos asked and answered in regard to (,jv(k --namely: What is rhythm ? and What rhythms are produced when yotuig children who have no theory, or .idults possessed of a cultiyated taste, speak or read Knglish naturally ? ^ i*resupposing that mcnt^il attitude, — without wdiich hirther agreement in this direction is hopeless, — if any reader is inclined to distrust my determinations of rhythm in s[)eci{ic cases, J can only urge upon him two thiiiLTs. First, let him carefully observe the work- mg of tliC tendency toward irXdafia, not merely in Inmself and not merely in my examples, but in ever}^- 1 Till' lato Siilnt'V Laiii( r, in The Science of English Verse (N. Y., S( ribrurs, issO), l)rk himself without pre[)osst'>sion whether his ca[Kieity for (U'lvrtinL^^ and analvzin;^; rhythm, m ilistinction from the power of orii;- inatin"' or imitatiiiLr it, lias been in any way systemat- ieallv deyeloped. For exam[)le, has he learne(l to read nuLsie readilv, kv: has he been trained or trained himself in "'enuinelv (Uiantitatiye reiuhu'' of aneient ver.se, dae- tyls and ana[ue>ts in tpiadrup'le time? It not, ami it he has not al>o [iraetL>ed a pnA deal the analy.sis oi rhythm in lamrua'V, then he will do well to adnnt that his lirst impres>iun on surh (pie>tions ma\' not be ti'ust- worthv. In rei^ard to tune, a partieular sueeesNion ot piteh-intervals in the mu>ieal seale, we }»ut little eonti- denee in the judi^ment of one whose ear bu* pitch has not l)een well di>(i}tlined. If teie cannot sin;_^ the scales eorrectly, or canuia tune a violin or tell with certainty whether a piano is in tune or not, -—and some very i^^ood people and adnhrable scholars cannot, — then he ri-'htly distrusts his opaihon on such matters. The problem is at bottom the same in the two cases; in both it is a ([uestiiai of di>crinhnatin;4 fairly simple ratios. In both cases the thini: can be done l)y mechanical means, so that a person without ear, that is a person who has n(» native or ac([uired hiculty in that line, nur^t be con- vinced. lUit such methanic;d determination of [)re- viously unknown pitcli-ratios in music or time-ratios in lan^niaire is dillk'ult, reouiriuL,^ corn[)licated and sensitive apparatus. In the case i)f rhythm the attemjits hitherto made, so far as they are known to me, have pri)duced no fully trustworthy results, owin;^ to the imperh'ction of instruments or nietliods. More ex[>erimenters are now atUicking the |)roblem : better success will certanily m A follow and is nnicli to be desired.^ But meantune, for tiie trained ear to determine the ratios bet^veen success- ive time-intervals in a rhythmical series is a task of the sanie kind as for the trained ear to determine the relative place, with reference to the musical scale, of successive tones in a melody. Instruments of precision are as necessary in the one case as in the other, and no more necessary. P>ut the ear, in botli cases alike, mtist have been adequately trained ; else its jttdgment is without Vcdue. As reixards music there are many in the commu- nity who have had the retpiisito training and practice, both for tlie pitch of the notes and for tlieir rhythm; an orchestra plays together, musicians agree in their statements on sucli |)oints, and we l)elieye them. But language rhythms have received comparatively little attention from this point of view^; that sutliciently account for the lack of agreement and tlie sense of hclp- ^ My foIU'nu'ue, Professor Scripture, has for several years heen fon.hntiim in the Vale rsycliolouncal Laboratory a series of experi- nh'iit> in this dirt-ction ; the first instalment of his results appeared in tlu- Stu.iii-s from the Vale Psych. Lab. VII (1800). With his hi^h sense of the iKlicacy ami accuracy reciuired in the apparatus, and his un- UMial skill in devising means of meetimj: those requirements, the mechanical problems have demanded mucli time for their solution. It .|uirkly bi'camc apparent also that much preliminary work on the rliMnriiiary sounds cif laimuaire was necessary. Hence on tlie rhyth- mi.al prnhhui hardly more than a l)epinninp lias been made. This bvLiinriin-, however, has brouixht out some important facts, wdiich will be cite.i hiter; and his re>ear(dies ])romise to ])e of ^^reat value. Not as a criticism of Prof^•ssor Scripture, but for its general bear- u\^, the followinure on rhythms that are rcaliy simpU'r. And then in rhythm, as in tone or lianiiony, it is one thinu^ to re[n'o(bi('e a eombinat!<»n ah't-ad}' noted down, or to make a new combination n\ your own, and another antl a f.ir less easy thinu^ to disiin^an.sh accurately a combination that i> mcrch' heard. Ibit .i mu>ician who is interested in tlie >ubjr.t can with pnictice acfpnre a ( ) hi a niarked i^am in facility ha> been |)erceptibl,,*, th<»UL(h there are |)lenty of c<)n>iant combination-, unliesiiatinLrl\' made in ordi- nary speech iind often heard, that still elude an.dy>is. Mv ex[)erience is citetl sok'ly to illustrate the utility and the necessity of [aactice. It is not my inU'Ution to i^o farther intc) details on tlie subject of l'ai'di>h yer>e. Vv^'in this unavoidable diu^n'^- sii)n I return to the questitui which th*- precediiiLC }>au'rs of the cha},'ter lead up to : Ibow, in L;-eneral Ua-ms, tion in the whole lile of man to the otherwise universal rulo : we should haxe in lan- ^'•ua*'"e many series of souruks indis-olubly inui<'d with voluruary !)Ut almost automatic kuulily movements. repeated many times dailv, iuuinenily rlivthmizable. yet not rhythmized. Of course the exception does not exist. The rhythms produced are of essentially the same character as those of labor, or of music. Ho^v are they prochiced ni tlie medium of the English language? On an earlier page emphasis was laid on the fact that cerudn limits, between which the dumtion of syllables may vary, are fixed. Here it must Ix? em})hasized that every svllable and every vowel and every consonant, within those limits, is more or less variable. The elas- tic ity of English consonants was noticed at length i)y Sweet in his article On Danish Pronunciation (Tmns. Phil. Soc., 1873-4, p. 110), and wyis dwelt on in my paper above referred to (}). 98f.) ; gmmo[)hone records prove it bevoiid all [)ossibility of doubt, and for mutes no less than for fricatives and licpiids. (See Scripture, op. cit., p.a>>im.) This furnishes for the free worknig of the rh\ thmizing impulse a range no less wide than is fur- nished in the laborer's task by tlie natural play of luub and muscle: which is also confined within strict Ihnits, for the human leg can stc]) and the himian arm reach and the individual muscle contract only so far. In not a f»'W syllal)les tlui elasticity resides far more in the con- sonaiital part thaai in tlu^ vowel; and the ear is more olTchded by much i)rolongation of accented "sliort"' Vowels lik(» those of ju/i^ Hunnij^ manij^ valley, than l)y the prolongation of adjacent consonants or unaccented vowels, or by the shortening of "long" vowels or diph- thongs. Another principle is of great importance. Tlie small- est time-intervals recomized as constituents of rliythm are those marked by the syllables, not those of the sepa- rate vowi'ls and consonants within the syllable. The times of the elements united into a syllable are not sepa- nitely noted with reference to any ratios between them- 9^ rilAPTEnS nX ( J REEK METRIC selvCv^. The times of tlie s\ilal)les are so noted, witli referenee to ratios iH'twtHm tlieiii, and as fonniii"- littlr groups, ft'et, which form lai-i^or ;^n-i)U[)S. The times of tiiC suret^ i!iat arti.-ui.itint^ pro- cess, tliat audil)h' hrccdv. occur> — if we come\\hcre: all reeo_rin/j. tij.t speeeli i^ joinird and. that syllal)h's are real entities. It occurs some- where hv'tween the voWt'ls. Rli V t h in ioa 1 1 x", as ii appears tome, it is the lH';_;;i!nnh.!.^^ of tlie vow-i-l that hc^^in.s the new rhythnno time. 'Hiai i> the i^lace where the sound U*i'ome< L'uder aL!;ain, uhtuv tlie stronij^er vihi'atioiis origiii.it in'_f in tlie vocal eliMrds reach the eai- with less liindnincc and with la'a\ier impact. This wouM account tor the t.ict tliat the ('"nsouams, ho\\-t»vei" naanw helore tla^ tir-t vowel of a lin.e i.r ko)\ov hiU'c no rlixthiiiical elTect, in (ii-eck, Latin, or KuLrlish. An\-ho\\\ the s\ jla- hie tunes arc tlu' smalK'st constituents nf liixthm rcciio-. nized as distinct hy the rhythimc sense. If the cur\c oi a trauscnhed '_^rami iphouc record he so eulir^vd that three syllahles makiuLX a dactvl ocupv oO'J mnn, it mav not he possihle to point (cat within a liullimctcr where the traiL->ition from one s\-Hahle to the next occurs : hut it u'ill he possihle to locate it within perhaps In mm., and the tiiuisitioti is a real thin-_r. the svllahle a drs- tiuct rhytlnnic time. (ii\en, now, any series ^A woiTs. selected \\licri\' with- out referenee to rhythm, simph" to eonvev an iilt ;i in ordinary talk, any one who sp.eak< na.turallv the entire RHYTHM AXI) LANGUAGE 89 series yields uneonseionsly to an impulse to arrange the 8yilal)ie times in some regular or ap)proxnnately regular way. To that end he deahs pretty freely A\ath the times of individual vowels and eoirsonants, extending^ some, contracting others. Conspieuous points wdiich he tiikes account of tirst of all, and is impelled to make most distinctlv rcLTular in their arrangement, are the more pi-(»rainent among the aeeented vowels. Hut there is {'on.siderahle frecilom tu'en here: some vowels that are certainly accented and felt as accented are vet made suhordinati' to others tliat occur in a more convenient l-Katioi! h)r the immediate purpose, and some vowels of sliL^ht prominence, or not accented at all in other com- hniation<, if they ehance to stiind more convenientlv, may he treated in the rliythm as tlie equals of strongly accented ones. Yet the sense of separate individuality in the syllahles iut-ludes a recognition of limits to the freedMui of ti'catment, to exceed which would be distor- tion. dTmvh.re in ordinary conversation tlie rliytlimiz- ing im[.ul.sc is only partially siiccessftd ; it is held in ^'';^''''^'^ ^'y ^^i^'hi'^'vi.uislydetennincdcliaracterof the pi^^^i- tc/xtj'oj', hy the sense that if one i)rolongs or shortens syllahles too much they will sotmd queer. Tliat would oiri-nd moie than the resulting rhythm wotdd please. Hence there are frequent interrtiptions of the even flow. A few successive syllahles take easily a distinct rhvthm; then comes an ..hstruction, a little shift, then a few more '^^^^'-'^''•^ niore easily arranged, and so on with inlinite variety. The impulse is constant so long as the words come without hesitation; obstructions are freqtient, changes in the character of the rliythm from one plirase ^'' '^'^^'^^i^'i' ^ii-e numerous, the residt so complex that detailed analysis is im[)ossible without instruments, and those more perfect tbm have yet been employed. Such 90 CHAri'KllS ut eviM-y one who speaks or writes carefully for the jnihlic, if while niakin;^ his sentences he is conscious ot their sound (some are not so conscious), docs seU'ct Words aujl arrani^e them more nr le>s, to make them easier for the rhytlimizing impulse to deal witli to its satisfaction, so that they may more easily assume a somewhat closer ap[)r(nich to rei^rdarity. Soinewliat closer, I sav ; for we dc) not like a too perfect rhythm in [)rofessed prose. Aristotle has [)ut this as well a> any one. to Be cr;^7}/Lia rf/s Xe'fews del firjrt efificrpov tlvai fir]T€ dppvOfiov TO /xtv yap InriOavov {irtirXdatKu yap SoKel) Kal dfu,a Kal i^iaTijatv • irpocrex^^^' 7^P ^^^'^^ "^' opLOuo, TTOTe TTciXiP ?;fti. . . . ^do pvOp.ov 8tl t-xf^i^ -^^'^ \6you, fieTpou Se ^jli] ' iroii^jjia yap tcTTai. pvOjxov ht /xt) ciKpLtSoo^ • TOVTO St ^<7Tai tVzi' M^'XP^ '^'^^ V' ^ ^^het. Ill, S, ■1_;3.^ '^Tlie words should he neither metrical or un- rhvthmii'al. The former awakens ini>tru>t, for it seems artiiicial : at the same time it })Uts one out, hu" it makes one look h)r the like and a-k when it will recur. Hen<-c pros.* should contain rhythm, hut not meter, els<' it will 1k' verse. And I'livthm not t^o exactly; a> when it is carried onlv to a ci'rtain extent/" ddiat is, no one pat- t<'rn mav he canaed far or repeated in close proximity without dniwiiii^ attcnliMii to itself away from what is more important, ans c(m>ciously atteiidecl to by the actor or practised sjH'akta'. In the expression of tlie In'st tliought and the higher ranges of tanotion, in tlie ''most [)erfeet speech of man," \\e think a misre perfect rhythmical form appropriate. We expect the poet to wed his thought to melodious verse, — so to .select and arrange words tliat the voice will ca^ih- effect a satisfviiiLT arranirement of the times. Idle process in speidving them is stiR the same; but the mattaial supplied is more readily arranged, and tlie result is mori' regular, — is not only pv6^6<^^ but /jLeTpov, in Aristotle's sense. And in verse itself there are all gnides of success in rhythm: even in a single author like IvoU'i-t Hrowning we iind some poems or lines of ex!ph>itely perfect f(Uiu beside otliers in whicli the author's intcaitiiai is not clear, to the vexation of the reader. Thus three classes of cases may ])e distinguislied, of three gr;ules of adaptal)ility to rliythmization in delivery. r»ut the classes are evidently not sei)arated l)y a sliarp di\i(hng line: such classiiication is nothing but a con- \emence in presentation. In reality there is no })reak in contiiniity in the stu'ies of cases, and no essential change in the mode of vocal action, in passing from the most unstudied or least rhythmical ntttu^ances of every- day lile to the most perfect examples of poetic rliytlim. i'o repeat <.nce more the fundamental principle which we haye nnudied, and from which this wliole investiga- tion sets out: All speecli, like all otlier bodily acti\dty m which similar movements are repeated at brief inter- 92 ClIAPTKHS OX GREEK METRIC RHYTHM AXD LANGUAGE 93 Viils of time, tt'iids inwanls liiytliiu, iuid api'-roaclu'S re<^ulciritv nf liivthni as closely as the phoiietie and semantic charaeter of the words, all thin^^^s considered, permits. For simplicity otir attention in this chapter has h)een contined to l-:nglish : hut the {n'inciple is pr»)l>- ablv luiiver-ah It certainly ap['iics to the few lan;j:iiau'cs which I know enou;j:h ahout to judi^e. In litenitnre iioetrv is L^eiierallv earlier than pro^o, in i^rcat [»art he- eause verse as an arti>tic rhythmical torm is -;im})ler :ind more intellii^ihle than prosf. It thercto]-c pleases ^..^■■[i^.j-^ — pleaM'S composer ;ind listriier aliki'. \ er^f isolates a >inu-le pattern of rhythm from the tan!_rle ot rhvthms made in onlin.iiy s|ieeeh. Wdiat i> ^aiil in tliat more ea-il\' f.-llowed form — ahv;i\'s provid<'d a content of thouu'ht and feehji^ that st'cm-- worth\-<>f it - |tle,i>rs primitive m;in, as -im[.lc rhvthms nf all kind< please children. < )ne need- considerahle literary traininu^ to see an arti.^tir htrm in prose, wliich is, as rhytlmi, so nnich more .M.niplex. This is like what has happened in mu havcattauuMl. In the studv of mu-ic. and likewi-e in the >tudv .d rhvthm m laULTua-e. nue natura Iv 1 n-^ Willi tia,' simple! )re- Another fundamental principha implied in what \ cimIcs hut rcMpiirin-" di-iin-t statement, i- thi-. In study- in^r siM'cit!'' lan'nia"-e rhvihms — I d^ nnt -av in tcaclnuLr the !)eudnner, h)Ut in tryin.-^^ t" ascertain their real --har- •letor — we mtist >tart fr-au the larLTer LTioiq. of wotxls rather than from the sylkible or the foot. This is merely aj)plvin<^^ in metric the principle which has been rea.ched bv the student of phonetics generally and by students of svntax. In all alike the sentence, the Satz, the lari^nT groui)ing, may be amdyzed into smaller groups, — into words bearini^ certiin syntiictical relations to each other, or into feet, syllables, individual sounds, \yhich last are also not sim})le. But alike in all three fields everv smaller unit reached l)v analvsis is much inlluenced bv its surromidings ; other surroundings may transform it : these must therefore in each inst;ince be all duly taken into account. The moment you isolate the smaller urnt and consider it without reference to collocation, vou are treating' a varial)le as a consumt. That is a fre^pu'iit source of error in a good many fields. A problem solved by the aid of that asstunption is not solv(-d, in metric any more than in matliematics. To uiiiU'istand the natun^ of the smaller metrical iniits w^e must v/atch them i//i UVr'/c/^ observing first, as we have been doing, how the voice deals with the larger group of wiu'ds, and secondly, what the composer does who conddnes wonis with the aim of producing a particular rhythmical [)attern. Let us look at the matter a mo- ment from the hitter side. Negatividy, we nnist not conceive that process as one of addition, in which the lower units, wliatever elements thf larger group when analyzed is found to contain, are ts ^^iiekk metli<' JUIVrilM AND LANGUAGE 95 (l.uice iin k'>s tli>in ^^f |MK'iry; Imt wr will look only iit \id\' ''wen us aiiv ai/cnimi nt •) tlif last. All pnois who thfir t'XptTh'lK'tJ 111 ill'' dCl "f [nH'Ur (Tralloii aLCrff iill tliift iH.int. N*'l tlic >i!iL^K' snimd, iiMi' the syllahh', imr evt'ii ilic word is to iheir icvlwv^ lla' unit : but ihf |.hra.s.% tilt' liiu', the wiioU' [MH/Ui. Ulustratiniis iiii^Hit In- uiulti- plh-il; two will sulliiH'. Lnwdl iu his K-llrr^ d.-MTihrs the writing of his nia>t before the ( 'oiniueniorat ion I had told my friend Child that it was im|>os>ible -^ that I was dull as a (hu.r-mat. Ibit the next day somethin-^^ ra\e me a jo'j; and the uiiolr tliin;_^ came out ol me with a ru>h. I >at up all ni-'iit writini^^ it out (dear, and 1 took it on the ninrniuL: of the day to (diiM. Airain to 1\ \V. lli^^nnson, '• I was longer i^etting the ni'W (clfvenlh} strophe to my mind than in vvritiUL: the rest of the [Hu/m. In that I hardly (diauLTed a word, and it was so undflibrnite that I did not find out till after it was printed that some id' the verses laeked eorrespoudiiiLC rhvnifs."' Th.' poean as delivi-red was over four hundred lines ion^^ in eomi)lioated and (dianj^ini,^ metm". O. W. Holmes also in his Automut at the Bn-akfast Table eom- pares the eoneeiviiiL; a lyrie poem to being hit by a bullet in the forehead, .\huiy i)eople who lay no (daim U) (n'nius have had ex])eriiuiees resembling these nearly enoucn'ond the poet's control be- fore he |)i( ks them out. Within certiiin limits they are unf(U-med and plastic initil fixed in a specific collocation, \\hi( h then — s[)eaking generally — admits without (lis- ts iit inn only one rhythm, that wdiich the poet had in nana. Nuw holding fast this recognition of the fact that the poet's mental ac^tion is so rapid and is largely below the level of consciousness, iind that, dealing primarily with the larger group, he considers the single syllables only in their relation to that, we may describe in the follow- ing way the pundy metrical side of what he does in composing English verse. He so selects and arranges Words that the reader will find strongly stressed syllables coming naturally into the majority of the more promin- ent times of the desired rhythm, — or into enough of these to determine (dearly how^ the other syllables are tn mak(^ the rest of the pattern. Tlie only essential feature of our wonl-accent is stress ; other elements, like change of speech-tune, may ])e present or absent, and are variable; l)ut removal of stress to another svUable is a cliange in accentuation. The stress accent in our wonls being very little under the arbitrary con- trol of tiie poet or of any individual, we say it is fixed. It coidd easily be proved by scores of examples that, as was said alxnxs a degree of freedom is permitted even here that would surprise one who has not given attention to the question; but it is still true that the principal wonl-accents det(muine the majority of the more promin- ent time-intervals. That is a fuller and more detailed 96 CHAPTr:i:s ox nuEEK metue^ lUlYTIlM AM) LANGUAGE 9' .statement of what \vt^ mean, \\\\<\ of all thai we out^ht U) iiieaii, in sayin:^% as wc do with truth, that l'hii:;]i>h verse is l)a>e(l on wonl-aceent. liui in all this then' is no place hu' tlie pernicious assumption that in rhiixhsh an aeeentiMJ syllahle is lon;_f, the unaccented short. < )nly in a sense that is niisleadiuL^, and has mi>led most writers (»n l-hiL^'hsh metric, can tlio>e terms be treated as c-cnerally eunvertihle (»r e([iiivalent. Until tliat e(piation is deii- nitelv discarded, clear notions of rhythm in Ihiulish are jtractieailv impossihle. At least one iriotlcrn poet besides i.anier, nanu.-ly Tennysnu, reeo^^nuzed this distinctly; autl it Would he diilicadt to hnd a p(»et possessing a keener insi;_^ht into the priia-iplcs of his own ail. 'J^) indicate |)reh and (h-rman s|)eech mtich is made of differences in stress, iphte apart from versitication. Some syllables are passed over so lii^htly that (Uie may even doubt whether a st>para.te svllable is formed or not, and nsai^e mav varv on the sanit^ syllable. Otliers are spoken alwavs di>tinctlv ane is made of stress, whicii is heavier on tlie moiv enipliasizeil word, li'j^hter on the le>s im|H»rtant ; thus stress is made to render part of the serviia' in conve\inLf na'aniic^,^ that in (ireek or Latin was rendered Iw wonl-<»rder. In these sever-al wavs all LTrades oi variation in stress between the two extremes are in const;int use. To my ear modern Greek and luilian seem to make distinctly less use of it: apj)arently ditlerent dialects vary a good deal in this reLTanl, and of eotirse no one doubts that those lanofuaees als(» employ it enough to Ix- properly called accentual. In .uicient (ireek on the other hand stress had but a narrow held ; it was at least as nearly level as in modern Frent in singing. Even in nKnlern French a good deal ol su(h shifting of stress, of which the Frenchman is [)erhai)s not conscious, is noticed by the foreiirner. When a Frenchman with a good command of Encdish s|.eaks it in some excitement, lie is apt to treat our ac( ents with the Ireedom of Ids own language, as rather vaiiable, unless he has ac(ptired with remarkable thor- oughness our peculiar intonations. On the other liand, as every (ireek syll;d)le (tdision and tlie like apart) was pronounced with hurly equal precision, variations in (plant ity or quality of vowel or consonant, such as w^e admit lively in unstressed syllables, were of necessity less Iree. Without at least some variation in time of pronunciation of the se])arate elements rhythm was inqiossible; but the limits were narrower; in compari- 0^ ru\pTr.n> <>x 'n:Ki:K Mirrnn son ^^'ith Ijiu'li-li. quantity may bi^ >ai in I''.ii;j:lis]! hc- twft'ii acccnU'il ami uiuu-i-eiittMl, and could no niorf he ovfilookt'd l»v till' ordinary speaker. A dretd;, therefore, desirini^ to produce a j)arti<'ular ypovcov Td^i^\ S(» selected and arranged woi'ds that the reatler would tind long syllahles coming- naiur.dlv into the niaioritv of the more [)rominent times, -or into «'noU'di of ihe-.r' to determine (dearlv tlie plafc ot the other svll;dtlc> in the arrangement. '. r., ho\v the other svllahlcs should constitute the othei- tinio. Tlie (pic^- tion whether at all acc« nupanied the more prominent time<, whicdi wt-re marhe*! hy the (hswn he. it when one kc[)t time h)y heating. I ^tiil post[>onf a little. Fiiialh it >houl.l he noted that a \erv slight change in ilu' relatiNc prominence of >tre-.s in coin[>ari.^on ^\i:h qualit>iti\-*' [-rcci^iou, in the utlcraner nt groups ol s\ 1- lahle^. i^ m^'im-h to cause a languau'c to >hilt Irom tin* accentual ;o the (piaiititative haM> m rh,\ thnnzatiou. It- is thei-efore nothiu'jf surp»rising that the t\No s\>t*'nis i'xi^-tt'd \nr '.^■en.eration> >ide h\ >i<.le m late Latin and Greek. k, i IV KIIYTIIM m GREEK By this gnidual approaidi, from the side of rhytlim in nature and in other activities of man, tlirotidi rhvthm ni a typical living language, we have Ihially reached the central problem of (freek rliythm. Tlie reader cannot but iufpiire wdiether this conception of rhythm is not niapphcable to (iivek, l)eeause based too much on habits of speech pairely modern, or at least not Greek. Was there any recognition of sucli ideas by the ancients them- selves? To answer this recpiires examination of several jtassages from Aristoxenos and others; and a careful examination, because pirevious disetission of the same I^assages by the most competent scholars has in part issued in very diverse intcrpretatiim. Only some metliod of approach at least partially new, and implying wider comparison and induction, combined with more carefid scrutiny, alTords any hope of advance. We have seen that Plato, Aristotle, and their suc- cessors were aware tliat ihytlim lias a large place in nature, though they coukl not realize so fuUv as we how- large: also that they did not overlook the natund bond of kinship uniting tlie various forms of rliytlim in many liuman activities, wliereof speech is one. But this is n(.t enough. Have we evidence that competent ancient observers recognized in syUabic quantities the degree of elasticity assumed? And did their conception of rhythm in language admit such lui broken gradation from simple speech tlirough artistic prose and spoken verse 100 CHAPTKKS oy (iIlEEK MKTlllC to soiii^V At least the fonuer of these two questions, tuf fuiuLuiieiitul one, iuis been gtnienilly answered in thr n^-L^ative. ^llie reason for that appears to W that state- iiK'nts of the nietriei, lUlerpn-te-l with a littlr twi>1 !)eeause not taki-n in their trui' rvhition to (^thcr cvi- (K'lKv, ereated a stroiiL,^ prepos>es>ion in favor of tlie hard and hi>t ruh', Ion- is to short as two in ..no. d1io uthrr fVuhMice was approached with that propussrssimi woll settled; eonsequentlv state]nent> of Ari-tnxtMh.. tliat wonld otherwiM- havo sivniod suthrieiitlv olrar won- exp.Luned away, or wero takm witli >nch ro>trirtinii> taat the real foP-e wa> <.hMnrod. It !> neorssary to pnt a^ido that propo>sesMnii ; tn aid m cloann- it awav was part^of the nhjeet of Chapter IL " inivtlimirus or ^h'trieu>?'' In that rhai>ter ( pp. -I'l-o-J ) Wi'iv .pioted a series of passai,^'.- , a> we ionnd, m mure elahorat^- mehe ver>t— the time< of syHahlrs were shortened and prolon-,.,! with -rea.t freedom, in di>reu:ard of the -metriral'" rifle of two to oiir : that ride pn-vailed only in the Miietni " or verses of the simpler type, wlii-h were destined h.r readin^n .nily,---or which at any rate preserved their p-roper rliythm in plain reading' unadorn.'d In- irXdcj^a. I see no admi^slhU" nnderstaiuhni: of tho^e pane^Taphs that doe> n<>t include the conception of C(.n- sidemhle elasticitv of svllahic (piaiititv, at least in lyrie verse. Those texts, however, do not stand alone, hut are supplemented by others that arconl with them and state the matter more plainly. The veiy term pveui^o^evov. ap-plied to tlit> material or mees and puts into rhythm a material more oi less plastic, or capable of being moulded. And Aiis- toxeiios ex[ilicitly says this in the following words: No^yreoz^ dt hvo tlpcl^ (pvaei^ Tavra^, njv re rov pvd/iov KUi T7]U Tou fjvOiiL^ofiemv, irapairXiiaio)^ i^ovaa^ 7rpo9 aKXj']kat% iav avrov ra p-epij reOrj 8La(pep6vTa)<^^ rjroc mivTa ?/ TLva avrcov, ovro) Kal tmv pvO/jLL^Ofievcov kicaarov TrXtLuis Xapt^di'ei popcpd^^ ov Kara T7]P avrov (f)vaLi>^ dXXa Kara Tr]P rov pvOpov. 7) yap avrrj Xe'^t? ei? XP^^^^'^ '^^~ Otlaa diacpt'popra^; dXXr'jXwv XapijBdveL nvd^ SLa(popd<^j Tiuavrai ai elaLV laai avraU t/"}? tov pvOp^ov ^vaeoi^ Sta- (/)opais\ o avTo^ Se Xo'709 Kal eVt rov fjLeXov<^ Kal ei n dXXu 7T€(pvKe pv0p.L^ea6aL rO) Toiovrcp pvO/jLU) 09 icTTLv eV Xpoi'(jt)p avp€aT7]Km. (P. *Jt)8, 270 Mor.) That is: " We are to regard these as two natures, as it were, that of the rhythm and that of the rhythmized material, so related to eacli other as are the form and the material formed. Just as the body, for example, takes various shapes, if its parts are differently placed, eitlier all or some of them, so too each of the pv6 pLL^o fxeva takes various forms, not by virtue of its own nature but ly virtue of that of rlythm. For example, the same •_:rou|) of syUables, when put into different time-intervals, takes on certain differences, such as are equal to differ- ences which in tliemselves belon.g to the nature of the rhythm. The same sUitement holds also in the case of a melody, and of anything else that is capable of rhy^tli- mization by such a rhythm as consists of times." i /' 102 CIIAI'TLRS ny UllEKK METIUC The last plirasi,' is addr*! to (.-xtIikU' other senses of pvOfxo^ (liseiis>e(l in the previous hook, p.inieuhirlv the appHciition to ohjeets without motion. I (h» not see how the (loetrine in <|uestion could 1h' stated niorc (dearlw ()h.M'rve first the nature of his iUustration. There is no him tliat aojfia is to In/ taken in any other than its (uxli- nary sense. The human hody t an intiniie vari.'tv of sha[)es or [>o>tures, as the limhs, neck, shoulders, ti'unk, are diffei'eiuly hent, extended, conti-acted. ddieiv are strict Umits ..f hei;_:-ht, haeadth, auid so on: the w.ai^ht remains the same: Itut wiiliin those hunts the (hunai- sions are varied at will Tlii^ is in the rt'ahii oi" .-.pace. So of ea\' cnihcHlinient in a pvOfj.i'CniJL^i'oi'. Examples ot s\i!,d)ic -^-rMup^ \'ariou>l\- rhvt imn/,e ; in ,")7 the >ame \vord> are emhedded in the line, thu> : Xe^/eiv, ' Xy^iWeci}^ -TTaU ' rod' ^^^'X^ KXtTTTtoi'. Idle two rliytlunical \'aiue< nf the phi'-ise aiv ('u^in-j; -.