Some of these show that a considerable amount of what looks like accentual clash was typical until the cadence; others show that even this cadence was not inviolate from anaclasis
; still others show that the rhythmic patterns of the tune resolved such clashes by musical means.
As the Cantigas and other measured sources show, anaclasis
, especially in the earlier parts of a line, was characteristic of some styles; but particular rhythmic schemes (not merely restricted to those epitomized in the polyphonic rhythmic modes) reconciled what might otherwise have been accentual clash.
This metre, [Greek Text Omitted], remains unchanged in each of the poem's nine lines, and in current descriptions it is considered a pherecratean,(1) which is thought to have been felt by the ancient author as assimilable either to a pure ionic dimeter with contraction of the biceps in the first foot (there is but a single sure instance of this kind in the Anacreontea: 44.2; in 52A.3 either the text is corrupt or prosody is faulty),(2) or to a hemiambic with anaclasis
giving a trochaic second foot.(3) The second interpretation seems more plausible, because 'pherecratean' hemiambics are more numerous in the Anacreontea,(4) but these instances also are lines where the structure in question originates as the isolated and accidental outcome of anaclasis