[25] The versification, however, clearly shows, in one respect, the general stamp of the later period. If the
Philoctetes is compared (for example) with the
Antigone, it will be apparent that the structure of the iambic trimeter has become more Euripidean. The use of tribrachs is very large. Two such feet occur consecutively in the same verse (
1029
καὶ νῦν τί μ’ ἄγετε; τί μ’ ἀπάγεσθε; τοῦ χάριν;
): a tribrach precedes a dactyl (
1232
παρ’ οὗπερ ἔλαβον τάδε τὰ τόξ), αὖθις πάλιν
): or follows it (
932
ἀπόδος, ἱκνοῦμαί ς), ἀπόδος, ἱκετεύω, τέκνον
). In two instances a verse ends with a single word which forms a ‘paeon quartus’ (
1302
πολέμιον
,
1327
ἀκαλυφῆ
),—a licence used, indeed, by Aeschylus, but in a trimeter which belongs to a lyric passage (
Eum. 780
). An anapaest in the first place of the verse occurs not less than thirteen times (
308
,
470
,
486
,
544
,
742
,
745
,
749
,
898
,
923
,
939
,
941
,
967
,
1228
),—without counting
815
(
τί παραφρονεῖς
, where the first foot may be a tribrach),
549
(a proper name), or
585
(
ἐγώ εἰμ)
, a case of synizesis). Not a single instance occurs in the
Antigone; and in no other play are there more than five. These relaxations of metre in the
Philoctetes may be partly explained, perhaps, by the more colloquial tone which prevails in much of the dialogue. But at any rate the pervading tendency to greater freedom is unmistakable, and is certainly more strongly marked than in any other of the poet's plays.