it is Anacreontic. We have an example of this metre shorter only by one syllable in the chorus in Eschylus just mentioned,

in the lines

Διέπειν ἱππιόχαρμάς τε κλόνους

πίσυνοι λεπτοδόμοις πείσμασι λα

These lines Dr. Burney divides into a monometer, and a dimeter catalectic, in this way,

Διέπειν ἱπ—

πιόχαρμάς | τε κλόνους.

I would consider these lines, not as Ionic à minori, but as Anacreontic trimeter brachycatalectic.

In similar manner I consider this Ode in Horace, as consisting of a strophe of four verses, and two colons, the first and second verses being Anacreontic trimeter catalectic, and the third and fourth being Anacreontic dimeter catalectic, as fol

It is not material whether the two last lines of Horace's Ode be written as two, or as one line, provided the proper catalexis, or close be observed, as the ear alone, and not the eye, is the judge of these matters. I have myself preferred dividing them into two, merely to make their rhythm more perceptible and intelligible.

In this manner, the verses are all conformable to the Anacreontic standard, or to an extension of it, and may be compared to the first line of the 6th Ode,

Στεφάνους : μὲν κρο- τάφοι: σι

So in these lines extracted from Terentianus Maurus (see Gais

ford's Hephæstion, p. 324.)

Diomedem modò magnum Dea fecit, Dea belli

Dominatrix, Phrygas omnes ut in armis superaret.

Patulis agmina campis jacuerunt data leto,

Pavidi tergaque dantes petierunt trepidæ mœnia Trojæ;

I would divide the three first lines, and the first part of the 4th line, into seven Anacreontic dimeter catalectic verses, and the remaining part of the 4th line,

Petierunt trepida monia Troja,

will be found exactly similar to the first line in this Ode of Horace, Miserarum est neque amori dare ludum.

These two metres in Terentianus Maurus and Horace are alike in nature, and differ only in order, the one beginning as the other ends, like things reversed, or to use a homely allusion, turned bottom uppermost.

I will add, that in the Supplices (p. 73. in Dr. Burney's Tentamen) there is a similar Anacreontic trimeter catalectic, substituting only an equivalent iamb for a trochee in the thesis of the second foot.

The verse is,

ἔτι Νεί- : λου προς χοάς: σέβας μεν ὕμε : νοις.

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To make this last line, as Dr. Burney does, an Ionic, appears to me a violent proceeding, nor does the avaxλúμevov, that is supposed to exist here, much help the matter in my estimation, as I remain to be convinced that such a monstrous licence, so offensive to rhythm and to the ear, as the avaxλúμevov, had ever any place in ancient Greek music, but believe it to be a comparatively modern invention, by which the Scholiasts have attempted to explain seeming difficulties and incongruities in metre.

The Anacreontic colon may be considered also as the parent of that graceful and easy metre which is called Glyconian and Pherecratian, the Glyconian being the full measure, and the Pherecratian a catalectic form of it-thus

These two lines are frequently written as one, and called Priapeian. To this metre, and not to the choriambic, may be referred the lines above cited, from Terentianus Maurus, and beginning, Jane Pater, bina tuens, Dive biceps, biformis. A still more abridged form of the Anacreontic makes the Galliambic metre, as

These lines are dimeter, alternately catalectic, and brachycatalectic. . Anacreon is said by Hephaestion (p. 68. Gaisford's edition) to have written whole odes in this metre; Hephæstion cites, as Anacreon's, the lines following:

Catullus has written a poem in this metre, adopting an iambic in the second part, or θέσις of the first foot, instead of the trochee, which occurs in most of the examples above given, but this variation, as I have before frequently observed, does not in the least affect the rhythm, as may be seen by recurring again to the Anacreontic scale.

I have divided the two lines into four, in order to show the metrical commas more distinctly. The division of the lines is not very material, provided their rhythm be ascertained.

Anacreon often used in the same manner an iamb instead of a trochee, in the éos of the first foot, not only in the 6th Ode :

μεσονυκτίοις ποθ ̓ ὥραις,

but twice, as we have seen in the example last cited, and also in the Priapeian metre, of which Hephæstion has preserved these verses (p. 101. Gaisford's Ed.)

This is what Hephæstion ranks among the λίαν ἄτακτα σχή ματα, but it appears to me, and I hope by this time to others, that nothing is more regular than the rhythm.

The same author (p. 90. Gaisford's Ed.) would persuade us that the Anacreontic

Ορσόλο- : πος μὲν φιλέει · μὲν αἰ

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"Αρης : Dimeter brachycatalectic, χμάν. : Monometer hypercatalectic,

is compounded of two penthemimemers, one dactylic, the other iambic.

The same author too (p. 96.) does not seem to perceive, that the following lines also are completely Anacreontic, and in the

I will conclude my observations on the Priapeian form of the Anacreontic measure, by enlisting under the banners of Anacreontic metre some lines that appear to me to be very regular, and well disciplined, and not to require the drilling that Herman (de Metris, 375.) is disposed to give them. See too Gaisford's Hephæstion, 354.

I will prepare again my Anacreontic scale for the few following lines, and place them in it, so that our eyes may be made judges of their uniformity.

I will insert now some genuine Anacreontic lines, and also a few more from Catullus, to place beyond doubt the identity of the rhythm of all of them.

It is needless to multiply examples farther, and I trust that I have now fully reconciled all the seeming differences, that exist in the preceding lines. The contrariety in some of them is nothing more than the effect of equivalent isochronous interchanges, and this licence, so common in other metres, being granted to this form of metre, there is an end of all mystery and difficulty in the matter. Where isochronous interchanges are admitted in verses, such verses may certainly be called polyschematisti, but they as certainly are not on this account asynar

teti.

Their dress alone and appearance to the eye, is by this means a little altered, but their essential symmetry, and their musical value to the ear, remains the same, and it is in the facility of making these changes, and in the superior planning of their versification, that the Greek Lyric poets have so decided an advantage over the Latin.

To draw towards conclusion, I think the Phalacian, or, as it is more often called, the hendecasyllabic metre, may also be considered as an extension of the Anacreontic colon, by the addition of another foot. Thus ὦ παῖ παρθένιον βλέπων (Βάθυλλε) tallies exactly with