A STUDY OF VIRGIL'S
DESCRIPTIONS OF NATURE
ABEL LOUISE ANDERSON
STUDIES IN LITERATURE
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LOS ANGELES
A Study of Virgil's
Descriptions of Nature
BY
MABEL LOUISE ANDERSON
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BOSTON: RICHARD G. BADGER
TORONTO: THE COPP CLARK CO., LIMITED
Copyright, 1916, by Richard G. Badger
AH Rights Reserved
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The Gorham Press, Boston, U. S. A.
MADE IN THE UNITED STATES OF AMERICA
INTRODUCTION
Li
^ It Is difficult to discuss poetic descriptions both
§ sympathetically and judicially. It is equally dffiicult
^ to analyze the technique of any artistic production
•J without entailing the loss of its beauty. But, inas-
^ much as all artistic, technical principles have been
o formulated through such minute analysis, it has
to not seemed inappropriate to examine these prin-
^ ciples of artistry which Vergil followed, consciously
or unconsciously, in his descriptions of nature.
In studying these descriptive passages it has been
thought best to classify and study them under two
- main groupings.
I. The Static descriptions in which the local
point of view does not change.
i II. The Active descriptions in which the local
point of view constantly changes.
These main divisions may be subdivided Into :
(a) The formal description for which the poet
has set aside his narrative.
(b) The incidental description which has crept
into the work without intention, and which is so
<n short that it does not interrupt the narrative.
J* Among the incidental static descriptions there
1 are many "thumb-nail sketches" of word length
? which are of value to this discussion only as they
I illuminate the study of sense-appeals.
The descriptions of the above classes have been
examined with reference to their point of view —
that of person, place, and time — their general out-
line, center, mood, and their sense-appeals. It was
the desire of the writer to study also the climax
and illustrative imagery of these passages, but that
could not be embraced within the limits of the
present discussion.
*******
ovews*
The texts of Vergil's works upon which this
thesis has been based, are as follows :
Conington, John, Vergili Opera, 1898.
Kennedy, B. H., P. Vergili Maronis Opera,
1895.
Papillon, T. L. & Haigh., A. E., P Vergili
Maronis Opera, 1892.
Ribbeck, Otto, P Vergili Maronis Opera, 1904.
Other literature consulted Is as follows:
Sellar, W. Y., Roman Poets of the Augustan
Age, Vergil, 1897.
Shairp, J. C, The Poetic Interpretation of
Nature, 1898.
CONTENTS
Chapter Page
I. The Technique of Form 9
Point of View — Person — Place —
Time — General Outline — Center.
II. Mood 14
Contrasting Moods — Obedience
— Fury — Human Mood.
III. Sense Appeals . 72
Form — Color — Light and Shade
— Touch — Temperature — Taste
— Smell — Motion — Hearing —
Summary.
IV. Conclusion 214
STUDY OF VIRGIL'S DESCRIPTIONS OF
NATURE
A Study of Virgil's Descriptions
of Nature
CHAPTER I
The Technique of Form
Point of View
In presenting a picture of Nature, Vergil usually
adopts one point of view and keeps that point
throughout the passage. That is, each picture is
given as it would have appeared to one person or
group of persons, from one place, at one time.
These descriptions rarely embrace more than one
person, or group of persons regarded as one, could
have seen within the time-limits of the passage.
Person.
Frequently it is not difficult to determine to
which character the appeal is made, Aeneid IV,
246, is Mercury's glimpse of the earth as he "skims
along the turbid clouds." Aeneid II, 360, is the
description of burning Troy as Aeneas and his fol-
lowers had seen it. Because one may often know
to which character these descriptive appeals are
made, it does not follow that they are necessarily
subjective. In the passage Aeneid IV, 246, men-
tioned above, how Mercury felt or what he thought
of the earth beneath him, is entirely omitted from
the lines. The description is purely objective, un-
colored by personal feeling. In all the poems of
Vergil subjective descriptions are rare except in
those passages in which the point of view is that
9
lo Study of VirgiVs Descriptions of Nature
of an animal or that of inanimate nature. These
passages are usually very short and are in general
the result of a change in the point of view. So in
Georgia IV, 401, the point of view is that of the
first person until the line "umbra est gratior
pecori," which is the flock's subjective attitude to-
ward shade in summer. In Aeneid VIII, 86-99,
the early descriptive lines deal with the details
which the sailors would have noticed. But lines
91 and 92 introduce a personification of the waves
and the woods, and then describe subjectively from
this personified Nature's standpoint the "painted
keels of the ships and the shining arms of the
sailors."
There are many descriptions in which the point
of view is kept as carefully as if it were that of one
person, yet that one person is not definitely pre-
sented to the mind. Such a passage is Aeneid I, 50-
55. In the tables below, such a point of view has
been designated by the term "undefined."
A few descriptions are very general and com-
prehensive. They are so comprehensive that no
one person could have noted the details given with-
in the time limits of the passage. In Aeneid VII,
514, the lake of Diana, the river Nar, the fountain
of Velinus, each echoed the "hellish voice of the
goddess." No one person could have been con-
scious of this wide response to the goddess' voice.
Such a point of view may be designated by the term
"General."
There are fifteen instances of this among the one
hundred fifty-five descriptions under discussion.
They are as follows
Eclogue
II,
8-14
Georgia
I,
230.
((
I,
466.
(t
II,
467.
(C
IV,
292.
Study of Virgil's Descriptions of Nature 1 1
Aeneid
I, 8i.
I, 102.
Ill, 148.
IV, 160.
1
IV, 246.
V, 693.
VII, 514.
VIII, 26.
[
X, loi.
Among the one hundred forty-five static descrip-
tions, — exclusive of the word sketch — there are
eleven which change their point of view. They are
as follows :
Eclogue
VIII,
14.
u
IX,
48.
Georgic
I,
230.
u
II,
201.
((
III,
148.
((
III,
324.
u
IV,
401.
Aeneid
III,
148.
((
V,
2,
u
V,
124.
((
V,
505-
There are three such changes among the ten
active descriptions : Aeneid I, 8 1 ; Aeneid IV, 246 ;
Aeneid VIII, 86. From the full number of de-
scriptions, one hundred fifty-five, there are fourteen
which suffer this change in the point of view.
Place
Just as it was frequently possible to determine
to whom the picture appealed, so it is not often diffi-
cult to determine the place from which the scene
was described. Thus in Aeneid III, 532-6, Aeneas
must have been standing on the prow of his ship
facing the shore. In many of the shorter incidental
12 Study of Virgil's Descriptions of Nature
descriptions this local point of view can not be
determined; as in Aeneid III, 521-2, the sunrise
would, of course, be generally visible to the people
throughout the country. In the table below, this
condition has been designated by the expression
"no definite place." The active descriptions, of
necessity, can not be considered as offering data
for the local point of view, since their point of view
must constantly change. But, of the one hundred
forty-five static descriptions, there are seven in
which the local point of view changes. They are
as follows :
Georgic
I, 230.
((
I> 356.
((
II, 207.
u
Ill, 324.
(i
IV, 271.
Aeneid
I, 159.
u
Ill, 148.
Time
Generally, exclusive of the active descriptions,
the view described might easily be seen without
a great lapse of time. But there are a few de-
scriptions which portray conditions under two dis-
tinct time-periods. Aeneid V, 124-8, describes a
rock as it appears both in fair weather and in
storm. This change of the time-period is some-
times necessary, as in Georgic I, 230, in which the
zones of the Heavens are described. Among the
static descriptions there are five which suffer this
change in the temporal point of view.
Eclogue VII, 57.
Georgic III, 324.
Ill, 340.
Ill, 425-
Aeneid V, 124.
Study of Virgil's Descriptions of Nature 13
Aeneid IV, 351, and Aeneid VIII, 190, repre-
sent repeated conditions. In those instances the
temporal point of view may be termed "frequenta-
tive."
General Outline
Vergil usually builds up his descriptions detail
by detail instead of giving the outline and filling
that in, as painters work. In Georgic I, 370, the
conditions of the approaching storm are described;
first by the outline, which gives the place — the sea-
coast; — and the weather conditions — thunder and
wind. Then follow the details — the action of birds
and ants during the storm. Most pictures, how-
ever, are built as Georgic II, 467, which begins
with mere details and catalogues them. It is only
the formal static descriptions which present possi-
bilities for this general outline. But of these forty-
five formal descriptions only four present outlines.
Georgic IV, 186.
IV, 271.
Aeneid V, 84.
VIII, 416.
Center
In his descriptions Vergil does not often fix the
attention upon one thing in the picture and leave
all the other details dimmer in the mind. That is,
his pictures are not centered around one point as is
a classic painting. There are, however, two pic-
tures which are centered. In the Aeneid V, 84, the
attention is fixed constantly upon the snake, and in
Aeneid II, 694, the attention is centered upon the
star.
CHAPTER II
Mood
About half of Vergil's descriptions are mood
sketches. The most common of his moods is ten-
derness. This is often attained by taking the point
of view of the flocks, or of nature in general, as in
Georgic III, 324, "Ros, gratissimus pecori, est in
tenera herba."
Contrasting Moods
In the principle of contrast lies the secret of
much of the poet's art. Light often comes into the
picture after darkness; suggestions of heat follow
descriptions of cold. So there are given many
contrasting mood sketches. In Georgic II, 467-
76, the peace and rustic tone follow the account of
the "proud doors in the mansion," and of the
"wool stained with Assyrian poison."
Obedience
The obedience of Nature to the divine will is
manifest in Aeneid X, 101-3. For at the voice of
the god the trembling earth is still, the sky is
hushed, the winds die down, and the sea smoothes
out its waves.
Fury
Man's helplessness in the power of nature colors
the description of the mad sea which scattered the
ships in the darkness. (Aeneid III, 192-5). On
the other hand the sense of Nature's protection
14
Study of Virgil's Descriptions of Nature 15
Protective Interest
often creeps into the lines as in Aeneid III, 532,
where the cliffs are said to stretch down their arms.
