ELSA GARCIA NOVO CATALEXIS, BREVIS IN LONGO AND THE STRUCTURE OF THE GREEK STICHIC VERSE: A NEW APPROACH RENDICONTI DELL’ACCADEMIA pr ArcHrotocta LetTere E BELLE ARTI Volume LXV 1995 Estratto NAPOLI 1996 ARTE TIPOGRAFICAELSA GARCIA NOVO CATALEXIS, BREVIS IN LONGO AND THE STRUCTURE OF THE GREEK STICHIC VERSE: A NEW APPROACH 1. I will attempt to demonstrate! that in the Archaic and Classical Periods?, — the last syllable of the stichic verses? dactylic hexameter (6da), iambic trimeter (3ia) and trochaic tetrameter (4tr+), which can be heavy or light, is a necessary prerequisite for the making of the verse and not a poetic license. ~ the final sequence of the “catalectic” trochaic tetrameter is the only possible one to make the line into a verse. Therefore it should not be defined as “cataleetic” from the point of view of structure. The “complete” 4tr could not form verses In order to make these points clear, I intend to redefine the stichic verses at the level of structure (“Vers”, as opposed to realization, “Vor- trag”>), which in my opinion is the metrical counterpart to the level of ' L will refer by name to the following authors and works (complete references in my section “Works cited”): Wilamowitz= 1921. Maas ~ Engl. tr. 1962, Snell = 1982", Korzeniewski = 1968, West = 1982a, Raalte ~ 1986. Sicking - 1993 2 That is, at a time when we can rely on quantity. Tam using verse as the unit in the spoken rhythms, which has its counterpart in the period of the sung hythms (at the end of both verse and period a stop to synapheia is produced — metrical pause —, and brevis iz longo and hiatus may happen). From the point of view of chythm, “a verse is a rhythmically complete and coherent entity”, points out Raalte (5) referring both to verse and period. + Unless otherwise stated I will use the symbol 4tr or the designation “trochaic vettameter” from now oa, to refer to the “catalectic” line. 5 The distinction between “Vers” and “Vortrag” comes from Jakobson (1933). See Ruipérez 1952: 248. 73ELSA GARCIA NOVO “langue” (as opposed to realization, “ parole”). I will speculate upon the basis of oral poetry®. Lam doing a synchronic interpretation of the stichic verses, so that I am not dealing with their origin, or their evolution after the Classical Ep- och, In fact I am considering the Archaic and Classical Periods as hypo- thetically synchronic, because at that time the oppositions of quantity are linguistically operative and the poetry that I will survey can be consi- dered oral. The description offered below for the three stichic verses fits in both epochs. 2. 1 will start from the statements of two leaders in the field of Greek metre’s research. In 1921 Wilamowitz’ supposed that genetically an alternation of “Hebungen” and “Senkungen” had been the basis for Greek metre. From a synchronic point of view, Paul Maas remarked®; “In the commonest types of rhythm, especially those used in spoken verse, the Jonga (and also those bicipitia that are usually monosyllabic) are regularly separated either by a breve, an anceps or a biceps. This is called ‘alternating rhythm’” From the point of view of the “recurrence of marked and non- marked events”, having in the focus the opposition of syllabic quantity (the long syllable is marked), Marleen van Raalte (1986)? develops her research in the field of stichic verses. In 1989 Joel Lidov picks up the notion of “alternating rhythm” This alternation is “a feature of an abstract level of metrical descrip- tion” !° and it is not necessary for it to be reflected when pronouncing the line!?, Lidov remarks that in many metrical schemes (he refers to spoken and to lyric metres) we find an alternation of two positions: the positio stabilior (S), which is usually represented by a single prosodical clement (the Jongwm in the 6da and in the 3ia), and the positio mutabilior © Tdo not mean that readers of (archaic and classical) poetry did not exist, but the important fact is that poets wrote their poetry to be heard, not to be read. See now R Thomas, 1992: 103, and Sicking: 32 7 See Wilamawite: 88. * See Maas: 32 ° She deals with rhythm and metre, linguistics and statistics, in order to offer a minute description along with a lot of insights and common sense. Her book permits me to avoid a number of references that the reader can find there. 1 See Lidoy 1989: 63. 1 Lidoy is referring here to “ Vers” and “ Vortrag”, although he does aot mention those notions 74CATALEXIS, BREVIS IN LONGO (M), represented by several elements (in the éda it would be the biceps, in the 3ia the breve and the anceps). This way, the 6da, 3ia and 4tr are alternating series of $ and M. The next line goes on in the same pattern. S usually represents the longum. ‘The difference between iambic and tro- chaic is not important from the point of view of the alternating rhythm. Lidov’s considerations are consequential for the understanding of Greek metre In the same way as Raalte, Sicking in his detailed treatise (1993) considers the “ Versschema” “als Repriissentation eines Basisschemas, das nur die Anzahl und Reihenfolge der markierten (+) und unmarkierten (-) Elemente festlegt: -+-+-+-+-+-"!? . The unmarked element can be represented by a single short or a double short. I will try to progress in the theory of alternating rhythm, putting it another way and concentrating upon the stichic spoken verses. 3. Let us consider a basic scheme of éda: ~-W-W-W-W-W-v¥ We find two positions" in the verse. The one is occupied by fixed- CE. Sicking: 43. ' Luse “ positions” in the sense of West (18). In the extant paper I will use *com- ponents”, a word more related with contents than with place. My “components” only exist at the level of structure, in the same sense, I believe, as the elements of Maas. Tt can be said that I am redefining his efementa. 1 do not believe in the existence of four kinds of elements being /ongum, breve, anceps and biceps (in zelation with spoken verses; see Maas: 24 {,), We do find evo kinds of elements or components in the spoken verse: a Monosyllable-Component, and a Potential DissyllableComponent. ‘The contrast between them makes possible the existence af verse, as I will show below. Devine-Stephens (1975: passim) reduced the elements Jongum, breve and anceps (in ia and tr) to Zangum and breve. Certainly the anceps is not a third element. However, the 3ia or the dtr cannot be defined on the basis of the opposition Jongum/breve, because in that case the appearance of a double short in the /ongum, and a long in the breve, are not structurally justified. Within my theory of components all those appearances are consi- dered as belonging to the * Vers”, as [will show below. ‘At the level of metrical syllables, a single opposition (“Vers ") of quantity operates: short/long, and upon it all Greek metre works (as long as this opposition is alive at the linguistic level among vowels), The actual duration of a syllable belongs to * Vortrag” and is irrelevant to structure. On the other hand in the field of structure (“Vers”), an. clement or component operates upon a different basis (Monosyllabic against Potentially Dissyllabic, of fixed versus unfixed quantity) and its implementation is made by metrical syllables. In the case of a component of fixed quantity, structural and actual implemen tation agree. In the case of a component of unfixed quantity, which always works in 15ELSA GARCIA NOVO fong'* components, the so-called Jonga, and the other is occupied by components that satisfy the structure of the verse either with a long or with two short! syllables’ (the so-called dicipitia). Thus we have two contrasting components in strict alternation: a “Monosyllable-Compo- nent!?” (M) that always appears as a long syllable, and a “Potentially Dissyllable-Component” (D) that appears either as a long syllable or as two short ones. We can describe the 6da this way. It has 12 componznrs!