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And being, as Plato would have, the scholar-like and philosophical temper, eager for every kind of learning, and indisposed to no description of knowledge or instruction, he showed, however, a more peculiar propensity to poetry; and there is a poem now extant, made by him when a boy, in tetrameter verse, called Pontius Glaucus.
Discarding short stories and a ludicrous diction, through its passing out of its satyric stage, it assumed, though only at a late point in its progress, a tone of dignity; and its metre changed then from trochaic to iambic. The reason for their original use of the trochaic tetrameter was that their poetry was satyric and more connected with dancing than it now is.
On the other hand, the iambic and the trochaic tetrameter are stirring measures, the latter being akin to dancing, the former expressive of action. Still more absurd would it be to mix together different metres, as was done by Chaeremon. Hence no one has ever composed a poem on a great scale in any other than heroic verse. Nature herself, as we have said, teaches the choice of the proper measure.
The Trochaic tetrameter and the Cretic are also favourite rhythms; the former is well suited to the Latin language, its beat being much more easily distinguishable in a rapid dialogue than that of the Iambic. His metre is regulated partly by quantity, partly by accent; but his quantities do not vary as much as has been supposed.
The metre is the trochaic tetrameter, which is always well suited to the Latin language, and which here appears treated with Greek strictness, except that in lines 55, 62, 91, a spondee is used in the fifth foot instead of a trochee. The refrain "Cras amet qui nunquam amavit, quique amavit, eras amet," may be called the "last word" of expiring epicureanism.
Besides the infinite variety of the lyrical strophes, which the poet invented for each occasion, they have also a measure to suit the transition in the tone of mind from the dialogue to the lyric, the anapest; and two for the dialogue itself, one of which, by far the most usual, the iambic trimeter, denoted the regular progress of the action, and the other, the trochaic tetrameter, was expressive of the impetuousness of passion.
And being, as Plato would have the scholar-like and philosophical temper, eager for every kind of learning, and indisposed to no description of knowledge or instruction, he showed, however, a more peculiar propensity to poetry; and there is a poem now extant, made by him when a boy, in tetrameter verse, called Pontius Glaucus.
But, as the style of tragedy improved, Nature herself, says Aristotle, directed the writers to abandon the capering tetrameter, and to embrace that measure which was most accommodated to the purposes of dialogue; whence the iambic became the common measure of both Tragedy and Comedy. Sophocles brought on a third actor, which number was not exceeded in the Greek tragedies during the same scene.
He wished that spectator and reader should accept the prelude as a thing of its own kind, complete in itself. It was for this reason that he gave it a distinctive meter, having convinced himself that meter of some kind was essential if he would avoid banality. With a wise instinct he chose the old free-and-easy tetrameter, which Goethe had used with excellent effect in some of his early plays.
Moreover, it was not till late that the short plot was discarded for one of greater compass, and the grotesque diction of the earlier satyric form for the stately manner of Tragedy. The iambic measure then replaced the trochaic tetrameter, which was originally employed when the poetry was of the Satyric order, and had greater affinities with dancing.
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