TROCIIAIC TZDYTIIMS. Trochaic verses are usual ly measured by dipodies ,,). In the place of the second trochee. rarely of the first, a spondee pronounced in the time of a trochee (hence called an irrational spondee, —>) may he admitted. The apparent anapaest and the cyclic dactyl are sometimes used; and the tribrach is freely substituted in any foot but the last. The mast frequent trochaic line is the tetrameter catulectic, meas uring seven feet and one syllable, divided into two cola by a dieresis after the second dipody. The movement is rapid and well suited to express excitement. It was employed by Archilochus and Solon ; it was the favorite measure of Epi eharmus, and is frequently employed in the old Attic comedy. In early tragedy it was also used, but in the later only after about B.C. 415. Ex ample: > > -.1•A OECrai aeripo rbe voile rp6exerc Aristoph. N., 575.
The same form of verse, under the name septenarivs, was common in Latin comedy and was employed by Varro, Seneca, and many later Latin poets. In the early period, however, the Romans admitted substitutions in any foot but the last; in later Latin verse the Greek models were adhered to more strictly.
Hipponax (q.v.) introduced a modification of the trochaic tetrameter catalectic in which the last syllable but one is always long; the sub stitutions allowed are few. This form is called Hipponactcan or Scazon, the 'lame tetrameter,' from its peculiar movement. This may be illus trated by the following: 1471E7 I os ;ap 1,1; 6;2apTd I vm 17671"1-WP Hippon. frg. 83.
L „ > nec coruscus imber alto II nubilo - _ ca dens multus Varro, Sat. frg. 557.
The rare trochaic tetrameter acatalectic is mostly confined in both Greek and Latin to lyric systems. Great freedom of substitution is al lowed especially in Latin comedy.
L L > xX irith povros, etV#Oetpa I rerXe Komipa Anac. frg. 76.
> adeon homin(em) es I s(e) invenust(um)aut#> 4 infelicem quemqu(am) lit ego sum Ter. And 245.
Of the other trochaic rhythms too great va riety, ranging from the dipody to the hexapody, is employed in lyric passages to admit of illus tration here.