4. Verse 6 (=18), composed of four dactyls and ἃ spondee, is the same
as that in Aesch. Zum. 360, σπευδομένα δ᾽ ἀφελεῖν τινα τάσδε μερίμνας.
δ. Verse 7 (=19) might be read either as an anapaestic dimeter, or as a
dactylic tetrapody catalectic with anacrusis (~~). The former view is the
simpler.
6. The eighth verse, mutilated in the strophe, is preserved entire in the
antistrophe, -λε κόρᾳ τ᾽ ὀβριμοδερκεῖ &fvya,—anapaest, dactyl, trochee, cretic.
In verse 8 the last four syllables are formed by παιηόνων, where the first might
be short, as in παϊάνιξαν (XVI. 129). Blass, to avoid the hiatus and the
shortening of -xe, inserts ye after ὀβριμοδερκεῖ.
7. Verse 9, ἄνθεα πεδοιχνεῖν (= 21 παρθένῳ ᾿Αθάνᾳ), consists of a acon
primus and a spondee. In verse 11, τόσα χοροὶ Δελφῶν (= 23, τότ᾽ ἄμαχος
δαίμων), we have a pacon quartus and.a spondee. Thus the place where the
paeonic clement becomes prominent is also that which, in the antistrophe,
marks the turning-point of tragic interest. Verse 23 introduces Deianeira’s
resolve.
8. Verse 12, the last of the strophe, is a choriambus followed by an
enhoplius, σὸν κελάδησαν wap’ ἀγακλέα ναόν. It will be noticed that both here
and in the antistrophic verse (24), Aatavelpg πολύδακρυν ὕφανε, the fifth syllable
coincides with the end of a word.
9. The first verse of the epote (25), a dactylic tripody catalectic, is
metrically the same as the ninth (33).
