»» d^ PA 2331 S5 1884 MAIN x^.gggawnBiii??': UC-NRLF B M D3S bT3 1 [n= ■4 / * . ''-^k \M0B^ ^^ 8061 '12 NVP'Ufd 'A *N '^sno^j^s •sojg pjoiii^o jspuig LATIN VERSE. By FRANK ^JpjiEI^A. M., PB0FBS80R OF LATIN IN THE BTBACDSB UNIYBBSITT. 2r^ i/fc^^^^^ LATIN VERSE. \. — 2^^»_-e- -ei,-,.— .--^X — -c^- BT FRANK SMALLEY, A. M., PEOFESSOB or LATI:T in the BTRACTJ8E r>nVEESITT. NEW YORK: D. APPLETON AND COMPANY, 1, 3, AXD 5 BOND STREET. 1884. • «•• *-• • COPTRIGHT, 18S4, Bt d. appleton and company. p^n-7 1 NOTE. The aim in this pamplilet is to present at somewhat greater length than usual the details of Latin versification, at least in some of its features. To the scheme of the lyric metres of Horace is added a de- tailed scheme of the metres of Catullus and an index to the same. Credit is generally given in loco for material used. In addition several special works have been consulted, as well as the best German, English, and American Latin Grammars. Particular obli- gation is due Pvoby's Latin Grammar and Schmidt's " Rhythmic and Metric of the Classical Languages " (White's translation). F. S. 729948 INTRODUCTORY. The Roman poets have suffered, in the estimation of literary critics, from the change in poetical taste which commenced about the beginning of the present century ; and, in that of scholars, from the superior attractions of the great epic, dramatic, and lyrical poets of Greece. It is said, with some appearance of plausibility, that Roman poetry is not only much inferior in interest to the poet- ry of Greece, but that it is a work of cultivated imitation, not of creative art ; that other forms of literature were the true expression of the genius of the Roman people ; that their poets brought noth- ing new into the world. It is, indeed, impossible to claim for Roman poetry the unbor- rowed glory or the varied inspiration of the earlier art of Greece. It has neither the same novelty nor variety of matter; nor did it adapt itself to the changing phases of human life in different gen- erations and different states, like the epic, lyric, dramatic, and idyl- lic poetry of Greece. But it may still be answered that the poets of Rome have another kind of value. There is a charm in their lan- guage and sentiment different from that which is found in any other literature of the world. If, as we read them, the imagination is not so powerfully stimulated by the revelation of a new world, yet, in the elevated tones of Roman poetry, there is felt to be a permanent affinity with the strength and dignity of man's moral nature ; and, in the finer and softer tones, a power to move the heart to sympa- thy with the beauty, the enjoyment, and the natural sorrows of a bygone life. , , Their poetry came to the Romans after their habits v/erc fully formed, as an ornamental addition to their power. L'nlike the poetry of Greece, it was not addressed to tho populai* ear, nor wac it an emanation from the popular heart. They drew the matoriak 6 INTRODUCTORY. of their art as much from the stores of Greek poetry as from the life and action of their own times. Their art is thus a composite struct- ure, in which old forms are combined witli altered conditions ; in which the fancies of earlier times reappear in a new language, and the spirit of Greece is seen interpenetrating the grave temperament of Rome and the genial nature of Italy. The poetry of the Romans is their most complete literary monument. It was the living heir, not the lifeless reproduction of the genius of Greece. If it seems to have been a highly trained accomplishment rather than the irre- pressible outpouring of a natural faculty, still this accomplishment was based upon original gifts of feeling and character, and was marked by its own peculiar features. It was owing to their gifts of appreciation and their love of labor that the Roman poets suc- ceeded in producing works which, in point of execution, are not much inferior to the masterpieces of Greece. From one point of view, Roman poetry may be regarded as an imitative reproduction ; from another, as a new revelation of the human spirit. For the form and some part of the substance of their works, the Roman poets were indebted to Greece ; the spirit, and much also of the substance of their poetry, are native in their ori- gin. They betray their want of inventiveness chiefly in the forms of composition and the metres which they employed ; occasionally also in the cast of their poetic diction, and in their conventional treatment of foreign materials. But, in even the least original as- pects of their art, they are still national. Although, with the ex- ception of Satire and the poetic Epistle, they struck out no new forms of poetic composition, yet those adopted by them assumed something of a new type, owing to the weight of their contents, the massive structure of the Roman language, the fervor and gravity of the Roman temperament, and the practical bent and logical mould of the Roman understanding. The metres of Roman poetry are also seen to be adaptations to the Latin language of the metres previously employed in the epic, lyrical, and dramatic poetry of Greece. The Italian race had, in earlier times, struck out a native measure, called the Saturnian (see 36 and S7, ff^ll.), <>f a rapid and irregular movement, in wliich their religious emotions, their festive and satiric raillery, and their com- Tnemoratire insliacts found a rude expression. But after this meas- ure had been rejected by Ennius, as uusuited to the gravity of his INTR OB UCTOR Y. 7 greatest work, the Roman poets continued to imitate the metres of their Greek predecessors. But, in their hands, these became char- acterized by a slower, more stately and regular movement, not only differing widely from the ring of the native Satur'nian rhythm, but also, with every improvement in poetic accomplishment, receding further and further from the freedom and variety of the Greek measures. The comic and tragic measures, in which alone the Roman writers observed a less strict rule than their models, never attained among them to any high metrical excellence. The rhythm of the Greek poets, owing in a great measure to the frequency of vowel sounds in their language, is more flowing, more varied, and more richly musical than that of Roman poetry. Notwithstanding their outward conformity to the canons of a foreign language, the most powerful and characteristic measures of Roman poetry — such as the Lucretian and Yergilian Hexameter and the Horatian Alcaic — are distinguished by a grave, orderly, and commanding tone, symbolical of the genius and the majesty of Rome. In such cases as the Horatian Sapphic and the Ovidian Ele- giac, where the structure of the verse is too slight to produce this impressive effect, there is still a remarkable divergence from the freedom and manifold harmony of the early Greek poets to a uni- form and monotonous cadence. It may be added in conclusion that there are four great periods of Roman poetry : I. The age of ISTasvius, Ennius, Lucihus, etc., extending from about B. c. 240 till about b. c. 100. II. The age of Lucretius and Catullus, whose active poetical ca- reer belongs to the last age of the Republic, the decennium before the outbreak of the civil war between Caesar and Pompey. III. The Augustan Age. IV. The whole period of the empire after the time of Augustus. Sellar, with changes. LATIN VERSE. 1 . RHYTH>nc and Metric are general terms, the former treating of the principles of Rhythm, the latter of the application of Rhythm to lansruajje. Note. — These terms arise from the Greek adjectives, just as do the terms Lo^c, Rhetoric, etc. 2. Rhythm; is harmonious movement ; is, in grammar, the prin- ciple of proportion applied to language. Metre (jierpov, measure) is the embodiment of Rhythm in lan- guage. Note. — For its specific meanings, see 18. Remark. — The regular recurrence of intoned syllables (Rhythm) was observed with great precision by the Greeks. The theory requires per- fect regularity, but the materials that must be used, viz., words, interfere somewhat with this precision, while they must frequently be forced a little in pronunciation to meet the requirements of the rhythm. This is true of all languages when used metrically, but not equally true of all. (In music the rhythm is all-important, and is perfect ; in poetry, recitative and even lyrical, it is theoretically so, but practically not, because the language has relatively more importance than in music.) For the forcing of language into correspondence with the rhythm, com- pare the following from Coleridge's Rime of the Ancient Mariner : How loudly his sweet voice he rears ! He loves to talk with marin^res That come from a far countree. See also under Elision (21, 2). Before the time of Ennius the Romans had a very loose metrical system. (See Introduction and 36 and 37.) That poet, by imitating the Greek, adopting its forms and rules, inaugurated the practice of more carefully regarding Quantity and Rhythm in Latin verse. Considerable hberties are taken by the dramatic writers, but the poets of the Augustan age very carefully conform to the essential principles of metrical composition. 