> to indicate an irrational >\liahle) w ___ w _ > aial w ^^'___. Airain, 'Jdieo_^-nis heu'in^ a dactvlic hexameter with the Words tv)(OijLev(i} jj-ol kXiiOi : he ha> al^o the ide^-iae pruta- met— or — > ; in Arsil)le values was intended by the poet. It is >!ran'4e that the plain meaning of ek XP^^^^^ '^^^^^^^^ liadtpuvTii^ is not accepted in fidl by Westplial (Ch\ Kh'sthunk, p. TU). IK* translates reOelaa zcrlci/t, and ,srlcci> h>r an i-xam[>le the phrase Wave^ aireXvOrj^, wdiiidi (an he ditfereiitly (iiriic;d examples conform exactly to the meaning of Ari-toxeiios : oiih' in tlie case of XeJ/? does Westphal refuse to admit that meaning, because on other (and mistaken) ^-rMunds he had decided that syllaldes wtu'o iiMt thu< ela>iic. ddns is not the only instance where \\'c-i pli il, carr\ ing through witli strict logic a precon- cci\c(| 1m lief, has mi>interpreted the author to whom he ii> life, and for otir understanding of whom he more than any othei" man. The paragraphs th.it I'iiUmw the above in \\w puOfjLLKa aroL^^la enlarge ni-.n and <'arry (»ui into some details the same concep- tion cf -\ilal)ic (piantitit^s. Thus it is allii'med that the rhxiiiai is occtcc tu)v pvO pn^opievcDv to avro, aXXa tmv BLdTLi^tL'T(s)U TTCUs TO pvO flL^OfLeVOP Kol TTOLOVVTCDV KUTCL TOlS tlc\-()n'il 1 lai-> < \' aie ^ 104 CHAPTERS OX (;ni:EK METRIC ')(^p6vov^ TOLovte r; TOLovSe. (II J 5 W.) In SiaTiOevTcou ircoi^ alone thfiv niiL^ht !x' anihii^niity: but mnic is K'ft wlu'ii it IS added that the riiythni " makes the ihyt hiniztMl material <»f this or that chararn'r as rri^^anls its tinu'- intt'r\"als. harth^r at tlu'rnd oi j ,*^ : roiovror I'otjTOJv rn pvOfiLi^ofxevov ()loi> t,vi>aaOai ^tTHTiOtaOai as ^^(n'iov jxtye- Oi] TTavTobarra kcil t"K ^vvOeaei^ TravTohdmis. ( 'a[>.il lilit \" oi \t'rv various rhvlhmi/.aiiou i> atliriia'd <*t" all uvS- jjLt'^oiJLeva. 1 he (listiuctif '!i In'twet-u pi't^fio^ and pvOfx'jTroud {'uints tiu' '^anif \v:iv : it i>>t't t'orth in thr tnllnwin^ ji;ira-^n'a{i!is ot the pvOfiiKa aToiy^ela. (1) "Or; 6 iarlv ov to aiVo pvO unrroLia rt Kd] fjvt^/j.(')s\ (Ta(f)t> fitP oinra) pdStou eari TToujaat, TTiaTLVeatho dt Cid tT/^ p7]t^r]ao/jLei'7]s (>/xo/ or ;/tos. warrtp yap ei' rr/ rov fit'Xoi's (f)va€L TeOeci>pi)Ka^ti', on ov to civto av(TTjjfj.(i tc k(h /itXo- TTiJiia. ovCt TovfX, ot'^t yei'Os. ovCt p.tTa.'^oXr], ovtw^ utto- XlJTTTtOV €)^tll' KCIL TTipl TOVs pv(^ f.iOVs Tt Kill pvO /jLOTrOl lils\ €776LC7'}77ep TOV /It'Xoi's -^^pfjail' TllHl T7]V fltXoTTOi 1(11' tVpOflW ovaav, e77L Tt tT/s put^fu.iKP]s irpay^aTtuis ti]V pvOpLOTToLuw (oaavTcos y^pi^aLV Tivd (pa/xti' tli'ai. cTaibt:aTipov oii;, oti tci /xh' eKaaTov Trodo^ G7]Pid(i C(aiJ.t:i'ti Ifra di'Ta tcui T(p dpiOpicp KUL T(p fitytt^ti^ UL C i'TTo Tfjs pvOu-)- RHYTHM IN GREEK 105 TTOLid^ yn'OfievaL SiaLpeaeL^ 7roXX7]V Xafji/Sdvovcn iroiKiXiav. kcTTaL he TOVTO Kal iv roU eireLTa c^avepov. (P. 290 f. Mor.; 11 § 19 W.) (3) Tmv he ')(^p6i>o)v 01 p,€P elai ttoSikol^ ol Se Tri<; pvOfio- TToaa? Ihioi. iTohiKo^ Mtz^ ovv iaTL 'y^povo^ 6 Kare'^^^cov aTj/xei- ov TTohiKov p.eyeOo's, olov dpaeo)^ rj fSdaeco^, rj oXov ttoSo^ . ICios St pvOpLoiTOLia^ 6 irapaXXdaaoyv ravra ra pieyeOi] eh' errl to puKpov eW iirl to fieya. Kal eari pv6/u.b<; /xev fnaTtp eip7]Tai avarij/jid tl avyKelpLevov eV roiv ttoSlkojp XpopcDP (01' o fxeu dpaeco^^ 6 he /Sdaeco^, 6 he oXov ttoSo? " pvt>p.o7roiia 8' dv el'?] to avyKeipievov eK t€ tojp ttoSlkcop )(pi)i'(i)p Kal eK TOJP avTrj^ t?)? pvOpL07roLLa<; ISicop. (Fra"". 1'm41. ^^.) The al)(»ve may be translated thus. " That pvOpLOTrotia i> not the same thing as rhvtinu it is not easy to make ( itar as yet, but let the following eompahson induce bfhcl. As iu the natiu'e of nuisie we have observed that cTvcjT7]fj.a is uot the same as pLeXoirotia, nor yet t6po<; lun' yepo^ nor p^eTafSoXi], so also you are to understand in ie-ard to rhythm and pvOpLOTroLia ; since we found that fxtXfjTTOLia is a particular treatment or concrete example ot tunc, and in the diseussiou of rhvthmic we savin like manner that pv6po7ToiLa is a particular treatment or con- crete examrile of rlivthm/' '' I)Ut yoti nuist avoid going astray in the statements just made, by supposing that a foot is not divided into Ji greater number of parts than four. For some of the feet arc in fact divided into twice tliat nundjer of parts and into sev(U'al times as many. Not in itself, however, is the foot divided into more than the aforesiiid nimiber of pirts, but such divisions are produced by the pvOfjio^ TTOLid. \\\' nmst consider as distinct the crrj^Lela tliat preserve tht^ character and significance of the foot and those tUvisiuns that are prcxluced by the pvOpiOTroLLa, lOG cJiAPTi:i:s (lx GiiEKK Mirnnr And it iiin>t 1k' aiMcd to tlie foivgoiiii^ that tlic arjfitla of each toot contimu' tlio same, tMiual in nunilKT and mau'nitudts wliiK' tlu* divi>ir.ns pro'hicMl by tlio pvO^n- iTOLui adniit great diver>ity. This will Ix' plain as we *' ( )f tlu' tinie-inter\ als some dxc characteri.^t io of the foot, olhur.> [)eeuliar to the pvO ^ottolui. A tdi.i-inuc is one that retains the magnitndo of a ^?/^tior oi {\\v loot, as of ar>is or thesis or a whole foot ; a time [teculiar to the pvt^iioiTOLia is ono that changrs theM' magnitudes, ^vhether in the wav i»f diminution or ot inrie.i^e (or, that varies from tho>e magnitudes more or lo>>). And rhvthm, a> has heen said, is a systom madt- nj) o! to..!- times, one of which is that ^)i the ai'>i>, arnahrr that ol the thesis, ani»lher that of the wiiolf loot : whilo a ^vO- jjLOTTOLui (/. r., a ooneroto spetimen) would he that which i> made u}) of hoth the foot-times and tho>e peculiar to the pvOfiorroiia itstdt. ' With thoe nia\ Im' [Mit a passigo from the llarm.>nica. AristoxeriM^ h.is hct'ii explaining thai one mi!>i in tlu_! studv of nru.->ic accustom oneself to judge accur.il<*lv hv hciriirj;, and the more so because the .Ntuil\ ha> to dn in })art with magnitude^, that is pitch-iiUerval<. th.it are not coir^tani. Mm['hasizing and illu>trat uil: the ( hauix*'- ahle character of some of those magintudo, he >a\ s (p. :]4 Ml).): IhrViP t'l' Tr)U TTtpl rot's pvfiJ.nvs irnWa Toan"^' optop-tv yiyi'optvci ' Kill yap iJ.a'()i'TO^ rov \()ynv Kcit'^' ov CuopKJTHL TCI yei'1) rii fxeyethj KU'tlrai rcov Trodcnv Cta rrp' t/;v nycoyij^ 8vi'(ip.Li\ KUL TOM> fityet^^oi' fj.tv6i'T(0i> arofioiot yiyvovTai ol rroht^ ' KciL avTo to fxeytOos 770'ra re Cvvurdi kcu av^^^vyidv ' 8)~j\oi' 8' OTL Kai ai TO)!' ('d(Hpt:at(t)i' rt kul (jy^iipciTcov bia- (f)opal rrepi ixevov ri fifytt^'os yiyrnrriii. Kdt-^iJXnv d iiTrtU' 7) p-ti' pvOjiOTTuua itoWlk; kcil mivTolaTra^ KiutiTdi, 01 C€ RHYTHM IN GREEK 107 ,1 •4 TTodt^ oh cn]piaLv6fieOa rov^ pvOfiois dirXd^ re fcal Td<; avTa>; att. In Ihiulisli : '' Again in dealin^^ with rlivthms we see many such [)henomena. While for instance the ratio remauKs the same, by wiiieli the classes of rhythm are detrrmined, the magnitudes of the feet are charioted by O CD kj the eiteet of the tempt); and again the feet are rendered uriiike while magnitudes remain the same, so that the same magmtude equals now a foot now a dipody ; evi- demly in that ease the differences in the divisions and the h)rms are maih' in connection with a maij^nitude that is constant. And in general pvO/xoTroLLa under- g many ehaiiges of varioits kinds, wdiile the feet by which we mark h)r ourselves the character of the rhythms a(hnit only changes that are simple and ahvays the same." These sentences need little fartlier elucidation.^ Aris- toxenos couceixed of each particidar sort of rhythm as eon-i>iing oi tee-t of the appro[)riate kinds, admitting, as (hstnnt ieet, oidv a limited ntimber of changes. For example, dactylic rhytlim in the abstract contiuns only daily hs varied to s})ondees, which introduce no new^ Xpni'oi TTociKoi: and in the hexameter no other times, pe- cuHar to the pvOp-oiroLia. are admitted. Limine rhythm m tlie abstra<-t contaiirs oidy iambi, yaried to tribrachs, o! which the xP^'^^'ol ttoSckoI are those of arsis, tliesis and whole hiot, in the nitio of 1, 2, 3; the iambus contains the times H-2:-:3, the tribrachs the times 1+1+1=3. Ihit Hi a.'tu.il fjuO/dOTroLia in the iambic class the lyric p-'cts nitrodiUH'd many variations, producing a rather laru'e ^et of times peculiar to the puO^oiroiLa. Thus in place ol V. .^ might appear w l_, m wdiich a thesis and ^ Tf, W.Mi.fial, Gr. Khytlimik, pp. 119-130. 10.^ CIIAPTEIIS uX GREEK METRIC f()lk)\vin(^ ai'sis uiiile iiit*' one y^pouo'^ that ()VL'rsti'p> the !K)Uiiilarv of tiie toot as thi'V coiiccivinl it; in place of w -_ w — w niiLflit appear ^^ l_ i — I'hese and nian\' other variations from the theoretical forms (by which never- theless the funtie material; the sim[>K' addin;j; toi^^'tlier of lon^' and >hort syllaV)les, in the rati(» df two to one, cannot produce sui h combinations. Tlie result is that in f)uO/jio- rroLiu the ). and which ran along in tlie mind of the musician as the skeleton pattern underlviiii^^ the complicated pvOfiuTroLicu contained but two, three, oi four ^(^povoL TrodiKoi. 1 he whole pvO^o- rroua as a concrete thinLC would thus in fact be a com- pound made up of the y^puuoL rrudLKOi and those |>eculiar to the puOfiOTTOiLa. Tliose verses which the metricians called MiiN'thmi' in tlu' passaL^es quoted abovr Q'. 4-- 52) were examples of this, in (■t with the * metra,' which contained little, many of them nothin^% C)Utside (d" the XP'-'^'^^'- '^'^^^^^^^^ '1" ^^^ ^^^^'^ Separate treatment of the two sv.stems of times, those ol the pvO^ck anil those of the puOfioiroiLnJ seems at tirst ratlu'r stiaiii^e, perhaps more obfu>catinur than clarifyim^' ; Aristoxeriics found, as we have seen, that it struck his listeners and readers in the same w.iw In reality tlie ;^'/joV'oi tT/s" pvdp.oTroLia<; lSiol are as normal as the XP^^'-'^^'- '^'^^^f<^'^^'^ 1 Thf iK'wfraixni.nt-^ puMi^hol l.y Grt r.fi-Il an 1 Hunt (nxyrliyn'-liU'* Panvri. Pt. I, |>p. \i-'J.\\ a|>'jH-ar t<> In- I'r.'in a -.■.■♦;, ,n nn ^SvOuoTruiia, ana from tlu- second cliapttT of it, that en \;)r'T,y Coniparo A^l^ti'l. (^ . p. -42 Mb. RJIYTILM IN GREEK 109 and stand on the same level with them. Both alike arise naturally in the rhythmizing process, and the still more intricate time-intervals of prose are no less legiti- mate and natural. Ikit tliere can be no doubt what the i«lea of Aristoxenos was. And as a solid l)asis for the distinction remains tlie fact that m any given poetic or nnisiciil rlivthm the fundamental chanicter of tlie move- ment was really delined by the ;}^pdz^ot irohiKoi. Enough of these ha rt] ataOfjaec ai'a fieaov tarai. yevoiro fS' ai> to tiprj^tviji' code Karacpave^ ' el X7](pOeL7]aav tvo Trodcs, o pti' urra' to aino tw kcitw €)(^(i)V fcal Slcttj/jlov eKaTtpor, o dt to p^tv KtiTfo diai]p.ov^ to dt I'lvco jjfjLiav, TpLTO<; Ce tl^ Xrjcbthtr] irois irapa tovtovs, ti]1' pnv (SdaLV lai]v av toU afxchoTepot^ ^X^'-^^'^ "^^^^^ ^-'^ apfTiv ptaov pL€y€Oo<; €Ynvaau tmv apac(oi'. o yap toiovtos; ttoin- aXoynp fiev e^tc TO did) Trpo<; to ki'itco' tcTTat (V 7) dXoy ui piTn^v Svo Xoycov yi)p€lo-; ciXoyo^. {V. '2\^'2 t. Mor.: II § 20 \V.) Thill is: •* Kach i)f tlic fct't i< dcttTiirnird an«l ilffniril eilher hv a |n"t'i'i>t' rati(» er l>v an iiicoiniurnsurahlr ratio such that it will lu' In'twrcn two ratios rct'oLriiizahlc hy the st'iise. What is iiiraiit ina\' hr nuuK- clear thus. First take two feet, one havini,^ the time of the u[)-l)cat e([ual to that of the down-licat, and each two-tinictl. the ■ oilier haviriL^ the down-heat two-tinie([ and the u[)-l)cat half that. Then put l)e>ide these a third foot liavini^ the downdx'at equal to the other two. hut the arsis of a length between the other arse^. The foot so descriheil will have the up-heat irr.itional or ina-onnnensui-ahle with referenee to the down-heat: and the incnnnnensui-ahhi ratio will 1h^ hetween two ratios that the sense distin- guishes, namely 2 : '2 and 2 : 1. This foot is called an irrational ehoree." To guard against misunderstanding, Aristoxenos proeeeds to {'oint out anal<»gies in the theory of pitch-intervals: but to maki' his comparison useful here would reipiire too long and technical an explanation of that theory also. The point is that there also are certain intervals which, even though |)er]iaps expressible bv fractiiniN, such as one-twelfth, and thereh»n^ KciTa 701/9 Tojv aptdfJLcov pLOVov Xoyov^ p/ra, are yet not emp)htyed in lUirrilM IX CREEK 111 music and are not recognized bv tlie sense as rational. To p'ii' ovv h> pvSpL(p XapLfSavopievov prjTOV '^^povov pieyeOo^ 77 pfjjTor pLLi' dtl Tiov TTiTTTouTcov elt]i verse. In the lines, The cnrfew toll- the knell of partim:: d;iv, The lowin'4 lierd winds >lowly o'er the lea, the arsis winJs^ and in a slicrlitlv less dt^i^ret^ -/nr, are sneh that they do not alle.w eompressi(in to the shortest Xpo^o^ TToSiKck. that (»f such arses as fhr in any ot its four oecurreu.'es. In other colloeations either of tliem mi^dit be a fidl twu-timed syllable; iri/k/s would admit rjIYTIIM IN GREEK 113 as iderable class of syllables known as common are a still more familiar illustration of tlie same princi- ple of ih\thmization, — an illustnition so conspicuous and so fict[ueiitly recurring tliat even the metrici could not overlool; it. V^n- what is a common syllable but one that ma\- at will be made long or short? It is to be remembered also that this cdass of common syllables iiK hides many besides those in which a vowel naturally .short is h)llowed bv a mute and li(}uid, of which the foriiier mav be plactMl now in one syllable now^ in the other, ddiat explanation of the variable quantity can at l)e>l account for but a ]:)art of the cases. Partial h>>s of (ju.nitity in hiatus is another familiar change closelv related tc. the variability of common syllal)les. We have thus reviewed a series of phenomena dcscritK'd by Aristoxenos and others, the reality of whieh in (Jreek vt'isitication is beyond question. It does not seem to have occurred to any ancient observer to group them together under one principle. Yet plainly all are !)utdiiTerent manifestations i)f a single force no less active in (ireek and Latin speech ilian in our own, if we will look beneatli the surface and see the real unity under external variety. The im])ulse to rhvthmize, which acts on so many other materials, acted constantly in the spt^d^ers of (ireek: it ledc them to put each combination of words, t['"kf!i >\il.Ll»if> *'t r it'>s tlt'x:!i!t'. An lni< '!■<■-; ;; MiLTU'^'^lJon of \\i\< \\r\V'>\ ili<" niali'T. il in)t!iiiii:r I'l-if than a .s!r_:"u'f-^ti< 'ii. i< |)rt">rr\-tMl m ihc dri'iiii mu *i! ' \« i- sU'> ' alLi'il)Ul''il I't X'arrn (jn M.inu> \ irt., |'. .i.> k.). A'cr^ii^-, ut \'ai-!'^>i!i [>ia»'t't. vcrlit inui! iuii<-; in'a. iH-.n'\f !l;.:l A' -- t'^XCllOS :vi tlHi'W hrl't' I's a m »;_;;! l ;/( m 1 tiil- \a'\\' VXrll llliiiv «i:^- ti!iril\' ihaii ill ill'' i ra j;nitail -^ kntiwn i.t u--. What ihtMi i> 1 i> icalh inaa lit \\i a a i '-rrla III n\ ji.i ' a<'- 11 ] 1 (■>. i a'u I' ■! I ai •• aiii 1 rrrlail! * >' A 1 '.". I a '1 a; mil I Mill j aail >\ ;!ai*i«' in < ii'rt'k i^ » »iis- i !iai i« m ta> r*'i'rt':^t'nl lii«' ^porn^- Trp'i)Tii>^ uia-. ; sn \a >- callw It n\' t'x:('i'[>liMn it iM-(aipif> .< |hi--iiaiii wiirrc lia^ v\\v\ rli\"tlinii<' paltarn ( ^i'i^mov in A ia-^^ •xrn. i-. > ii.ii- ri )\\fr >(■!!>»') K'ail> n^ t< » cx p-'ct a s\ 11a 1 lif I liat ^lia li ! ai \a' (inl\ lla' tini!" of ilu- y^povo^ 77po)T-\!,iiiit': I't'tards tli<' naixaaiitail a lilta'; it |a"M*iiii c-- a 1 ;iiif-;i.;.a'- \'.tL x'arialilc wiili riivinti-tan^f--. km m u-tauaal la-'ian- nh'n>iiraklt' walk iIh' <)tlirr>. (.r a\()y<)^\ In tin' carla --I ]u'rin(l, and ai\N'a\''- ni I la' na '>i \\ i* aax" nM'(l tilt' (kictx'lic lit'XanirIrr, nn 1-^:^; >\llaku' i^ aliu\^ ud In niair, kinds cf to (MMaipN' >ni-li a [Hi>iia>n. In niair, kiials (•! \ stand in [ika'-a <'t a ^^pfivi^ 77pr,)Tn^. Ian walk an rltcri (.1 rclardali' >n ; wiiik' it ciand nil a clgiju'i^: ^^poros^ i»r a ■,^linn 111 naalf- tkixa'-linual ('I' f( >ur-tinif(k wiik no ^n;_ (|iiac\'. Tims a k»n'_^ s\dlaklt', il wrtakca>a >ta.ial,ir(l it> most cnniiiKUi k'nL(tk (Mpaklc ul ca>ii>i(k'i-- akhM'XttMiNion kiit of oidy sli;_i"kt ('nni|u>'>Mon. A --kort sx'lkiklf i)n tke otktT kamd rannm kill a Ci'jijfxd^ y^p'rm^ iiui'(|niv()(adly. l( a^kt-d lu du su, as it a['[ui\-nUj was W\ ' v1 •;?a lUiy'rUM IN GREEK 115 orcasi(»nadilv in s()nH3 meters, there was a slight iinule- (pia(\, a link' liastcninL; of the time. Btit it might in sona' ( ir(amisianaes he crowak'd into less than the y^povo^^ 77pa)Tos. two short syllakk's together liaving somewhat tke t'UV'i-l of a long syllakk' in like position. A more dataik'd cxaniination of snch cases l)ek)nLrs elsewliere. \Vc kavc >till to consider tke rekition between verse and pfost', and must includta in tkis examination another ^id.i• tkaii tin' rkytkmicak For Westplial lias so emplia- si/fil .md insi^tc'l upon a marked difference between nr.n.jf,!- and 'h sii n j> ih r IV/',^d and tkat difference has bran >o widely adopau-d as pro\-c(b that we mtist foUow tke toui>e ys{ kis air^miient eloselv enotigh to see where and w k\ ke erred. Tke Allgemeine Tlieorie (h gr. Metrik begins witli a translation and (Hscussioimtf tke remarks of Aristoxe- nos (Ml tke (bfferenee in movement of the speidving and the .ringing voice.- These remarks are coml)ined erro- T]e')n>ly with Frag. ♦> in Fsellos, [)erhaps from the first bonk of tke Flements of IJkytlnn, so as to derive tkeri'fi-oiii tke coin lusion that Aristoxenos made a sliarp di>iinciion between spoken verse and sonii as regards rlivtkm. Tkis conclusion is tlien strene^thened by an unwarrantable application of Dionysios Hah, De Comp. \'erb. 17 and 2<). We will take u|) only so much of this as is ne( t'ssary h»r the }>ur})ose of iinding and avoiding tke error, and will begin with the Psellos fragment 6, \\ iiicli reads : 1 Or. Tiliytlmiik, ]). •r21T.,ana Aristoxenos, I. p. 220 fY. Westphal ami c}i. (;r. Mctrik. ])p. 1-21. - i'his toj»i(' lias lit'cn t'onc over with ureal lucidity by Dr. C. W. L. Johiisnii, Trans. Am. Phil. Assoc, for IS'.n), Vol. XXX, pp. 42-5o, who howcviT contines himself strietly to ex])osition of the musical side, scarcely touching the rhythmical prohlem. 110 ri[APri:i!s nx (.ukkk Mirrnir ov Tan' Ct pvOiii^oiJLe:i'Ci)v tfcaarov ovre KLvdrai awtx^^^^ We iipe^tl aW eraWa^. kul T7]1' fitv r)ptiJ.Lai' ^crifxaLi-t TO re ctxOm^ ^^^^ '> 6;'o77ov /C(Zi ;; avXXar^n- t^vC^^'^>s 7a^ TrwT(m'eaTii'alaOeathii ui'tv t ntMllirr in m()ti(*n iinr ul iv>t cnnnnuMu^ly J)Ut i> In^ih l)\ turn-. The perind uf iv^t is markka hy \\w l.ndily iH.>itioiu ih,' musical iioie, and tlu' syllable, inr nn ..nw nf these can ht^ pciveived without the relation nf nidion: the perio.l ct motion is marked hv the tran>ition fnan pn>iuun ^. pnsiti. n, from n.aa- t^ nmc, and from svnahlo to >yllahh'. The timo .uvnpi.'d hy ih.- pmiod^ of rest are deternun- uhh\ whiU' the |Ha-i,HK -f ni..ti,.n are not detenninahh*, because of breviiv, ^ervinLr a^ hnundarics. as it w.ae, in the times oecuiaed hv [.nind^ ^o\ re^t. Thi^ thould be observed, tliat i-ach of the systeni> of rhytlmi con^i>l> both of the times who>c h-n-th i> (h'terminate and of those \vho ipMetermin;ite, hut not ui hd;e mamier; tka^ combinations cnu^ist of the known (pnmti- ties as constituent p.art> an.d of the unknown (luantitic.-^ us separatin;^ and b.auHbn;j: the knowm.' Tht^ terms yvwpip^os and ayvo^aTOs are not ea^v te> tran>kite cuiisistenily, ihnu-li their meaning i- clear, RHYTTni ly GREEK 117 ■\ ---ij and is not obscured, I lioj>e, by tlie above rendering. It is evident that KLveco and Kivr^aL^ have a broader applica- tinii than (»ur words ' move ' and ' motion ' and that r/pe/jLia t«M) leeeives a technical sense. The transition from one bodily position to another in tlie dance, that from one note to another in music, and that from one svdlable to another in kiniruaLTCN are so far analoLTous that all ahke are called motion. In contrast with them the continu- ance in one bodily position, the renrcdniuLT on one musi- ( al note, and the remaining within the Ihnits of one syllable, are called rest, — not absence of sound, but absence of motion. To us the term re?5t appears least tilting in tin' case of syllables. It is entirely littincT in the case of the dance and not hir-fetched wlien applied to nnisical t(»ne. It must be granted that the application to syllables would seem to us easier if syllables in sonof alone were intended, as Westphal afhrms. But against that a>suniption it must be said hrst that the passage ( (Uitains no liint of such a restriction. There is nothing to suggest that the triad here tliouglit of is any other than the fandliar one of Kivrjcri^ aaifxaTLny], pLeXo^;^ Xejt?, each in its fullest extent. Westphal introduced the lestriction of Xe|t9 hei'e l)ecause lie tliouijht the other piassage, to be considered later, re{[uired it. Again, if syllable did liere refer only to the syllable as sunor, the third case mentioned would l)e practically identical wdtli tlie second. Syllable and note coincided hi singing, exccitt when two notes of different pitch were put for one long syllable. Hut this no more called for separate mention in so sunnnary an account than did, under the second liead, two successive notes of instrumental music on the same pitcli, yet divided by an interruption, tlnrngli this is anotlier kind of \xe.Td^aGi<; than that from one pitch to a higher or lower. The transition from one 118 CHAPTERS ON GREEK METRIC iustrumuniul imU' i(» aiiotlier on llu- saiue [>it('h is surely liuL excludcil uikUt tlu' st'cniid licad, Inr n rliytliinir divi- sion is heard tlu'ii as tndy as wlicii the \nw\i ehanLi;es. And the mere difference of niu^ic;d inslrunienl, as between Ivre nr ihite and voicr. no niniv caUed tor a se|)arate clanse than the (Ufffrencr hctw^-t'ii lyre and tlntr under the second ca^c. In tact, a (Jrcck < nuld har(hiV fail — unlc>s cspeiaally warned, as he is not here ■ — t*' ineluih' sun^- syllahles under (f)0()yyni. which wa:- ap'i'V.cd prini;iril\' to laiiu-uau-e. Tliis would stroiiL;-|\" incliiie hinn to understand avWd.Si] oi tlie spolxcn syl- lahle primarily. And linaU^. this hirurative use of the term rest for the pi-riod o( duration ot any syllahlc, sp'.ken or sunu\ i> nradc p>i'rh'ctly intelliu^ihle by the aucdo'-v wilh the two pre ■ediiiLX cases, of bodily movt^- meni and of nui>i<'al n«»irs, and by tht^ eontrasi with the fxeTaSacTK; or transit ion. That pas^a^'e troin one syllable to the next, natu.rally enou;4-h called Kinjais from aiiido^ry wdth the other two i.wOfii^oijLercu fully justilie> the t(U'!u r)ptf,iLa for the time of the syllable itself. Aristoxetios is ainunu- hiu'e. a^ often elsewhere, to brniL: out the es>ential ideunix' of rhythm, and the ch'se likeness between tlie m.mifestath >:.- nj' n. in all thivc arts, dance, nrr^ie, po.'irx. Owv bfiie]' aci j uaiiU.ini c with the [)hv>iev <.f ^MUlld and art iculai io!i may make the tran>l'er (tf terms appear more'>t ra'iic'l than it appea.rcd to him: but we nna>t avoid juduanLf his p.hra>c< >loLr\-, v\hen otir object is tn underst.iud ll, by a (uiterion ereated by knowledLTe that he couM not ha\e. In all three uns, then. An^loxcno^ consider- the con- crete rhvthm as made u[> ^A the [periods o! iiptfiui [)lus the perioil-. >.f KLinjai^ or tra'usition from one t]p€/j.i(i to another. IJoth rot and motie.n, in thr< ccaiiext, are periods of time, (»niy dillereutly oeetipied. But the RHYTHM IN GREEK 119 periods of rest are alone regarded by the sense as con- stituting; the times of the rhythm: the transitions are rai^id and brieb the rlivthmie sense does not measure their time indepensh'utly, but takes tliem merely as nnnnte periods of separation between the Tjpe/jLiaL which it (ktes iiK'asure, and which would not be distinguishable without tlu' transitions. Tliis accords perfectly with tlie facts, and is accurate enotigli for a general statement, such as Aristoxcnos intended. Yet if we woidd make the description more mimuely accurate, it cotild be impro\ed b\' oui' slight modification. This a})pears most [)lainly in the dance, where the terms M'est " and Muotion' are not iigurative btit literal. Ctutainlv in the ahia»st constantly in motion: ;i ])art oidw — as one foot and then the other, or the anus or liead and so on — in regcilar alternation or sequence comes to a brief re->t, while othci' parts move. Take walking as the sim[)leNt example. 'Hie l)ody as a whole is movdng forward all the time: but the left foot, say, is brouglit to icst nil the ground, and remains at rest — or part of the smIc do(v^^- until the right is firmly planted: tlien the left i-> raised and moved forward, with very complex movement of the leg, and brouglit again to rest. This giu's on with boih h'ct alternatc^ly, one movdng while the otlu'i' rests: fiom the sole up the motion is constant, thoU'di I'c'nilarlv varicnl: for eacli foot looked at Iw itself th" pmioil of rest and that of transition are almost ecpial. I low does the conception of Aristijxenos apply? Evi- dentlv in this wav. The coming^ to rest of one foot is not(T bv the rhvthmie sense as the Ix^cfiiniincr of a rhvth- mie time, whieli is felt to continue until the comingr to y 120 CHAPTERS OX (illEKK METRIC rest of tht' other foot nuirks ihv l»egiiiniiig of a new time ; and for each foot M'[nirately a rhythmic time is felt to eoiitiime from the bei^niininu' of one contact with the rrn tliat tins is hanlly ti' h<' called a modi- fication of the view of Ai'i>t.>xenos: it only carrir- Ins description into minuti^r detaih His remark is accurate and touches the heart of the matter, when he says: ^- No one of these {(7x^]^^(^^ (hOoyyos, avWa^Sr']) can we peivi-ive (P e., detect its heudnninLT or recoLTuize it as a distinct entitv) without a comin;_^ to rest alter a transuiou. Tliat app>lies llterallv to the dance. And the term f]ptfiia once acee['ted for the nursical note and tlie sv liable, too'ether with KU'rjai^ for the transition from nne note or svUable to the next, his statement of tlu' biwitv of the m(»tion as compared witii the ['criod ot rest reipnres no moditieation or explanation in reganl to nnisic and poetry. We turn now to the difTerenee in mnxcincnt as betwciMi the speakiiiL,^ and the simrinir voice. At tlie very out- RHYTHM IN GREEK 121 set tlie fact nnist be obvioas that movement or motion in this connection is something very unlike the motion we have just been considering. Both are called KLPTjac^ bv Aristoxenos, Ix'cause language is limited; but the context should leave no room for ambiguity. With most f»f Westpliabs interpretation of the passage no fault fH to be found. Aristoxenos proposes (Harm, p. 8 Mb.) to exannne r?)? Kara roirov KLP7]ae(o<; ra? SLa(f)o- pck, or the din'erent ways in which tlie yoice moves Kara TOTTov. To 7709 Is hcrc, by metaphor, the range of pitch in the musical scale; it is the movement of the voice up and down that scale tliat is under examination: the aim is to differentiate the speech-tune from song proper. These are two kinds of tune, two kinds of movement up and down the scale. The speaking voice in general glides, as we say, from one pitch to another, without [).uising on one [)itch long enough to make a steady nnisical note, maiiuained at the same rate of ^dbration for an appreciable time. In singing, however, the voice instead (d Ldiding moves up and down tlie scale bv nnisical intervals: it stops an appreciable time on one note, passes as (piickly as possible from that pitch to another, and sto|)s there in like manner; and so on. The former mode of movement up and down the scale Aris- toxenos calls avvexv'^ (continuous or uninterrupted) KLur]ai<;. the latter he calls SiaarTjfJLarLKT] /clp7](tl<;, move- ment by intervals, or discrete movement. The principal [taragra[)h is this: Kara ^ev ovv rrju avvexri roirov riva Sie^cevaL (f>a(veraL 1] (pcovj] TT) aladTjaet outo)? cJ? av fXTj^a/xov larafievrj ^ fx-qS* fcV avTOJV Tcoi^ Trepdrcov Kara ye rr/v tt}? alaO-qaeco^ elra irdXiv e(^' erepas, kul tovto iroLovaa crL'i'e;y^o)s- — \eyco It avvtXM<: fcard top xpdi'ov — vTrepfSaLvovaa p.ti> TOL'V 7rtptfcXO/xet^ou9 vtto tojv Tuaecop to'ttou? larafxei'ij 8' eV avTcop Tcop rdaeo^p kcu (^Oeyyop-epj] ravra^ pdvop avTUs. jxeXcohelp Xeyerat kul KLi'tlaOai diaaTrjfjLaTtKjji' KivijaLV. ''In tilt' oiir, iKUiR'ly cMuitiniinus iiiovt'inrnt, llu' V(!ii't' appears U> our sniscs to traviTst' a ctTlaiii spiicr as il imt st(>|»[»iiii( ^ anywhiTt', not t-veii at thf uppt-r aiul Iow.t liiiiil> of the ranixe, at least as the .^ensc roiict'i\r.^ it, iuit Ijonie t>n coiitiHUously until it heeonirs silent. l>ut in the other, whirh Wf name discrrt*' niovenient. the voiee appears to move in a very difterent manner. l*a>^in'^^ over an interval it sto[)s on one [>it<'h, tlu-n .ii^am on a second: and doini,^ thi> continuously — 1 mean eontinu- on>lv in tune — skippini,^ the interval honnded i)Vtlie notes hut stoppinj^ on the notes themselv*"- and sonndup^^ thest' onlv, it i> said to sin^ a mehnly an.l to mo\e hy disert'tt' movement. These wonls are perfectly (dear. Tlie parenthcMs Xeyco dt crin'ex<'^^ '^^^^"^^^ ^^'^' XP'^^'^'^' ^- thrown ni l)eeau>e he has useut with tovto TTOuwcra the word avv^xo^s is u>e.l Kard XP'''''^''^ '^^"^ means unceasin-lv, nr without chan-.