LIBRARY OF THE University of California. Class "T)g|- Columliia 35niberstts STUDIES IN CLASSICAL PHILOLOGY THE STRESS ACCENT IN LATIN POETRY :^!M^ THE STRESS ACCENT IN LATIN POETRY BY ELIZABETH HICKMAN DU BOIS THE COLUMBIA UNIVERSITY PRESS THE MACMILLAN COMPANY, AGENTS LONDON: MACMILLAN & CO., Ltd. 1906 All rights reserved SSMERAL Copyright, 1906, By the MACMILLAN COMPANY. Set up and electrotyped. Published August, 1906. J. S. Gushing & Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. 1)7 PREFATORY NOTE This monograph contains a condensed and care- ful summing up of the most authoritative evidence with regard to a stress accent in Latin. On the basis of the doctrine here set forth, Miss du Bois has formulated an ingenious and very plausible theory of the Saturnian Verse, and has sought to establish an explanation of the purely quantitative Latin poetry which shall reconcile the opposing views as to an apparent clash between word accent and verse accent. I regard her discussion as a valuable contribution to the literature of this highly controversial subject. HARRY THURSTON PECK. Columbia University, July I, 1906. OF THE UNIVERSITY OF THE STRESS ACCENT IN LATIN POETRY WORD ACCENT Accent is the prominence of one syllable of a word over the other syllables. It is the essential part of a word/ its cachet. Because the Romance languages have preserved the accentuation of the Latin, they are, as Gaston Paris says, "deslangues filles" and "des langues soeurs," while, though many French words have been borrowed by Eng- lish and German, because the Teutonic accent has been substituted for the Latin, the whole physiognomy of the word is changed.^ This predominance of one syllable of a word over the others is accomplished by pronouncing it at a higher pitch and with increased stress of the voice, the two factors varying in importance both, abso- lutely, from one language to another (often be- tween different dialects of the same language) 1 anima vocis, Diomed. p. 430, 29 K ; Pompeius, p. 126, 27 K. 2 Gaston Paris, Atiide stcr le Role de f Accent latin dans la Langtie fra7i<;aisc, Paris and Leipzig, 1862, p. 9 ss. B I 2 THE STRESS ACCENT IN LATIN POETRY and, relatively, between different modes of utter- ance.^ So the musical accent of ancient Greek and of ancient Sanskrit is essentially one of pitch, differences of stress playing a subordinate and all but negligible part. English and German, on the other hand, have a stress accent, though differ- ences in pitch are still important. In English, the word really, for example, by variations in pitch may be made to express a wide range of feeling from mild interest to profound contempt. There is another factor in Greek and Latin which helps to make the accented syllable promi- nent, though it is not in itself sufficient to consti- tute such prominence; and that is quantity. Professor C. E. Bennett ^ maintains that Latin, in the Classical Period, at least, was ''absolutely unstressed." He writes: "May not a syllable be primarily prominent by virtue of its qiMJitityf That is, in a word like amavit, for example, may not the rule of the grammarians, that such a word was accented on the penult, simply mean that they felt the quantity of the long penult as making that syllable prominent, without any stress on the one hand or any elevation of pitch on the other } And in words like Idttiit homines, etc., may not the rule that these words were accented on the ante- penult simply mean that, in consequence of the short penult, that syllable did not possess any 1 Cf. Eduard Sievers in Paul's Grundriss, 1897, ^ ^d* ^ Lief. p. 304 SS. 2 ^^ y; p^ Yoi^ ^]^^ p^ ^62 et SS. WORD ACCENT 3 prominence, and hence after the establishment in Latin of the three-syllable law, the syllable next preceding became the conspicuous one ? " Take the word amdvit; the