Technical discussion of the prosody and accentuation of interjections/exclamations (e.g. ὦ πόποι, παπαῖ, ἰατταταῖ, ἀππαπαῖ), their stress patterns, perispomenon/circumflex and barytone behavior, and related phonetic/performance conditions (habit, intoxication, breath).
δὲ ὦ πόποι δυσὶ τόνοις χρῆται. Ἀρίσταρχος δέ φησιν ἀπίθανον εἶναι τὸ τὸν Δία ὦ πόποι οἷον ὦ θεοί λέγειν· ἀλλ´ ἐπεὶ ἔδει τὸ πόποι σχετλιαστικὸν ὑπάρχον καὶ ἄνευ τοῦ ὦ λέγεσθαι καὶ ἐπεὶ παράκειται αὐτῷ τὸ παπαῖ, ὥστε εἰ μὴ ὀνοματικόν ἐστιν, ὀφείλει περισπᾶσθαι ὡς εἶναι δύο περισπωμένας ὦ ποποῖ, λέγομεν βαρύνεσθαι αὐτὸ ὡς τὸ ὦ φίλοι, ἐκ τοῦ ὑπολαβεῖν ὄνομα εἶναι τὸ πόποι. καὶ τὸ ἰατταταῖ δὲ περισπᾶται καὶ τὸ ἀππαπαῖ· ἡ δὲ συνήθεια ὀξύνει τὸ παπαί καὶ ἀταταί. καὶ καθόλου δὲ οὐ δεῖ τὰ σχετλιαστικὰ τῶν ἐπιρρημάτων οἱονεὶ βακχικὰ ὄντα ὑπὸ τὴν ἔντεχνον ἀκολουθίαν ἄγειν, εἴγε οὐδὲ μέρη λόγου τινὲς ταῦτα ἐνόμισαν· πασχούσης γὰρ ψυχῆς ἢ διακόρου ὑπὸ οἴνου οὔσης ἄλογοι δηλονότι καὶ αἱ ἐκφωνήσεις αὐτῆς. διὸ ἐπ´ αὐτῶν ἔσθ´ ὅτε τὸ δασὺ πνεῦμα ἀλόγως ἐν τῇ ληγούσῃ συλλαβῇ ὁρᾶται, ὡς ἔχει τὸ εὐοἵ εὔἁν, εὐαἵ. τὸ γὰρ λέγειν ὅτι εὖ σοι ἦν καὶ κατὰ ἔλλειψιν τοῦ 'σ' γέγονε εὐ οἵ καὶ κατὰ συναφὴν εὐοἵ ἀμφίβολον, εἰ μὴ ἄρα παρὰ τὸ εὐοἵ Εὔϊος παρῆκται. τὸ δὲ χαμαί ὀξύνεται, οὐκ ὂν σχετλιαστικόν. τὸ δὲ πάλαι χρονικὸν βαρύνεται καὶ συντιθέμενον προπαροξύνεται, πρόπαλαι, τρίπαλαι.
Now ὦ πόποι is used with two accents. But Aristarchus says that it is implausible for one to address Zeus with ὦ πόποι, as with ὦ θεοί; rather, since πόποι, being an exclamation of lament, ought to be uttered even without ὦ, and since παπαῖ stands alongside it, it follows that, if it is not a nominative, it ought to take a circumflex, so that there are two circumflexed forms, ὦ ποποῖ; but we say that it is accented with a grave, like ὦ φίλοι, on the assumption that πόποι is a noun. And ἰατταταῖ too takes a circumflex, and ἀππαπαῖ; but usage accents παπαί and ἀταταί with an acute. And in general one must not bring such lamenting exclamations, being as it were Bacchic, under the technical rule, since some have not even regarded these as parts of speech; for when the soul is suffering, or is disordered through wine, its utterances too are evidently irrational. Therefore in their case the rough breathing is sometimes seen irrationally on the final syllable, as in εὐοἵ, εὔἁν, εὐαἵ. For to say that it was εὖ σοι ἦν and that by loss of the 'σ' it became εὐ οἵ and by combination εὐοἵ is doubtful, unless indeed Εὔϊος is derived from εὐοἵ. But χαμαί is accented with an acute, not being a lamenting exclamation. And πάλαι, in its temporal sense, is accented with a grave, and when compounded it is accented with an acute on the antepenult: πρόπαλαι, τρίπαλαι.