i||i|i^i|jiijw(iiiiiiiiiiiB' : ;.';T{ljE;'LMTlSr HEXAM^^TER I suggest you use the book in this way. Each term take a chapter to make your own. If you have six periods set apart for Latin hexameters, use the first, third, and fifth in reading a third of your chapter, and inventing little exercises of two or three lines to illustrate the points in hand. In your Vergil lesson make a note of passages which illustrate them, translate the passages, and after a week's interval try your hand at retranslation. Having grasped the points, seize an opportunity in your next copy of hexameters to work in your new acquisitions. The order in which the chapters are placed is not necessarily the order ; but so arranged they have been found by frequent experiment to work well, and I believe that certainly the first two chapters should be taken as they stand. In this way in two years you will have learnt a great deal about the Vergilian hexameter, and become enthusiastic, it is to be hoped, for at least one noble literary form. The Uanh jpages should be used for recording (i.) Other lines (illustrating the points of the text opposite) you may meet with in your reading. (ii.) Successful lines which you may work out from the English, invent yourself, or have given you in fair copies. Make yourself familiar with the index of lines on pp. 44-46. CHAPTER I (first term) PAUSES When, after some practice in Latin Elegiac verse, you are set to turn a passage into Latin hexameters, in order to dispel your sense of utter bewilderment, make the pauses both at the end and in the middle of lines the chief objects of your attention. Pauses make one of the two chief pillars on which the structure of the hexameter rests. Definitions. A heavy pause is one at which a long break, a light pause is one at which a short break must be made in reciting. When a pause occurs after the end of a word which is also the end of a foot, it is called a diaeresis. Final Pauses. It is obvious that, if in a hexa- meter poem every line ended with a grammatical pause, the monotony would be intolerable. On the other hand, if a heavy pause occurred at the end only once in twenty lines, it would be difficult for a listener to recognise the metre. There must, there- fore, be some balance in the matter of final pauses. 3 4 THE LATIN HEXAMETER A safe general rule is that in a passage of about twenty lines there will be five or six heavy final pauses. Complete lines are apt to occur singly, or in pairs, at the opening or close of a speech, subject, or complex period. Until you have had some practice, a good standard for six lines from which to diverge slightly will be : 1st line, Light pause. 4th line, Eun on. 2nd Eun on. 5th Light pause. 3rd Heavy pause. 6th Heavy pause. Study at your leisure the following passages of Vergil for the pauses. Georgics i. 1-42, 322-334, 370-378 ; iii. 146-151, 258-263. ^e7ieiiiv. 590-629; vi. 3-8; x. 51-62; xii. 928-952. Internal Pauses. All internal (that is, other than final) pauses may be used : {a) Simply to secure a variety of rhythm ; (h) With some idea of adapting sound to sense. You should aim at this latter use as often as possible. Imitate the following : 1. After first trochee (- v^) Hie plurimiis ignis Semper, et assidua postes fuligine nigri. At mater sonitum tlialamo sub flnminis alti Sensit. Earn circum PAUSES Aniiiis abiindans Exit, et obducto late tenet omnia limo Si nulla est regio, Teucris quern det tua coniunx Dura, Special use. The pause is used to give the trochaic word a special emphasis, and to express rapidity and suddenness (especially with verbs, e.g. fulsit, haesit, pressit, rupit, torsit). 2. After first dactyl (-^ sata laeta boumque labores Diluit ; Effera. saevitque inventus Munere." fungar inani Special Use. Verbs expressive of suddenness or decision : emphatic adjectives : closing of a speech. 3. After first spondee ( ) turrimque tenebat ; Turrim, conipactis trabibus quam eduxerat ij)se. divomque sibi poscebat lionorem, Demens ! qui nimbos. Misenum in litore Teucri Flebant, Hasta sub exsertam donee perlata papillain Haesit, (vox) exaudita silentes Ingens, suosque Ducmit (tlie slow motion of goats heavy with milk) b THE LATIN HEXAMETER His accensa super iactatos aequore toto Troas, reliqiiias Danaum. Special Use. Kepetition of emphatic word tragic excitement pathos check solemnity slowness strong emphasis. 4. After 1| feet (- v^ ^ | - or - - | -) Anna refert : " luce magis dilecta Instituit : Pan curat oves oviumque magistros. penitus modo non genus omne perosos Femmeum : Avid usque refringit Cunctantem. Special Use. Special introductions or endings maxims neatly fitting in to the remainder of line emphatic adjectives slowness and allied notions with words . 5. After second trochee (- ^^ j - ^) Vis ergo inter nos quid possit uterque vicissim Experiamur ? fusi ])eT moenia Teucri Conticuere : Use occasionally, mainly as a pleasing variety of rhythm. 6. After second foot (always a dactyl). Diaeresis. Fit nodo sinus : (a slit is made with a knife) Auxilium venit : (help comes just in time) Quis tantus furor ? PAUSES 7 Special Use. Eapid action tragic excitement. A disyllabic should precede the pause : e.g. fuitj rajpit^ locus, caloT, etc. 7. After 2| feet (- ^ I - ^ I -) Aeternumqiie vale." Aeolus liaec contra : " Tuos, o regina, quid optes Fas et iura sinunt : rivos deducere nulla Religio vetuit, This is a natural and favourite resting-place, and may be used in about one line in seven. Special Use. Speech ending or introduction, with heavy pause. 8. After third trochee (- ^^ | - ^^ | - w) Parce metu, Cytlierea : manent immota tuorum Hue, 23a ter o Lenaee, (tuis liic omnia plena) Turn Zephyri posuere : premit placida aequora pontus Cui luno submissa : The pause is pretty as an occasional variety. Special Use. Greek word suggesting the Greek pause a softening or calming effect. 