penult is an ''open" syllable (to quote his own terminology ^) with a long vowel ; it is, therefore, a long syllable. The ultima is a "closed" syllable, "and a closed syllable is pho- netically long." 2 There is therefore no difference in quantity between the penult and the ultima, so that it is difficult to see how the former could be "quantitatively prominent." Further, in the word homines, because of the short penult, " the sylla- ble next preceding becomes the conspicuous one." How 1 Both penult and antepenult are short. The only long syllable in the word — the only one, therefore, which can be said to possess " quantita- tive prominence" — is the ultima; so that, follow- ing his own rule, the word should be accented on the ultima. Latin possesses a very large number of long, i.e. "quantitatively prominent," syllables, so much so that Plautus and Terence were obliged to shorten many such syllables by the law of Brevis Brevians, and Ennius and his successors still more. In an iambic word like modo, for example, what influence was at work to cause the "^ Appendix to Bennett's Latin Grammar, Boston, 1895, p. ^^2. But of. Pompeius, p. 112, 26 K. 2 The only exception would be where, with no break in the sense, the following word began with a vowel. Before a pause and, as he expressly states, at the end of a line, such final syllables are long. — Op, cit. p. 375 note. 4 THE STRESS ACCENT IN LATIN POETRY shortening of the final <^ ? If quantity alone was responsible, why did not a short unaccented syl- lable produce the same result? But iurigo (in Plautus) becomes, later, not iurigo, but iilrgo. Nor is this syncope of the unaccented syllable, which can be due only to stress, confined to ante-classical times, when, according to Professor Bennett, the language may not have been "absolutely un- stressed." Augustus stigmatized calidus for cal- dus as a piece of affectation, " non quia id non sit latinum, sed quia sit odiosum," ^ while It. caldo shows that caldits was the form in late Latin. It is, in fact, precisely the "quantitatively monoto- nous" character of Latin that makes some other principle of accentuation imperatively necessary. But such a thesis as that of Professor Bennett cannot be seriously maintained for any age or any language. Behind the lyric and epic in Greece, as every- where else, there must have been rhythmical songs of the people, but so imperceptibly does this Volks- poesie shade off into the VolkstJiiimlicJie Poesie of later and more cultivated times, so industriously is every motif made a subject of art, and, withal, so national and democratic is the whole body of Greek poetry, that the first rude songs of daily life and of worship — at least in their original form — stood small chance of being preserved.^ It is a tempta- 1 Quint, i. 6, 19. 2 Smyth, Greek Melic Poets, London, 1900, p. 488 et ss. WORD ACCENT 5 tion, however, with Christ^ and others, to see the influence of stress in the Lesbian Mill-Song, quoted by Plutarch: 2 — aXet, fxiXa, aAet Kat UtTTaKos yap aXet /xeyaAas MvTtAavas (SacnXevcDV, where the last line, at least, seems to match the rhythmical movement of the hand as it turns the mill. Keller^ adds the saying of the children of Attica when they first saw the birds in spring. It is from the Scholiast on Aristophanes' Birds, 1.54:- 80s TO (TKeXo iTTTTODv €is ^aAao^o-av aAaro. The lengthening of a short vowel in an accented syllable and the shortening of a long unaccented ^ Metrik der Griechen und R'dmer, Leipzig, 1879, p. 374. 