® i. 3 5 £ 9 by 6M w w w vw w v 6D If we use M for a “Monosyllable-Component”, and D for a “Po- tentially Dissyllable-Component”, we will have this sequence of compo- nents: MDMDMDMDMDMD'¥ Fixed components (= with fixed quantity) are the six M. They are the guides of the rhythmic sequence, the components that support the rhythm??. Greek stichie verses upon two possibilities, structural implementation (“Vers”) and ac tual implementation (*Vortrag”) cannot agree: thece is only one possible actual imple- ‘mentation in a given position of a given line. % T use “ fixed-long component” (or “fixed-short component”) for a component whose quantity is always long (or short). Thus my fixed-long components differ from the sorcalled donga, or the (loci) principes by West (18), or the Stabiliar by Lidov (1989: pas sim): the longa of the 6da are indeed fixed-long components, but the /onga of the 3ia are not, because they can be represented by two short syllables (sce below, section 4). © T refer to “long” and “short” syllables instead of “heavy” and “light” because it is widespread, although strictly speaking, I should apply * short’ and “long” just to vowels, to avoid confusion. See Allen 1973: 53 ff. © *Syllable” is used in the metrical sense, not in the phonetic. See Allen 1973: 27 ff, 50 ff.; Pulgram 1981: passive. Y The terms * Monosyllable-” and “Potentially Dissyllable-Component ” are not at all related with monosyllabic or dissyllabic words © For the notion of my “component”, see note 13 above. 1 am taking from Maas (58) the way of numbering the components (his “elements”) For the last component, vide infra % There is nothing abnormal about the fact that those fixed-long Monosyllable- Components cannot appear as two short syllables, although many attempts have been 76CATALEXIS, BREVIS IN LONGO Contrarily the rhythmic singularity resides in D, and it is perceived when D is realized as dissyllabic, i.e. consisting of two short syllables. The rhythm is perceived by means of the appearance of two short syl- lables between two long (i.e. a “chunk”?! -vv-)?2, any fixed-long syllable serving as a guide both for the preceding and the following double-short. The “chunk” -vv- has to be perceived once at least?%, ic. the presence of one double-short is a requisite of the verse. A long string of 6da is a long series of M-Components and D-Com- ponents in alternation. In which way can the audience differentiate with clarity the end of a verse from the beginning of the next? We sce that the scheme presents at its end a last metvon shaped -v or ~. It is said that at verse-end the duration of the pause permits you to interpret a short made to explain the nature of the longum of the 6da, as opposed 10 the biceps’ nature (see recently Ruijgh 1987 and 1989; C. Wefelmeier, 1994.) This is just an easy chythm, where one of the two components presents a fixed (long) quantity, and the other offers two possibilities, being cither long or double-short; in this way, the two types of com- ponents are in a perfect contrast and they produce an alternating series. The anapaestic series of the Drama (apparently a similar but reversed rhythm when compared with che dactylic) do not have two components in contrast, either of them heing able to appear as Jong or double-short, and so they cannot form verses, ie. alternating series with a mark of verse-end. 2 For the notion of “chunk” in a series, see Devine-Stephens (1993: 389): “The categories used 10 organized serial information are serial segments, or chunks as they are called” * I mean that the rhythmic “singularity” of the hexameter consists of any two short syllables flanked by two long, in a sequence where the fixed-long syllables are gui- des both for the preceding and the following double-short. Ci. Maas (31): “Biceps between two longa...is a characteristic feature of dactyls”. Raalte (passim) calls the 6da a double shart type of verse. ® It is perceived five times (its maximum) when the scheme is -v-vv-vv-vv-vy- jue. bolodactylus. > However I am not assuming that any éda would be more “ perfect” if composed of five dactyls than if composed of, say, three dactyls and two spondees (last metron excepted). I do not consider a spondaic metron as a concession, because synchronically it is not. ‘The average of dactyls per verse is 3.6/3.7 (Raalte: 30), and only less than 20% of 6da do not present one spondee at least (Raalte: 36). Therefore 1 do not speak of “contraction” when a D-component is represented by a single syllable. Both realizations of D, “long” and “double-short”, fit in the scheme, and the existence of some double: shorts (even only one) is enough for the perception of the basic contrast - v v-. If every prechellenistic 6da were formed by five dactyls and a sixth spondee, we would have an alternating rhythm of eleven fixed components and an artythmical mark of verse ending (the twelfth component), two features that do not belong with the éda. It would be mo notonous and arthythmical. The actual 6da is much more subtle and typically Greek: it plays with variatio while looking rhythmic and symmetrical 77ELSA GARCIA NOVO syllable as long’. In my opinion, a pause? can not make a short syl- lable into a long. In the pause there is an absence of auditory signal. If I pronounce te with a short [e], and I stop reciting for a moment, I am not adding anything significant to [el??. Moreover, the pause conceived to represent duration belongs to “Vortrag” or realization, not to the structure (“Vers”) of the verse. And I am operating at the level of structure”*. Ina string of equivalent verses, there has to exist a “mark” for the verse-end and/or a “mark” for the beginning. As a language, Greek —and Indo-European for that matter — usually mark word-endings (dec- lension, conjugation) rather than beginnings. Greek metre, created by the same speakers, also puts marks to the endings”? rather than to the beginnings, although it may use some subsidiary beginning marks — as language uses prefixes. In order to be a (stichic) verse, the dactylic hexameter needs at the level of structure (“Vers”) an ending mark, that must be perceptible even if a pause is not realized (“ Vortrag”) between a verse and the next. 3“... since we haye to reckon with the possibility that even a short final syl- lable may have been made prosodically long by the presence of a pause after it (brevis in fongo), every final