- : whil.' tovto iTOiovGa means skippin- intervals an.l >toppniix ..nlv on eertain n.)tes. The sin^im: v. ace .Iocs that unceasinLrly. If m plaee uf the sec. ai.l .iid 1 Sff note on prcci'eH to g.'t l>eh)gged l)y the conil)ination of four cir- cumstances: — that KLP6(o plays an important part in hoth passages, that avpexo)^ also is important in both p;i>sages in (dose c(»nnection with Ktveco^ that avpex^o^ is employed in two senses, and es[)eeially, farther, that tlie j]ptfj.LaL of the passage on rhythm are in one pvO/jbi^dfjiepop^ f^''Vo>, usually itlentical with the XaTaaOat err' avToiv rcov 7d(jt(OP Kal (f)OtyycaOai TavTa^ fiopop. I>ut even in /xeXo? the rhythmieal 7)p€fj.ia was not alwavs identical witli the continiuuKH' on tlii^ same pitch, for two or more success- ive noti's might be perfectly distinct with no cliange of p'itch ln-'tween them: and it by no means follows that tlie r;/jfc>t(at in the thinl pvO/jLL^ofMepop, syllables, are also inusieal notes. Tlvdi is \Vt\stpliars mistiiken inference, whi.h he is led into l)y that innocent parenthesis, Xe7&> ^t avptx'^^y-i KaTa top xpopop. which lias no liearing on it, but i- lully accounted for otherwise, as above. It is 124 CILIPTKRS nX nUEKK MKTHir that {nin'nthrsis which k-a«l> hiiu to insist: - Auf with time, anyllahle t*» ^yHa- ble coincide in time, as do the nnisical note and the rhvthmic r)p€fXLa. lint suppose two successive syll.d»les are sung on the same note. No change of pitch ocurs. Idiere is no /ca'7;o-i9 in the seii-e of the Harmonica pas- sage. l>iit the KLVT]aL<; in the -eiise of rhythmic fj.trd,3a- ai^ is no less distinct th mr Vtrs. Such a division as the metrici made is nither of itself evidence that the differ- ences were merely of degree, not of kind, and were slight and gradual, in passing from spoken verse of the simplest sort to the most elaborate melic. The metrici drew the line at the point where the departure from their rule of two to one h)r loug and short became too wdde for their method t(» exp)lain. And as l)etween prose and recitative \erse I i\y> not know that any one has attempted seriously to maintain the existence of any distinction but one of degree. The remarks of Dionysios Ilah, De Comp. Verb., 17 and 2", we shall examine in another connection. But some sentences from 11 of the same work belong here. Dionvsios has iust said tliat an ordinarv crowd in the theater ex})ressed their displeasure at once, if a musician, howevi'r famous, made a trilling mistake, though perhaps no one of those offended coukl himself do correctly wdiat he bkmied the })layer for not doing. This, Dionysios 12tl rilM'Trir X ^,i:ri:K Mjyrnn^ TlIlYTlIM IN a REEK 127 K' riLrhlly sa\'<, in-liratr- ihat w-- hav.' a nalural a[!l!tiiil f. a' niii>a\ \'k'\\' lia\a; liir ir.-laa'-al kii< )\\ !!m l^^-,- ivijunvd Inr arli-'tb' [>ta't( aMnaiirt', hiii the ia'ain\ u! |ia>>i\»' aiaac- ciaiaai i^ iialiiri'"> i^it't to all. IK/ liuai a*M-: '1.0 Ct avTo KciL em rtov ijvOfi'ov yiiul^t voi' ifKnadu'ir, cifid mu'Tas ayai'(iKT>)vi'T(i^ Kiu Ci'ai.ipuTT()i'fj.(rnv<, nn t/v 7} KpovdiV T) KLinjaii' rj ibiOi'ijV tr U'Ti^jji^tT pnis TToirjadiT) ^poi'Oi^, Kdi Tots pvt^fiovs ii'-bdi'i'Tt iti>. . . . fiiiiiaik'r) ydp Tis y'ji' KiiL t) Tcov TToXiTiKiOi' Xoyciyi' CTiarnu^j. T^nvini' m \t:^^ i<; khi ^)vt\u')i' Kill UtTil.S iX'jl' Kdi TTptTTOV. (OCTTt KCli LIT I TUl'Tt'js i) (IK'n) TtpTTtTai /i(.Z' To^N fifXtiTll', (ly Tdt (\. TOl-: ^)l'Ofl')ls\ (KTTrd- • a) ti Ct trr/ rrcu'Tiov to oLKtinv ' t^tTili Ct T(l<; fJLtTuSnX'U , "T')i f] Cc dtaXXciyT] KiiTd TO ixaXX'Ji' Kdi )jtt'ii\ "III tlu' caNC ijf rli\'lhi!is Idd I ha\r sctai the saiiif thing hap["'ii, — a wla-a- crowd lo^-f'Jita' shuwin^; dis- plaasure and indii'j^nat aai wli.ai (aic I'taidrrcd a pa^-^a^'c, eillit'i' of in^inijinaiial iinisir or daiicr or \ocal iiiloi-.iiii'r, in nnsvniuiotrioal or ini[a M|iial\" pro[>ortin!ii'd i iiiif<. .md so (k'Stro\rd tho liiviiiins." M l)!o!iy>ios >to{.pt'd lua'i'. oni' ini'j,"lil sn['[)o>t' (Payn'ji' to niran sm^'iiiL!; nirrdy. ]>nt in fad, aflrr insi.stin^' that Naricty iunl a|>|)ropriattait'>s lire no U'>s ini[5ort not alaai to tlu." snh|fct, for oralor\' wa-- aUo a >ort ^i' niii.^ir. tiiltta'inL;' Irom that of song's and instrunu'nt.s in dt-^avc. ia)t in kind. l*'or in oratory to-o the \vord> haxa- tnno, rli\ahnn inodndatioii, and aiiiu'opriatenrsh. So that in this too iht- t-ar is pleased lyv the inelod\, !> niovef] hy the rliNthin^, wtd- conies tlie chanLTes, and evta \ \\ laa't' desii'es a[»|>ropri- ateness: the diiha'eriia] i> in the nior** luvl Io.xn." It is plain that to I)io]Ly>ios the rhytiinis ot [>rose were likn^ tho axy]p(ircop TrepaLvofievi], KaireLra irdXiv toI<; avToU pvOpoU Kd\ fierpoL^ iirl tcov ejT;? arixcop rj irepio- hwv i] arpo^i^v xpf^t^t'Pi], /cat toOto fxexpi ttoXXoD vrotovaa, eppvOpik ian kul e/x/xerpo?, Kal ompLara Kelrai r?) roLavrrj Xcfta p,t'Tpov Kal /xeXo? • rj Se TTeirXavwpieva pLerpa /cal dTaxTov^; pvOpois ep.7repiXapL(3dvovaa, teal pb/jr aKoXovOiav €^(i)dii>()vaa avTO)v pir^re opLo^uyiav pL-qr dpTLcrTpo(f)r]v^ ev- pvOpo^ pip ecTTLP, iTretS?] SiaTreTTOifciXrai nac pvOp^oU ' ovtc eppvOpo^ St, eVeiS?; ovxl roh avTOL<; ovSe Kara to avTo. TOidVTijP dvai 3?; (f)7]pLC iraaav Xe^tp evpueTpop, ?;t/? epLc^al- Ptl TO TTOL^TLKOP KoL fJLeXl/COV ' ^ 8rj Kul TOP ArjpioaOepi] KexprjaOai 4)7] pa. 128 CUAPTEll^ (>y^ ^./t££/C MKTUir Aecnrdlnixly liis whole metrical section, descrii)inLj: ami luiiiuii:^' ilic iVet, is as suiuible to a handbook oi nieiric as to a ireatise nil rhetoric. All thr (k't.iilt'd discussions of prose rhythm, from Aristotle and earlit-r to Quintilian, assume the same thing without ;iny per- et'ption on thu [nirt of their authors that a speeilic stati'- nient of it was uei'di'd. On every >ide. in fact, in (ireek as in Englidu laii- gua-^e L'xhlhits this unlirnkcn gradation frnin tiie nin>t careless to Uie nm^t perfect artistic form, (hi the sid.' of tone-si(ai. As the liner and mere elevated ciiuaiMUs gam prominence, the unio of the voice -^-- unU- >s indeed the nature or violence i^\ the emotion weakcn> the muscular cnntrol over the organs of speech-^ take on nmiv and nmre of the pure ^uahty that we call mu>ical ; appi-priatt^ passages of prose, slid more of poetry, one may hear pn.Ui)unced on the stage, and particularly hy the hesi actresses, in the purest musical tone. Coiuan-rently \\nh tliis progression we may ilisccrn a parallel chan'j:e m the speech-iune; where the purest tone is nppr-pnate a .'•ood actress will freoucntlv emjanv a form ul true mcl- ,„|v. (dldes mav \>" more pnaninent than i> u>ual m a.'knowled-rd Mn-iii-. hut the wlml,- will appro.irlu .;s ' . . ',\ ' . 'I ; ( ■ t u 1 ■ >■ 1 1 1' ' ui.iri\etl n<'ti 'e, th.- elLiraelrr ^l ;i u w t n a I c < u 1 i 1 Ih' wrnt'-n in "Ui- inu ''■\ I it '■-, vl t. I." ,. 1 ).ii \\ ::i ha- -r'-.-'l ihi- III 111- r>x[a.--wn -ei^.n. in \hui a!;a AniliKtl- (rh.:,c. ! \'d : fact [tliata!. i; -, .'!w-l l ii.-r'hh, ■!>, j n^o.u'es ^ . < -I t' ,m«;ipiil ii-Kl ' i ,e siivs, " aiid irom the analogy of other animals, 1 L v in hi to infer tha' ^h J rogenitors of man pmhiiyv uttered musical tones [to express emotion] before they acquired the power of articulate speech ; and consequently when the a I nUYTllM IX GREEK 129 voice is used under any strong emotion it tends to assmne, tiirough the prmcijde of association, a musical character.'* Aristoxenos observed the same thing. In the discussion of the speaking and singing voice, just after the passage Kdore considi'red, he says (p. 9 Mb.): "In tiilking we avoid holihng the voice steady on any pitch, unless iHiairse of emotitin we are forced to that kind of move- ment/" d^his is a recognition of the fact that emotions cam^e the speaking voice to tx'come more like the simxingf viuie: greatA'r sti'adiness of pit^h and greater evenness Hi glides are accompanied by more musical quality of tone. In accordance with this remark of Aristoxenos we tind that Aristides Q. ({). 7 Ml).) places Ixiside tlie eon- tniuous and discrete movement of the voice a third kind, fieaij, r) tck: tmv iroLi^fxdraiv ava^vwaet^ iroLOV/xeOa. Tliis is a \wluable observation. It adds tlie fact, whicli accfcnls fulh- with what we see in modern lanofuaofes, that (ireek i>oetry was I'ead in a style that stood between that of cunversation and that of sino^inff, as reirards tone- the more elevated, condensed, rich in ideas and emo- tion, was expressed also in the changed character of the vncal SiunH]>, III the iiKU'easi* of the musical element. Ahait^ with this went, as we saw in (diapter II, in- pre* i:^i..!i in the nbstu'vance i^^i rlivthm. A }ii \\a> called irXdafia. which doiihttless eon- ri[*|«]'oxmiation to njusie in the other - rhyiliin. In all these aspects song I "'ud n\ the veahn whlcli I'an duwin as la'nvaie utt^'i^uiei^ lu tlic latter, j 'J 'ear {•- ! hax'c been hardh' con- aci t' ■ rliX'tLinn Thwr atienti^ai O'rt' II,'' i-loM'] la Willi it is Ul '. 1 I ' a ' > I scions of any apf : \n ua was attracted only b\ i C CUiI:^-_i' 9 eli'ica\^ui lu brudlice 130 CHAPTERS ON GREEK METRIC rhythm through selection and arrangement of words; their treatises were meant first of aU for practical use in directing such endeavor, or at least in enabUng one to understand the procedui-e and the product of such endeavor. There they recognized, at least the more acute minds recognized, the essential nature of the sub- conscious rhythmizing process dealing with matenal more or less plastic. That they failed to recognize the universaUty of the tendency to rhythmize, even where that conscious endeavor was not present, and that they sometimes conceived of the syUabic quantities in prose as rigidh- fixed (as in the first sentence of the passage froii" ni ! :-ios Hal. .•! T)r('n!i;;;.ary u.^ihumn^. After ivit- - ^ ; t '"^'" 1--^ ^1/ iniii a.'ais with tiinr, and ''/""'^^ "''•> ''''■"^' •'^'■'■^' i" ;^^' arran-'riiH-iit of linh-s, lie ''^^''''^;''- •■"■" '^^''^^ M!ii|.h- and conipuund tiinu in vari- V": '^''*''"^^' ^^}ii''li inNnlvrs a partial (diicidatinn of t^'''^^' '"^^<^- il IS thu> niadr as distinct as possible that '^^\ ^-"'' ^^J^^-f' i^nvat.Ml next, is a matter uf times, and ""? --"^'J^'^Hv nf svllal.les, notes, or steps, as these (•nilMHiy llliics. '','"■'"--'''"■•■ "'■ "'"■ ''""t in that I.yit the rhvthm is '"arkv.l ai„l n,a,h. .■oj.„i7.al,le aii . ) CHAPTERS ON GREEK METRIC mti( • \n1. never one s:i i; *lie serir- of ti;;.t.'S, \ • liinical c I , t ;!ii< 'liit^r mav : i ^i ll'r ill ! I iv* >\'\"\^ ,1 ! ! 1 T; ..• i';il ;.-'! Il.inif ^t:T p TDor * n.-i " I >t Wh,-n ;; ri.Viliini'Ml M-rifN i^ i.>!Hh'r*"i, H * oTuuiH'!!, m i;ii'L!'' nil lii'' SiliK.' ldr:i. >ni.ilu'r (li\i>i<'n>: tli.it i> \^ n.n i Anu'ip^ tht'M- varinii> (livi>i.ai>, aiis, a -ruui timf>"(K'tarlirS \X>A\ to niir sriiM-, iHM-ausr u ^i> oltuh>ia!inal uhaititv. I'h- i:r-np so ivprattMl. with not t.H. -ivat variations, iiiakr^ up tu. whoh' SiM-ic^ ana iri\v> it a >|H'ritlr rhanu'Ua-, wliirl ,f the smalltT group, 'l^ varii's with tiir chanu-trr o )()i" tinu'< ivc.);j;iii7.od by our sdist'S fool. 'Hit' sniallost such Arisloxt'iios iuiy u:roui as pi'rh)riiri!iu- that fuurliou i> a s which al^o perh.rm the same funclioiu then the Lu-er oi the two 1. a coiiqumiKl h.ot. The simple h.ot is th"smalletinctly characterizing (rroiii) of linu's to consUtuti' a unit of measurement — after the irpMTo^ XP^^'''^- .. . The (lualifvin- phm>e -.aie or more than one i> added to the deliuilion to ruver the ela>s known a> dochmiac or -slantwise" rhvihm>d Different kinds oi 1 IVrhap^ alsn the "l.^a.oli." <.r niix..l nuacrs- The ditlerencc between W.-.tphalV coneeptiun arcl nnne, wit!) re-ir-l t.. the apph- catiun of the plira.e to that ehi^> nf rhythm^, will l^eeoiue eh-ar it one car.s to coripare hi. Aristoxen,,^ P pp. -c:^,;, . ah my ai.eu.^ion ot those meters in thr n. x^ .-hip*. - M .r FOOT, ICTUS, ^'CY^'^LIC- FEET 1 -v? 1 OtJ simple feet wei*e so '^^'inhiio-d ii: :hr>e that one dlone was not snffic;, lit. lo i luiiui'ici i/r Uic whole; each \\'as dis- tinct!'. I. CI, the fro.pu-ni shiftiiiL:; from one to another Mi: Lin ili'' koion w.is iui f>>eniiid pari of the eli'ect. We hiv.- p,ir.iiiei> in modern niusit-. For example, there are smpjc lliingiinan popul.tr soni^-s in whiidi llie time shifts freipit-nily, from Uieasure to mt;.isure, so that a double inihe.iii.ai n{ it has to he used, as | |, or | J*. The eliar- acierisiic movement of one uiay he seen in the phrase: » # t % ^\-iz. m ::«. lUiN ilnuicallv tlie whoU' sonir ^ consists of this kolon rcjicated six times with varviiiiJ tune and liarniony. A notable example of such combination is thus described by William Mason in his Memories of a ^lusical Tdfe. 2 '' IlafY had compiosed a sonaUi for violin and pianoforte in which there were ever- varying clianofes in measure and rhythm : measures of ^, |, |, alternated with conmioii and triple time, and seemed to mix together promiscuously and without regard to order. Notwith- standing tins apparent disorder, there was an under- ( urrent, so to speak, of tlie onlinary | or | time, and to the plaver who could penetrate the rhvthmic mask the dillicully of performance .|uickly vanished/' Mr. Mason g I I i - O H' I '^lioukl raliiui cxpcci t t ,H<.lt'" 1 t.iiice 1 ,h> n-u k..-.'^ : 1 5 11,1,,.. ,,u,l iV.llMxv ill.' .Mr iirM.^ l)..hi:v. eenaiiux .■\hit)it> ^ iai in.MV variriv .m' ri.Ui.ni ihaii -ivai.-r p. m-i. ,l,iir niipl-v, ,,nd surh vrr^c ha^ ivr-iv,.l no .rr..:;. rxauiinaU. ui <'ii thi. .uh-. Thciv ran 1- M" a.nit.i thai ^u.^i rlivliiiin^ w.nv huniliar l^ ihr ( , n-.-k^. an-l th.n.'l-iv wnii^.u! ih. wonK ,K ./ TTX.ruK ti.K llu- aHium- ..nn 1.- wouhl nnt , pnu- rnv.u^M. .u li-w- ,.v.T, the a-rlmiiar rliyihii!^ will fnr llu' proeiil In- Icil OUl *'f virW. The sciilcuce Uialik'tliR> the foot is fnllMUvd l.v the Words: Ta.^^ St 7ro5k,P u'l fih' iK cvu xP^k'o)!' avyKiiijai rov re „ , ~ ' ; T ■ _'w,7,.. /'^M ^/ti' T0)1' Hl'(or, Svo ^l.v tJ.i' i^l of iw.) uinrs, thr u,.-u,m.;uath.-l.wn-uiu,-: , ,il...- nf tliiv.. th.' uiMuu.s l„.in- two un.l thr aowii-lnnr .,.,.•. or a-,un ot oi„- up- tinu.kna tu-o.lown-liim'^; -Ui.'.- nf foui. twu „|,-nn„-s a,„lnvo,l..wn. U i> plain thai a si.igK' Un.r w,,uM not, con-^limio a fool. l«'.-aUM' uur ^„M>''"' 'I-'- ""' <■"'■'' ^^ ilivisioi, of liin.^: for NvitKolU .Uvi.ioi. of inur th.iv .ln>.< not si'oni to Of a loui. ^_ As xvas ivinaik.Ml in an earlier chapter (p. •>.) ^povo, cannot l.-'v MP-.m l!i.' tto.T.t-o? xP''''"- ''"'■ ^^ L oj/' Of ^*i* M^ loxen()s is here dral- •I ihai are eniplovi/d in continuous , and he may ha\e aeet'[)ted the hLcn]/j.o<; -eantl or! urrrnt-n, as at the beLrinniiiL^ of rrtani Aiolii' meters. ()ii the other hand, Hi the }»as.siu^e primarily under discussion -aitws that there too Aristoxenos is con- >idorni;_:: ^nly the iwi of continuous iiiythni()[)oiia, not ixkitrd and t'Xn'piional oct-urrenees. He is still early in hi^ trraii.^t', at h*a>t early in that part of it which df^i 111 H'S the rhythms of art, and his deiinitions and uthrr >tat('mriUs are u^eiiercd, intended to set forth iirst tlie hroad outlines, not the exceptional pecuUarities. Tho foot, ior e.\ann[>le, is that (o a-q/jLaLPo/xeOa rov pvO/xov Kill yvi'opi^ov TToiov/jLep TTj aLadr]a€L. This has n(3 tipph- eatiou t'Xrrpt to t!ie fec^ of continuous rhythmopoiia ; an isolated t'Xteptional foot cannot be brought unch'r it, and is e.dled by the same name oidy by courtesy, — that is to say, by analogy, l)ecause language is limited. It is the h't't ti' which that detinition apphes of which Aris- toxenos inuardiately goes on to say that "some consist of two timr^,"" and so on. Besides it is not improbal)le, -it xM ni> to me probable — that what the nietrici callt'd, in tlio>e Aiolic meters, a foot of two sliort syllables wa> really, to Aristoxenos, not strictly two-timed but irrational. It was rt'stricted to the first })lace in rhythms of triple and !|tiadi'uple time; the rhythmizing process would movt natunilly make it a[)proximate in actual tinif to it-> lauLrhbors. I>ut however that may be — and wf havi' no direet evidence for this explanation — on the fornu-r groin id alone I consider it certain that Aris- toxeno.s did not regaixl two strictly short syllables alone l..;' C// I /' /'/,7:> i.-'A ijLLLK M l I IlIC » » 1 • 1 1 .' 1 T s rf ri fnnt \v:'!.I a- ai:.i *nai iii'' '^■'■' iiitMiU a:v lip- XH"^"'' ' the li'irili.ii ItM'l, I'X pvOfxniTOiui iiia\ iliti' '• ' . I ■ T< ) '" ! K ' n , C i 'J ^; fX' IS ■ ir lllll Hi' '■r. 'ill'- rXpr* !ll( H i 1 1 [C.i 1 !. ili ■-^l* '1 1 i> I k.'[>l LTt'livTaL I" ap[av 7' 7Todt< ryvi •thro I as w ':• I t i . • ' ^ !;i*re « it I ■ •• . > - 1, i i, lilt w Lajli }•« ist'lv .i'l;'-!,. h'.'t ; l)Ut \\i' >liail avolii siuii*- ri--k ui uuuiUiiuii 1 1 ■ il Wf Innk tir>t al Ila- a[>|ai(aili< l! ! ( i > ai iWHv f«M^t nnlv. and "iil\- 111 *>iu' iiumIiuih, laiiL^uaj;.'. S.> ivslrh'U'd .nid so t'nil'Mdird xp^'^'"^ 7rudLK()s iK'conii-s alt'iitiral with >\n,ikh'. 'I'hr >aiuo u>i' "f Xf^^^^'"^ without the dt'iiniiiLr 7ror^//cov appears m th<- ( )xyrhvnch<'> papyni- altnhiit.-d m Ari>ti>X(*ii(t>. To /^oi'o;^poz'oz' o/zctaoTt/jo/.^ tou t/j'.l nu-aii '' ihf fnoi->|.arr .KHaipii'il hy a. siiiu'U' syllahh' (i. «'., "Ur x'^oVov 7rrH\'/<:o's ()nlv)is in«>r<.' ai 'pi'opriatc In troidiaiu rhythm lliaii to thi- iaiiihus/' To ijiOi'(}Xp()i'oi' i^^ Ik'Iv '<^ TpLaijixrs syllahh", i'lsv- whi'iv it ini'_;-ht Ik' a TeTp(iai]iios \ it i> th.' \dv^j^v>\ XP^'^^'''"^ TTog/zco's — that is, the spa(a> of a \Nhoh' h.ot. hut un- divided, (N»iisisiin'4 of one •' tiiur " only, lu'caiiM' liih'vllahh-. ALTaiu in coh v, the T^rpi'ixP^^i'^^^ Kpj]TiKi^ \€^Ls is not il rerpdaijfio^ s^x-echd'oTUi. Ci.ntaiii- in<_: four irpanoi XP''^"'^^ ^"^^ '^ h-ur-syUahU'd s[.t'i-ch- fonu. — ^v_-v., cnntainiraj four ttoSlko'l xP^'^^'^^^- ^''^^'^ represented h)V a syllahh'. Earlier in eoh v thi' elaiise, KtlaPai. Ti]V ht Sevrepav it' rep eXai^iVrrt), riji' ?t rpiriji' ep TO) A^6(jw, eiuplnys XP^^^'^^^ ^''^' "^oSi/crK XP^'^'''"^^ ^^^^^ ^" '^^^'"^^ a manner that the teehnieal .iiid the oriUnary sense run tou^ether. So adso in eoh ii, o IciktuXos 6 kut lafj-^ov ai'ciiraXL tojp 77ep^e;!^ouo"a)i^ ^v\\a3d)i' TtOtiao)i> ecs rov^ Xpoi'oix; 71 (o<; il' rip KpijTiKu) enVti'To, "thf lamhie dactyl [i)V daetylwiih lambie thesis and ar-i-, w -- >^ - . ni wiii<-h 4 f 1- ICTl'S, -i'Yrijr^- FEET 137 t «A n ! u.r >viiaiues ri-mpiasniu il (ur eonstituent svllables) are M-t in the linse-uilervals in tiie reverse order as eoni- [ :uvd wadi the erelie ( -- w -^- ^ ). ' Adhrrna_^' now to our restricted application, the rnean- w.-s of the passage under eonsideratic)]! is this. There t.:n Or no foot without at least two syllables, for one -\:Liole dtH's not divide time and produce a ratio of tine's. A pii)v6xpo^'ov among trochees is not strictly a foot, though its eipiivalent in time. Some feet consist of two syllables, one for the tii>-l)eat and one for the downdHMt, (iambus, trochee, or spondee). Others con- sist of three syUaldes, two for the npdjeat and one for the (h)wii (anapa'st and dactyl); or again one for the up-hcat and two for the down ( w and _ w _) ; others consist of h)iir syllables, two for the up-beat and tw o h)r the down ([);don _ w w w, or ionic ^ ^ and w w ). Tlie foregoing appears to me the most probable solu- tion of the long-stiinding and intich-ciit. Scrni!ili\', iiic term crrjueuji' -^nC.Koi' \>r^l w I i :l<^>rt' i:'i« i .1 lf>i'. appiit'il to Liiii^iiaL:;^' is pivtty chMriy i Ltbh', till' iiKot siL^uiiit'.inl [Ki>>au:r> air ii. (1) rioO^/tOs' /XcZ' ovi> eari ^^puvo^ o K(iTt)^(t)i' rnj/uti'iv iTOtLKOv fieytOus, olov apatw^ rj t'^datai^ ij nXnv 7Tut<>^, (Fra;j:. 8 ap. Psi'U. ) That is, in luagniiuth' xp 7 jT top dt X^P'-^ '^^^ ^^ '^'^^' '^'^^' '^■''^'"^" ('vva^uiu (pvXciaaoPTa ajj/j-tia kcu Tciv vtto tT/v ^vOporroucu ytrofitrds SiatpeatL^ ' kcil rrpoaOertup tt otl tu ptv tKciarov ttoCo^ (jrjpLtla Siapei'ti I'aa urra kcil rep apiOfKp kui T'o fityt^Oti, ai 6 VTTO Tfj<; pvOfioTroLLUs yLi'() pit I' at diaipt:rT€i< TroWrjv Xapt^dvovGi TTOiKiXuiv. (Aristox., p. 'J'.^- Mnr.) 1 hal i>, tlu' aijpeui T-oBiKci dvlcvunwr or indicat** tlif [avii-.' fhar- acter of the toot, and eontinue lUiehan-tMh pr.'-rr\!nL( that individual eharaeter of tlu' foot undna all the < a t n 1 1 1 * s eliani^es of the rhythni< -[^oiia. Idir arranL^n.-nieni eonstitutinL^r the ehanicteri^tii* and fundanuMiial loot of an\- rh\-thni remain^ and i- folt a.^ iho suh-tratum i\u\- n'nvj; through all the variations. In a WAV modern music, sav in oominon time, both eonduotor and pla\"ers are corix-ii ar--^ ^)\ tla- rt"j;ular hair hoats. r.pn\a- lent to (piartoi- notes, of each nu'a.^uro, i-unninu- ahai^ with and as it were underneath tla' endh'ss varit-t}- of riiythm in the artual notes. In [)oeiry. and in rrferenee to the >iniy;e !-'•>!, •■xrlud- FOOT, ICTU^i, L I L J^i L A lit -/^ J J. U I. ■ iTv^ for tlif" T^resraa liie A !-;-:"Xeneaii (Tt'r("^eTOi, tlie d ( H'- 1 1 : ne IS i ' \ I ara 1 1 w \\f laive tile >niaiior aijiitLa as tui \.:[ i.t i!,t' -\n.il»U'^ oi iho fundanimiai tout. In I..;.;,;!-, n.u iirta aiid spondee the^*' le->er ar,pda e(|UaI ti..^ ,,:>!- and tho-i-. and tlu^ largest aijpdop eipials the while loot. Hi lonfta'nnty witii pas>aix^' (!)• l>tit the wordi olov m { 1 ) suu^vsts. if it iest and the spondee, all three would liave the same aijpLela, which in that case conld hanlly be spoken of as rijv rov ttoSo? hvvafXLv (^vXi'iaaovTci. Where arsis or thesis of the fundamental foot is divided between two syllables, it would seem that eaeh svllable nuist emi)ody a %poVo9 jrohixo^ and he represented by a (n]pdov ttoolkop, if the ar]p.€la are reallv to indicate and preserve amid all variation the indiividuality of the h>ot. To this add: (;V) Av^eaOat 8e (f^atperaL to fiev lapL^tKOP y€VO<; fiexpi Tov oKTCi^KatSeKaaijpov p.eyiOov<^, (oare yiPeaOat top fieyia- TOP rroda e^arrXdcnop tov iXax^cTTOV, to Se SaKTvXiKov p^xp'- '^^^^ UKaiheKacn]pov. to he TratayvLKOP p^expi rov irev- TtKiUtiKoaaaijpov. av^eTai he iirl TrXeiopcop to T€ lafx^t- Kop yepo^ Kal to TraiMPtKOP tov haKTvXiKOv, otl [eV rw t-Xax^'cTTa) ito6l] TrXelocn (Tr]fjieLOL^ eicaTepop avTMP XPV'^^^- (,i ptp yap TMP 770B0JP Svo poPOL^ 7r€(f)Vfcacn ar^p^eloL^ XP^^' t\iL. upatL Kid t'^tiati, ol 6e Tpialp lipaeL Kal htirXr] /Sdaec, ui Ct TCTpaai, dvo upaeai Kal hvo ^daecnv. (t rag. 12 ap. Psell.) 140 CIlArTEIl:, (jy uUEKK METRIC That tiie hist seiiteiU'e is nocirly rL'l.iied to thr niic from which our diM-us>iuii of the XP^^"-'^ ttoClkol scl mju ((jUottHl ,i})ovt', |). lo-l) is (il)vii»u> t'lioiiL^di, and is stiik- mgly hn)UL;ht out by Wcsij-hal's paralkd cohinins (Khythiuik, I). llU L). As ooi rulativt' terms wo tind in Aristox., p. il^8 Mor. eK 8vo xp^^^^^- (TvyKtirdi TOV T€ cil'QJ KUL TOV KilTCO €K TplOJU 6V0 fJ.tU 70JV dl'OJ ei'u^ be Tuv Kara) /; e^ kvo^ fiep TOV civci) CVO de TOJP KClTCi) \\ l:9') Mor. ov yiv^Tai irXtio) ai]- jjLua Tcoi' Terrcipcjop Psolh Km- SvO aTjfjLtLOl^ XP''l^^'^^^ upaet Kal Jciaei Tpia I I liputl Kdi CcirXn pjiiCcL reTpaat, cvu a paten KUi Cvo f^datGL LKiiL IS 1 he t'ljUahLty of ai]ij.ela irodiKd and xp^'^^'^>^ '^"'^ fartiier ooniiruied by thi> [>aralhdi^m. d1io phi'a^o u' to iXax^'o-Tcp ttoBl was added h,y Westphah is unneco^arv, and as rec^ar-ds e\a;^('o-Ta) impjssibK'. I bclifVf ; \i'\ it is certainly most n.uural to sup[)(».* that {la- hisi soiiionco refers primaiilv to tlio hst of fundameinal simph' h-ot. With that understandinL^^ there i< no di!Hi'uU\- in tho hi>t sentenee, and the causal clause before it becomes also ;i natural and rational statcmrn!. Uut we will hrst look ;it two other parai:fra[)hs th:it bt-.ir upon this. (4) ALa(f)epovaL St oi fxei^ore^ irddt^ tu)v eXaTTOvcjov iv T(p avTM yei'ei dycoyrj. eari ht dycoyfj pvOuov Ton> iv ray avT(p X6y(p TToEoji' Kara fieyeO(n 8ta(f)opd, oloi' o rplar^^o^ uifJit^LKO^ [o-T/MfcZo."] avvexoii' [t'z'] iv dpatt kiu diirXdainv iv Oeati \_K:al o i^dar]fios lafiSiKcx; o ayjjjLtla Svo avvt'xfi^i' FnOT, jrrrs, ^^rycLir" feet 141 iv dpcret nai BLirXdaiov iv 06a€L~\. rcjjv yap rpicov rj Biai- peat^ €L<: [ti^J aj]fielov Kal hiirXdaLov yiveraL roiv re e^ o^oLO)^. ovTOi ovv 01 TToSe?, fieyiOei ciXXrjXodv SLa(f)epovT€<;^ yevti Kal rr) SiaLpeaeL roiv ttoSlkcdv aTjpLeccov oi avroL €Lcrtv. (Excer[)Ui Neap. 15, p. 415 Jan.) (5) Toy de Xapif^dveLv rov iroha irXeiO) tcjv 8vo o-rj/jLela rd fd-eyeOr] tojv ttoSojv alrtaTeov. ol yap iXdrrov^ rcov ttoSmv^ eirrrepLX-qiTTov rr) alaOrjcreL to pieyeOo^ e^oj^re?, evavvoTTTol elcn Kal Sid rcav Svo o-qpLeicov • ol Se p^eyaXoc TovvavTLOV ireTTovOaai^ SvairepLXrjTTTOv yap ttj alaOrjaet TO p.eytO()<; e;)(^oi'Tcs\ rrXetovayv SeovTac aTjfjLeLCOv^ oTroi<^ eh TrXeta) /JLepr] SiaiptOtv to tov oXov ttoSo? pieyeOo^ evaovoir- TOTtpov yLvrjTat. Sid Ti Se ov yiveraL TrXeLQ) arjpiela roiv rerrdpcjov oU o ttoiW XP^l"^^^ Kara ttjv avrov SvvafiLV vare- pov ^e/;^^?;crtTa7. (P. 290 Mor.) In (4) the readiuLC d arjp.elov avvexf^^v is practically eert v.uiiii-ii v.i Ini-ili \u- IWrt'!! thf tl'fl l!i llH' ^.tliir ri.f->: T fX.ililp.t'. I lit- ' hlfvJ- i'UiLT) 111 I li»'^i>, a]ii' aii-l one ..f (Iniihlf IciJirth, aiitl thi- >ix iiki'wix' fint,, t\\-,, ajjfiua aiiani.' in ola^^ and in th»* division ot tiit' TrotiKu aiif^itln." \U the >ix-iinird iamhic We art' to undrr>t.t!id pianiarih- -' w _ ._^.__ ,.r .^^.^ _^ ^^ ^, prol,)al»ly .d>o ihr ianihir or irorhaic (h];>od\- w ,^_^ w __ or l^lssal,^' (.'")) fits least easily int<» thi< interpivtal ion. At iirst si^ht the [)hra^in;_^ of i)ir oprnin'_;" .^enteiicf nia\' appear a trille unnatnral ni referenr,- to the fuiKhmienial feet. My hesit \)vri] overcome, howevei', hy two considerations. ( )n the one hand Xn/j.- fSdveii' [uxd alriciTeov. the centers of ditliciriu, need not he pressed tn nu'an anythinL: more than t';^t/i' and atria. On the other hand, h(M'e as elsewhere the lanL^naL^'*' is i^eneral, to applv not onlv to the fnndanient.d h'»'t hut also to tlie avi'Otroi rrodes. the haiLr h'ct t»f sixteen, ei'di- teen, and twenty-tive tinie< i-eftn-i-ed to in (')), In reh'r- enee to those the pliraseolo<_ry is wdiollv ap]n"opriate, and Aristoxenos may well have had these' chiellv in mind in this sentence, though it ripplies to the fundamental h-et as welL The ditriculty, therefore, ceases to he serious and the wlioU' may \x' rendered thus: ''The reason h)r givini:^ the foot more tlian two arifitla lies in the extent of the feet. The lesser feet, whosi' extent is ea^v for the sense to gnisj), are reation that what we call the dipody was the unit. With this addition t*^ the scale the tigures hannoni/.e. A lurthtu- reas(^n for the addition will ap[>ear shortly. l)Ut the eatisal connection (ori) is not so plain and has h'cn considered absurd. Wt^stphal (Khyth., [^p. llo-llT) followed P>aumgart in rejecting it, tinding th<^ only rational ex[danation of the limits of extent for the 1 See Cixyrh Pap., col. H, iiw] Ansti'l (.1, i. 17. Fuul, ICTL'S, •^CYCLIC'' FEET 14 o compoiuid feet in Aristid. (^., ]). 35 Mb. We are there told >inq)ly that the dactylic class stops at the sixteen- timed kolon 6ui to i^acrOevelv 7)fjLd<; rois fxelt^ov^ rod tolov- Tuu yti'ov^ SLaytyvwafctLP pvO/jLois ; that the iambic stops at eighteen times, uvfceri yap rf)? tov tolovtov pvOfiov ({)vaea)^ avTL\afifSap6p,e0a : while the paionic extends to twentv-tive times, /xe';^pi yap roaovrov top tolovtop pvOpLOP TO al(jOi]Ti]pLOP fcaTaXafifScipeL. But is not this in perfect aeconl with the I'sellos fragment, the two supplementing each i)ther? ()ur power to grasp a rhythmical series as an organized whole depends on the chai\ict^u' of its divisions. The simpler those are, the sooner in point of time, when a succession of them meets the sense, do we cease to organize them into a new whole and begin to receive them as a mere unorganized succession. The principle is general; it applies perfectly to the case beh)re us. A unit of two foot-times or arjixela is the very sim[)lest in rhythm ; hence very soon, before six such units are heard, the mind ceases to organize them and group thenn so as to view the series mentally all together (a-vpopcip) as one. I udess, be it added, they are s(» constituted that the mind naturally groups them by twos, and so forms a larger unit than the original one of two a7]/j.€la. ddiat was the case for tlie Greek with the conmion iambic and trr»chaic rhythms. Each alter- nate simplest foot achnitted an irrational syllable, a v.iriation in structtire that of itself made a dipodic grouping; and whether the irrational syllable was there or not, the dipodic grouping was genei^ally made. This larger unit, with four crijfiela, might be repeated to form a series of three ; the mind would still organize them and be conscious of th(^m as a larger whole up to eigh- teen {)rimary times. That this tlieoretical explanation agrees with the ])ractical treatment of sucli series no 10 14C> CILII'TKKS nX <, 111 ILK Mi:!!:!-- oiH' can (L)ul)t: our .uMiti^'ii of the Uiiiilu'' an tliu-^ coiiliniitMl. The (hictvL however, vs'iili only three (jij^tln, could be so t»rL:;a!nzed and unilied t>nl\- to the hunt ^^\ four feet, sixteen [)riniar\' tinu's.^ 'I'he aiiajue^t foH,e,\rd the dactyl in this, in >pite of the fact that tor soUic reason, [>erha[)s nierel\' because of the c. 'Iuhm i aeu with t!ie (h)ui)le ste[) in nlarchinL,^ an.ipa'^tic \ta,^e \\,is counted and named by di[)odies. \ et the an.qKc^ia- tetrameter was a very c«Mnmon L;"rou[), thou^'h telt to be di\'idt.'d into two nu'mljers. Ionic r]i\t!iii!^ naturally Wi're .■subject to like couditious with other> oi liic i.uii])ie cl.i>s, ha\'in'4' the same number ot aijfjuui a^ the iamb-c or trochaic di[)o(ly. The [)aion, with lour ajjfitui. And with arsis cUid thesis in the [H'culiar ratio oi two to three, had a more complex oro;ani/,ation still: il could be extendv'd to live feet or twenty-live tlme-> without laiiure i live feet. {»V) Three other remarks of Aristides (>. must not bst,' overlookeih In the lirst cha[Uer of his section on i-li\thm (p. 32 Mb.) he savs: *' The rh}'thm is ilivided in >pee.'h l)v the syllables, in music by the ratio between ar>i> and thesis, and in bodilv nio\'ement row rt a)()'jiJ.(i(ji kul toU tovtcjov irepaaiv a Cr] kuI arj/J-ela KciXeiTin.' ilis wlnile trt^atment of rhythm is so ])rief that it i> dirHcult t<» say whether the aiUccedeut of a is irt'paaii' or a^tj^^dai kcu Trepaai. or in what [precise sense Trtpnaii' is here em- 1 Ildw we are to explain the ap{>arfnt
