I devised most of the mnemonics below for my teaching of Greek metre and its Latin counterparts to students since 1998. My principle was twofold: 1) that they should represent the Greek quantities accurately in rhythmical form, using the natural stresses of English to coincide with long and short syllables, and 2) that the names or eponyms of the metre and cola should be incorporated, directly or as puns, into them, for easy memorability of these often forbidding terms (only one or two of my mnemonics, such as those for dochmiacs, fail to do this). I have generally added rhyme into the mnemonics to help recall; some nonsense seems inevitable, but can be useful for memorising if it amuses or puzzles.
I list mnemonics in two sections: A) Aeolic cola and stanzas, and B) Other metres. They are listed more or less alphabetically in each section, together with analysis of quantities and standard abbreviations. Where one colon is a catalectic or expanded version of another, e.g. Glyconics/Pherecrateans, or dodrans/Ibycean, they are listed together.
I have added some annotations for those who want to know more about the origins or implications of the mnemonics. The systems are authoritatively explained in M.L. West, Greek Metre (Oxford 1982); see also my chapter ‘Metre’ in The Edinburgh Companion to Greece and Rome. My own fuller ideas about metre will be published in my forthcoming book on Greek music and poetry; they have nothing to do with wise kangaroos, pictured above left, who are evidently debating the merits of leather shoes and boots (Doc Martins — or would that be Doc Miacs?).
The complete list of mnemonics is as follows:
A. Aeolic cola/stanzas:
3. Aristophanean/Dodrans:: Ibycean
(Asclepiads: see Glyconic/Pherecratean)
4. Choriambic dimeter (+ Wilamowitzianus)
B. Other metres/cola :
4. Cretic / Paeonic
5. Dactylic Hexameter:: Pentameter
(Elegiac couplet: see Dactylic)
7. Enoplian OR Paroemiac
10. Iambic trimeter::Limping iambics (scazon / choliambics)
(Paroemiac: see enoplian)
15. Trochaic tetrameter catalectic
A. Aeolic cola and stanzas
1. Adonaean (ad)
O for Adonis! − ∪ ∪ − −
Oh for a bonus!
‘Oh for Adonis’ – ō ton Adōnin – was the cry of women at the festival of Adonia, which honoured the untimely death of their beautiful young lord Adonis (no relation to any person currently living with the same name or title).
All cakes depend on metrical expertise. x −∪− x −∪∪−∪−
Spoon out the flour – use accurate estimates, x −∪− x −∪∪−∪−
fold in the egg whites, then the egg yolk: x −∪− x −∪−−
baking a cake is a task for experts. −∪∪−∪∪ −∪− −
Raising a wrist, a fun one − ∪ ∪ − ∪ − − ar
Dodds never ran a mile.* − ∪ ∪ − ∪ − dod
Totally pissed, a rum one,
That’s a Hellenophile!
These cola can be heard as variants of a) Pherecratean and b) Reizianum (see below), with the choriamb shifted to the front.
*But, to be keen, did it on the fly — − ∪ ∪ − ∪ ∪ − ∪ −
ēri men hai te Kydōniai.
The Ibycean is simply a Dodrans with a dactyl inserted. This makes it sound like a run of dactyls, as with the final line of the Alcaic stanza (which has just one more longum at the end, so is simply an Aristophanean with a dactyl inserted). No aspersions are intended to be cast on the athletic prowess of the great former Regius Professor of Greek at Oxford, E.R. Dodds. The phrase ‘raising a wrist’ recalls, however, a similar dictum about the philosopher Friedrich Nietzsche, himself a noted Hellenophile.
4. Choriambic dimeter (cho dim)
Each choriamb bleats like a lamb: − ∪ ∪ − − ∪ ∪ −
(Baa ruddy baa, hah bluddy hah).
Herr Wilamowitz has a go:
This form of dim ends with a cho. − − ∪ − − ∪ ∪ −
The choriamb is a key element of all Aeolic cola. Choriambic dimeters are cola in their own right. The great German scholar Wilamowitz recognised that some cho dims started with anaclastic choriambs of different varieties, which are sometimes called ‘Wilamowitziani’, but they may be recognised as permutations of glyconic cola.
5. Eupolideans (eup)
If you must say Eupolidēn, spare a thought for Eupolis.
Though the first four beats wreck the scene, half a line is good for this.
x x − x − ∪ ∪ − ⋮ x x − x − ∪ −
6. Glyconic/Pherecratean (rhyme with ‘celebration’) (gl/pher)
Songs that start with a Glyconic x x − ∪∪ − ∪− gl
Often end Pherecratean. x x − ∪∪− − pher
One leg like on a candy floss
Two legs just for occasion.