9. After 3| feet (- ^^ | - ^^ | - ^^ | -) Quippe solo natura subest. Sacra deum sanctique patres Incipit Aeneas heros : " Non ulla laborum. In regnis lioc ansa tuis." Quippe ubi fas versum atque nefas. THE LATIN HEXAMETER An important pause which may be frequently used. Special Use. The space before the pause is well adapted for the expression of stress-pieces, i.e. catch- phrases, truisms, proverbial sayings speech-endings and introductions indignation, scorn, and rhetorical point generally. 10. After fourth foot (~ ^^ | - ^ | - ^ | - ^ ^). Diaeresis. Heu, lieu quid volui misero milii ? Floribus austrum Sed frumenta manu carj^es sata : nee tibi fetae Per gentes liuniilis stravit pavor : iUe flagranti Martins a stabulis rapuit lupus. Undique clamor As a variety in rhythm the pause may be used in moderation to imitate a pause common in Greek pastoral poetry. Special Use. To be imitated in striking passages of tragic or unusual import. The pause should, as a rule, be significant, heavy, and preceded by a disyllabic word. 11. After fifth trochee (- ^^ | - ^^ | - ^^ | - ^ | - ^) Hie vertex nobis sem^Der sublimis : at iUuni Sub pedibus Styx atfa videt^Manesque profundi. Multi ante oecasum Maiae eoepere : sed illos Exspeetata seges vanis elusit aristis. Et nune omne tibi stratum silet aequor, et omnes, Aspiee, ventosi eeeiderunt murmuris aurae. Ante etiam sceptrum Dictaei regis, et ante PAUSES 9 Special Use. (i.) Very effective occasionally to express antithesis, and sharp transition from one idea or subject to another : mainly a heavy pause, (ii.) A very pretty pause where the end of the line repeats, by way of echo, a word already occurring in the line. 12. After the fifth foot. Diaeresis. In all cases a dactyl precedes. Germanum fugiens. Loiigji est iniuria, longae Non iniussa cano. Si qiiis tamen haec quoque, si qiiis Captiis amore leget Acceleremiis, ait. Vigiles simiil excitat. Illi Nullane iam Troiae dicentiir moenia ? Nusquam. Special Use. (i.) A pretty pause (light), with repeated word, as fifth trochee pause. (ii.) It well depicts, by the sudden pull-up of the diaeresis, strong feeling and excitement. A heavy pause. Both are somewhat rare, though effective. CHAPTER ir (second term) khythmical structuees We said that pauses were one pillar of the hexa- meter edifice ; the other is the arrangement of words in symmetrical or corresponding order. The most constant arrangement is : adjective | noun. Thus Tityre, tu patulae recubans sub tegmine fagi Silvestrem te7iui musam meditaris avena. Bucina cogebat priscos ad verba Quirites Puniceo stabis duras evincta cothurno. Aeternam moriens /amam, Caieta, dedisti. This symmetry of noun and adjective is the dis- tinctive feature of Latin poetry. Consequently you should spare no pains to master it without delay. We will notice some of its more effective types from a grammatical point of view. Imitate the following : (i.) An appositional phrase intervenes between adjective and noun. ]0 GOLDEN LINE 11 Nee tamen interea raucae, tua cura^ palumbes. Tantum inter densas, umbrosa cacumina, fagos. (ii.) Or an ablative absolute. Aut ibi flava seres, mutato sidere, farra. (iii.) Or a vocative a very pretty effect. Tumidisj Bumaste, racemis Per magnos, Nise, Penates. (iv.) A parenthetical clause. PoUio amat nostram, quamvis est rustica, Musam Hinc sinus Herculei, si vera est fama, Tarenti. The Golden Line. It is obvious from these ex- amples that adjectives tend to rise to the beginning, nouns to sink to the end of the line. The perfection of this arrangement is the case in which two adjectives are found at the beginning of the line, two nouns at the end, with a verb in the middle. This is known as the " golden line." This perfect balance produces very musical lines ; e.g. : Mollia luteola ]3ingit vaccinia calta. Grandiaque effossis mirabitur ossa sepulcris. Incultisque rubens pendebit sentibns uva. When you can write such lines with ease, use them rarely, and so with effect. Avoidance of Assonance. It is a corollary of the principle of separation that two or more words ending 12 THE LATIN HEXAMETER in long vowel sounds like -as, -os, -is, -orum, etc., should practically always be kept apart. Contrast the irritating effect of Consilio indu foro lato sanctoque senatu (Ennius) with the Vergilian lines Squalent abductis arva colonis. Et simulacra modis pallentia miris. Parallelism of expression. Eead aloud to yourself the following : Obscenaeque canes importunaeque volucres Arbuteos fetus montanaque fraga legebant Flumina iam lactis, lam flumina nectaris ibant. Per silvas : turn saevos aper, turn pessima tigris. Carpamus : dum mane novom, dum gramina canent. Di patrii, servate domum, servate nepotem. These lines illustrate a fundamental point in Vergil's style. This parallelism is the secret of the majesty and serenity of Vergilian verse. In the last three lines the phrases supplement and illustrate each other. This leisurely lucidity is a great charm. The Tripartite Line. The three last lines also illustrate the pretty effect gained by a threefold division of the line according to sense. Nudus ara : sere nudus : liiemps ignava colono. Delitui, dum vela darent, si forte dedissent REPETITIOK 1 3 Obstipui, steterimtqiie comae, et vox faucibus haesit. Arboribus : crescent illae, crescetis, amores. Five-ivorded and four -worded lines. A dignified and weighty effect is produced by lines of five or four words the latter being the rarer and weightier ; e.g. : Praecipue infelix pesti devota futurae Deprensis olim static tutissima nautis. Laomedonteae luimiis periuria Troiae. Obscenaeque canes importunaeque volucres. Auctorem frugum tempestatumque potentem. Compare Milton's " Irrecoverably dark, total eclipse/' and Shakespeare's '' The multitudinous seas incarnadine." Repetition. You are aware of the value of repeti- tion in Elegiac verse as a musical device. Vergil uses it most artistically in the hexameter. It is chiefly useful as a means to the avoidance of the prosaic enumerative style of such lines of Lucretius as : Ossa, cruor, venae, calor, umor, viscera, nervi. Volneribus, clamore, fuga, terrore, tumultu. Eepeat verbs, nouns, and occasionally emphatic adjectives and adverbs. Salve, sancte parens, iteriim : salvete, recepti Sed