Terentianus Maurus, likewise, (Putsch. Collect. p. 2439.) that the following lines are all in the same metre. says Lex tamen una metri est. ǎdest celer phaselus. Tinctus colore noctis. Seu bovis ille custos. I have, however, lately fallen on a passage in Terentianus Maurus, which now enables me to produce an instance in a Latin poet of that licence in the béos of the first foot, which I had considered peculiar to the Greek poets. The passage relates to the choriambic metre, and may be found in Gaisford's Hephæstion, p. 297, and is as follows: Qui multos legêre, negant hoc corpore metri Here we see plainly that an iambic foot has been substituted in the room of the trochaic, exactly in the same manner, and for the same reason, as a trochaic has been substituted for an iambic in the preceding Anacreontic lines, namely, Κἂν δεήση με χορεύειν, Αἱ Μοῦσαι τὸν ἐρῶτα, It is impossible that a single iambic foot can ever be represented by a trochaic, for, although these feet are similar in rhythm or proportion, being both in the proportion of two to one, yet as in the iambic, the short time precedes, and the long follows, and in the trochaic the contrary happens, there is naturally and intrinsically what has been called by grammarians an antipathy between them. But when iambics and trochaics enter into metre not as substantive single feet, requiring an agos and σs of their own, but are only component parts of other and larger feet, then it is evident that they are not feet, but times, and as times they are perfectly isochronous, and may be interchanged one for the other, wherever the metre allows of interchanges, nor is there any thing more extraordinary in this, than that a spondee should be allowed sometimes to represent an anapæst, and sometimes a dactyl. It is no more than allowing to compound feet a privilege, which every body acknowledges in single feet. Had the learned author of the Tentamen de Metris attended to this, it would have relieved him from much embarrassment, and many lines would have been admitted by him as sound, which are now performing quarantine. I will endeavour to give some of these a bill of health, and hope to restore them to the society of their fellows. In Sept. c. Theb. p. 22. v. 4. ἱππι κῶν τ' αυπνών has for its correspondent in the antistrophe, δῆ τὸτ ̓ ἤρθῆν φόβῳ. Trochaicum Hemiolium, observes the learned Annotator, opponitur Cretico Dimetro, quod vetant leges Antistrophicæ. I submit, however, that these two lines may well stand together consistently with the licence of metre, and that each verse consists alike of two feet, namely, a perfect trochaic base, and an imperfect brachy-catalectic quantity of three times, the final trochaic π answering to the final iambic 4óße, as the trochaic base ἱππίκων τ' ἀ-answers to the trochaic base δή τοτ' ήρθην. In these verses oß and uπvv are not integral feet, but only parts of larger feet left unfinished for the sake of a close. They are therefore perfectly isochronous and equivalent quantities. has in the antistrophe μναμέναν νεφελῶν ὀρθῶι. Non respondent, says the note. It seems to me, however, to be good metre, although somewhat licentious, like many of the preceding instances. The verses are dimeter acatalectic, according to the scale subjoined, The final po is not here a spondee, but a trochaic corresponding in quantity to the iambic . Provided the rhythm agree in one part of the foot, the other part may be allowed to vary to the value of one, time, in its proportion, and by this means the metre is somewhat impaired, and rendered less sensible to the ear, but not entirely destroyed. There is still left order and regularity enough to enable us to trace the resemblance. This is well known to be the case in iambic and trochaic verse, which requires pure feet only in certain places, and admits of unequal variable quantities in other places. The same latitude is common also to all lyric compositions, and is certainly as pardonable in them, as their rhythm was always assisted and marked by musical accompaniments, and for this reason they are called μέλη. Dr. Burney admits the following lines to be correspondent in Και χθόνια κόνις πίγ. Ib. p. 50. v. 2. metre: Αιώνα δ ̓ ἐς τρίτον μένει. I would ask, if the spondee ai- agrees here with the trochæus xai xo, why the abovementioned dactyl ärŏμě- may not agree as well with the trochaic uvaue-? The first of these lines is called by Dr. Burney an impure dimeter choriambic, and the second is called the same by him, or it may be called, he thinks, an antispastic dimeter. The truth is, however, that these lines were never intended to be scanned by one