  • er.itanrv \>vl\\iii\ tin- ^tatriiifnt anu'!h > I (id not Vft know. In surh a i-as.,- ;>- atKiioy afAaiH' il^f. rh 5' fi" jiK-aru.' a nioiifrn niusirian wiuiM certainly ]tri 'lunj- tin- la^^t t\\i< -_\!i:'J!(- t^ ttaraaint-. !u- \v..ul I r. L::ir'l tht wholf a> of two k'tla. j^nuT. j'/rrs, -rycLK"' feet Ul I'loy.'d. The parallel ex|)ressioii in Aristoxenos is Stai- p//atL TOP )^poi'ov . . . T] fciLn]cri^ (j7]pi6i'oL^ re teal a^^^rj/iaai KUL d TL TOLovTui' axTt KLvr]aew^ fiepo<; (p. 278 Mor.). Here the context indicates that ajj/jLtla^ a)(t']fjLaTa^ and tolovtop Ti ptpos Kii't'jatax: are meant to include all varieties of divi>ioirs in the dance, from tlie smallest unit to the largot, by no means restricting ai]p.tla to the smallest. The next section of Aristidcs begins: Trpcoro^ ^lev ovv ian y^poi'ix; a'TOfio^ Kcil e\a-)(^LaTo^^ 6\ kcil aij/jLelov fcaXel- TUL. Aristides, then, a[)plied the term arjfielop to the TrpMTOs )^p6vo^ [ and he goes on to t'Xplain that this use of ai]ii€luv is analc.gous to tliat in geometry, the 7rpa)T0<; ■)(^p()i'o<:, like tlie ' pouu," being (//u-tp?;?. ovro^; Se 6 a/jiepr]^ /jLoinido^; oioi'tl ^(^(opai' e'^ei • Oecoptlrai yap ev fxev Xe^ei vrepl avWafSr'jP. tV 3t fit'Xei irepl (4)06yyop 7) rrepl ev SidaT-qfia, ti> tt KLin'-jcra acjofiaro^ irepl ev cr-)(^r}fia. Either here is a [Kirtial confusion of tluHight, or else what looks like tliat is merely the result of his brevity. The latter is more pi'obable, anil in that ease the explanation woidd !)e this. Aristides distinctly does not say that this use of ay^elov is borrowed from gt'ometrv, but only that it is analogfons to the use in geometry. His phrase is KaOb kuI ot jLCopeTpai TO rrapci a(f)iaii> a/xept? ai^jxelov Trpoarjyopevaav ; geometers and writers on rhytlnn liave used the same term htr a similar reason. Nor does a/ieprj? necessarily mean indivisible, (U" without parts in the matlieniatical SCUM' : the application of it in that sense to so large a poition of time as the Trpwro? ;)^/3oVo? wotild be very strange. It is nuuidv undivided, treated as one. Otir term for the geometer's ai^fxelov is point, a word of very different associations. It w(yuld l)e rather absurd for lis to ap[>ly this to so long a time-interval as that of a sylla- ble : but of course we mtist not witliout specific warrant connect with tlie arjfielov of the rlivthmici that notion of 148 ciiM''rLU> uS ui:Li:i\ Mirn^p' >i ) ■ > I U ! "^ I 1 i. li i » ■ Tni!lUtt'l!0>> wlil'M! \\ r v-'MhtMl Willi tlif W'^vA \ for tliv (iix'^'k ^\'i iiiictt'r -, ai]^tluv. \\\A \\\va\\} lln' nlirast'S TTtpf (/)^^o'77'H' /; irep) ei> tuiarrifia itU'l irtpi t r o-y^/xa ;iliiil cil'^< 'liitulv \wj:A\\^- lli«' iv>i ndb )!i ot (j?/- /^tiui' ill rhvlhui i«' ihi' pniii.ir\' nni*' alMiic It ih.i^ n.'>truii(iii \va> inlt hd.-il, it i- >tr.tn4>' th.i' wf ti!;li'>\\' that cnjfxtloi' was a.pi'lirtl to the shortest iioU' .ih'iu' or iho ^malK'^l mtt-rval o! ihf M-alc ur thf >h<>rto>t ilaiioo-ti^iii'o aloiua It >roiii> tai' iiior*' prohahh' th;it A ri-^t!'lr> a|'[>lif.l ihi' Irrm to anv U!uli\iloxeno> calh'tl a X7^'^^'''^^ 77ot,LK(k. Su uuderslood, lii- rt'iiiarks hor<- acconl with «air [nvvious n^iilts: ami ill tho Si'iitoiicr lirst (juot^d in this para^^raph iht' aiitooo<]rut i^\ a i^ |irol)al)l\' roU (j;^?;fiar7/ kul to(n rovTcov TTtpj-Ti a> oiif idea. tM jui\-ah'iit to '- the \-ari(»u-; ilaiici'-ti'niK/s with thoir di-iiu'-t 1\' niark«'(l hiuits. Oiu- odu'r I't'iiiark, h^woVia'. (h'o- not >o arconl in its |)rosrnt form. At thi' oikI n\ 1*'. ( [», :;^ f. .Mi'. ) Aristi-h-- explain- the nam*' TraLcov tuiyvio^ for ^ ■- ^^ hv savin;.:: dtdyvLOs fM€i> ovv el^priTiU olov dr/vi'j^ {dv'> yap XP'^l'^'^^ ai]fHU)ts). As it stairls. the hist olnisc tit- no Interpretation .^f an- ixela that I am aeqnaintod with. If w^' as-unio one aij- lielnv for tlie-is antl one for ar-i- ^--and in no ..th-r -en-e does the 'TrrKa)^' liayvin^ eontain two ,.nly ^-^ then everv foot is e(inallv Uyinns and the name hayvios is in no wav distinetive. Tho foot -^ -- may iKM^alled - t w. .-limhe.l" iiatnrallv enon-ii, hut onlv hv virtue of haxini; two eipial h)ni: syllahh- di-po-ed -vnnnetrieally in relation to tlie eeinral >liort, one or eiilae' -ide. SomethiuLT hke that the expLmatory par.aithe-is mu-t oriiriHallv have said: hut what tla- oriirinal woi-fliuLi: was it is vain tu 'juess. rn(n\ ICTUS, -cyrijr- FEET 149 (7) Marlins Viet, eontrihutes aiiotlier slender ray of liirht. hairl}- in his seetion on feet he inserts the sen- ten( e ( {). 4r> K.) : !l7//xfc"Zoz^ aiiteni vetei'es ^(^povop^ id est tempus, lion absuixle dixerunt ex eo, (}nod signa quae- (larn .leeentuuni, (jiiae (Trieei rrpoawhia^ vocant, syllabis ad (K'idaraiidui temptorum spatia super})onnnttir, tinde teniponi siL^nia (ira'(d dixennit. If we take ^poVoi^ as meaning ')(povop iTohtKoiu tliis not c)pdy ai^n'ees witli Aristoxenos hut sup[)lies a more probable explanation than that of Aristides as to how this use of cn]pidov arose. Marks indieatini!' rhvthmie times were no less truly musical in eharaeter than t]io>e whieh we know as accents, indi- eatinix piteli : the name TrpoarpSLai, accentus, n.aturally enoui^li iueludeil both. The praetice of iisin.g such marks <)\^ timi' wlien needed (as in the Seikilos epitaph, Jan., p. \'')'2} led to ealling the times arjixela. Our word 'note' has undergone a similar transfer of meaning. In addition tx) these two [Positive arguments in favor of this undersUiiiding of Aristoxenos's XP^^^^ TroStfcoi, there is, thinlly, a ne<''ative consideration of some value. Idiat understanding of the matter, though it does not of itstdf solve the remaining half of the prol)lem — namely, what were the XP^^^^ ttoSlkol in the compound feet ? — at least introduees no greater dillicidty than other interpreta- tions. Rather it seems to me to point towards a solution. liut sutlieient evidence for a really satisfactory soltition probably does not exist. For tliat and other reasons a more detailed examination of the qtiestion is beyond the scope of this chapter, the object of ^vhich is to obUiin a cdear conception of wiiat the Greeks, and in particular Aristoxenos, understood to constitute the essential nature of the ordinary feet. That appears to me to ])e the basis, or an essential part of the basis, on wdiich must rest our undeivstanding of individual meters, wdiich latter we must loO ( }i\i'T!:i> ^'V <>i:i:}:k mi.tlil niiderstand, if wt^ would truly know \\w (iiXH'k pncfs on till' >itk' of tlirir [H't'iic tonii. Tilt' ik'Xl })()int made ky Arisinxenus in cliiirartrri/.inL^ tku ftH)i is its division into ai'sis audi ihc.^i^, and tlir relation of these to eacdi otluT. Tin- [uiraL^Tapli is (juoted iind diseussed in the [(Veeedin-- eluqtter (p. 110 f. ). I'dirtl^'r, anion"' the TrodiKcil dia(i)f)p(ii\ or nioik-s in which leet ditl'er, the seeons. that of 1 : '2 the iaml)ie, that of 2:o the paionie : and ovt'r airainst the^o three rlassrs as one LTronj), that ot the ratio.nal feet, are set the irrational h-et as another lA'ron}). Also, fra'j;. 11 from Psellos read>< : eart dt kcil iv rr] rov fwOfiov (pvcTci TTOdiKCK Xoyo^ (ilaTTtp cj' ri] Tov r]pfioafj.ei'rji! to avfM(f)(t)i'oi'. The eom[»arison is jn>t, and is one [>hase ot the sam*' faot winrh wa< (•m[>hasi7,cd on an earlier ['ai^n-, that rlnthm and tune arc alike inlia\inir to(k) with fairly sim[>le ratio>. wiiirh a tndned ear can rec(.o-nl/.c and estimate \u the one rast- no less than in the oilier. Two notes orodurv'd kv strini^*^ xikratin^" at the same rati* are in uni>«»n: if the \ikratioii-. a.ro to cack other as one to two, Wf haxT the concord ol thf octave; it as two to tlirct'. Wi' hax'e the concord of the tifth. Tke.->c are the prim.irv and perk'ct coiic-id^, corre>[)ondinL;: to tht^ ratio> kctwccn arsis and thc>i^ in the fundamental rational t\'et. In conara-t with these ratnaial leet th(i indeterminate rat io kct\\crn arsi> and thcvi^ docs imlccil mark a distincti«>n in characier: kut in two important respects the rational and irrational tect kchnii^ toL;'<-tkcr. First, i]-rati'>nal i"eet were cm}'l'ived oidy in connection witk the rational, not formin;^ ky tkeni^cl\a'> irrational meters (which \\'oUid kr -imph' untkx t Innical) kut min«-^led with the r.iiional and -o \a!'\inLr tlu; too rnn'/\ icrrs, -ryr/jc- FEET 151 moiioicnous tlow. It is true we nowliere lind this explile as the description in Aristides Q. (p. 39 Ml). ) ot the u\o7o^ ;^ope2o<) la /jl fS oecBi]^ [U\d rpoxaLoeLdi]^. jS'omenclature [a'okakly varied on this as on so many other points : kut it is in no way inconsistent with the letter or sp)irit of what we have from Aristoxeiios to speadv of irrational iamki, trochees, dactyls, anapa'sts, and so on. In [a-actice mticli confusion and misunder- standing would kc avoided if all wotikl use such terms with care, (»kser\ing strictly the cliaracter of the rational feet among which the irrational ones occur, and never a[>plying the term spondee, e. g., without qualification, to an irrational trochee or iamku.s, or the term dactvl to till' irrati('nal choree of Aristides. The im[»ortaoice of arsis and thesis in tlie Greek theory, the di.stinctncss with which they were felt as constituent and essential portions of the foot, carried witli it important con^eyllakle was to tkem not a foot: while to us, in our music, a whole measure s(^ occupied kv a .Ningle note is as true and normal a measure as any, and this in spite ot the tact that mo(lern nuisicians distinfi"uisli .ir>iv and thesis ni the measure, naming tliem in (ireek ki.^hion .tnd with the (ireid^ names. The (livision is real; kut the de\'elopnient of music independently of verse lias lelt t!iat divi>i(»n in the kacksjcroiuid. while to the Greeks it lonnied in the foreground very large. It explains also w ky the ancients felt no need of w hat a|)pears to tis a yery I. "2 ('J!A:'ri:n< ':i:rrK MrTj:i> Tfiit >iin['iilirali* '11. n 'T m^ "i« !Hf;lll t lilt' Illl'tllOil "t' ^' ' 'liXI'linLT 1!!!'' tiTt cr IlltM--Ul'''> thai r;s<'ii iiit'a-^ui'r Ih'l:;!!!- with a (h >wii-l H-at . Wilhtait that niir inu-ic wniihl In- iiiti .ItTahU' (M.mpht-atc'h 1 hf afli'ptinii mI thai nirthod max hr |.laft'>ii ..f the Arahif lumirraN ha' tlie (irrrk ur Uiaiiaii was an a(l\aiiicr «>f>innhir knuh mihI !imt >o \rv\- luuch Ln'i'aha-, in arithnirtir. lUit t«> the r^ (jrt'*'ks ar-i and thrsis wiTi* no h'^- (listin<-t riititU'S th.m tho f.H.t: th.'V wtTf so far in(lr|Haiih,ait thai within thr foot <'IH' onha" for ihoM- part> was as Lro(»«l a-- tho othrr. If tiu'ivfoi't' a hint' hi-Lran with an !i[»-h.r;it. t!if natiifal th'ar^" >(a'nir(l t<> he to rfLranl that anil th.r l^lhiw- iiiL'' dow n-orat as a foot, and s« ■ (H\ai^. n«> not the (hirkii.-- .'IkI the kiu'ht Uiak.- a r.)iu|.k'tr dav no k'-s than tii-' lii^hl aial tho darl^ia— >' 'I'h.ai tiH> thtU'.' w/tuv (liiTrivncf- ^^\ rih.'> and of tivatnirni iM'tw.'.'ti r]ivthni> tliat lu'LTan with an ar-i- and th.-,' .,1 thi* sanu^ . la-- i)Ut lu-iininnLT wath a ih.-i-. dliOM- dilharn, rs ,k-niairk"l a narnallv M/par e- ik-aapu. -n -f-u-h iliMhiiiS, Hi ,ani-l\' -ullaaia-i . for i' an ak<- difhavi:- t i ' • } \ 1 • ! t I 1 I i o ' 1 ,al , .a :l ! 1 (Mil ani 1 w-a''- a ] ^s '-;t w*' iir* aii!'!. n a' the diUciaauiati-n in th.- d;\iM.ai rp:^ of (^t])' ^^ aU'l t ri-a! niia:! ar*^ I \ hs' ( iivrk - nsa'k' Ui- a^,- < -i ' ii.aii iha": v ■' ' :.-:.>. r.-akkx ana - -ii;. -. \^ a. k uvtS riti ^ * - -n" V ■ iV-an the ancieui iuciiiua. i\ta,- i. a M:a[)ie ex.mip;- :;.■■ paroemiac line as snnrr, in tai ay 77a^y.>Lulii ul iU\ i^i oil iii a pranr.]ipatl'''n- ui-'^T^'ira* >; /--■y. i<"rrs, '^ryrijc'- feet 153 Ry tlie an.'iaiit theory the syllahlcs dt toK T/- are pkiinly an anapaa-t. lUit -jiap is a thesis: by omission of the intta-veniiiLT ai>is, iieedftd to make a complete foot, the [ir.Mfdin^r anapaast is ehange(k The sylhible ?}- becomes a tetrasemi\ in this case not a tto^lko^ xP^^^"^ ^tit avrr}^ tt'js pvO^jLoiTOLLa's l'8io<;, extencUng Ix'yond the hmit of its j'loptT foot, dims arises an abnormal anajiaast w w i_j, (Mniivakait in time to an ionic a minin'e, tliouofh any an-it'iit, whi'tlier inetrictis or rhvthmicus, would luive • allod it simp.lv an anapaast. If now we compare this ptaruliar anapaast, ra? irrro tT;? pvOfMOTroLia^ hLaLpeaeL<^, with T(i Ti]v Tov TToSo? hvvafJLLV (j)vXdaaovTa arjixela. which, as A ri St o\« '11 OS says, SiafJievec caa ovra Kal rep aptOpLcp Kal Tip ueye'Oti, we have tlie dividing line l)etween the nor- mal fundamental feet occurring in the middle of the svUable. All this is intxdlic^ible enouo-h to one wlio is aciuistomcd to the (ireek way of lookiiig at it : but such a person no longer realizes how very confusinir it is to a beginner. ^ ct this is one of the simplest of sucli cases. l>y our mrthod of division into measures the diihcidty \anishtas, antl the line IxM^'omes _ ■ __ _ ! _ ^ w I l_j I d lit' i-haracter of the rhythm is the same, the ear reccaves it a> tht' sauiaa under either method. The residts of addition. multipli(aition, or division of ninnl)ers were tlie '^■tnir inak-r (iivtk or I\oman notation as under the Aiakia. Ikit tin' dilYcrcnce in convenience is great in • ul tlio Aralaia Vet it must in fairness be added ^'Hc nii\- not unreasoiiakiv doubt whether.all thin<"^s 'l*avik -lartm^ as \\>- do with the (ireek termin- iraMitisaaii in'Uhod wa-lj established, the it' nu-tlaHi (d (an- ]n!i-.ir- \\-,ailfl reaih' sim]'lify * ck: were oia-.' <-a in so iix\idiii an.l ■ tu t r* aaq kkr pniet}( a: I Ti I! 154 CHAPTERS ON GREEK METRIC down-beat arises from the fact that this brings before the eye in writing the same relations that are noted by the ear in listening and were marked to the eye by the leader of the chorus in beating time. Using the accent mark on the thesis effects the same result, but there is a gain in bringing to bear on a confusing subject the conceptions and habit already familiar in our musical notation. And yet the necessity of constantly recurring to the ancients and reinterpreting their statements into the new form would furnish a new source of difficulty for liic student, ud that dilhculty should not be nndemited. ^T ' I' +*^r!e, uur fvM object is to understand the ancient too little recognition of the man- est of the system has been \ii> I 1. > -n lici" M ; i i i III' . lU ^iiL'--.'-. H , 1 ' "^! ; i i ' ; i 1 I T ^ I ! I U'J^ r< '< ' 1 1 i' i 1 1 'A i I i i I i i<; t 1 1 1 ! \ t ' ! ! 1 ' ^ . Ai 1 lii^ : 1 1 •^i'< at !• '>vi' t'JTl Uti)'i^ T'lr I, m ■i' I'TUS T(jI'T(jV (■ t Uf^J't] ( I). 'M Ml'. ) li. by ll,K'r yvcopiXof^tJ' to tou fitTijnv elcck re K-nl fit^yeOo^. A]-<> ttoi's can p^erpitcov (jvcrijp.a avWaScov iv aU yvMp(':n^ev m tov pt-puv aC<)< re kul fjLeyeOos. Ht'phaistinii iriv,'< us no (I'liniiinn (d iIk- i^'a, hut oiilv stattuuriits of \\li:it coinhiii;! t i. >!i.s ,.{ -\l],il.i.'S ni;ike up iIm' srvrral ftnU. Th*' saino i- true iA ino>t «*t tin' Latin m.-tricias far as tlieyare t'Xtaiii : hut in Marius Virt. we find ( p. -lo K): Pt'S e^t .•♦•mis inn-hi- sxlla- !)arunu (pio co^noscinius t< >tius nirtri NpiMami, r> i!npo>i- tus ex suo'iat i< ai'* *:-\ p<'-.itiM!u\ h i> oirar Il::!t aal Iim-sh, SO far as tliev iro. aia- hut nrar or roniot," c-h.-cs (il Aris- FOOT, ICTUS, "CYCLIC FEET 155 toxenos; the substance of the definition may not im- probably be still older. It is not too much to say that throughout antiquity all extant definitions of the foot which we can regard as containing any sound principle, over and above a mere enumeration of syllables and times, assume as the essence of the foot one thing, namely, its function of marking and making intelligible the character of the rhythm. On the other hand, no ancient definition says anything explicitly about that which most modern \vriters take as the very basis, namely stress. 1 i xunple. ( lui-t i^aiulrik^, §69): Bei jedem 1 i > od, a I.iki uiun- scheidet man zwei T]aah\ d'-n •^iw^-n. 'Idkiilirh, fh-r mit \'ta>: a! 1^ t''- ^ihnuh' :4.'-pr. m hru ward,, und d^-n schlechuMi hd^! du'ii. t>.-i d»an dio I nhauii (H d\a' Stiuuno lii-i: ;a--t . \h\v- li d,i- /fU \ orhiilinis>, (hi> zwi-chta! don bcidrii d'aktth. d.ai -la 1 1 liudft, hs'sunmit sieli dir Ih'son- dtur iaiL; ai-t isa; I d»'v Fdi>-f<. I-^s di'linii'tui dalicr auch dia Uli\ ihiudvo!-, na'-li d«au I^d'aLTHi. Paris, d, den Fuss ndil : TTois \ny()^ ri^ ecrriv h' )(^p6voi^ KeipLevo^. (diiast i- htu't', as u^uah nearer to the aiadents tliaii many inod- vv\i> arc; vat tiia asscnca of his statement hes in tlie ' Nar-taikta Stinnna * aai a yi^ood * or ^ strong^ ' part of the fiMa, and a rami->ion of stress in pronouneing another P'ail, that is hy canparison 'p(W)r' or ' hglit ' or Mvea.kd In hka niauiu'r \Vest[)hal (Rhytlnnik, p). Id3) : I)a- niit die aiaOijCTK; eine solclie (Tiaippie ahs (ranzes (u-fasst, ist es notliisjj;, (hiss ein einzelnes Zeitmoment dar>alhen Nair dan iihriix(ai dnreli tdiK^ stilrkere Inten- sioiu eiiitan i;'a\vi(ditvoneren letns, hervorq-eliol)en werde. I)ieMU" varhaiht ihr (h-nsidheii Halt, wie (han Worte der \V'. irtaeepiit, und i!i' 1"! t,M,.i in „i !: j'^n .1" : \"u buii:^c ; but 1 Liniik Ul* niiii>tUH' ;> il"ii" in aUiiMuniiij to hiiii thn iisiiallv :tiTrpb4 t'.iil.itl":^. /j;/ua(Tt'i, hri.U^-i's L 'tUS, = M : ' --^ 'riil> \ l*'\v" ali'l iho^c UT'u- aiv 'v r-ui-f | 'rr!. •< ■' :\- applicaiur 111 m.Hii'rii I-Ji^li-ii ami ( i.a-iiian xrr-r. ih-MiLrii e\a-ii laav llu'V aiv [)arlial and havr iXivaUy iiii-aM: but t*> ira!i>i\'r tlaati t'» divuk NaT-f is unw arraiittd and in(»st di-lortiiiLr- Tlaav aia- indrcd several aiK-imt detiiiitit>ii> is\ t'eel thai l:~' > be\a.!id mere eiiuinerali. ai of the .M)ii>liluel!t syllables, but stop -la^H «.! the lull Stiltenient of th.' tunetli'U n\ ieet. 'Ida->e. hke the mih' qUi^ed 1»\- (diri-t, (a'nt<'r in the divi-iuu intn ar-:- an^i thesis, up-beat and (h.wnd)eat, •>uhlali..' cr 'el.'vatio ;vnd '|u.siii.." (»r ' de[>'>sitin/ and a>^unie a reunilar Ih'.it- ini^ cf lini*' bv ninvcinent ^^i the toot, nr >o]ueiinu'> ft the hand 'U' tinLTer. \vhi<-h beatin- of time has t^r its object tla> m.M-urinix off lut^ th.- .■haraen■ri■^tie Iret and kola, hu- ^|)-aker nr li-teu-r ur both, <>f the entire s.-ries of times int.'naled. Hi-m^ deliiuiion> thereh)re dearlv involve, thoiiL^h the\- d.. laa .'xplintly >tatr it, the Ari- toxeiiean view as f tla- fun<'ti<>n of tie- IomI. nm they sav nothin- expli-atlv ah-mt ---d and bad, heavy jiiid Hi^ht, ed and un-liv- above referred t^ (pp. o'2 audi :>".), are ri-ht. So murh must Ik' Lrnintfd. whether one u^oe^ the rr^t of the wiiy wita them or lau. It is impos>.ihle to o.-ape tlie intereuec that in Oreek veixe at h-vt, if not abo in Latin ver>e, eitliiU- there was no r-arular a;;! .-ai< mt variation m FOOT, ICTUS, ''CYCLIC FEET 167 strest> between arsis aud thesis, ur ^ueh \"ari.ui-m wa^ >o sliidit tliat the nvnpl-< w'U'P hnrdlv or not at all etaiseious :i >., .^.-r! !)_: daar \-.a<.- ilie (tivt-ks made nothini^ oi :-vam \arialion. and ^a\<- it no di'-tmet [naes^ in tlieir sei'-nnn- i'l'arti-ii'' ila-ai- r<\ verse. At tiie vmy lo.ist, la^ka;! \\aii<'r< v^i^'e to ao-.-iti in the sense of stress, not {^u\v in m.nhaii \aa--o but m aneieut versi,' and music, \a.>llv L^reaicr [e'Mminenia' than any mudent as>ic^ns to it. Anil even in modern verse and music. uii})rejudiced ex- aminaiion of the numerous lUid manifold eases in wliieii rh\thm is [)erfect without any })ossi])le variation in stress, and others in which a partietilar rhythm preserves its essential character un element than is (hie. The results of psycdiologi- oal ex[)eriments aloiiL^ tliis line nnist be received with two deductioirs. fdrst, as Hennett points out, all the subjects are necessarily persons much accustomed to ih\thms i)( heavv stress and very little accustomed to rh\thms in whitdi stress is nearly or quite lacking. What residts woidd be ol)tained witli ancient Greek subjects we caimot know. It is quite })Ossible they nuL^dit Ik; different, Seci)ndly, starting wdtli the tacit a.->sunq>tion that stress is essential, experimenters have almost conlined their investigation to stress-rhythms, un- conseiouslv ignoring otiier large classes, like the rhythms (d motion api)ealing to the eye alone, or those j)roduced l)v unihtrm continuous sound, like a musical note on a pipe organ, interrupted as l)rieily as possible at regularly varving intervals. These last approa Q,{vAv- t I i t ; t ■ ;- not al\v,i\ -{\. i \ , 1 i ; . i 1' 1 rii\ I l.ii! 1 1 i .'^111 i i *■( JlilitM'L!-- I Wllil 1 lit' Ii'i'iU- ^Tra /fTi'.f ,;]i.| ! 1 I ! if' ;! ! H ■ :« -'its iii--, ,ilp 1 Willi tlir iilnlT (■! ili:l!l. ill ti'I'lll:> t'<:(Jl<. J^J^T!^. ;j(/(JK. <) KilTLO ui" iLKa) y^fXil'!)^, SiUVtTLlL ^jvt^fjLi')^'. ah'l Willi |M'!Vllt (Tr. pi 'I'c H '^ -I n, frrilc, (illil tl.<- 1 r:>l. \\,l> lh:l* . tl' It, Mt i!i^ I mil". Ni ' »'\ I ! lil |ui>>.aL:;v' t/X[ir('---i\' stat-'> tli.:! lli*- t' nf \-ariaia>!i ill siri'>^ ill >pi'akii!'_!; niiHlrni laiiuaia^'fs. can |)r« '{m-i |\' maiiilaiii tla- liix'llini and niakt it (h>tini't t<> onr hfarcrs of lik<* iialtil. with<»nl a similar, twaai llinu._rh >li^'lii .a', cni[»l«»\ naaii '.^i strc^> in rcadiiiLC ancirnl \aa'-(\ 1- ivi^nlarly made -lali a use nf >[!•('<-> is an* >ilit'r (|nr>i inn. An*! tlif latna' nai- rows (Inwn in tlu'St' twn (jur-linn>: 1' ir>t . i- t lid t' an v extant pa->au"t' in which L^^'cal'T sll■cs^ in ihois i< n^'cc^- sarih" inipHcil ? Sccnnijlw is thfrt" fi-nni an\' nihcr ^^>\iv*-y' \i warrant \^*v ;i>sninn!L:; -^liuMilK^ Lj^rcatrr >trcss in thf^i^, c\'v\\ thnu^-h ancient writ diil nnt rcroLrnizt^ it? n, wc nin>t iint cnnhi, while fnr cl; ~^:^a (iret'k nnihini: <'f the st^rt has hcen >hn\\!!. It i- pi'mi- arilv (ireek dial wo are n.wv- enn-id^ainLT. Wdthnut 1 1 i ; I- I i. I •( • 1(1 ^H'ex ii y it (A. .1. ih. 18rKh o t>- 1/ . nt /ifi' t K ( V() attempting to review in deiun tk, n oi Uennettanr! TTe!lf]^c]^^nTl. ii uii; .-ici we Star^ f!-M!:i ;!,-. ^M-uncac-^ <^l iIm^ ! -n vol. \ V. : n. 1 !s^.-. 1:1 n . The piisha-c irnni Aia^n^xmn. (J 17) -.,;},, 3^ ^^gj;,^ X^^'>i•(or GvyKtiTdi. rod rt avco kcu tov .. 1'. !'*'») !•> niisinitaj.reled hy I lendriidvson : A^-'--- 'i'"- ^i"t kerc mean ^f^^^''-^^ irpuiTo^. as was sla.wii ^'^•*"'' q'-^--ii'.). Ari>toxenns dnes not mhnit the ' '^'■^'''^^'J* ;'^" '^"' pyi'J'l'i''' kecaiise the hlai^^ov fxeyeOo^ rrarrtX'Os uv ex^i irvKin^v r'rjv TTOdiKrjv ajjfAaatav. Xolliinrr '••'.n he fMnnd in these wnnls Inwnnd ilie simple slalemen't ^}i;i^ the ahernatinn (d' downd)e.it and upd)ecit, thesis and ar-i>. Within t!ie diaij^oi' fj^ey^Oo^ would be altogether too fre(pient: luaKe h-et of that magnitude are not used. In nihcr w..ietoo small: for such a rhythm ie.t nl the TcTpd(j7]fxov fLt-yeOo^ are a far more eoiiveuienc iniit. l-hxaetly the same thing is true of modern music; it veiy rartdy, to [)roduce a speidal effect, or by way of ^'■^V^'yuiu-ut, a composer has employed | time, the exeei> tinn is nf a sort to prove the soundness of tlie general inle, which ex.dudes 2 Unu., ___n,,t as impossible,1)ut as inennvi-nient and h)rced. Tlie same series of times is ninrenatiimllygnaiped in | or | time, wiiieh are tlierefore iiiiivca.sallv [)rtderred. ddiis is (piite independent of the nature of ictus: an''iii)ett is (pilte right, then, in refusing ^" ^''^' ^^^ ^'^j^ passage nf Aristoxenos ;uy-thing to show that arjidaata im[)iied stress. 1 4 :¥ 1 i \ CHAPTERS -.V ^;T:rrK ^r^'T^irc ll.-xn' ]:--ii^ tiv:ii;n.iU ^'f An>toxeno> > I rMliviliri!;^ ( L C. [M'- -"^^* i'i'-)' '^^i^'' ' ^ • ' ' ^ " ..1 ■•^ FOOr, ICJr^, -ryriir" FEET 101 ( pM. l<)l-r i i ). wlifVt' tli>' iiiailrqinicy oi Wr^tpiLii^ illu>ir;iti«'ii i- [^"iiit.'.l <>iu. Hut ^'Vt-n if it wri.- a-lnni t>*«i tliiit llit' w»)r nf Ari>t'»x.'n<)S .ire to Ik- inul'T-l' •. mI in tlie reslrictt'e!i>'" ^^'llii•ll \Vt'St[>li.il ;ul>ptt'*l. >lill it must Ix' Ixuue iu iniutl that such auihiguou^ rni!!lunati<«us always had a context thai was not aiiihi^-ut>u>. I h-' rhythiuic i-hara«Ucr i-stahUshiMl hy that unanihiL^^uous Context was without iliilicuhy carriftl nvrr t*. an i> equidly true whether ietu> ineluded stre» or not. Xothiu-- is better settled l)y [xveholuL^ieal experirueuts in this tield tliau tlie faet that thr niin.l tends ti) irua-ane a rhythuiieal groupiu-' where none i> ul)jeetivelv [ire-eiit ; and the (diaraeter of the iuia^-inary ..rrouirni-" i> easilv alTeeted by sli^dit suiriri'-tions from acuonipanyini;- lareuni.-tanees. Sinular anibi^nuties are freqtient iu hhi^-lisli yerse, and they are resolved in th-' way desrnbed. One ean ea.-ily lind, in -o prrh'rt a versitier as 'renny>on, plenty of lines in whirh th- rhythm at the b.'u-iunin;^Ms made elear oulv by the e!o>im;- w«u-ds of thi' line. In this ease the reader autom.it ieally looks aht-ad, solv.'S the problem, and usually so puts the stress, in .i'-eor>, au'l leave th.' situation Mib>t.in- tially wlait it w.i-. in (uvck if >tre« w,is pertccilx Icvl. The listener, then, if he be seUMtive to rhvthm, h'.-l- t!ie momentary .unbiLTuitv, but at oure re^.-hv^ it in lueniorv when tiie -uec^-cdiiiL: [n.rtion makes th.it pus^^ible. I h*" to-al -;.cct is ['itM-in^ r.iilirr than otiierwise ; it is <,,!..,. uiial ai!ai"_r"n^ to the eilect in our [)v)lyplionic niii-a- wia-n the mildia' discords are resolved into {)er- f.^a. ci.]ic..id>. J >ee no reason, so far as this passage is (i.nr.'incd, why tills may not have been tlie case in (livrk rhythm. And in thes.' cases of a eo]]siderable succession of sho'.i svll.iblc>, as well as in the ease of the dipodic Uioupinu' of pure trochees or iambi, which Ilendrickson next adduces (1. c., p. 202 f.), one })rinci})le wliich nendrirksoii ow-rlooks must l)y no means ])e left out of vitev. Kxreedingly minuti' v;iriations in length would be as eh'ectivi^ in catising a partiiudar rhythmic grou])ing a^ \ ariation in stress. A (piantitatiye difference of a few- thousandths of a second vvoidd sulhce, and wotdd not in the least intmdere with the sense that the adjacent short syllables were substantially eiiual, and that the ratios appropriate to the particidar rhythms vyere preserved with ,>atishu_'tory precision. And in the onUnary iambic trimeter and trochaic tetrameter there was in fact a marked ipiantitatiye difference of that sort, in that the alt. ■mate foot nught l)e irnitional, and was irmtional in a Lir-v fraction of the cases. Since the common type was a di'podvof one pure and one irrational trochee or iambus, and this dipody in all recitatiye and in much of tlie melic vci-e of this class Wits constantly recumng, tlie ancient re;!dm' <»r listener could not but foiTn unconsciously the habit of expecting it. Tlie dipodic grouping, thus marked, was mentally associated with all iambic and trochaic verst' : dipodi(\s, and even wliole lines, in wliicli the iri-atioiial syllable did not occuir would yet be grouped unco]irolKd»lc that in rendering such dipodies and lines a faint sug'_r.'stion of the iiTationalitv, in other w^ords a 11 i l'^:: rTru''n:i:< ^v creek ^rETRIC >]\ m irn.:: h, ^^': ';!:hlo or iirifiC!"!-!''*!. ^'"^ thf prsM'Css was |'!'a''" i-ai. i V r one »' 1 K • t a 1 n • ! 1 a I a a I i '\ \\ haai -- ! ! 1 1 * M 1 > 1 1 \' ''11 I I : e it. 'I1i>il '' tiuav is 1)111 (Ml-' {•-"■•'■'■■l'- n-ruu!i- m (iiv.-k \.a-r i.aiv ;< none. s.» far as 1 cam sue, thai will hear eiiiu al rxann- A- iv-anls Latin thf -ituatinn a|^|Hairs to nio sr.riip- ^vhal (hlT.'ivnt. N"t that \\iv }»M-.!ti\r rviihai-a' Ii'-H! t!a' graniniarian> is ivahy .my >tr..n-rr; h.r nnthin-.i'l- du.-t"! i)V Hendricks.. n appears to na.' tully eonvinruaa; i;V itst'lf. All the writers on nietrir were so stnaii^ly un-h-r the inthuara' ni the (ireek theory that we (aiiniot rx|u-t to thai in ihiati any vitaw th.it w.i> not- iV.nnd in th.ar ovii;-iiiahs or nioduls, anythin;^^ due wholly to !ir.-^tdaind oh.-vrvaiion of Latin >in'rv\i. Lait if the wor-l-.i- 'Tnt, thouudi niainlv a piteli-aiaaaii, eontained al>o a diM ni-t strt— elrnueit, thm tla' K.anans wa-ia a^aaivtonird \\\ dailv -ptaMdi to rt"_:ular varia.lion in >tr.'<^, to siiu'htly iniava-ed stn^ss on (anlain tixril -vllaMr^. '1 hi- vari.i- tii.n in >ir.a-s was <-ertainly not -o o-ivat as to prf\fnt. or render unnatural, tlie adoption of tiie (piantiialiw prin- ^.[u\^. as thf hasis uf versiticat ion anion;^ tla- cuhivattMl (dasMas, |H)W.arfully intlueiKcd a> thuy wviv l.\ (.nadv letters. Conipartal with Lnudi-h. tla- Latin strr-s was fairlv to herallfd levrl ; evt-rv -vil.d.li' wa- rh^arlv enun- laat/al: the rhvt hini/.inu^ inipu^r r.»nld a}.parfntlv have de.dt ^vlth the lan-uairr pnuty sai>hirtorily on tather ha-is. so n^atrlv were the iti\c faatoi' in prtuinnciation of verse as \\sai a- pio-f. \]\ laUL^li-l!. ( lernian, and Italian tlie \\a ad-arr.ait, >ironu'ly >tr«asst'd in the tirst two, less st!oh^:\ in t!a* la^t. is the more prominent in versiliea- tion : hut ([uaiUtity, which is simply time of proniineia- tion, i^ not iharehx' (diminatvd from the vei'se, and eaniiot he wholly disroL^^ardial ])y the }toet or his reader, thouu'h it i^ in LTeiieral suhordinatial. To say, as Dennett (hu's ( A.d. ih, \i)h XX, [). 41 o), that Latin verse could not he hoth (piantitati\ e and aeeentiial, that a line could not be fcdi simullaiieouslv as \^ w \j w i and a s X X I ' X X X X i ' X X ; ' X, is ( learlv erroneous. Flndinof no ditlictdtv mvself in so renderini; and feeling it, and in teaehing pu})ils to render it so, I see no ditlitudty in supposing that a Koman eould do the same. Still fartlier, there is no im- possibility or intrinsic improbability, so far as I can see, in the su{)p()sition of a rhythm distinctly and primarily (plant itative, accompanied by a slight stress on tlie down-biait, and yet containing a small number of slightly stressed word-accents in arsis, in a certain degree of con- tliet w ith the regular ictus. I say conflict, not shrink- ing from the stronger form of expression: but a better phrase would be, alonixside of vet not interfering with the ictus. There are plenty of illustrations of this in English verse; 1)ut these can be cited convincingrlv only with the living voice, for the argument rests wholly on 1^: CHAPTERS OX /-^ 7 ) T- r ■ ' f J ' 'VI''- "^ f^ F0< y<.:li(-' feet m ■y the liLtin!'-:' *'f i-'-ii^ !'•'::. J t'A " in Lat :;; \^.i- i -rrt a! : i ! ^ !j"ir^ \a'r>i lira ; 1. MI .>Uirr\\i 11 10 y ^\l ! f ^ I n a ! V • ' \ f ' - iiili pl'-a-Hi:: all' i liat u:'al ; 1)111 Hi all ['rr;.Hl<, !"]■(,: IMaiilii^ .1 (l'»\S'!u lla i' an; '" ^■'^•' ^'h s^'iiia eoiitliat, if Hi r!i\ I liniiiMlix- apptaar In iai\'' TiiictTtuin or l'^> ctariaau camihinati' in- ifit- \\a>]-(l-ai'ia'iii was t'H) iiiu-h rail <»!' a;_rrt'»'iuf!il u'ilh iIm' rhythmi'' In-als. Tilt' preeist' (lr'_f!v.- in whidi that h-talinL;' intlufnta'ti {-nii- scioiislv tilt' wr^a'-n tn-t ru('ii< III nia\' hr ant'ars to Ka hcvoud ipaa^tion. In (ii'cak ol Ua' (ala>si- cal a'4«' thfi'i' is no iraia' <*f >U('!i a h'tahn'^;:: the cvidfiirr for it in Calullu-^ and llora-aa aa wall a< in IManins, i.