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Itsumi, Kiichiro
1984.
The Glyconic in Tragedy.
The Classical Quarterly,
Vol. 34,
Issue. 1,
p.
66.
Article contents
The Metrical Units of Greek Lyric Verse. I1
Published online by Cambridge University Press: 11 February 2009
Extract
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.
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References
page 140 note 1 This statement (ν. infra, p. 148) has to be modified to some extent for dactylo-epitrite, which, as will be seen, is the nearest point of approach between the two kinds of technique.
page 141 note 1 To be analysed in the second instalment of this article.
page 143 note 1 In the dochmiacs of drama, which appear (ν. infra) to be a late creation of a special character, this licence is extended to the middle of a period also.
page 143 note 2 The one exception to this rule is that in dramatic lyric (particularly in Sophocles) a dactylic tetrameter can be followed by a colon starting with anceps, e.g. 
| 
. These must of course fall within the same period, since no period can end 
. This exception indicates that colon-end, even where it cannot be followed by a full pause in the technical sense, has more separating effect than the end of a phrase-unit in the ‘periodic’ style.
page 143 note 3 Only the process of decay of metrical vitality in Greek lyric can to some extent be followed.
page 144 note 1 For the apparent contradiction in the comic trimeter see my Lyric Metres of Greek Drama, pp. 77–8.
page 144 note 2 I omit Maas's double epitrite E 
, finding it sometimes rather unhelpful, e.g. should the fairly common ‘stesichorean’ be E 
or 
Neither is so satisfactory as 
My reason for not using d for the occasional 
is simply to keep clear of my own symbols d and s introduced later.
page 145 note 1 I should here make it clear that Professor Maas himself disclaims and deprecates all extension of his principles of notation beyond the sphere of practical convenience.
page 145 note 2 I use the word colon in this essay in a sense quite different from that of metrical unit; the unit is simply an analytical division, the colon a self-sufficient rhythmical phrase. A unit of the longer sort, such as 
or 
may of course be a colon just as a unit or a colon may be a period. But in the ‘periodic1 style of composition there is nothing between the unit and the period, and the attempt to find segments recognizable—and nameable—as cola quite often makes the cut in the middle of a unit.
page 146 note 1 This resolution of is fairly common in indact.-epit. and is usually carried through all the strophic repetitions. Contraction of the double-short is much rarer, and there is no certain instance in Pindar; for Nem. 8. 1 see the second instalment of this article.
page 148 note 1 Wil. G.V., p. 495, makes much to-do over the ‘schwieriger Vers’ 
D (with prosyllabic 
). I do not know why.
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