element is noted as a longum,” (Maas: 29). Recently Raalte (17) asserts that the obvious explasation to the short ending is the pause. Cf. also West (4 (): “The missing length is made up by the following pause” 2 Le, a pause understood as durational, as distinct from a metrical pause. For the different senses of pause in language, see Stinton 1977: 27 ff, and Vaissitre 1983: 53 ff. % Experimental phonetics point ont that in many languages “ there is a tendency to lengthen the final elements in an utterance, particularly the last vowel, before a pause” (Vaissigre 1983: 60). Nevertheless we should not admit, in a language where quantity is distinctive, such an inctease in duration as to bring confusion into the poem, ie. words such as e, Eove1, wi0be, evra, rorapoto, thar we find at the end of hexa- meters, should not be perceived with a long ending vowel. Moreover, an event as the one described, being automatic, should also occur in everyday conversation, and it cold make the listener interpret a short vowel as long with the consequent misunderstanding. Perhaps a language where quantity plays a distinctive role has a different way of marking the end of an utterance. 2 Of course the realization of a durational pause, and if so, longer or shorter, de- pends on performance. At the level of structure the metrical pause at verse-end is a stop to synapheia or cohesion ® Iris well known that in the last part of the stichic verses the chythm is specially well-defined. Moreover, diachronically the last part of the verse is supposed to be the first regulatized in other Indo-European languages as well as in Greek. See among others Meiller 1975%; Jakobson 1952; Lasso de la Vega 1961; Watkins 1963; West 1973a, 1973b, 1982a: 3£., 1982b; Nagy 1974; Berg 1978. According to Wilamowitz (90), “der Schluss des Verses war den alten Zeit das Entscheidende” 78CATALEXIS, SREVIS IN LONGO At the same time the structure has to be disturbed the least possible, in otder to keep the rhythm. What does this ending “mark” consist of? Among the sequence of “Potentially Dissyllable-Components” of the da, the last is fixed as a “monosyllable”. And the dual possibility of being vv or - remains, reduced to a monosyllable’s possibility: v/- To clarify if this feature operates as a mark, we can consider if ei- ther of the two possibilities that occur at verse-end, a short or a long syllable, is able to mark the end, being fixed in its quantity. Let us try a long syllable. If the last component were always long, we would have a fixed spondee at the end of the 6da** that would not produce enough contrast, being a repetition of several meta within the line: it would be a weak mark. If a short syllable always closed the verse, we would find something (a single short) that does not reappear in the scheme. In that sense (as an anomaly) it could be a “mark”, However, it bears two problems. At the level of structure it breaks the rhythm (-v appearing after metra?! shaped -vv or -) so that its continuous presence would not be harmonious, not being related to the other meta of the line. At the level of realization (*Vortrag”) it would be necessary to use a final open syllable every ti- me*, and to avoid verses beginning with two consonants to elude the danger of positione in a quick recitation Therefore neither a fixed-long component nor a fixed-short would be suitable as ending mark: this is achieved by means of the appearance of a syllable that is sometimes short and usually long*?. When a short © See Raalte, 29: “The sixth, verse-final metron is invariably realized by two syl- lables — which may be considered as a rhythmical index of verse-end.” * Tt would appear not only after metra shaped — or -vv, but also among them taking the next line into account. As the cohesion of the verse is cut off at verse-end, any close syllable at verse- end must be considered long (positione). Inside a verse a sequence VECVCCV... (where V = short vowel, C = consonant) has two long syllables at the beginaing, as a result of the cohesion of the verse that makes two consonants in a row belong to two different me- trical syllables, i.e. VC/CVCICV (coneptio excepted). This way any close syllable inside the verse is long. Therefore any close syllable whenever it occurs, is heard as long by the andience, and so at verse-end as well, where the last consonant can not be linked to an initial vowel of the following verse, a stop to metrical sandhi being produced at that point See Irigoin 1967: passim. Allen 1973: 55 £., 204 ff. West: 9 » The number of short endings, i.e. open syllables with short vowel at verse-end, is 22.09% in the first song of the Ifiad, with a maximum of three in a row (several ti mes); Ifiad’s eleventh song has 21.22%, with a maximum of four in a row (vv. 34-37 and 804-7); Odyssey presents 24.09% in the first song, with a maximum of five short endings 79ELSA GARCIA Novo syllable is heard, the rhythm is broken: the end of an hexameter and the beginning of the next (....11 v//1_ 3... or .....11 vil v v3...) form “impossible” metric sequences that do not agree with the 6da. It is a cleat “mark”, but a rather violent one. When a long syllable appears, the rhythm is kept, the line is harmonious, but the mark is weak, as a last metron shaped - - appear in other places of the verse as well. The irregular alternation of the two of them (-/x) permits you to perceive clearly the ending (with the short) and to keep the rhythm (with the long). The alternation of both kinds of endings has to be non-predicta- ble, because otherwise a secondary pattern would appear. Hermann’s Law, the most rigorous bridge in the hexameter, is an indirect demonstration of the fact that the ending -vj/ is a “mark”. The fifth melrom is odd and makes the rhythm perceptible near the end of the line with a double short. The fourth is the last even metron preceding the sixth, which is even as well; the scheme - v/ cannot be heard in an even metron slightly prior to verse-end because it would be interpreted as a verse- end of the most marked kind, the ending sequence ~ v//?7: in a row (wv. 255-259). Hesiod’s Works and Days has 15.45% (up to four short endings in a row); in Theogony there is 25,73% (up to five short endings in a row). In the Hy 40 (Delian) Apollo 1-178, 28.65% and up to four short endings in a row; in the Hymn to (Pythian) Apolla 179-546, 25%, and up to five in a row. Hyrin to Aphrodite: 29.35% and up to five in a row. A sampling of postelassical 6da shows that Apollonius Rhodius, Argonautica 111 1-1000 approaches Homer with 21.5%, but goes up to seven in a cow, wy, 265-271. The Battle of Frogs and Mice presems 17.33% and up to three in a row The first two lines of Odyssey end with a short syllable, probably to make clear the structure of the éda, i.e, the limits of the verse, at the beginning of the composition For Iliad I have used the edition of D.B. Monto, Th.W. Allen, Homeri Ope (Hliad), Oxford 1920°; for Odyssey, Th. W. Allen, id. I-IV, Oxford 1917-191 Hesiod, M.L. West, Hesiod, Theogony, Oxford 1966. Works and Days, Oxford 1978. For the Homeric Iymns, F. Cassola, lini Omerici, Verona 1975. For Apollonius