Text, interpretation and metre present a tangled problem in this threnody, and the solutions of editors differ widely. The chief function of detailed metrical study in such corrupt passages of lyric is to weight the scales in favour of—or more often against—certain methods of handling the text. The positive results of this present attempt to apply metrical criteria are necessarily modest and tentative; negatively they are, I think, sometimes decisive.

What kind of Theory of Music and Theory of Metric was taught to the young Pindar or the young Sophocles? So far are we from an answer to this question that we do not even know how far extra study was necessary, or usual, for the professional poet as compared with the ordinary educated Greek citizen. The interdependence of music and metric in lyric poetry gave complexity to the word-rhythms but kept the study of music, the subordinate partner, theoretically simple. (...) Doubtless by the time the young poet had learnt by heart the words of past masters of lyric verse, sung or accompanied them on the lyre, and danced them in choir or κ⋯μος, he had absorbed by practice and somewhat rule-of-thumb methods of training a great deal of the τ⋯χενη which his calling would require. He would have to learn, in common with the χοροδιδ⋯σκαλος, how to read and write a simple score, and so he must know the symbols of pitch in such scales as were then in use. The notation of arsis and thesis may have been required too, and if we knew that this was so, and how he was taught to apply it, we might be in a much better position to assess the kind of theory he learnt. But of one thing we may be sure: genius apart, it was his practical training, as performer and spectator, rather than theoretical teaching which gave his ear its cunning and technical skill to compose new rhythms. (shrink)

In classical Greek poetry there is a familiar distinction between verse which repeats line upon line, and that which forms patterns liable to closure at intervals, in stanzas or lyric sections. This is often equated with the distinction between spoken and sung verse, but the equation is only approximate. At an earlier stage all verse had some musical accompaniment—so much can be deduced from a number of passages in Homer, and is in any case implicit in the nature of quantitative (...) verse. By Hellenistic times it seems that, in new composition, the more complex lyric structures had died out, while of the simpler ones more and more were being taken over as spoken verse. In the fifth century—and this can probably be extended to at least the late sixth and most of the fourth—only two kinds of verse are known to have dispensed with music altogether in performance: the heroic hexameter and the iambic trimeter. (shrink)

I Am not proposing in this essay to treat at length and in detail of the metric of other lyric poets. In most cases questions of metre are intimately involved with questions of text, into which so many other considerations enter that in dealing with them proportion would be lost, while metrical analysis of such material would still remain largely speculative. What follows is therefore little more than a general account of the principles of composition which these poets appear to (...) me to follow; I have, however, indicated a few passages where emendations made purely on metrical grounds and widely accepted seem to me, in the absence of responsion, based on too ready a desire to reduce all poems to the best-known formulas of versification. (shrink)

I Am not proposing in this essay to treat at length and in detail of the metric of other lyric poets. In most cases questions of metre are intimately involved with questions of text, into which so many other considerations enter that in dealing with them proportion would be lost, while metrical analysis of such material would still remain largely speculative. What follows is therefore little more than a general account of the principles of composition which these poets appear to (...) me to follow; I have, however, indicated a few passages where emendations made purely on metrical grounds and widely accepted seem to me, in the absence of responsion, based on too ready a desire to reduce all poems to the best-known formulas of versification. (shrink)

In classical Greek poetry there is a familiar distinction between verse which repeats line upon line, and that which forms patterns liable to closure at intervals, in stanzas or lyric sections. This is often equated with the distinction between spoken and sung verse, but the equation is only approximate. At an earlier stage all verse had some musical accompaniment—so much can be deduced from a number of passages in Homer, and is in any case implicit in the nature of quantitative (...) verse. By Hellenistic times it seems that, in new composition, the more complex lyric structures had died out, while of the simpler ones more and more were being taken over as spoken verse. In the fifth century—and this can probably be extended to at least the late sixth and most of the fourth—only two kinds of verse are known to have dispensed with music altogether in performance: the heroic hexameter and the iambic trimeter. (shrink)

Dactylo-Epitrite has established itself in a privileged position among choral lyric metres, since the greater volume of material and the greater regularity of its component units have encouraged a more careful study, and closely reasoned controversies have arisen and been resolved over its structure. Other kinds of Pindaric metre have for the most part been analysed in a hit-or-miss spirit, and arbitrary schemes have been produced of which rarely are two alike for the same poem, yet little attempt has been (...) made to base any preference upon a theory. (shrink)