fugit interea, fugit irreparabile tempus 14 thp: latin hexameter Vela facit tamen, et velis siibit ostia plenis Ingentemqiie Gyas ingenti mole Chimaeram Semper liiemps, semper spirantes frigora Caiiri. But the most effective type of repetition is the threefold repetition of a ivord ivithin a couplet. This especially invites imitation ; e.g. Urit enim lini campum seges, urit avenae, TJrunt Lethaeo perfusa papavera somno. Hunc decus egregium formae movet atqiie iuventae, Hunc atavi reges, hunc claris dextera factis. Non umbrae altoriim nemorum, non mollia possiint Praia movere animum, non qui per saxa volutus, etc. But one instance is enough in a copy of twenty lines. CHAPTER III (third term) the beginning and the end of the verse You have now seen how the hexameter is affected by grammatical pauses and by the musical arrange- ment of words and phrases. We will now consider what differences will result from various arrangements in the line of dactyls and spondees. A. The heginning of the verse (i.e. the first four feet). The first foot should mostly be a dactyl (not necessarily a dactylic word). Acrior aiit Boreae penetrabile frigus adiirat. Excoquiiwv vitiimi atqiie exsiidat inutilis umor. Occasionally a spondee (but not a spondaic word, except as below). Ignarosqne viae mecuin miseratiis agrestes Sur gamiis, : solet esse gravis cantantibus umbra 15 16 THE LATIN HEXAMETER Initial spondaic word (considered apart from first spondaic pause). This must not be used unless the word is (a) Descriptive, (/3) Emphatic. (a) Instant ardentes Tyrii Fortes invertant tauri Sternunt se somno diversae in litore phocae. Torpent mole nova Spargens umida mella soporiferumque papaver. Regis Romani. The spondaic word describes effort, strength, slow- ness, drowsiness, dignity, solemnity, hesitation, pathos, and kindred notions. (/3) Demens qui nimbos Nulli fas casto Tantae molis erat Romanam condere gentem. Illi victor ego ( = in his honour) Ipsis est aer avibus non aequos. Primus vere rosam atque autumno carpere poma. Omnis quam chorus et socii comitentur ovantes. The emphatic often overlaps the descriptive use. But certain words which are naturally emphatic have a special liking for the first foot : e.g. demens, ille, ingens, ipse, nullus, omnis, primus, talis, tandem, tantus, solus, umis. Eemember this dozen and use them in first foot for variety. DACTYLS AND SPONDEES l7 Dactyls and Spondees in the first four feet. This is an important matter in which the ear, trained by continual reading and learning of hexa- meter verse, is the best guide. But it is well to point out certain well-established facts. D = dactyl, s = spondee. The six combinations most common in Vergil are here arranged in order of frequency. (1) Dsss ; (2) DDSS ; (3) dsds ; (4) sdss ; (5) ssss ; and (6) ddds. (These six out of the sixteen possible combinations account for 60 per cent of the lines.) Obviously these are the types to imitate : e.g. (dsss) Luminaj labentem caelo quae ducitis annum (ddss) Dum sedet et gracili fiscellam texit hibisco. (dsds) Quid faciat laetas segetes, quo sidere terram (sDSs) Ter centum nivei tondent dumeta iuvenci. (ssss) Eductam tectis, unde omnis Troia videri. (ddds) Virgea praeterea Celei vilisque supellex The two points to note are, the strong tendency of \j\\Q first foot to be a dactyl, and of the fourth to be a spondee. Vergil's standard line might be thus represented: 12 3 4 D s s S The spondaic fourth holds tlie rhythm in check, preventing the line ebbing too rapidly, gives point by way of contrast to the necessary dactylic fifth, (B 532) C 18 THE LATIN HEXAMETER and generally imparts much of its dignity to the Vergilian hexameter. Here is a passage of ten lines from Georgics i. (11. 43-52) which should be learnt so that you may carry with you the prevailing rhythm. Vere novo gelidus canis cum montibus umor ddss Liquitur, et Zephyro putris se glaeba resolvit, ddss Depresso incipiat iain turn mihi tauriis aratro sdsd ' Ingemere, et sulco attritus splendescere vomer. dsss Ilia seges demum votis respondet avari dsss Agricolae, bis quae solem, bi frigora sensit ; dsss lUius immensae ruperunt liorrea messes. dsss I At prius ignotum ferro quam scindimus aequor, dsss Yentos et varium caeli praediscere moreni SDSS Cura sit, ac patrios cultusque habitusque locorum, ddsd Notice here, the first two lines of type 2, and five consecutive lines of type 1 . Marked departures from the normal combinations in the direction of preponderating spondees or dactyls, or a quick alternation of both generally have some descriptive purpose. (i.) Spondaic Lines. When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow. (Pope.) Illi inter sese multa vi bracliia tollunt (effort) Nunc hue ingentes,nunc illuc pectore curas (weiglit of care) Maerentem abiungens fraterna morte iuvencum (dejection) Mater, Cyrene mater, quae gurgitis liuius (pathos). DACTYLIC LINES 19 It nigrum campis agmen, praedamque per lierbas Convectant calle angusto : pars grandia triidunt Obnixae frumenta umeris. (Stately procession of ants) Et sola in sicca secum spatiatur arena (mock stateliness) Moliri et longo fessi discedere bello (monotony) N.B. In all cases the effect is heightened by elisions. (ii.) Dactylic Lines. Not so, when swift Camilla scours the plain, Plies o'er the unbending corn, and skims along the main. (Pope.) Pulverulenta fuga glomerant montesque relinqiiont (the speed of stags) Quadrupedante j)iitrem sonitii qiiatit ungiila campum (a galloping horse) Atque leveni stipulam crej)itantibus urere flammis (light stubble and shooting flames) Subito cum creber ad aures Visus adesse pedum sonitus, genitorque per umbram etc. (sound of hurrying footsteps) Ilia levem fugiens raptim secat aethera pinnis (sj)eed and flurry) (iii.) Alternating Dactyls and Spondees. " In correspondence with some transition in the nature of the imagery or passion." (Coleridge.) Vix ea fatus erat, quom cTrcujiiffisa repente Scandfb se ntibes et in aethera purgat apertum. (The delay of the shifting clouds, and the sudden change to clear open sky.) 20 