Rho- dius, H. Frinkel, Apolonii Rhodié Argonautica, Oxtord 1961. Por the Battle of Frogs and Mice, Th. W, Allen, Homeri Opera V, Oxford 1911 } For an explanation of the caesurae of the 6da, see below section 5. For the cae- surae and bridges of the pre-hellenistic 6da, see Maas, 59 ff.; Snell, 12 ff; Van Raalte, 70 fi, 91 ff The (ow) percentage of spondees in the fifth metron (producing the so-called versus spondaicus) is given by Raalte, 37-40, 51 {,, and Sicking, 74. See the last part of my section 5 for the necessity of a fifth dactylic metron % Moreover, a word-end after a first short syllable of a pair presents no problem in uneven metna, where it is expected (3 metron) or permitted (1", 5) but ir is avoided in even metra (2™, 4) because the last metron is even * Many explanations have been suggested in relation with Hermann’s zeugma. My 80CATALEXIS, BREVIS IN LONGO Tvlv 9vv UL v/for... Tvv9vv Uf. This explanation for the verse-end implies: = there is no such a thing as a pause that makes a short into a long syllable. ‘The syllable is either short or long, and the pause cannot “add” structural quantity. At the level of structure the so-called pause (a word that hints to “Vortrag”) is what makes the verse’s synapheia or metrical sandhi stop. — the actual quantity of the last syllable is relevant; there is not a “prosodic neutrality” of the ending syllable2® — the short ending is not a concession, but a sign-post that makes the verse-end clearly perceptible. — necessarily a verse has to finish in a component that structurally permits a long syllable, but not a single-short one. 4. Twill consider now the iambic trimeter. Let us review the scheme. vwvwv we wv wv y opinion is somewhat similar to that of Snell and Korzeniewski, Snell (13 f.) feels that a word-end in that place would mimic a verse-end: “Solcher Einschnitt wiitde den Ein- druck erwecken, der Vers sei als daktylischer Tetrameter mit Katalexe zu seinem Ende gekommen...” Korzeniewski (34): “Ein solcher Vers erweckt den Eindruck, mit den 4. Trocltius schon sein Ende erreicht 2u haben.” Raalte (392) thinks that “it is avoided as being characteristic of one of the preferred devices for internally structuring the verse near the middle of the sequence (the trochaic caesura), and, somewhat less evidently, as being characteristic of verse-end as well.” (She gives a different explanation in p. 98.) On the other hand, word-end after a short (open) syllable, which implements an eighth component, the next initial two consonants making the preceding metrical sylla- ble long positione, is avoided (Wernicke's law; see West 37) because it mimics a verse end of the most marked kind - vj/. The explanation is the same as for Hermann’s law Word-end after a fourth metron shaped - - is avoided as well (it occurs in the Ho- meric hexameter once every 100 verses, according to Snell, 13), It is called Naeke’s law, usually in reference to Hellenistic 6da, where it is absolute (see Maas, 62; Raalte, 24, 99 {.5 Sicking, 79). This kind of fourth metron is avoided because it simulates verse-end, as. the fourth is the last even metron before verse-end and shows the usual shape of verse- end, which also happens in an even metron. In general, word-end after a D-component type ~ “long” may simulate verse-end, which most often happens alter a D-component shaped long, and thus it is avoided, except after the first metron, where a misunder- standing of the rhythm is rather improbable. * Contra Van Raalte (17): “Brevis in longo may occur at verse-end in all those verses which properly end with a long syllable......... The obvious explanation of this phenomenon is that the actual quantity of the verse-final syllable (i.e. the rhythmic ze- alization of the final metric element) is irrelevant in virtue of its prosodic neutrality” ® For the possibility of two shorts at the beginning of the verse, see below; the 81ELSA GARCIA NOVO It is formed by 12 components: Toki GH ok Sy pat yvovowvwvwoy 6M a8. Wo, 2 ad wow iwiw iw v 6D MDMDMDMDMDMD This series is more complex than the 6da. It is made up by 12 components of the same kind as the hexameter's (six M, six D), in exact alternation, but while in the hexameter one of the two types of compo- nent has a fixed quantity (M), we find in the trimeter that neither all the M nor all the D have a fixed quantity. The rhythm is guided by the “Potentially Dissyllable-Components” (D); they can be long or double-short®, All the D-components in a given line may be long". The rhythmic singularity resides in the Monosyllable-Components (M), which offer two kinds of expression: “short” type (v), and “short "/ long” type (v/-)*2. The components of each type are separated from pearance of two short syllables in the positions of the other M-components (ancipitia or brevia) is due to the presence of a proper name and very scarce, except in Comedy. See note 47 “© When the “Potential Dissyllable” is implemented by two short syllables, they belong to the same word. ‘That way, this component’s unity is kept, as Descroix pointed out (1931; 164). See also Raalte, 22, 232 ff. and 389. In words of Sicking (91): * Eine Wortgrenze zwischen zwei Kitrzen, die zusammen ein Element vertreten (‘split resola- tion’), wird in der Komédie so gut wie in den anderen Gattungen vermieden, vermutlich weil Wortende an dieser Stelle die Perzeption der beiden Kiirzen als Realisicrung einer einzigen Versposition beeintrachtigen wiirde.” See Irigoin 1959: 70 ff. for a different explanation, For other bridges, and the caesurae of the 3ia, see below my section 5. + The D-components are more often than not implemented by long syllables, but a certain number of lines with double-shott D-components is part of the rhythm. They bring variatio in. I do not consider them “a phenomenon of rhythmic divergence, ive. an ‘occasional variation at the level of the rhythmic sequence as compared to the metric pro- file”, as Raalte does (120). Double-short D-components are necessary from time to time to underline the divisible nature of those components, in contrast with the M-compo- nents, that ate always one-piece: This way the opposition of components (and so also the marlc of verse-end) are neatly drawn. “The M-components “ short/long”-type are consistent with the rhythm. For the perception of the “chunk” - v -, three fixed-short syllables (= M-componeats * short ”- type) are enough, It is not necessary to get more fixed-short Monosyllables: it would be monotonous, Similarly the Homeric Gda presents an average of 3.6/3.7 dactyls per line (see Raalte, 30), and thar is enough to perceive the chythmic chunk - v ¥ -. 