10 LATIN VERSE. 3. Feet (called also Measures or Metres, 18) are combinations of syllables into metrical groups. Feet are the elements of verses, as bars are the elements of musical strains. 4. Quantity is properly the time used in pronouncing a sylla- ble. Syllables are distinguished as long and short. See 5. Remark. — Greek and Latin versification depends on Quantity, and is entirely independent of the accent of words. The alternation of long and short syllables produces the rhythm of the verse. Modern verse, includ- ing modern Greek and Latin, is based on accent, and Quantity is almost ignored. It is not, however, altogether without influence, since in Eng- lish poetry it has some weight in determining the position of words, for a labored effect is produced by placing long syllables in unaccented posi- tions. The old Latin comic writers indeed sought to bring the accent of words into conformity with rhythmical intonation, and this was one cause of their metrical irregularities (34, 35, 39). Regularity, the soul of poetry, was secured in early Latin, as in early English, by alliteration, and rhyme is freely introduced into modern Latin as in English. See 37, 38. For alliteration, compare jCeep in a dungeon was the ^-aptive cast, X>eprived of c?ay, and held in/etters/ast. Dry den. with or. O Tite, . LATIN VERSE. 11 A short syllable may occupy less time than a mora. See cyclic Dactjd, 7, 1. Note. — This shortening is sometimes termed Correption. The shortened feet are said to be Irrational (7). The object is to adapt the language to the rhythmical series wherein it stands. The term Irrational signifies that a measure does not occupy its ap- parent time. For Eesolution and Contraction, see 7, 2; for Pause, 15. 6. 1. List of Feet or Measures. Feet of TJcree Morae. Trochee or Choree, — v^ Iambus, w — Tribrach, Dactyl, Anapaest, Spondee, Cretic, Paeon primus, Paeon quartus, Bacchlus, Antibacchlus, lonicus a majori, lonicus a minori, Choriambus, Ditrochee, Diiambus, v.^ »^ v^ v^ v^ agis. ho minibus. amicus, nepotibiis. Tiberiniis. amicorum. fecerunt. amaveriint. ati die bant. audlverant. cepissemus. audlvisti. 12 LATIN VERSE. 3. Groups of Feet. A Dipody is a group of two feet (see 18, Rem.); a Tripody, of three, etc. Three half feet are called Trihemimeris ; five half feet, Penthe- mimeris ; seven half feet, Hephthemimeris ; nine half feet, Ennehemime- ris, etc. Remark. — The second part of each compound (i. e., hemimeris) means one-half ; the first part tells how many times it is taken. 7. Irrational Feet and Substitutions. 1. A series of Feet (Rhythmical Series) when adapted to language often suffers modification. The proper time is given to each foot, but the length of the syllables may be lessened in the adjustment. These modified feet arc called irrational. See 5, 4, Note. The irrational Trochee is represented thus, — > . This is a Spondee with the time-value of a Trochee, but with a heavier stress of voice on the last syllable. The irrational Iambus, > — . This is a Spondee with the time-value of the Iambus. The irrational Dactyl is represented thus, —^ ^. The time-value of the first two syllables is reduced sufficiently to render the Dactyl equal to a Trochee. The musical notation best shows this : Ordinary Dactyl, - - -, J J^ =1 ; Modified Dactyl, -^ v^, J^ = -^- + -.^^ + \ = h thus reducing the whole so that it equals the time of the Trochee, — \^, J ^ = f . The modified foot is termed the cyclic Dactyl, and when it is introduced into a Trochaic series (Logaoedic, 21) greatly adds to the vivacity of the metre. The cyclic Anapaest is the reverse of the cyclic Dactyl, thus, w v.- — . 2. Substitution is frequent between feet of the same time-value. 1) Contraction is the use of one long syllable in the place of two short, and is indicated thus, e^:^- 2) Resolution is the use of two short syllables in the place of one long, and is indicated thus, ^=^^. If the long syllable that is thus resolved had the ictus (see 8), this belongs to both the substituted short syllables, but the mark is placed on the first ; and, in general, substituted syllables re- ceive the ictus of those for which they stand. Note.— Substitution is indicated by writing the optional over the regular form, thus, v-/^-/ > > V-: 3) Anaclasis {breaking up) is the substitution of a Ditrochee for an Ionic measure ; thus, w ^, becomes — ^ — v-^. LATIN VERSE. 13 8. Ictus (beat) is the intonation or rhythmical accent that is given to one part of a measure. There is also in the measure a secondary ictus, or " lowered" tone. The Arsis is the strongly intoned part of the measure. The Thesis is the lighter part of the measure. The Ictus is represented thus, -^ ^ -^, ^^^. Remark.— The original signification of the terms Arsis and Thesis was the reverse of the one here given. The Greeks understood by Thesis the dowmmrd beat, by Arsis the upward beat. The modern practice has been to apply these terms to the raismg (Arsis) and lowering (Thesis) of the tones of the voice. 9. 1. Anacrusis (hacTc-stroJce). —All measures in a series properly begin, as in music, with the intoned syllable, or arsis. When the thesis precedes the arsis, as in Iambic, Anapaestic, and lonicus a minori measures, it is often treated as the prelude to the rhythmical series, and termed Anacrusis, designated thus, i . The anacrusis can not be greater than the arsis ; is regularly equal to the thesis. An irrational syllable (>) can constitute the anacrusis. To illustrate anacrusis : This Hermit good lives in that -wood "\^'hich slopes down to the sea. Coleridge. ^ : — v^|— wj— wj-AII ^ : -^ I -v^ I - A II or, I am found not by seeking, but him that shall seek I will find. Day. ^^:-^^l-^^|-^^l-^^l-AII An irrational syllable as anacrusis may be represented thus, >:_^|_^]-AII,or> :--l--l-AII. (A means a pause, see 15.) 2. Basis is a term applied to the Trochee (or irrational Spondee) which precedes the Dactyl in Logaoedic Metres (27). Two meas- ures, or a double Basis, also occurs, when the second is usually an irrational Spondee ; and this may be preceded by anacrusis. This basis arises from the fact that in lyric poetry a slight ictus only was given to the first measure, which then appears almost like anacrusis. Still it is not introductory merely to the rhythm, but an inherent part of it. (See 27, 2.) In recitative poetry, like that of Horace, the ictus on the basis was probably stronger, and would, 14 LATIN VERSE. perhaps, better be disregarded in the explanation of Logaoedic forms. 1 0. A Rhythmical Sentence is a series of measures, usually equal, and on one of which falls the chief ictus of the whole. Such a sentence is limited in length. In Latin a simple Dactylic series can not exceed four feet, a simple Trochaic or Iambic series can not exceed six feet (Monopodies). The Dactylic Hexameter, for example, is a compound series, i. e., a verse consisting of two rhythmical sentences combined ; viz., two Dactylic Tripodies. Kemark 1. — In modern composition the number of measures in a rhythmical sentence of a recited poem does not exceed six. The English Hexapody or Alexandrine verse illustrates this heavy series. A needless Alexandrine ends the song, And, like a wounded snake, drags its slow length along. Pope. - : _^|_^|_^|_^I_A|| ^ : _^|_^|_^|_^|_^|_/\||. (Iambic Trimeter or Hexapody.) The Pentameter is the English blank verse : All night the dreadless Angel, unpursued. Milton. But the Tetrapody is the most common verse in English : w| — wl—s^l— w|— AlI,or — w|— w|— ^| — All Remark 2. — Frequently Enghsh lines (verses) are composed of two rhythmical sentences united ; thus — At my feet the city slumbered. From its chimneys, here and there, Wreaths of snow-white smoke, ascending, vanished, ghost-like, into air. Longfelloio. _^|_^|_^|-^, ll__|_^|_^l_ All Generally the rhythmical sentence corresponds to a line in an English stanza. If the above lines (Rem. 2) were each broken up into two lines, the line (verse) and rhythmical series (sentence) would correspond. Remark 3. — In most Latin recitative poetry two rhythmical sentences comprise a verse, and these sentences are separated by caesura (in Dactyhc Hexameter, see 12), or diaeresis (in Trochaic Tetrameter, see 13). Iambic Trimeter is an exception. In Lyric poetry the verse and series (sentence) are generally conterminous, and, it may be added, the chief ictus of the sentence is larely in the first measure. See 9, 2. LATIN VERSE. 15 NoTR.— Rhythms arc rising or falling {ascending or descendin-g). In the former the movement is from short syllables to long, as in Iambic and Anapaestic rhythms; in the latter it is from long syllables to short, as in Trochaic and Dactylic rhythms. Ana- crusis converts rising to falling rhythms. 