Combinations and permutations of these cola, with internally expanded variants, are what constitute the so-called Asclepiadic metres popularised in Latin by Horace.
Priapean (= gl+pher)
The priapean colon has somewhat disreputable associations, as one would expect from its name (cf. Catullus 17), so it comes as a surprise to realise that it is the metre of the opening line of Pindar’s 1st Olympian Ode. I once got a class of non-Greekers to read the line using a phonetic nonsense transcription in English words as follows: ‘A wrist on, menu door, a deck, Roussos – aye, Tom – anon, pure’.
7. Hagesichorean (hag)
Hāgēsichorā – men out her: x − ∪ ∪ − ∪ − − hag
The secret is out about her!
8. Hipponactean (hipp)
Hipponactean – it’s a monster! x x − ∪ ∪ − ∪ − − hipp Hippowhats-ean?’ asks the punster.
All right, say a number x − ∪ ∪ − − reiz
for dancing a rumba.
Here’s one we agreed on:
ēlth’, ēlthe chelīdōn.
A colon named after the German scholar ‘Reiz, teacher of Hermann’ (the mnemonic proposed by L.P.E. Parker).
10. Sapphics A (4 beats per line)
Cőnquering Sáppho’s nőt an easy búsiness: − ∪ − x − ∪ ∪ − ∪ − − Masculine ladies cherish independence.
Only good music penetrates the souls of
Lesbian artists. − ∪ ∪ − − [adonean]
Sapphics B (correct rhythm, 3 beats per line)
ĺndependent métre is overráted:
What’s the use if nobody knows the verse-form?
Wisely, Sappho chose to adopt a stately
I have argued for this being the correct rhythm of sapphics, essentially following L.P. Wilkinson’s analysis in Golden Latin Artistry. It is clear from the articulation of Greek sapphics around a central choriamb with likely ictus on the first long. It becomes even clearer when one realises what Horace is indicating by his emphasis on the sixth-syllable caesura in the Carmen Saeculare, which we know was actually performed so needed clear pointers about ictus for the 54 boys and girls.
11. Telesillean (tl)
Joke: don’t tell a silly one: x −∪∪− ∪− tl
Walk: don’t do a hilly one.
B. Other metres and cola
1. Anacreontics (anac)
Yes, Anacreon’s an artist ∪∪ − ∪ − ∪ − − anac
but he clearly ain’t the smartest.
As a word, ‘Anacreontics’
has a ring of orthodontics.
A light metre evolved from 2 ionic metra (see below) with anaclasis (swapping around of long and short elements).
Anapaest is a beast ∪∪− ∪∪− an
that has ceased to be fleeced –
now shaggy no more −∪∪ − −
in a heap on the floor.
The anapaestic metron is a double-anapaest, the elements of which can be resolved or contracted as indicated above. A common colon-length for anapaests in comic drama is the catalectic tetrameter i.e. four anapaestic metra with the last one truncated:
Anapaest is a beast that has ceased to be fleeced, now shaggy no more, on a blanket;
In a heap on the floor with a mouth full of straw, just waiting for someone to thank it.
3. Archilochean (arch = en+ith)
This colon is Archilochean – really two contending: x −∪∪ −∪∪−− ⋮ −∪ −∪ − −
It sports a paroemiac key-in, thence a phallic ending. [see paroemiac, ithyphallic below]
4. Cretic / Paeonic
What’s a paeon? I’m a paeon. European? Just a mo –
That’s a cretic! What’s a cretic? How the cretic halts the flow!
− ∪ ∪∪ − ∪ ∪∪ − ∪ ∪ ∪ − ∪ −
Everyone knows that Survive is a song by Gloria Gaynor.
− ∪ ∪ − ∪ ∪ − ⋮ ∪ ∪ − − − ∪ ∪ − −
Pentameter (5da: elegiac couplet = 6da + 5da)
Quite elegiac it is; don’t you remember the words?
− ∪∪ −∪∪ − ⋮ − ∪ ∪ − ∪ ∪ −
6. Dochmiacs (δ)
1. The wise kangaroos / prefer boots to shoes. [trad.] ∪ − − ∪ − ⋮ ∪ − − ∪ − (δ ⋮ δ)
2. That ol’ man river / He jus’ keeps rolling…
[Gail Trimble’s mnemonic, conforming to the only attested ictus: see M.L. West Greek Metre p. 115]
3. The Cambridge Professor / of Greek History / won’t suffer dark black shoes:
. ∪ − − ∪ ∪∪ ⋮ ∪ − − ∪ − ⋮ − ∪ ∪ − − − (‘dragged’)
He prefers to use − ∪ − ∪ − [hypodochmiac]
what every don should choose: ∪ − ∪ − ∪ − [kaibelianus]
Trainers are all the passion / in any colour or fashion.