> \vv\ stroni^. Ill t!a' i;.:!:l of ijiis it is r.aisonaMf !'• LTive ni'ti't' ws'iL^-ht, as raL!"ard< Latin, lo ganrral c'Mn>idrralion> drawn, from nanh/rn rX{Ma im-anis. ddii> nin:-i l)f madt' a'raivr l-y fxampa's. In that-i- inciar of d'ta't'iiar di-xai^-^^'d 1 aa ( 'a'->ius I»a>^u>(p. K.; st-r IKai'driak>on, 1. ta. p. ->'^j, ^ S'linf fXaaiiilr* "f what I rat-an art- Til biaa: ^^ a ;. a- aU ^ 'he mos> i fntaut arr» - ^ /v'. "v ) ) . ) . > Hut kis^'^l it r' ■' '- . ■. t TlUTi" i * <^ . ' ' !a!i-ir la - i a ai -r ■•,'■ s' m a--' :iai i , • ^ . *a y f )' -a; rar t"-a'-^. ifo < 'r iiiijh t-a. • ■ '•s^ ' '( >.',., \\ :i • , ■ '-^ . ' . ' air f;ithrr'> kina^l'an. a '■:•,-, y.- Tht' s^Vfttt^t har ■ '-r. a , ' •" a; ('ataaa. Louks oia »• aaa ■irivr- ''seichere, ara! h-av, - it'- la,-t ra:j^' -v. (^vvT thi ' '^vA'^ uraaiaa wav. {M. Ar\ .i,) ( )!' >-.air>r a: :- i.^-- 'Mr tn ^:u- that th»'«t ar.- ha I '[\> th it or't' (am ani V rriM» , a hkrlv th'it thf '-'arct'T i>- a f^- tl<-r in^l^-v, in a niatti-r >f ver>;a;n!ia than n..,'fv u!;,, urn- '■m "w, htraiiic ; aiai fi susful in thr practiac . f :":...• art a- ta i-i- iju^a* i ' At -uw raa, thrV .!eaTn(--'l -a-'h .- aa^anat ;-a- -f :• ta- an i aarrnl h-aaaaatf. and ti;r t•xatn]al■^ ill^^t^atv my puint. laX;-ln-ii. \^'\'H'A{. riMlram : ntin, si me oljsecret, evaiw \\ atid-af-'aait aia'iaidav with a down-heat. Now the phra-iMlM^y of lia>-us doas na*i of itstdf, to niy mind, lUM cvsarily mran naerc than that beating time keeps one '•la, Illy in the iamhie movement (the line was not isolated, lail -t<»od with other senarii ), so that the '' h)nix *' svUabks \\\ ar.Nis were unhesitatingly made irrational and the line was frit ti) he a senarius and not daetylie. I>ut we can- not suppose that the slightly greater stress whieh wotild in [)roN.a aecomptany the word-aecent was wholly elimin- ah's upon lla' other would tend to strengthen the mclinaiitai already pa\>ent : that is, the more forcil)le down-heat of the hioi. with the sound Ctf the Wow, W(>uld tendj t(» increase the inclination to pron.ounce with more force the acaaaited sylkdde that acta >m})anied the blow. And this jtartiiailar line is merely t)ne very good illus- tration of a rather caimmon phenomenon, et)mmon enou'di to show the tendtaicv referred to above, to make atacnt and ictus hdl on tht,^ same syUable, in phices wluM-e otherwase the rhvthm wiuild not be sutlieientlv clear. A notable case is furnishetl by Horace, Carm. Ill rj, in whicli ru) woitl-accent is allowed to fall elsewdiere tlian on oiu^ of the three Inwls of the ionic foot. Of course, as icnirds the actaaited longs, that is inevitable a!!d <»f no siuniilicance : but in the cast^ of the two shorts it is otherwise. Antl tlaaigh in the sixteen lines of the ptnaii thtu-e are tw'tuuy-one instances tif an accented short p-^nult e.r aiitepHanult, in every instance that accented sfiort syllable is the h)rmer of the pair wliich the meter re(pures, never the latter. It is hard to see any reason whv lloraaae ne\er matie that i-air (a)risist of the final I'U.; rns o.\ I . ;\ ML 1 IlI'^ ;l,,,,'t rtf r.]]!' wnvfl aipi 'iif* ii'""! i ^ ( i i H' ' f I ^ hii: i ! I 1 . SI un:'*-^ 1. 'Aa^ a >it'-i,(' i' iit.Tt'iil d iir.[> raiiu': t Il^II ,i inh'ilMi; 'r t»' U.t' iM-rrr; .Ih i;. U . !■ 'W <■ ( >r :\ I!.- -.';,' . i i ' .or I SUcli a iclNV U;- In tin* Vi'VV iirM 'mIv, l"i>r r\a:ii[ut\ al-^' o iMaiiiaiL^ >ix- Ivvii liiK'>, t»ul \Mlii '>ll^ luniu-t.Mir [.air- .a >li..il >\i- lal)K*> a^ain>i f.-riy f^i-^ ni III 1 -. ii.'af ,i:«- \\i]i>i i!i_^ ; aa ur.^ Hi iLr l'-r-a,a- '^a 11'', a: :-ii): as TTf^i'U''^' 111 1 _:, ' a Horace .a-- : ^-^i. In 0-M. Tyr. 1-:^ l:»*a fm- ax:>mple, one strophe only, and excluding some eases that one might question, there are thirteen pairs of short syllables in which the former is unaccented and the latter accented. The conclusion is at present for me unavoidable tliat in Latin the thesis was usually accompanied by a slight stress, which fell, if the thesis consisted of two short syllables, on the former of the pair. The stress was not so strong but that WTiters on metric could easily over- look it or treat it as of no importance, since rhythm is wholly a matter of time, and stress is merely one means, to them of minor value, though to us the most impor- tant, of indicating the grouping of times. In some com- binations the stress was not felt at all ; even in English it is not always present on every foot, as may be readily discerned by a careful and unprejudiced reader. In plain and well-known meters the Latin poet could allow a good many word-accents, very shghtly stressed, to fall elsewhere than in thesis, without disturbing the strong 1 Catullus 63 furnishes a more complicated and very interesting illustration of the tendency, as I hope to show in a paper to be pub- lished not long hence. u ■}V7Jr- FEET lt> > j I J I . I i i ; i t 1 t 1 1 i '. I ■> rt aa! i;!iai a ais n^w : Isa: in more ao]!i[ilox or less familiar I lu shuii such disag^reements, ui: it J s a Si iLi'ia (H' adi 1 1 i t Un'Ili (. aUliull^iV Jt IS triia thai if we had no oilier evidence for stress in ila/ \sor!l-av-'('nt, this \sauild be reasoning in a circle; hilt >iin'a r.ani'araiiv.' phi]<>lonry brings excellent testi- naai\ I'^r liail fmrn (|uite another iiehh^ the above cnn- v\\\^\'^v\ rcallv rc-^is nc another, anal torn mi iT maail . l! 1 rt , 1 ,irtl tc) ( irccl: vcr^-e of c\aihaict C ( ■ t li-LiniL i\ •, 1 1 ai i irco ja •!a- inllnoncc ol ,)\\c ' a , -t -^.a -'1 Ha ilcrivud iruni niodciu muscles v^'(^'.\ aa-::iVKe fcal huaTdveiV Ta^ dpfJiovLa^^ ovhev ecTTi Trapa/ceLp^evov. ov hr) htdcTTacn^ aLcr- Otjttj^ fjLT] hLTjpTr]p.€vcov Tcbv Xe^ecov^ dXXd avvoXiaOaLVovcnv 170 CHAPTERS ON GREEK METRIC aWrjXaL^; /cal avyKaTaepovTaL^ koI rpoirov rivh fiia If d-rraaoiv ylverai hia rrjv rSyv dpfiovtcov dtcpi/Secav, o Be fidXiara Tcav dWcov Oavfid^eLV d^LOv, pvd^o^ ovBeU tcov fiafcpcjv, ot (pvacv exovcn TrliTTeiv eU fierpov r}p(pov^ ovre (TTTOvBelo^, oijre /SaKX^lo^^ iyKaTa/MefMLKrai rw (Jrix^, irXrjp iirl tt)? reXevTr]^ ' ol Be dWoL irdvre^ elal BuktuXol^ Kat ovTOL ye 7rapaBeBcQ}yiJL€va<; exovre^ ra? dX6yov<:, coare firj TToXv BLa(f)6p€LV evLOV^ TCOV Tpo^a/o)!/. ovBev Bt) TO dmi- irpcLTTov iartv^ evrpoxov fcal irepK^epr) ical /caTappeovaav elvai Tr)V (f>pdaLV, i/c tolovtcou <7vyKeKpoTr]fi€VJ]V pvO(xo)V. Though long, these passages should be before the reader without abbreviation, that he may see the full bearing of some expressions tliiit liave not been duly regarded. The word kv/cXov in the former extract, for which G. Hermann, and before him Upton, conjectured Kv/cXcop, first suggested and alone supports the name cyclic in this appUcation. W stphal (Ilhythmik, pp. 49-53, and Metrik, pp. 15- •2 ) cites the passiiges and applies them to the declama- tion of the rhapsodes. Accordingly he sees in them a strong pnn formation of his theory of a radical distinction between verse that was spoken and verse that was sung. li. Hi poems were recited, not sunij:. Dionysios > lyssey the Irih. ^^,^f -'^-\ :1 LiitJ -■( V "'/"'. ■^linrt^M' thnn ;, \\i,'i\' W. -A ii 1 V'' • "^ i , i. ; ! 1 I , i ' • r ( I ! 1 1 1 i ; I ■ ' ■ ' i ■ i ! i ^ - "" ^ ! 1 ; • ' ' ' liiiirh 111 .liiiMi 1 Ui I rnni 1 r. '■ aiifiriU I l''->r npt I \'t' rpnh**! t^'r np'-'* r.ip.'i. in-'' •innh-'i-ur- alslr, and \"a!^iaMt' '>. a^ 1 ),- ai\-;^ »- !. s^ piv- vi< 'ii>lv ritt'il .Vri>t^ >\>'ra >--, aii'i .'M'-^ [ii'aapa:-' (^1 th'*/a'f- utK'iL \)\' nanaa an t!,i- -a^ ii;!;,- !■> i la' pvt ixLKUi^ U sta'iii> lh)i uiira> /laii ac t^ ^41'""' '''' FOOT, ICTUS, ''CYCLIC" FEET 171 authority here also is no other than Aristoxenos. This chain of reasoning is clearly one that merits respectful treatment. The main grounds for assuming a radical distinction between sung and spoken verse have been examined above (chap, iv) and found fallacious ; but what if these passages prove, or assume as settled, a like distinction ? Dionysios is himself a good authority ; if he really says what is attributed to him, and if besides he is following Aristoxenos, the facts must not be blinked. However, to take the last point first, there is no proof whatever, at the utmost only a possibility, which may become a probiibihty if the doctrine is found reasonable and not inconsistent with his known teaching, that Aris- toxenos is in this case the source. There were certainly other pvO/jLLKOL; we have seen, for example (i • 1- i.j, ihai the time-scale of consonant, short vuwel, long vowpI. cited from the pvOfjufcoi as a rule of universal a| i li^ ni aa cannot have been taugli! in t!i,n f^i ni la A!i>n.Xiai^)>. ha- cause a mind so keen ; ! s, i i ;i patent inconsistency o prill! pies of his rli\t guage. And i!i ili dosia a a ii a i .ai. i s-l '■■n \\'i»aia ( 'alt' waih tla^ -x'-Iaaa a^ ai t ' X , ' I ni'ianaaii 'il'Mi In lal!' r i V I • 1 ■-. I ) naaai' .\r\>[\)\f\u >> ocriir> a 11, in cMinHMiioii with tla^ -^ihaatii'a! nj ss'iHi'ls, Tia- l)ri(l''*'(^ of ^I'-nhva- aaal >hp[i(a'y tVoni so (Hstaiit a lataiiaai i\\ Avi^{>>\i-] a i s 1 nalcr I In* spiaalic title of (> ij.hi'(7iK(k. tiaac tanpilt t\ t'fh to th(3 coiiciiisii Jti tliat the ,U''''i''i-il ttaiii f)i fjvO/jLiKOL ill 17, aiiiiil the discaassioii of iinMihrr lopaa maans tlie saana man. 'Vu'iiii in the passauT' from 17 thiva p(»iiits are to be ^!"ttal. I'ir^i,tha term kvkXoi^ is not a})[i]ie(l to tlie '^'i< *}'^- ^*'^* ''* -^ variety of the anapa'st. wlheh Dionvsios >'*) " ^'i'"'-'* I'liytlinnei separate from strict anapiusts. That 17-J r-TT i r-Tr^ i-.\r r:i'j.-j Mi.mc d.r U \i' '{ Il< st il; 1 [■ I !"Ui 1 1 1 ! i ; :< I M^>.iL{< * U i' 'i i' ' id Ll ' t I i fl>r\vhrre anv iiiir 111,. I it • ; I ' tlain i "lit' !'la^> « ?! ell Ilt-r da^-U i> < a A ri->lt iXt'ia »s k in 'Xn < a • aiia['a--I -. Srr* 'li.i 'W thr ana[>a*r>l-> (|Ui>ttMl lu iihi-irali! 'ii can hanllx- in- !v< u.i- tivt*, if ihv I'.inii yaL> i> riLTiit. What warraiii liatr.l liiat reading, f-T a»;i!ain;^ liial l!a-M- aiiaj>a'-t,s wanv net i!it-li<'? Ami Dmiix-io I'Mdmily i\'^ar(l*Ml tlnan as [•arailcl t<' tlif tlartvl> undrr •!i>(ai»aMi {ai'TiaTpo6-n> Tiva touto^ ^vvu<)v) in rxrrv [sari n-uiar --ax t* tilt' oi'tltT ()!' aisis ami ilit'>i>. Thi^d'K-. im^ 1..,,!^ hkf a >liarp >r[)araUi'n iKlwtaai >\\\\'X 'ii-d >}>'ikta! \t'r>t'. TliirJh', \H'lial dne^ toutoi/ roi) 7r^;rrK m liu' liiir h-ll-'W- iiiL^ ill*' la-xaiia.'U'r wiyv b* ? rnla-s a LKaina 1 h* a»;!i!!f*l, ;i railif!' \a-i<-!il a^-uinpl ioii, ihr |.liraM' !au>t Miiij i\ i-- slUHf lla- (UTo:"' pl>i Itrlta't' ill-' 1 irXalia'taT, th.- 7a ju>r h,.-u;-- ihal, alid llif cc/^tiA-w t w ( • Inirs ra: -^ , f ' — , / * wiiii'li iia:a ■•lialrh- !Mil<.\\> lla' phra-f <'t (Ic-iiijn-n. Al>i), iht' ijai'iaii'iii I:- i!!i 1 m] ncftl t'\['hiatly as an lA.r:;- pK> t)f tka ika ;\"U w ilkoNt (|i!alincati":i ~ \\u' nnhnaiN' (lactvl, Willi iM. hnit li.i: iIut.' i- ;;n\- Mi!:rr km-l "t a lact\L If il i> nirani a^> an v\M\\\nx: ul M-na' n;;!.- anial f|-ara:> !\' V UiMny-i-'N 1^ line muni- 1 1 . ■ t ' , ■ 1 , : 1 ' , ral in" aiii I 1 Mi' ai \ 1 h'-^i l i ^ u ! II;.' ( >nn!;,ir\' h'l'i, laa I ! 1 1 i ^ i 1 J 1 L. ail t h!vp siliad arcMiilin^ t'> tia' luiinh-a <•! -Aiiaia- (liN\ilalui,% liirn ikf tri-\ il ilua. l-'.'fi sxUa!);!'- lu* ^Ih-v n.-; manaann-. *'XI ■iv<-!\' sa\an:^ thai \\v iTL^ard- !:i«aa a> ciJinj.t lunn- d -M i n>/-r iWfU-f ^nap;!* la-'l, oi Tj'i)7 a ATaTc^MtfTpaia'TtV 'i"~d(7iv fuuerpnr .t kus .\: '' true liiat iii* 1- aaaiii'-i'jx 1 • i i ! i U M , ..-; ,,.,,' K- 1)]! ♦ ♦ ' i (■ ■ \ " FEET ITS *'Xia" • n-il ^!i^^^'- iiu L:^>ania;: .{inritaji N (aaaiiv thai lu.' i'e(a»rrnizes kfiWi'rn th,. fiH't a(:'(a>r^c < a \aaN,', 'fhc diifereiica' between \''"--<- and \ar^ia rhyt hnnnally, residls wholly from tlic \xav m which indivichial fnt-t are (a)iiihined in one and th-a oihta-. A< ilhisirations therefore of the feet on ^vhiah pr<»sr rhyilini dejjeiids he L^ives examples from ver>e. nuMely heeansi- in them sever.il of a kind oeeiir teirether. And tlie closing sentence of the elia})ter is, Kill TTtpl fXtV TOVTiOV [j. C., TToho)V~\ OVK ol8' OTL Set TtXc l(D Xtyav. In other words, lie lias enumerated and de- scribed all the h'ct of verse, as well as of j)rose. Wliere i^ the full h)nr-timcd dactvl? Eitlier it is strancndv oniiticd, or Dionysios su|>posed it to be in tlie liexameter (jU< >:e(l. Ai^^un, the a\o70s wliicli the rhytlimici saw in these (]aet\ i< i< unlike tJic aXoyoi: of Aristoxenos, so far as thai is knoun f n >m his pretty full and minute d<\scrii)tion ot it examined above (p. 110 IT.), in one parti(udar. His irrational syllable is always in ;irsis ; tliis of the rhythniici is a tlicsis. Th*^ diiTerence is imj)ortant and siu'riilicant. Idic irrational arsis oectirs freqtientlv in iambic and trochaie meters, is found in the yevo^ 7)/jll6\lov, apjKii'cntly also amonrr foii]--timed feet in some circnm- siaut r-^. brit it^ usaLTo is strictly limited; and when every thesis ivniaiii^ rati^'nal, the pi^ecisi^ fundamental ratios aae never so tar hidden or so widely departed from Imt that tJH' whole is felt to be rhytlimieal. To extend irratiMnahty to the thi'sis, however, is alonj^^step towards the unrhythmical. In some way tlie th(\sis, wdiether by stress upnn it, or by th(^ faot that it was in some meters alw a\ < a lonL: svllable. wliilf in the otliers lonir svllables ^^ere there far less often rej)lac(Ml by shorts than in tlie arsis, oi for some farther reason not vet ascertained — 171 rinPTERS ON GREEK METRIC I . ' M' ];,. L- ;- vas certainly somehow felt to 1>' the more iiinent and more fixed portion of the foot. The series ,':rci< w I- ii ;iic whole rhytlimic design a soil uf . I! ' li. 1 ii;'!i^ I ittern 1h ^^ide and alonc^ which r 1 ; a i 1 > lp..t t ,y / r 1 > . .,{". l 'T'-'S i'.L'/ I !u' 'i« ■' ■• 1 1 variat i- »i! t r* on 1 in' iv >v\i i:i it' t tt rii\ I liiii;-' rai i' » i:- i-'i i Irnin ,111 ari'iiiiit'tif'al [mv. i-;-!! iL.u w ;tiid rt'iM-Ut-nt, l>'il ii ::< i-t(7t;v ai ralluT is it [^rohabU' thai lt'^> cl'Mr-lKM'lr I f*«ll.i\v(M'- nf Ari>tt)Xtii( •>, l)r!ii'4a!i'.^^ niitltT In-- (iH-inih' (•! uXoyni^ wiifiT 1h' had no! [»Lii'.'.l i:. a } 'iiiaiMmiiK >n that \\a' ha\t' lU'Xt to ciJiisiih'T. t'Xit'!! h-l ill- it-riii ni a wa \- that he wuuld imt havr aj'iu'i '\ fh I hi-> {iha->f <>! liic (I'Mirm.- .if aXoyui t mif-^r.t a- \^h^■h makes a!i\' aiul i-y>'V\' mux .nam •■(jiial ni tiiia' !■» ('iic !;:s:i a short vowch ( )ii\ aai-'x- r\fii m ihf-<' in^ahiai !\ rajad hexameters thai xaiU' woulil m^l i>nl\ il-^iroy rhxihin, l)iit would pr<'\,' them t^t ho reahU" ratlier >htw. lea' 'An) imnos>ihihil \' *»! praa-t ir;i] a|'|thfa.i a in (*1 lin' «m;-- to conerete riiNthm^, and nift ai^i^trntA" \v\[\i Mihrr j>ia facts, \\a'i""hrd hith' wath the a^Ua "-.it,.., sij \\ir sr.i\<' m\ n ULCidnst >o pnat\" an apparent thai M > ] 1 -.! eo 1 . a 1 .^ t i So in this ra-f. >e''niLi" \i\ t hf<'' and hkc \ ta'~-»'^ a rc,s [litYe! 'enet,' CMim[)a]a'(i in I art.' elii'. 1 1 \K 1 1 ra|>idit\' <>!' lU'-xaautait NNlaai ^^luih.ai, as ■amo iaa>^ hat '•! wuii tanrr \t'r>e^ m tne 'ailL*" ei eh >!',i* r ai i ^t elrmta!! ■>-. -^1 ! t i\'t nnn- (ai^'-li t" i 't ii !( iwri ! \)V i a iita"^. f \- (aans, prnmnitait en tended the prinripu' <,! aXnyia to (•n\a-r tla- ph^ar aiaaa an Hut the r^od rxphmat in the >eei aid rxt ra.«'t. a ai 11 d t la' mat nu' I hi )n\>a is Ln^'fS n ei'ii a- airl I'hri . aa- e WO'^ K li\a attsu' naani-aiin; 1 virw that iii'avS eian : i-epH-ateo phiiisible in il>ell Ijui dr>es iu>i expuini tlie lael^ (^uilu FOOT, ICI it: satisfactorily, de Liien Icavus Ua- ihe.a-y ni ih.- ha-k-a". -aia 1 rur! hua-]]^ -afher on tlie lx.\^, Thi. \,,. <1.m-n here. \\i contrast w\[\'. ih- |av,-..aiis- nne>, wham he has ju>t analyzfU an i -!i..\\n tu ha:m'anzt' in phnnriic structure Willi liie^aea .um} lahMiv*! actiiai there |>nrtrave(h in this line [, tnr wuid^ arr Inw^vv — no luouo- ^>dahi,-, tWM dr>\n.Jm'>, the rest nf three and four ^}dahir:>. '1 he lewiU' luccdvs helweeu Woi'ds there are, ^''•'/'■^''^'n^"i^^!-'^'^' sei)aration. Secondly, uf the seventeen syllahles ten are short. And of the seven h)ni^r syllal)les not .aie ^ --iax( ept the last — cmtains more elements than ai- needlul to make it pass for lonur and at the same ^/''"' '^^"^'^ hiatus : that is, no long vowel or diplitliong is ^"^^"''*'^ ^'>' ^'^"'■•' ^J^au one consonant: two consonants ynahaa Again, as l>etween words, there is no hiatus, n.. >^.nn-\owrl (,r mute meets a send-vowel, there is no ^■'''■^"'i'-;^' P'HJ^'' and no elisii''nysiosbutasmall part. The other items •^^■- enough without It. It is also clear that Dimiysios '^"'■^J'"^ ivgirdeven these irr^itional dactyls as three-thned ^^'■i''lv; th.' nearest approach to that view is in the n'uiark that some are not much longer than trochees. hdit that implifs that even the briefest are somewhat ITu CHAPTERS ON GLEhK ;//:7. 'C I'lV. ]. llOCliCU::;. ! ■ I ; .' ! a.i<'t\i. 11 M 'i I s I lino. X077' -p<>< ^V\\/;\oL's awrorTtW rafn'. nlni' tuTrXacnni't, ijULoXio^ K(U T'U ruinvioK (X070S yap ojTi cw, fitytOon> op.oUov /} 7ry(K (^W^/Xa ax^^' cipp^^ P-f^'^' (jLtTHiXrjipoTis. rovrasi' ce ot fj.ti> (jTpnyyvXoi KuXnui'Tiii 0/ fxaXXop rov Ceoz'T'W t-r^T/^( T^orrtN, o'i Ci TTtpiVXt-.' o'i TrXon' i) ttl t\]V t-^pahuT^^Ta din auvi'trroi' (f)(h)yycov TTOLovpLtVin . en tmi' ;^poVfi)2' o't fiti> ciirXoi. '-i f-t rroWiiTrXdu o't tcai iroSiK'n Ka\(tin'Tai. (V. ao\. Mi>. ) {'2) "EtL T6>I' pvO pL^)V ')[ fU.tl' T(( ^I'Tt^KU' Tr')lOl'^-:Vnl T(K ayroya^ t^epuoi re elai Kcit FpnaTJiptoi. di d r'^pdCmK kh ui'a3e3X7]ueras avttfievoi rt kcu r]CTVX'mTiK()i ■ tTi Ck 0/ Mti' arpoyyvXoi k.il eiTLTpDX^n rrc^otpoL Tt khi (jvvtdTpa^.- fjLtivul Kill ti< Til^ 77pd^t!< -TrapaKXr/TlK'ji <>i (\ 77t pi — XiJi) TO)i' (tjt^oyya)!' -r?;i' avi'tKaiv t';^orTt> vt-ku Tf ti^i kil 7rXiiCap(OTtpou '•'.'' Ct utcm KtKpa^evot rt tf iiiJ.if)'iir Kai (jvuu^TpOi Ti]v KaTii'TTaaii'. (W '.*^:!:r«-^ an*! tli*'--' fr,,;;i I)iiin\-sins bus 0} (■i)iii>rr\ r. l itii: xi-'W- luixr .litT.'iV'l as t(! what cnTipliisirnm niv I-- 1n' dvAWU i . < ' i J . ..Hi 1 hf -r 111a i It 1 1 Mi. t 1 ;i> ip. a'll irnlii \V!il''J. 'a;.- :q "I a'; las ' i i'"- ;!:»' ' i at '■-',■ '!1. 11 i Wf niav a^^uiia- laa tli:i' •!.»' W\\^>\r huuV \ur\v\\u- Was 1 ! 1 1 ■ ! a a ^. ■1 ■' " ? ii'-arlv a.i. -r i u s ' iaii 111' aH' ai'^ ptiiiit, with , aiiil Ianaai.a-„:\' a i i\! ''A^ i: ■t.a'taaiK \" < a* 1 In aw<'UU(j- FO^ r.\ •• r'yrrjr- FEET 1« i liuii- I'l ia-a. .aa laita'prt'tatioii in this taisc will be oi OTK^ s.'iT't. !l', howt'Vta, (lilTereiit wi'iters diil'eivd consid- araiay in liaar ha lain. floury, even in some rather impor- tant niatnas, a.nd ileseri!)ed the same phenomena not ini'riMphaitlx- al'n*r dilTerent fashions, then our procedure >lii'ul^l be of anoihrr sort. Tliat the latter su|)i)osition IS tilt' tni<' iaia >eeiiis to me beyond (piestion. We have tiitactoie in siuh eases to look always l)eneatli the termi- nol(.;^ry aiid t'xamin.a the i)hen(Mnena themselves. Tliat refpiires in this ease close attention to pliraseohagy and to .^taiteiiee-strueture, as well as to eontext. PassaL^e (1 ) is part of the very briet division of boolv I, 1 (('panning with chapter lo, that is devoted to rhythm. Chapter 14 Kleins with tlie definition of Trpwro? XP^^^^ ((H>>aissed above, p. 147 f . ) ; tlien follow live lines on avv- t^tT'Js ;^/joVo*v — twice, thrice, and four times the magni- tiiile T0?. dluai follows (1). The first words, TovTcoi' Cf] rojp ;)^poi'cij^, can reier only io the times just d.'s. aibcil — ill brief sumnrarv, the various time-intervals that art is concerncut if some are iinrhvtlimical, it apjtcars that the author, in seeking brc\ity, has taiatly extiMided the range of tovtoop rcov XP<'n'(oi> sniih'W ii.it, a.nd now is taking into account all tiin--intta\ aL-< as they [)resent themselves in continuous >p'''."'h. ( Aristi4es of course lias in view also the other rhvilani.- arts, but we are considi^iing speech, and his laiiuaau'c m what fallows must have l)een larLTclv deter- niiiir- 1 b\- pfru]i;irities of speech as a I'hythmizomenon.) pft'ch, thtai, >«>mt* i)i the times, in their relations to r n'ii:hburs. fia-iii a p-crfect rhythm, others a partial, nniX. imperfect rhvthm. So far tlu^ ])assaLre is a sin- -'lit. ah-.', — a fact to be empha>izerl, because tlie In ih. ■hi! :^' a 1. 'J 11 re IS -iHieiimcs printtai us three, as by Westphal 12 1 "^ I 1 i ^ cinrrri:^ -x nuKLK \n.iiuc rili.vtlniuk, p. 05, and .•}-n,'wi..-iv^. ;■-'^\ 'f^!-^ wh.i,: uni''^ a"«* lll.Mlit \)\ "An- Ti)VT(j)V wliich liCU":!;- H.'" n''Xl >t':il' iP'f. Alv tli-'V tllC /JL^t-UOt£(itK f'^^'lv'' '''' '^■^''' ^^-'P ^'''* "'l-i'' ^^^ tht' TOVTcov Tiov XP^'^^"^^' iil)t>\-('/ Maniaiiu^ ('.ipi-n.is 'ipiiormu toiujHn'um " dtt's iint ba.'lp at ull. If ilii' readT will i Inniscll" of pivr. in.TiViMi npm- i(>ii> anil I't'aJ llu' entirr cliapnT wiih fiv
  • i: 1 hw rorra)!^ mi'ivlv IVSUUieS tilt' TOVTCOV T(OV -^poKov aai'l i> -a^MHl rt'ps'an il in tV/ rcov -^^poviov *>t tlie la>t -^fUii-nr.'. I tai; i-<, Ari-ii'lt'S first (l.'tiH<'> ilu' indiviiliial XP''-'"^ taiip!<)\''! \\\ rii\ t!ii!i:'' ai't — tlu' -tt^^^^t-'W, or unil. aihl liu' -vant'ia-- of tho (ji'vOtT')^ xp'h'os. '11. on irraiinp liio-o XP^^^'"^ '^" '^ \ ! i r i i I. . ' ' i i - HI tiiioo >rnt.au.'''-, o!i,- lor o. 1. t h '•.»;-» \\ \ < i! iaa->^ii \ in \aiv <• i h.an imvo , '^>iii''aia'!i> 'jain* ni- (i^'maiilcUL of caoh oilu-r and of that wiiMi hu a>-niiaM ni i. hi- d.'f^nition-. Ind.-t-h in tlio third (di--ih^^atir^!L linar^h it 1^ li'o ' i'Ml !av.'i-.-l\- what ho in'MU- lt\' a-n-X/n and tt'A'vc/tX'o. it 1-. rli'ar ilia,! lla' rrnCiK'n no not rx- lirlt^ ah (/tV'^/ : ihal wc ha,\o :'r;ia;v thrs't' 1 'a--'*^ iiiai*' tai a riiiiHn.ai ha--:--, Ian ra!l.*a' a ^<'t oi i a 1 1 •> ■ indi^'ao' taaniin ai.o\ ii.n :v:,o,.p ('piihii^ 1 n I A .; oo/ i^X'on-;va laaalrai-. ^Mii and nui •11-p st'!i taiicf iia> a i»'-a'an,r ^ai iL-' , h\- ta»- atoiutic ^-1 o, wiiat wa^ oaliod aiH)\a' Uaa: :\ -t T'jvrroi' T'lH' Xt^ > ^'■^'' "''- ^'^^ o * ni : a mnr- ran J' I \ Wd^n Uioro M taia-n a 5 1 sn'Hn ni,ir!an'a!*\' oi <'xn!"o->rni > >f ;;aral i \ r'\' ^o lirifl a I 1 ii ! I ii laa is hta'o M-.ai >'> ho a fiiud-c ahi-iaa--' of an\' ia:ani ■ h' ' ! s i I '>! that li-" !> n.':-.aahnn: nmt iiainr oxia ii-n it run-t not Ih' foriroiu/n tlnil Aa\-tido- i:- naa>hy inai. .-> J'ur^T, ir y/x, .' ry^jijr- FEET 171 a \-a\ taa-l ronnalation: w.' ransr not exr)eet ni anv ^atai \\aai^. \i>^\\v\cr uoil done, tlio Inimical })reidsi()ii of an A ;a-n.x.ai- 1>, writmL:; at icn or twenty times as i^reat iiai^di .ai Uio >aii!e ti>pi(a Or, st-eundly : If the rovroov iTi^a- to ^jvPfAotirtU ahsnta all else that has just been .^li'i -^nil r.auanis iriie. We shnnld 'jo bevond the inten- tion nf Aii-ii*lo< it we insist always on sharp distinctions btiwtH'n the ol.isxas to which tlies(? epitliets apply. And froni the o^senual nature of lani^niage rhythm, eppvOfioL^ appvO/x(n, puPfxotLOeU are not and eannot ])e made matlie- nriii.-aliy oxact teiin-. That does noi Ifssen their \ailue aa-i aiihi\, li liiov are no' abused. d'he\' desiaabe cou- \ <^ui>'ii\i\' tianun < ia>--e> o[ ('nect> that shade imperee[>- tibly iaot carh other. Wdaai the ratios bet\\een the tiia.-v ol a _:ronp are few, and rearh a suilieioiu de^ave ol r.-L^niarny. tlio tinios. ov the L^i'onp, may be ('alKal tfjfji'P^iX : li tlie ratios are too ninnorous and too irreg- uiar. tho le-nh is appvOfiia: a irronp intermo uvO fiaciCt]^ \ on som*" Lfronps anv twaa people lna::iM di^-ai^ieia No (aie of the>o epithets (am l)e applied t" a -injd' t in!e-int(a'\aih e\(a.'pa to indicate its reLitiafU to a! a a i ir]'. i a' to a ' n't an ), \ lai-a tlio-o la I'i iini-t.naa's it bccomas of nniior import- ara-i- \\\ \v!;;.!i (•! t!ie--e t \\"o \\ai\< th]> second tovtodu wais inna:(|f.h la tctlna' (asse the scntciKa' ap})jies to the pi'(^U()titt'is\ \\iiich nau'h ovtu' into the 1'ppvOfj.oi, and it '■-iniaa applv to a ar»aip that in a ciincrete form, as sunL!" '>r rr-atcd on a parti(nlar cu-casioin is tppvf^pLo^ whli liia! inanai a-al prccisioin As to appvOpLoi e> iho 'pit-stion: if one docs raise it, I slaadd say the sent. aire nn'-jht well enoui^h a])]'ly to thcirn I>ut a o;i\fn an'oup a^ suult by one perh)rmer nnL^iil l)e so per- b'>n\' riivthnn/cd that thtU'e conid be no (pn^stiou of arp-ijyvX'jL or rrt pLTrXeah while as recited- — and well 1^0 ( U.Li I /.it.^ ' !' ♦ :r:a:. ;.■■-! la to w h«'! ht>r It'' 'i * t't i '■•■'■ ■ i . i' ' t tn . ail tia.' ^Hiiua l^'s -a; » t pprf'^os nr aaf'U',/taa;s, tnif] ;.aJ Some {KiYl> uT^nyyvXni alul \ , - - look this ^uiia of iha hu-t>i>;o nn>o, .urcive tli*' a--raiial iiaiura of rh\ thui in art. ll \^"a> lo pui iu the proj.or ia^ht siieh prol'lonis as ihi> thai >a laU'-h >paat' ui ( h,i|'Ua- ill was L^ivrn lo iha >uhjoot, i^i riiyiimi in \:ii\:^\\A^<'. J.oiikiii"" no\v nioi't* (ao>oi\' at >oiiit' {lt'ia!l> ot ihe sentanco, wf >rt' that tia' |'hra>i'S fjidWnv rov C'tovrus .md 7r\t~f)v i) Ct.' nnply a >t.i]i hciuoen li:aa- -(haiiandoil hv lia; niatlaaiiathahy rxaoi rhytiinhr paltarn. Syllaiacs whioh I 'rrcri it ihi\" nioxa- iiio;-,- rapiiliN' than thai ar«' caiiou (jTpoyyv\<)[ : it nio-r sjowly, iht'\- are eihlfl 7Ttpi77\.t(o. 'Ilia latter artpura tiitai rrlaliva --lowne^s Ci| 'ho.ti a ai ta ver^e. than what l^;'aa.^io> ino:iii- h\' t(1< t'ov ypa^Lia- T(i)i' G-vu-n-XnKtL' f * * H'" ■''^* !*'• 1^- ~l^'^^ Sciiarlar. ) In that (•haaior ha (anph'\-s a \ara'U' «»! cxpro-^-ioii^ n* tan, thhaaa lu.iko vniouih or !iar-i;. winoiivh f\p:o-;vi\-t* t .* '> aia; aii'l tit. Hi'' ^l\l'' at var-*^ or piM-o. Sn-' TrapiiTii'tK ii\.\'^\n:^ r-i Cv-TtKctvifju (p. l!''l >i-\i.), ra dv(J€KOnp(0"'aTa Vz/yrTa/ K'H KiiT'iTi'K ruxrti rni'Tm-^ ras avWa^-^d^' (p. li^'h ^-li.): hv su^ai na-.ta-^ our pioaa^rs di'a^oXds ^^poi'roi' (p. i!*'-- Soil.). An^l ao tia\o >oon (al).'ve, p. I I'M iliat !.•• .aray-a--. iht^ ph. aioi j,- .; i-a^t uiv of tlu' Sisvpho^ lines on thi- hiisi>, (.'Xplainin.:;" ho\\- ansi wliy anio\v tlie (le>(aa[.noii i^\ liio ^a:lera!-"> toil is hihortM} fail lanii h What in riiytliin, an-l that < a I ho aM'o^ino th.ii iho two lataa oi- ihtar aiilhoritic<. shn not ha\" m \ai-w iliO -.anio phoinauona. tliau"-h de>orihin:„: llioai ai -ii'iiillv 'lit'iei^'nt lorin> ? FOOI\ ( yclk:" fket ihii the iiiina-an>'!' ai t^a-nis i^ raallv via^v sliaht. naai\-a)-^ rails tha 6pnrj:v of ilie ]a})id line evTpo)(_ov fcal 77tfji6tpP): (jTpoyyvXo^ niean^ primarily round, spherical; in pa<->aLXf ( i! ) A ri>t ides ( aaiples e7r/T/3o;^oi diid arpoyyvXoL a>-ynonvms: kvkXo^ is a eiivle, /cu/cXto? round. All ahka ((.main the same liunire, obtain the meaning rapid thr.ai.jrh the same group of associations, and are applied to the same kind of feet and of rhytlmiie movement. I see no ground h.r assuming a distinetion of technical signih(aince. Ivosshaeh once took arpoyyvXo^ and kvkXlo(; as e(pii\altaits; the reasons given for reieetinir that view (•ag., hy .1. Caesar, (irundzuge d. gr. Ilh. p. 98 f.) are not cogont. And TrepLTrXecos^ is merely over-ftill, tliat is, containing sounds of such chanieter or ninnber or both as to rc(pnre tor clear enunciation more time than the *xact pattern allows. Hitlua' they must l)e unduly comprcs^c'l to crowd them into the interval allowed bv i^- ''r they retanl the tempo a little. Tlie former is aho\vc(l in singing, as one phase of tlie fuller irXdafxa of s< -ng : in the speaking voiia^ the ritardando is unavoidable. I he relation oi tliis to liXoyla is obvious. It seems to ine ihcrcttaa- cntirelv natnr.il that some of the rhvthmici ^laaild ha\a' extended tht/ class of dXoyoi, as described by Aiistox.aios, to include under it either the arpoyyvXoi ( Kit or k'vKXi 1 ^- ( ./ i . i / »' / '. / 1 *V '',T'['T^K -^ TT^ TT^ T't tilt' (lit'irrin- ciYi'cls of r.;;'!^! t the >.inu- lfi!i[M) iM)niiuui!!_( llir^n.:'!" of (jTpoyyvX )L kul imTp'^X'^^ pa--;iL:f Hr > all' i • >1 M' '\V' 1 i'- t : lli-'II ih.- rtTrrtS ' i!i>n:iai pa>siiLre> wiuiiii a iriv.-n rliyiliiiu with wh"-. iiiovriih'iit thi'M" liii^i'c rapid or sIow.t {..assiLt^'S are compariMl in the niiii'l ^'f hsuai-r or sperian»r. I'he Sisv[.hos liiifs ;tre aiialv/.ed hy Dionysins ;!> an iliiisinitiMn of both the-e latter elh'cts. N^'W na urnini; a niMni.'nt to the >iarunu'-0' lint of (Uir ilis(ai<>i"n nl -• eyelir teel we see that I)icn\>i«>s was qu^'tinL: nrdiiiary (hietyhc and aiiapa'siir Hi!e>, which when reritfii or read with expre-^sinn nioxed a litth' nmrc ra|)idly or ni fur a helicf in snch dactx Is (.r anapa'sts. lint the terms arpoyyv\<)s nr kvkX/x (perhatys kvkXlus ) and 7rtp/7r\tfo ni;irk real variati^nN from the strict rhvthmic pattern, which is nevta-thcL-ss tdt to exist uiiderne;ilh tlie variation,, iis the norm to which the iu(»vement consnsntly tends to ivturn. Amoie.^^ the^t^ arpoyyvXdi and Trepi7rX€(iy ar-* to Uc toinid one class, at kar-^t, of tliC 3pny^VT€pa^ ,jp:iy^vTtp(ii and the ij.aKf)a<: fniKpoT^pai. ddic phenuHhaia aiv no j.'s^ marked ni mod-en I'hii^lisli \'cr>«* than in an(atait (irerk. Analoijues ill liCMhc'ii dances ai'c !rc(|n(ait, and the:r rf// -x in m .>•.,] ^nairral nreitv wcU ilcscnhed hv Ari^tides. Nhav.ix.e- in ver'-e tlie>e variation< are more pronounced and mort^ freipiriU in read.in'j; than in son'_r. In thi< reken rhythm is really considerable, and e^oes far to aacfuuit foi- manv thiii'_rs. For example it i:^ tlie sliirlit l»a-is of fad f. «r that far \oo 8har[) (Usiinction hetu'etai re- ita'ixM hih] inclic rhytlnn ^vhich so manv liave insisted on: it expkiuis indeed ^vhy r('^'7\ wrrs, -cYCLir" feet 183 so manv i.ni t o recoLrnize tlie true eliaracter of liivthm in m«kicrn verse, ddie departures from the exact pattern art! so Lfreat that thev ohscmre this, tmless one not merely lias a rhvihmic sense of at least averacre delicacy, but has in addition tniined his consciousness of rhythm and ac(piired some skill in detecting the precise ratios of tlie ]-e;_rnlar rhythms. To any one so qualified — and most people can, if they care to, so qtialify tliemselves — any \-eise that can be cadled good plairdy reyeals the exact pattern inideriieath, to which the moyement tends to eonh)iin, and eonforras more fully tlie more the reader, whethm- from thi^ (diild's fondness for distinct rhythm or from the character of the })oetry, approaches in his reaUing to the musical style. Vi rnMprtr'xn AXn MIXKh Mi: l'VAl< detail a c >!ii['lt'i<' svstein of (iivfk iin'irir : hut -lUia' a[)pli<-atinn of tlu' fcrr^-oinL^ |tnrici[ilt.'s to t}itM'X|fl;i!iat a ui of siH'citic iia'tors iwnv taiiU' \h' (It'inaiaK''.!. 