1 1. A Verse (versus, turning, i. e., a line) is a line of poetry, and consists of a simple or compound (10, Rem. 3) rhythmical series. When a verse is composed of two series, the first ending with an arsis (syncopated measure), the second beginning with the arsis, with no intervening thesis, the verse is termed AsjTiartete {not Jit- ting together) ; thus — _^|_^|_^|l_ ii-^l-v^l-v^j-AII See also for illustration the lambelegus (26, 1), and Elegiambus (26, 2). The close of a verse may be recognized by the fact, that — 1. It corresponds with the end of a word. 2. Hiatus (21, 1) with the beginning of the next sentence is permitted. See Elision, 21, 2. 3. The value of the last syllable is variable ; the long may stand for short, the short for long. (Syllaba Anceps, 14.) Remark. — Versification is a general term employed by grammarians to include Rhythm and Metre, i. e., both the harmonious movement of poetic measures, and its application to language. Prosody is a still more general term, for, while it means primarily the theory of elevation of tone (accen- tuation), it is commonly made to include Quantity and Versification, since Versification, in Latin, involves Quantity, and Quantity regulates accent. 12. Caesura (cutting) is the name of the pause that separates the series comprising a verse (10, Rem. 3) when a word ends icithin a foot. The caesura properly occurring between the arsis and thesis of a foot does not strictly coincide with the end of the first rhythmical sentence, for the thesis following the caesura belongs to that series. This thesis, however, is regarded as constituting an anacrustic be- ginning to the second series. Thus the two series are linked to- gether. The caesura is thus designated, |1 . ( || is used also to indicate the end of the verse.) The regular caesura, as above defined and illustrated, is called masculine caesura, in distinction from feminine, which is the end- ing of a word within the thesis ; thus — 16 LATIN VERSE. The caesura gives a better rhythmical effect and more vigor, preventing monotony, and is thus especially appropriate to recita- tive poetry. Remark. — "We may extend the term caesura to any case where a word ends within a measure, although such a use of the term is not strictly correct. 13. Diaeresis {separation) is the coincidence in the ending of a word and a measure, thus separating the series comprising the verse, and may be designated by the same symbol as caesura. Two diaereses may occur in a single verse, separating its com- ponent series. The last syllable before diaeresis cannot be a syllaba anceps (14), and hiatus (21, 1) at the diaeresis is very rare. 1 4. Stllaba Anceps is the name given to the last syllable of any verse, since it is of variable value. A long final syllable may have the value of a short, and vice versa. See 11, 3. 15. A Pause often occurs at the end of a verse to fill out the measure, when one or more syllables are wanting to complete the series. A pause of one mora is thus indicated, A ; of two morae, A • 16. Catalexis, — When a verse lacks a syllable at the end, it is called Catalectic ; when it lacks two syllables, it is called Brachy- catalectic. When the verse is complete, it is called Acatalectic. When the verse has a syllable in excess, it is called Hypercatalec- tic ; and an excess, in general, makes the verse Hypermetrical. The series in a Catalectic verse is filled out by a pause (15). A verse is Catalectic in syllaham if the incomplete final measure re- tains only one syllable ; in disyUabum if it retains two syllables, etc. The first of the two following verses is Acatalectic, the second Catalectic. Ho that only rules by tcn*or Doeth grievous wrong. Tennyson. -^|-w|- A il 17. The following verse from Horace (Od. I., 18) illustrates several definitions that have been given. LATIN VERSE. 17 N ullam, I Vare, sa 1 era | j vite pri | us [ [ severis | arbo | rem. ->l^^v.|l_|| — .v^|l_||-^^l-w|-All a b cfb cfb de a. See 7, 1. b. See 7, 1. c. See 5, 2 and 3. d. See U. e. See 15 and 16. f. See 13. In the second and fourth feet occur so-called caesurae, 12, Remark. (Illustration from Gildersleeve.) Eemark. — In comparing the rhythmical notation of the series above ■with the words of the verse, we see how the equality, which belongs to all the measures alike, is interfered with by the language of the verse. The typical foot is the Trochee (— ^\ which is seen to be unmodified in only one place, i. e., next to the last. But the first foot seems an undoubted Spondee, the second a Dactyl, the third incomplete, having but a single syllable, etc. Such feet the language seems to demand. But these would violate the rhythm, which requires equality in all. To secure this equality, resort is had to Irrational measures (a and b), to Syncope and Protraction (c), Syl- laba Anceps (d), Catalexis and Pause (e). Thus the syllables are equaUzed. Observe also that the verse is divided into three rhythmical sentencvS by diseresis. It is understood that a measure containing an anacrusis is only a pre- lude, and is never counted as full. All these methods are resorted to in music as well to equalize the bars. 18. 3Ietre. — This term has a double sense. 1. It denotes a given portion of a verse, taking its name from the char- acteristic foot. Thus we speak of Dactylic Metre, in which a single foot constitutes a Metre ; or Trochaic Metre, in which a Dipody constitutes a Metre, etc. (See Remark below.) Monometer denotes a verse made up of a single metre. Dimeter denotes a verse of two metres. In like manner we have Trimeter, Tetrameter, Pentameter, Hexameter. Remark.— Trochaic, Iambic, and Anapaestic series are measured by Dipodies. A Trochaic Dimeter, therefore, consists of four feet, etc. XoTE.— A verse is often named from the number of singrle feet contained in it; thus. Binarins, verse of two feet, as the Adonic; Ternarius. of three; Quaternarius. of four; Senarius, of six, as the Iambic Trimeter Acatalectic, or the Dactylic Hexameter; Septe- narius. of seven, as the Trochaic Tetrameter Catalectic; Octonarius, of eight, as the same Acatalectic. Still further, we have the following terms to denote rhythmical series of various length : Monopody, of one foot ; Dipody, of two ; so Tripody, Tetrapody, Pen- tapody, Hexapody. 18 LATIN VERSE. Again, the number of syllables sometimes gives a name to the verse; as Ennea- syllabus, a verse of nine syllables ; Decasyllabus, of ten ; Hendecasyllabus, of eleven. 2, The term Metre is also used of the verse, or system of yerses (i. e., stanza), which is defined by a name derived from the character of the sub- ject-matter, or from some celebrated poet, usually the inventor ; thus. Ele- giac Metre ; Heroic Metre (i. e., Dactylic Hexameter) ; Alcaic Metre (from Alcaeus); Sapphic (Sappho); Archilochian (Archilochus) ; Alcmanian (Alcman); Hipponacteon (Hipponax); Pherecratean (Pherecrates) ; Gly- conic (Glycon) ; Asclepiadean (Asclepiades). Again, a Metre containing only one kind of verse is termed Metrum Monocolum (one member) ; of two kinds of verses, Dicolum, etc. 1 9. A Stanza {a stop) consists of a group of two or more verses of the same or diiferent metres. The term Strophe {a turn) is also applied to such a group. System is perhaps a preferable term where the verses are the same. 1. A Distich [tivo rows) is a group of two verses recurring alternately ; as the Elegiac Distich (22, 4). A Tristich is a group or Strophe of three verses recurring in the same order. A Tetrastich is a group of four verses recurring in the same order. 2. The following (metra monocola) belong to the recitative type, and do not occur in Strophes : The Dactylic Hexameter (22, 1), the metre of epic, gnomic, and didactic poetry; the Trochaic Tetrameter (25); the Iambic Trimeter (24, 3), which is also used with other verses, forming Strophes of the lyric type ; the Choliambus (24, 4) ; the Priapean (28, 13 ; but see 31, 5) ; and the Galliambic (23, 3). 20. Scansion or Scanning (climMng, i. e., rhythmical reading) consists in dividing a verse into its component feet. To scan accu- rately, one requires an intimate acquaintance with the rules of Quantity and the principles of Versification. Remark. — A good metrical reader guards against running words to- gether, against letting metrical expression become singing, but preserves the sense and rhetorical character of the verse, is careful to keep the words intact, and to bring out the melody by observing the rhythmical accent or ictus. To scan correctly, observing the cautions noted, is often difficult ; for there is frequently conflict between the word-accent and the rhythmical accent or ictus, and the rhythm requires the observance of the latter. See also Elision and Ecthlipsis (21, 2). LATIN VERSE. 19 2 1 . Figures of Prosody. 1. Hiatus {gaping) is the concurrence of two vowels in separate sylla- bles. It may take place within a word, when the poet often resorts to contraction to avoid it, i. e., to Synaeresis or Synizesis (21, 3, 4) ; but Hiatus within a word is not unpleasant, and is generally not removed. (See Zumpt, § 11.) The term is usually restricted to the concurrence of final and initial vowels of separate words, when the effect is harsh, and is generally avoided by Elision. But see Exceptions under Elision. Hiatus at the end of a verse is allowed (11, 2). 