82CATALE: IS, BREVIS IN LONGO one another by three other components. The “short”-type between two long D-components, the “chunk” -v-, is the necessary signpost of the rhythm, i.e. it makes the rhythm perceptible. It has to be perceived once at least, The rhythm of the line is achieved by means of the following com- bination: ~ 3 “Monosyllable-Components” “short”-type in a fixed position (components 3, 7 and 11), i.e. the three fixed-short syllables of the verse (the so-called Arevia). They are separated from one another by three other components inside the 3ia and in the series of 3ia as well. — Excluding the last component, usually 4 or 5 “Potentially Dissyl- lable-Components” “Jong ”-type** in a non-fixed position 4+ ‘Thus the perception of the rhythm is backed by the combination of three M “short "-type in a fixed position (components 3, 7, 11) and four or five D-components “long”-type in a variable position’. The “mark” for the verse-end is similar to the ending mark of the © Most of the 3ia do not have resolutions. One double-short D-component is of ten found; two in a single line are heard from time to time; three seldom appear and four are exceptional. See Descroix 1933: 110 £.; Korzeniewski, 53 £. and notes; Sicking, 92. In the Iambographers “no verse has more than a single resolution” (Raalte: 126). Tra- gedy presents 12-syllable trimeters (i.e. without resolutions) “in ca. 93% of all iambic lines in Aeschylus and Sophocles and ca, 77% in Euripides”, according to Philippides (1978: 5). See Descroix 1933: 110 f. for the otal number of lines with resolutior * Nevertheless the tenth component, the so-called fifth dongums, is usually a fixed long. No exceptions in archaic poetry; see West, 41, This tenth component can be te- solved in Drama (West, 81, 88), although less often than the other D. Ci, Korzeniewski, 55; according to Ceadel, the data of resolved fifth longum in the three tragic poets is 2,85%, 1,77% and 1,06, proper names excepted. See Raalte, 134, 137 f, For Aeschylus and Sophocles see Schein 1979: 78, 84. For Euripides see Philippides 1978: 5; Cropp- Fick 1985: 50 ff.; comments to Zielinski’s Lex de quinto pede in Devine-Stephens 1980: 68 £. © The rhythm of the line is formed by the alternation of two components, one monosyllabic and the other potentially dissyllabic. There is nothing abnormal in the ap: pearance of the two so-called equivalencies v = ~, and — = wv (sce recently Ruijeh 1987), The MonosyllableComponent can be implemented by one long or one short syl- lable; contrarily, the Potential Dissyllable-Component can be divisible, but only in a per fectly symmetrical way: two short syllables or one long. Of course the metrical syllables have only two possibilities, short or long, but the components or elements are of a dit ferent nature, and the structure of a given verse is based upon the opposition of two kinds of them. In the 3ia/4tr the two components in opposition can be defined by the two different implementations: v/-, and vy/-, while in the 6da the two components in opposition can be defined by the two different implementations: -, and vyj-. In both cases the Monosyllabic component has its opposite in the Potentially Dissyllabie component, 83ELSA GARCIA NOVO. hexameter. It is a variant of D that becomes fixed as monosyllabic, kee- ping its dual possibility of short/long in a single syllable. The final com- ponent could not be a fixed short, because it would become adjacent to a fixed short of the verse (the 11" component of the line), breaking the alternating rhythm. It could not be a fixed-long syllable either: in that position a long syllable is structurally expected, it fits in the structure, and so it would be a weak mark. The true ending mark is achieved by means of a changing monosyllable, more often long than short**. The thythm is smooth with the long ending, and it suffers a break with the short — the occasional “hard” mark. Because of its complexity this verse bears an additional beginning mark; the initial M-component may become dissyllabic (the so-called i % As far as statistical data for final syllables are concerned, it is difficult to use the fragments of the iambographers because we do not usually have sequences long enough to take out reliable data. Such is the case with Archilocus. Semonides uses 8.33% of verses with a short ending-syllable in fr. 1W (24 verses) and 7.62% in fr. 7W (118 ver- ses). Solon uses 18.51% in fr. 36W (27 verses). In the iambie trimeters from Aeschylus’ Penae we find 21.88% of short final syl lables, with a maximum of five in a row (328-32). In Bunzenides it decreases to 12.79%, and there are long rows without a single short end; however in the last part of the sti- chomythia 585-608 between Orestes and the coryphaeus, vv. 597-608, and the following first half of the dialogue Orestes-Apollon-choryphaeus, vv. 609-635, the perventage in- creases to 37.83. In the 3ia from Sophocles’ Ajax there is 13.7% of short final syllables, with a peak of three in a row; the maximum in this piece is achieved in the last rhesis by Ajax, wv. 646-692 (25.53%), which is extremely pathetic. In Philoctetes we find 17.86%, with a maximum of five in a row (553-57); the short ending is specially used in the second half of the stichomythia Ulysses-Neoptolemos, vv. 1242-1260 (36.84%), and the central part of the following dialogue Neoptolemos-Philoctetes, vw. 1275-92 (38.88%): this section of the play is extremely dramatic. In the iambic trimeters from Euripides’ Medea we find 16.9896 of short final syl- lables. The rhesis from the messenger to Medea, vv. 1136-1230, shows 26.31% and a maximum of four shoct endings in a row (1145-48), In Bacchae we find a total percen- tage of 16,0690, with a maximum of three short final syllables in a row. Interestingly the initial thesis from Dionisos (vv. 1-63) shows 26,98%, whereas the thesis from Cadmus 1216-31, when he reacts to the news of Pentheus’ death, reaches 43,75% ‘There is a probable stylistic use of verses ending in a short syllable. For the Iambographers 1 have used the edition of West, lanbi et elegi graeci ante Alexandrum cantati, Oxford { 1989*, 11 1972. For Aeschylus, ML. West, Aeschyli Tra- goediae cum incerti poctae Prometheo, Stuttgart 1990. For Sophocles, H. Lloyd-Jones, N. Wilson, Sophoclis Fabulac, Oxford 1990, For Euripides’ Medea, J. Diggle, Buripidis Fa bulae, 1, Oxford 1984, For Bacchae, id., 111, Oxford 1994 84CATALEXIS, BREVIS IN LONGO tial anapaest)*. It is a mark opposite to the ending mark: at verse-end the Potential Dissyllable becomes necessarily monosyllabic while at the beginning of the line, the necessary Monosyllable becomes optionally dissyllabic**, 5. Let us redefine the 6da and the 3ia of the Archaic and Classical Periods Every line is an organized series, audibly perceptible as a unit by the human mind. At the level of structure it is formed by two types of components in exact alternation*®, one “Monosyllabic” (M), always im- © Cf, im general Descroix 1931: 112 ff., and Raalte, 108, 113, 134, 138 ff., for data of initial double-short in the 3ia, For the iambographers cf. Wilamowitz, 291. In ‘Tragedy ef, Korzeniewski, 55; Raalte, 138. Apart from the first position, a resolved an- ceps scarcely occurs and is due to the appearance of a proper name; see Korzeniewski, 54; Raalte, 108 ff. Comedy (and to a lesser extent Satyrie Drama) admits dissyllabic M-components outside the first component, excluding only the 11" (see Sicking, 90 f.); in this way the 3ia of Comedy and Satysic Drama goes away from the standard struc ture, providing a cause for laughter. I do not consider as equivalent phenomena the ap- pearance of a double-short