1 la' .■^oHMlird (lactvlo-ejati'itic and logau'dic iiU'lors aro >« • ci'inincii, and have ht^en so nnudi the sule.-cis ol coiitrox rrsy, that no (ine wlio writes on nietrie can i^'nore the [trt>hiriiiN tht'V offer, wln-ther he heheves himself to luivo ei>]n[tlrn'ly Si)lve<*nion ot ilif .o: i.-nt traditi'in. \\i> view wa> tirst ['uhli^hrd in I''ifck.-i-r;r> Jahrb. for Issd ([»[>. 4o5lT.). and is rt'jH-ird in the pr t'hU't; to ins I >ar('}ivlidrs {|'['. xxix tT. ). I ^^ id lir^t unnn.iriZ'' In^ ari^unaait, HrLrniLr tn** rraorr l'.» t»j-' niv s!uiimar\' hv tiinuhLr to l);a>^ ■- (*r the otlit'i'. '^wi { -aLr*'^ 1 n one vt'liiii Tht' nam" da--i\doH'pit i-it i,^ -^ n.a ;uaatMi!. oui iH'Ai-iii, as alx' tin' (auavni d<'^iTipnoM ^1" t!ii^ nifoa-. hi ihe scholiu t<» rind.ir vt-r^fs of thi^ -^ort arc rahrj tiut-pd [Tpifxerpa) irpoaohtaKn, and .ircordniLf to lUa-- ii !-- iho invariable toaelnni^ of tla* an< a-ni^ (.-"n^tins Nrtcrum (h)etrina ) that tho foot art^ not d.irpv!- .a- .i:i,q»a-t^, hut ehoriamhs and ioinas ; tlio dimrir-r t.} the >.'!i'i!ai i> v^ \y - . t ! 1 I • i i< l . I i > ' alio ! ( a 1 ! ( • a Iiulieations '•! this va-w aro l^ ' OO 1 t < i I I ii 1 t ' S t nun' a'o, in All-- COMPOIM, AM^ M1XEI> METLU. 1>5 ! ( ^ ' i I . '"!],.< .Mil h ' ' ' O . t, ■ O 1 ' I »■ i J- V- -^ i i i. i. L* I Jill'' ■ 1 i !(••». S i ' ^ .n ^U)V. l^i too ( ioiids, Sokrates, wlio ''^^•^-;-r^^ *>^i'^'i* ^in.> that of rhythm, r^fv irepi a-k.-d hy Sti-epsiadfs, what is the use of a ioiowli'dL^c (if rhythm, and j-eplifs, Trp:>iT us as to the contemporaries of Aristophanes. Farther, lMat<», Re}). 400 b, speaking of meters of the 7O'09 \aov, quotes Damon as nannng ivoirXiov nva ^vvOtTov Kal 6(iKrvXov Kal rjpnxjv ye. Here we have th.HH^ forms in |>lace of two; the rjpcpo^ is now^ dis- tinguislied from the sim])le dactylic. Again, Marius \dct. exptlains th(^ difference l)etween these as follows: I >i fie rt a dactylo heromn eo, quod et dactylicum [et spondiacum] est, et in duas caeditur partes, . , . dactylicum enim, licet isdem subsistat pedibus, non 1 annul isdcin divisionibus ut herons caeditur versus. That is, p>lass jiroceM-ds — but I must remark that what follows is not in Marius Vict, nor in any other ancient — 1 > • CllA. j^i^> hill nia: t ' ILmH' fj."jftu iitiit t'ta 11 n \?//:?Cc(i» A>^;\//'K, !'Ul I!:! div^ 'd\r<, jj-ijini' iitLCt (K a 11//X?;'^^ 1 ^^w 'A;^i\;/'K, \<'U will iuiVi- dacixllr WV>v lU^lrdd ^'\ htjrulr, i'Xrc|4 ilidrril that the >|Miiidft* in ihr ihir'l 1"'^ i- los^ suili'd to ihoi.n'- tvlir. This, lilass tt-lU u^, i> the inclrr Kdra (N/^cTrXor iluit x\ri>tophaiK's rrftTs to. Ihit in what }*articuhir (L <•> the ivoTrXiOs (lifftT fruni the hcmir ? 'I'la- tt'rni u>r(l hy Plato in h'OTrXiov ^vvihrop. whirh r»hi>s aiViiins (hut nii no ground that, I can di>fn\a;r) cannot si;4nit\- anythnig ccniposfd of c<|ual parts, hut must si;4-nity >o!iKuhini; eonipost'd of divt-rse [nirts. If thcivfoiv you divide fiqvii^ aet I Be Oeci Wri voii will have the ero7r\/fK frrfWcK, wliich (M>nsists of two parts that ai'e einial in extent, tor thev have each six times, hut are very ditYerent in torm. lint we have .M-eii, lUa-s adds, that this is tlu' division fjiven hv the metrici (i.e., the metrical s(diolia)to tho -n-poaodiiiKck. lUass takes TrpocroSLaKik tn he the Aris- toxeiieaii name: hut as <.ne is enoULch, he prettU's the name evoTrXtos, testified to hy Aristo[>hanes and Plato. Baeehei(*s al>o ^nves a similar divi>ion tor the meter which he call> evoirXtos, 6 rbv ttitvos GT^ifyavov . this consists, he .Nt\> of iamhus, pyrrhie, trochee, iamhus v^ ___ ! w ^-/ : — v-^ w _^^. ^hirius Vii't. also says ot tlu' kolon _ ^ -w' — w '^ a}i|>ellatur ([uadrupos hvfi^u- Kda7]/j.o<; Trepiotos, eo ([Uod (piatttior pe(les tem|)<)rum dtiitiU'cim (piasi per circuitum (piendam recurreiites contineat. The feet luv ~ -^ w __ I w v. > — ^ h Jt is clear that these are not ihutrines of the vuli^ar metrici, btit of the niusici, since this woiT Trtpei^o? Ixdonged to the musici, in tlie sense oi a round ot three or four tmlike feet, as of three troehees ;uid an landius. In this sense Aristi(h;\s employs it, as wfllasthe Pindaric i Manus Vict, in Kvii's text puts a spondee in tiic last piace- L lOU L J^-^' A A » f » I . i MKTKll:s -It , , m^ >'h".i;s, a'l'i a.'>o -^- accoidiiig to Hlass, hut in \\\\ juouHi'-ui 1.1/ i^ Hii-iaKm^ the ( )x V I'lnuiclios fra^'mt^'Ut CI A n>:' A. ':.<»:-. \\ liether n.'W you so divide as to make f"Ui ds-\':ahic feet, (U' tWo leet of h)ur svllahles eaidi, thrif wiil ai\\-ay< I'l-main tliat unlikeness of pnrts that Pi.si"'^ ti'ini Ivi'O^TOs demands. It makes no diflerence whfiher the >ene.- hegiiis with arsis or thesis — or rather makc> oul\ a dilTereiice of h)rm, not of real character or name, d liu> we lind the various forms of the en]io}>litis ex[>iv^,sed hy the formula (vA __ ^ w __ ,_. v^. _ (w). ^j^]^^ syllahle w hieli may Ik- pretixed to the first aj^^uirent dactyl is generally long, l)ut may be sliort : so of the syllahle that may h.llow the hist apparent anapaest. hiiially, in p)lace ot ehoriamhus or ionic may stand tlie trochaic or iamhic dipody, connnonly with one arsis proloiigr(h Thus the scholion to Oh III v. 2 of str. calls the line irpoGohiaKov TpifxeTpov ; then on the next hue, v^vov 6pOci)(TaL<;. aKafiavroirohcov, the description gi\en is TTpoaohiaKov rpiixerpov KaraXriKTLKOv airo Tpoy^aiK?^^ av^vyiaIi. niU"< and pa>-n!L: iv' iM 1 lia ! sa.'S it' (/ i a "" s » • ' i.a la* rh\'ilini> t<» aiK'lhtT, I his tlu'oiy «'l tai!iM|.iLi won adherents [uirLly be('aii>e it >fenie dniuLT in that srcne ? llf !> shnw- in<^ how sillv and worliih-.^s is the .teaehiiiL,^ of the soph- ists. To be able to di>linu-uisli what rliyihm i> Kara ^ciKTvXop -dud what is kcit evuTrXLOv may makf one ko^- ^ou iv avpovaia: it has no other value. (N-uld the comellows immediatfl v. Plainly, tlie |)oet thinks it no more worth whilr to distuii^niiNh rhythnrs Kar IvorrXLOv and Kara hiKTvXov thin to violah- (rret'k usa'"''e bv disiinLi;uishing the aXeKTpviov into aXfKTcop and aXenTpvaLva. The distinction (M»uld be made, i»ut sr-emed funnv. The two rhythms wea-e to Aristophanes as much idike as cock and hen, for wlfr-h the ordinary Athenian tlioUL^ht one word sullieit'iit, -as we, in onlinarv speeeli, have no need to distin-j- ii>h li>h into masculine and feminine. The seholion to Hephaistion t.lls us the same in iinotlier form. Tlie dactylie line, t o! scvrh \arirties of hexameter to wliich tiuit >!h(*lion i ['. 1G7 \V. ) L^iN'es separate names. Nor does this scholiast divide the line in any other than our oidinary way. He describes it as e')(ov dvo SaKTvXov<; KciL ei'ci arrui'ltiuv. It these be ivoirXLOL^ there is no mystery al>out thian. Now in the Plato passa-j^e what have we? Savs S(K rates, •• I think I have heard him name a certiun 6ro7r\(os\ a compound, and a dactyl, yes, and a r/pojo?." I do not see the slightest reason for supposhig that i*lato, by the epithet ^vifOero^^ intended to imply any- thing more than the seholion in Hephaistion where he descril)es the tear ivurrXtov €7to<; as having two dactyls ajid a spondee. Aristoxenos would have called the halldine a 7701)9 ^vpOtro^ : to him a ttou? ^vvOero^ was made up «»f like parts, not of unlike. For example, in giving the TrodiKal SiacpopaL he says (p. 298 Mtjr.) : ol dt aavvOerai tojv avvOercov Siacfyepovai rep /it) SLatpelaOac eK 7ro^(/s\ ran' avvOercov Staipovfjiepcov. What evidence have wc that I'hito meant anvthin^ else? Th<' remarks of Marius Vict. (p. 70 E. K.) call for a sonunvhat lonirer examination. More fullv than as (pioteil by lUass they run as follows: ''The principal form of dactylic verse is that whicli is called the heroic line. This ditlVrs from the dactylic in this, that the heroic line is !)oth dactylic and spondaic, and is divided into the two parts mtuitioned al)ove, the penthemimeres and the he})hthemimeres. For the dactvlic, tliotigh it con>i>ts of the same feet, is on the other hand not ddvided in the same way as the heroic line."' This clearlv refers to the fact that the dactvlic verse of Ivric poeti-y appeal's Tiiost commonly in kola of three or four entire feet, namelv two dactvls and a s])ondee or three dactyls ciUil a spondee ; often also in tripodies or tetrapo- 1 Ml rij ' ''TFJ^'< ^■^' can^K mttiiic • ill '-- i ' J I 1 ■ . . ! ■ ' i . t ! ,♦..1 . r ( I 1 S 1 ■ . • a : iiX^I i.::i;s ■; i 1 t ' * i ' ■■ ■ I iiiiTfi fill ilMli! I lal ^a" n^ i' Miin 1^ 'lilv' w :; h: 1. iii-N ' i ' .'h ! tM •al ohar.K ! M ii>C l"'i 'Y r\.llIl|'K% t'fi .111 t tir p.i I . ^sl -^ < ■}' i Iv I. '1 , : and fc';' 77076 A7H 77 porepa^ anis vrr^p npvvu/vds TrnXei rjl'VaUT iKTOTTLdl' il)\(rfa 77///1(ZT0V, t\(^tTt, h.-ili I'Ul'. TTore arc tliivc (}.i<-t\iic lit-xanit'trT^ : but tli^'V arr in L'tTtTi, takfii li Mj-t'tlitT, \a'y\- 'lirtrifiit tV"i!i hfi'ti.' li.-x- aiiit'ters. Much inort- d.. dai-ulic Xfj-^c^ .)1 ilnrc and four ft't't. thniiL^-h still ULidc up nf ihr >,i!!b- tft'i a- ihu ht'i'oic W'l'sc, dilTrr tVoiu it in rtT."-id l-'aniiliai' rxaiuplfs are Soph. I'd. I^j'j-I^M. or Aikniaji's M o)(j' aye. K(i\\i()7ra, Ovyarap A/oV. i'/jLi'io KUL )(apLti'Ta TiOet )(''p(ji'. A little farther oii (|>. 73 K.) Mariu> Xdrt. add^ : "This also U't nu' riot pass n\t'r, a> it is worth the notice ct' an educated t*ar, — a tact . ih^cr\-ah)lc in thr dact\lic hcx- anietrr. which will still co!i>i-t *>\ two dac!\l> and a spondee in each ot t!ic two k.>la. In sueh a line art* found tlie four disyllaiac feet, i.e., ti'ochce, ianihus, pyrrhie, s[)ondee, alw'a\> placed in that or^\i ehoose to scan it in aiiothcr wa\" than the law of the lieroie hexameter retpures. Such is the Ilouieric line, ^ Sii TvosNlcica, Mvtrik^ |>, 01, note 1. Caiieari al> > T.t. ntuinus Maurus. Itl.'ln f. : scil lasii vt x'Xtiini 'Iciaiin'' ])»■> hie -iM viii'liiait uiiiquain, iii>i quandi- r!i\ tlnnuiii, noii nictrarn, ^'oinp: ,fiiiau> "But thi> f.Hi? ,i]u- liact}!) n<'\a-r .-laa-.^ thr -ixtli phua; ton. rxr,/pt when we are wrinn^ ,' o-o- iiijtia i of rci-iaitivc vrrse." .< i t yj' M!Xf-:n MHTKIIS 191 Zris ^e Pt^)i' ayopr]p 7T0ii]aaTu TeprriKepawo^, i*r in \ cr;_o i, Incipe Maeiiaiius nieeinn, nica tihia. versus. ^-'^ ^'^'> i^ oalied .piadrupes hv(octKdai]fjio^ Treploho^, L)ecaii.-c 11 eontanis four feet of Uvelve times reeurring as in a sort of rcL^ndar round.'' I he pMnu> U) observe here are tliese. First, our ,Lrrammarian is here dealiriir wiili (rentiine and ordinary dactylic hextal)init ), in spite of this eurious fact about the t«.ur (h>>yilahie h'et (Hseoverable therein. Secondly, he Lj-ivo this ex[)ressly as a mere curiosity, of some in- ttiv>t to a student, but not bearing on the real character ol the line as a rhythmical form. He takes pains to say that the law of the heroic liexameter calls for a different di\ i-ion. which that mode of scannini,^ would contravene (si Veils alias (|uam hexametri lieroi lex postulat scan- dere ). And thirdly, how about the term irepioSo^ in this sense, and the use of it by musici and metrici ? It is true that Aristidcs (^.employs the term in this sense, tliat the title of his work is -rrepi plov(jlk9j<;, and that in his sections on ihvtlunic lie follows in part the doctrine <'t the older musici. On the other hand, he is in his metrical tcaehiui^r distinctly a metriciLS.^ In other words he IS an eclectic, of Lite date, and every statement of his that (h Hers, nr a|)pears to diffei% from what we know to be a (h.ctrine ui AristoxeiK^s must be carefully exam- y'"S,inr BchanaiunjT (3er ei^n^ntliclien Metrik nimmt auf die Ivhythuak krinc Kucksieht, ist vieimehr, wenn audi nicht in Wider- spruch .laMut.a.nc!, i„ .l^r Au1^tloys periodos in this sense'does not of itself [M-ove tiiat it was s.> einpluy.Ml bv Aristoxenus, or l)y anv real niusicus. We niii>t luuk elsewhere for evidence. At least two meanings of irepLoBo^ were enrrmt, and our later sources eor.tain, in >everal verMons, drliniHoiis of the two side by side, as if the coinialer were unaware that thev were twod For example, Marius Vict. earUer in his treatise (p. ^>'') K.) says: Nam perie>dus, ([uae latina interjiretatmne eiivuitus mA ambitus vocatur, id est compositii. pedum trium vel qua!- tuor vel complurium similium at. pie ab^imihum. ad id recbeiis unde exiu-dium sumpsil, sieiit temi)oris lu>trum vel sacrorum trieteris, dicitur in i)oematis, .piando iioii versus omnes eodem mi'iri genere panguntur, ^ed ex va- riis versibus earmeii omne e.)m[M)situm [)er eiivuitum (^uendam ad ordinem suum deeiirnt. irepujSi^^ (Uciiur omne hexametri versus modum exeedens, unde ea (piae m..dum et iiu'usuram habmt metra di<-ia sunt. >uh>i,.- tet autem ex eommatis et.hs et versibus. Plainly the first lher passage, eite(l by lUas-. This |)eriodus emisi.sts ..f a few feet, which may he .pun^ dis>imilar, formin- a smU of rniind : apparently the m-re unlike the feet, the iimiv inli-roting the pmorhis was. This rouml when tini>hed was at on«v re[)eateih a- the combination ^ .. w - : ^ w in the hrxameter des- ignated as KUT a'n-rrXLOv. But the kl^t twn smtences describe a very dilb'iv[:t thing. This Trept'o^K i> eniger 1 For this whole .li^l■u^■^i='n -f w.plo'^os. vi. \Vv mata, (u- verses. One might fancy for a moment that the author intended to ditTerentiate tlie two senses bv u-iiig the Latin fonu for one and tlie (ireek form for the nthrr: but the other passage, to judge from our ]\ISS., fori (ids tliat. Again in Schoh A. to Ilephaistion irepl Tronj/xaro^ (p. 218 \V.) we lind: rrep yap to fitP dafcrvXcKOP vrro iroho^ /JLerpelrai, ra Se virb av^vyLa<:, rovTearL Svo rrohoiv dirXojv, ovno fcal vtto irepto- Sou, TovreaTL Tpithv ttoScop^ cJ? iv av^vyia Kara /xer peer at ai'tv apiOfxov rivo^ wpia/jiepov, ovk eiTLc^epofxevri^ tlvo^ az'T/cTTpo'^ou, aXX! coairep aSiacpopco^;^ el rv^^^ot, TpL/ierpcov (uVT(i)p) Svo Kal kim rerpafierpov Kal /lovo/jLerpov Kal e^T]^; ofjLuuo^^ aSiacfyopa)^ ovaj]^ tT/? avrov iroaorrjTo^. Tlepioho^ yap T] Ik SiacbopcDv kwXcov TrepiKOTr/], co^ iv rep Trap' 'AX- tcauci clajJiaTi' civTaTToboaL^ yap yiPCTai o-vaT7]p,aTLK7]. dliough thi^ middle third of this is unintelliirible and p)rnbably mutilated, it is (dear that we have liere also the same tw(» kiiuls of TrepioSoi, in th(? same order, witli no hint tliat the compiler saw tliat thev were different. ( )ne consists ot a few feet, wliich constitutes a group that is treated as a unit of measurement, pai'allel in its function to tlie singh? foot and tlie dipody. The other is a section consisting of several kola. Tlie scholion imnu'(Uately before this lias no allusion to the latter, but (dearly describes the former in the words: Ile/^/oSo? de eaTiv 7] ifc hiacfiopoov ttoBcoi' iv rw CTTL^a) avvOtai^^ olov daKTvXov Tpo-^aiov ai'aTraiaTOV IdpijBov Kal el tl tolov- Tov ' iiKoXovOcDv ixevTOL ovTcov Kal TMV i^rf^ , olov Kal TO -TpoaoduiKoi' ecTTiv. The sentences of Hephaistion to which these scholia refer emphasize the functi(jn of this TTepLooo^ as a unit of measurement. 13 1 01 f ' ! 1 .1 1 ' f I: /.' > ( "Rut lhi> hriffiT TtpiOf^oN. ■;- f-r as T '-an I'rrall. a[ip*'ars oiil\' in 'Mir laUT aui i;» a : : .•■-. ii^ !u iar innr win -'a tin' iiii'lraa, >i'rakinLr hriiaah. Im. .ii Uii' \\!i<'i.' iitail. i hu ()lhta' kiiaL ('( )iisi>in:u!; "1 \'^'-^' ^'i' nmix' k^aa. a['j'rar:- iiii- niistakaia\- in tairlita' \\ait.a>. an*l in lhL->*' \sa!laai! a ri\aL naai\>>ins, in tht' trrali^i' ali\'a*ly (itrd >«» ninn (11^ ]>[». '-!•»''. 'l^]'! Sell.), s|)iMk-- nf Ta KioXa^ t'J al/' cVaaxT// avi'taryjKt -r-rpL'^Co^, and U'lU ns tiail liie t'!is and I'lndar, fj^ti^uis ipyaaiifxtvuL ra-; Treptotov^, eU ttoWcl ptrpa kul KcoXa Citi'ttfiav avT(i<. ovk ciXXov TLi'b^ n Ti^]\ /j.tTatd()XPj< tpfori. dins lias iht-an ot kK'inLT dt'ri\'rd fn»ni (.'XcfUtaii carlv tradiiidn. I hi' ar- t" Wh-siphal ( Mcirik, [>. l>>7i'.)is |H'r^ua>i\ c. Suiikis tt'lls us thai ddira^v ni i<'h' >^ <»{ (dialkcdon tt/jcot'jn Trepi'jCoi' K(u ko)Xov Kciredti^t Kiil tov vvv ^jrjTupiKpjs TpoTTuv eiaijyy'jcniTo. d ht'>t' technical t-'mis wcw ctaiainly not. invtMiicd l)v him: lit* intrndutrd tiaaii into tlir thf,a'\' o\ rheio!"ifa tht' voiuil:;*'!', from da' I'ldcr and aliradx' wa-ll de\\'lo[K-o for it in da- "tlior stai^o : an\ i^roan mI times i'm['lM',rd as a. ni; a-ur'- wa^ to him a ttoi^s, vinjp:,- or comiuaind. ddie {'assa^.- irom thi- ( )xy rhy n as !• ah s\\ s : To yap llOVny^pOVOV OLKtiOTtp')!' TJV TpO^a'lKOV r] TOP oa^- Sov ' oloi> iv T(0 ^Scire ,3 are Kelfep, ai C tc^ ~o —poaOtv (ipdjjLtvaL • Ti\ rroO' a I'tdi'i^ : cos tiTptan-.'/s vii' aa^tirtn rv ** r^ rpel? TTo'Sa? BtaXeiTTOvaLP at ^vv^vyiaL^ cootl TrcpiotcoCt^ tl yiyvecrOai. This can surely not \je (dtod a^ eviilfiu-a tliat An-tox- mMpnfM) AXff ^flXKI) METERS 19 D ''no< n,^'"d TTt-pajBo^ in the sense dt'sired Ijv Blass. First Vi\cv<- is tin pincif, hut only a (a'rnun degree of probabil- ^'.v. tiiai Hh'm' fraLriiK^nts are froTn Aristoxenos. Tliev •na} ho iiom one of those pvOpuKOi who followed liini in Lnany ro^jMM-ts, hut introduet-d develo})nient8 inconsistent With his hnidimenial deuUrines. In tlie mutilated state ot the ['apyi ns some [)arts are not yet inttdligible ; but not a litilo nl it seems to harmoni/aa very ill ^yitll wdiat We already had of Aristoxenos. Secondly, tlie other stai>e of irtpujdo^ a.pplies here perfeetly. Rliythmically the ver.ses are identieal with Aiscdi. Euni. 516-519, ravrd ri^ rd-y^' dv nrarrip ?} reKovaa veo7ra6r]<; oJkTOP OLKTLaaiT\ €7r€LCr] TTLTVei BopLO^ 8LKa<^. No one Would hesitate to call tlie latter a TrepioSo^, as do Ivossbaeh and d. II. Schmidt. And tlie papyrus giyes the rea>on. d'he trisenie — fi^z^i'i/Yf a denoting tlie union ot the two usual XP^^'^^^ TrodLfcoL UiU) one, a fiovoxpovov — reeiirs in the p-KKa^ of eycry fourth foot, marking the end ot ea(di kohai: tht? repetition of these kola to the num- ber of h.ur — or of three as in Eum. 332 ff., or six as in Kum. 99S ft\, but mt)st plainly of all with four — ineyi- tahly, if a distinct (dose or (»byious rhythmical clianrre tlitai marks the end of the series, produces the im|)ression of a lai-ger unit intduding them all. And that is the ossenee of the rrepioco^ in the older meaning, which is still the usual one among writers on metric. d'he posit ivt> grounds adyanced by lilass for belieyin^'- his theory of so-called dactylo-epitritic yerse to be tlie one current in tlie classical age haye now been critically examiniMl and found insufticient. The scholia to Pindar gent-rally follow it : the l)acchylides papyrus may show^ the iniluence of an editor who followed it, though that is far from certain; Ilephaistion and his scholiast 1 1:*0 ( I ,:.i'r:<' \f'-'ri:rc I I ! I doptnii.i" i> ti) !)UiM :\ st!-',= t u:.- i.irt.... tllf nthiT SV-^UMU, ;iS < >. Siiil'MrM'T I!! lllS \\r\V nilll' InTi^k"^ Piiulir is fnivt-.l tu culinit ( A|>p. [». 19"^). Sc!i:.m'- (Icr (ttTiTS Iin fXphtlKilinn (tf tlit'il- met .!l-l>l.'!ic\\ .lliti alt rilnitr^ ii^ \',iliit' l<» >urh scIimiki asil' net luakr l(*r his vit'W. lit' cilrS, h<'\^t'Vt']-, hclKTvXlKnr rpLUtTpni' ( ). \\ t^p. ♦>*, ^a>CTi'\//coF 7rti'th}uifj.(pes {»;ts^::^, aiul nllici's.' lint we imist ^o f.irther, and srr wiiclluT the tlit'or\- is not inc()iisihcil princi[»lt's taught by Ari>i« »xriin>. If we hn.k at such a (livi>ii'n cf ihf hrroic hcxanu'trr of the KciT ivoTrXinv form, what dlo Wf faul / I )of> that di\a>ion corrcsitontl to anx- rh\ ' iiini'-al tad / lake .lurain t'ilherof the ht.'Xanirtrr^ u^f \ a'tcTinus. '1 hr sclii'int' is — w v.^-_ w w --- -. i't'|'fat«'< h la-t u> hold lan attention to reahti«'S. with a-- litth* attention as po^-ihu- to theories, d'o oall tlir Inie ihythniical nu-ans that il exhilnts, when s|M.ken. a ivyuhir arran;_^cnient ot tinit'>, teninoruin int<'r >(' ordi* ( jiiidaH!. We wish to asceHani and stat<' wh it that arrani'-.'naait of times is in this (ai->e. This arrcUej;«'ment of timr>, i I'h-n \ c i< a mattri- < >i spok,ai S(>iii:d> pureiv. What an anLrrna-nt oi times appears m fact in that series of ^pHik«ai sounds? Now, whon on** nii>es (dearlv that <|Uo>ii"n ao-ait anv series ot sounds, lie is at onee huvod \o ra.iso tlie fa.rth.er que^t ion. llow can we make chMr to oursok/os and dos,,Tiho to lahei's th;e arrangement of times that we hear? It was hy way J Tfiouuli incluiod to riirh-iih' tb. " roc.'ntii>rt'- " wlio assnnif tctra- 9eni.'S at tlu' vu \ nf dnctylii' k-!:i (p. i-'"*. S-!sr.M- i. ;• :< cbioroi l.iin-rlf to insert trtra-. ni.-- pr. t'}' frtM iy s p ona iT ) a* prD-iu'T ti.i' .ir-ir.-'i loiurs and choriambs from cnnibiK.e ;■ ■!;< tliat on tlwir face have nothiiit^ l hist nue>tion that Aristoxenos deiiiied th,. toMt m tiie manner ah'eady diseusse(k We must tiial within the MMies of times a smaller group of times, >iirli that by its repetition, perhaps with slight varuitions that do not destroy our sense of the substantial identity nf the Lrroeap. it measures utY the wdiole and makes the rhvtiinueai eharaeter uf the wlude intelligible. That .sn'iailer irroup is a hx't ; and nothing ekse is afoot in the strut sen>e, that is, in actual funetiim, though we pro- perly a}»ply the general term and give a specitie name to anv uroup that is potentially a foot, and actually in some other series. If in a series of spoken woixls there is no such gioup that makes itself audil)le, then that series is n.,t rhytlnnieal, or lias but a broken and imperfect rhvtlim. — is appvOfxo<; or pvOfioetBr}^. Ju'turning now to otrr hexameters, Htus^ de ^twi^ ayopj^p iron^aaro T€p7nK€pavvo<;, lneip)e Maenalios niecum, mea tibia, versus, wliat times, expressed in speech sounds, here constitute sueh a smaUer group measuring off the whole? If you say that tlu/ reader, pronouneing the ancient lines with a modiU'ii tluMUW in mind, puts into them something that Ivgs the (pie>tion, then write the times in musical notes, (piarter an instances to the rhythmically equivalent spondee. Kemembtu- still that we are dealing with actually spoken s<*unds only, or their musical representatives. When, now, anv!)odv divides the written symbols of that series, 1 L ±1 . 1 I / /^ /» >■ * ' . » < , h, ! . l:. i\ jI I . , /> , I - on |Ki[>t'i\ >t ' as tu [U'nau<-r vy ' V^ I W V-' I, !:,• !,,, in iio wav alft'i.'Uui ihr rliafai'ttT mI the >|)< 'ki'n Inif. i hf ijfroiips lit' lia> niadi' a.rr lirniiMiis : tla*} (■(.rrt'-^jx aid id n<)tliin<'- that ran \h' caluMl a rhvilmncal lact. lie niiulit lia\(' (iividt'il iluan .i[u,'r in half a /,■!! otiuT uav> : llu^ scholiasi to I Ifph.ii^liMn ( [>. -<>5 W. ) dixidcs a familiar Ili>ni''rii- Inu* >•> aN l'* makf nt iht' >\ llanlcs, -^6?/ 7r6da<; co/cln- 'A^^^ ^'^^''^'''"- ''^'-' ^^'*'*' "-' -- ^ "-^ - ' '"-' '^ — ' — j this priH-r-lur.' is porft-ctly [uiralK-l to the ontMTi qnr^tinii. lint tlif Hihawhun natnrallv Np.tictau dividf^ itsrlt in the ear in thr tirst \s'ay niily. The >n;f iva! Uti ilicii' arc dactyls and >pMiidres. Marius Vicl. apjMMiN, m tjii. pa.ssaLn.' ^^■e arr n.i\v ('on>idfii!'r^'. to have nndrrnnpl\' to iMtini nnl thf curiou-^ nunu'rit-al ci anlunat a ui^, m ih.sl s i^h a halfdnif t-nntain^ in>t tla' y\-j:\iI nuniinT and l:ind of svUahK's to niakr, if tak'Mi in ^a'dta" and ni paii'-. --iniulaciu i)i all the di>vllahi r h't'i. ni-'nalniLf tnt iTinia \\!ia-n :' [►\'ri AristoxtaK >s dnt'> not rfc tLTnizc. d iiat Is an niha-c-vi nnj; aritluih'tical fa<-t, hut not l>r"i"'rh" a liiyihniical oim-. ddie rhvthnneal !ai-t> arr th"-^e that a|)|H'al to the ear, aial are what w i* haVf Sftan Idie same [iriihapifs apph' i^ tli*' I'flated division LTivcn in the Piiuho'ie ss'hoiia. It u-m-n n not 1 1' i\a' >Ms when --nnj ao * laci \ni<' l-avt] : lull \\ h>'n lie- I la-* ■•■', \\ a t' n >t an^ ! w \>a\ i> n< il : eannot hut a-dv, l>ut wh.o ihrn Idle real prohkan. in the \'rr-;' fXtanpiita-d m sa\ Pindar; thuil ( )1\ inpian, is to tiad w!: that niadt- theni^iaxa'- measuianu oil and na. 1 i! aU' the snia d«a' uTr- *nps aUi n oa • i < > i i a ■ < i I't -t -k « Mr. as ! ■ '■ . a I < ■ 1 1 ; ■ ''a •,' • I L' ' ra '. * ' a : i , \^ ^ .< a i / if/>o/'y/) A XI) MIXKli METERS 199 those H-. x^.iv -uni^. It is ini|)(>ssible to bring into wilh An->n"> eonia'ption of ieet sneli li.arr.aa n.'cais trrMnp> as those postulated by the scholia t,, Piiidar that !»kiss makes the l)asis of his tlieory. ^ I\.r riridar"> idaa i^\ that verse we mtist look elsewhere. Nothino i> bt'ttrr st'ttle(l in the history of (dreek meters than that Armann<-r, or na-relv n-ave gen.eral currency inartistic vrr-.a to soinrthuiL;' already familiar hi folk-song, need ^,,,t now. d^he loans elassicns on the subject i. Ih-phai-tion lo (p. 47 ff. W.) : the interpretation of t]ii< bv Ih.^.^barh (Metrik:'^ pp. 3G5-373) is in general ,-, :i\ ini-ini:. and need not be relocated here. In spite of dill, ataa'^- ot nannng, and some uncertainty as to tlie ....na ^A divi-ion bctwetai tla^ members, it was recognized ,k,\'. il to tla* latest peria.d that the kola in these cast-s ^^,.j,. di>!inri and not of the same 761^0?, and that many j.,„... rontiinu-d and develo^.ad farther tliis practice of Ar.hilorhos. d1ie exami'les most familiar to modern iva-has art' in tla/ epott(aa's>ors of Archilochos, applying the Sana,' prinripk-s of matrieal eombination to otlicr sixlr- of p.H'trv. often made the division between koki (h'vid..' a word. In om' point, however, it is impossilde tu auivr With Ilossbisrh, -— in the assumption, namely, that "the dactvli.' ant,n^ni>ii:ihu' from the dactylic hexameter of the Kar (v6ttXiov t^,., ::>tMhaly naiwei ay Xeie.pliMn m Anab., VI b lb and perhaps aia* a a lu by Aristophanes, luc. cU. 200 CHAPTERS ON GREEK METRIC that the assumption of three-timed dactyls and anapaests is purely modern. And Rossbach himself adds (p. 379), Freili^h i-t Taktwech^nl nicht ausgeschlossen, ni ] irently i Ii: : :i; : 111 H the lack of v lence for reduction to ill n Hi ;\. \\ 1 L.ul 1)0 obliged to return i i ;.i ^ oint lat^r. y^ilLpt TTuXaiOyol'WV aVLpii)i- OtuTiOV ^I'Wo^t 7T{irrnr7,',:jfvl' 1 !ii> lie ciills TO KaXovuevnv ]\\aT(oviK('i\ iiinl \ i i i ' " n. ra iJ.ti> €KaTtpa)Pti' Cvu taKrvXiKa TrtvthjUi^L pi] to ct fxeaop lapLSiKuv. liut, ;is Uo>^i!;i( h |Hiiiit> s»ut, a !ii!>rr natural ilivi>i^ ai \v« iiiM 1h% \j \^ I — w ^y K^ s^ \y KJ KJ . TL'pliai>li' '11 [>rnl»al»]y prrftTiv.] thf t>tht,-r luMaii^r that l.irnim'lit tlu' iiiic flt'ail\" nil* I the class oi iKTvi'dpTijTiu iiiiJ t'lialth'tl him lotnli'tw lii^ inrliiiaiion tn niakc iia' nit'iiilH'i's ratalt'ctii*. \\v lluai |tri>fi'rtl> : "Ai'TtcjTpaMM^'^^^-^^ ^€ eaTi tovtu) to ]\irC(ipiK(ji> KaXnvpLci'ov, (U Kill Tvireis ay i>(i) TrtXtKtL TeKtTo ^avOav WOdvav. ao(})OL tt KdL TO fj.7]Eti> dyav l-iros ainjadi' rrepiGrrfos. I It -re, t< M), it i> liai'(lly iia 'I'f I liaii a < jih"^! i< )ii <»!" !-uii\-fhifi!<-c wiu-tlitT wi' ilnitlt' a-- hf w-uM lia\'>' il^ait' or in the niaiiiu'r that >rr!iis t«» u-> naav in cuiif. (riiiii\- watli the natural ^eyeOij, naiiiely, v> __ v^ KJ \y Vy V^ '^ . Here \\'e iiinl, then, a elea.r dr^cript i< ei nf Treptodot < on- taininLT, in different arranLj-enimt.^, the na»st rr.nun. »ii rh'- ments of tlie scM'alled daetylo-r[>iti-itie \'erse. ( )nt* of the best of the rnetriei eite^ them as comiueind mft(:>, consistinL^ of (hietvlie-anapajstie kola and trorhaie-iamhie COMPOUND AND MIXED METERS L^ I kola. One of the combinations is . \rii kia wn a- da* Pindarikon ; wlih^li indieatc^s t]];]t li, is form wa-- eio-ciy associated wilii ih'.' [-" - \\l;t> ;- !m u- U:e ehlot reple^eli- i,,u\'.'.t * i,is clas^ ' a uu'[ri>. I ftav i-> .t tradiiinu .if at Ipfiv- .'.ju.ii saiiha a:- tradilion. wilii Uu.- one ur^ed hv 1 y.;-- : ,ihd w lid'/ ihal ense of rh\"thm, tiii^ luUMK aii/e> wiih hoihd ddus treatment also pre- sprv(^s and nadKes oh\iou^, while the* (»ther conceals, tlie kinship Intween this partieukir e()nd)ination and other (■( aid tinai ions oi' sindlar tdenieiils. The numerous forms du>rrilHMd l)y liosshaeh, Metrik'^, pp. 378-olMJ, are of tui- nii>takal)le eharaeter. Why take as our oiiude some lale anaaivme)us scholiast, and aeee})t from him a method tliat runs eiamter to natural ailinities, when Hephaistion oders a mt'ihod so rational and nattiral ? That is a new \a'r-ion of tlie principle of the diilicilior lectio. J)V the method of i Iep)haistion, then, we analyze into k(*la which are all fannliar in endless combinations in (»llier meters of tludr separate' classes. On the one side, in tiie even idass, the prevailini; element is the dactylic tripinh-, either comp^lete or ending on the thesis ; dipodies auil trtrapndit's are mingled sparingly witli these. In one partii iihir the dactylic groups retain an older cliaracter tluui the Ilonauic hexameter, in that each foot hut the la>i of the grou}) is a p)ure (hictyl, wdiile the last is alwavs a spondee, or a simple thesis, which is commonly piroi(tn'4t'd. ddms the groups are always clearly sepa- rated fr(.m each other and from those of the otlier class. h\ the iambic ckuss the primary element is the dipody, ^ Discussing aiiothtT form (p. 4H f . W.), Vr^ wv^ \y \^ w V_/ — w Ilvpliai-itio!) intiitions with S(i?m- lisaiipruval the application of the Trpo^o'biaKOs ihvury to the tirst iiienil)er. ciiAPTEi:^ <>x '.niiHK Miyri:: H>M]'"rXn AXlJ MIXED METERS 203 »■■( 1 t . )' \ \ - T)l\'(l( tllH'i.i'il h' ui tiircr I'll^ >\ll,ilia--> tl!.'! i-Ih' ^-1 Till':-!' ♦.'ifiiit'iil ^. (LuiA'lic u!i«l li( M'ii,i!f->|ii »iii l.ii'-, art- * Iniird ill \ari<'UN \\a\> iiil«> Trt^^^Oo^ ; which cxhihil gt'iiiTuU V a tlfL^Tt'c (ii --xiiiinrtry that (*ur!r>{M ii!,l>, m rhvthiii, to what \\v liiid m thr im •iiiimc!it^ <«i' the pla>ti'' and i;a"a[*hic art> iroiu the >a!!ir [u-rictl ..t (irrck lift'. ThtTr is, howTNiT, n<» iu'ri'>>it\' I'a' fntcnn^' \i^-\\\ into (K'tail-- lai this >ul)jt'!