"Scopuli demittunt brachia."
Human Mood
At times Nature seems to respond to human
mood. It seems covered with man's melancholy
and loneliness. In Aeneid XII, 861, the little bird
sits on the grave and sings late into the night
through the darkness. Again, Nature's calmness
and contentment mock at human misery. In
Aeneid IV, 522, the fields are still; the birds,
asleep; but Dido's "cares redoubled in the great
tide of passion." This same lack of sympathy in
Nature is seen again in Aeneid IV, 584, where the
morning dawns bright only for Dido to see,
through her window, Aeneas sail from the shore.
No attempt is made in this discussion to classify
completely the mood sketches, because the re-
sponse to mood as a literary quality depends too
much upon the personality and experience of the
reader. The general suggestions given above will
serve to illustrate the fineness of Vergil's art. This
impression would not be materially aided by an
arbitrary summarizing of the mood in his sketches.
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are seen, nor the rising
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clouds. The halcyons do
not open their wings;
the swine do not toss the
loosened wisps of straw.
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upon the plain; the owl
at sunset sings in vain.
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in their happiness
among the leaves.
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night. Etna boiled in
waves on the land
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heard the crash of
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24 Study of Virgil's Descriptions of Nature
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the ploughman has
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light,
their
o.t;
C
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<u -a
bo aJ
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rt
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^^
TO r-J
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C rn "^
O O
bo o
en en
M-i (u en
O <u "O
en i^ C
boc
o
o
Study of Virgil's Descriptions of Nature
27
T3
O
O
tn
=
O
S <u
s
O
O
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ti
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w<*i cu
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chan
ssary
descr
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The
nece
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tion
4;
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28 Study of Virgil's Descriptions of Nature
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4J U
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15
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C O =! X
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Study of P'irgil's Descriptions of Nature 29
o
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•T3
C
l_J .— » -4_>
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30 Study of Virgil's Descriptions of Nature
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meadow
ster, go
with
which
ds a g
of the
decked
settle
all is h
ht.
dj . 00
TO r! 4J en
y hav
ir cells
the ni
In the
also the
flowered,
leaves 01
violet sh
The altar
are often
<u <u ^
43:t:«4-.
en (LI
^ te
o >
4-1 <u
en c
M- O
en
32 Study of Virgil's Descriptions of Nature
t3
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J3 TT l*
4-. (UJ3
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Study of Virgil's Descriptions of Nature 33
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?i "" c .,
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to poi
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mentio
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34 Study of VirgiVs Descriptions of Nature
o
o
rock, the home
of the
Nymphs.)
No.
Quiet, wonder,
awe.
Out-
line
d 6
iz; z
Cen-
ter
Cen-
tered
on the
star,
for the
eyes
are not
taken
from
it.
No.
>
•4-1
o
'o
13
Ui
o
E
H
One.
One.
o
o
Threshold of
Aeneas' house.
No definite
place until im-
ages are men-
tioned, then
Aeneas' bed.
C
o
«
Ui
Aeneas.
General until
the mention of
images, then
Aeneas'.
•4->
.Id
the waters are quiet. A
dark grove overhangs
from above. Far with-
in is a cave with sweet
waters and seats of liv-
ing rock, the home of
the Nymphs.
There was thunder.
Then a star glided
through the shades,
over the roofs, and hid
itself in the woods,
marking the way. The
long trail gave its light.
Round about, the places
smoked with sulphur.
It was night. Deep
sleep possessed the liv-
ing creatures of the
earth. The images of
the gods which I had
<c|i <~is
Study of Virgil's Descriptions of Nature 35
o
o
1^
c
be
■5-56
>..oxi -C ^
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36 Study of Virgil's Descriptions of Nature
o
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4-> V
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1-H T"* ^ rt t
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Study of VtrgiVs Descriptions of Nature 37
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se of t
e of se
along
press
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speck
Mjd 0^ .T
the b
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folds,
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neck
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brines,
n coils
even
gainst
lided
ts blue
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38 Study of VirgiVs Descriptions of Nature
•0
6
Out-
line
6
Cen-
ter
6
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PL,
a
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<u
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IX,
Then it is
their point of
view.
Undefined un-
til 515 "bird
rejoicing"
when the point
of view is the
bird's. 5i6ff
are undefined.
in winter is hidden by
the swelling waves. But
when the sea is still it,
too, lies quiet, raised as
a plain above the mo-
tionless sea. Then is it
a spot most pleasing to
the basking cormorants.
(Bird as target is
fastened to the mast.)
The mast trembled at
the first arrow, the bird
was terrified. Applause
rang out. Mnestheus
strained his eye as he
bent his bow, but
missed the bird. He
broke the cord, and the
bird escaped to the sky.
Eurytion in haste
pierced the dove as she
was rejoicing in the
sky. Lifeless she fell,
<>i%
Study of Virgil's Descriptions of Nature i,^
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40 Study of Virgil's Descriptions of Nature
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S
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6
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Study of Virgil's Descriptions of Nature 41
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42 Study of Virgil* s Descriptions of Nature
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the kingdom below and
laid open the dreadful
abyss.
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the shore of Sicily, and
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cave, like Etna's, thun-
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blows echo from the
Cyclops' anvils ; the
smeltings of Chalybes
hiss in the forges.
A.
VIII.
416-
422
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66 Study of Firgil's Descriptions of Nature
-a
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No.
The sorrow ex-
pressed by the
"cold darkness"
answers the
mood of sor-
row which the
mourners felt.
Mood of the
fleeing Priver-
nus expressed
here in the
turbulence of
the storm.
No mood.
Point of View
u
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No definite
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No definite
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No definite
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Personal
Undefined.
Undefined.
Undefined.
Undefined.
3
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Until night turns around the
sky that is studded with glit-
tering stars.
The day scattered the cold
darkness from the sky while
sorrowing they gathered the
bones in the fire.
The shower tore the clouds,
and Amasenus, foaming, rolled
over its banks.
Until rosy Phoebus dips his
wearied horses in the sea and
brings back the night when
the day has closed —
01 IT) 0\
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I
CHAPTER in
SENSE APPEALS
The vividness of a description depends largely
upon the number of concrete sense-appeals which
it may make. Literature, of course, can make these
appeals only indirectly. But literature is the only
art which may suggest an appeal to every sense — to
sight, in form, color, light and shade; to touch;
to temperature; to taste; to smell; to motion; and
to hearing.
Form
To each of these senses Vergil has made appeals
in his various pictures of nature. It is sight in
its three-fold division, that he has suggested most
often. Very little, however, is made of form.
There are thirty-eight appeals to it; twenty-six of
these refer to curved surfaces; eleven, to hollowed
bodies, and in Aeneid VI, 416, the slime is said to
be "formless," "informi limo." The complete list
of appeals to form are as follows :
FORM.
Eclogue
I.
cava ilice
hollow oak. i.
Eclogue
cava ilice
hollow oak. 15.
Georgic
I.
curvis carinis
curved ships. 360.
Georgic
II.
curva flumina
winding rivers. 11.
cava convalle montis
hollow vale of the mountain. 186.
72
Study of Virgil's Descriptions of Nature 73
Georgic
II.
Georgic
III.
Georgic
IV.
Aeneid
I.
Aeneid
II.
Aeneid
III.
curvis aratris
curved plough. 189.
curvas latebras
winding retreats. 216.
unci vomeris
crooked plough. 223.
camuris cornibus
curved horns. 55.
curva flumina
winding rivers. 278.
flumina curvata in faciem montis
rivers arched into the form of a mountain. 361.
cava flumina
hollow streams. 427.
convexo nemorum
in the curve of the woods. 310.
cavata rupe
a hollowed rock. 310.
convexa montibus
hollows on the mountains. 608.
curvo valle
curved vale. 748.
curva valle
curved shore. 223 and 16.
cavata rupe
hollowed rock. 229.
cavo saxo
hollow rock. 450
curva litora
curved shores. 238.
portus curvatus in arcum
port curved into a bow. 533.
curvato gurgite
curving wave. 564.
cavo antro
74 Study of Virgil's Descriptions of Nature
Aeneid
III.
Aeneid
V.
Aeneid
VI.
[hollow cave. 641.
curva litora
curved shores. 643.
curvis cavernis
circled caverns. 674.
curvis collibus
rounded hills. 287.
circus theatri
circle of the theatre. 288.
cava pinus
hollow pine. 449.
cava saxa
hollow rock. 677.
convexa supera
the arch of the heavens. 241.
Aeneid
VIII.
cavi colles
hollow hills. 598.
Aeneid
X.
curva litora
curved shores. 683.
Aeneid
XL
curvo litore
curved shore. 184.
convexo tramite
winding path. 515.
curvo anfractu
crooked windings. 522.
f
Aeneid
XII.
cava terra
hollow earth. 893.
WITHOUT FORM
Aeneid |informi limo
VI. [formless slime. 416.
I
Color
Vergil's descriptions of Nature are much richer
in color words than in form appeals. There are
Study of Virgil's Descriptions of Nature 75
three hundred eighteen instances of natural objects
described by color terms. Of these, ten refer to
the indefinite property of color as in Aeneid V,
609, the rainbow is called "the bow of a thousand
colors." Twice the expression "pictae volucres"
is used with the meaning of "various colored."
Of the remaining three hundred and two concrete
examples of color the word "caeruleus" has offered
the most difficulty in classification. Probably to
Vergil it meant the color of the sea, which might
be either green or blue. In all its applications to
nature descriptions — which alone concern us here
— the word may be understood to mean "blue" in
all cases with the possible exception of Aeneid III,
432, wherein the "caeruliis canibus" may be trans-
lated, as most commentators agree, " the sea-green
dogs." Of the three hundred two color attributes
sixty-eight are those of white ; sixty-seven, dark or
black; fifty-eight, yellow; forty-five, green; thirty-
three, red; sixteen, blue; fifteen, purple; one, either
blue or green; "pura" applied to honey, in the
sense of clear; and "ferrugineos," used to describe a
hyacinth. This word in Georgic IV, 282, undoubt-
edly means a dark color, probably blue. All idea
of rust-color, as most commentators believe, has
been lost from the word in this usage.
