^{page 140 note 1} This statement (ν. infra, p. 148) has to be modified to some extent for dactylo-epitrite, which, as will be seen, is the nearest point of approach between the two kinds of technique.

^{page 141 note 1} To be analysed in the second instalment of this article.

^{page 143 note 1} In the dochmiacs of drama, which appear (ν. infra) to be a late creation of a special character, this licence is extended to the middle of a period also.

^{page 143 note 2} The one exception to this rule is that in dramatic lyric (particularly in Sophocles) a dactylic tetrameter can be followed by a colon starting with anceps, e.g. | . These must of course fall within the same period, since no period can end . This exception indicates that colon-end, even where it cannot be followed by a full pause in the technical sense, has more separating effect than the end of a phrase-unit in the ‘periodic’ style.

^{page 143 note 3} Only the process of decay of metrical vitality in Greek lyric can to some extent be followed.

^{page 144 note 1} For the apparent contradiction in the comic trimeter see my Lyric Metres of Greek Drama, pp. 77–8.

^{page 144 note 2} I omit Maas's double epitrite E , finding it sometimes rather unhelpful, e.g. should the fairly common ‘stesichorean’ be E or Neither is so satisfactory as My reason for not using d for the occasional is simply to keep clear of my own symbols d and s introduced later.

^{page 145 note 1} I should here make it clear that Professor Maas himself disclaims and deprecates all extension of his principles of notation beyond the sphere of practical convenience.

^{page 145 note 2} I use the word colon in this essay in a sense quite different from that of metrical unit; the unit is simply an analytical division, the colon a self-sufficient rhythmical phrase. A unit of the longer sort, such as or may of course be a colon just as a unit or a colon may be a period. But in the ‘periodic1 style of composition there is nothing between the unit and the period, and the attempt to find segments recognizable—and nameable—as cola quite often makes the cut in the middle of a unit.

^{page 146 note 1} This resolution of is fairly common in indact.-epit. and is usually carried through all the strophic repetitions. Contraction of the double-short is much rarer, and there is no certain instance in Pindar; for Nem. 8. 1 see the second instalment of this article.

^{page 148 note 1} Wil. G.V., p. 495, makes much to-do over the ‘schwieriger Vers’ D (with prosyllabic ). I do not know why.