to what Extent, and how most readily attainable?” 407 
sented, in conformity with modern usage, by the denominator S. 
For simplicity’s sake, all the characters are reduced to this term, 
4 being considered equivalent to 2,4 to = and #to4. The re- 
lative duration of the notes, as already mentioned, was by no 
means so accurately observed even in poetry as in song.] 
Pyrrhic .. ie Fi 5 An imperfect bar. 
Trochee .. wie 
Iambus.. oF Bars of 2 
Tribrach* .. ” ay 
“ov 8 
Dactyl .. els 
Spondee .. SH 
| 
Anapest .. ae S Bars of 2. 
Amphibrach ot i 
Proceleusmaticus .. P J 
Bacchic  .. i " a 
Antibacchic She 
Cretic . i 
Peon .. first ahs asa) EP. 
second .. | R 
chivd: * <5. | 
fourth .. j 
Dichoreus .. .. 
ees a \ 6 a dt 
ae i. Bars of = resolvable into at 
Antipastus .. | 
Molossus_ .. os > 
Ionicus 4 majore .. Bars of 2 not resolvable. 
c_3 es a er 0 VE BY CoE DB oy ee wv . Ve 3 ere ou ey 3 one 
ma es) ce eer osx Of OL BD 
a minore .. 
* The charecter of the ancient tribrach should not be too hastily con- 
founded with that of our modern friplet EPP. That species of accentua- 
tion (as we style it) which attaches to our usually-executed triplet is rarely 
discoverable in the judicious delivery of the ancient languages, or indeed in 
the judicious delivery of our own serious compositions. The audible and 
independent articulation of every syllable so circumstanced will considerably 
relieve, if not wholly destroy that jigging effect which characterizes the tri- 
plet, and distinguishes that species of modern poetry whimsically called the 
dactylic or anapestic—the very semblance of which movement the dignified 
orator should disdain to introduce. 
Cc4 . Epitrite 