Whiteness is described by words from eleven
different roots, with about nineteen variations of
those root words. In the order of their frequency
the root ideas are as follows:
albus
25
canus
19
niveus
12
pallidus
4
purus
2
argenteus
2
liquidus
I
lucidus
I
76 Study of Virgil's Descriptions of Nature
vaccus I
lactans i
ebur I
The idea of blackness is developed through eight
ot ideas.
niger
ater
31
26
opacus
puUis
piceus
fuscis
umbrosus
4
I
I
I
I
caecus i
Vergil's vocabulary of red has seven root words,
ruber 18
sanguineus
puniceus
roseus
5
4
2
cruentus 2
rutilus I
sandyx i
In yellow there are five color roots.
aureus
fulvus
26 *
14
flavus
9
croceus
luteus
7
2
The color-roots for green are three,
viridus 39
glaucus 4
pallens 2
Fallens, in itself, indicates no color and signifies
merely paleness. But Vergil uses it in Eclogue V,
16, to denote the pale olive color, and in Eclogue
VI, 54, to suggest the grass that is a light green
against the darkness of the holm oak.
Of the fifteen references to purple there are the
following :
Study of Virgil's Descriptions of Nature 77
Purpureus 1 1
murix i
ostro I
nigrae violae i
nigra vaccina i
From the table of appeals to the sense of color
we may infer that Vergil was not definitely con-
scious of the violet which we find in our spectrum.
The few references to purple, however, suggest
that the recognition of violet as an established color
was soon to come. Even to-day, when man's sense
of color is highly developed, many persons make no
sharp distinction between purple and violet.
To summarize the appeals to the sense of color
the following scale is appended.
78 Study of Virgil's Descriptions of Nature
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Snowy
flocks.
20.
Albo
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goats)
W'-'
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cycnos
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Study of Virgil's Descriptions of Nature 89
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6
varios
colores
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colors.
89.
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mille
colori-
bus
arcum
A bow
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Pur-
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Scylla
Blue Scylla.
122.
C
Virides
coronae Green
coronets, no.
Viridem metam
frondenti ilice
The goal, green
with leafing
oak. 129.
Viridi lauro
Green laurel.
246.
1!
(Anguis) auro
maculosus
Snake, specked
with gold.
87.
Flava oliva
Yellow olive.
309-
Aureis ungui-
bus Golden
claws (of
lion). 352.
•0
Dark
luvencos
nigrantis terga
Bullocks with
Hack backs.
97-
Atra nubila
Black clouds.
512.
Nigra nube
Black clouds.
516.
Light.
Can-
dentem
taurum
White
bull.
236.
Equus
albis
maculis
A white-
spotted
horse.
566.
Scopu-
los os-
sibus
albos
Rocks
white
with
<i>
i
98 Study of Virgil's Descriptions of Nature
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I02 Study of Virgil's Descriptions of Nature
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104 Study of Virgil's Descriptions of Nature
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Study of Virgil's Descriptions of Nature 107
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Study of Virgirs Descriptions of Nature 109
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e
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Red i Yellow
1
4-<
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drawn
by.
white
horses.
164.
Nivali
vertice
Snowy
summit
(of ,
Apeni-
nus).
702.
. 1—5
1 10 Study of Virgil's Descriptions of Nature
Light and Shade
To light and shade there are two hundred
sixty-six appeals. Of these, eighty-five are descrip-
tions of darkness; sixty, of the heavenly bodies in-
cluding ten personifications of Aurora and two of
the day; forty-two are descriptions of shadows;
thirty-eight, of reflections; twenty-three, of fires;
nine, of clouds; seven, of lightnings; one, of the
sky; and one, of the rainbow.
Vergil's treatment of light and shade is much
more skilful than his treatment of either form or
color. Few descriptions have been more admired
than Aeneid VIII, 22.
"Aquae tremulum labris ubi lumen aenis.
Sole repercussum aut radiantis imagine lunae.
Omnia pervolitat."
"The light of the sun or the moon strikes the
brazen vessel, trembles against the water and flick-
ers over all things round about it."
The light and shade appeals used in the de-
scription of nature are as follows:
Study of Virgil's Descriptions of Nature 1 1 1
w
Q
<
X
tn
Q
<
H
O
C!
•5
.s
<u
'c
CO
<
Sky and Light
ning
Heavenly bod-
ies and Person-
ifications
tn
o
U
W
c
o
tn
'S
en
<
tn
tn
a>
c
u
Q
o
-a
a
Xi
Maioresque
cadunt altis de
montibus
umbrae
The shadows
lengthen from
the towering
hills 84.
Fagos umbro-
sa cacumina
The shady
tops (of the
beeches) 3.
Pecudes
captant.
utnbras
The flocks
enjoy the
shade 8.
c
o
(U
Pi
Fire
W^ . f^d
112 Study of Virgil's Descriptions of Nature
As Manifest in the Heavens.
Sky and Light-
ning
Heavenly Bod-
ies and Person-
ifications
Fcj/»^r Olympo
invito proces-
sit. The even-
ing star comes
forth from the
reluctant sky.
86.
in
3
O
o
■*-»
w
'S
CO
<
tn
c
ei
Q
o
-a
CO
Sol crescentes
decedens dup-
licat umbras.
The sinking
sun doubles
the lengthen-
ing shadows
67
Incertas
umbras
Quivering
shadows 5.
c
&^ ^> &^
Study of Virgil's Descriptions of Nature 113
g
>
(-•
-4-)
_c
-M
tn
4>
'c
tn
<
Sky and Light-
ning
■
Heavenly Bod-
ies and Person-
ifications
U5
3
u
As Manifest on E^rth.
en
eo
<U
S
u
a
Q
Umbra
noctis
Darkness of
the night. 14.
Rara umbra
Thin shade
(of arbute)
46.
Pampineas
umbras
Shadows of
the vines 58.
Induceret
fontes
umbra
Overspread
the fountains
with shade. 20.
c
p^
Apricis
collibus
Sunny hills 49.
.1:
Ec.
VII.
Ec.
VIII.
Ec.
IX.
114 Study of Virgil's Descriptions of Nature
>
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CO
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W
C
o
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T3 S
CO
o o
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rt f^ oi
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13
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fa
vg
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•A
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i.5H
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in
"2 be =4
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r- IJ
Or- P 1^
c H .- 1*-!
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ju bo
O ^ 3
" 5? o
^^><
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Study of Virgil's Descriptions of Nature 115
s
>
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^
C
o
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I I
o o
> s
o
3
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tn
tn
C
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TO HH
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1 16 Study of Virgil's Descriptions of Nature
c
1)
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Study of Virgil's Descriptions of Nature 1 1 7
to
C
v
+-"
'c
c«
to
<
Sky and Light-
ning
Heavenly Bod-
ies and Person-
ifications
Densa inter
nubila sese
rumpeant radii
The rays (of
the sun) break
through the
thick clouds.
445-
Aurora pallida
surget.
Aurora rises
pale. 447-
Rutilo igni
(solis) Glitter-
ing fire (of
the sun) 454.
CO
3
G
•
■i->
§
CO
«
;^
CO
<
Darkness
c
.2
burned
488.
Rutilo
igni
(solis)
The glit-
tering
fire of
the sun.
454.
6 .
1 1 8 Study of VirgiVs Descriptions of Nature
CO
C
>
4>
V
CO
<U
"c
CO
<
Sky and Light-
nings
Heavenly Bod-
ies and Person-
ifications
(Sol) caput
nitidum texit.
The sun cov-
ered his shin-
ing head. 467.
Cometae arsere
Comets burned
488.
Cum caput
extulerunt
sidera caelo.
When the
stars raised
their heads
in the sky. 342.
CO
O
D
JS
4-*
c
o
*J
to
V
vt-i
'S
rt
(0
CO
CO
a
a
Q
Picea
caligine
Pitchy
darkness. 309.
o
X)
rt
JS
CD
Frondes et
rami matris
opacant
The leaves
and branches
of its mother
over-shadow
the tree. 55.
Laurus parva
sub ingenti
matris se
c
o
Renidenti
aere
Glittering
brass. 282.
Campus
enituit
The field
Tauri
spirantes
ignem
Fire-
breath-
ing bulls
140.
Ignis
involv-
vit flam-
6 om
Vt-A 4;i-H
Study of Virgil's Descriptions of Nature 119
c
<u
J2
U5
C
<
w
c
o
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(/I
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CO
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CO
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0)
s cH ^-S bpcc ^ :5;-g'*H^H^
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I20 Study of Virgil's Descriptions of Nature
C
>
0)
X
w
_c
<n
4)
■ 1-1
C
rt
:^
Sky and Light-
ning
Heavenly Bod-
ies and Person-
ifications
Primo sidere
LMci/^ri Rising
of Lucifer.
324-
Ad occasum
solis, cum
frigidus aera
Vesper tem-
perat. At the
setting of the
sun, when the
evening star
cools the air —
336.
Clouds
Arida nubila
Rainless clouds.
198.
r
1
rt
W
c
o
-M
UJ
4)
'c
rt
CO
en
<n
4)
1
P
Caeca nocte
Dark night
260.
Tenebris
In the dark-
ness. 401.
o
XI
Ramorum
umbra
In the shadow
of the branches,
489.
Umbra saxea
The shadow
of a rock.
Umbrosam
vallem
Shady valley
331-
c
o
Flammantia
lumina
Flaming eyes
(of a snake)
433-
4)
U
Geo.
II.
Geo.
III.
