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TABLE 5.1.
The increasing variety of paeonic rhythmic forms (7th c. BC-2nd c. AD). |
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3rd-2nd c. (Simias, Delphic Paeans) |
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remainder the thesis:41  . Any of the long notes (but most frequently the first) could be divided into two short ones, except, of course, for the final note of the final bar before a pause. In Euripides this can result in long strings of short notes. In one passage there are no fewer than thirty-two consecutively, making up four bars, with each bar-line coinciding with the end of a word. |
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The first of the two short notes in the paradigm form, rather as in the iambic rhythm, could be replaced by an 'irrational' long:  or (much more often)  . The second short note could also be replaced by a long, but normally only if the two long notes on either side of it remained undivided:  . The two irrational longs could occur in the same bar:  or  . It was not until Euripides that the second irrational became at all frequent. |
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The contexts in which dochmiac rhythm is used arc always urgent or emotional. It is in keeping with this that we find some fluctuation between dochmiac and other measures, with changes of bar-length. Dochmiac and iambic rhythms often alternate, and the one may run |
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41 So marked in the papyrus fragment of Euripides' Orestes (3). |
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