2. Elision (bt-uising) is the partial suppression of a final vowel or diphthong, or of a final m with preceding vowel, when the next word be- gins with a vowel or h. Entire suppression would make the reading of the verse unintelligible ; Hiatus would make it prose. Entire suppression is allowed when the vowels are the same. felix una ante alias Priameia virgo. Verg. Should be read : felix un' ant* alias Priameia virgo. In the following. Elision occurs as indicated : Monstr°™ horrend"™ inform* ingcns. Verg. Note.— Final m and initial 7i were denied the dignity of consonants, for the first gave merely a slight nasal sound to the preceding vowel, and the latter is but a breathing, an aspiration. Compare the following from Milton : Nor aught avail' d him now T'have built in Heav'n high towers ; nor did he 'scape By all Ms engines. Observe that avail'd is not an illustration of syncopation, for we never pronounce the e. 1) Est (and sometimes es) often drops its e instead of rejecting a final vowel or m ; as, labor'st ; timendum'st, or timendumst ; and even simili's for similis es ; opust, dictust, for opus est, dictus est. 2) A final s preceded by a short vowel was suppressed, in early Latin, before a consonant ; final e in the interrogative enclitic -ne was sometimes dropped before a consonant. 3) Elision is also termed Synaloepha {blending)'^ or, at the end of a verse, SynaphTa {binding) ; the elision of m with preceding vowel, Ec- thlipsis {sqiieezing out). 4) Exceptions (see Hiatus, 21, 1).— The following do not suffer elision : (a.) Monosyllabic Interjections. 20 LATIN VERSE. (b.) Sometimes long vowels (including diphthongs) in the arsis of the measure; as — Stant et juniperi et castaneae hirsutae. Verg. Vergil permits this hiatus particularly in proper names, followed by a mark of punctuation, or when the concurrent vowels are the same. (c.) Sometimes a long final vowel (or diphthong) in the thesis, which is then shortened ; as — Credimus ? an qui amant ipsi sibi somnia fingunt ? Verg. (d.) Sometimes a short final vowel in the thesis, followed by a period, a caesura, or the same word repeated ; as — Et vera incessu patuit dea. Ille ubi matrem. Verg. (e.) Ae final before a short vowel is rarely elided; nor are the mono- syllables do, dem, spe, spem, sim, sio, stem, qui (plural), (f.) Nor an Iambic word in Dactylic verse. 3. Synaer£sis {taking together) is the contraction of two vowels into one ; as : cogo for co-igo ; nemo for ne-hemo. This term is often used for Synizesis (21, 4) ; and the contraction of two vowels into a long vowel is often called Crasis ; as : nil for nihil ; di for dii. 4. Synizesis {settling together) is the combination of two syllables into one. It is the opposite of Diaeresis (5); as: delnde, deinceps, aurea, de(h)inc, glSsdem, deesse, deerit, anteire, antelt, udem, dn, etc. 1) Hardening is a variety of Synizesis, and is the consonantal use of the semi-consonants i and u ; as, vindemjator for vindemiator ; parjetibus for parietibus ; pitvita for pituita ; tenvia for tenuia. / and w, thus used, make position with another consonant for a preceding vowel. 5. Diaeresis {separation) is the separation of one vowel-sound into two; as, Orpheus for Orpheus. Diaeresis, as applied to verse, is defined in 13. 1) Dialysis {a dissolving) is a variety of Diaeresis, and is the vowel use of the semi-vowels j and v ; as, Troia for Troja ; silua for silva. 6. Syncope {striking together) is the omission of a short vowel or sylla- ble ; as, prendo for prehendo ; surpuit for surripuit. Syncope, as applied to verse, is defined in 5, 3. Y. Diastole {extension) is the lengthening of a short syllable. Such a lengthening takes place for various reasons. 1) Syllables originally long are restored to their original quantity in the arsis ; as — Angulu& ridet, ubi non Hymctto. Ilor. Note.— The enclitic -que is also sometimes treated as long in the arsis; as, SideraquS ventique nocent avidaeque volucres. Ov. LATIN VERSE. 21 2) The necessities of the verse lengthen syllables, especially in proper names ; as, Priamides for Priamides, since the latter could not be used in Dactylic verse. 3) A pause sometimes gives a short syllable the effect of a long ; as — Tempera mutantur — et nos mutamur in illis. Verg. 8. Systole {contraction) is the shortening of a syllable that is regularly long; as, hodie for hoc die; viden for videsne. Systole sometimes — 1) Restores syllables to their original quantity ; as, tulerunt, steterunt, for tulerunt, steterunt. 2) Shortens syllables from the necessities of the verse ; as, alterius for alterlus, since the latter could not stand in Dactylic verse. 3) Shortens, in early poetry, many syllables long by position ; as, iille, iste, iinde. See 39, 3. 9. Tmesis {cutting) is the intervening of one or more words between the parts of a compound word ; as, inque ligatus for illigatusque. Ennius went so far as to write, sa^xo cere comminuit brum, for saxo cerebrum comminuit. 22. Dactylic Metres. 1. Dactylic Hexameter {Heroic Verse). — See 19, 2. This verse is a compound, consisting of two Dactylic Tripodies, the last measure being a Spondee (properly, a heavy DactylX the fifth usually a Dactyl, while any of the first four may be Dactyl or Spondee (i. e., light or heavy Dactyl) ; thus — Nee requievit enim, donee Chalcante ministro. Verg. A Spondee is sometimes found in the fifth foot, in which case the verse is called spondaic, and the fourth foot then is almost always a Dactyl. There are but few spondaic verses in Vergil. 1) Variety in the character of the measures gives the best effect. The frequent use of Dactyls imparts vivacity and rapidity of movement to the verse ; while Spondees, having a slower movement, are best adapted to the conversational tone or to grave subjects ; as : Quadi-upc 1 dantc pu | trem ] ] soni | tu quatit | ungula | campum. Verg. Portam ] vi mul | ta I| con | verso | cardine | torquet. Id. 2) A verse rarely ends with a single monosyllable (except est), but may 80 end, usually for effect, as for surprise or humor ; thus — Procubuit viridiquc in litorc con?picitur — sus. Verg. Parturiunt montcs, 1 1 nascetur ridiculus— mus. Eor. 22 LATIN VERSE. 3) The liberty of constituting the measures of Dactyls or of Spondees makes possible a great variety of verses in the Hexameter. This, with the large number of caesurae, finely adapt the Hexameter for continuous composition, as, for example, a long epic. 4) The rhythmical accent (ictus) generally coincides with the word-ac- cent in the fifth and sixth feet, infrequently in the third, sometimes in the other feet. The prominent ictus are in the first foot and usually in the fourth. 5) Hypermetrical verses occur in Ennius and Vergil, whose extra syl- lable is elided. See Synaphia, 21, 2, 3). Such extra syllables add empha- sis, or denote that the interest of the writer has carried him beyond the bounds of his verse, or that he breaks off suddenly, leaving something unsaid. 2. Caesura (12). — There is a principal caesura in the Hexameter ; and this, in the best-constructed verses, coincides with a pause in the sense. The most common place, as well as the most natural, is after the arsis of the third foot. See the verses above quoted. For the definition and illustration of the masculine and the feminine caesura, see 12 ; also for the effect of the caesura and extension of the term. 1) The principal caesura sometimes falls in the fourth foot, when an- other, slighter, usually occurs in the second. 2) Diaeresis (13) after the third foot is carefully avoided, for the verse, being constituted of two Tripodies, would thus be separated into halves. "When diaeresis occurs at the end of the fourth foot, it is termed Bucolic, from its frequency in Greek (not in Latin) pastoral poetry ; thus : Prosequitur pavitans, 1 1 et ficto 1 1 pcctore fatur. Verg. 3) The Roman poets were very careful to observe caesural pauses, be- cause their effect in recitative poetry was greatly to embellish the verse. Remark, — The Dactylic Hexameter was used by Homer in his great compositions. Ennius, in imitation of Homer, first introduced it into Latin. It required time for the Romans to perfect it. Lucretius, in his great didactic poem, improved the metre, although hampered by a prosaic subject. Vergil and Ovid brought it to its highest perfection, producing verses of wonderful beauty and finish. From its possible variety it is especially adapted to the lengthy epic, but is also adapted to didactic poetry, and, as Horace illustrates, to satiric and epistolary composition. The classical metres have not been imitated very much in English. With the Hexameter we may compare particularly the Evangeline of Longfellow and the Andromeda of Kingsley, which are among the best English compositions in that metre. LATIN VERSE. 23 The following is from the Courtship of Miles Standish : Must I relinquish it all — the joy, the hope, the illusion ? Was it for this I have loved and waited and worshipped in silence? Was it for this I have followed the flying feet and the shadow Over the wintry sea, to the desolate shores of New England? 