− ∪ ∪ − ∪ ∪ ∪⋮ ∪ ∪∪ ∪∪ ∪ ∪∪
With acknowledgments to Prof. Robin Osborne for his inspiration.
Elegiac couplet (or distich): see dactylic
7. Enoplian (en) OR Paroemiac (see West pp. 53, 195)
To the tune of the opening phrases of Mozart Symphony no. 40:
Never shout in enoplian metre: ∪∪ − ∪∪ − ∪ ∪ − −
to recite it is usually sweeter;
paroemiac also rehearses x − ∪∪ − ∪ ∪ − −
the proverbial ending of verses.
Enoplian is a vexed term, broadly indicating a metrical colon consisting of a central hemiepes (− ∪∪ − ∪ ∪ −) preceded by one or two elements and followed by a final syllable. Paroemiac does much the same, and takes its name from the way the second section of a dactylic hexameter (after the strong caesura) encapsulated some common proverbial sayings or paroimia.
8. Galliambics (= 2 anac)
On a galley, amber cables in a heap of burning light
let a sailor on the ocean navigate the terrors of night.
∪∪ − ∪ − ∪ − − ⋮ ∪ ∪ − ∪ ∪∪ ∪ −
There’s nothing particularly complicated about a metre that is just a combination of two anacreontic cola (see above), the second one catalectic (i.e. missing the last beat); what sometimes throws students is the way that the antepenultimate syllable of the second of the two conjoined cola is invariably resolved. The only famous ancient poem in this metre is Catullus C. 63. It’s important for this mnemonic to keep the first two syllables of each colon segment (e.g. ‘on a’ and ‘in a’) light and unstressed, otherwise there is a danger of it sounding like a trochaic tetrameter catalectic. By far the best use of the scheme in English is in Rudyard Kipling’s Mandalay: ‘By the old Moulmein Pagoda, lookin’ lazy at the sea,/ There’s a Burma girl a-settin’, and I know she thinks o’ me…’
9. Hendecasyllables (hendec)
With light héndecasýllables, Catullus x x −∪∪ − ∪ − ∪ − −
called his lady to dinner with Fabullus.
Strictly speaking this is the Phalaecian hendecasyllable, named after the Greek poet Phalaecus of whose works we have only a few fragments.
10. Iambic trimeter (3ia = pe + lk) x − ∪ − / x ⋮ − ∪ ⋮ − / x − ∪ −
In Greek iambics every verse falls into two:
a shorter segment intersects a longer one.
That’s why resourceful Aeschylus proposed to do
his rival in with “lost ’is bottle of oil” for fun.
The trimeter can be divided into a penthemimer (see below) and a lekythion, allowing the phrase lēkythion apōlesen (‘lost his bottle of oil’) to be substituted after the opening phrase, as done to humorous effect by the character of Aeschylus in Aristophanes Frogs.
Limping iambics (scazon / choliambics) x − ∪ − / x ⋮ − ∪ ⋮ − / x − − −
Iambic verse has caught a limp from Hippōnax:
He’s knocked the metre out of step with three hard whacks.
The ‘limp’ results from the change of the penultimate element from short to long. The first element of the last metron can still be long (so – - – -), but is more usually found to be short (invariably so in Latin choliambics).
11. Ionics (io) ∪∪ − − ⋮ ∪∪ − − (2io ‘a minore’)
Clap a firm eye on a crewmate –
Dionysus ain’t for you, mate! [with anaclasis, i.e. Anacreontics]
’igh on ictus, high on accent?
Never fear if you’re a bacchant. [anaclastic] ∪∪ − ∪ − ∪ − −
Unusually for Greek metre, Ionics tend to have specific associations: they may have sounded a bit like the exotic drumbeats of oriental cult, and became associated with the ecstasy of Dionysus and his bacchants. While this is less the case for Anacreontics, it is intensified in Galliambics, which are particularly associated with the ecstatic cult of the Great Mother.
12. Lekythion/ithyphallic (lk/ith)
Round and round the rugged rocks − ∪ − x − ∪ −
ran the ragged rascal; − ∪ − ∪ − −
Leaky thongs he used for socks
in the falling darkness.
Paroemiac: see enoplian
13. Penthemimer (pe)
Since strong caesuras x − ∪ − −
appeal to hearers,
some lines appear all
This colon forms the opening of an iambic trimeter line, up to the penthemimeral or ‘strong’ caesura.
So everyone but Sotades finds them all a bit queer. − − ∪ − − − ∪ − − ∪ − ∪ −−
Sing the song of Dionysus, hear the chorus answer back:
Here a trochee, there a trochee — every line a tetra-pack.
− ∪ − x − ∪ − x − ∪ − x − ∪ −