2 Sept. Sap, Conv. 14 (157 E). ^ Der Saturnische Vers ah rhythmisch erwiesenyTta-gue, 1883, p. 81 et s. 6 THE STRESS ACCENT IN LATIN POETRY vowel is a sure sign of the growing power of stress, which, like every strong influence in the history of humanity, works its way up from below. Setting aside the fishmonger's rdpcov (3o\6iv and ktco /SoXcov for Terrdpcov 6/3o\(t)v and o/ctco 6j3o\cov in Amphis' comedy, TlXaVo? and the occasional suppression of a short vowel on Attic vases, e.o-. iirolricrv 'KOr^vrjaVy — instances which may seem to be entirely sporadic only through the losses of centuries, — there is con- siderable evidence for the confusion of long and short vowels as early as the second and first cen- turies before Christ. Kretschmer, in an excellent article,^ which by the way is entirely misrepresented by Vendryes,^ has collected, from papyri and inscriptions, a number of instances of this confusion. In con- clusion he writes : " Die oben zusammengestell- ten belege aus papyri und inschriften zeigen noch kein durchgehendes abhangigkeitsverhaltniss zwischen vocalquantitat und betonung. Es finden sich schreibungen wie yiyoLTco, Karcoxy, oofxoLa)<;, copdraL, irpwea-rwro^^ ^'%<^^ st. e%oz^, fjiei^oyv st. fxel^ov und veorepov, Traparv^ov st. -rv^oiv. Aber in der mehrzahl der falle sind betonte kiirzen als lang oder unbetonte langen als kurz bezeichnet : man vergleiche Ma/ceScoz^o?, cjvto<^^ TrptoKeL/Jiai, wtto)?, I3o(op6vo^ St. -(j)p6vco^, etc. Thatsache ist also, dass die vulgare aussprache bereits im 2. jahrh. V. Chr. lange und kiirze zusammenfallen liess. Mit der aufhebung der quantitatsunterschiede fiel aber eine der wichtigsten voraussetzungen f iir die urspriingliche musikalische betonung fort; denn der unterschied von acut und circumflex sowie das ganze sogen. dreisilbengesetz sind durch die ver- schiedenheit der quantitaten bedingt. Hieraus folgt, dass die betonung der griechischen volks- sprache schon in vorchristlicher zeit eine nicht unwesentlicheveranderung erfahren haben muss." Finally, Westphal ^ shows that in the later Greek times there arose a kind of didactic poetry whose appeal was directly to the people, through fables told in choliambic verse. It is, however, of the utmost importance to note that, while the ancient verses of Hipponax and Aeschrion were based solely on quantity, this new verse required that in the last foot, word- and verse-ictus should al- ways coincide. Unfortunately we do not know the date of Babrius, who first used this verse. It has been variously given all the way from the third century before Christ to the third century after Christ. Crusius,^ after giving the arguments 1 Allgemeine Metrik, Berlin, 1:892, p. 242 et ss. 2 De Babrii Aetate (Leipzig, 1879). 8 THE STRESS ACCENT IN LATIN POETRY (which often rest upon very slight grounds) both for an early and for a late date, decides in favour of the time of Alexander Severus. In the Byzan- tine Period, the choliamb of Babrius had lost all trace of prosody and had become a verse of twelve syllables in which it was only required that the last ictus coincide with the accent of the word — Ancient choliamb w_w_v:7_w_w vy- W \J W \J \J 1_ '^' Byzantine choliamb Choliamb of Babrius ^ Many of the so-called Political Verses {crTixoi TToXiTLKoi) oi the Byzantine writers employ this measure of twelve syllables, as, for instance, the following lines of Tzetzes : — TrpoXoyo? ecrrt /a€XP' xopov €t(7o8ou* C7ret(7oStov lariv, ws Koi 7rpoi(fiY)V, Aoyos ixeraiv ttXtjv jxeXCjv xoptjiv ^vo. It would seem, therefore, that the history of Greek poetry shows the same successive phases as that of Latin. Rhythmical at first, in all probabil- ity, though the finer poetical sense of the Greeks may not have allowed the suppression of the thesis, so frequent in Teutonic popular poetry,^ it had become quantitative long before the period of the Homeric epic, and for more than a thousand years had so remained. Then, through the influ- ence of the people, its musical accent became less nuancey the fine distinctions of pitch gave way to 1 Usener, Altgriechischer Versbau, Bonn, 1887, p. 78 et ss. WORD ACCENT 9 