THE LATIN HEXAMETER TaJii iTuilta m tectis crepitans salit liorricla grando (Hailstones falling heavily, then rattling and dancing.) In both these instances we have ssdd, a rare combination except for descriptive purposes. Turrim in praecipiti stantem summisque sub astra Eductam tectis, unde omnis Troia videri ; Sedibus, impulimusque : ea lapsa repente ruinam Cum sonitu trahit, et Danauni super agmina late, etc. (These lines are descriptive of a tower falling on the Danai. The first two describe its solidity, the second two its toppling and falling.) Saxa per et scopulos et depressas convalles. (Animals leaping over boulders and galloping down level valleys.) B. The End of the Verse (i.e. the last two feet or dipod). Here are examples of the normal hexameter ending : 1. ubera tendunt 2. lacte saporem 3. lapsus ad ossa 4. aut mala tactu 5. fontibus, et dum : or, with the word connected with the fourth foot : 6. silvestribus apros 7. postrema, sed una 8. comjjesce priusquam 9. avertere et inter 10. incursusque luj^oruni Of these 4 and 5 may be used only under special conditions. SPONDAIC FIFTH FOOT 21 Abnormal endings should be used occasionally as an ornament (in Vergil about 3 per cent). Spondaic Fifth Foot : Cornua velatarum obvertimus antemnarum Quis angusta malis cum moenia vexarentiir Constitit, atque ociilis Plirygia agmiiia circumspexit. Ac luciis late sacer additur Ancldseo Armatumque auro circumspicit Oriona Time ille Aeneas, quern Dardanio Ancliisae Nereidum matri et Neptuno Aegaeo Muneribus, tibi pampineo gravid fis autumno Pro raolli viola, pro purpurea narcisso. It will be seen that (i.) the fourth foot must be a dactyl except in cases of special descriptive effect ; (ii.) that the end of the fifth foot should not coincide with the end of a word, that is, that the line should end with quadrisyllables or trisyllables. Use here (i.) Greek proper names; (ii.) Greek common nouns ; (iii.) descriptive words, e.g. Ante tibi Eoae Atlantides abscondantur, and Saxa per et scopulos et dejpressas convalles. Otherwise restrict yourself to the words used in this way by Vergil. Pentesyllables and Quadrisyllables. These are to be used very sparingly. Note the following : 22 THE LATIN HEXAMETER Pastorum Musam Damonis et Alpliesiboei. perfractaqiie quadriipedantum Pectora pectoribiis rumpimt. Ampliion Dircaeus in Actaeo Aiacintho. Aetas Lucinam iustosqiie pati hymenaeos. Miinera sunt, laiiri et suave rubens hyacintlius. Lamentis gemituque et femineo ululatu Oderit. At socii multo gemitu lacrimisque. Both pentesyllables and quadrisyllables must be (i.) proper names, or (ii.) specially descriptiA^e words. The most common cases of quadrisyllables are Greek common nouns like hymenaeus, hyacintlius, ele- phantus, terehinthus, cyparissus, panacea. Two Disyllahles. Devolat, et supra caput adstitit : Hunc ego Diti Sacrum iussa fero. Cum placidum ventis staret mare : non ego Daplmim ludice te metuam. Parcite, oves, nimium procedere : non bene ripae Creditur. Optabis nato funus pater. Hei milii, quantum Praesidium, etc. Caeca regens filo vestigia. Tu quoque magnam Partem oj)ere in tanto, etc. Use this ending under these conditions : (i.) The two disyllahles preceded by a monosyllable, itself preceded by a pause (mostly heavy). MONOSYLLABIC ENDINGS 23 (ii.) No stop at the end of the line. (iii.) The monosyllable is connected in sense and emphasis with what follows. Tivo Monosyllables or one MonosyllaUe. Traxerit ad letuni j)atriae sub inoenibiis ! O gens Infelix Tamen liaec quoque, si qiiis Inserat. Aeris rauci canor iiicrepat, et vox Auditur. Videt oscula, quae iion Est vidisse satis. Astrum quo segetes gaudereiit frugibus, et quo D aceret. Cum rapidus sol Nonduni hiemem contingit equis. Unus qui nobis cunctando restituis rem. Sabellicus exacuit sus. Massylique ruont equites, et odora canum vis. Implicuere inter se acies, legit que virum vir. Semiputata tibi frondosa vitis in ulmo est. With two monosyllables there should be a pause before the last foot, but none after it. Note the case of echoed word, and cf. Pauses 11 and 12. With one monosyllable the rhythm forcibly calls the attention of the reader to something out of the ordinary. Use this ending to produce an effect of suddenness, e.g. ruit nox ; dignity, ' e.g. cunctando restituit rem ; humour, e.g. saejpe exiguus mus. 24 THE LATIN HEXAMETER Use especially iu this place the Ennian and Vergilian endings 7'es, rex, and vis. Est with an elision as an ending is rather an ornament than otherwise ; it should be followed by a final pause. Hypermetre. Hypermetre may be used rarely as a pleasing variety. lam iani lapsura cadentiqiie Imminet assimilis. Saltusque paludesque Usque ad Hyperboreos Ignari liominumqiie locorumque Erramus. lamqiie iter emensi tiirres ac tecta Latinorum Ardua cernebant. decoquit umorem Et foliis. The safest case to use is a doubled -que or -ve (of course before a vowel in the next line), with no pause at the end of the line. The Last Word of the Line : (a) If the line ends with a final pause, its last word should be a strong one, usually either a verb or a substantive (Vergil's usage is about 60 per cent nouns, 30 per cent verbs). An adjective must not hold this place unless a predicate or emphatic. LAST WORD AND SYLLABLE 25 (h) If there is no pause at the end of a Hue, the last word may be any part of speech. For exemplification of these two rules open your Vergil anywhere. To this rule, however, there is an exception for adjectives. The ending made up of an adjective preceded by a noun with a similar short ending, e.g. a a, e e, as sole cadente, Jiumina nota is to be avoided unless the adjective is emphatic. The inverse order adjective, noun is common and to be imitated : e.g. sordida rura, lasciva capella, mortalia corda, aspera silva, liquentia mella, reso- nantia saxa. The Length of the Final Syllable. The final syllable is preferably long. Apart from the case sordida rura, pure trochaic endings like armd should be very rare (about 4 per cent in Vergil). CHAPTEE IV (fourth term) the musical arrangement of vowels, consonants, and composite sounds Alliteration, Use alliteration (i.) to reproduce au alliteration in your English original not necessarily by the same letter; (ii.) to produce a descriptive effect. Notice the Vergilian intention in : Vivida vis pervicit venti vis verberat Vel violenta viri vis {v : obviously, force). Maeoida meutum mitra crinemque madeiitem Molle j^eciis inutiimque nietu. (m : softness, effeminacy, weakness). Turn Zepliyri posuere : premit placida aequora pontus. {f : calm). Post, ubi iam tlialamis se composuere, siletur In noctem, fessosque sopor suos occu23at artus. (s : quiet, softness). Depresso incipiat iam tum milii taurus aratro Ingemere, et sulco attritus splendescere vomer. {s : glitter). /, r, and t supply many of Vergil's alliterations. 