-t, nor Inr {■(tri.siih'rin;^ thr \ana- ti'ins int ii •.iiicnl, as the [)rt/lixr(l arsi^, n^i- tti(in of ana[»a'>li(' and ianii)i(' dixi^inii m .surli ca>r<-, instead <>1 daat\lic and t!'i»chai«', n<»r h>r mxotiu'at- in'4" thi' (plot i<>n < tf huw far wa- nia\' as>nnic " iair\ t hnn' "' and prul- )n'_;'ad tht'M'>. l)ni ihc i|Ur>iion <»i tniu' cannut be a\i ti'ird. It h;i> iureadv been siillicienily t'ni[>ha>i/.rd that there is in aneieiit traditiun no warrant whatever for the threi'- tinied niea^ui'enient of daet\lie or ana['a'>tio \erM'. d"he ivadine>s w ith wiiieh that lue. inurement has hren aeceptoil is a[)parently due hir^'rly to a mere accident. .M in whicji they are written, ai'e ahno^t inwiria- l)l\' in tri[»le time, and hence it has In-en tlie prcxailini^ praetiee in >elitM»h^ to read the (Jreek and Latin ori'j;i- nals in the >ame \\'ay. 'Ida' nni'onx-itms etTect of that >tate ^^i thin;^^ is voiy i^reat.^ lint tlie inllueiKaj needs (tnlv to !h' recoLfiii/cd ; it has no ohtee in ar'ni- inent. In the present ea>e the o!d\' seiious pri»ltlem remainiiiL^ is, Whiat was done with the t rochaic-i.unhie element? The possible airswers ri'(!uce to two elas>>c>. A. There wa> no efpiali/aition of time hetwaMMi the two 1 Wf fVcn hear pn/pl^- -peak nf tlu> iinpiw-^ihilitv i.f K' ia i-v.-n tiiiu'. It h;i-> \ an*! tc.it JiinLT t. vvrv nicinljtT of it lo rt-ad IloiniT ^o. ( element^. That inxtdves a frequent eliange of time in pa^-imr from one to iht' other: taie trochee or iaml)us of tlic u^uai ilip<>dy was rational, the other irrational, pre- ci--c;\ a> in lahcr iamhie or trochaic verse. Sometimes hoih feet ^A the dipody are of the normal rational type. \\. 11h' trochaic element wa> conformed in duration to tile dactylit'. Here are three t)ossil)iliiies for the tro- {:\ivr i)r iamluis. (1) Westphahs view, tliat by change of teiiipd from measure to measure a trochee was made cipial \\\ total duration to a dactyl or spondee, and its long twice the length of its short, a third longer than tlu' h>ng of the dactyl. {'!) J. II. Schmidt's view (from K. Lehrs and J. II. Voss), that the long of the pure truehee was made thrice the length of its short. (3) 'Jhat the short was made irration.il, the lonirs heinir all iMiuai: the elTeci would he a sliLfht acdderandu oi\ kiAoXi pure trochee or iaml)Us. d"he argument from Aristides Q. (p. 90 Mb.) in favor of cipializatiou K^i feet between tlie two elements^ is irre- futable so hir as this: it couquds us to reject any suppo- siti-4of), is a ni'i'Irl nf fair ami cahn jiruscntation, though certain errors in the prt-mij^cs viliate the conclusion. 20 L ( i[Ai'Ti:n> i>y (,ui:i:k Miyiuic the i'\H']i ( liiss, may have t'xliiMtril a n (liiphic cliaiiirt' to tlu.' iiiU'\i'ii class, aiul U.-t'ii ri'iulfri-d in iii[ Ir tiinr. Tfie practiijc «'f c;(>iii!)i!iii;[^ in one stri'[»lit' knla of dilTt'ifnt elas.ses Ix^'in^i:^ usuil^li>iif'l lu'vond qiif.siiiUK in Arrhilo- chn.N and many succt.'>M)rs and in variiais snics, what is thi' nauiral pit'snmpiion in such a case as Aisdi. Air., I'l'-) == 144, (»r 175 i ~ 1^^) f ? Within the ^reat dactyhc str()[)iie, just IndOre the retrain, cuXlvov cuXlvov elirt, to 8* €v VLKi'iTco. stands the single Hue ^BXat^eura XolgOlcdv Spofiwi', ;ind in tiie antistrophe aruytl dt helTrvov atercop. The Ihiundk'ss resources of m(Hlt,*rn harmony, from whicli chiefly our mu>ic (h-rives its richness and varicLv, \\"ere not avaihihU"; all the more did the ancient musi- cian use to the utmost the availahle resources of nieliidv^ and rhytlun. The artistic imporUince of /xl^c^ and fitra- /SoXr] is re[^eatet.uices so natural that onlv stronu^ {(ositive evidence could justify us in deeidiuL,^ aLTainst it. ( )f such evidence there is none, so far as I kmnv; our mere ex- pectation, derived from miMh-rn nuisic,^ that the same time-signature {yei>ont of many cxamiih/s I note two only, both from ri'liirions music, of tlu* riauxaarLKh a very strikmL' as \\A\ as ])» autiful luece of rhvthm. One measure ol | time is followed l.y <»ru- (d | time; this pair is four times repeated, and then follows ont- iiu-a-ure rach id \. |, an^i '\ tinit-; next conu' eiuht measures ai:ain of alternatii!^' | and I time, succeeded by tliree measures of i^ time. rr>MPiiJ-yD AND MIXED METKIIS o UO rh\thm (dla-rwisc trochaic of the strict type, the kolon next I" the last is 7rXr]V Ato<: el to ixdrav airo (f)povTL8o^ tiX^^os' hi the anti^tntphe, Zfji'a Be tl<: irpocppovco^ emvlfaa KXdt(ov. In form this pentapody recalls for a moment the dactvlic triad with which the whole choral song heiran : the refrain of ea(di member was there a dactylic pentapoth-. As that triad by an occasional trochaic clement, lHM'omin;4 more freumption of ecpiality of feet throughout the strophe. The shift of 7eVo9 to that extent, instead of interfering with unitv of ex})ression in the rjavxacrTLKo^ rpoiro^, may even be madi' to strengthen it, and may contribute much to t-rdiance the })ower of the wdiole. This conclusion applies to the strophes of I'indar as well. A dipody of pure trochees may have been lendered in triple time : a dimeter of pure trochees was i)rol)ably rendered so, thoui^di surrounded by dactylic and spondaic elements in even tinu^ It does not follow, liowever, that these trocluuc measures were treated as Westplial believed, eacli foot being made eipial in total duration to a dactyl or spondee, t'a* h syllable a third longer than a syllal)le of the same sort in the dactyl. That is certainly not the natural and usual proceilure in modern music \vhen a change of time-signattire occurs. Unless there is a special reason for a distinct change of tempo, and a special indication of this change from the composer, one rather makes the individual notes under each time-signature equal to those of the same name under the other, the measures 2'io // i/'77.7.',N ^ 'X /,/.7;/-;a" .i//;7/ thiv ;Li;lIiLr "111 ll!lr<| !i.n n 1> < I' 'III' will! I 111- t'X:tIi}I 'ii I • / ;iiit' lii.- kin,] w,. }.a\-t* ju>t lu'rll ( Mii>i.lfri!iL^, \\'t'>t{'l!ar> ;i-slllii|iliM!i i> wia-iiv without su[.|.,)rt. I-\,r inixrj k.ua, in \slii( h tiir >\na!.i.' form is tro;haic->{ion(ia!(a that tlifi ,rv |M)>t iihiU'S a humJ,' ot ivii(lt'rii!'_( that is fsn- us ninih'iiis rxt raortlinai'ih ditli- eult, — >o diiliculi that we dtanand ih.' -tri M!uv>t kuH! ..f evidt'Hcr 1k'1'<)1\' we can ladirVL' it to haNc Ihh'U natural to the ancit'ius. Westphal ndicd niu.-h ( Rhythinik'' [>. 2^!MT. ) "!i tlie exaanpU' of Haidi, who wide onr [.ivhi(h' ( Wfll-i.nq.rivd C lav., II ;>, in I) inajiir) in an analog. ai> inannr!-. I ^iv analoL^^ous, not identical, hccaux' in that OMni{.M>it mn the shitt dofs not oeeur so (.ft(-n as Wi'-tph-iT^ ihmrv reijuire.N tor the ti-ochadc-<[)()niknr di[H,Mlv in ih-' -a in which alx. \\'rame treatment. In Hach's je-iud.' ihe shitt oeeurs, it is true, in rarli mra-iuv ; inn .■ trh ..f Baeh's measures rorrr^pMUils n. a kuhm of h.ui' ^iinpl,. feet in the (ircrk mrtrr. That idTrrs a nni(di oa^itT problem for the performrr than Wotphal pr..jM..,<. h.r the (Ireek. Vet it is n.^rworthv that IVwh him^'lf, great and ori^diial masU-r as he was in mu>iral rlix'tlim, never repcatrd the fxpi-rimmt : n^r has anv surc-sv^r. at all fur We.stphahs view. Nor can we reconrnize as valid tliat scholar's versi.ai of the principle that the long syllable is alwa\s twice the .l//'"/'A7^ AXD MIXi:h Mini- IIS 20' _^th ot Ilie -hori !i v.hich he found one main rround lei, for this shilt ot teiiipio. To him that principle, applied only to \a r>o that was sung, stood in close rehition to his sharp sc[ uiratioii of sung from sp(»ken verse. That sepa- ration we ha\e found did uttt exist, and this weakens his case heiv m.itciiadly. lUu still hirther, in verse that was sung \\\'>tplial ri'cognized fully, as every one nnist, the triseme and tetra^eme that result from catalexis : he reci»Lrnized al>o the irrational svllaljle, thoti- piuL^ to mention exceptions wiueh were al>o well-kih t\\ n, and which later in the treatise he was to explain tully. ( )r, secondly, the words from Xo^ov fitvToL on may be not those of .\ristoxenos but ot his excerptor and connnentator, who does not hesitate to nun_L:le hi> own phraseoloL^r\' with his ipiotations. These words ha\"i' no bearin*'" on the point Aristoxenos made; >o hir as the\' Uo they are a^'"ainst it, and sound like the adtUliou ,.] .aie who Would be more exact than his mastm-. Ibit we iiaxe too little evidence to .settle the (piestion, nor doi-s it really affect our ari^ument. iM'tweeii catalexis, n'-aiio- nidit\', and the -y^povot tT/s JjuO ^ottoluk; Ictoi iheO' is id)undant room in the s\'stem ot Aristoxeno> tor another meihoil of rh\ tiimi/'.ation in tins meter than the one defended by W'esiphal. And in fact the [iroper statement of the ri'al [»roblem is this: How did the (ireck^ in sim^nn^ rh\thmi/e these syllabic combinations? I'he [)recise ratio of two to one, tlu^ eonnui»n ratio !)etwa'en tie' h'ULC iind short, caiuiot have been .strictly observed throuidiout : the pure tro- chees (or iambi) must have in\olyed some foian of de}>arture from ltd (^>uite apart from the lack of evi- dence for tliiee-timed dactyls, we nuist still sa} that tlu; trochees were somehow rhythmi/ed under the intluence ^ < >ne iniirbt be iiicliiU'ii to n^-^tiiiU' the niuiif nf miltrinu' whifh i-i illustratt'd in the jiassam.' iit.-l from l'a^krr'^ liora Nuvi->iina ; but that wouM be, in aiirii-nt !rr!nin«>l,.t:y, rithrr tbichnua*' -r rUr {t'^r tiiv must jiart) feet of the \6yos iirirpiTos v\i\]>\i^yvd m continuous rh\tiaiio- poiia, both of which are tlvtinitfiy fxclu'!t.'(l. CUM Pn I'M) A XI) MIXED METERS 209 of the dact\ Is and sj)ondees, not these under the intlu- ence of the trochees. In tragic dicdogue, ^vhere the foot of two long syllables constitutes disthictly less than half the average line, and never closes it, the obvious prepon- derance of three-timed feet led the speaker to reduce the time of the apparent spon(k*e, approximating it to the other by making one long irrational. The situation \yas essentially the same in the trochaie tetrameter, and in other trochaic and iambic meters. Ihit here, in the dipodics whicli externally rese'udde those of the tragie trmieier and the trochaic tetr.imeter, tlie sp>ondee ordi- naniy i'nd> the kolon, and often the line and periodos. dliat fact alone goes far to indicate a spondaie instead of a troehaic movement. And then the pr(,)portion of the two classes is reversed, and more than reversed. ( )ne must start with a strong prepossession indeed in favor of thi-et>time«l rhythms to suppose that one tro- chee to three or four (kictvlsand si)ondees could regulate tlif^ whoh', reducing all to trocliaie time. Asstnuimr, then, that a puiely trocliaie dimeter, j>er]iaps even a dij)o(ly, may have kept its own triple time, we cannot suppose a single trochee, isolated among dactyls and spondees, to have been wholly unaffected bv its neiuh- bors. Thi' universal ihythmizing impulse must h.ive made itself felt in some degret* on sucli a trochee. This brin'_rs us to the kist two possil)ilities of the above tabu- Lition ; was the trochee made i— ^ or — >? A categorical answer seems at present impossible. The evidence a[)pears to me alxuit as foll()\vs. To begin witli, the foot 1— w is not admitted by Aristoxenos amoncr those capable of coiuintiotis rhythmopoiia : tojv Se ttoSojv Kill r-vi'ty^rj pvO^oTTOiiav iiriSexofJ'GvcDP rpla yevfj iari, to Tt CiiKTvXtKop Kal TO lapfBiKov Kal TO Tratcovifcop (p. 300 Mor. ). Tliis is an additional argument against a ^yhole 14 210 CHAPTERS OX (iUEEK METllK IvmIoii, or vwn a di[)()(ly, of sudi ftvt. Wni at'cordino^ to fnl<^ l» from Pst-Uos, siii^i^le feet of that ty[H" inin;^^!*'*! with others were aihuitted hy Ari>toxen()S : yiverai le irore 7Tov<; Iv TpLirXaaup Xoyco, jLuerai Ka\ ci^ eirtrpLTa}. W hen, therefore, after teUinLr us (p. 3U2 Mor.) that the h'i-t eu TeTpaar]fjLcp /leyt'Oei are (hieiyhe, Aristoxeiios a-M^, as the reason, that hi the nunilH'r four tw.* r.itios are [.o>-ihle, naint'ly 2 : 2 and 1 : o, a)i' 6 fiti' rov rpiTrXaaLnu ovk ti'pvO- IJi(k icTTLi', we must understand him t<> nirari Ky ovk eu- pvOfios not emphiyed eominu<»usly. And in hid Iw is at this [)oint sim[>ly enum«'ralin;_:: and (h scrihiiiL^ the three yein] whirh lie has just s.iid dw thus eontinU(»u>ly t-ni- j)l()yL'(h Elsewhere he uses erpvOfxo^^ in a hroa(h'r >rn>t' ; for exam[>le, enunifralini^ the dilTerencfS hctwetMi h'ft (p. 298 Mor.)^ he says that mu' foot (HlTt-rs fmrn ;in<)ther in 7eVo? when their ratios difTer, as when one has the ratio of e^uahity, another that of 1 : 2, o ?t aXXoi' rn'a Twi^ h'pvOjJLOiv y^povcjdv. ddie last phrase distinctly ini[»lios, as chanieterizin'^ a h)ot, more than (Uie evpvOp^o^ I'atio besides thn>e of eipiality and of 1:2: among these othrrs must he inchuU'd that ^^i 1 : -l as wtdl as that of 2:-'. One iUustration of an isolated fo.^t iv rpiTrXaaup Xoyr,) and iv irriTphct) oecurs r.ither often in lyrie, iambies. Ai>eh. Eum. oo^i f. reads, €kIov 6 avdyKas arep tiKcito^ (Jov OVK avuXf^o^ earciL. The scheme is w _ v_y i ^ -- w _ w i_ " — ^^ — ^ ' . Here are thrive oceurrencrs of the form w -_ w l_ . lo a Greek this was an iamhic «li|MHly : but hy ^vr::'vyia — to use the term of the Oxyrliynchos papyrus --the second iambus beeomt'S w l_ , iv rpnTXacTut) Xny (i\ and the whole dipody as a ^vvOero^ ttois is iv iiriTpiTup . i nc names of the feet, as syllabie eombinations, werr Cr>MP(>l'XD AXD ML\ED METERS 211 apparently unchanged ; btit the XP^^^'- '^^^ pvOpLoiroUm tdioL produce these ratios, which are evpuOpLot, but are not enu)loved continuously and cannot occur in imme- diate succession. This, I say, constitutes one illustra- tion of the h)ot in the ratio of 1:3, and w^e have no leason for assnming that it was the only one. The single trochee among dactyls and spondees may well liave been another. Tlie freipiency of such measures in modern nnisic makes this seem to us the more natural answer to our (piestion ; in actual reading we more readilv an^wer the ([uestion practically in this way than HI the other. Analogies in Ihiglish verse also look that w-av. The example whi( h I cated sixteen years ago is as u'ood now as then. In Emerson's Little poem, The Ithodora, the (dosing lines are: I never thought to ask; I never knew% lint in my simple ign(U'ance su})pose, The self-same l*ower that brought me there brou'glit vou. r>y the preponderance of strong and long syllables the last verse in natural reading passes over from triple to t^ven time. The only syllables tliat remain strictly short are the and that ; the second of these is made one- thiitl as lonir as the svllable Fow'r, the wdiole scheme being ^ _L _ i_ w J. _ -i L. Such feet are by no means rare in l^n-dish. lirowning's Cavalier's song, Give a Rouse, contains several. But it must be admitted that these considerations t^iken together do not amount to proof. It is possible the troehee in that situation was made irrational. Indeed I see no reason for excluding the possibihty that indi- vidual examples may liave differed somewdiat, according to their phonetic constitution. If the long consisted of 01 o 1^ L ^d riiAPTEn> r>x (;nEi:K Mi:ri:ic lit* ;i Jil'lillinllL: fitilMUrd h\ l\V . or tlllV.- cnnSulKlIlt shuri hoiiiL: nu'ivly a >iii_rl'j Vi>\\ru -lUii a !-'.• niax lia\o takrii iiaturalh ihf it'ini ■- w , \s!-i:.' aii-ilMa^ ii^.hr.a ni ,1 >iii' '"h' liar"* \a >\\ ! a aii< i > a if uuii^^'Haiii. lia' >ii* nintf and huuid, (.■; * ai a" fa^-'' 1 1 i ^ ' \ . . w t J..U : ; \ t ■ I ac i' ; ' Li' I > It O i ^ ^ i ,-/ar \-'N ■ -< ■ i - ; a- ^i -.:; 'ot ct'iii* H ' V, 1 i i. -L I. k i ■ I . . i * ' ta- -a^!. -'. '■ ibles nrdinaiMlv di'l fill. Thougl \ 1 [)haistioii gives names i< • pecific combina- tions ill ii..> meter, as Platonikon and PincLirikon, and classes them all under the general name iinaviriu or compound, we have no ancient term of the precise extent which we include under dactylo-epitritic. That is unfortunate ; the name is not only modem but clumsy, and seems to carry with it the false theory in which it originated, that the element - ^ is really 67r/TpiT0 * • t ! M' \ rt.'at ; U' as t * »1 l* a.'"a' e- 1 ;■ • \ a> Wa liava saiMi thiit it 1 lia^ In-.a) disiraardfi lii liir u t'.ii int/] It of the aaa^iae and tla^ d .^ A \ 'r.-r^ 1 : at' 1 radin.ai wlarh at ]av^,ait aiaM-ai's to ]n- in h. Cl nllA ill A ( ) which T ^vill qnote. ti^tnslate aii 1 -aaa needful nir ciea; [ I'-r!;! ition. 1 ir introductory paragraph : ■') 11. Al!)., fr. an i/a. so far a-- is a TOL, OL Se acrvvOeroL^ ol he /jllktol' avvOeroi fiev oi ta ;^uo yevcov rj Koi irXeiovcov avvearcore^;^ (o<; ol BcoSeKcia r u . . r-:-\\-\--ni he ol evl yei/ei TrohiKco xp^f^^voc^ w? ol rtr^j aj/y/^iut, fiLKTol he ol TTore fiev ek ')(^p6vov^^ iroTe he el^ pvO/ioi/; ava\v6fjL€V0L^ w? ol e^darjfioc. rcav he avvOercov ol fieu €i,ai Kara av^vyiav^ ol he Kara irepCohov , Kara crv^vyi' av fiev ovv iarL hvo irohcov dirXoyv fcal avofjLOLcop avv6eaL<^^ ireploho^; he TrXeLovcov. According to Aristides, then, among o-vvOeroi pvOfjiol^ made up of feet of two or more yevrj^ are certain ones known as ol hayheKoavtioL, Also, the avvOeroi are com- pounded in two ways, — Karh crvXvyCav^ combining two simple and unhke feet, and Kara ireplohov^ combining more than two feet. It is clear that avvOeroi is here used in a narrower and more special sense than that of the same word in the phraseology of Aristoxenos when he speaks of ir6he!_wlv^— lw— airXov^ fiaKX^'^o^ Tpo^atof, 11. _v^|w — |vy-_|__w /xe(709 tafi^o<;^ 12. w__l — wl_w|w_ /Lteo-09 Tpoxcuo^* As combinations of syllables it is clear that numbers 4, 5, 6, 10, 12, are identical with some of the forms which we know as glyconic; 6 and 10 together, for example, contain the same succession of longs and shorts that we see in the words rov apyrjra KoXcovbv evO* d Xiyeca fiivvperat. Accordingly Henri Weil, in the Revue Critique VI (1872), p. 51 ff., accepts this passage of Aristides witliout reserve as the basis for the true explanation of such verses. His explanation has been widely adopted, as by Masqueray in his recent Traits de m^trique, and by Gleditsch in reviewing that book (Berl. Phil. Woch. 1900, Sp. 182 ff.). But several queries suggest themselves. In the first place. What shall we do with those forms of the glyconic that the scheme of Aristides does not include? For example, that contains no form beginning with two long syllables. Arithmetically the scheme is complete, cover- ing all possible combinations of trochees and iambi, one to three of each kind and four in all ; but it makes no provision for an initial spondee, which the majority of glyconics have. In the article cited, Weil does not even allude to this discrepancy ; but a sentence on p. 51 seems to imply that he regards the irrational long as solving the difficulty. Yet he insists (p. 52), Conform^ment h cette tradition nous conservons k toutes les syllabes du metre glyconique leur valeur naturelle : nous n'y admet- 216 CHAPTERS ON GREEK METRIC tons pas de dactyle ^quivalant ^ un trochde, ni de longue finale de trois temps. Now Aristides no more allows irrational longs in these BcoSeKao-rjfioL than he does trisemes ; one irrational long would make the periodos thirteen-timed for him, as much as a triseme would. For, although in his rhythmical section he describes irrational feet, yet in the metrical section, when actually enumerat- ing the feet and times of specific series, he nowhere takes the irrational syllable into account. For example, in describing iambic verse (p. 53 Mb.) he follows the ordinary " metrical " method, admitting dactyl, anapsest, and spondee, with no hint that these are irrational ; and in enumerating the feet (p. 48 f. Mb.) the combination of iambus or trochee plus spondee is called i7rLTptTo<;, iirel avv€CFT7)Kev i/c irohoiv \6yov ix^vT(ov eiTiTpLTOv, ov f Y ' -eaaapa Trpo? rpia ' o uh' yap roiv SiavWd/ScDV iu it; -ulari^o^ 6 Bk T€Tpdai]/jLo^. In short, wherever he (ouiits up the times of feet in such a way that - can test liiin, he counts un lLu metricar' basis. 1 is there- f^!'.' reasonably rfrtain thnt these twolvo-HTii- .1 \- I i i i ^ I S\'l 1 ! ■ , t , i * i : ; . I i ; 1 ! ! 1 t I i fttlliiSii! iSlvri'liU' \'i-V<<\ hill 'iliiv' >r>]i H ' s ' 1 nit' it *>s (M >n 1- Is i: not a i.tii' (■' .nr;u--i« til tli:ii lu' \s u'lN'r the key to thf (•(Hiiitu'ss vari»'tv <>f fnniis (.aillfl h-u-aii'dic, S( » Irw ■*[ which are cww approxiinatc'l l.y hi< srhciiu'. lakt*. h^r pxample, stanzas like these in Soph. I'hil.. lt)9-ll*'h 1 he sti-i.nhes are of a conimon tv|u\ «4'1\ <'<'nir lin«*^ luin'^deii with nearly rt-lated forms; hut only one luif. vnaet ^tv i^mov aypiav. is elearlv aceounttM] for hy this >vstfm. \vhi<'h lias no pkiee at all either for the anti>trophie hue COMPOUND AND MIXED METERS 217 corresponding to the one quoted, or for the Hues that immediately follow and are closely akin to these, akvec B* eTTv TraiTTL T(p %/3€ia9 larafiepq). irSy; irore^ 7rm BucrfjLopo<; avrexec ; w TraXd/iaL Oecov. A hypothesis that explains but a small part of the phenomena is seriously defective. Precisely what verse or music Aristides did have in mind here I do not know, nor how far he believed his scheme to be related to concrete examples. The arithmetical completeness of it awakens the suspicion that as a whole it is mainly an arithmetical fancy ; yet I would by no means deny that ancient music may have contained all these combinations. But in that case we should surely follow Aristides himself in dividing the series, making each twelve-timed periodos correspond to one modern measure in ^ time. Whv doe> W, OvO t i > (I \i "V 7t I a. the line above quoied, t ■ uuynr.i K \ o ,uoi',-f-,7/, consist «'f reio h- n-a-a:^^ j a-,.-,Mirr\aai- timeH and follo^^••i hv a \\\r-uiur^\ iin- analea' nitai>ur«-? \- ' iiararita' a nil oarh «lao' oi the i^rnaral tlierey WrH ^t l-t-- nnah on ihe passairn i^\ A]'i>ti(li's (p. *'"" f. Mh. i ' n i!ir tfli".-i o'f vai'ioiis rhythms. Tlu'-e cvrt'i^Toi are i la-re said to 1 >e 7ra(h]Tif<:(OT€poL as eomimred 'U'lih the uT-\(fL - TToXv TO Tapa)^ioC€^ eTTK^aivovTes. ^h'>i of all i< this tiait^ of those tia irXeioi'wv i'jBj] crvj^tG-Torrts fjv^^^a)!' ' 7r\eia)V yap £/•• avrol^ i) avcopaXla. 'rhi> dcscripthan is eminently true of the rlivtlmis deseril)f(l. A musical eoin[)osition in sticli a rliythin would seem to us, preeiselv as to Aristides, highly emo- tional : the recurring syncoj)ations produce an effect of great agit;iti( )n, I '.ut does tliat aOTee with the cliaracter of loga(edic vei\se in general, or of glyconic verse in particu- hir? Such a rhythm would in most cases be quite out of harmony with tlie content. It is a rliythm tliat would \-Kt not inapj)roj)riate where the tragedians employ the ( 'nA f J ■ • r • ; . t f- 1 Hut ^"^,}iMkk'^ u>t'> tli*' 1 U 1 ' "^ ' 1 iUl (.it )(iiiiii.Li', - - it" It. lu hiiii anil, all tin' <^ivvk inr\> irlvrMinr vtTM- an- rom- paralivflv iMjuahle -iial caiin, fhar^t .i with rnaai-ai, it is triKN as all lyric wtm' i>, but i^'l '^^^^l' ^^^ Tapax^*^^''^'^ Aiul tiu'ii, whrtlu'i- we take Wt'ii's ()!• ^Icis,|Urray'siiu-t]in(l of divi>i.!!u \vt' luii.-l rai>c aLraiu the (lUf-tiun wlietiier that sv>tein harniciiizes wiih the Ari-toxenean imtinii ot ■d foot. Ma>4Ueniy gives tla' series ^ ^ .-^. ... _ i _ ^ _ .y i ^- „.^ w -^ : . It is hanl to believe that Aristox- ene»s wuuld have .^aid of these rnmbiiiati* oiis, t<>vt(jLs tuls^ TToal ar]f^aLi'()^dhi rov puOf^oi' Kcii -jViopi^oi' iroioi'fxtu rj} alathjati. In oiir niiisieal system such incisure-, not oeeurriiiLC t(U) often, are unitied by the re;4ular braiiii;^^ <'f time: oceiirrin;j; in aneient musie oeeasionallv, as xP'^^'^^i- Tf]s pvOfio7Toua<: tdtui, they wouU be nniti.Ml in tlie same wav, beinL^ eonstantly referred mentally to the XP^^^'^^^ ttoElkoi. Win it is incredible that such combinatiMns, in so eomjilicated alternation and succession, were a''cepted as the reindar xP^^^"^'- ttoS^/coi' through whole strof-hos and Ion*'" poems. It sct'ins t<' me far pj.ore likelv that Aristides is here followiiiL^ purely "metricar' theoiw of the later tvpe, treatin-j; series of svllables, loni^ and short, witlu)Ut takini; into acctmnt the true rhythmiial chaiacter as actually rendered. We have seen above (p. !'♦<) t.) how Marius Viet, treats (tne form of the Si>a)ttKaaT]fj.oL 7T€pLohoL, — as merely a eurious way e)f dividini^^ a dactylic tripody. He was evidently familiar with the system and may be i)resumed to have understood it. \ vi it is possible — p. 0"^ f. eertainly looks that way --that Aris- tides is describing real phenomena that wero «)C(jasionally met with in music, particularly instrtimcntal. C' ^U/'' . V J ixi' MixKP Mi:Ti:n< 219 I'nt above ail ^^iir asks. Are there other ancient (la-c! ipiion^ of >ucii \erse ? Is it true that the theory of .•\ri-'ido> *" \itn -amtlichiMi gi'iechischen Metrikern geteilt V. ink" as Weil manitained ? Hephai^tion jn and the scdiolia thereto (pp. 32-o5 and 1>;1--1M^ \V.) constittite an interesting document that contains much in connnon with Aristides Q. 37, with ailditions and subtractions. Instead of the Trept'oSo? E(oCtK(iariiJ.o<: the antispast ^ ^ is now made the ke\ to a variety of meters. The o})ening paragraph is: To avTLairaaTLKov Tr;i' /xti^ TrpoJTfjv avtv^lav e%66 7p€7rofiei'7]i> Kara top rrporepov iroSa ek ra reaaapa rov luavXXci^Sov ax^jP-ctTa * rcis Se iv pLeacp^ KaOapa's ai'TLaTraariKck ' T7p> 8t rtXevraiav oirore earlv aKardXjjKTOi', Lap3iKj]i>' iav he avapLiaj-qrai raU uipfBiKaU, ov pioi'oi' Ti]v 7TpcoT7]V av^uyuiv 6%et rpeTTO/jLevijv Kara tov irportpov irdSa, aXXa Kal rrjV ral^ lafx^ifcaU ETopLen]!'. eari t.t ore kuI Xverat 6 irporepo^ iroxs eU jpiSpnx^'^'' Then follows a list, with examples, of the noteworthy forms. 1. The 7T€vth]^xLpepk, the so-called doclimiac, KXveLv fxaierai. v^ Vs> 1 _ Tlic ecfyOijpiLpLepe^, the so-called pherecratic, avEpe^ TTpoax^^'^^ '^ov vovv. v> I w Tlie dimeter acatalectic, tlie so-called glyconic, Kciirpo^ i)vLX pLaivoXr}^, etc. ^- w ._ v> I w _ w _ Dimeter hypercatidectic, or nine-syllabled sapphic, Kal fCPLaarj tlvcl 6v/jLn]aa^, v^lw_v^_l_ Trimeter catalectic, with only the first measure antispast ic, the rest iambic, — the (^aXaUeLov^ X;aZp' CO xP^^^^^P^'^^ fSd/SaKTa, /cr/Xoji^, etc. \^ \J I w — w O 4. 5. w 2-20 (llAPTims ON GREKK METRIC 6. Triiii»'ti-r .icatalinnic, or a(j/cXr;7riaceio2\ jj\6t^ eK TTepdrcjOV jd<;, iXachai'TLvai', etc. \j \j ! v_/ w I w \y 7. Twt'lvt'-s\llal)ltMl iilcait-', of which the middle f(H)t is iuiti>pasii(' hut a«hiiits in the tirst two |.laet's any of the f(Mir disvllahie feet : this is pn'cedrd and htUowcd hy an ianihie dipndy, the former admitting a spondee at the beginning', koXtto) a ice^avO' ay val Xiiptre^: Kpovrp. w \_/ ■ \^- _-.,. V^' 8. Tetrameter eataleciic {>un\ KardvaaKet KvOepif dSpos, "A^a)^■i^ * ri k€ (hlp-ep. \y \^' ,„- yj : v^' \y \ Kj — 9. Tetrameter eataleetie bnt with an ivimhie dipody in the sec^md place, the irpLciTreLov, 7)pu7Triaa fJ.ep IrpLuv XeTrrov piKphv drroKXci^. \J [ \y ^— \^ KJ Tliis apiH'ars also iToXvay^i]p.dTiGT')v \ the ahnvc is the KaOapax; iaxv^^'^'-^f^^^'^^^' ■ ^^ irc(|ucnt form also lias onlv the second svzvirv antlspastic : Sap|)ho wrote in this meter, as yXvKela fidrep, ov toi ?}in>apaL KpeKiiv top lardv. KJ W \y V^ V^ ■v^ w 10. Tetrameter a.catalectic, in whicli the whole third book of >a[)[>l)o and many S(»ngs of Alkaios were written: KJ \J : KJ ^' V/ 11. The same hv[>ercataleetie, as nsed by Sinmiias, TOP arvypop 'XleXavLTrTrov (f)6pop al irarpocbdpcDP epiOoi. v/ ; \-y V> ! W V^- : \J \^ 12. Pentameter, used by Alkaios, KpopiSa 3aaiXf]0^ y€vo<;, AJav. top dpiarop ireB' 'A;^iXXe'a. \j '-^j vy vy •^ i \J \j ; \^ W i V^ N-/ CijMrorXD AXD MIXED METERS 221 It is essential to take this entire series together in order to grasp its character and relation to other metrical theories and schemes. Several facts are tliereby brought out. In the first place, the izlvconic is here distinctly men- tioned bv name : an attempt is made to account for its varieties, and to place it in relation to other meters of jsunilar tvpes. Concrete examples appear to be the stast, thoui/h I see no reason whv one sliould stick at it more than at lUass's enhoplii and the other feet assumed ^' "a ..1'" 222 CHAPTERS ON GREEK METRIC in the W cu M.isqueray theory of locraoedic verse. T: ,.:.v ti.«r. tn all i^ nf tho ^^ame (iiai^^n^- Put simply it 1., U.-.; \\\- camioi Im-:-'Vp tli.ti ^u^ h a , ombin.it i.--i^ ..f !-!■ -a' tlie >inp1 OVt,;i 1 i ■* ' ! U i 1 : ' i ' WSiH'!; Hit' ::ii Ili.Ulr i t . 1 '• ' j ' ' . W.- r.; iii.i.-.'-L nr ('■'Uli.iciii i;..ii "iir Hiyiliiiii-.il fi'rh:;- wa- m evtTV (Irtail ihf >anu' ,i- liial of ihe (iivrk-; w.- !inr-: ni ^;i)lIl,' |nirii.-ulars .liMni-t uur U'riiiii: and ar-rja wnl acrrtMlitra aui-it'iil .Lu-irinf. Hut ur caiiiaa su[.|h.>.- .,ur ^^.n>r (if rhyihiu loin- -<> ah-nliitrU- iuiiik.' lla- aU' aail. Su far a> i!a- dnririia- of Ar:-a.\ra"> l.av./ Im-. ii laui-h- i (luwii t- u> in un.i-u-ti-nahln f.-rni, tia'V hai-na ai;/.