3. Elegiac Yerse. This consists of two Dactylic Penthemimers (6, 3), or Catalectic Trime- ters, separated by diaeresis. The third measure (the last of the first series) is syncopated and protracted (5, 3 and 2), and is equivalent to a full measure. It should be thus indicated, LJ . The sixth foot (the last of the second series) is long (sometimes irrationally long), and is synco- pated. Here we may write either LJ , or ^ /\ . Either of the first two measures of the first series may consist of Dac- tyl or Spondee ; no substitutions are allowed in the Dactyls of the second series ; thus — _ This verse is sometimes incorrectly called the Pentameter, from the ancient mode of dividing its feet ; thus — -c3e;|-cx^|--|---I--^ll 4. Elegiac Stanza. This is a Distich (19, 1), consisting of the Dactylic Hexameter followed by the Elegiac Hexameter (22, 3) ; thus — Dyspari Priamide, ] | damno formose tuorum Tarn sis hostis iners, H quam mains hospes eras. Ovid. 1) The Elegiac Stanza is used in mournful, sentimental, and even epis- tolary poetry. Ovid gave it its highest polish. Each Distich should have its own sense complete. 5. Dactylic Tetrameter. This is identical with the last four measures of the Hexameter. The Dactylic Hexameter, followed by the Tetrameter, constitutes the Alcmanian Stanza (29, 9). The Tetrameter, followed by a Trochaic Tripody, in one verse, con- stitutes the Greater Archilochian verse (28, 11). When so used its fourth foot is always a Dactyl, and the Dactyls are doubtless cyclic (T, 1). 6. Dactylic Trimeter Catalectic in Syllabam. This is a Dactylic Penthemimer, and is identical with the second series of the Elegiac verse (22, 3). It is also called the Lesser Archilochian verse, and is used in the Dactylic (or First) Archilochian Strophe (29, 10). *J. Dactylic Dimeter is logaoedic. See 27. 24 LATIN VERSE. 23. Ionic Metres. 1. Stanzas formed of verses consisting of lonicus a minori feet occur in Horace, Od. III., 12 (in imitation of Alcaeus). Editors have arranged these verses into Stanzas in four different methods ; thus, (1) as a Metrum Monocolum (18, 2), each verse consisting of four measures; (2) in stanzas of three verses, viz., the first and second verses, Tetrapodies, the third a Dipody ; (3) in stanzas of four verses, viz., two Dipodies followed by two Tripodies ; (4) in stanzas of four verses, viz., two Dipodies, one Tetrapody, and one Dipody. See 29, xix. 2. The lonicus a majori occurs in a Tetrameter Brachycatalectic verse, called Sotadean, from the poet Sotades. A Ditrochee is often substituted in the third measure. See Anaclasis (T, 2, S) ). The Sotadean was used by Terentianus Maurus. 3. Galliambic Metre. This is an enthusiastic metre used in poems sung to Cybele by her priests ; in Latin found only in a single poem of Catullus (Ixiii). The measure is the lonicus a minori, with the following scheme : wv^ [v-yw |ww [wv^— A II, or anacrustic, The anacrustic form is the best for an explanation of resolutions. Dichorees may be substituted (see 7, 2, 3) ) for the first and third feet after the anacrusis ; thus — These Ditrochees may be still further resolved ; thus — — >^| ||v-^V^I v^v-yv-yv-zl LJ A II v^ v^ • <^^ V.^" \-J "w/V Ubi capita Maenad es vi j] jaciunt hederigerae. Note. — The Galliambic is also explained as consisting^ of two Anacreontic (i. e., Iam- bic with Anapaest in the first foot) Dimeters, of which the first is catalectic, the second brachycatalectic. The normal scheme would then be, v_y\_/ — |"~^ — 1^^ — I — jv.^'v^ — |v^'w'v.^|v_>' — II The term Galliambic comes from the designation of the priests of Cybele — i. e., Galli. Catullus's poem has a weird character. See 31, 12. 24. Iambic Metre. 1. Iambic Tetrameter Acatalectic (Octonarius). This is composed of two Dimeter verses. Often the determining marks of the close of a verse, viz., Hiatus and Syllaba Anceps, occur at the end of the first Dimeter. The scheme is as follows : LATIN VERSE. 25 The Octonarius is used in lively dialogue, as is the next metre, the Septenarius. The comic poets write Spondees, Dactyls, and Cyclic Ana- paests in any foot but the last. 2. Same, Catalectic (Septenarius). In this compound verse the second Dimeter is catalectic. Diaeresis occurs after the first Dimeter ; also hiatus and syllaba anceps. ty -^ -^ — {"^ — ^ — Wt' — ^ — \ ■^ — ^\\ y ov anacrustic, >:^^_>. |^^_1|>|^^_^|l-AII 3. Iambic Tkimeter (or Senarius). This consists of six Iambi (Hexapody) taken by Dipodies, and is the verse most used in dramatic dialogue. ^ — v_/— 1^ — v_x— 1^ — v^^lljOr anacrustic, Parentis olim si quia impia manu. Hor. 1) Substitutions. — The irrational Spondee or the cyclic Dactyl may stand in the place of the first Iambus of either pair ; a cyclic Anapaest for the first and fifth ; a Tribrach anywhere except for the last. Substitutions were freely made by the comic poets in any foot but the last. Anapaests used for Iambi have the ictus on the last syllable, Dactyls and Tribrachs on the second. A diaeresis rarely occurs in the middle of the verse. Note. — The principal caesura usually falls in the middle of the third foot, sometimes in the middle of the fourth. 4. Iambic Scazon {halting Iambic), called also Choliambus and Hippo- nactean. This is an Iambic Trimeter Acatalectic, but it reverses the rhythm at the close by substituting a Trochee (or Spondee) for the last Iambus, the fifth foot always being an Iambus ; thus, >_^_|>_^_|^ ^„, or with anacrusis, protraction, and syncope, > :_^_> |_^ 1L--^|| O quid solutis est beatius curis ? Catull. 1) Subsiiluiions. — A Spondee, cyclic Anapaest, or Dactyl may stand in the first or third foot, a Tribrach in the second, third, or fourth. 5. Iambic Trimeter Catalectic. Is used only with other verses. A Spondee may stand in the first or the third foot. "When written with anacrusis, protraction, and syncope, thus— b : -v.-> l-w-^lL-^ All Trahuntque siccas machinae carinas. Sbr. On purple peaks a deeper shade descending. Scott. 2 26 LATIN VER8E. 6. Iambic Dimeter. or—^ — ol— ^— All Aptantur enses conditi. Hor. Admits a Spondee or cyclic Dactyl in the first foot, a Tribrach in the second, a Spondee in the third. Occurs as catalectic and as brachycatalcc- tic. Alternating with the Iambic Trimeter it forms the Iambic Strophe (29, 15). 25. Trochaic Metres. 1. Trochaic Tetrameter Acatalectic (Octonarius). Is composed of two Dimeters, separated by diaeresis. — w — c; I — ^ — v:/li — ^ — o I — ^ — wll In the following lines — " Straight mine eye hath caught new pleasures While the landscape round it measures," the two verses correspond to the Octonarius with its two Dimeters. 1) Substitutions. — The Spondee may stand in any foot, a cyclic Dactyl, Anapaest, or a Tribrach in any but the last. The verse occurs in Plautus and in Terence. 2. Trochaic Tetrameter Catalectic (Septenarius). Is composed as the last (the second Dimeter being catalectic), with diaeresis and frequently hiatus. Extra unum Palaestrionem, hue deturbatote in viam. Plant, Guide me, thou great Jehovah, Pilgrim through this barren land. Oliver, This verse is frequently found in the comic poets. Same substitutions as in the Octonarius. 8. Trochaic Dimeter, with Anacrusis (Alcaic Enneasyllable). Silvae laborantes, geluque. Hor. This verse is Logaoedic (27). 4. Trochaic Dimeter Catalectic. — v^ — v-^l — w — II In sinu ferens deos. Hor. Used only with other verses. 5. Trochaic Dimeter Brachycatalectic, or Tripody (Ithyphallic). -w|-^|-w|| Veris et Favoni. Hor. A part of the Logaoedic, or Greater, Archilochian (22, 6, and 28, 11). LATIN VERSE. 27 26. 1- Iambelegcs. Is a mixed metre, and consists of an Iambic Dimeter, and a Dactylic Penthemimer, or Lesser Archilochian. Ecducet in sedem vice. 1 1 Nunc et Achaemenio. Har. Diaeresis separates the series, which are sometimes written as separate verses. 2. Elegiambus. Is the same as the last, with the order of the series reversed, 27. Logaoedics. 1. Logaoedics are Trochaic metres, in which the stress of voice (ictus) in the thesis is stronger than in the ordinary Trochee, and the measures, of various forms, have the time-value of the Trochee. The term Logaoedic means prose-song {\6yQSy ooiStj), and arises from the apparently irregular interchange, in this kind of verse, of different forms of measures, which made the rhythm seem prosaic. These equivalent measures are the irra- tional Spondee, — > , the cyclic Dactyl, — ^ v^, and the syncopated Tro- chee, L_. 2. The Logaoedic forms in Latin verse are the Dipody, the Tripody, the Tetrapody, and the Pentapody. The last is often regarded as a com- pound. These all, except the last, may be Acatalectic or Catalectic. Dipody. See Adonic, 28, 1. Tripodies. Logaoedic Tripodies are called PherecratCan. They are two in number, and are termed first or second, according as the Dactyl stands in the first or second measure. The second Pherecratean has a Basis (9, 2). 1) First Pherecratean. — ,^|_^|__[|,or-^^|-w|^AII 2) Second Pherecratean. ->|-.