26 LIQUID LINES 27 The Musical Use of FrojpeT Names. Eriiet ille Argos Agamemnoniasque Myceiias Glauco et Panopeae et Inoo Melicertae Pliillyi'ides Chiron, Aniytliaoniusque Melampiis. Laomedonteae luimiis periiiria Troiae. Aim at imitating Vergil's skilful handling of sounding names according to the traditional usage of epic poems. See also Milton's Paradise Lost. Liquid Lines. Lines are generally smooth, liquid, and musical when every word ending in a consonant is followed by one beginning with a vowel and vice versa ; e.g. : Ante sinistra cava monuisset ab ilice cornix. Desine neque tuis incendere teque quereUis. Tityrus liinc aberat. Ipsae te, Tityre, pinus, Ipsi te fontes, ipsa liaec arbusta vocabant. Omnibus umbra locis adero. Dabis, improbe, poenas. Such perfectly pure lines will naturally not be very frequent, but a line is musical in so far as it approximates to this model. Two negative rules must be given : {a) Avoid harsh meetings of consonants, unless of course they serve some deliberate purpose. {h) Avoid harsh elisions of vowels with the same reservation. The Ffoper Use of Elisions. Do not aim at 28 THE LATIN HEXAMETER banishing elisions as you do in Elegiac verse. Imitate neither Ennius nor Lucan, who are too sparing in their use of elisions ; but rather imitate Vergil, who makes an artistic use of elisions. [Ennius has about one elision in eight lines, Lucan one in seven, Virgil one in two lines.] He uses them with moderation as a foil to excessive smoothness, and sometimes by means of them produces deliberate effects. The subject of elisions is a long and intricate one, but the following rules should be observed : 1. Long vowels or diphthongs should be elided sparingly, except for descriptive purposes. Always elide them before long vowels or diphthongs. Sed magno Aeneae. 2. Middle syllables (i.e. those ending in -am, -em, -im, -0771, -um) also should be elided before long vowels or diphthongs. Avoid dactyls and cretics ending in -m. Misenum Aeoliden. 3. Short vowels before long make the smoothest and the most frequent elisions : short e and a are most frequently elided. Aridaque ora qiiatit. 4. Lonc{ vowels before shorts make the harshest and rarest elisions. Per te ego. ELISIONS 29 5. Smooth elisions should be to harsh roughly as 5 : 1. 6. In the last two feet only smooth or light elisions are permissible. eiectum litore, egentem 7. The best places in the line for elision are the second and third arses, and the fourth and first theses. \^N.B. The arsis is the first syllable of the foot, the thesis is the second syllable of a spondee or either of the short syllables of a dactyl.] Second arsis : Currentem ilignis. Third arsis : Aut Hermi campo aut Lyciao. Fourth thesis : Namque furens animi dum prorum ad saxa suburget. First thesis : Ecce autem gemini. 8. Monosyllables should not be elided unless indeclinable or of irregular inflexion. Thus elide me, te, se, iam, nam, tam, cum, num, tum : but not spem, spe, rem, re. The ear will be the best guide in this matter, but occasionally you should test your elisions in the light of the foregoing rules. Descriptive Use of Elisions. Use elisions, as spondees and dactyls, to help in the description of certain kinds of action and feeling. Quos animosi Euri adsidue (velieinence). Porta adversa, ingeiis, solidoque adaiiiaiite culuninae (magnitude). 30 THE LATIN HEXAMETER Proinissi ultorem, et verbis oclia aspera movi (anger). Monstrum liorrendum informe ingens (horror). Sublimem expulsam enierent (violence). In a battle scene, where vigour and impetuosity are looked for rather than refinement, a scattering of harsh elisions is in point. The tendency is for be- ginners with hexameters to be too shy of elisions. Synizesis. This name is given to the meeting of two vowels in the same word when for metrical reasons they have to make one syllable. The occa- sional use of this device is both a convenience and an ornament. Puniceis ibant evincti tempora taeniis. Non Uquidi gregibus fontes, non gramina deernnt. Quid deinde rogabo ? Qui candore nives anteirent, cursibus auras. Hie finis fandi. Solio tuni luppiter aureo Stelio, et lucifugis congesta cubilia blattis Intexunt abiete costas Sed tarda trementi Genua labant. It is safest to restrict yourself to words used in this way by Yergil. The three principles involved in the above examples are : (i.) The contraction of two similar vowels into one long. (ii.) The second (long) vowel devouring the preceding (short). HIATUS 31 (iii.) The hardening of i and it before a vowel into a consonant. Dialysis. Dialysis is the opposite process to Synizesis. A consonant {i or v) becomes a vowel, or a diphthong is resolved. Thus persolilisse, siluae, auldi, aural, jpiddi. Ali- tuum (for alitum) seems to be due to false analogy. Hiatus. Vergil has a well-regulated use of hiatus in conscious imitation of Homer. Do not hesitate to use it under the conditions stated below. Dardanio Ancliisae Sit pecori, apibus quanta experientia parcis. Nereidum niatri et Neptuno Aegaeo Implevere : tenent oleae armentaque laeta. Insiilae lonio in magno, quas dira Celaeno Credimus ? An qui amant ipsi sibi somnia fingunt. Here are exemplified two main uses : (a) Where in arsis a long final vowel does not elide, and remains long. (h) Where in thesis a long vowel is not elided, but is shortened. Except in the case of spondaic endings, the hiatus should be used in a principal caesura^ and, often, cor- responding with a sense pause. It is a pretty case when a Greek word or rhythm suggests the use of the hiatus. 