Abstract

Dactylo-Epitrite has established itself in a privileged position among choral lyric metres, since the greater volume of material and the greater regularity of its component units have encouraged a more careful study, and closely reasoned controversies have arisen and been resolved over its structure. Other kinds of Pindaric metre have for the most part been analysed in a hit-or-miss spirit, and arbitrary schemes have been produced of which rarely are two alike for the same poem, yet little attempt has been made to base any preference upon a theory