the heavier, more palpable differences of stress, and along with stress as a dominant principle came in a poetry which ignored quantity altogether and only required that in the last foot of each line (in the longer Hnes, of each hemistich), word- and verse-accent should coincide. Just as all the dialects of Greek have a common system of accentuation, and all the dialects of Ger- man, so, Corssen^ thinks, have all the old Italic dialects. For Oscan and Umbrian, at least, it seems clear that the accent {i.e. stress) fell at one time on the initial syllable of the word. This is proved by the same phenomena as in Latin, namely: i. Syncope of the vowel, which under the later Penultimate Law would bear the accent {a) in the antepenult; as, Osc. Anagtiai from Anketiai or ^ Angetiai {\^2X. Ajigitiai)', Osc.-Umb. nessimo- perhaps from *nezdismi?to- or *nedhis7n- mo- ; Vo. ataJms perhaps from * ad-tetahitst (like Lat. attigi from *ad-tetigiy reccidi from *rececidi)\ {b) in a long penult, the Oscan proper name Opsci, from *Opisci, Osc. mhistrcis {inisU'eis) from ^inini- streis (Lat. minister). Syncope in these positions is more widespread in Oscan and Umbrian than in Latin. 2. Weakening of the vowel in the same positions, which is rare and doubtful ; for example, Umb. prehubia, Lat. praeJiibeat. Whether this initial accent was preserved in 1 Uber Auss. Vok. u. Beton. der lat. Sprache, Leipzig, 1870, ii, p. 907 ss. 10 THE STRESS ACCENT IN LATIN POETRY Oscan-Umbrian or replaced by the three-syllable law, as in Latin, cannot be determined with cer- tainty. Brugmann,^ on account of the widespread loss of the vowel in final syllables, is in favour of the former view; Corssen, with whom von Planta is inclined to agree, prefers the latter. Von Planta writes,^ " Wenn auch nicht alle angef iihrten Argu- mente von gleichem Werth sind, so scheinen sie doch ausreichend um es entschieden wahrschein- lich zu machen, dass im Osk.-Umbrischen in his- torischer Zeit die jiingere lateinische Betonung herrschte. Uber der Zeitpunct der Aenderung lasst sich nur so viel sagen dass er spater fiel als die Syncope in osk. Anagtias, Vezkei, umbr. mersto-, etc., und als die Schwachung in umbr. /r^- /mbia (osk. Mavierttiais ?). Dass die Aenderung uritalisch gewesen sei, ist aus verschiedenen Griin- den unwahrscheinlich." As to the nature of the free shifting accent, claimed by many to have preceded the stress accent on the initial syllable in Latin, we are ignorant. Vendryes^ claims that it was a. pitch accent like that of the parent Indo-European, but he adds, " Ce ton n'a eu aucune influence sur la constitution et le developpement de la phonetique latine." Conway, Wharton, Collitz, and others think it was a stress accent, and see in certain vowel 1 Grundriss, i. p. 553. 2 Gram, der Oskisch-unibrischen Dialekte, Strassburg, 1892, p. 596. 3 op^ cit. p. 99. WORD ACCENT II changes, for example the a in qtiaticoriGv. Terrape^) and in mag7i?is{lndi.-'K\\r. ^meg-tws, Gr. /leya?), traces of its influence. This earliest accent was, however, replaced, as Corssen proved, by a stress accent resting on the first syllable of each word. In- stances of Syncope under the Initial Accent Law are, aiicidits for ainbi-qitoliis (Gr. ayL<^i-iTo\o'^\ naiifragiis for ndvifragus, se libra for *semilibray tmdecim for *omidecem ; rettiili for re-tettili^ 7'epperi for re-peperi, reccidi for re-cecidi; of Vowel Weaken- ing, i7tfringo from in dead, frango ; concido from cum and caedo ; trienniiLm from tri- {tres) and anmcs. Sometime before the dawn of the Literary Era (Stolz conjectures the fifth century of the city^) the Initial Accent in Latin yielded to the law of the Last Three Syllables. Vendryes, who holds that the former was a stress accent and the latter a pitch accent pure and simple, makes no attempt to explain the manner of