1 See p. 36 A. CHAPTEE V (fifth term) metrical conveniences Among metrical conveniences note synizesis, dialysis, hiatus (see Chap. IV.), the lengthening and shorten- ing of vowels, tmesis, syncope, and archaic forms. The Lengthening of Vowels of a Final Syllable. (a) Que Limiiiaque laurusqiie dei. Spiculaqiie chpeique Lappaeqiie tribuliqiie Terrasqiie tractnsque maris. Tribulaque traheaeqiie Que must te lengthened only under these condi- tions : (i.) In arsis, specially the second. (ii.) The -qne is repeated immediately. (iii.) The following word begins with two con- sonants, a liquid, or a sibilant. (iv.) The word to which -que is attached should not be a monosyllable, and short syllables frequently precede the -que. LENGTHENING AND SHORTENING OF VOWELS 33 (h) Forms of verbs, nouns, and adjectives. Tityriis liinc aberat : ipsae te, Tityre, pinus Versibus iUe facit : aiit si noii possumiis omnes Nam inculta videt, liominesiie feraene. Per terrain, et versa pulvis inscribitiir liasta Liictus, iibique pavor, et plurima mortis imago. Grains homo, infectos linquens profugus bymenaeos Muiieribus, tibi pamj^ineo gravidus aiitiimno These lengthenings are due to archaic prosody or imitation of Greek rhythm. It is safest to limit yourself to words and forms used long by Vergil. Of a First SyllaUe. Vergil used long the first syllables of religio, reliquiae^ rettulit, rep'pulit, Italia (adjective Italus short), conubium. sp, sc, ST. I^ever use a short vowel either as short or long before sp, sc, st. 2'he Shortening of Voivels : (a) In the middle of a word. Stetermitque comae, constiterunt, misciieriuit, fiiermit, tuleriint, horriierunt, praebiierimt, etc. (h) Of the second syllables of words (by a law of archaic prosody). Ego, duo, modo (adv.), postmodo, dummodo. (B 532) D 34 THE LATIN HEXAMETER Tmesis. In two degrees. (a) -que alone separating the two parts of a word. J?ique salutatum linquo Inutilis mqiie ligatus Interqae legendae. (b) Wider separation. lam que adeo super unus eram Gircum dea fudit amictu Quo me decet usque teneri ? Quae me cumque vocant terrae. Hac celebrata te^ius. Syncope. Oraclum, gubernacliim, periclum, repostiis, suppostiis, im- postus, prendere, aspris (=asperis), porgere. Contraction. Admorunt, extinxem, finxe ( = finxisse), vixti ( = vixisti), lenibant, nutribant, insignibat, polibant, etc. Archaic Forms. Fervire, fulgere, tergSre, stridere : and passive infinitives, defendier, admittier, dominarier, farier, immiscerier, citarier. CHAPTEE YI (sixth term) caesuras and descriptive verse Caesuras. In composing, your general sense of rhythm gained from reading aloud and learning pas- sages of Vergil by heart will be your best guide in the matter of caesuras. Except in a very few cases you cannot compose your line with a view mainly to caesuras. Caesuras are not so much a positive guide as a negative test. But as a negative test they are very important. Often the rhythm of a line will appear strange, and you cannot tell what is wrong until you have probed the caesuras. On this subject I give a minimum which should be thoroughly understood and brought to bear on your composition. Definition. A (strong) caesura is a rhythmic break, incision, or pause occurring after a long syllable, which is at once the last syllable of a word and the first of a foot ; e.g. : Armatam | saevi | Parthus | quam felle veneni. A vjeak or trochaic caesura is one in which the 35 36 THE LATIN HEXAMETER pause follows not the first syllable of a spondee or dactyl, but the trochee contained in a dactyl, i.e. after a long and a short (- ^) ; e.g. : Sole I cadente | iuvencus | aratra | relinquit in arvo. The raison d'Stre of the caesura is (i.) To prevent the monotonous impression of a number of metrically disconnected words, as in Sparsis hastis longis campus splendet et horret (Ennius). (ii.) To prevent the ear of the listener or the attention of the reader from tiring by hear- ing or reading a long line without break. The rhythmical pause is naturally placed towards the middle of the verses, and often coincides with a sense pause. We must know (A) What are the more important caesuras. (B) Which combinations of caesuras are mostly to be used. (C) What effects are produced by the use of certain caesuras. A. Important Caesuras. The principal caesuras are (in order of importance) 2|, 3|, IJ, 3 trochee. Of these 2|, 3J, and 3 trochee, being so near the middle of the line, provide a natural resting-place WORD ACCENT AND METRICAL STRESS 37 for the voice ; but they are still more important as 'promoting the discrepancy in the first four feet of luord accent and inetrical stress ; e.g. : 3 trochee. Et saevas inferte | faces, sacer effera raptet Let A = word accent (which in Latin falls on the penultimate syllable if the last syllable is long, and on the antepenultimate, if the last is short). Let S = metrical stress. S AjSAlS A IS A Et saeivas in|ferte x facjes, sacer A A s ^ s effera raptet. The strife of word accent and metrical stress is maintained until a reconciliation is effected in the last two feet. Lines in which the 2| caesura is dominant, are to those in which 3J has most authority as 3 to 1. Other caesuras are not important and more rare ; e.g. : 1 trochee, 2 trochee, 4 trochee, 4|, and 5 trochee. B. Combinations of Caesuras. The large majority of Vergil's lines are rendered organic and musical by the presence of the principal caesuras. There are four chief combinations, all containing 2| as the dominant caesura. (i.) 11 + 21 + 31 Italiam || fato |!| profugus || Lavinaque venit. This arrangement occurs in rather more than 1 line in 3. 