Study of Virgil's Descriptions of Nature 121
tn
C
<u
<u
r-*
<
Sky and Light
ning
Heavenly Bod-
ies and Person-
ifications
Saltus reficit
luna. The
moon re-
freshes the
glades. 2>2>7-
W
c
+->
V
tn
tn
P
CO
Sacra umbra
nemus.
The sacred
shade of the
grove— 334.
Sol pallentes
haud umquam
discutit um-
bras.
The sun
rarely scatters
the dim shad-
ows. 357.
Molli umbrae
Soothing
shade. 464.
Umbrae
altorum
.2
<L>
dh-i
122 Study of VirgiVs Descriptions of Nature
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CJ
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"3 tn-O O lU
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reclus
The
opene
sky t
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51-
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Study of VirgiVs Descriptions of Nature 123
CO
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w
c
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124 Study of VirgiVs Descriptions of Nature
<n
C
'S
to
<
Sky and Light-
ning
Heavenly Bod-
ies and Person-
ifications
W3
o
sky and the
light. 88.
w
c
o
•4-"
V
'c
<
en
CO
lU
C
P
Ponto nox
incubat atra.
Dark night
settled upon
the sea. 89.
O
CO
Horrentibus
umbris
(arborum)
The gloomy
shadows of
the trees. 311.
Dum monti-
bus umbrae
lustrabunt
convexa.
While the
shadows cross
the hollows of
the mountains.
607.
Dulci umbra
The pleasant
c
o
(Si
u
<i^
Study of Virgil's Descriptions of Nature 125
CO
c
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126 Study of Virgil's Descriptions of Nature
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and the sky in
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Nox atra
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Dark hov-
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about with her
hollow shade.
360.
Caccam
noctem Dark
night. 397-
Obscura node
per umbram
Through the
darkness of
the night — ^420.
o
-a
Reflection
'
Fire
give a
clear
light.
569.
<ti
Study of Virgil's Descriptions of Nature 127
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Sky and Light-
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third time has
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to
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the darkness.
195-
Caecis undis
Dark waves.
200.
Caeca caligine
thick darkness.
203.
Sine sidere
noctes Nights
without stars.
204.
Caecis latebris
Dark recesses.
424.
CD
.2
u
^1— 1
130 Study of Virgil's Descriptions of Nature
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136 Study of Virgil's Descriptions of Nature
ui
§
.4-*
to
'S
rt
Sky and Light-
ning
Heavenly Bod-
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Ortus primi
solis Beams
of the rising
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Nox mediam
metam con-
tigerat.
Night had
touched the
middle of her
course. 835.
Tcncbrosiim
aera Darkened
air. 839.
Tenebrosa
palus Dark
marsh. 107.
Obscuris
claudunt con-
vallibus um-
brae. The
shadows (of
the woods)
cover it in the
hidden valley.
139-
c
4-)
u
<u
Pi
Aura refulsit
per ramos.
The gold
gleams
through the
branches. 204.
Torren-
tibus
flammis
Eager
flames.
550.
<> <^
Study of Vhgirs Descriptions of Nature 137
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Study of Virgil's Descriptions of Nature 139
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140 Study of Virgil's Descriptions of Nature
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Study of Virgil's Descriptions of Nature 141
05
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Sky and Light-
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tn
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Densis frondi-
bus atrum
latus nemoris.
The side of
the wood, dark
with dense
foliage. 565.
Caecis umbris
In the dark-
ness. 619.
CO
c
4;
<L>
Pi
Fulvo
lumine Daz-
zling light. 76.
Lustrabat 1am-
pade terras dies
Day lighted
the earth with
her lamps. 148.
Nitidi (equi)
Shining horses.
275-
^
fc
. h-H
142 Study of Virgil's Descriptions of Nature
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Study of Virgil's Descriptions of Nature 143
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Study of Virgil's Descriptions of Nature 147
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148 Study of Virgil's Descriptions of Nature
As Manifest in the Heavens.
Sky and Light-
ning
Heavenly Bod-
ies and Person-
ifications
star's heat).
The burning
dog star rises,
and saddens
the sky with
its light. 275.
Ruebat matura
luce dies
noctemque
fugarat. Day,
with her time-
ly light arose,
and put the
night to flight.
257-
Surgens Au-
rora Rising
Aurora, i.
Aurora extul-
CO
3
D
a
W
(U
CO
Shadow Darkness
Conditur in
tenebras
caligine
caelum. The
sky is hidden
Opaca silva
Shady wood.
905-
§
.4-*
<u
Lucet via
longo ordine
flammarum.
The path
shines with
Atris
ignibus
Dark
flames.
186.
<>< <><
Study of VirgiVs Descriptions of Nature 149
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horses in t
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C
rt
V
tn
4)
x;
tn
OJ
u
-1-1
tn
1
-4-)
s
tn CO
tU tu "^
^ *3 .
c >- E
.S >4-i en
bo V
•5 o
S b£
s rt s
i.SP* o
O u
C -. > en
C 5 .in en
3 5 rt rt
O
en
45
c
o -
"*- I
en j^
S s
S.tZ a «
^00 .4-1
3 rt en
150 Study of VirgiVs Descriptions of Nature
C
(U
.4-*
.C
tn
<u
v»-i
"c
a
-^
tn
<
Sky and Light-
ning
Heavenly Bod-
ies and Person-
ifications
tn
3
u
%
■s
«+-
1
CO
<
03
tn
C
Q
latus (vallis)
The side (of
the gorge)
was dark with
heavy foliage.
523-24.
Caelum obtex-
itur umbra.
The sky is
hidden by
the darkness.
611.
Tenebris
nigrescunt
omnia. Every-
thing blackens
in the dark-
ness. 8?./\
1
in
tJ
(U
pes
Study of Virgil's Descriptions of Nature 1 5 i
(/I
>
ri
w
J3
c
■4->
u
c
o
"S
o o
S-o o
a! rt rt
a> en O
tJ.S
CO
<n
•O
3
O
Ul
Q
o
C/2
c
.2
u
<u
Pi
Ul
o S
.— I «
C/3 4-1
Cf 3<
AIM
(y Uj
O §
f
u=} bjo
M
c
S.2 •
be
»— "
W) s .
IJ
Sur
sun
00
>
'^ffi
3
^ 3.2 s >
_.22 <u > "
t:^ c is u.s
^^ 4-j .-< rt .« K_,
Ul
<o 00
Dies summos
spargebat
lumine montis
Day sprinkled
the mountain
tops with
light. 113.
Ardentes
orbes Shin-
ing eyes. 670
Immissi
diversis
partibus
ignes in
silvam
Fires,
scat-
<u
u
w
here and
there in
the for-
to
Flammis
inter
tabulata
volutus
<!'-!
^X
152 Study of Virgil's Descriptions of Nature
J3
C
^
o
'S
J3
-o.S
CO
O O
g-O O
c3 ™ cfl
<U en O
K Si*
tn
X)
3
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D
c
Q
o
rt
C/5
u. m i-i '
O rtP rt'TS
c
rt «J "^
iT)
rn *■
tn 10
w moo
? 3 C
>- u h
_ i«!.tl C bo
d <u a JS.S
^a^
S-^.
I- u. eo 4) ^. J-
O O rt
■4-" +J >
tn (fl P
*-• C > €>
'X
Study of VirgiVs Descriptions of Nature 153
c
>
C
O
CO
C
cd
to
<
o o
g-o o
c3 " rt
<u en o
CO
O
CO
CO
C
ti
P
o
m
c
.2
u
V
(L)
u
C .
to
</)
bag
(U s y .^,13
«<"-•
^X
154 ^tudy of Virgirs Descriptions of Nature
To the sense of sight, including form, color,
and light and shade, there are six hundred fifteen
appeals — more appeals than are made to any other
sense. But this is not surprising in view of the fact
that more experience comes through sight than
comes through any other sense.
Touch
Tothe sense of touch Vergil, in his nature de-
scriptions, makes ninety-eight appeals. The ideas
of resistance seem strongest in his mind as there
are thirty-nine suggestions of it, — sixteen of hard-
ness and twenty-three of softness. Next to resist-
ance in frequency come the references to surface,
thirty-four in all, thirty-one suggesting roughness
and three suggesting smoothness. Twenty refer-
ences to humidity are found, only two of which
refer to dryness. Five times a reference is made to
edge, but each time to a sharp edge. Roughness,
moisture, softness, have made the strongest appeals
to Vergil's touch-sense. To suggest roughness he
uses eleven different words.
asper, lo.
horridus, 7.
horrens, 4.
saetiger, 3.
saetosus, i.
hirsutus, i.
tophus, I.
squalens, i.
squameus, i.
scrupeus, i.
hirtus, I.
For the eighteen moisture appeals seven words
are used.
humidus, 10.
roscidus, 3.
limosus, I.
Study of Virgil's Descriptions of Nature 155
lentus, I.
udus, I.
madeo, i.
lentesco, i.
Softness is suggested in four ways.
mollis, 18.
tener, 3.
mansuesco, i.
lentus, I.
Hardness, to which there are sixteen references,
is expressed by four words.
durus, 13.
concresco, i.
lapidosus, i.
induro, i.
The following is the summary of the appeals to
touch.
156 Study of Virgil's Descriptions of Nature
u
o
bo
W
0)
3
CO
3
u
CD
LO
c
3
J2
3
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<u <u
o
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X!
E~-('5b'0 ^
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CO R
c^i
10
ID
bo
\^
X
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W^
Ol-I
Study of Virgil's Descriptions of Nature 157
bo
0,
C/5
A cutis
spinis
Sharp
prickles
39-
4->
c
u
3
be
S
Saetosi apri
Bristly boar.
29.
Horridior rus-
co Rougher
than furze. 42.
Hirsutae cas-
taneae Rough
chestnuts. 53.
J3
s
(/3
1
■t->
c
_tn
'35
4.4
Mollibus foliis
Soft leaves. 31.