^w|-^||,or->l-^w|^All The Acatalectic forms may have been made equal to a Tetrapody : -> I---IL. I^AII Note. — The first measure of the Second Pherecratean is always a Spondee in Horaca and Catullus. Hence it is thus represented, ^ , Tetrapodies. Logaoedic Tetrapodies are called Glyconic. They are three in num- ber, and are termed first, second, or third, according as the Dactyl stands in the first, second, or third measure. 28 LATIN VERSE. 1) First Glyconic. 2) Second Glyconic. ->l-^^|-w|-oll,or->l — .v-l-v^l^All 3) Third Glyconic. -^|->|-^v^l-oli,or-v.|->|-v-.w|^VII Remark. — The Logaoedic metres are often termed Choriambic ; and a Choriambus does seem to occur in the fundamental forms. For example, the Catalectic Adonic, —^ ^-^ | — A II > seems like — w ^ — . The best scholars, however, teach that genuine Choriambi are not found in Latin verse, and that these forms are to be regarded as Logaoedic. 28. Verses 1-11 in the following list occur in Horace ; verses 3, 4, 6, 7, 12, 13, are found in Catullus. 1. Adonic (from a poem of Sappho addressed to Adonis). — -|-c?ll Carmina vestam. Hor. Note. — As written in the Greater Asclepiadean, the Adonic is catalectic; thus, -.^ w I L_ II . (38, 6.) 2. Aristophanic, or First PherecratjBan. — .^|_^|__||^or — .^|-w|l_|^AII Lydia die, per omnes. Hor. 3. Second PnERECRATgAN. ->|----|-oII,or->|_^^|L_|^AII Grate, Pyn-ha, sub antro. Eor. 4. Second Glyconic Catalectic (Anacreontic Octosyllable). ->|---|--|^Ail Navis quae tibi creditum. Eor. Note.— Some regard the second form of the Second PherecratSan given above (8) as a syncopated or falling Second Glyconic Catalectic. 5. Lesser Asclepiadean. Second and First PherecratSan,^both catalectic, with diaeresis. ->|-wv^|i_!|-^v^|-v^|^AII Sublimi fcriam || sidera vertice. Hor. 6. Greater Asclepiadean. Constructed the same as the last, except that a Catalectic Adonic is interposed. There are diaereses where the series unite. LATIN VERSE. 29 ->I-^v^Ii_||-^^Il_||^w|-v^|^A|| Quae nunc oppositis 1 1 debilitat 1 1 pumicibus mare. Eor. 7. Lessf.u Sapphic. Pentapody with Dactyl third. (Some say, a double basis with First Pherecratean ; but see 9, 2 ) In Horace the second foot is always irra- tional, in Catullus not always. Auream quisquis mediocrltatem. Eor. Seu Sacas sagittiferosque Parthos. Catull. 8. Greater Sapphic. Third Glyconic Catalectic and First Pherecratean. See above, 4, Note. -w|->|-^wl L- 11-^^1-^1 I- loAII Saepe trans finem jaculo |1 nobilis expedite. Ror. 9. Lesser Alcaic (Alcaic Decasyllabic). Et mulicr peregrina vertit. Eor. 10. Greater Alcaic (Alcaic Hendecasyllable). A Catalectic Logaoedic Pentapody, with anacrusis, Dactyl third. (Others, a double basis with anacrusis followed by a Catalectic First Pherecratean.) Hac arte Pollux et vagus Hercules. Eor. 11. Greater Archilochian. Dactylic Tetrameter + Trochaic Tripody (25, 5). A Spondee may stand for either of the first three Dactyls. Diaeresis between the series. —3^ I —3^ I — J^ I —^ ^ II — ^ I — ^ I — o II or better, perhaps, _> I _Jt I _?L I — -I1-- I -- I ^ I ^ A II Ac neque jam stabulis gaudet pecus ' ! aut arator igni. Eor. 12. Phalaecian (Hendecasvllable). Logaoedic Pentapody, Dactyl second. The first foot, — ^, is a Tro- chee, — v-x, a Spondee, — >, or even an Iambus, w — . Catullus has in one poem (Iv.) a Spondee, — > , for the cyclic Dactyl. Martial always employs a Spondee in the first foot. (--) (-» Passer, dellciae meae puellae. Catull. 30 LATIK VERSE. 13. PriapEan. A Catalectic Second Glyconic and a Second Pherecratgan. See abore, 3 and 4, Note. -b|-^w|-w|i_l|->|^^|i_|i=.AII Crura ponticuli assulis || stantia in redivivis. Catull. 29. Lyric Metres of Horace. The Lyric Metres of Horace are nineteen in number, as follows : 1. Alcaic Stanza (called also Horatian). In thirty-seven Odes. Four verses. 1), 2) b :• - ^ I - > I -^ w I - .^ I ^ A II , Greater Alcaic, 28, 10. 3) o : — ^ — ol— ^ — vii^ll, Trochaic Dimeter, with Anacrusis, 25,3. 4) ^^w|-N^v^|— w|— ;3||, Lesser Alcaic, 28, 9. Vides, ut alta stet nive candidum Soracte, nee jam sustineant onus Silvse laborantes, geluque Flumina constiterint acuto. Od. /., 9. 2. Lesser Sapphic Stanza. In twenty-five Odes and Carmen Seculare. Four verses. 1), 2), 3) — ^ I - > I -^ w I - v^ I - ^ II , Lesser Sapphic, 28, 7. 4) -^^\-^\\, Adonic, 28, 1. Nullus argento color est avaris Abdito terris, inimicc lamnse Crispe Sallusti, nisi temperato Splendeat usu. Od. JL, 2. 3. Greater Sapphic Stanza. In one Ode. Four verses. 1), 3) -^ w I - v^ I L_ I ^ A II , Aristophanic, 28, 2. 2), 4) - ^ I - > I — . ^ I L_ II — . v^ I - w I »- I c; A II , Greater Sapphic, 28, 8. Lydia, die, per omnes Te Decs oro, Sybarin cur properas amando Perdere ? cur apricum Oderit campum, patiens pulveris atquc solis? Od. J., 8. 4. Lesser or First Asclepiad6an Stanza. In three Odes. Four verses. MonocGlum, 18, 2. — > I — v^ ^_/ I L_- II —^ v^ I — ^ I ^ A II , Lesser Asclepiadean, 28, 5. Sunt quos curriculo pulverem Olympicum Collegisse juvat : metaque fervidis Evitata rotis palmaque nobilis Terrarum dominos evehit ad Decs. Od. /., 1. LATIN VERSE. 31 6. Intrrchanging or Second AsclepiadEan Stanza. In twelve Odes. Four verses. 1), 3) - > I — ex v^ I - w I i=^ A II » Second Glyeonic Catalectic, 28, 4. 2), 4) — > I — v_/ s^ I L_ II — ^ w I — w { ^ A II , Lesser Asclepiadean, 28, 5. Donee gratus eram tibi, Ncc quisquam potior brachia candidse Ccrvici juvenis dabat : Persarum vigui rege beatior. Od. III.^ 9. 6. AsclepiadEan Glyconic or Third AsclepiadEan Stanza. In nine Odes. Four Verses. 1), 2), 3) - > I — , .^ I L_ II -^ v^ I - w I ^ A 11 , Lesser Asclepia- dean, 28, 5. 4)->|^.w|-v^[5=^AII, Second Glyconic Catalectic, 28, 4. Jam Yeris comites, quae mare tempcrant, Impellunt animse lintea Thraciae : Jam nee prata rlgent, nee fluvii strcpunt Hibema nive turgidi. Od. /F., 12. Y. Contrasted or Fourth AsclepiadEan Stanza. In seven Odes. Four verses. 1), 2) - > I -v^ .^ I L. II -^ v^ I _ ^ I i- A II , Lesser Asclepiadean, 28,5. 3)-> |-v^w|l_ I^AII, Second Pherecratean, 28, 3. 4)->|-^w|-^^|^AIi, Second Glyconic Catalectic, 28, 4. Quis multa gracilis te puer in rosa Perfusas liquidia urguet odoribus Grate, Pyrrha, sub antro ? Cui flavara rcligas comam. Od. /., 5. 8. Greater or Fifth AsclepiadEan Stanza. In three Odes. Four verses. Monocolum, 18, 2. -> |^^v^|l_ ||^^v^|L_ ll^^^l-v-I^AII, Greater Ascle- piadean, 28, 6. Tu ne quissieris, scire nefas, quem mihi, quom tibi Finem Di dederint, Leuconoe ; nee Babylonios Tentaris numeros. Ut melius, quidquid erit, pati ! Seu plures hiemes, sou tribuit Jupiter ultimam. Od. /., 11. 9. Alcmanian Stanza. In two Odes. Four verses. Properly, two verses to a stanza, as in Epode 12, Here doubled. 32 LATIN VERSE. 1), 3) - oo I - oo I - oo I - cx^ I - 'Cr^ I - - II , Dactylic Hexa- meter, 22, 1. 2)j 4) — oc; I — ow I - oo I - - II , Dactylic Tetrameter, 22, 5. Lauclabunt alii claram Ehodon, aut Mitylenen, Aut Epheson, bimarisve Corinthi Mceuia, vel Baccho Thebas, vel Apolline Delphos Insignes, aut Thessala Tempe. Od. /., 7. Same. In Epode XII, Two verses. (Alcmanian proper.) 10. Dactylic or First Archilochian Stanza. In one Ode. Four verses. 1), 3) - oo I - cpo 1 - cpo I - oo I - ^ I - - II , Dactylic Hexa- meter, 22, 1. 2)j 4) — w w I — w w I ^ A II , Lesser Archilochian, 22, 6, Diftugere nives : redeunt jam gramina campis, Arboribusque comse : Mutat terra vices : et decrescentia ripas Flumina pratereunt. Od. JV., 7. 11. Second Archilochian Stanza. In one Epode. Two verses. Sometimes the second verse is divided, thus making stanzas of three verses. 1) — oo|— Ow| — ool — CT^I- ^^ 1 — — II J Dactylic Hexa- meter, 22, 1. 2) >-^-|^-^^-||-^-^I-^^|-AII, lambelegus, 2S, 1. Illic omne malum vino cantuque levato, Deformis segriraoniae dulcibus alloquiis. Fpode XIII. Note. — Observe that this stanza differs from the half-stanza of the Dactylic, or First Archilochian, only by prefixing an Iambic Dimeter to the second verse of the latter. 12. Third Archilochian Stanza. In one Epode. Two verses. Sometimes the second verse is divided, thus making stanzas of three verses. 1) >— ^_|>— v_,_|>— w^ll, Iambic Trimeter, 24, 3. 2) -w.^I-v^^|^||>:,-v^-|2:,-w^||, Elegiambus, 26, 2. Ubi hacc severus tc palam laudaveram, Jussus abire domum, ferebar incerto pcde. Epode XL Note. — Observe that this stanza differs from the Iambic Stanza (15) only by prefixing a Lesser Archilochian to the second verse of the latter. 13. LoGAOEDic or Fourth Archilochian Stanza. In one Ode. Four verses. 1),3)-^|-— l-ool-v^wl-^l-^lL-l-AII, Greater Archilochian, 28, 11. LATm VERSE. 33 2), 4) b — w— 1^ — v-^— I v-- — oA II , Iambic Trimeter Catalectic, 24, 6. Or, 2), 4) > : - .-. - ^ I - w - ^ I i_ - A II . Solvitur acris hiems grata vice veris et Favoni, Trahuntque siccas macliinae carinas ; Ac neque jam stabulis gaudet pecus, aut arator igni ; Ncc prata canis albicant pruinis. Od. /., 4. 14. Iambic Trimeter, 24, 3. In one Epode. Metrum MonocOlum, 18, 2. Not grouped in stanzas. >_^_|>_^_|>_^^]|,or> i -^_> |_^_> I_^^Al|. Per atque libros canninum valentium. Epode XVII. 15. Iambic Stanza. In ten Epodes, I.-X. Two verses. 1) >_^_|>_^_|>_^i=^||, Iambic Trimeter, 24, 3. May be written with Anacrusis. 