38 THE LATIN HEXAMETER (ii.) 2i + 3|. Sed si tantus amor ||| casus || cognoscere nostros About 1 in 4. (iii.) 11 + 21 Luctantes || ventos ||| tempestatesque sonoras About 1 in 7. (iv.) 2| alone. Aspice ventosi ||| ceciderunt murmuris aurae About 1 in 11. Thus lines with the above arrangements make up about 82 per cent of Vergil's lines. There are 6 or 7 other combinations, but they are so rare as not to be worth mentioning here. Until you are sure of yourself in point of caesuras, sometimes test your composition when finished in comparison with the lines just quoted. To gain facility in caesura analysis try your hand on twenty lines taken at random from Vergil. Thus Aeneid iii. (506-524), nineteen lines, yields : Combination i. 5 lines ii. 8 iii. 4 iv. 2 All the lines contain 2|. C. Effects 'produced ly certain Caesuras or Com- binations of Caesuras. DESCRIPTIVE CAESURAS 39 (i.) 3 1 coincident with a sense pause represents tragic excitement. Note three cases in a passage of five lines (Aen. xii. 451_455):_ Quahs ubi ad terras abrupto sidere nimbus It mare per medium : miseris, | lieu, praescia longe Horrescunt corda agricolis ; | dabit ille ruinas Arboribus, stragemque satis : | ruet omnia late : Ante volant sonitumque ferunt ad litora venti. (ii.) 3 trochee produces an effect of smoothness, languor, calm. Tempora cunctantique | natantia lumina solvit. Spargens umida mella | soporiferumque papaver. Praecipitantj suadentque | cadentia sidera somnos. (iii.) 2 trochee and 3 trochee produces an impres- sion of hurry. Una Eurusque Xotusque ruont creberque procellis (iv.) Lines with one caesura only tend to have a grandiose ring. Panditur interea | domus omnij)otentis Olympi. Magnanimi | lovis ingratum ascendere cubile (v.) The absence of caesura after the first two feet can be used very effectively. Scilicet omnibus est labor impendendus, et omnes (A series of harsh hammer blows describing the deliberate insistence of the writer.) 40 THE LATIN HEXAMETER So also in Linqui poUutum hospitium, et dare classibus aequor. Insontem infando indicio, quia bella vetabat. Sublimem expulsam eruerent : ita turbine nigro. In the line Et cum frigida mors anima seduxerit artus, the absence of caesura after 1 and 2 helps to throw emphasis on 7nors. So with Scilicet omnihus est labor impendenclus, a tremendous emphasis is reserved for ivi'pendendus. Descriptive Verse. It will be convenient to summarise here some of the devices used by Vergil to make his verse fit closely to the idea to be conveyed. When you are set down to a passage of English, one of the first things you should do is to consider which of the following devices can be adapted : viz. the caesura, the smaller rhythm of the arrangement of feet in the line, the larger rhythm of pauses throughout a passage, the use of vowels and con- sonants, elisions, and the beginnings and endings of lines. We will group our resources under a few headings most likely to be required. (i.) Softness, languor, supineness, tenderness, effeminacy, smoothness, calm, and kindred ideas. DESCKIPTIVE VERSE 41 Caesura, 3 trochee quadrisyllable ending dactyls pure (liquid) line freedom from elision, etc. (ii.) Dignity, grandiose sloivness, solemnity, stateliness, seriousness. 2i + 3J caesuras only one caesura in line first spondaic pause initial spondee spondaic verse spondaic ending monosyllabic ending four- or five- worded line, etc. (iii.) Sudden check, jerky pull-up. Caesura, 3 trochee, followed by a word (^ ) fourth foot a spondaic word pause, fourth spondaic diaeresis, any diaeresis, after first spondee or dactyl mono- syllabic ending, etc. (iv.) Tragic excitement, strong feeling, hurry. Pauses : first spondaic, second dactyl, 3|, fourth dactylic diaeresis, 1 trochee, 1 dactyl caesuras : 2 trochee, 3 trochee, absence of caesura before 3| rhythm: frequent pauses ending : monosyllabic elisions : harsh and frequent. (v.) Sharp contrast. Pause : 5 trochee change from spondees to dactyl or vice versa. (vi.) Scorn, indignation. Pause 3|. 42 THE LA.TIN HEXAMETER (vii.) Strong emphasis on a luorcl, Eeserved caesura first dactyl pause after an adjective adjective at end of line before a pause. (viii.) Humour. Monosyllabic ending. (ix.) Special sounds. Alliteration of various consonants. HOW TO SET ABOUT THE TEANSLATION OF A PASSAGE When you have a passage of English before you, read it carefully through, not once nor twice, but several times. Catch the general spirit and stjjle, and search in your memory for a similar passage of Vergil to serve as a model. Next note in the English remarkable rhythms, pauses, alliterations, emphatic words, phrases which lend themselves to hendiadys or apposition, chances for descriptive metre, archaisms, etc. Tlien, and not till then, begin to think about details of vocabulary, jotting down as many alterna- tives as possible. Finally, consider the exigencies of metre, using suitable forms and devices, but do not allow metrical necessities to dictate your pauses and general scheme of the passage. Do not allow mere difficulties of scansion to brush aside easily what your earlier pro- cesses have prescribed. 43 INDEX OF SOME MEMORABLE LINES (This Index may be used as a test of knowledge of hexameter technique, or for reading over before composing with a view to imitation. The lines are given in the order in which they occur in the text, and the numbers refer to pages.) At mater sonitum thalamo sub fliiminis alti Sensit, Earn circum {O. 4. 334) 4 sata laeta bouraque labores Diluit ; {G. 1. 326) 5 turrimqiie tenebat ; Tiirrim, coiiipactis trabibus qiiam ediixerat ipse. {A, 12. 674) 5 divomque sibi poscebat honorem, Demeus ! qui iiimbos. {A. 0. 590) 5 suosque Ducunt (G. 3. 317) 5 Anna ref ert : "0 luce magis dilecta {A. 4. 31) 6 penitus mode non genus omne perosos Femineum : {A, 9. 142) 6 Avidusque refringit Cunctantem. {A, 6. 211) 6 Vis ergo inter nos quid possit uterque vicissim Experiamur ? {E. 3. 28) 6 Fit node sinus : [G. 2. 76) 6 Aeternumque vale." {A. 11. 98) 7 Aeolus liaec contra ; " Tuos, o regina, quid optes {A, 1. 75) 7 Faroe metu, Cytherea : manent immota tuorum [A. 1. 257) 7 Turn Zephyri posuere : premit placida aequora pontus {A. 10. 103) 7. Quippe solo natura subest. [G. 2. 