Molli hyacin-
tho Soft hya-
cinth. 53.
Teneras myr-
tos Soft myr-
tle. 6.
Tenera arun-
dine Soft reed.
12.
Herba mollior
Grass, softer
(than sleep).
45-
u
W> W> W>I
158 Study of Virgil's Descriptions of Nature
s
J3
O
o
<4-l
6
o
o
s
CO
<^ O
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e o
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6
3
TO (U
a.
O (U ^-
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COhJ
c«
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c
to
o
rt to
:c^
i:i
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to
^7 to
o HH ;i:
(J 4-1 y
to
3
(J -73 •
>- V- a
3 (-H rt ro
cr'i-U O u^
wx'
o
Study of Virgil's Descriptions of Nature 159
S
CO
•5
a.
u
CO
3
s
bo
3
O
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o
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3 b
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•2 en "O en
o._;
i6o Study of Virgil's Descriptions of Nature
bo
'V
W
o
u
3
C/5
c
3
bo
3
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Pi
13
3
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G
erf
o
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<U tn ■-
in
in
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V 3 vn
s = -
*- a bo
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o c o 'n
in
2 q m
>: o s
311 1-^
Ui
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<u S rt "r
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Study of Virgil's Descriptions of Nature i6i
w
u
x;
in
Acuta
scopulo
Sharp
rock.
45- 144
c
o
x;
3
O
Asp era silva
Rough wood.
384.
Horridus sus
Bristly boar.
407.
Horrentia ter-
ga Rough
backs (of the
bulls). 634.
Squamea terga
Scaly backs.
218.
Asperis senti-
bus Rough
thorns. 379.
4-»
o
i
3
u
Q
^
^
Lentum gluten
Clammy glue
from (bark of
narcissus).
160.
Humida nox
Moist night. 8.
o
c
+-»
tn
'in
Ml
O
CO
Mollis acanthi
Soft acanthus.
137-
Mollis amara-
cus Soft mar-
joram. 693.
Duris
cotibus
Hard
cliffs.
203.
JS J^ ^"^ <a
1 62 Study of Virgil's Descriptions of Nature
bo
W
c
s
CD
O
O
o
e
CO
^§ .
O en >>
^ ^ P
^
VO
k
fco
J
o
en
<o
<1>
a
en
?
-Q
ri-O
-o
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(U
(U
03
Qifc
<u^
>,
Q
c
Pi
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T3
Wi
c
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S^ tfi
tn
<u
i^i
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►~J s
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^o
IS <^
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a o
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^■o )iin Svo
•2 'S'cJ "^
<>
<>
Study of Firgil's Descriptions of Nature 163
bo
W
o
3
CO
bo
O
o
o
E
c
o
in
IN
h <L> >
rii a. CD
*-t-i
en
<u
03
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C
u en
■5, ^'5
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p OJ
2 c
■^3
• «
rida
tolia.
capit
^3
10
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5
fO
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capi
The
3 -M o
u O M
■^ o
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3
p
cn^
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Vh
CS
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Sfc. ^ l-c +-*
S^ rt c t-
<>
r^ o •
.2 3-0
<>
164 Study of Virgil's Descriptions of Nature
(L)
bo
w
u
cu
CO
a
3
s
J3
O
Pi
o
o
B
m
Ui
Q
~ o.ti
G
O
<u
a! ro
•M PO
ten
a
a
^00
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C,.-, 1-1
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>^ i-
tpq
sues
swir
^3
<-5
:::)Q I
t^
0)
u
c
<L>
o
LO
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s a; ^
■^t 03 bo
, 1^
rt bo
p.
_0 frj
.§3 b rt o 3:
<:x!
<x
Study of Virgil^ s Descriptions of Nature 165
•0
W
a.
m
4->
c
3
5
-a
Pi
(of the hill.)
Aspera nem-
ora, Rough
woods. 902.
Saetigeri suis,
Bristling
swine. 170.
e
CO
'•5
Q
-4-»
Umida stagna,
Moist pools.
476.
c
'55
<u
CO
rt
robore,
Hard
oak.
893-
<^ <g
1 66 Study of Virgil's Descriptions of Nature
Temperature
In temperature cold has received more attention
from Vergil than heat has received. There are but
twenty-nine references to heat in these pictures of
nature, while there are fifty-six references to cold.
Of these fifty-six references to cold, twenty-seven are
expressed by the root idea in frigidus; eighteen are
expressed by gelidus, six by hibernus; and one by
each of the following, — tempero, nivalis, hiemps
dura, and glacialis. Virgil has used seven words
for his fifty-six references to cold. The poet's vo-
cabulary for heat was much larger, comprising, as
it does, twelve words.
tepidus
apricis
torreo
aestu
torridus
sol
arens
igneus
calor
coqueo
ardor
recaleo.
The references to heat and cold are as follows:
Study of Virgil's Descriptions of Nature 167
TEMPERATURE
Heat
Cold
Ec.
I
Opacum frigus, Shady
cold (literally) cool
shade. 52.
Ec.
II
Rapido aestu, Swift-
descending heat. 10.
Ardenti sole. Burning
sun. 13.
Pecudes captant frigora
et umbras, Herds enjoy
the cool and shade. 8.
Ec.
III.
Frigidus anguis, Cold
snake. 93.
Ec.
V.
Frigida flumina, Cool
streams. 25.
Ec.
VII.
Torrida acstas, Burn-
ing summer. 47.
Ager aret. The field
is parched. 57.
Frigora Boreae curamus.
We regard the cold of
Boreas. 51.
Ec.
VIII.
Frigida umbra. Cool
shadow. 14.
Frigidus anguis. Cold
snaice. 71.
Ec.
X.
Gelidi Lycaei saxa
Rocks of cool Lycaeus.
15-
Menalcus uvidus de hi-
bcrna glande venit. Men-
alcus came, wet from the
winter acorn-gathering.
20.
Gelidi fontes. Cold foun-
tains. 42.
Georgic
I.
Solent sensit seges.
The corn field felt
the sun. 48.
Arva arentia. It
cools the parched
fields.
Gelidus humor. Cool
moisture. 43.
Seges frigora sensit. The
corn field felt the cold.
48.
1 68 Study of Virgil's Descriptions of Nature
Georgic
I.
Georgic
II.
Heat
Georgic
III.
tepido humore. Warm
moisture. 117.
Una zona torrida ab
igni. One zone burn-
ing from the fire
234-
Tepidum solem.
Warm sun. 398.
Igneus Eurus. Fiery
East wind. 450.
Quaeque (arbor) cal-
ores tulerit. Each
tree has born the
heat. 270.
Aestifer Canis. Heat-
bearing Dog - star.
353-
Aravis aestas. Op-
pressive heat. 2)77-
Torrentem undam
Boiling wave. 451.
Apricis saxis. Sunny
rocks. 522.
Aestibus mediis.
Noonday heat. 331.
Cold
Ilia (unda) temperat ar-
va. The water cools the
fields, no.
Frigidiis imber.
shower. 259.
Cool
Gclida nocte. Cool night.
287.
Frigida Stella. Cold star.
336.
Frigora taxi (amant)
Yew-trees love the cold.
113.
Gelidus ros. Cool dew.
202.
Gclidae pruinae.
frosts. 263.
Cold
Hibernis flatibus. Wintry
blasts. 339.
Frigora nocuere (ar-
bores) colds injure the
trees. 376.
Frigidus Aquilo cold
north wind. 404.
Frigida Tempe. Cool
vale. 469.
Gelidis vallibus. Cold
valleys. 488.
Pluvia frigora (Rainy
cold-literally) cold rains.
279.
Frigida glacies. Cold ice
298.
Study of Virgil's Descriptions of Nature 169
Cold
Geo.
III.
Georgic
IV.
Aeneid
III.
Aeneid
IV.
Aeneid
V.
Frigidus Aquarius. Cold
Aquarius. 303.
Nivales ventos.
winds. 318.
Cold
Ripa invitet decedere
calori. Bank invites
them to withdraw
from the heat. 23.
Tepefactus humor.
Warm moisture. 308.
Sol acccnderit aestus.
The sun has kindled
his heat. 401.
Frigida rura. Cold fields.
324-
Frigidusvesper aera tem-
perat. Cold evening cools
the air. 336.
Spirantes frigora Cauri.
West winds breathing
the cold. 356.
Apes tecta frigida relin-
quint. Bees leave their
cold hives. 104.
Hiems saxa frigore rum-
peret. Winter bursts the
rocks with the cold. 130.
Duram hiemem. Pinch-
ing winter, 239.
Torrens
Burning
425-
Sirius.
dog-star.
Radii flumina tepe-
facta coquebant.
Rays of the sun
burned the rivers,
warmed in their
channels. 428.
Tepido lacte.
milk. 66.
Warm
Gelidis antris.
caves. 509.
Cold
Frigida lingua (Or-
pheus) cold tongue (of
Orpheus.) 525.
Glacialis hiems. Icy
winter. 285.
Hiberno sidere. Wintry
season. 309.
Hiberni Cori. Wintry
west winds. 126.
lyo Study of Virgil's Descriptions of Nature
Heat
Cold
Aeneid
VI.
Aeneid
VII.
Aeneid
VIII.
Aeneid
X.
Apricis terris. Sunny
lands. 312.
Serena aestate. In
the clear summer.
707.
Gelidas Arctos. Cold
north. 16.
Brumali frigorc. Wintry-
cold. 205.
Prigore autumni. Cold of
autumn. 309.
Aristae torrentur
novo sole. Corn is
parched by the early
sun. 720.
Humus tepebat caede
The ground was
warm with blood.
196.
Frigidus annus,
season. 311.
Cold
Sirius ardor. The
heat of the Dog-star.
273-
Hibcrnas noctes. Wintry
nights. 355.
Gelidum Anienem. Cold
Anio. 683.
Frigida Nursia. Cold
Nursia. 715.