2) w — s^— 1^ — w — ||,or anacrustic. Iambic Dimeter, 24, 6. Lupis et agnis quanta sortito obtigit, Tecum mihi discordia est. Epode IV. Note. — Compare the TTiird Archilochian Stanza, 12, and Note. 16. First Pythiambic Stanza. In two Epodes, XIY., XV. Two verses. 1) — cKu I — o;::? I — 00 I — 00 I —^-^ I — — II , Dactylic Hexameter, 22, 1. 2) ?:— ^— 1^ — ^-' — II, Iambic Dimeter, 24, 6. Mollis inertia cur tantam diflFuderit imis Oblivionem sensibus. Epode XIV. 17. Second Pythiambic Stanza. In one Epode. Two verses. 1) — 00 I — crc; I — 00 I — 00 1 — ^ ^ 1 — — II 5 Dactylic Hexameter, 22, 1. 2) >_^_|>_^_]>_w^||, Iambic Trimeter, 24, 3. Altera jam teritur bellis civilibus setas, Suis et ipsa Roma viribus mit. Epode XVI. 18. HiPPONACTfiAN Stanza (Trochaic Stanza). In one Ode. Four verses. 1), 3) — v^ — v^|— v^^^All, Trochaic Dimeter Catalectic, 25, 4. 2)^ 4) 2:/ — ^— 1^ — >-/— |v^ — vi^AII, Iambic Trimeter Catalectic, ""•i ^" Non ebur neque aureum Mea renidet in domo lacunar : Kon trabes Hj-mettiae Premunt columnas ultima recisaS. Od. II.., 18. ^ LATIN VERSE. 19. Ionic Stanza. In one Ode. Four verses. See 23, 1, 4). Many prefer 23, 1, 3). 1), 2), 4) w ^ I w v^ il , Ionic Dipody. 3) wv-/ l^v^ |ww |ww II, Ionic Tetrapody. Miserarum est neque amori Dare ludum, neque dulci Mala vino laverc, aut exanimari metuentca Fatruae verbera linguae. Od. III.^ 12. 30. Index to the Ltkic Metres op Horace. Lib. I. 1. Maecenas atavis : 4. 20. Vile potabis : 2. 2. Jam satis terris : 2. 21. Dianam tenerae : 7. 3. Sic te diva : 5. 22. Integer vitae : 2. 4. Solvitur acris hiems : 13. 23. Vitas binnuleo : 7. 5. Quis multa : 7. 24. Quis desiderio : 6. 6. Scriberis Vario : 6. 25. Parcius junctas : 2. 7. Laudabunt alii : 9. 26. Musis amicus : 1. 8. Lydia die : 3. 27. Natis in usum : 1. 9. Vides ut alta: 1. 28. Te maris : 9. 10. Mercuri facunde nepos : 2. 29. Icci bcatis : 1. 11. Tu ne quaesieris : 8. SO. Venus : 2. 12. Quem virum : 2. 31. Quid dedicatum : 1. 13. Cum tu Lydia : 5. 32. Poscimur: 2. 14. navis : 7. 33. Albi ne doleas: 6. 15. Pastor cum traheret : 6. 34. Parens deorum : 1. 16. matre pulchra : 1. 35. diva : 1. 17. Velox amoenum : 1. 36. Et thure : 5. 18. NuUam Vare : 8. 37. Nunc est bibendum : 19. Mater saeva : 5. 38. Persicos odi : 2. Lib. n. 1. Motum ex Metello : 1. 2. NuUus argento : 2. 3. Aequam memento : 1. 4. Ne sit ancillae : 2. 5. Nondum subacta: 1. 6. Septimi Gades : 2. 7. O saepe mecum : 1. 8. Xllla si juris : 2. 9. Non semper imbres : 1. 10. Eectius vives : 2. ' 11. Quid bellicosus : 1. 12. Nolis longa : 6. 13. Ille et nefasto : 1. 14. Eheufugaccs: 1. 15. Jam pauca: 1. 16. Otium divos : 1. 17. Cur me querelis : 1. 18. Non ebur: 18. 19. Bacchum in remotis : 1. 20. Non usitata : 1. LATIN VERSE. 85 Lib. III. 1. Odi profanum : 1. 2. Angustam amice : 1. 3. Justum et tcnacem : 1. 4. Descende caclo : 1. 5. Caelo tonantem : 1. 6. Delicta majorum: 1. 7. Qmd lies : 7. 8. Martiis caelebs : 2. 9. Donee gratus : 5. 10. Extremum Tanain : 6. 11. Mercuri nam te : 2. 12. Miseranun est : 19. 13. fons Bandusiae : 7. 14. Herculis ritu : 2. 15. Uxor paupei-is : 5. 16. Inclusam Danaen : 6. 17. Aeli vetusto: 1. 18. Faune nymphanim : 2 19. Quantum distct : 5. 20. Non vidcs : 2. 21. Onatamecum: 1. 22. Montium custos : 2. 23. Caelo supinas : 1. 24. Intactis opulentior : 5, 25. Quo me Baccbe : 5. 26. Yixi puellis : 1. 27. Impios parrac : 2. 28. Festo quid : 5. 29. Tyrrhena regum : 1. 30. Exegi monumentum : Lib. IV. 1. Intermi?3a Venus : 5. 2. Pindarum quisquis : 2. 3. Quern tu Melpomene : 5. 4. Qualem ministrum : 1. 5. DivLs orte bonus : 6. 6. Dive quern proles : 2. 7. Diffugerere nivcs : 10. 8. Donarem patents : 4. 1. Ibis libumis : 15. 2. Beatus ille : 15. 3. Parentis olim : 15. 4. Lupis et agnis : 15. 5. At deorum : 15. 6. Quid immerentes : 15. 7. Quo quo scelesti : 15. 8. Kogare longo : 15. 9. Quando repostum : 15. 9. Ne forte credas : 1. 10. crudelis adhuc : 8. 11. Est mibi nonum : 2. 12. Jam vcris comites : 6. 13. Audivere Lyce : 7. ' 14. Qua cura patrum : 1. 15. Phoebus volentem : 1. Ca'rmen, Saeculare : 2. Epodes. 10. Mala soluta : 15. 11. Pecti nihil : 12. 12. Quid tibi \is: 9. 13. Horrida tempestas : 11. 14. Mollis inertia: 16. 15. Nox erat : 16. 16. Altera jam: 17. 17. Jam jam efficaci : 14. 3 1 . Metres of Catullus. The Metres of Catullus are twelve in number, as follows : 1. Lesser Sapphic Stanza. In two Carmina, XL, LI. Identical with the same in Horace, 29, 2, except that the second foot 36 LATIN VERSE. Nee meum respectet, ut ante, amorem, Qui illius culpa cecidit, velut prati Ultimi flos, praetereunte postquam Tactus aratro est. Carm. XL 2. Greater or Fifth AsclepiadEan Stanza. In one Carmen. Identical with the same in Horace, 29, 8, except that diaeresis between the series is not strictly observed as in Horace. See note below. Alfene inmemor atque unanimis false sodalibus, Jam te nil miserct, dure, tui dulcis amiculi ? Jam me prodere, jam non dubitas fallere, perfide ? Nee facta impia fallacum hominum caelicolis placent. Carm. XXX. Note. — Observe that in the last verse above the first diaeresis would fall after the syl- lable/a^- in fallacam. Horace carefully avoids such defects. 3. First Glyconic Stanza (only in Catullus). In one Carmen. Four verses. 1)^ 2), 3) — ^ I -.^^ I — v-^ I ^ A II , Second Glyconic Catalectic, 28, 4. 4) — ^ I — v-/ ^ I — w !| , Second Pherecratean, 28, 3. Sis quocunque tibi placet Sancta nomine, Eomulique, Antique ut solita es, bona Sospites ope gentem. Carm. XXXIV. Note. — Catullus usually employs a Trochee, sometimes an Iambus, in the first meas- nre of the Second Glyconic, while Horace has nearly always a Spondee. In the Second Pherecratean, Catullus employs an Iambus sometimes in the first measure and a Trochee in the last. Horace has generally a Spondee last. 4. Second Glyconic Stanza (only in Catullus). In one Carmen. Five verses. 1), 2), 3), 4) Second Glyconic Catalectic; 5) Second PherccratSan. See preceding stanza, 3. Collis Heliconii Cultor, Uraniae genus, Qui rapis teneram ad virum Virginem, Hymenaee Hymen, Hymen Hymenaee. Carm. LXI. Note.— In this etanza, Catullus never uses the Iambus at the beginning of a verse, as he sometimes does in the last, 3. 5. PriapBan, 28, 13. In one Carmen. Metrum Monocolum. (Or, stanza of two verses, if the series be regarded as separate verses.) -b| — .w|-v^[l-JI-b| — ,x^|l-Ii«iAII Munus hoc mihi maximi ] | da, Colonia, risus. Carm. XVII. LATIN VERSE. 37 Note.— It is rare to find in Asynartete verses (11) the syncopated syllable that ends the first series, short. There are one or two instances of this in Catullus' Priapean. MoreoTer, there are two or three verses in which an elided syllable breaks over the diae- resis. To illustrate : Insulsissimus est homo, II nee sapit pueri instar, Ne supinus eat cava || que in palude recumbat. 6. Phalaecian (Ilendecasyllable), 28, 12. In forty Carmina. Metrum MonocOlum. Not grouped in stanzas. ->| -wl-wl-^l-oll, Lugetc, Veneres Cupidinesque. Carm. III. Note.— See 38, 12. There is no fixed caesura. It occurs most frequently after the arsis of the third foot, or of the second.. This is one of the four lyrical metres elaborated by Catullus, the others being the pure Iambic, the Scazon, and the Glyconic ; and in them he was not surpassed by any later poet. 1. 1) Iambic Trimeter (Senarius), 24, 3. In two Carmina. Metrum MonocOlum. Not grouped in stanzas. Phaselus ille, quern videtis, hospites. Carm. IV. Note.— in this (Carmina IV., XXIX.) the Trimeter is pure— i. e., without the usual substitutions— and the coincidence of word-accent and rhythmical accent (ictus) is re- markable. 2) Archilochian Trimeter, 24, 3. In one Carmen. Same as 1), but with the usual substitutions. Quid est, Catulle ? quid moraris emori ? Carm. LIl. 8. Iambic Scazon (Choliambus, Hipponactean), 24, 4. In eight Car- mina. Metrum MonocOlum. Not grouped in stanzas. ^ — ^^ — 1^ — v_/ — \ -^ oil Peninsularum, Sirmio, insularumque. Carm. XXXI. jToTE— In thirteen verses the pure sclTeme is found, in seventy-four verses a Spondee stands in the first and third feet, in twenty-nine in the first, in thirteen in the third. The third foot is once a Dactyl, the second once a Tribrach. 9. Iambic Septenarius, 24, 2. In one Carmen. Metrum MonocOlum. Not grouped in stanzas. :> I ^ I > __ _ ! II Deprensa navis in mari vesaniente vento. Carm. XXV, 38 LATIN VERSE. Note. — This Carmen (XXV.) contains thirteen verses; six have the Iambi pure; five a Spondee in the first foot, two a Spondee in first and fifth. 10. Elegiac Stanza, 22, 4. In fifty-two Carmina. Two verses. ___ |___|___|___|_^^| -^11, Dactylic Hexameter, 22,1. — oo I — c^o I L_iil — v-'v.'l— v-'^I^AII, Elegiac Hexameter, 22, 3. !Ne tua dicta vagis nequicquam credita ventis Efiiuxisse meo forte putes animo. Carm. LXV. Note. — Catullus's Elegiac poems are not nearly so finished as those of the great mas- ter of this Distich, Ovid. The sense should be complete with each Distich, a rule that Catullus does not observe. 