the change. Lindsay ,2 who regards both as essentially stress accents, thinks that the change began in long words like sapientia^ tempestatibus, which, in order to be pro- nounced at all, must have had a secondary as well as a main accent, and that the change from the older accentuation to the Penultimate Law of the Historic Period, consisted merely in substituting the main accent for the secondary, and the secon- dary for the main ; sdpientia becoming sapientia, 1 Lateinische Gramniatik in Iwan Miiller's Handbtuh, U.S. 321. ^ The Latin Latigimge^ Oxford, 1894, P* 158 ss. 12 THE STRESS ACCENT IN LATIN POETRY tempestatibiis, tempestdtib?cs, etc. In one particu- lar this change appears to have been still incom- plete at the time of the Early Drama, words like facilius, baliiieum (w w w v^) having the metrical ictus on the first, not on the second syllable, in the plays of Plautus and Terence. So also (I think) cdpitibus in Naevius' line : — Noctii T7'oiad{e) exibant cdpitibus opertis. The very fact that the place of the Latin accent was so circumscribed points to an essential differ- ence between it and the pitch accent of ancient Greek. Except in a few words which have dropped or contracted their last syllable like ctiidSy illuc, tantSn {tantonc) the accent never falls on the ultima, but is determined rigorously by the quan- tity of the penult, even Greek loan words like Epirus, tyrdnmts, submitting to its heavy hand. On the contrary, all the pitch accents that we know have a far wider scope. In ancient Sanskrit the accent may fall on the seventh syllable from the end. Greek has a recessive accent, which is only provisionally estabHshed for Latin in con- ventional word groups.^ In Chinese, the only pitch language of modern times, the tones, of which there are five (some say four or seven), seem to play all about a word combination Hke veritable 1 Radford in A. J. P. vol. xxv. " On the Recession of the Latin Accent in Connection with Monosyllabic Words and the Traditional Word-Order." (Three articles, pp. 147, 256, 406.) WORD ACCENT 1 3 will-o'-the-wisps, often changing the entire mean- ing of a sentence.^ Further, in Late and Vulgar Latin, even a short penult attracted the accent, as is abundantly proved by the evidence of the Romance lan- guages.2 (i) In a syllable not initial the second of two vowels in hiatus attracts the accent; thus the accentuation fnuliereni in Vulgar Latin is at- tested, not only by the Romance forms, Eng- mziler, Old Fr. motiliery Prov. niolher, Roum. viidi- ere, Span, mtcjer, It. mogliera ; but by the precept of a late grammarian,^ ^'' inuliere^n in antepaenul- timo nemo debet acuere, sed in paenultimo potius," and by the usage of Christian poets of the third and fourth centuries. (2) A mute followed by r at the beginning of the last syllable attracted the accent to the penult, the result, in all probability, of the practice among Latin poets of allowing a mute and a liquid to "make position."* Lat. tene- brae is attested by Span, tinieblas ; colobra, by Fr. coiileiivre, Span, aclebra, etc. (3) In com- pound verbs the accent shifted to the stem-vowel of the verb. Lat. recipit is shown by It. ricevey Fr. regoit, Span, recebe ; demorat, by It. dhnora^ Old Fr. deymiere, Fr. demettre, Prov. demora, etc. (4) The evidence from the Romance numerals, it is true, seems to point in the opposite direction, 1 Kleczkowski, Cours de Chinois, Paris, 1876, i. p. 29 ss. 2 Meyer-Liibke, Grajn. Rom. Sprach., Leipzig, 1890, i. p. 489 ss. ^ Anecdot. Helv. ciii. * But cf. Serv. ad Aen. i. 384. 