\documentclass[11pt]{report} \usepackage{ibycus4} \usepackage[en]{metre} \textwidth 5in \topsep 0pt \partopsep 0pt \pagestyle{empty} \Magnitudo{+1} \newcommand{\Greek}[1]{\bgroup\fontencoding{OT1}\greek #1\egroup} % % shorthands for the `metrike' environment % \renewcommand{\(}{\begin{metrike}} \renewcommand{\)}{\end{metrike}} % % some convenient shorhands for metres % \newcommand{\dactyl}{\metra{\m\b\b}} \newcommand{\spondee}{\metra{\m\m}} \newcommand{\enoplion}{\metra{\m\m\b\b\m\b\m\m}} % \begin{document} % \hrule height 1.5pt \vspace{1ex} {\large From D.L. Page's commentary to \textit{Medea} (1st ed.), pp.~182-183.}\par \vspace{1ex} Copyright Oxford University Press.\par Reproduced by permission of Oxford University Press.\par \vspace{1ex} \hrule height 1.5pt \vspace{5ex} {\noindent\textit{The Parodos.}}\par \vspace{1ex} As in Aeschylus' \textit{Septem} and Euripides' \textit{Bacchae}, the Chorus begins with a short lyric to which there is no antistrophic reply, \oldstylenums{131} sqq.\,:\par % % \begin{tabbing} % % defining the tab stops (note \kill at the end) % \hspace*{2em}\oldstylenums{131}\hspace{.25em}% \=\metra{\b\b\m}\hspace{.25em}% \=\metra{\m\m}\hspace{.25em}% \=\metra{\b\b\m}\hspace{.25em}% \=\metra{\b\bm}\hspace{2em}% \=Anapaests\kill% % \oldstylenums{131}% \>\metra{\b\b\m}% \>\metra{\m\m}% \>\metra{\b\b\m}% \>\metra{\b\b\m}% \>Anapaests\\% % \>\metra{\m\m}% \>\metra{\m\m}% \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>Anapaests\\% % \>\metra{\m\b\b}% \>\metra{\m\m}% \>\metra{\m\m}% \>\metra{\m}% \>Paroemiac\\% % % redefining the tab stops (note \kill at the end) % \oldstylenums{131}\hspace{.25em}% \=\metra{\m\b\b}\hspace{.25em}% \=\metra{\m\b\b}\hspace{.25em}% \=\metra{\m\b\b}\hspace{.25em}% \=\metra{\m\b\b}\hspace{.25em}% \=\metra{\m\b\m}\hspace{2em}% \=Lyric dactyl\kill% % \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>\metra{\m\b\m}% \>Lyric dactyl\\% % \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>\metra{\m\b\b}% \>\metra{\m\b\m}% \>Lyric dactyl\\% % \>% \>\metra{\m\b\b}% \>\metra{\b\m\c\m\b\m\c\b\m\m}% \>% \>% \>Iamb.\\% \end{tabbing} At \oldstylenums{148} the Chorus begins a strophe which opens with anapaests:\par \vspace{1ex} {% here we use the TeX primitive \halign \tabskip .2em % \halign {% \hspace*{2em}#\hspace*{4em}&&#\hfill\cr% the pattern \oldstylenums{148}&\dactyl &\spondee &\spondee &\spondee \cr &\spondee &\spondee &\spondee &\spondee\cr &\spondee &\spondee \cr }% \halign } Three enoplia follow:{\obeylines \hspace{6.25em}\enoplion \hspace{6.25em}\enoplion \hspace{6.25em}\enoplion } Then a reizianum, which is similar in scansion to the enoplion for the first six syllables:{\obeylines \hspace{6.25em}\metra{\m\m\b\b\m\m} } Then comes a trochaic metron:{\obeylines \hspace{6.25em}\metra{\m\b\m\b} }\noindent followed by three more enoplia{\obeylines \hspace{6.25em}\enoplion \hspace{6.25em}\enoplion \hspace{6.25em}\enoplion }\noindent then a molossus:{\obeylines \hspace{6.25em}\metra{\m\m\m} } And the strophe is closed by a line which is similar in scansion to the enoplia, being in fact a glyconic followed by a spondee:{\obeylines \hspace{6.25em}\metra{\m\m\m\b\b\m\b\m\m\m} } The Parodos is ended by a short choral lyric to which there is no antistrophic reply, \oldstylenums{204} sqq.