Hibernis undis. Cold
waves. 719.
Gclidi aetheris. Cold
sky. 28.
Cyllenae gelido vertice.
Cold summit of Cyllena.
139-
Gclidos fines Arcadiae
cold boundaries of Arca-
dia. 159.
Gclida rupe.
343-
Cold rock.
Gelidmn amnem.
stream. 597.
Gelido
stream.
flumine.
610.
Cold
Cold
Study of VirgiVs Descriptions of Nature 171
Heat
Cold
Aeneid
Tepido
aggere terrae.
Gelidam umbram.
Cool
XL
Warm
earth.
mound
212.
of
shade.
210.
Aeneid
Fluenta recalcnt
san-
GcUdi
FTebri. Cold
He-
XII.
guine
Rivers
are brus.
331.
warm with blood
,1S-
Gclidis
nubibus.
Cold
clouds
796.
Taste
In the descriptions under study there are forty-
eight appeals to taste. Fourteen of these are to
bitterness; four to mellowness; thirteen to sweet-
ness; six to sourness; live to saltiness; and six to the
general, abstract idea of taste and thirst. Because
the appeals to the sense of taste are few, it does
not follow that Vergil's sense of taste was de-
ficient. The scarcity of appeals to taste is probably
due to the fact that little experience comes througa
that sense in comparison with the experience wnich
comes through the senses of sight, of hearing, or
of motion.
The appeals to the sense of taste are outlined as
follows :
172 Study of VirgiVs Descriptions of Nature
u
C
o
CO
-" 5 =" —
•:? tS rt g
10
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In.
H*
(«
10
i;
be
^
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u
t-i
ffiH
3
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in
H
(U
o
m
^ <u
qc^^
n Co
!^
i =
V <" h
?^ 3 "^
Hn
q^c^-5
> ID
en
«.S o
> f5
u
U3
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Vi
'r,
^
CI
!^
1-t
n
■y
'x;cQ
R
|pq
>.
n
<u
a
;>
i->
ama
bitte
68.
1 lu H
V. CJ ^H
o fc «^
5t w rt
U5 O
*^ >- fe
Q (U O
cS^
o
o
Study of Virgil's Descriptions of Nature 173
1 81
g-^
^^
.^15
c
1>
6
5 f^ «
en •*-'
IS .iiS
Arva '
siti. F
ing w
353-
oj d
00
rn "^
C 0)
r^
2 On
It
■1-"
*c3
^1
13 1;
m
u s
0)00
OiCO
en •
u
CO
A cidis
Sour b
380.
1
be
a;
/ci uligine
eet mois-
e. 184.
g
dj c/i
in
•*^
3
■4-)
lU
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3 J-
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•— *
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jg
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&
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43
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174 Study of VirgiVs Descriptions of Nature
C
O
-4
a*. "* o
^ o o m
CO
Is
.«? to
VJ r- 00
•~ r" lo
c/3
u
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en CO
n
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c« en
■if <u
s & .
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5'
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Study of Virgil's Descriptions of Nature 175
C4
Ui
<u
C3
v
-l->
■M ^O
'^
'rt °^
in
wave.
uj
c/i
3 „ .
"J ^
\^
-0 °
3 > t^
3
rt^
q^ a
> rt
^ rC
c/l
Salsa
Salt sh
I158.
Salsos
Salty
182, 23
•4->
<u
v
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176 Study of Virgil's Descriptions of Nature
Smell
To the sense of smell there are but twenty-eight
appeals. Twenty-five of these were evidently
pleasing to Vergil, and three of them distinctly
disagreeable. Few of these appeals are concrete.
Usually the words "odoratus" or "olentes" are
used with the general idea of scented, and only
from the context can we get a concrete experience.
Occasionally the adverbs "male," "bene," "grave,"
are used limiting the idea of "odoratus," and they
assist the reader in forming the percept. The
meagerness of Vergil's vocabulary for smell is not
surprising. Man has not yet so fully developed a
sense of smell that he may analyze and group ap-
peals made to it.
The following are the references to smell:
Study of Virgil's Descriptions of Nature 177
SMELL
Pleasant
Distinctly
Unpleasant
Ec.
II.
Olentes herbas. Scented herbs
(probably sweet-scented). 11.
Bene olentis anethi. Sweet-
scented anise. 48.
Suave s odores. Sweet smell of
the myrtle and laurel. 55.
Geo.
I.
Croceos odores. Saffron odors.
56.
Olentes ramos Fragrant
branches of the almond. 188.
Virosa castorea
Strong smelling
castor. 58
Geo.
IL
Odorato ligno. Fragrant wood
of the balsam. 118.
Si non iactaret alium or dor em,
fuerat laurus. If it had not
breathed out another scent, one
would think it was a laurel.
130.
Thuriferis harenis. Incense-
bearing sands. 139.
Geo.
III.
Odoratam cedrum. Scented
cedar. 414.
Galbanco nidore. Scent of
resinous gum. 415.
Geo.
IV.
Serpylla late olentia. Thyme,
scenting the air far around. 30.
Thymbrae spirantis graviter.
Heavily scented savory. 31.
Horti halantcs croceis floribus.
Gardens, scented with saffron
flowers. 109.
Fragrantia mella redolent thy-
mo. Fragrant honey is redol-
ent with thyme. 169.
lyS Study of Virgil's Descriptions of Nature
Pleasant
Distinctly
Unpleasant
Geo.
IV.
Galbaneos odores. Resinous
smell. 264.
Grave olentia centaurea.
Heavy scented centaury. 270.
Odorato Baccho. Fragrant
wine. 275.
Aeneid
I.
Arae Sabaeo ture calent
halantque sertis. Altars
glowed with incense and were
scented with fresh garlands.
416-417.
Fragrantia mella thymo redo-
lent. Fragrant honey is redo-
lent with thyme. 436.
Amaracus aspirans dulci um-
bra. Majoram, breathing upon
him with her fragrant shad-
ows. 694.
Aeneid
II.
Loca fumant sulphnre. The
places smoke with sulphur.
698.
Aeneid
VI.
Graveolentis
Averni noise-
some Avernus.
201.
Aeneid
VII.
Odoratam cedrum. Fragrant
cedar. 13.
Aeneid
XI.
lent em cedrum. Fragrant ce-
dar. 137.
Aeneid
XII.
Odorifcra panacea. Fragrance-
bearing panacea. 419.
Ater odor vol-
vitur. Heavy
odor (of
smoke) rolls
from the dwell-
ings. 591.
Study of Virgirs Descriptions of Nature 179
, Motion
Very few of Vergil's descriptions are without
some suggestion of motion, either a waving forest,
a shuddering oak, or a foaming sea. Of the one
hundred fifty-five descriptions under analysis, there
are only fifteen which are entirely devoid of
suggestions of motion. Twelve of these are in-
cidental and very short. The descriptions without
motion are as follows :
Incidental
Static
Eclogue
VII,
49.
Aeneid
VIII,
190
Eclogue
X,
14.
Aeneid
VIII,
597
Georgic
I,
209.
Aeneid
XII,
861
Georgic
I,
340.
Georgic
I,
430-
Georgic
III,
45-
Georgic
IV,
49.
Aeneid
I,
310.
Aeneid
IV,
461.
Aeneid
V,
145-
Aeneid
VIII,
26.
Aeneid
VIII,
305-
Not all the words which suggest motion are
picturesque. In Aeneid VI, 179, for example, the
expression "itur in silvam" is used. "They go into
the woods." But while the verb suggests motion
f liere is nothing pictorial in it. Such suggestions of
motion as this are very numerous, and are not in-
cluded in the list of references to motion given
below. Therefore the following list is not intended
to be exhaustive. It is merely a summary of pic-
turesque suggestions.
i8o Study of Virgil's Descriptions of Nature
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190 Study of Virgil's Descriptions of Nature
Hearing
Of the two-hundred fifty-six appeals to the sense
of hearing which Vergil gives in his descriptions,
thirty-four are echo descriptions, sixty are onoma-
topoetic, seventeen suggest sound by describing
silence; and one hundred forty-five are general
appeals to the sense of hearing as in Eclogue I, 57,
Canet frondator — The vine dresser will sing.
The onomatopoetic effects have in many cases
been heightened by alliteration, as: Aeneid I, 245,
murmure montis — the murmur of the mountain;
and Aeneid II, 209, Sonitus fit sale spumante — The
sound of the seething sea.
The grace and polish of Vergil's suggestions of
sound place them among the best of his appeals to
the senses. The following table summarizes the ap-
peals to the sense of hearing as they are found in
the descriptive passages.
Study of Virgil's Descriptions of Nature 191
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192 Study of Virgil's Descriptions of Nature
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Summary
It is not to be expected that any one descriptive
passage would appeal to all the senses and their
subdivisions, and there are no passages which em-
brace an appeal to every sense. Aeneid III, 548,
makes appeal to the senses of hearing, form, color,
light and shade, and motion. Aeneid VI, 199,
suggests motion, sound, smell, touch, temperature,
color, and light and shade. There are many other
descriptions which have as wide an appeal as these
cited.
The frequency and concreteness of these appeals
to the various senses have given the poems much of
their interest. Here, from the standpoint of
technique, the work most nearly strikes the modern
note in literature.
CHAPTER IV
Conclusion
From the standpoint of technique, which alone
we are considering in this investigation, the nature
descriptions of Vergil are worthy of study and
imitation. As regards points-of-view, personal,
local, and temporal, only five per cent, of the de-
scriptions suffer any change. We may, therefore,
establish as a part of Vergil's literary creed the
principle that the point of view, once fixed, should
not be violated. In centering and outlining his
pictures, however, the poet does nothing.
In his appeals to the different senses Vergil is
varied and concrete. He is rational here too, as a
comparison of the various tables would show. For
to sight, the sense which brings the most experience,
he appeals the most frequently. And to smell,
the sense which brings the least experience, he ap-
peals the least frequently. In the study of these
sense appeals it is of interest to note also how much
Vergil dwells upon the beautiful and the pleasing;
and how little he refers to the ugly or disagreeable.