in 4 D-component, where it is structurally expected, and its appearance in an M-component, where it is not structurally expected (first position excluded). Contra Raalte, 324 ff. For the inaccuracy of using such terms as “anapaest” in a iambic trimeter, see Snell, 18 * The choliambic 3ia, and the 4iaA, do not have a strict alternation of compo- nents, and so their nature docs not belong with the 3ia. In the choliambic 3ia (see West 41 {for the schema) the last Monosyllable-Component {= 11"), which should be of the type-" short” (= the last breve), is changed into a fixed-long Monosyllable, breaking the regular alternation of Monosyllables type-" short, which appear in every fourth position after the third of the line. Besides, the last Monosyllable-Component “short/long "-type (= 9% the last anceps) is usually changed into a fixed short, breaking the unpredictability of this “short/long *-rype: ‘This way the choliambic 3ia docs not have an alternating chythm, In the schema of the 4iaA (see West 42, 924.), the alternating rhythm is broken in the last three positions of the line: aa apaN a As 2 The 13" component (= the last but twa) is a fixed'short Monosyllable, where a “short/long” would be expected, while the last ¢wo components are Potential-Dissylla- ble. Both lines could form stichic verses, but they do not have the sttict alternation of components that is characteristic of the 6da, 3ia, and dtr (see below for the last) * An important difference of my approach as apposed to former hypotheses is to separate structurally the /onga of the éda, that are fixed-long components of the kind M-components, from che Jona of the Jia and the 4t, which are not fixed-long compo nents, any of them being able to appear as double-short, and so being D-components (sce 85ELSA GARCIA NOVO plemented by one syllable, and the other “Potentially Dissyllabic” (D)°, implemented by one long or two short syllables. Some components of the line (a type or a subtype) have a fixed quantity. If there are subtypes of one kind of components, they appear separated from one another by ‘a regular number of other components, the alternating rhythm being fully maintained. The words that implement the series must be in close cohesion or synapheia, and there is an obligatory word-end at the end of the series. The rhythmic singularity is produced by one (in the 3ia) or two short syllables (in the 6da) between two long, and it has to be present at least once (one dactyl, that produces a “chunk” -vy-, in the 6da; at least once the “chunk” -v- in the 3ia, without resolution of the /onga)*!. ‘The guide of the rhythm, the component that supports the rhythm is opposite in every case to the component that bears the rhythmic sin- gularity (in the 6da, M versus D; in the 3ia, D versus M; sce above). my note 14). It is not necessary for a verse to have one af the two components in con: trast, fixed in its quantity all over the line, provided that a certain amount of fixed com- ponents of one or the two types produces a recognizable pattern, as is the case with the Sia and the tz [stated in note 24 that I do not consider a spondaic metron as a concession in the 6da, Nor are concessions the so-called resolutions of the 3ia and the 4tr, not synchroni- cally, becanse they fit with the structure that I am proposing. When the audience of Athenian tragedy hears a string of iambie trimetets with and without resolutions they perceive them as equivalent entities, because in fact they are equivalent at the level of structure, ie. in the mind of Greek people, However, the possibility of double shore in the M-components that is * permitted” in Comedy does not fit in the structure, and thus it makes the audience laugh, which is the expected effect. 9 Probably the * Potentially Dissyllable-Component” is felt by the audience as an entity that structurally (ar the level of * Vers”) is bigger than the Monosyllable-Compo- nent, not because of duration, that is related with realization (*Vortrag.”), but because of its capability of being two syllables instead of one. At the leve) of structure, an entity that can be either represented by a long syllable or optionally made into two short ones, is bigger than an indivisible fixed-long entity. From the point of view of structure it is not worth discussing if the /ongum of the éda is “longer” or * shorter” than the biceps at the level of duration (see recently Ruijgh 1987 and 1989, and Wefelmeier 1994). Dura- tion is not a structural concept; it belongs to *Vorcrag” % The “chunks” - y v- and - v - can be isolated in the same sense as Dale's lyric sequences d(-v v -} and s (- v-) (see 1951 = 1969: 63), every long syllable being common. to the preceding and the following short or double short ones, as in her description of the chor. dim, A - y v= v-v - as dss (Dale 1968?: 216 £,) On the other hand her statement concerning the lyric metres can be fully applied here: * The primary formula for a thythmic sequence is the enclosure of either one or two shorts hetween two longs, -v- of -wv-,” (Cf, Dale 1950 = 1969: 49) 86CATALEXIS, BREVIS IN LONGO The mark of verse-end is a monosyllabic variant of D that necessa- rily appears in a string of verses as a syllable of changing quantity, more often long than short. The appearing of a short in a position of a D- component is the true “mark” of ending; it is a violent mark because it implies a disharmony, On the contrary, the appearance of a long one does not break the rhythm; it is a weak mark, because a D-component may appear as monosyllabic in other positions of the verse as well Besides the necessary word-end that closes the verse, there is a sec- ond structural recurring word-end>> that can not come after the same type of component that closes the verse, in order to prevent a misper- ception of the rhythm. This is a general principle related with caesurae. Thus main caesura and verse-end, being structural word-ends, are con- trariwise. In the Gda the penthemimeral™ caesura appears after an M- component, the trochaic caesura in the middle of a D-component, while verse-end occurs after a D-component®®. In the 3ia the penthemimeral>* occurs after an M-component, the verse-end after 2 D-component” The perception of the rhythm is guaranteed in the final part of the verse. Consequently, the fifth meter is usually a dactyl in the 6da**, so % See above, note 52, for the definition of a short syllable at verse end. % The main caesura happens to occur in the second third of the verse. Synchro: nically a caesura is an expected word-end inside the verse, ie. it is consistent with the verse’s stmneture. Of course it has nothing to do with pause. % And the irihemimeral and hepthemimeral as well © The bucolic diaeresis has a basis different from the caesurue’s: it is intended co make clearly perceptible the rhythm at verse-end (see Raalte, 21), creating the “chunk” /-w-¥/]. However the same principle formulated above is valid: this diaeresis occurs after the fourth metron when it is shaped -vv, ie. word-end after a D-component realized as double-short, while verse-end occurs after a monosyllabic D-component (so that it does not