11. Dactylic Hexameter (Heroic), 22, 1. In two Carmina. Metrum MonocOlum. Not grouped in stanzas. -e^l-wsi^l-ool-ool-vi^wl-^II, Namque fluentisono prospectans litore Diae. Carm. LXIV. Note. — Spondaic lines are frequent. The word-accent and ictus generally coincide in the last three feet of the verse. Alliteration is common. The Hexameters of Catullus have a peculiar sweetness and charm, but their beauty is apparent more in single lines than in a complex system. 12. Galliambic Metre, 23, 3. In one Carmen. Metrum MonocOlum. Not grouped in stanzas. For the discussion and illustration of the Galliambic, see 23, 3. Note. — The Attis is the most original of all his poems. Asa work of pure Imagina- tion, it is the most remarkable poetical creation in the Latin language. Sellar, 32. Index to the Metkes of Catullus. CARMEN. 1 II Ill IV.... V VI VII... VIII... IX X XI.... XII .. . XIII . . XIV... XV.... XVI. . . XVII. . XVIII. XXII.. XXIII. XXIV. METRE. 6 6 6 ..r(i) 6 6 6 CARMEN. XXV XXVI XXVII. METRE. 9 6 6 6 T(l) 2 8 6 G 3 CARMEN. XLVI XLVII XLvm METBK. 6 6 6 XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XLIX L LI LII LIII LIV LV LVI LVII 6 6 1 ....7(2) 6 6 6 XXXV XXXVI 6 6 6 6 XXXVII 8 LVIII 6 XXXVIII 6 8 6 6 6 6 8 6 LIX 8 XXXIX XL XLI LX LXI LXII 8 4 11 XLII XLIII LXIII LXIV ... 12 11 XLIV XLV LXV-CXVI.. ... 10 LATIN VERSE. 39 33. Anapaestic Metres. Anapaestic verse is not much used by Latin writers. Seneca, however, makes considerable use of the first of the following in his tragedies. The movement is more lively than that of Dactyls. 1. Anapaestic Dimeter Acatalectic. Consists of four Anapaests for any of which a Spondee may be sub- stituted, — ^ (observe the ictus), and for the first and third a Dactyl, •^ \it v-/. Leviusque ferit | Icviora deus ; Servat placidos | obscura quies. Sea. 2. Anapaestic Dimeter Catalectic, called also Paroemiac, from its fre- quently expressing a proverb. Same substitutes as in the last. —. .^ y^ y^ V.^ Functum laudare decebit. Auson. 34. Cretic Metres. 1. Cretic Tetrameter Acatalectic. Only found in the comic poets. Consists of four Cretics, for which a Paeon primus, — ^ w w, or a Paeon quartus, v^ w w — , or even a Molossus, , as an irrational Cretic can be substituted. Tu facis mc quidem vivere ut nunc velim. Plant. Eudens^ 244, 2. Cretic Tetrameter Catalectic. His ego de artibus gratiam facio. Plant. Trlnum^ 293. 35. Bacchic Metres. Bacchic Tetrameter Acatalectic. Only in comic poets. Consists of four Bacchii, with the same substitutions as in Cretic verse. Conlecto quidemst pallio : quidnam acturust ? Plant. Captivi, 789. Note.— The Bacchic verse often indicates astonishment or surprise. 40 LATIN VERSE. 36. Saturnian Metre. This is an indigenous Latin metre, a nide form of verse, with far less precise metrical form than the metres imitated from the Greek, even when used with much license. Andronicus and Naevius gave to the Saturnian Metre some literary standing. It may be regarded as composed of two Trochaic Tripodies, the first being anacrustic, but with great freedom of substitution ; thus — ^ : -^\-^\ ll-^|-v^|-^, or more fully, ( ^ ) means that the syllable or its resolution may be suppressed. Cornelius Lucius ] Scipio Barbatus Gnaivod patre prognatus, ] tortis vir sapiensque. Epitaph. The following verse shows the first series catalectic, the second with anacrusis : Hone oino" ploirume ] cosentiont Eoraane. Epitaph. Tetrapodic scries also occur rarely, having an additional arsis at the end ; thus — Dedet Tempestatebus 1 aide™ m^retod votam. Id. The following epitaph of Naevius, written by himself, illustrates this verse ; Immortal^s mortal es | si for^t fas flerc, Flerent divae Cam6nae | Naevium poetam Itaque postquam est orcino | traditiis thesaiiro, Obliti sunt Komai 1 loquier lingua latina. The rhythm is very much like that of the English ballad metre, whose metrical arrangement is likewise free : Sing' a song' of sLx 'pence, | a pock'ct full' of lyc', The queen' was in' the par'lor, | eat'ing bread' and hon'ey. The Saturnian continued to survive among the common people long after the introduction of Greek metres. 37. The Saturnian seems to be a development of a still older and ruder Italic verse-form, in which the most ancient carmina were expressed. Carmina — i. e., "set form of words," "formulae" — were always embodied in some sort of verse, however rude. This rhythmical character, before the art of writing was kno'svn, was all that gave to such formulae any permanence, or preserved them from change. This earliest poetry is based on word-accent rather than on quan- tity, and is in this respect like English verse. The arses were not necessarily long, but the accented syllable of every word, whether LATIN VERSE. 41 long or short, must stand as arsis. As to the rest, the general rhythm is not unlike Saturnian ; but the verse is more freely con- structed, and syncopation (omission of the thesis) is much more frequent. The rhythmical divisions correspond in general with pauses in the sense. Each half-verse has four rather than three ictus ; but when, as is usual, the two last are brought together by syncopation, the last does not receive much stress. There is also alliteration. Alleti's Memnants of Early Latin. quaesoque liti si^s | volens propitius mihi domo | familiaeque nostrae. Cato B. R. It readily groups itself into verses and half -verses, and may be re- cited with four ictus in each half-verse, the last two ictus com- monly being contiguous. Id. 38. In the Latin Hymns we have a gradual transition from the classical system, which unites quantity and stress (arsis) to ac- centual metre, wherein accent and arsis harmonize, as in prose. Modern speech does not permit such a deviation from prose speech in poetic recitation as the ancients aimed at. Both systems are seen in the Hymns. In the earliest composed, quantity is all-im- portant. Soon writers became careless about their quantities, espe- cially in the theses. Then came a tendency more and more to unite prose accent and arsis. The change was completed in strict harmony with rhythmical movement. Then the necessity of marking off the verses plainly, gave rise to a rhythmical repetition of letters (rime). If the riming letters stand at the beginning of their words, it is called alliteration; if at the end, it is termed rhyme. Observe that in the matter of ac- centual metre and alliteration this later poetry corresponds to the earliest Latin verse. (See last section. Alliteration is found much later, as in Lucretius.) Alliteration was an essential part of old Teu- tonic poetry, and German and Anglo-Saxon writers of Latin hymns employ it freely. See also i. See Dr. March in Latin Hymns. There is a great variety of metres. Two specimens are given for illustration : 1. Elegiac Stanza. Crux bene | dicta ni | tet, 1 1 Domi | nus qua I came pe | pendit, Atque cru I ore 8U I o 1 1 vulnera nostra la I vit. Fortunatits. 42 LATIN VERSE. 2. Anapaestic Moxometer. (Hypermeter in verses 1 and 3.) Dom I ine De | us ! Spera 1 vi in te ; O ca I re mi Je I su ! Nunc 11 1 bera m6. Marj/^ Queen of Scots. 39. Early dramatic verse. The dramatic writers depart very widely from the rules of composition which the poets of the Augustan age so rigidly observed. Quantity was not yet definitely fixed, and poetic composition in the Latin language was in process of change, which ultimately resulted in the almost faultless models of the Golden Age. Older forms of the language, as well as pecul- iarities of pronunciation often preserved in these earlier poets, should not be set down to license. The following is a summary of the principal peculiarities of this early verse : 1. Long vowels in final syllables were often shortened ; almost exclu- sively confined to Iambic words : Sbest, domo, etc. A short monosyllabic preceding a long syllable often shortens the latter. 2. The original long quantity was retained in many final syllables : f ama (nom.), pater, soror, miles; especially verb-endings in r, 5, t: amet, versat, ponebat, fuerls, amer, loquar, etc. 3. Syllables containing a vowel followed by two consonants were some- times short : nempe, unde, immo, esse, lUe, occulto, etc. 4. The tendency of the early language was to drop a final consonant and shorten a final vowel. In accordance with this tendency, final syllables ending in a consonant (especially m, s, r, t) were sometimes retained short, though the next word began with a consonant : enim vero, auctus sit, dabit nemo, tamen suspicor, etc. 6. When the accent in a long word fell on the third syllable from the first, a long second syllable was often shortened, if the first syllable was short : tabernaculo, senectuti, etc. 6. Synezesis and hiatus are freely allowed. ^. Vowels were slurred over : v'luptas, ad'lescens, etc. ; or shortened, if initial and following monosyllables. 8. Substitutions were freely allowed. See 21, 8 ; 24, 1, 3 ; 25, 1, 2 ; 33 ; 34 ; 35. 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 50 CENTS ON THE FOURTH DAY AND TO $1.00 ON THE SEVENTH DAY OVERDUE. j OtG 18 \M^ SFP 19 tfliS ! 1 j ! LD 21-100m-8,'34 U. C. 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