Among the thirty-eight suggestions of form, thirty-
seven refer to curves, the form that art has always
considered the most beautiful. In appeals to the
sense of touch, softness is more frequently sug-
gested than hardness ; moisture, than dryness. Yet
roughness is much more commonly referred to than
is smoothness. References to coolness are brought
into the descriptions almost one hundred per cent,
oftener than are references to heat. In taste there
are more suggestions of mellowness and sweetness,
than of sourness and bitterness. And sourness is
not of necessity an unpleasant taste. Of the twenty-
214
Study of Virgil's Descriptions of Nature 215
eight appeals made to the sense of smell, twenty-
five are undoubtedly pleasant, while only three are
distinctly disagreeable. Of color and sound noth-
ing definite can be said, for beauty of coloring and
pleasantness of sound are largely questions of per-
sonal and not of absolute taste. From the preced-
ing study a second principle of technique may be
deduced; namely, that sense appeals should be
numerous, varied, concrete and pleasurable.
This same demand for the pleasurable is appar-
ent from the moods of these descriptions. For
tenderness and sympathy, most frequently of all
moods, envelope these sketches. To be sure, a
shade of melancholy is not infrequently traced in
these pictures, but melancholy is very closely allied
to extreme tenderness.
In summary, therefore, it may be said that in
regard to the technique of centers and outlines the
poet gives us nothing. But his work, is very well
constructed in regard to points-of-view and in re-
gard to sense appeals. It is likewise very strong
in the mood of the sketches which emphasizes the
pleasurable above the painful. And the insistence
with which Vergil dwells upon the beautiful and
the pleasure-giving is of no little interest in these
days of realism.
INDEX
Abrumpo, 196
Abruptus, 182
Abundo, 189
Accendo, 189
Acid us J 173
Active Descriptions, 3, ii,
12. Tables, 68-71
Acutus, 157, 161, 162
Aestas, 167, 170
A est if er J 168
Aestus, 166, 167, 168, 169
.^^/Vo, 181
Albeo, 107
Albesco, 84, 89, 96, lOl
y^/^z/y, 75, 78, 82, 86, 87, 89,
90, 93, 97, 102, 103,
104, 106, 107, 108
Allabor, 188
Alliteration, 190
Amarus, 1 72, 1 73, 174, 1 75
Anhelo, 207
Anhelus, 193
Apricus, 113, 119, 166, 168,
170
Arctos, 114
^rcaf, 133
Ardeo, 116, 118, 123, 132,
134, 138, 149, 151, 167
Arens, 166, 167, 1 68
Areo, 167
Argenteus, 75, 1 03
Argentum, 104
Argutus, 192, 194, 204
^^^^r, 154, 156, 158, 159,
161, 162, 163, 164, 165,
174
Aspero, 185
A strum J 128, 132
Ater, 76, 83, 84, 85, 86, 88,
90, 92, 93, 94, 95, 96,
97, 98, 100, 103, 105,
106, 107, 123, 124, 126,
127, 130, 133, 135, 138,
139, 141, 146, 149, 151
Auratus, 95, 105
Aureus, 76, 79, 82, 84, 85,
87, 92, 94, 97, 99, 100,
loi, 102, 106
A uricomus, 99
Aurora, 117, 123, 131, 134,
137, 140, 145, 148, 151
Aurum, 86, 91, 94, 97, 100,
lOI, 103
Balatus, 192, 197, 207
Bitterness, 171, 204. See
tables, 172-175
Black, 75. See tables 78-
109
Blue, 75. See tables 78-109
Cado, 184, 185
Caecus, 76, 102, 120, 126,
129, 135, 141
Caelum, 114
Caeruleus, 75, 83, 91, 94,
95, 97, lOl, 102, 103,
105, 107
Caligo, 118, 146, 148, 151
Calmness, 1 5
Color, 166, 168, 169
Camur, 73
Candens, 97, 105
Candidus, 81, 82, 88, 90, 99,
103, 115
Candor, 95, 108
217
2l8
Index
Caneo, 86, 87, 89
Cano, 191, 192, 194, 198,
205, 212
Conor, 197
Canorus, 2o6
Cantus, 194, 197, 204, 207
Canus, 75, 79, 83, 85, 91,
103
Carmen, 199, 20I
Cavatus, 73
Cflz^Mf, 72, 73, 84
Centre, 13, 214, 215. See
tables 16-46
Changes in Point of View,
II, 12
Circus, 74
Citus, 189
Clamor, 193, 197, 199, 200,
202, 208, 209, 210, 211
Clangor, 200
Clear, 75
Cloud, 75. See table, iii-
153
Cold, 166, 214. See tables,
167-171
Color, 72, 74-77, 214. Ta-
bles, 78-109
Color, 80, 82, 83, 86, 93,
97. 99
Coloro, 92
Comantem, 189
Cometes, 147
Concresco, 155, 160
Concutio, 181, 183, 186
Congemo, 200
Conluceo, 133, 149
Consono, 202, 206
Contorqueo, 1 82
Contrasting Mood, 14
Convexus, 73, 74
Coqueo, 166, 169
Coruscus, 115, 143, 181,
184, 189
Crepito, 192, 193, 202, 203,
204, 209
Croceus, 76, 80, 85, 94, 96,
100, 104
Cruentus, 76, 84, 104
Curvatus, 73
Curved surfaces 72, 214.
See tables, 72-74.
Curvus, 72, 73, 74
Dark, 75. See tables, 78-
109
Darkness, 1 10. See tables,
111-153
Definite points of view, 9-10
Dehisco, 184
Descriptions, 3. Tables 16-
71. (See under Active,
Formal, Static, Inciden-
tal).
Discolor, 100
Dryness, 214. See tables,
156-165
Dulcis, 172, 173, 174, 178
Durus, 155, 158, 159, 160,
161, 162, 163, 164, 174
Ebur, 85
Echo, 190
Effervo, 181
Effulgeo, 144
Enitesco, 118
Erro, 180, 182, 184
Excutio, 189
Exulo, 185
Ferveo, 130, 181
Fervidus, 1 40
Ferrugineus, 75, 92
Fire, no. See tables, iii-
153
Index
219
Flagro, 114
Flamtna, 115, 116, 118, 125,
127, 130, 133, 136, 146,
148, 151
Flammo, 120
Flaveo, 92, I02
Flavesco, 80
Flavus, 76, 84, 97, loi, 105
Fluo, 180
Form, 72, 214. Tables, 72-74
Formal Descriptions, 3, 13.
Tables, 16-46.
Formlessness, 72. See ta-
bles, 72-74.
Fragor, 193, 2o6, 207, 208
Fremitus, 1 95, 1 98
Fremo, 184, 186, 192, 206,
207, 209, 211
Frequentative point of view,
13
Frigidus, 166, 167, 168, 169,
170
Frigus, 167, 168, 169, 170
Fugo, 185
Fulgeo, 130, 140, 142, 143
Fulgor, 134, 144
Fulvus. 76, 89, 93, 95, 96,
98, 100, 102, 105, 107,
108
Fumo, 140, 178
Furiae, 188
Furo, 188, 189
Fury, 14
Fuscis, 76, 103
Garrulus, 198
Gelidus, 166, 167, 168, 169,
170, 171
Gemitus, 200, 201, 203, 204,
208, 210, 211
Gemo, 197, 203, 209, 210
General Outline. See Out-
line.
General Point of View, lO
General Suggestions of
Sound, 190. See tables,
191-214
General Suggestions of
Taste, 171. See tables,
172-175
Glacialis, 166, 169
Glaucus, 76, 86, 93, 100,
105
Graveolens, 178
Green, 75, 76. See tables,
78-109
Halo, 177, .78
Hardness, 214. See tables,
156-165
Hearing, 72, 190, 214. Ta-
bles, 191-211
Heat, 166, 214. See tables,
167-171
Heavenly Bodies, no. See
tables, 111-153
Hibernus, 166, 167, 168,
169, 170
H temps Dura, 166, 169
Hinnitu, 196
Hirsutus, 154, 156
Hirtus, 160
Hollowed Bodies, 72. See
tables, 72-74
Horrens, 154, 160, 161, 164
Horridus, 154, 156, 159.
160, 161, 162, 163, 164
Human Misery, Mockery
of, 15
Human Mood, 15
Humidity, 154. See tables,
156-165
Humidus, 154, 158, 159, 161
220
Index
Igneus, 132, 142, 166, 168
Ignis, llT, 118, 119, 123,
127, 128, 130, 143, 148,
149, 151
Imago, 197
Immugio, 201
Immurmuro, 1 97
Impello, 183
Incanesco, 87
Incendium, 125
Incendo, 134
Incidental Descriptions, 3,
179. See tables, 47-67
Increpo, 194
Indefinite Point of View, 12
Indefinite Suggestions of
Color, 75. See table
78-109
Induro, 155, 160
Informis, 74
Infremo, 208
Ingemo, 191, 192
Inhorresco, 185
Insono, 204, 209
Instabilis, 183
Insulto, 189
Intono, 199, 207
Inumbro, 122
Lactens, 76, 84
Lapidosus, 155, 162
Latebrosus, 15 1
Latratus, 211
Latro, 205
Lentesco, 155, 159
Lentus, 155, 161, 163, 187
Levis, 180
Levis, 158, 159
L/^o, 172, 174
Light and Shade, 73, 1 10.
Tables, 111-153
Lightning, 1 10. See tables,
111-153
Limosus, 154, 156
Liqiddus, 75, 91, 92, 195
Lividus, 99
Local point of View, 11-12.