49) 7 Sacra deum sanctique patres [G. 2. 473) 7 Sed frumenta manu carpes sata : nee tibi fetae {G, 3. 176) 8 Per gentes humilis stravit pavor : ille flagranti [G. 1. 331) 8 Hie vertex nobis semper sublimis : at ilium Sub pedibus Styx atra videt Manesque profundi. {G. 1. 242) 8 Ante etiam sceptrum Dictaei regis, et ante [G, 2. 536) 8 44 Non iniussa caiio. Si quis tamen haec quoque, si qiiis Captus amore leget {E. ^, 9) 9 Acceleremiis, ait. Vigiles simul excitat. Illi {A. 9. 221) 9 Tantum inter deiisas, umbrosa cacumina, fagos. {E. 2. 3) 1" Tumidis, Bumaste, racemis {G. 2. 102) 1 Pollio aniat nostram, quamvis est rustiea, Miisam {E. 3. 84) 1 Mollia luteola pingit vaccinia calta. {E. 2. 50) 1 Incultisque rubens pendebit sentibus uva. {E. 4. 29) 1 Obscenaeque canes importunaeque volucres {G. 1. 470) 12 Carpamus: dum mane novom, diim gramina canent. {G. 3. 325) 12 Nudus ara : sere nudus : liieraps ignava colono. {G. 1. 299) 12 Deprensis olini static tutissima nautis. {G. 4. 420) 13 Laomedonteae luimus periuria Troiae. {G. 1. 502) 13 Sed fugit interea, fugit irreparabile tempus {G. 3. 284) 13 Semper hiemps, semper spirantes frigora Cauri. {G. 3. 356) 14 Urit enim lini campum seges, urit avenae, Urunt Lethaeo perfusa papavera somno. {G. 1. 77, 78) 14 Fortes invertaut tanri (6^^. 1. 65) 16 Sternunt se somno diversae in litore phocae. {G. 4. 432) 16 Tantae molis erat Romanam condere gentem. {A. 1. 33) 16 Primus vere rosam atqne autumno carpere poma. (6^. 4. 134) 16 Lumina, labentem caelo quae ducitis annum {G. 1. 6) 17 Vere novo gelidus canis cum montibus umor Liquitur, et Zephyro putris se glaeba resolvit, [G. 1. 43, 44) 18 Illi inter sese multa vi brachia tollunt {A. 8. 452) 18 Mater, Cyrene mater, quae gurgitis huius. {G. 4. 321) 18 Et sola in sicca secum spatiatur arena (mock stateliness) {G. 1. 389) 19 Quadrupedanteputrem Ronituquatitungula campum (.1. 8. 596) 19 Saxa per et scopulos et depressas convalles. {G. 3. 276) 20 Constitit, atque oculis Phrygia agmina circumspexit. (A. 2. 68) 21 Nereidum matri et Neptuno Aegaeo {A. 3. 74) 21 Pro molli viola, pro purpurea narcisso. {E. 5. 38) 21 Amphion Dircaeus in Actaeo Aracintho. {E. 2. 24) 22 Munera sunt, lauri et suave rubens hyacintlms. {E. 3. 63) 22 Cum placidum ventis staret mare : non ego Daphnim ludice te metuam. {E. 3. 26, 27) 22 Caeca regens filo vestigia. Tu quoque magnam Partem opere in tanto {E. 6. 30, 31) 22 Aeris rauci canor increpat, et vox Auditur. {G. 4. 71, 72) 23 Unus qui nobis cunctando restituis rem. {A. 6. 846) 23 Implicuere inter se acies, legitque viruni vir (.1. 11. 630) 23 Ignari lioniinumque locorumque Erramus. {A. 1. 332) 24 lamque iter emensi turres ac tecta Latinorum Ardua cernebant. {A. 7. 160) 24 46 ' ' ' ' 'THE LaTIvT HEXAMETER Maeouia mentum mitra crmemque madentem {A. 4. 216) 26 Post, ubi iani tlialamis se composuere, siletur 111 iioctem, fessosqiie sopor siios occiipat artus. Eruet ille Argos Agamemnoniasque Mycenas. Ante sinistra cava monuisset ab ilice cornix. Omnibus umbra locis adero. Dabis, improbe, poenas. Quos animosi Euri adsidue Sublimem expulsam eruerent Non liquidi gregibus fontes, non gramina deerunt, Hie finis fandi. Solio tum luppiter aureo Sit pecori, apibus quanta experientia parcis. Insulae lonio in magno, quas dira Celaeno Spiculaque clipeique Tityrus liinc aberat : ipsae te, Tityre, pinus Luctus, ubique pavor, et plurima mortis imago. Grains homo, infectos linquens profugus hymenaeos, {A Inque salutatum liiiquo Quae me cumque vocant terrae. Aspice ventosi ceciderunt murmuris aurae Horrescunt corda agricolis ; dabit ille ruinas Spargens umida niella soporiferumque papaver. Magnanimi lovis ingratum ascendere cubile Scilicet omnibus est labor impendendus, et omnes Insontem infando indicio, quia bella vetabat. {G. 4. 189) 26 (A. 6. 838) 27 [E. 9. 15) 27 is. {A. 4. 386) 27 (0. 2. 441) 29 {G. 1. 320) 30 {G. 2. 200) 30 (A. 10. 116) 30 (O. 1. 4) 31 {A. 3. 211) 31 [A. 7. 186) 32 {E. 1. 38) 33 [A. 2. 369) 33 {A. 10. 720) 33 {A. 9. 288) 34 {A. 1. 610) 34 (A\ 9. 58) 38 [A. 12. 453) 39 {A. 4. 486) 39 {A, 12. 144) 39 {G. 2. 61) 39 [A. 2. 84) 40 INDEX OF SUBJECTS (The numbers refer to pages.) Alliteration, 26 Archaic forms, 34 Assonance, 11 Beginning of verse, 15-20 first foot a dactyl, 15 first foot a spondaic word, 16 first four feet : dactylic lines, 19 dactyls and spondees, 17, 19 spondaic lines, 18 Caesuras, 35 combinations of, 37 descriptive, 38 important, 36 principle of, 36 strong, defined, 35 weak, defined, 35 word accent and metrical stress, 37 Descriptive verse, 40 Dialysis, 31 Elisions, 27-30 descriptive, 29 harsh, 28, 29, 30 long vowels, 28 middle syllables, 28 monosyllables, 29 rules as to use of, 28, 29 short vowels, 28 smooth, 28, 29 End of verse, 20-25 disyllables, two, 22 hypermetre, 24 last word of line, 24 monosyllable, one, 23 monosyllables, two, 23 normal endings, 20 pentesyllables, 21, 22 quadrisyllables, 21, 22 spondaic fifth foot, 21 Five- worded line, 13 Four- worded line, 13 Hiatus, 31 Lengthening of vowels, 32, 33 first syllables, 33 ^t forms of verbs, nouns, and ad- jectives, 33 -que, 32 SP, sc, ST, 33 Liquid lines, 27 Parallelism, 12 Pauses, 3-9 diaeresis, 3 final, 3 heavy, 3 light, 3 1 trochee, 4 1 dactyl, 5 1 spondee, 5 47 48 THE LATIN HEXAMETER 1^6 2 trochee, 6 2, 6 2i, 7 3 trochee, 7 3^,7 4, 8 5 trochee, 8 5, 9 Proper names, 27 Pure lines. See Liquid lines Repetition, 13, 14 Shortening of vowels, 33 in middle of a word, 33 in second syllable, 33 Symmetry of noun and adjective, 10, 11 ablative absolute, 11 appositional phrase, 11 golden line, 11 parenthetical clause, 11 vocative, 11 Syncope, 34 Synizesis, 30 Tmesis, 34 -que, 34 wider separation, 34 Translation, how to set about, 43 Tripartite line, 12 THE END THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW AN INITIAL FINE OF 25 CENTS WILL BE ASSESSED FOR FAILURE TO RETURN THIS BOOK ON THE DATE DUE. THE PENALTY WILL INCREASE TO SO CENTS ON THE FOURTH DAY AND TO $1.00 ON THE SEVENTH DAY OVERDUE. ^^Sd ld SEP 6 1956 19Nov'59RB REC'D LD U. C. BERKELEY LIBRARIES t ,< 298462 10 UNIVERSITY OF CALIFORNIA LIBRARY