einov, thus having said; so also when it follows the word to which it refers ; as θεός ώς for ὡς θεός. (d) The article o takes the acute when it stands for the relative os (I. XVI. 835; Od. 11. 262). According to the ancient grammarians, when ò, ǹ, oi, ai are demonstrative, they should be read as if they were accented; thus, ò in ‘O yàp ßaσιλῆϊ χολωθείς, is to be read ὅ. Note.-Enclitics (éykλíveσdai) are so named, from their leaning on the preceding word, that is, throwing their accent upon it: Proclitics (poкλíveolai), by analogy, as they are affected to the following word, with a similar relation to that of enclitics to the preceding. SECTION V. Analysis of Faulty Lines. THE following extracts, which do not satisfy the laws of the Tragic Senarius, are analyzed in connexion with the rules contained in the preceding pages, that the student may better appreciate their meaning. 5 before Οὐκ ἔσθ ̓ ὅπως ὁ χρησμὸς εἰς τοῦτο ῥέπει, καὶ τοῦ δεόμενος ἦλθε μετὰ νῶν ἐνθαδὶ, ARISTOPH. Plut. 51-58. 1. τοῦτο ῥέπει. The ictus on o lengthens it of the succeeding word. See Prosody, Rule 7, e. But a Tragic writer would have substituted τόδε. 2 contains an anapest in the second foot, whereas by Rule 6, Section II. it is admissible in the first only. In line 6, the initial anapast is objectionable, since it ought to be contained in one word, or what is equivalent to one word. Cf. Rule 6. The idiomatic combinations ἄγε δή, ἄγε νυν, φέρε δή, φέρε νῦν, occur only in anapaestic and other lyric lines of the Tragedians. 3. ουτοσί, and ἐνθαδί, 1. 4. The ι δεικτικόν is inadmissible in Tragedy, and has been expunged by Porson, ad Med. 157, from the few passages where it had previously remained. 4. νῶν ἐνθαδί, and σοι μανθάνεις, 1. 8. The metre in Tragedy would be destroyed, since a short syllable should precede the final cretic. See Rule 5. But in 1. 3, the termination Kai Toù xápur would be correct; for, although Toù xápu are equivalent to χάριν a final cretic in the same word (Pors. Præfat. ad Hec. XXXI.), yet kai is closely connected in sense and syntax with Toû xáp, and the line has a quasiquadrisyllabic ending, as an Ionicus a majore. 5 and 7 contain a dactyl in the fifth foot, which is only permitted in the first and third. 8 contains no cæsura. Although a few passages in the Tragic writers are similarly deficient (as τί τοὺς θεοὺς οὕτως ἀναστένων βοᾷς; Phil. 737), yet they are very anomalous. Απολλύμενοι. Σφόδρα γὰρ ἐσωζόμην ἐγώ, ARISTOPH. Acharn. 71-74. In the first three lines anapæsts occur in irregular positions. 1. σφόδρα γάρ. This formation of the tribrach in tragedy would be objectionable according to Elmsley's canon: "In Tragic Iambics, the second syllable of a tribrach, or of a dactyl, ought not to be either a monosyllable, which is incapable of beginning a verse, or the last syllable of a word." 4 has no cæsura, and includes the fourth and fifth feet in one word: such a line would be inadmissible. See Caution (1). Porson, ad Hec. 728, thus expresses the rule: “ Tragici nunquam ita senarium disponunt, ut pedes tertius et quartus unam vocem efficiant.” 5 66 Χρύσης ̓Αθηνᾶς βωμὸν ἐπικεχωσμένον, ἐφ ̓ οὗπερ ̓Αχαιοῖς χρησθὲν ἦν θύσαι, μόνος Argumentum in SOPH. Philoctetam. The student is left to detect those metrical blunders in this composition of some recent grammarian, which are similar to those previously analyzed. It remains to point out the faulty elision in line 6. αλώσεσθ' Ιλιον. -αι cannot be elided, nor can it form a crasis with the succeeding vowel, except in the word καί: in the Anapastic system, where it precedes a vowel, a is sometimes counted a short vowel, and in the Epic Poets also sometimes elided. 5. ἐλίπετο, for ἐλείφθη, is an Epic use. INTRODUCTORY EXERCISES. NOTE. In the first ten of the following sixty Exercises the words are given in the Notes in full and inflected, so that the pupil has only to arrange them in metre, and accentuate them. In the succeeding twenty Exercises all the words are given, but uninflected. In the remaining thirty less assistance is given, the notes being arranged on a similar plan to those of the main body of the work.-E. R. H. |