394 G. E. Fryer —Pali Studies. — JVo. 2. [No. 4, 
1 . 
utta. 
1 . 
vikati. 
2. 
atyutta. 
2. 
sankati. 
3. 
majjha. 
3. 
atikati. 
4. 
patitha. 
4. 
ukkati. 
5. 
supatitha. 
v. 13. parattha. Elsewhere. The work referred to, is the Chandovicitta. 
The metres are Bacchanalian chants, unlimited in length, commen¬ 
cing with two tribrachs (N), followed by cretics (It), 
v. 15. t’ ettha for te ettha. 
Notes on Chapter II. 
v. 16. This chapter describes Pali metres regulated by time ( matta - 
vutti), called Jati. They are four in number Ariya, Giti, Vetaliya, 
and Mattasamaka ; the second, however, is merely a subdivision of 
the first. The Ariya class uses feet containing four instants or 
breves, or their equivalents ; namely :— 
dactyl. — w w B. 
amphibrach. ^ w J. 
anapaest . v “ ; ^ — S. 
spondee .. — —- Ga. 
proceleusmatic . kj kj kj ^L. 
Any one of these may be used in the even feet, viz., the second, 
fourth, and sixth. The amphibrach (J) is inadmissible in the odd 
feet, viz ; first, third, fifth, and seventh. In each half verse, which 
consists of seven and a half feet, the sixth foot must be an amphibrach, 
or proceleusmatic, or a single breve. The metres are musical lyric 
verses. Mr. C. P. Brown in his treatise on Sanskrit Prosody, has 
pointed out a metre in Horace similar to the Ariya, the Ionic a 
Minore “ Miser arum est ” &c., (Od. iii. 12J. The choruses in the 
Bacchse of Euripides are principally in this metre. 1 Subjoined is 
the scheme of the four Jdti from verse 16 to 43, inclusive. 
1 Walford’s Handbook of the Greek drama, p. 172. 