14 THE STRESS ACCENT IN LATIN POETRY namely to a Vulgar Latin vigmtiy triginta, qiiadrd- giiita^ etc. Trighitay according to Consentius ^ (fifth century), is one of the barbarisms, " quae in usu cotidie loquentium animadvertere possumus." But while, according to Meyer-Lubke, it is pos- sible to derive It. venti from viginti, and even veiiitCy treinta from viginti, trigiiita on the sup- position that the i was close (though not possibly quarante from quadragintd), it seems to me more likely that there was a still later change in Vulgar Latin, so that while the earlier Romance forms are derived from viginti^ triginta, etc., the Italian are derived from shortened forms which were accented on the penult. There is some evidence for this view in late inscriptions, for example, on a fifth- century inscription ^ quarranta is written for q?cad- rdginta (It. qiiardntd), and an epitaph in hexameters has vintiy for vlginti\lt. venti)? The phenomena of syncope and vowel reduction, characteristic of all periods of the language, are the main support of the stress theory. These have been very ably treated by Lindsay in his chapter on Accentuation* and need only be briefly sum- marized here. A. Syncope (i) Pretonic : artena (Gr. apv- racva), perstrovia^ (Gr. TrepLcrrpcofjia); enclitic or 1 p. 391 K. 2 ^. /:. 2:. V. 106. 3 Wilm. 569, cf. C. I. L. viii. 8573 : {^Et menses septem diebus cum vinti duobus). * Op. cit. p. 148 et ss. 5 Lucil. (i. 41 M. and Lowe, Prodr. p. 347). WORD ACCENT 15 subordinate words which drop final e before an initial consonant, e.g. ncinpe, pivindey dcinde, atqiie^ neque becoming *nemp (so scanned by Plautus and Terence), /r^^';^, dein, ac, nee ; benficiiim^ malfieitmi^ {calefaeere, ealefacere, then) calfacere, olfacere^ mins- terium or mistermm ; aet for aevit in aetermis^ aetatem, etc., then in aetas ; frigdariiis^ beside frigidiis, caldarms beside ealidtcs, portorhmi beside portitor, postridie beside posteri^ altrinsecus be- side alteri ; si audes (Plant.) in the Class. Period, sodes. (2) Post-tonic : bdrea, lamna ^ (in Vul. Lat. /amm), /ardum, iurgo (still iurigo in Plautus), jisurpo for *tis2iripo ; nouns and adjectives in -atis^ denoting the country of one's birth, as iiostrds^ Ajpmds^ etc. ; u, i, in hiatus, lama, a trisyllable in Plautus, is later a dissyllable, so gratiis later gratis ; occasionally, ardtts ^ for aridtcs, aspris for asperis ;^ soldus^ possum for pote-sum of earlier writers. In Vulgar Latin wave after wave of syn- cope, as is shown by the Romance derivatives, changed the whole appearance of the language; e.g. slave names like Marpor^ for Marcipor, etc. ; niattus ^ for 7nadidus, virdis, fridani for frigidam 1 Lucil. (viii. 12 M.). 2 Hor. Od. ii. 2, 2 {inimice lamnae). 3 Plaut. Aul. 297; Pers. 266. * Verg. Aett. ii. 379. Cf. aspritudo, asprettwi^ aspredo, It. aspro. ^ Lex Municipalis of Julius Caesar (C. /. Z. i. 206, 1 14, 115); Hor. Sat. ii. 5, 65 and i. 2, 113. 6 C. I. L. i. 1076. 7 Petron. § 41. 1 6 THE STRESS ACCENT IN LATIN POETRY (on an inscription of Pompeii) ; ^ calda is read in Cato^ and the proper name Cald{us) is found on coins as early as 109 B.C. ;^ domniis for domimis, and also the proper names Domims, Domnay Gr. Ad/Lti^o? ^ ; so saccitlum was restored to its orig- inal form saecltmiy etc., vechts took the place of vetuluSy anglus of angiilits^ stablii7n of stabidttm^ vaplo (Ms. baplo) of vapido^ etc. B. Weakening of unaccented vowels : Under the Early Accent law, unaccented short vowels were changed to e, before a labial or / to ^ ; so the Mss. of Plautus preserve traces of subegit (from sitb and ago, cf . Gr. a7Td(irsally acknowledged, stress must have been the dominant principle. This weakens the whole mass of evi- dence from the grammarians. As M. Vendryes rather neatly illustrates, they are like the French schoolmasters who are still teaching the difference between aspirate h and mute k, though the two are precisely ahke and have been for more than a century. All that is said by Varro, Cicero, and Quintilian, on the subject of accent, interpreting the words in their most obvious