We are forbidden to view the Greek cretics given above in the same way, by the resolved feet. If we scan φρόντισον καὶ γενοῦ πανδίκως as –⏑|⏗|–⏑|⏗|–⏑|–ꞈ‖, this method will give us in the fourth line –⏑|⏑⏑|–⏑|–‖, where the second foot is impossible. ⏑⏑ can take the place of –, but never of ⏗. (_e_) _Bacchiacs._—This curious foot consists of – –⏑, the system being invariably introduced by anacrusis. Bacchiacs are regularly associated with dochmiacs (see below). They express strong emotion, generally mingled with perplexity or vacillation; resolved feet are therefore often found:— τίς ἀχώ, τίς ὀδμά προσέπτα μ’ ἀφεγγής; (_Prom. Vinctus_, 115). ⏑⁝– –⏑|– –ꞈ‖ ⏑⁝– –⏑|– –ꞈ‖. στενάζω; τί ῥέξω; γελῶμαι πολίταις. ἔπαθον ὦ δύσοιστα (_Eumenides_, 788 _sq._). ⏑⁝– –⏑|– –⏑‖– –⏑|– –ꞈ‖ ⏑⁝⏑⏑–⏑|– –ꞈ‖. Ye storm-winds of Autumn! Who rush by, who shake The window, and ruffle The gleam-lighted lake.—(M. Arnold.) ⏑⁝– –⏑|– –ꞈ‖ ⏑⁝– –⏑|–⏗̭‖ ⏑⁝– –⏑|– –ꞈ‖ ⏑⁝– –⏑|–⏗̭‖. But it should be noted that, though bacchiac scansion seems soundest for the above—“storm-winds” for instance has two ictuses—the poet probably meant the lines for dactylic dipodies with anacrusis: “storm-winds of” thus would be an accentual dactyl. But that would slur “winds” unduly. (_f_) _Ionics._—These are formed by – –⏑⏑. When anacrusis is found—the usual form—the foot is often called _Ionicus a minore_ (_i.e._ ⏑⏑– –); otherwise it is called _Ionicus a maiore_:— κυανοῦν δ’ ὄμμασι λεύσσων φονίου δέργμα δράκοντος πολύχειρ καὶ πολυναύτας Σύριόν θ’ ἅρμα διώκων (_Persæ_, 81 _sq._). ⏑⏑⁝– –⏑⏑|– –⏑⏑‖– –⏑⏑|– –ꞈ̄‖. A strange variant is ⏑–⏑–; the variation is called “anaclasis” (“breaking-up”). Thus the above passage proceeds— ἐπάγει δουρικλύτοις ἀνδράσι τοξόδαμνον Ἄρη. ⏑⏑⁝– –⏑⏑|– –⏑⏑‖–⏑–⏑|–ꞈ̄‖. Ionics are employed to express strong excitement governed by confident courage. The first lyric of the _Persæ_ begins with a splendid example. It is sung by the Persian counsellors in expectation of Xerxes’ triumph, and makes a strong contrast with the piteous rhythms of the close. This poem should be studied carefully in comparison with another in the same metre—the opening of the first chorus in the _Bacchæ_ (vv. 64 _sqq._):— Ἀσίας ἀπὸ γαίας ἱερὸν Τμῶλον ἀμείψασα θοάζω Βρομίῳ πόνον ἡδύν κάματόν τ’ εὐκάματον, Βάκχιον εὐαζομένα. τίς ὁδῷ; τίς ὁδῷ; τίς μελάθροις; ἔκτοπος ἔστω, στόμα τ’ εὔφημον ἅπας ἐξοσιούσθω· τὰ νομισθέντα γὰρ ἀεὶ Διόνυσον ὑμνήσω. ⏑⏑⁝⏘⏑⏑|– –ꞈ̄‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖ ⏑⏑⁝⏘⏑⏑|– –ꞈ̄〛 ⏑⏑⁝– –⏑⏑|– –⏑⏑|– –⏑⏑|⏘ꞈ̄〛 ⏑⏑⁝⏘⏑⏑|– –⏑⏑|– –⏑⏑|– –ꞈ̄‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑|– –ꞈ̄‖ ⏑⏑⁝– –⏑⏑|– –⏑⏑|–⏑–˃|⏘ꞈ̄〛 I ⎛ 2 ⎜ 3—mesode. ⎝ 2 II ⎛ 2 ⎝ 2 III ⎰ 2 ⎛ ⎱ 2 ⎜ 3—mesode ⎝ ⎰ 2 ⎱ 2