[406]. ὑπὲρ ἥμισυ Κᾶρες ἐφάνησαν. Spalding, I think, detected Galliambic cadence here, regarding the first foot as an anapæst and the rest as two third pæons. You may also begin with a third pæon (ὑπὲρ ἥμι), as do many of the lines of the Atys itself. Therefore I call it “muffled,” and have dwelt on the pæon, though the Galliambic is more commonly thought of as Ionic a minore. Professor Hardie, however, suggests to me that Quintilian was actually thinking of the Sotadean metre of which he himself, lower in the chapter, quotes an example beginning rather like this.
[407]. V. supra, pp. [20], [85]. Perhaps no single “windfall of the Muses” would be so great a gain to literary criticism, in respect of Greek, as the recovery of a substantial portion of Antimachus.[Antimachus.]
[408]. Ita omnem vitæ imaginem expressit.
[409]. Eloquendi suavitas. Cicero is equally complimentary, however, in speaking of his flumen aureum: and the charitable have thought that these qualities were discoverable in the lost Dialogues.
[410]. Eupolis on Pericles.
[411]. Nitor divinus.
[412]. Ei fuit magis laborandum.
[413]. His fragments in Baehrens’s Poetæ Minores, vol. vi. pp. 344, [345], run to seventeen, none exceeding two lines, and only two so long. The most complete is this—
“Cygnus in auspiciis semper lætissimus ales:
Hunc optant nautæ, quia se non mergit in undis.”