After I had put myself the task of investigating the correctness of the results obtained by Heibges concerning the clausulae of Chariton, I decided to determine the frequency in which the different rhythmical forms appear in the authors of non-rhythmical works. For that purpose I investigated the prose works of Thucydides and Plutarch as carefully and in as specified a form as was possible. This I did with the intention to compare the percentages with those of Heibges. In this comparison, (...) however, I came to the conclusion that the figures for Thucydides and Plutarch differed considerably, and that in such a way that certain conclusions could be drawn concerning the manner in which Plutarch constructed his clausulae according to fixed rules. (shrink)

After I had put myself the task of investigating the correctness of the results obtained by Heibges concerning the clausulae of Chariton, I decided to determine the frequency in which the different rhythmical forms appear in the authors of non-rhythmical works. For that purpose I investigated the prose works of Thucydides and Plutarch as carefully and in as specified a form as was possible. This I did with the intention to compare the percentages with those of Heibges. In this comparison, (...) however, I came to the conclusion that the figures for Thucydides and Plutarch differed considerably, and that in such a way that certain conclusions could be drawn concerning the manner in which Plutarch constructed his clausulae according to fixed rules. (shrink)

IN the Byzantinische Zeitschrift xxi. 52 Paul Maas states: ‘Es ist das Verdienst von H. B. Dewing, zuerst erkannt zu haben, dasz Prokop seine Satzschliisse rhythmisch reguliert.’ That this is only partly true appears from the remark of Heisenberg in the Berliner Philologische Wochenschrift, 1901, Sp. 1481, who comments on it, and that in a case of text–criticism, and likewise from a remark of Cronert in the Rheinisches Museum, 54, 1899, 593. Dewing was the first to point out the connection (...) between the rhythm of Procopius and Meyer's law and to collect specific statistical material, although his numbers are to a great extent of no practical value. Compare in this connection Maas B.Z. xix. 593 . It appears to me that the correct statement of the end–rhythm of Procopius is that given by Maas for Constantinus Manasses, B.Z. xi. 505: ‘Im Ausgang der Satzglieder musz die Zahl der zwischen den letzten beiden Hochtonen stehenden Silben eine gerade sein,’ on condition that 0 is considered as an even number. (shrink)