§ IV. The Anapæstic Metre

Whereas iambics and trochaics were declaimed by the actors, anapæsts were used mostly by the chorus, and were chanted in recitative. They are found when the chorus move into the orchestra, or salute the entrance of a new character. Most tragedies end with a brief anapæstic system, executed by the singers as they depart.

The most usual line is a tetrapody—that is, a verse of four feet:—

⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ – ⏑ ⏑ –
τι συ προς | μελαθροις | τι συ τῃδ|ε πολεις; (Alcestis, 29).

But lines consisting of anapæsts alone are very uncommon. The spondee is often found:—

– – ⏑ ⏑ – ⏑ ⏑ – – –
ουκ ηρκ|εσε σοι | μορον Αδμ|ητου (Alcestis, 32).

Dactyls also are frequent:—

– – ⏑ ⏑ – – ⏑ ⏑ – –
σφηλαντ|ι τεχνῃ | νυν δ επι | τῃδ αυ (Ibid., 34).

No other foot is admitted, but each of these three may occur at any place in the line.

Besides the tetrapody, we find now and then a dipody, or verse of two feet.

Anapæstic systems are invariably closed by a catalectic verse:—

– – ⏑ ⏑ – ⏑ ⏑– –
αυτη | προθανειν | Πελιου | παιςꞈ̄ (Ibid., 37).

In systems of considerable length such lines occur at intervals. They are called “parœmiacs”.