dochmiac
{{Greek and Latin metre|sidebar}}
Dochmiac ({{langx|grc|δοχμιακός}}, from δόχμιος 'across, aslant, oblique',Liddell & Scott, A Greek-English Lexicon, https://www.perseus.tufts.edu/hopper/morph?l=do%2Fxmios&la=greek#lexicon or 'pertaining to a δοχμή or hand's-breath'Oxford English Dictionary.) is a poetic meter that is characteristically used in Greek tragedy, expressing extreme agitation or distress. They appear in every extant tragedy—N.C. Conomis counted a total of 1,985 in the tragedies of Aeschylus (528×), Sophocles (291×), and Euripides (1166×){{cite journal |last1=Conomis |first1=N.C. |title=The Dochmiacs of Greek Drama |journal=Hermes |date=1964 |volume=92 |issue=1 |pages=23–50 |jstor=4475286 |url=https://www.jstor.org/stable/4475286 |access-date=25 July 2022}}—, but there are also examples in satyric drama and Aristophanes, where they are often paratragic in tone and impassioned.
{{cite book
| last = West
| first = Martin
| title = Greek Metre
| publisher = Oxford University Press
| date = 1982
| location = Oxford
| pages = 108–115: 108–109
}}
Metrical scheme
The base metrical scheme is: ‿ — — ‿ —, although any of the long syllables may be resolved (i.e., replaced by two shorts) and either of the two shorts may be replaced by a long (drag-in where the first is replaced, drag-out where the second is replaced, and double drag where both are replaced). Thus, in theory, 32 variants are possible, ranging from five longs — — — — — to eight shorts, ‿ ‿‿ ‿‿ ‿ ‿‿. The ones occurring most often are
: ‿ — — ‿ —,
: ‿ ‿‿ — ‿ —, and
: — ‿‿ — ‿ —.
Examples
Here is an example from Aeschylus' Seven against Thebes, lines 697-700, where the chorus in vain tries to withhold Oedipus' son Eteocles from a fatal battle with his brother Polynices. The first three lines here are pairs of — ‿‿ — ‿ — dochmiacs. Long syllables have been underlined. (The fourth line is a hagesichorean.) Note that dochmiacs and even whole lines can start and end in the middle of a word:
:{{lang|grc|ἀλλὰ σὺ μὴ ʼποτρύνου· κακὸς οὐ κεκλή-}}
:{{lang|grc|σῃ βίον εὖ κυρήσας· μελάναιγις δʼ· οὐκ}}
:{{lang|grc|εἶσι δόμων Ἐρινύς, ὅταν ἐκ χερῶν}}
:{{lang|grc|θεοὶ θυσίαν δέχωνται;}}
: {{grc-transl|ἀλλὰ σὺ μὴ ’ποτρύ/νου· κακὸς οὐ κεκλή-}}
: {{grc-transl|σῃ βίον εὖ κυρή/σας· μελάναιγις δ’ οὐκ}}
: {{grc-transl|εἶσι δόμων Ἐρι/νύς, ὅταν ἐκ χερῶν}}
: {{grc-transl|θεοὶ θυσίαν δέχωνται;}}
: | – u u – u – | – u u – u – |
: | – u u – u – | – u u – – – |
: | – u u – u – | – u u – u – |
: | u – – u – | u – – ||
:: No, don't you be excited; you won't be called a coward,
:: since you have prospered in life; but will not the black-shielded
:: Erinys (Avenging Spirit) leave your house, when from your hands
:: the gods will receive a sacrificial offering?
An example of the simplest double drag form (— — — — —) is when the chorus in Aeschylus' Suppliant Maidens, lines 892 and 901, twice sighs:
: {{lang|grc|ὦ πᾶ, Γᾶς παῖ, Ζεῦ.}}
: {{grc-transl|ὦ πᾶ, Γᾶς παῖ, Ζεῦ.}}
: | – – – – – |
:: O Father, Earth's son, Zeus!