Iambic Poetry



1 Tzetz. in Lyc. (ii. 18 Scheer)

ἀριπρεπεῖς δὲ ἰαμβογράφοι Ἀνανίας, Ἀρχίλοχος, Ἱπ- πῶναξ.

2 Tractatus Harleianus (p. 16 Studemund)

τὸ οὖν παλαιὸν ἰαμβικὸν διαιρεῖται εἰς τὸ κωμικόν, τὸ τραγικόν, τὸ σατυρικόν, τὸ Ἱππωνάκτειον τὸ καὶ χωλόν, τὸ τοῦ Ἀνανίου τὸ καὶ ἰσχιορρωγικόν . . . τοῦ δὲ Ἱππωνακτείου (sc. γνώρισμα) τὸ δέχεσθαι ἐν τῇ ἕκτῃ χώρᾳ σπονδεῖον ἢ τροχαῖον· διὸ καὶ χωλαίνειν δοκεῖ κατὰ τὴν βάσιν, ὑπερκατάληκτον ταύτην ἔχον. τοῦ δὲ Ἀνανίου τὸ ἀπὸ τοῦ τετάρτου ποδὸς μέχρι τέλους πέντε συλλαβὰς ἔχειν καὶ ταύτας μακράς. διὸ καὶ ἰσχιορρωγικὸν ὁ στίχος οὗτος λέγεται διὰ τὸ μὴ





1 Tzetzes on Lycophron

The most distinguished iambic writers are Ananius,1 Archilochus and Hipponax.

2 Anonymous Grammarian

The iambic meter of old is divided into comic, tragic, satyric, Hipponactean which is also called ‘lame,’ that of Ananius which is also called ‘broken-hipped’ . . . The admittance of a spondee or trochee in the sixth position is the mark of the Hipponactean, and therefore it seems to be lame in its movement, since this is hypercatalectic.1 The mark of Ananius is the presence of five long syllables from the fourth foot to the end, and therefore this line is called ischiorrhogic (‘broken-hipped’) because it does not suffer

DOI: 10.4159/DLCL.ananius-testimonia.1999