occur after a component of the same kind as the final one.) On the other hand, word-end after a fourth metron shaped - - is avoided. See my note 37 % And also the trihemimeral, hepthemimeral, 57 Among the three components M type short/long of the 3ia (the so-called an: pitia, components 1, 5, 9) the only one that has an expected word-end after it when it is long is the fifth: the penthemimeral caesura is produced. Therefore word-end is excluded after the ninth when it is long (Porson’s Law) to prevent a misunderstanding of the po- sition in the verse. AAs for the first component it would necessacily bear a monosyllabic word in order to have word-end after it, and such words do not raise a problem, For this explanation of Porson’s law, see Dale 1968: 71. A survey of Porson’s law, together with an explanation that relates the bridge to a preference for a special clausular effect, in Raalte, 248 ff. A complete survey, and a new approach in Devine-Stephens 1984: 14 ff., 101 ff % See Maas, 59; Sicking, 74ELSA GARCIA NOVO that a double-short can be perceived between the two last (long) M. Tn the 3ia the tenth Gomponent (D) is?? usually long and the eleventh is the last fixed-short component (M); that way the final sequence v - v +] is produced and the rhythm is perceived®°. 6. The catalexis will be considered now along with the trochaic te- trameter, wvwdwvew two vws 9 This scheme is formed by 15 components: Boe Se Po ee at Ry WN) 2 DY 8D 2 6 w i a2 1 ee wy ee ee OF 7M DMDMDMDMDMDMDMD' Every feature reviewed in the last section that the da and the 3ia have in common can be applied to the 4tr. Moreover the rhythmic ana- logy of iambic and trochaic verses is evident. The 4tr is formed by M and D in strict alternation. The guides of the rhythm are the D-components, which can appear as long or double- short®, The rhythmic singularity belongs to the M-components, which can be of two types: “short” type, or “short”/"long” type. The “short” type gives the series its rhythmic singularity when it appears between two long syllables (-v-), as it was the case for the 3ia. The rhythm is safely guaranteed by means of the combination of » See note 44 © With short [inal syllable, v - y vif, a cupture of the rhythm is perceived. \ See West, 40, for the similarity between 3ia and dtr. Cf. my section 2 for the statement of Lidov in relation to their rhythm. ®@ When a D-component is implemented by two syllables, they belong to the same word, as it happened to the 3ia, in order 10 underline the unity of the component. Be- sides, the following syllable, which implements the following M-component, be it short or long, also belongs to the same word in the str, while this is not the case in the ia (see Dale, 1958: passim; Irigoin, 1959: passim). Therefore a relationship is established between the dissyllabic D-component and the following M-component in the 4tr, but not in the 3ia, which can help the audience 10 interpret a sequence as iambic or trochaic. © An M-component implemented by two (short) syllables can occur only in Co: medy (for proper names also in Tragedy), but at a lesser extent than in the 3ia (see Raalte, 329): in both verses this feature is not intrinsic to the thythm, its aim being to produce # distortion of the scheme and a motive for laughter. See my notes 39 and 47 88CATALEXIS, BREVIS IN LONGO 4M “short”-type in a fixed position (components 2, 6, 10, 14, the four fixed-short syllables of the line) and in a precise alternation (they are separated from each other by three components inside the line). Excluding the Jast component, at least 6 D “long”-type (very sel- dom 5) in an unfixed position (although the 7° and 13'" components are usually long and so they do have a fixed position). ‘That is to say, the perception of the rhythm is backed by the com- bination of 4 M “short”-type in a fixed position, and at least 6 D “long”-type in a variable position We find in this line, as in the 6da and 3ia, an expected ( = structu- ral) word-end, the so-called diaeresis media, that does not occur after the same component as the end of the verse. Verse-end appears after compo- nent D, diaeresis media after component M. The trochaic tetrameter does not need an additional mark of verse- start (see below for the mark of verse-end), because this verse presents a unique feature when compared with the two others: every line opens and clases with a component of the same kind (D), so that when two verses meet, two components of the same type come in close contact ®7. This does not occur in the 6da and the 3ia. The thythmic mark of a short between two long syllables is perce ved specially at the end of the verse, as it happened in the 3ia. The pe- nultimate “Potential Dissyllable” is long®* (component 13), and is follo- wed by a fixed short (M, component 14), the ending syllable (component 15) being more often long than short, so that the sequence ~ ally obtained. The verse-end is structurally marked in a way similar to the end of the éda and the 3ia. The last component is a variant of D, the “Po- “ ‘Two resolutions in the same verse are very unusual (sce Korzeniewski, 67, for the data of Tragedy), and three are exceptional (see Korzeniewski, siden; Raalte, 326 fi.) Consequently at least six D-components usually appear as long syllables (I shall deal afterwards with the last D, the final component.) © See Sicking, 107: “Nur bei Euripides gibr es Beispiele fiir Resolution des lezten markierten Elements des ersten Kolons (Position 7) und des vorlezten markierten Ele- ments des zweiten Kolons (Position 13).” & The D-components more often resolved ate the first component or the ninth; cf, Sicking, 107. For Tragedy see Korzeniews'i, 67, and Cropp-Fick 1985: 66 ff. © AAs Lidov rightly states (1989: 69), a verse finishes and the next begins with the same element of a type called by him “ stabilior” Tn Tragedy, cf. Korzeniewski, 67; 2 tetrameters upon 788 present resolution on that position, 89BLSA GARCIA NOVO tential Dissyllable”, that becomes fixed as a Monosyllable, seeing its for- met possibility of being long or double-short reduced now to a single syllable’s possibilities: it can be either long or short, The last component of the verse could not be a fixed short because it would break the rhyth- mic sequence, being close to a fixed short of the series and occupying the position of a “Potential Dissyllable”. It could not be a fixed-long syllable: in this position a long syllable fits in the structure and so it would be a weak mark. The verse end presents a syllable of non-fixed quantity, being more often long than short. When it is short the rhythm. is broken: it is a violent mark“. When it is long the thythm goes smoothly, but the mark is weaker. Now, what if the verse were “complete”? If we made the series one component longer, we would find at verse-end a “Monosyllable” of the short/long-type, the same that fits in positions 4, 8, and 12. This hypothetical verse-end would be adequate to the structure as much by being short as by being long: therefore it could not be employed as a mark of verse-end. As I stated before, necessarily a verse has to finish in a component