common measure, and are neither choriambic, nor antispastic, nor di-iambic, and the only matter worthy our attention, is to ascertain their rhythm or proportion, that is, their relative times and quantities. One absurdity will ever beget another. Thus the established prejudice, that all lyrical compositions are in some metre or another, has imposed a task on the authors of this opinion to find a name for these supposed metres, and to effect this, they have destroyed all distinction and propriety of words, and have so confounded feet together, that I hardly know what combination of rhythm is safe from their overwhelming dochmiacs and antispastics. There is a curious table in the Tentamen de Metris, p. 12. which exhibits no less than sixty-one forms of one foot, namely, the antispastic. But this is to give us, in a matter where a certain guide is so much wanted, nothing better than a Proteus or a Harlequin. To be serious, it is time that this rubbish were removed, which is only a burden to the memory, and gives no light to the understanding. M. K. Critical and Explanatory Notes on the PROMETHEUS DESMOTES of ÆSCHYLUS, with Strictures on the NOTES and the GLOSSARY to MR. BLOMFIELD'S Edition. NO. II. V. 13. ὁδὲν ἐμποδὼν ἔτι. Mr. B. says in his Gloss. p. 89. σε εμπο Jav, ante pedes, reliquum: ita Stephanus, et Garbitius rectè : Stanleius impedimento fuit; quo sensu frequentius est: sed Thom. Mag. ἐμπόδων· τὰ ἐν ποσὶν: Eurip. Phoeniss. 718. ἃ δ ̓ ἐμποδὼν μάλιστα, ταῦθ ̓ ἥκω φράσων.” The mod in the Phænissæ is very different from the uroda in the Prometheus: the last means, as Mr. B. rightly supposes, reliquum, whereas in the other it means the business, which more immediately interests the speaker,' or literally, which lies more immediately before him: Creon had some important intelligence to communicate, which was the object of his journey, and he thus adroitly breaks off the conversation, into which he had been betrayed : ἤκεσα μεῖζον αὐτὸν ἢ Θήβας φρονεῖν, κήδει τ' Αδράστο, καὶ στρατῷ πεποιθότα· ἃ δ ̓ ἐμποδὼν μάλιστα, ταῦθ ̓ ἥκω φράσων. Heath here rightly says: "d'uodàv μáλiora. Verte, quæ autem potissimùm præ manibus sunt, i. e. quæ maximè instant, vel urgent; hoc enim sensu satis frequenter usurpatur ἐμποδών.” VOL. IV. No. VII. V. 90. παμμήτωρ. One other instance of παμμήτως occurs in the Orphic Poems: the passage is quoted in Faber's Diss. on the Cabiri (Vol. 2. p. 412.), γατά τε παμμήτωρ. Mr. Parkhurst says in his Heb. and Eng. Lexicon, p. 111. 2d edit. that Ceres is called in the Orphic Poems παμμήτειρα. V. 99. πῆ ποτε μόχθων χρὴ τέρματα τῶνδ ̓ ἐπιτεῖλαι ; Mr. B. says in his Gloss. p. 101. “ ἐπιτέλλω, appareo, significatu rariore. ἐπιτείλας, ἀνατείλας Suid. quorum posterior in hoc sensu frequens est. ἐπιτέλλειν plerumque est, injungere.” Thus Agathar chides says, in Book I. on the Red Sea in Photius's Biblioth. τὸν ἥλιον [ἐκεῖσε] φασιν ἐπιτέλλοντα, ἐχ ὡς παρ' ἡμῖν κ. τ. λ. Again οἱ δὲ [τῶν ἀστέρων] ἐδὲ κατὰ τὰς ὑφεστῶτας καιρὸς, τὰς δύσεις ποιόμενοι καὶ τὰς ἐπιτολάς. Diod. Sic. I. 27. (cited by Stanley V. I. p. 229.) says of Isis : ἐγώ εἰμι ἡ ἐν τῷ ἄστρῳ τῷ κυνὶ ἐπιτέλλεσα. Stanley cites from Eurip. in Clem. Αlex. v. i. p. 209. δι' ἀστέρων ἐπαντολάς. Plutarch (Vol. vi. p. 872. Ed. Wyttenbach) quotes this verse from Alcæus, τέγγε πλεύμονας οἴνω· τὸ γὰρ ἄστρον περιτέλλεται. Both ἐπιτέλλω, and ἀνατέλλω are properly applied to the rising of the sun, the moon, and the stars : I would define them thus : ένατέλλω is to arise, but ἐπιτέλλω expresses more than the other; for it means not only to arise, but to arise upon, or to shine upon, as the earth, by the force of the preposition ἐπί. Thus Homer says, ἦως μὲν κροκόπεπλος ἐκίδνατο ΠΑΣΑΝ ΕΠ' ̓ΑΙΑΝ. Thus in the verses cited in Plutarch's Treatise περὶ πρώτες ψύχρε, the sun is said ἐπιλάμπειν in the same sense: αὐτίκα δ ̓ ἡέρα μὲν σκέδασεν καὶ ἀπῶσεν ὀμίχλην, Ηέλιος δ ̓ ΕΠΕΛΑΜΨΕ. ἀνατέλλω is sometimes exoriri facio : thus Toup says in his Emendations of Hesychius Vol. iv. p. 255. Ed. of 1790. ἀνέτειλεν· ἀνεβλάσε τησε»: Respexit Josephum l. i. p. 6. κατ ̓ αὐτὴν δὲ ταύτην τὴν ἡμέραν εὐθὺς φυτά τε καὶ σπέρματα· γῆθεν ἀνέτειλε: hic tamen reddo eoriri fecit, ut Matt. v. 45. όπως γένησθε υἱοὶ τῷ πατρὶς ὑμῶν τῶ ἐν ἐρανοῖς, ὅτι τὸν ἥλιον αὐτῷ ἀνατέλλει ἐπὶ πονηρὸς καὶ ἀγαθὸς, καὶ βρέχει ἐπὶ δικαίες, καὶ ἀδίκες. Thus Euripides in Phænissa v. 105. (In Burgess's Edition of Burton's Pentalogia) says: ἀπὸ κλιμάκων ποδὸς ἔχνος ἐπαντέλλων. This is thus interpreted in the Index : “ ἐπανατέλλω, ascendere facio, ἀντὶ τῇ ἐπανάγω, vel ἀναβιβάζω, vel αναφέρω.” Homer also uses it in the same sense. If I remember rightly, Herodotus has i |