\,:\par \vspace{1ex} %\Elevatio{.5}% % {% here we use the TeX primitive \halign \tabskip 1em plus 2em minus .5em% \halign to \hsize{% #\hfill&#\hfill&\quad\quad#\hfill\cr% the pattern \oldstylenums{204}&\(\=ax\=an \=a-\)\-&molossus\cr &\(-\-i\=on p\-ol\=u\C s|t\-on\=on g\-o\=wn\)&iambic\cr &\(l\-ig\-ur\-a d \-ax\-e\-a\c m\-og\-er\-a b\-o\={a|}\)&iambic\cr % \noalign{Then another iambic metron leads to a reizianum, similar in scansion to a dactylo-epitrite:} % &\(t\-on \=en l\-exe\=i\c pr\-od\-ot\=an k\-ak\-on\=umf\=on\)\cr % \noalign{Then follow two more iambic metra:} % &\(q\-e\=okl\-ute\=i\c d \-ad\-ik\-a p\-aqo\=us|\C\-a\)\cr % \noalign{Then another quasi-dactylo-epitrite:} % &\(t\=an Z\=hn\-os \=or\C k\-i\=an Q\-em\-in \=a n\-in \-eb\=as|\-en\)\cr % \noalign{\noindent followed by a hemiepes, repeating the scansion of % \ \(-\=an Q\-em\-in \=a n\-in \-eb\=a-\)\ \-\-\,:} &\(\=Ell\-ad \-es \=ant\-ip\-or\=on\)\cr % \noalign{Then a return to the opening iambic rhythm:} % &\(d\-i \-al\-a n\-ux\-i\-on\c \-ef \=alm\-ur\=an\)\cr % \noalign{\noindent and finally a pherecratean clausula:} % &\(P\=onto\=u kl\={h|}d' \-ap\-er\=ant\=on\)\cr }% halign }% \vspace{5ex} \hrule height 1.5pt \vspace{1ex} {\large From E.R. Dodds' commentary to \textit{Bacchae} (2nd ed.), pp.~72-73.}\par \vspace{1ex} Copyright Oxford University Press 1960.\par Reproduced by permission of Oxford University Press.\par \vspace{1ex} \hrule height 1.5pt \vspace{5ex} \Greek{prosi'mion} and \Greek{str}+\Greek{a)nt.\,a$^\prime$}: ionics \textit{a minore}. This is the characteristic metre of the \textit{Bacchae}. Its use was doubtless traditional for Dionysiac plays, since it is proper to Dionysiac cult-hymns; it appears in the refrain of Philodamos' Delfic hymn to Dion. and in the Iacchos-hymn of the \textit{Frogs} (\oldstylenums{324} ff.). The standard line consists of two \Greek{me'tra} (\oldstylenums{65} and \oldstylenums{69} have three), either \begin{list}{}{} % \item[(\textit{a})] `straight' form, \metra{\b\b\m\m \c \b\b\m\m} (Hor., \textit{Odes} \oldstylenums{3}, \oldstylenums{12} is composed entirely in this form), % \item[or (\textit{b})] `anaclastic' or broken form (anacreontics), \metra{\b\b\m\b\c\m\b\m\m}. \end{list} % (\textit{b}) yields a swifter and more emotional rhythm than (\textit{a}). Both forms are illustrated by Kipling's line:\par \begin{metrica} \-And th\-e s\='unsh\=ine\c \-and th\-e p\='almtre\=es \-and th\-e