See tables, 16-67
Loquax, 196, 209, 210
Loquor, 191, 192, 195
L«ceo, 137, 145, 148
Lucidus, 75, 85, 115
Lucifer, 125, 143
Luctor, 184
Lumen, 115, 128, 130, 131,
137, 140, 141, 143, 144,
145, 151
Luna, 116, 121, 127, 128,
130, 131, 137, 140
Lustro, 130, 141, 184
Luteolus, 78
Luteus, 76, 101
L«a;, 115, 122, 125, 134,
137, 142, 146, 149, 151
Madeo, 155, 160
Mansuesco, 155, 159
Melancholy, 15, 215
Mellowness, 171, 214, See
tables, 172-175
Mitis, 172, 173
Mockery of human misery,
15
Mollis, 115, 156, 157, 158,
159, 160, 161, 162, 163,
164, 172
Mood, 14, 15, 215. See ta-
bles, 16-71
Moisture, 154, 214. See
tables, 156-165
Motion, 72, 179. Tables,
180-189
Mo to, 180
Motus, 184
Moveo, 182
Index
221
Mugio, 203, 206, 207
Mugitus, 195, 196, 209
Murix, 77, 80
Murmur, 193, 199, 201,
203, 204, 208, 209, 211
Murmuro, 2o8
Musso, 197, 210
Mutus, 209
Nidor, 177
Niger, 76, 81, 84, 85, 87,
88, 89, 90, 91, 92, 93,
96, 97, 98, 100, 103,
104, 105, 106, 107
Nigrae Violae, 77, 83
Nigrans, 95, 97, lOO
Nigra Vaccinia, 77, 83
Nimbosus, 128
Nimbus, 127
M^^o, 115, 137
Nitidus, 118, 141
Nivalis, 94, 109, 166, 169
Mreuj, 75, 76, 81, 83, 88,
90, 91, 94, 99, lOI
Nixor, 186
Noctivagus, 147
Nocturnus, 119, 140
A^ojf, 114, 116 , 120, 122,
125, 126, 127, 128, 129,
130, 132, 133, 134, 136,
137, 138, 139, 140, 143.
144, 145, 146, 148, 149
Nubes, 123, 130, 133
Nubilum, 114, 117, 120,
127, 141
Obedience, 14
Objective Point of View, 9
Obscuro, 151
Obscurus, 116, 126, 127,
130, 131, 132, 136
Obumbro, 152
Odor, 177, 178
Odoratus, 176, 177, 178
Odorifer, 178
Olentes, 176, 177, 178
Onomatopoetic, 190. See
tables, 191-211
Opaco, 118, 137, 143
Opacus, 76, 83, 99, 100,
127, 132, 138, 140, 145,
146, 148
Ostro, 77, 107
Outline, 13. See tables, 16-
46
Fallens, 76, 79, 80, 81, 92
Pal I id us, 75, 85
Pando, 181, 183
Personal Point of View, 9-
II
Phaethon, 134
Phoebus, 130, 147, 149
Piceus, 76, 95, 118
P ictus, 89, 95
Place. See Local Point of
View.
Placidus, 187, 188
Plango, 193
Plaiido, 186
Point of View, 9-13, 215.
See tables, 16-71.
Proruptus, 1 84
Protective Interest, 14-15
Pullis, 76, 91
Pulso, 202
Puniceus, 76, 80, 89, 108
Purple, 75, 76, 77
Purpura, 92
Purpureus, 77, 80, 83, 86,
91, 92, 97, 99, 104, 107
Purus, 75, 90, 91, lOl
Quatio, 187
Quest us, 199
222
Index
Quiesco, 185
Quietus, 202
Radius, 117, 134, 144
Rainbow, 1 10. See tables,
111-153
Rapax, 183
Rapidus, 181, 187, 189
Raucus, 191, 193, 197, 203,
206, 207
Reboo, 196
RecaleOj 166, 1 71
Reclamo, 196
Red, 75, 76
Redoleo, 177, 178
Refero, igi, 197, 207
Reflections, 1 10. See tables,
111-153
Refulgeo, 125, 136
Remugio, 196, 207, 210
Remit to J 210
Remurmuro, 208
Renideo, 118
Repercutio, 143
Resido, 187
Resistance, 154. See tables,
156-165
Resolvo, 180.
Resons, 191, 192, 193, 194,
200, 204
Resplendeo, 152
Responso, 2lO
Resulto, 202, 206
Retego, 132, 134
Rosctdus, 154, 156, 163
Rosens, 76, 99, lOi
/?o^o, 188
Roughness, 154, 214. See
tables, 156-165
Rubeo, 79, 80, 83, 85, 86,
87, 91, 105, 107
Ruber, 76, 89
Rubesco, 86, 94, lOi, 102
Rubicundus, 84
Rubor, 85, 108
Rudo, 200
Rumor, 206
Rumpo, 183, 187
i?tto, 186
Rutilo, 144
Rutilus, 76, 102, 122
Saetiger, 154, 163, 164, 165
Saetosus, 154, 156
Saevio, 204
5fl/. 175
5«/fo, 180, 181
Salsus, 173, 175
Saltiness, 171, 214. See ta-
bles, 172-175
Sandyx, 76, 80
Sanguineus, 76, 81, 83, 94,
97, 105, 107
5'G/)or, 173
5c«^^r, 154, 159
Scrupeus, 154, 163
5eco, 188
Sense Appeals, 3, 72, 213,
214, 215. See tables
under various senses.
Shade. See Light and Shade.
Shadow, no. See tables,
111-153
Sharpness, 154. See tables,
156-165
Sibilo, 209
Sibilus, 196, 202
Siccus, 158, 159, 174
Sidereus, 128, 146
Sidus, 118, 120, 131, 133,
135
Sight, 72, 154, 214 See ta-
bles under Color, Form
and Light and Shade.
Index
223
Silence, 190. See tables, 191-
211
Sileo, 192, 195, 197. I99>
201, 204, 207, 208
Sirius, 123, 147
Sitio, 172
Sitis, 173
Sky, no. See tables, iii-
153
Smell, 72, 176, 214, 215.
Tables, iT]-i1^
Smoothness, 154, 214. See
tables, 156-165
Softness, 154, 214. See ta-
bles, 156-165
Sol, 115, 116, 117, 118,
120, 122, 123, 136,
137, 142, 143, 144, 146,
151, 166, 167
Sonitus, 193, 195, 196, 197,
198, 199, 200, 205, 207,
208, 209, 210, 211
Sono, 192, 193, 195, 196,
197, 198, 199, 203, 204,
205, 206, 207, 208, 209,
210, 212
Sonor, 196
Sonorus, 199
Sonus, 198
Sourness, 171, 214. See ta-
bles, 172-175
Spar go, 186
Spiro, 177, 181
Splendeo, 140
Splendesco, 114
Spumeus, 184
Spumo, 183, 185, 186, 189
Squalens, 1 54, 1 59
Squarneus, 154, 163
Static Descriptions, 3, ii,
12. Tables, 16-67
Stella, 132, 133, 138, 149
Sterno, 186
Strepito, 193
Strepo, 192, 204
Strideo, 191, 198, 199, 200,
201, 207, 208, 209, 210,
211, 212
Stridor, 194, 195, 199, 201,
203, 205, 206, 211, 212
Stridulus, 210
Suavis, 1 74
Subjective Point of View, 9-
10
Subluceo, 122
Subsido, 186
Susurro, 197
Susurrus, 191
Sweetness, 171, 214. See ta-
bles, 172-175
Taceo, 20 1
Tacitus, 199, 200, 203, 206,
208
Taeda, 140, 145
Taste, 72, 171, 214. See ta-
bles, 172-175
Temperature, 72, 166, 214.
Tables, ib^-iTi
Tempero, 166, 168
Temporal Point of View,
12-13. See tables, 16-
67.
Tenderness, 14, 215
Tenebrae, 114, I20, 128,
134, 137, 143, 145, 146,
148, 150
Tenebrosus, 136
Tener, 155, 156, 157
Tepefacio, 169
Tepeo, 170
Tepidus, 166, 168, 169, 171
Teres, 163
Texo, 180
224
Index
Thirst, 171. See tables, 172-
175
Thumb-nail Sketches, 3
Thurifer, 177
Time. See Temporal Point
of View.
Titan, 132
Tonitrus, 20I, 202
Tono, 194, 196, 201, 202,
207, 208, 211
Torqueo, 183, 187, 188
Torreo, 166, 168, 169, 1 70,
180
Torridus, 167, 168
Touch, 72, 154, 214. Ta-
bles 156-165
Tremulus, 187
Trepidus, 187
Tristis, 173
Tumeo, 184, 187
Turbidus, 1 86
Turbo, 182
IJdus, 155, 160, 162
Vlulo, 193, 201, 203, 204
Umbra, ill, 1 12, 113, 1 14,
115, 119, 120, 121, 123,
124, 125, 127, 131, 132,
136, I37> 138, 139, 141,
145, 146, 149, 150, 152,
153
Umbrifer, 137
UmbrOj 130
JJmbrosus, 76, I02, ill,
120, 144
Umeo, 162
Umidus, 162, 164, 165. See
Humidus
Uncus, 73
Undefined Point of View,
10
Undo, 182, 183, 185
Undosus, 186
Urgeo, 181
Uro, 140
Vaccinia, 77
Vaccus, 76, 96
Ventosus, 1 80
Verbero, 188, 189
Vesper, 1 12, 115, 120, 134
FfZro, 188
Violae, 77, 83
Violet, 77. See tables, 78-
109
V ire eta, 1 00
Fir^o, 82, 89, 91, 99, 100
Viridis, 76, 78, 81, 82, 83,
86, 89, 90, 92, 93. 94,
95, 97. 98, 99, 102, 103
Viridor, 98, lOl
Virosus, 177
Voco, 194, 197
Volubilis, 187
Fo/t^o, 183, 185
Vox, 194, 195, 197, 200,
201, 202, 203, 205, 209
Vulcanus, 143
Yellow, 75, 76. See tables,
78-109
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