that structurally permits a long syllable, but not a (sin- gle-)short syllable A hypothetical acatalectic tetrameter could not be a verse. The lyric trochees offer us proof of this statement: an acatalectic x@Aov cannot end a period”, precisely because the so-called final anceps does not per- mit the appearance of brevis in longo, the mark of period-end at the level of structure. Of course there are no other “complete”?! trochaic verses, ie. stichic and non-lyric. Acatalectic trochees are lytic, being x6Aa of longer periods, 7. The basis of the brevis in longo in lyrics, and the short syllable at verse-end, is the same. The appearance of a short syllable in a position © In Archilochus we do not have fragments long enough to do statistics. Fr. 106W offers 3 short verse-ends in 8 lines (37.5%); fr. 114W offers 0 in 4 lines; fr. 122W, 1 in 10 lines (10%); fr. 128W, 3 in 7 I. (42.85%); fr. 150W, 2 in 5 |. (40%). In Solon 33W we have 2 short endings in 7 lines (28.57%), in fr. 36W 1 in 9 lines (11.11%). In Ae- schylus’ Persae we find 14.419 of short final syllables in the 4tr. In Euripides’ Bacchae 15.78%. ® Cf. Dale 1968*: 70, 87 ® The post-classical 3tr and Str used by Callimachus are “catalectic". Cf. Korze- niewski, 70 ss. Archilochus is supposed to have used a stichic 3t#A, of which one line is conserved (fr. 197W). See Snell, 23, and 40 note 6. 90CATALEXIS, BREVIS IN LONGO where structurally a long syllable, but nor a short, fits in, produces a disruption of the rhythm that is suitable as an ending mark. It is not a license: it is an intended mark. I can apply to the lyric period the same statement that I attached to the verse: at the level of “Vers” a period should always finish in a component that structurally permits a long syllable, but not a (single) short’ 8. The three stichic verses 6da, 3ia sical Periods can be now redefined. Every line is an organized series, perceptible in its realization as a unit by the audience. It is composed by a strict alternation of two types of contrasting COMPONENTS: a Monosyllable-Component (M), al. ways implemented by a single syllable, and a Potentially Dissyllable- Component (D), implemented either by one long syllable or two short. Some components (a whole type or a subtype) may have a fixed quanti- ty. If so they appear separated from one another by a regular number of other components, the alternating rhythm being fully maintained. The series may begin with M or D, but it always ends in D. The Potentially Dissyllable-component shows a minimum quantity of appearances per line for one of its two types, long or double-short, but not for the other, i.c. cither D double-short type, or D long type is a re- quisite for the verse. In the 6da, double-short D is indispensable, long D is not. In the 3ia and 4tr, long D is indispensable, double-short D is not At the level of *Vortrag”, there is a necessary word-end at the end of the line. Moreover, a strict cohesion or synapheia inside the line is necessary; it comes to a stop at the end of it (i.e. metrical pause is a stop to synapheia). The rhythmic peculiarity of the line is the “chunk” - v v - (6da) or - v - Gia/4tr), i.e. a single or a double-short between two long syllables. and 4tr of the Archaic and Clas- Let us hear P. Maas (29): “The last element of the line (and also, consequently, the last element of the strophe or system) is never a breve or a dissyllabic biceps; it is always anceps in so far as any last syllable of a line may be prosodically long or short, But since internal responsion very often requires a longum, and hardly ever a breve, at this place, and since we have to reckon with the possibility that even a short final syllable may have been made prosodically long by the presence of a pause after it (brevis in lon- £0), every final element is noted as a longum”. Maas was right in his first statement “the last element.....is never a breve or a dissyllabic biceps”, but not in the second. ‘When he says that “it (ic. the last clement) is always anceps in so far as any last syllable of a line may be prosodically long or short”, he is mixing * Vers” and “Vortrag”, At the level of structure, “Vers”, the last clement cannot be anceps: it is always long. At the level of Vortrag, realization, the last syllable can be either long or short 91ELSA GARCIA NOVO It must be perceived at least once (6da, 3ia; maximum five times) or twice (4tr; maximum seven times). The final segment of the line, i.e. the last three components DMD, is made up in this way. The antepenultimate is a D-component, usually of fixed quantity: double-short in the éda, long in the 3ia and the 4tr. ‘The last but one is an M-component of the type of fixed quantity: long in the 6da, short in the 3ia/4tr. The last component of the verse has to be a D-component, that is, a component that structurally permits a long, but not a single-short syllable to occur. The mark of verse-end is a variant of the D-component that beco- mes obligatorily monosyllabic and shows a changing quantity, more often long than short. The appearance of a short in a position of a D-co- mponent is a hard ending mark: it breaks the rhythm, no short syllable being permitted in a position of D. The appearance of a long is a mark as well, because a D-component is never dissyllabic in verse-end, but it is a weak mark, because a D-component may appear as long in other po- sitions of the verse as well. The so-called catalexis of the 4tr is in fact the only way of making the line into a verse of strict alternating rhythm. The last component has to be a D-component in order to permit an en- ding mark (see above): a hypothetical 16"component would be a Mono- syllable-Component “short/long” -type ( = anceps), where a short syllable and a long would be equally expected, and so no mark would be possi- ble. The ending syllable is more often long than short, and its appea- rance has to be unpredictable. There is a stylistic use of the short end. There is a second structural (ic. expected) word-end in the second third of the line, the main caesura, that cannot come after the same type or subtype of component that ends the line. This is a universal principle for caesurae. This way, main caesura and verse-end are opposite. Note presentata dal socio ondinario ANvonio Gar2vn nella tormata dell’8 febbraio 1995 92CATALEXIS, BREVIS IN LONGO BIBLIOGRAPHY, For the editions of ancient authors, see notes. WS. ALLEN, Accent and Rhythm, Cambridge 1973. N, Bexo, *Parergon metricum: der Sprung des griechischen Hexameters", MSS 37, 1978, 11-36. M. Cropp - G. Fick, Resolutions and Chronology in Euripides, London 1985, A.M. Date, “The Metrical Units of Greek Lyric Verse, I, Il, II”, in CQ XLIV, 1950, 138-148; CQ ns. I, 1951, 20-30 and 119-129 = Collected Papers, Cambridge 1969, 41-60, 61-79 and 80:97. -, “Resolutions in the Trochaic Tetrameter", Glotta 37, 1958, 102-105, = Collected Papers, Cambridge 1969, 130-134. =, The Lyric Metres of Greek Drama, Cambridge 1968", J. Descnow, Le iriméire iambique des iambographes & la comédie nouvelle, 1931, repr. New York-London 1987. A.M. Devine - L. 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