t\=inkl\-y t\=empl\-e b\=ells\ \metra[\m{-2}\ss{1.225}\ms{st}]{\K\m}% \end{metrica}\par Variations include (\oldstylenums{1}) `catal\=exis', suppressing the last syllable of the second \Greek{me'tron} and occasionally of the first (\oldstylenums{64} = \metra{\b\b\m\k\m \c \b\b\m\k\m}); (\oldstylenums{2}) `syncopation', suppressing a short syllable within the \Greek{me'tron} (\oldstylenums{71} = \metra{\b\b\m\b\c\m\p\m\m}); (\oldstylenums{3}) `resolution' of either long into two shorts (\oldstylenums{79} = \metra{\b\b\bb\m\c\b\b\m\m}); (\oldstylenums{4}) the reverse substitution of a long for two shorts (\oldstylenums{81} = \metra{\m\m\m\c\b\b\m\m}).\ [\ldots] \Greek{str.}+\Greek{a)nt.\,b}$^\prime$. In \oldstylenums{105}% -\oldstylenums{10} = \oldstylenums{120}-\oldstylenums{5} the first element is a choriambus \metra{\m\b\b\m} (resolved in \oldstylenums{107}-\oldstylenums{122} into \metra{\bb\b\b\bb}); the second is either an iambic \Greek{me'tron} (\oldstylenums{109}-\oldstylenums{124}, with the last long resolved) or a bacchius \metra{\b\m\m} (perhaps equivalent to a syncopated iambic \Greek{me'tron} \metra{\b\m\p\m}). In the remainder, ionics (\oldstylenums{113}-\oldstylenums{14}) are mixed with glyconics (see on stasimon \oldstylenums{1}, \oldstylenums{402} ff., which for the beginner forms a better introduction to the metre) and dactyls. The last named describe the rush of the dancers to the mountains (\oldstylenums{116}-\oldstylenums{17}); and in general the excited and swiftly changing rhythms seem to reflect, as Deichgr\"aber observes, the Dionysiac unrest. \strut\par Scheme: \begin{tabbing} % % defining the tab stops (note \kill at the end) % \oldstylenums{115}-\oldstylenums{130}\hspace{2em} \=\metra{\m\b\b\bbm}% \=\metra{\b\m\s\b\b\m}\hspace{3em}% \=? glyc. with trisillabic close. \kill % \oldstylenums{105}-\oldstylenums{120}% \>\>\metra{\m\b\b\m}\'\metra{\b\m\m}% \>chor{.}+ba.\\ % \>\>\metra{\m\b\b\m}\'\metra{\b\m\m}% \>chor{.}+ba.\\ % \>\>\metra{\bb\b\b\bb}\'\metra{\b\m\m}% \>chor{.}+ba.\\ % \>\>\metra{\m\b\b\bbm}\'\metra{\b\m\m}% \>chor{.}+ba.\\ % \>\>\metra{\m\b\b\m}\'\metra{\b\m\b\bb}% \>chor{.}+iamb.\\ % \oldstylenums{110}-\oldstylenums{125}% \>\>\metra{\m\b\b\m}\'\metra{\b\m\m}% \>chor{.}+ba.\\ % \>\metra{\m\m\s\m\b\b\m\s\b\m}% \>\>glyc.\\ % \>\metra{\bb\b\s\m\b\b\m\s\b\b\m}% \>\>? glyc. with trisillabic close. \\ % \>\metra{\m\m\m\s\b\b\m\m\s\b\b\m\m}% \>\>\oldstylenums{3} ion.\\ % \>\metra{\bb\m\m\s\b\b\m\m\s\b\b\m\m}% \>\>\oldstylenums{3} ion.\\ % \oldstylenums{115}-\oldstylenums{130}% \>\metra{\bb\b\s\m\b\b\m\s\b\b\m}% \>\>? glyc. with trisillabic close. \\ % \>\metra{\m\b\b\s\m\b\b\s\m\b\b\s\m\K\m}% \>\>\oldstylenums{4} dact.\\ % \>\metra{\m\b\b\s\m\b\b}% \>\>\oldstylenums{2} dact.\\ % \>\metra{\b\m\s\m\b\b\m\s\b\m}% \>\>glyc.\\ % \>\metra{\m\m\s\m\b\b\m\s\m}% \>\>pher.\\ \end{tabbing} \end{document}