- ^^'ai \\a[}, ( an" •■xj ; Mt-a ex[a'ij^5c:d, i^ bcj'aiid ipia-n'aa (Mir rea^^-Tl. Tim ann-a.a^i a: A an-sphilu.ul. > < ai 'a la. a ..i. hytiuiiopi* a. ai^i-^tPTU ^ • • 1 ! a I as thoTii thesis and arsis cannot sUmd in due relation to each af his ler I j-,.. . otiier ; they are out of harmony ^v^th otl > lam, and also with our reason and rhytiimic sense, because they divide each pair of short syllables occur- ring regularly between longs in a continuous series, and put the two syllables in different feet, while our ear agrees with Aristoxenos in refusing to make such a divi- sion. And in such shifting and changeable forms as we are asked to accept, in numbers 6 and 7 above for example, all sense of a unit of rhythmic measurement is lost. Further, does anyone accept the explanation here given of the dochmiac ? The right sylkbles are there, in the right order ; but no one supposes tliat the Greek poets conceived of them as divided in that way. What we have here is a purely " metrical " statement, correct -I COMPOUND A\ 223 so far as external aa uaa represeniiiig Uw ;'!i_\;!ain ceived n at 1 ■ I . • ,' « I laal ;_r. u'-. lull la a. anrraat iv J ra(a^ri\' hnW^ tlia pOi'tSi'nn- aic naiv faal uia-aruiin : we niav bt^ quite (aaia!!i :1a \' siai imi (.aiaaiva it in ihis way. Hut liu:- I aaa «>t liia a'hanit' is af rqiial aiilliority with the r(^st. lii'- rr>l ot !ia LfiaaiUT auilnaitv ilian this. i-'niaU}-, 1 ianhaisiiuirs i^hapier 14, in which are set (luw n rPjs KUT avTLTrdthiav fii^eo)^ ra irvhcvorara, includes se\('ral fnniis that a{'|)(air t(» l)e related to those we liave hacn i ai!si ( ^' 't ^ itailiia'" And Hephaistion, though he I make alt ar tla* kinshi[) of the two groups of duas ayay.ly t" tharn a similar |)rinci}>le. That tC i ■ i> ni a-aanaa tiiis: T.ikinaT tac'li wcll-uiarked aC'i faa.iiiar ^aiv--. iraan'd simply as a suiaa^ssion of long and shtui s\aa!ai'; in a dalinit^' oi'dcr and numher. he divides it int-! '• faia '" ( ^Csi^rn ) nf ft air sylhihlas each, o- anaaaa always a: the naginninLT "f the Hiua As a ■ irical la-x ',.• i'aai ail-a'-. !!,al f < ai r-s\a lableO fuot wiiiah is most nearly coil- nin: in ilia-;taaas: the otha]- faiir-s\-]- labled groups he trea>- a- wniaiaais af iiiat foia : if 'ha whole nuniha; -f syllah:-- i- n^a evei:^. ni\a. (P. 1 1 ^ K) (^^ X^.... i,.^;,.i j^.-vameti: ::-- l-'l-^ '^nin ;i;ri,]f nut :pt, ....,,, ,„;•,.. U! V-TSllS |'^-i.:[ * n< TTvli- ]m>'v,' «irh;;p ' rt / ( -r -1 ■ r n u' i ' i,ii i' 'i i»' <■' >p' 1 Icni u 1 . ]i,\iii oi \ i-i' ' huiu^ in ^t-riiiHl.. (■' *in!ii;itt' ■|;.,r rtM^'pli'^ in \ -'''^ii pniiio ct seoei n n ..ilon )v ;^ )un!, nrqua'; Vv<\n iniit'Ut'-lll. infra-til laiiluinni ;t<' ni- ,|ri> !-:li<-i' n". \\\ :\\']V\ ( '.irilhiui huiir In.'Uin tUu .U-aico cuii^ocnx^iU', l*ria[H', quusilistinctio occnltat anril.n<, nam m .Hvi-i< mfs nu'tri pna[H'i sq.aivntur, ila -^^manun! ajai,! VirLriliunn ' fmnde .uiH'rvinaisnnt;lanrar nu.Uos oi; at'hin.' T^^*'^^^ ^'"i'^' ^'"■^^^•" '"'"^"'^ ''^'^^■!''' lit su|ira diximus. «huH'US iiK'ti I , \ r<] f !i coiuiua O'.'lA^ syi^anaiu a » :^, ( i n- •: a I a [ a ! u - t'^t li"-.^'" ;*Mjuan> phrraarat iuni s\ilal)a i COMPOUND AND MIXED METERS 229 deminutum, ita tamen ut novissima glyconii, id est octava syllaba, longa sit, si natura brevis fuerit, veluti Nereus ut caneret fera, grato Pyrra sub antro. igitur quod hoc versu Priapi laudes plerique canendo prosecuti sunt, priapeum metrum nuncuparunt, quod genus hexametri adeo abhorret ab heroi lege, ut utraque pars non numquam trocliaeis et iambis aut pro spondeo anapaestis inchoetur aut etiam cretico ]^ri is uuinuai | ro dactylo terminetur, ut est apud Ti^uUum 'na a u |aaa- cipue in suis,' dehinc ' Hellespontia atit li ua lana sunt cola mora distinctionis interctduiiic. i^V. idl K.j In (1) the two niv^ -m^iQ v./ V-' ; ^-y and W \J w^ na; a^niv- alent. N > x ' : a^ . t nal a ar*'^ ''laai I taut and I'iirrrrlalie .i,ii\(' a prial 'laiiii, pi'M\HU'il taicn |.;aa • "a.!in- Wit l\ a >[** aida|)nnaaa is msisu 'd on Uu^irate die dai'ivati — KJ\J L_ I L_ If we are to suppose that the " metrical " descriptions of these verses were also intended to describe truly the rhythm, while each long was understood to have exactly twice the length of a short, such allusions to ' syllabae productae,' to a ' mora distinctionis,' to equality of gly- conic and pherecratic, are inexplicable nonsense. But all become at once intelligible, in harmony with Aristoxenos and with our own rhythmical sense, on the supposition which I have followed. One hypothesis leaves a num- ber of insoluble puzzles ; the other solves them. In harmony also with tliis assertion of equality between glyconic and pherecratic is the familiar practice of using the two kola as equal members of a periodos, — as for example in Anakreon's ryovvovfiai a\ iXa(f>r)06\€^ ^dvOrj iral Al6<;^ aypicov ^aipova ' ov jap avr]fjL€pov<; TTOLfiaivei^ 7ro\LrjTa KaTaKopay^ • yiypaiTTai he koX l^aXXLpLd')(cpy * Ay era) ^€09, ov yap e^co Bi^a tcjS* aeiSeLP. TovTO fi€P ovv airb apairaCaTov ' airo Be uh»,i,in. ^^ilirci runs u.H'ljau'.i l).i>i \^-v praet'un: .i-u-. i-i sn^ r-'MiKiitnr !inois!i> \r! ir:hu> \i = i .jiiiatunr (larlViis .1 : '^'11 '\inmiii- i!i«*n:-ur.i am rat m rxc "'crii. dnnlMi^ fOTK-iiiui n-Mi'i.at'i-. ••* appt'lhilur aliaiieiiin duiai- is V i i a 1 H n 1 1 , ill ! ' ^ 1 lani ra N \'ri rh< > 'i * u a a ai> i it ialaua>. lit quadrupedante ciet | < 1* piiiiui- a* a; i i ; rursus e quattuor et d a I n^ * i^ i a* i^. nt ItuiUUlidai pC'iiU:> .Irabuiii ]_»upUxi> aJu^-i. quae species et in anapaestico versu rep i i. i ;, ita dmn- taxat, ut postrema eius clausula bacchio a brrni inpipi- ente temiinetur et pro anapaesto non numquam spondeus ponatur. (p. Ill f. K.) These passages are clear and consistent with one an- other. Lines or kola beginning with two or more dao 234 CHAPTERS ON GREEK METRIC tyls and ending with a trochaic dipody were called logaoedic dactylic. Correspondingly, an anapa3stic be- ginning and iambic ending constituted the anapaestic logaoedic. But in tliis latter the first foot may be a spondee or iambus instead of an anapsest, while for some .reason the iambic dipody at the end seems always to lack a sylliible. The texts call this trisyllabic ending a bacchius ; but the examples bear out the scholion (l I 7 \\ . ) which mentions — what we should of course expect — that the final syllable is anceps. That this iambic close should always be catiilectic, while the trochaic close of the dactyhc logaoidic is complete, catches the attention at once. T.- » ) series, it ap- pears, -vrp exactly nlikn in thoir ending; the only »! f- f :•; i^ n tl. Ix'irinnmof. This is a case where the i| ! !i' ui ;i I ih' ;. 1 ;u lausical metliod of (Uvision bii: .^- . ;i \\u)i>i ^implv the real difference between liu KJ V_/ \J \J _ M cuu ly iic I WTi (if 111' il'P (l.ll ■■ \ 1^ t' •"'• lowv'il h\- a. I r^ "liaif liii M H 1\- ; it iii!\-.)r inax'iitit ha\»'a I ' ! u ' N 1 i ' a ' t . M ] i < ". I »r t wo >1 ; ,1- prrlixt'il ui>is mI hli's. \\ lii'tlirr ilii' tiihil --xilahlf \s'as tr*'aU'(l a^ an ..i-is, (sra^ii llu'sis tollnw iiiL,^ a pivilnia^nMl >\i]al)]t', t lirrt' i> Innv. IK) cltMr iii!lira.ti"n : Isin llif \iAU\r hac.'hius Inr i h,' last ihret* >\ilal,'lus i.>t' lia- sccuiid t'linii ^iiu^u-i'sis the lall'-r as rill' true c]n<(\ 'i'he nu'trici recorriH/.M], tluTrfore, various cMinltiiia- tioiis of (l.icnis and trocliffs in oin' koain: Aik'iiiaii ad- luitted tilt' spouilee for oiif or inorr of tlu' da< !\l-<. '\\ie, WdUh' lo'j^ao'(li(' inipliiMl at Itnist two dart vis oi' in Alk- nuui one siuiudue and ont* dart vl ?-- foil- .\sf . . , » ! ♦ Alkman both forms occur as equividn responsion, as -os;- v — n — tTplTiWV OVt 'pfi^l'^ iiXX Ayuui^o^jri pt ~,',(jtt. 'I'iiiC Alal .;: ira-I ,n i[..--r lo'^Modlc ViTSf'^ Wit ll t WO daCt vls thfTf 1.-^ n-a ilir -]\:\i[r>i uai'rant in the aiicirni traditi<.n ^"'' "}^'*'*r-'^'"i i^i the nio.l.'in niu^iral m'Iisc, or for any i:!''t!i-^l <•! rliMhnn.-al divi-^Kai otlier than tliat into plain UaLLvi- (or .s]M,nd".'s ) and trochees, |ier]ia|)s in some cnsos \vith a douhU' thf>is at the elose, tJie pentiltiniate svllal.lf l>.'in<^r pi'nlr.np'd. Tlic form — ww__ ■^.^•__ w__ ^ is snnpl\- the iannliar pul (jyop/j/jLeOa avv fieXalva, or ' flu- iriina eoiistitcrint aeuto,' tlie iotirtli line of ilie alcaic stroplu'. Airain, no naner lias a more plainlv marked rhythm, univci'sally a<^n-eed u[>on, than tlie troeliaie tetrameter. But in this trooliaie rhvthm daetvls were admitted. He])haistioii savs : 1 CO de SaKTvXo) tq) Kara Ta<: TrepLrra^ i/JLTTLTTTOVTC X^t^pa^ TjKiara ol lafijBoTroiol i^prjaavro TTonjTat' avaviwi: Se fcal ol rpayLKOi, ol Be fcco/xifcol avve^mf cocTjrep Kal iv tw la^fftKO), rep eirl rrj^ apriov avairaLarM- kKarepov yap dXoyov • ovre yap eV tm lapL^tKU) ixprjv n 236 CHAPTERS OX GREEK METRIC avdiraicrTOv eir'i t?]<: apriov x^P^^^ ^4>^ V^ ovCe arropBelo^ rpoxatfcfp eirl rf^s irepLTT^]^^ top dciKTuXov, t(,V r)< ovde (TTTovBdos t-7X<^pfc^ 0^ 6/i-ot'cJs^ Xvais o BaKTu\o<:. {V. ll f. W.) The niriiv of iIk' d.iclvl iunmi;,^ such trochees does not affect cuir qtiesiioii. It was reco^-iiized as U'l^ntiinate ; how was it treated? Evidently 1 lei)hai^tiou coiisidered it i)arallel to the spondee in the same meter, aihuissihle in the same places, treated in the same way. Uosshacli, indeed, savs (Metrik^ [). l^l^ note): Hei'luiestion hiilt den (kyldischen) Dactylus fur eine Auilusuni^ des (irrationalen) Si)ondeus, dorli halu-n heide Fii»e rnchts luit einander zu than. d1ie dictum of the last clause rests on nothin;j; but a mock'rn a>>umption as to tlie ehamcter of the - cyrli*' *' dactyl. We have already trav- ersed that 'ground, and will not repeat otir steps, lleidi- aistion's view, as here staled, is eminently reasonable, not in conllict with any princijde that we have hitherto diseovered. In my judL^niient it furnishes, in conduna- tion with the XoyaoLBcKa. a cbu- to the ri;^dit uniK'rstanvhng of the meters we are (•onsiderin<^^ Not th.it this passing remark of a metrician would alone determine the matter. But other familiar facts point to the same conclusion. Ill the landjic trimeter also, of the stricter form, two short syllables were aibuitted in arsis only where the irrational long was admitted. What is there to oppose the natural presumption that the one arsis was equal in dur-ation to the other, l)oth being irrational? Here, then, are two distinct types (»f ihytlimieal condu- nation, wliich at certain points elosidy convergi^ ( )n one side are condnnations of two or more dactyls (or in some eases anapa'sts, according to the mode (»f (bvision) followed bv a trochaic di[H)dy C'^' ^^^ ^^^^ ^'^^^^'^' ^'^""^ ^ COM POUND AND MLXED METERS 237 haecliius'). Any longer trochaic close than the dipody is for some reason tacitly excluded from the type under this separate name, XoyaoLdtKci. The reason may be merelv a theorv tliat such a longer trochaic series liad better i)e classed as a si^ji^arate k(»lon, wiiich would make the whole a compound instead of a mixed meter; or it inav be some (»ther hnittire of the 'Mnetrical "' system of nomenclature. For our pi'esent ]^)urpose botli the fact of exclii>ion and the reason for it are immaterial. One or more of the dactyls ({)r anapaests, as before) mav be replaced by the spondee : one pure dactyl was enougli to preserve the general ty])e. So nnich on the one side. On the other side is the single dactvl occurinof in one of the odd places of trocliaic verse, or (as before) the ana])a'st in iambic vei"se : in ])oth alike two short syllables fill the place and the time of an irrational long. In tetrapodies tlie two types approximate eacli other closely ; for example, aXX' ' XyrjCTLxopa fie TTjpel. ! Tol^ 'RXevcTii'LOi^ (pvXdaacop. — WW f _ w KJ w w w i ir^: Tile latter is cited from a trochaic tetrameter of Epichar- mos. Hotli these forms are divided by the oldmetrici in the maimer indicated ; one cannot dotibt that in these cases tliat division indicates correctly the rhythm. How, then, shotdd we divide in order to indicate the rlivthm in other lines that are clearly, so far as we can see, of nearly related diameter? Alkman furnishes illustrations enough. Let one exarnhie without a pre- conceived view these p;issages. (1) ¥,vSovaLV S' opeoyv /copv(f)ai re kol (pdpayye^, irpwove^ re Kal x^^P^^^P^^-^ (f)vXd 6' epirera roaaa rpecpec ixiXatva yala. 0"0 CHAPTERS ON GREEK METRIC ^ ■' ■ V '- li I li< :;\" rl.\ lliiii 111 f 1 ') \h\' sul);t'''i ;'\fli!il''- tlKitci'uM t'Xiirrss T*.* Tapa^f'K'c^ : >\ ih m| i,it imh is mUI ot the (pU'si if til. Tli'' tirst liiir \> \nya()iCiK adflril. ('an aiiynnt' 1n'1!c\«' that t!i.' ;i^ ' __ w ^ __ v./ ' , ^,' Tia' inilv t ] u«'>l i( III t iial can arisr with re^^aril to (li\i-i!i (•!• \\vn. \\\i[ the thir sliort. This is ]a»t ai!t!>trnphie iv^pi ui^i ,n, it is true; hut it i^ just the kind of repetition with >li;4-]it variation that is v(» piominent a iVatui'e in all the rhvthniic art^. an-l is tMimded th-ep in the \a'r\" nature of tliose arts. The hiue hrtwtM'n the^f tw" eeiusists of four |nire trochees : sense-[»aja^es fallal the end of eaeli line. It is inipossihle to dix-iih' the tliird line othcrwi.^c*. '^_/ hhiU e \\(^ than as liave one trochee hrfore and tlir-'c after th-- two dact\i<. Acfain, in ( i^ ) tlie iir^t four lines are rep* -at etl rh\ thnneal- Iv in the sei'ond four with two slij-iit \a:iatir the nioineia. the tjUesiaai ^T i>:^'\"ii'^d:iuii^ tliU^: COMPOUND AND MIXET ^f^ll^RS 2n9 — \j — w \J L \j . w \y f . \j . \j w u w w w wvi/ V^ \J -WW w I lie nin 1 n I :ii' vcTiiont is pTiinlv h'ofhai": hn^ for flie trihracli i i I i sr ii -. ' e, , t • j ' I u , ; I ill "i o.io .M iiH' scinane a «laoi\ i appears ni the < •■. 1 icre. then, is the smLrle daet\d a^'ain ainon"" ni sii -h surroundin;is thai (»ne cannot doiiht ",i--t the Second oj t i u.' t\N'o slae^'ts h(don<''ed in -:'-!^. 1'-^' ni thesiv^.. As lo tin' tirst of the two shoits, cae nr-jjii indeed nial-:e an ari^nuneni for ])UtlinGf it in tl;''^!--. ^o hir as this passa;_,n' alone g(H\s. one niiu^lit take the ( (C. !v-[,undence Itt^weeii the dactvls and the ti'ibraelias :i hit o{ (w ith net- h)r niakinu^ the' lonir irrational and re^^-ard- iiiL^' the thesKs as made up of this irratiiaial lonci!" plus the hrst slnet. Hnt we have seen that tlie evidence for a cvclic (laayl of tlie same dtu'alion a.s a trocliee, — a dactyl in whi(h the sylkd)les ])ear tlie ratios of 1^: i: 1 <'!' cf 4 : •;" : \' — dissolves and vanislies Ix'fore critieal examination. Alsct the evidence for anv form of irni- tional sy llahle, prop)erly so called, in thesis, turns out Very duhions at hest. I^'arther, the verses in (pu^stion, 4, o, H of the text, if divided separately in Ilepliaistion's f.!>hion, come under the head of IIep)liaistion's avaTraiari/ca XoydoiciKii — luiless indeed we are to insist that two pinv anapa-sts nn.ist be present in iuldition to the initial sjoiidtM' or iamlms. to jtistifv that name. In short, there i^ 51^' snllieimt naison for douhiing that tht> dact\ds ve are con>:derniL: are i^i exactly the same chai'acteras those ' 'i'i^ ' '\' ^e\',-]'al roads and from rather distant startinij- p''^^-^ ■-• e ha\"e arrived at tiie same result. namel\\ the exiNieC' e in (ercoh pot'tr\- of numerous and common f^'Tiii^ "\ nnxed kola, — that •-. o}' kola wherein one or ■. i 240 CHAPTERS ON GREEK METRIC more dactyls are combined with one or more trochees or iambi. The old incivi'l.u- ihems.' . recrvni" 1 ', .'j:- ;_! [ 1 • ■ u '!! \^.' . I i ; i • V k ' ' ; . I i ' I'XI.'H 1 a 111* 1". ^'lil v^iii} t I 1 1 ■ 1 1 Tri'l II ; 1 1 * tU' ' i i' »^ nnt I'iv!' i'> a-' Ilia:, • iUU'iC Lcriil • • • , 1 ] n iiiix.'d, wliirh i- a,i>'j .iiiri.aiu ^^'iii 'l<' v-r\ w-^i. }I,.u- (lid Uir rhythiHizni- iinpulM' .I-mI uith -u-:i niixrd k-la? Soiufwhal vaianu-h, \v a iiia\ i.alirvr. hui variniislv within narmw liiiiii ■^. a'-nram- m liia naiuiv (,f the mat. 'riah ---thai i>, ac-nidiii- to thr pfopnni.tn ut tho two kiiu^^ of t\a't, anil a-ronhni^ to ih.* ph. .n. 'tic cniistitution of th.' s.'pai-ato hvt. To sinipHfy the pr-h- han wi' will ron-idar onlv the cases where th-av i. no (pie>tion of prnhai^inL^ a thc-is to a tri-^anc nr a oaia- seiiic ^--^- in other wnnls, kola of (hietyls and troche. ■< idone. ]M>lIowin.^ the iinliiaitions of the rhvthniiia and nirtnci to;^r,'th,'r, aiid acccp.tiiiLC hint.s fn)in our own pro- cedure in rhytlmnzin^ nioilern verb's, in readin;^ them and ill sin^in-j; thi'un to the simph'st meh.dies. we may state the matter thus. Two impulses aete|)ondees u\ even lime, thesis and'arMs cpiah and the .vllahles nf tro.Tees in tripde time, tliesis iwde,' tlie leni^th of the arsis. I hat w-as the normal tlnn-' i'^ ^'^•^■^ founded in the iriture of Lui^nia'at^ as ordinarily spoken, a'ld in the nature ot the rhythmic setise. Th.' con>tancv of that impulse pro- dtieed iu (ireek pot^try in i^^'iicral the two rhvthmical classes distinctly fell as the ycvo<; laov and the veVo? hirXdcnov. The other impulse was to .-arry the e.pializ- ing process throti-^h the entire kolon by makini:^ the feet themselves eciuah That is, of course, only another mani- COMPOUND IXD MIXED % f J"' ''T* T ' J O i ion of I ' ■ 1 ! H i Uce. .me t e: ii C' C'odiieed titt^ former t ( iinatioii > 14 1 I < I i 1 ^ i. ne »\ einri: iDl'l tl sounds wnii ( M i I >^ Mi ! ' qua] duration, or in grv)ii| is inqae our r. :hcy whoxf fi'lative durations exhibit very simple ratios. Htit one impailse deals with the smrdlest rhythmical unit, the svllahle, and arranges sucec-ssive syllables in the familiar •a■rou!lin'^ the fet't. The other deals with the hirirer and innie cum];ilex uiut, the foot, the |)rodtict of tlie tivst im- pulse, which is the primaiy and the stronger impulse of tlie two. 'idle im[)idse to equalize feet of different yevrj is secondaiy. The i)rocess is not so easy, because it involves some violence to the primary impulse; e(itiali- zation is not so imperatively demanded; the habit of shifting at l)rief intervals from one yevo^ to another is constantly exercised in daily speecli. Accoiilingly in a line like evSovaip S' opecop KOpv(f)ai re fcal (jxipayye^ we niav snp})ose the movement to have been distinctly that of even time through the hrst three feet, then of triple time the rest of the way. The line may indeed have Ix'en eonceiv(Ml as consistinix of two kola ; three dactyls eonstitutri:n< \ Ci.. I ^ l\ f r - '7 ^ i ' ,■ f COM. \I> JXr^ MIXI-:i> METERS O i 9 24 a sniL^ie aiia|i;i'sr ami' r. ■•> • 1 ' r- tnpir t i Wi. i I i ( 1 wMs >* ) ai^' • ' U >! ii'-^> !K* bU ia ! i\»'i >1I .i- i(H)t far sli'*rt (aa-ti a: I i i ! H 'i i if 1 !« ' r jt ' a i I \ iiTavlioiia Til al IS iiaillv lilt' Ninii' siiuatii>!i thai is t'lse, wht'ii ii " snoii so fivtfiU'iit in iainl)it' ami trochaic v (ice" stands in one (*r more ("f the dipodics. In all >urh i cas( tli e ar < >i I lie ixilaled toi»i, wliicli was normally in oil a. tl airrnniiain 1; 1 niade enua 1 t.' tla,' tl a'>!s, \\a: now maoc irratmn. 1 I i . I ii e iamhic nio\aati»cnt was rctar Ieiwcen tnoe twcj extremes wtMv the numernn> caso that form, taken t(tL!"ethcr, an inihi'oken and naiinuielv L:"rai led ^c.jncnee tl ver\' ^rade ea.n c nil. H iClS. lie iHustralctl from our fra^anents of ami a uavat variet\' of forms mi'_rht IPl'C dd m siiiLxie I )(U'm. Th 1 \ U 1 bet A rows overboard tlie (h)ctrine of e([uality w'ccn t a t. Y hut no more eomnleii'h' than r ri>ti-xcnMS (lin 1)V his d( )ctrine - unquc>iionaoiv hh sonnu iio m< oi the inaliniial s\llaMe. And W( V a< com simiae wmi 4 ex[!i I 'let' Is i>{ IV I ! I I in (i«ics miMicrn mnsi<- \v ■h 1(1 en taiii al clairactt' t ■' s > a a 1 , A 11 irratiMiial iriiclu a W' are ^um: with loiiiTor than tlie [)ure trochee hcsi lie i list as much loi i-'-er as a dactvl amoii^- trochees, and no mores. ». d'ht^ irrational s\ilai)le wais not exactly mea>iired hv tl ic )(pni'o>: TT/j'MTOs, which ncvert he a, -ss. proj a-iiv (aiH. I t le nuM^ure ( .f tl le riuiiim m n'enera dlie doctrine of tl. ^(poi'oi T/;s fjvrjj.ojTOLia'; OfXi LdtoL mn-i also l)e rememhcivd as part of the s\stem of nstoxei A duct And Vet tni> il.H's mat mean the re ion < a (aia< >s uiu » m e t 1 a 1 unit mils were sua 1 d HWoIlC 1 poet i 1 r < 1 T M la'au" CO i I a tl}- d 1 did ( )- ra\'. n esire to l:"o — as iiistiiici as watii I i' !i L!' > an< na Mieiai im» nol ct aiK 1 moiicrn -merer I n \ euuaaitv Uelweell LilCbO .r.aes miL^lil var )et Wecc I ac il iiel W ecn 1 Ut iVU'J- I lixt'd for irrational syHahles. that i^ id" a tliesis a.nd that of half a thesi? It tl m iUi^' { han iUH' ff'ot of tlie daetv ic ( lass was admitted ie\" w el'e 'j]-f ai ped loL^ether : a prolonL:;cd thesis, or flOPO- XP i>()i\ miu'lii stand between them. l)Ut no true foot of the iambic ela wliole w >uld be Tinmeanini4\ a formless confusi on •1 1 a n \' s k(deti m performs its function best when Well covcicd. To take another illustration, already used ah- ^\■(' fwhich of course must not be - \ pressed t(to bir). rhythmic cfTect of such departure, strictly limited. rom xact ratios l)et w-een arsis an( 1 tl lesis may I )e i;i am iare* I t ( I the harmonic efbact of discords in miisi( W IlK a ' a : vr at once resolved, and lend t^xpressiyeness and iiothim^^ else could. None of these departures Went la.!t her than modern t T > mil" ri( mi l,itf' One -(anvc of ditlitadtv in nielic meters must always reman , . 1 e ! la^av o f the music. ddioimT tl le musician did >t ( » \!oaai( e o .^o natural tpiantities — that is, did not iyuiiiii/,r as lu slmrtfii or [ii'diuiii,'- individual sylla- I .'lit - t t f / ' / > T' r" 7"» / ' s 1 f /c bles J.: L U i ii i_ i i >'. 'L t . 1 1 t U 1 I i *_ u i . ^»'I H ' > > i 1 1 ;i <■! (inhiiKil 1' 'li ( '! I ii'' ■ \ i;atUi .lf> ,iS W()\l i( iml ii;i\t. I (Mil M or I Hi (I 4.4 dU-a Hit A rt-aui lllt'< III lil^ IK sU' in>t;i i |*tlM!l (('. .I.m, Mu>lrl ^^^l[)tol•t'^, |i I > i i! i i « ,l>t ■> i Tlu' Srikil VJ, or Suisi) ill |). o^ t'. ) i^ iiu *'Xaiii[ » 1 1 ' o t su fii 1 xthmiziU iiii( I, wilhtiiit Uir nritt'>, n.;i\'*' ni>rts\cVi'< 1 t ir rti\" lini llitT a(b>|itt'd. I low far ' tlit'riist'lvt.'S of this t li 1 W r \'»' no ii!»'an> i > f k now ]r^ and n(» |.a| i\a'i <•" 1 ; ^ , • '■ > I i < M i > a-f 1 . 1 iKia\ over t«> an- SWt^ tlio M nt'Siit >n 1 n \ I ) ■I I iO< a u oi nirt:'ii •linuld h a\a' i!ii> unrrrtvU II \' (» i I ( i{ \'if\\ Thr f |'rrtation> art' olTtavtl with «1 lira rrt'i ■("4"t an^" mua'- ii it ai ( tt 1 his uni't'rtaHi t'lran* \\ tMlt Ut' I a\a' no ssr » I i I I . n't 'Un M i \ |i t i< ai that at pre I t, a' o» a a ' \a a- '■ I il I i I I at • •Uanont wa: ,1 1 ao \' 1 . i I i narU' w a a\" Haai LUii.^ I I V i INDEX. il 1 X i) !•: X, N F-Ii fnce: |Uolea. !>M\1< O '■! O ■■) ( it)-.)!!', 11*. Ari-1. M.'::un's, Clouds 649 ff., 1S5. A.:^. 204 f. vv s i. Ulii, ,!v),) L' n t . 1 I r-, G"-l It'). IGh :(t. an. i :Mi :54 f, -i:i: ff. .U'/ia i-fl' -.U^' > /:!(:■; ,!,,L ;, llftUlCU hv ;\r\-\''\<-]ii>- 109 f . W fSl- ;ii'- \ ]<-\s . 1 1 1 f : in V. ii^a crv i.f \;ir i-si M KUea ^vlI n Uie- |i 'ii- n • nu^, U ; I'Ut imt by A A^ \ I • !! 1 i> 1-- Jiii'tiT^. 1 f. IK't lU ^rai 11 -1 ;, '■. i\iia Ai, A L'.'l f^ ill I >!i'' TTf p(t> < ( 1 lu^ Aia-iiiilc, Ffft-rs lo ufTpiKoi for doc- irihc of sounds and svUaldes, 16 f. count ^ rhvthni and iiiii- taiion eijuallv k ara qivaiv, 65 on rii\ihni of jtro-o. 90. Ari.-to\tMios, founder of rliythmical scdiool, I i ; made nu'trio a branch of rhvtlunic, 14; his IllcuK'nis of \li\! hni extant m ira-nnents, 15 niadic xp^^o^ TTpuiros instead of syllaMo tih' unit in rhythm, 15, 25; t'Hik fr<'in earlier authorities his descrii-tion of sounti >Ue. 2.) : wnv •liifiineii luo -^^'t^•7] 5()y, r.s't. iVn-n.it < V iiuntmanus. .in (luantitv !; -^i i';-n t^, 8 on (TvwnKiKOVTfs r:iar;ii-tfn/i 'I, lo f.. PJl his ^y.-tcni was not uni\crsalh- adopied. 25-27 ; e»n the foot, 37; our safe-t rtivt !im o f OS oe!ia\')- ir ot \"oi''t in rca'lii.LT ]t^ " tr\ , 129 : on extent of k.d;i, 145 146 f d.-fin* ]-(■ n JI foiiai-* \^■ I'M nun aiel ■ ;■ ■ > I . , < ; . f ~-i , UU (iit"i ol rest m rin'thm. 116 on move- ment of voire in speakin.ir and in sin^iniJ, 121 f. ; iiotes effeet of eeeh- tUJl foot. 131 o,Ot, '. 135 \ 129 ; f. : all ins ows on arjueia emotion on sp( detinition of i no two-tinied f TToSiKci, 138 ff. ; on means of ui- vidini:; time in rh\thm, 147; on ar^is ami thesis, 150; irrational ahlo ai\v:ivs m la- statcnicn arsis, ] 73 f. t tliat a lontr 1 twu-e the ienixth of las liort. 207 f. ; on Koyos roiTrXdcnos and Ai'iyos €-nirpiTos\ 209 f. -■1 INDEX. Am ■ :, M i*.j note. Ar-^ a: 1 :: usis, 150; inr rMnce n! . 1 M f, Ar- s ':u,i<-;jv '!;:-« . •':; nu'truT:] an I rh:.r;.!iH.<, 52 f AM-!-r;;i::.Mn, J:i<>, -27 ti, AtiliU- Fortiuuitiaiui-. '-w r\\\'\i-:.\\- ;uirri, Chr!-r, W., '?, •'•', 1'>">f., l''2n^'t(\ Xp6<"''n -rroBLKui I'^l ff,, 1 U \l . ^prtVoi r-^]S puf^U')7rouas Ijuij, l<>4lf , 15:5. C"ii-'.'r!ant<, tht'ir .^nant:iy, ^ f_, l], s 7 . C'-untinLT-'tnt riiu'-^. 7o. *• ( "'v .'1;,' " a!iaya'-t- and ■lart;, ;~. lhs-iv:i. DArTYi.'VFrirnrrio vrr-.', 1 •- i ff : nanin. 212. Dactyl-, lyrir. 1 ,»n. Darwin, ('., 12- f, Dionif't^s, -'n .;i\i.lini^ ihc licnt.i nifti'f. :^'^. Di'ins'-i"- "f Ilalikarna--' ■< ' ■!; '^':i- rious longs and shorts, 7 f. ; his metrical analysis of !an < - fr -m Thukydides, Hi: :;>•- f feet show .\ ;':so ^x--;u .m sn liin-ns-r. 43 ; <'"n'r.!-*> |>i--'> an i /it"n.r:s, 51 I '^n r:.} tinn, ■. r.-., !>i nrat- r;. , 12G . j f'n Uii'loiiv ('I >;m'' 1 ii and ^d -' n„', \'J~: di-t i;!i:n!-:if> ffpu^dios and cii' it rt, 168 li , on wfpiu^os^ 194 1 )i}M)d;i' Lrr'Ul|id,::, 1 IT), In]. 1 ).'. luniac. 21 'J, i'22 f. docb^KaavaoL mpinSoi, I nO f . 21 ",2]*V Kmek-on, R. W , 211 Eni^d-li \a'r'T:'M^d diff.-roistiv li\- |)t'r.|)It' who a:.,^rot' m thmr rt■adidlu^ 2.'); nii-undtiM.d, arc to rt'nn\<'>n, 2.') ni)tr ; Lanu-r'.s ■■ Scicnct.' (dd' .'-.Inutc; (.ond.rirs '■^ rh\thni ni»t \ot adoqaatt 1\' t-x- amint'd, I'vi ; atnhiL''n;* it < in rlniiiin, InO; admits (■■•ntii't !:rt\vttni .-trt'ssf'd ;ifO( ;<[ aiid Vfr-<' ictu<. 1 nd f. ; wdi\ its rl^y'lnn is n t recou'iii/.cd, . 1 ^2 h } Kidn [);in Bla--V d-. trine uf, 1^4 ff. j Id'i'di' iriand'ic, 22^0 i l^juaiitv hclwcfii fcft, 242. nri^ vt!un\'."' 2n2 " t' d\<-ir[ita Nra] • L i-n /n/t'u'-v, 43. FooT.nnir'^ tfnn; otn' sylhiMo no- r.--\ry f-.r. 37 : f-M-t in rati.. ! 1 and :i : 4, 20;* ff. < ■nKMT-oH, U,, d. 125, i5:i f . 2i:. (,hr. ni.', 212. 215, 21'*, 221. 225 if. U"<'ti;r's }I.-iifnr"-]rin, in S.d.u hurt's n.n>i< , 22 , m Kidciiardt's, s. I rann 'I'h. -no rfc r 1-, 75, ?^7, ^'v AV/.'/:Ad 'Mil i ! ^:^ 0^ :■ r-. -■ 'N. ' ». L , .■■'i2, I 5;' ff ll.^I.'.a:-:i( -n. d-rv r^-t trrat -d thf^ lot'.' r-, ]>■'>: >. -u i'U ::.A^^ pfntarno- t(r, 30; a^snrno diffvront yeyi] VA >-:ir Trepi'uSos. 200; un anti- -n:i-ti.- nioicrs, 219 ff. ; on other rt lati.i inoKTS, 22^ f. ; his prin- (dplc of a!Kuy>is. 22o ; on Koya- OiSiKo., 232 f, ; o.n dactyls aiH ' ' > IcTt <, 15n ff. Irrati.'nal feet, 150 f. (See 'AAoyia.) Tan, C. V , 43. Kawc/vvski, M., 15, 5.3, 156. Koats, J., 164 ii<,.te K(da, thtdr extent, 144 ff. La FAHOrK, j., 29 note. Lanier, S . s.'i note. Lt'ttT-, d<'srri})tion uf sounds of as J'tirt (.f ini'tric, 1 5 ff. Lind,<;iy. \V. M., 167 n..te. Lis/t, v.. l.l,'5, Lofj-ao.jir meters, 212-244. L.inirino>, makes all l-tnirs equal. all -5..rts e.iual, 16; on ^vOuSs aihi fj.fTpoi'. 44; eites rh.ythnis from aniiiuil ami Imman life, 65. Lo'Welh d. R., e»n eompusition of " (d'tunnrnMration Ude," 94. ^Tai I r< TFn;e)i)oi>[s, on " metra " an-i •' r}i_\ thmi." 45. Marias \ ietnrinns, on metri(d and nHiH'(i, 6f. ; f(dlow,s traditional order of toj)ics, 16; on eleL''iac jH-ntamet*'r, 30 f. ; his way of iKimiiiLr feet and of eonntini,' tune-;, 41 ; on rhythmusand niet- rnnn 44. 46. 48. 49 f. : on o-T?uf7oj/, 149; d*-tines foot, 154 : on heroic anB(Kda-nuos, 190 ff., I 21 >; un ^lyo €K)TrA.Ji, H'j. 1 'ri;u.i\ui, 2:!ii, ;j rr it-al- V. It , : ,n;:u~n ■ nv It how It w it-i.r -A iifr.K, '.<*> n ; h iVV k'.l.i. -4ii To.'.u i-t' 51 !hf ■*^ \ t MT»1 > H. \S' i I M I llUUi p .(•? r\-, [>: \f'r--!' :\c •;<:ii a!" 'r:vtitrv ! ! ■, fl Mil- >p..ii,i, lOi :i--> ll'jif, >.) inriruni, 42- <»i AM ITY ni vor-f < Uiinthiai -n t 1' ter, >n iiiii " ail' .ctru. 49. Raff. J. J., in.S. UiSoi, 1' . lu. A , '-K ] '.'O n i .<,). Ul"! u*.>. 2IX'. -0] , -^v:] ih lii.'lhar Hhvtiii •>1 •) IhltliiTlS. .>■ iw r*' Liti'?MIi! SaFF!! vi<'\ (•: .1. :Jn4 nu;'- a.'if. 11. , i .M.mI ai-t r^FH 11 t!"!i III t.l! Trt'f r!iv ai;s »■•-■ F.iiurt', n ,iF !i i ; r- nKV-k- at.-I rlivtiui a-S' in i I o -A...V, ' 'il TT f 1 U u ! ) - S, lii :ar, u .u;Tu5i aKa. Ari>t ' r-'- 'H, It U'\r< n., I., iiF '--. exam F. ) 1 i> .,a. var (T - -. M'.'if » . I'H, an4 I! *v, ■f <'i r HI 'A > ' r N . * 1 t F Ml ' '--72 ; riivt : •'■ I •A . ' r K - S.'!uilt/, (;.. ! s I'jr lire I 'I 1 ■' ■ \ 'crn' urF F'>te. ana: nai a ! : wntt' ■J'_' f., '^1 : "f nnr: \ It: ■t-rv n I- 1 r ! ^•t^^■ Hi S-'.-'ih T ! ( »• -; ! 1 1 ■ I ■ m < I r''''K 'h..' :ui:*v, iTrut i-a. i ' ' ♦ - iT s» S. B \ F ( .r. Fr;F'*F'<' Ft- MFU. 4--F, lii.M r-!atF anu'.i! a! ra? S. 1 r* ' > ♦■ X F' ' n ":' • of 1 iro- nr^.-iiF >r -t ,F >r S' ^1 1 |M .piFar 1 lun- . 4--; ''\-J^ 1''>f; ■ I'Fil !F'»-1h* :\'t - ! : ; I ' I trn.' Ill ^r Nr ri'^< «Tn:;F '.. 96 U.Mv a -Fai a c^; liK) ff. a' aiiCCUl aU'l IFUs^iTh /A7.>/:\V 251 rlnmo] *s Lat'ii wnr: hi\va\ > c. 'iiu'ide \s u-^ m !•: If 1G:^ lOG. (TTooyyi ,\iiit for k 2 7 ff mar Time, ( fl andn.c: in modern music. i: ■y, 204 iK.ite Trail F> U\<{ ri})tion, 149, 244. rF'^enie. ioG \' \ ARRo, (ittinitinn of versus, 114. tr,h. aarv h-rt. i i^"'. ii:^; 1 Wkil. II. o n movement of voice, ! ■> s VHi o\ ri.a'f r;i\t}nii, ! W 4 : on srlvconic, 215 fj ff. Hi riF. liiiiiirai c>/iiipi.».>iiiun, 2(>2, I K NN \ ^' >s 2.1 F- 1 1' .m Kmili t,i) . 1F,4 1 n iFicter, 1' 'te t fl anu- Maur. < 'M an:<"t<'r ic- 'r\- fl(\i:!ac }M'n- M> m»te •F ,., 1 im. n>)| UFeut; FV or^tolial •aFrr « r sini^cr, 14 ; nor 20-25 urai'i mat J dFilkciuii, 194. W octrine 2*5-125, 77 f., 2( trJ-acFi' IS H., :], 54, 194, 203; h critiiised, 103, 1 1 1 f . 115, 140. 144 f., 155, 170ff.. 05 ff. nt, in Eni:. rhvthm, 71, .\ 90, ir,,'i 1'., IGG: in Lat in, con- tained stress as one oloment, 102 f. ; in (ireck, (iF-regarded m smir- ti'j. ii)^. Wurk-snng. G.'i-72. ^vpCvyla. 194. 195, 210. ^vpth roL, MA' avfdiroL and Aristide? • » « ♦ • • ♦.• • •• t I * t * * t • » • • t t J • > ( • • • • 1 » • * . t , > • • • 1 « t t • • • • • » • » ■, ' % • • • I • • J. » ) • • * • « • t • • • • • • • • t I • t t t».* ••• »»• COLUMBIA rNi\ KRs^^^ hi' i>< M iK is (iu^ ( .11 t h«:; CrM*- \ v\p] !Mt K >n < >i a (k'l !!■ lit' j MM '.< >(' .i! U: \ i iiv ( . ; 1 I f >r,! I ! ' I ,U r- ran^ement with the l,ihr:in;i!i in chLiFKe DATE BORROWED T — -■■-- - DATE DUE D .1 L t;OR ROWED 1-- — DATE DUE MAY « 15W3 I ii,: nr -.... 1 ! t 1 I 1 1 1 c r^a c Td »■< --■■ I.M •■n :OLUMBtA UNIVERSITY LIBRARIES 10' 1068 17 ( i^BBLM ^v>«avaa^ 8 S 7. Gc^ '^ ■ < r-^ 8 8 7 6 ^ G6I 1 Q6I O^CiioiW