sense, refers to differences in pitch and quantity. But, on the other hand, they are frankly applying the terms learned from their Greek teachers to the nearest equivalents in Latin, just as the names of the Greek gods were fitted, more or less aptly, to the already existing Roman deities. That, in the matter of accent, the new terminology was faulty, is shown by the confusion in regard to the circumflex accent among Roman writers ; Vitruvius placing it on monosyllables like sol, lux.flds, vox ; QuintiHan on the penult of tri- syllabic words whose vowel was long by nature, Cethegiis, but Camilliis ; Priscian, Martianus Ca- pella, and other late grammarians, placing it on the penult of Roma, for example, but not of Romae, where the ultima was long. It is worth while to note in passing, that this last theory, taken over 20 THE STRESS ACCENT IN LATIN POETRY bodily from the Greek, is not found in Serviiis or Pompeius, who recognize the stress character of the Latin accent.^ The Latin writers do, indeed, speak of the more obvious difference between the Greek accent and their own. Quintilian, for ex- ample,^ complains of the monotony produced by the accent falling always on one of two syllables. *' Itaque tanto est sermo Graecus Latino iucundior, ut nostri poetae, quotiens dulce carmen voluerunt, illorum id nominibus exornent" But the subtler distinction between pitch and stress — a distinction which has only recently been mastered by phoneti- cians, as Hendrickson points out in his, to my mind, conclusive reply ^ to Bennett's "What was Ictus in Latin Prosody?" — they may well have missed. Especially does this seem to be the case when we reflect that the language of the cultivated classes, in the Classical Period at least, shows far less tendency to syncope than the popular speech. It is not claimed that the Latin accent was so heavily stressed as English or German, for instance, but, just as in French the phenomena of syncope and vowel reduction abundantly prove the stress character of the accent (although a musical accent seems to have been added later), so in Latin, the same phenomena prove that the essential differ- ence between the accented and unaccented syl- lables of a word was a stress and not a pitch 1 Vendryes, op. cit. p. 31. ^ Instit. Orat. xii. 10, 33. 3 A. J. P. vol. XX. p. 207. WORD ACCENT 21 difference. This stress difference may have been almost unnoticeable under ordinary circumstances, when one was speaking remissione et 'pnoderatioiie vocis} — even in English, in quiet conversation the voice rises and falls as much at least as it strength- ens and weakens, — but when the voice was raised for any reason,^ it did become apparent, as it un- questionably does in French to-day. It would, frankly, be impossible to imagine a pitch accent entirely without differences of stress, or a stress accent unaccompanied by a rise and fall of the voice, because in the effort to produce a higher tone we unconsciously use more energy, and vice versa. Now if, as we have seen reason to believe, Greek in the time of Varro and Cicero had already begun to show traces of the change that has made modern Greek a stressed language, the difference between a pitch accent with a growing tendency toward stress, and a stress accent accompanied — as in the Romance languages — by a musical tone, may, not unreasonably, have escaped the notice of men eager only to find resemblances. In conclusion, I quote three of the later gram- marians, because, while their contemporaries and successors were still repeating by rote the worn-out precepts borrowed from the Greek, their remarks show a quite modern spirit of experimentation. 1 Cic. Brut. xci. 314. 2 Cf. Servius's suggestion for determining the accented syllable of a word, quoted below. 22 THE STRESS ACCENT IN LATIN POETRY Servius ^ (fourth century) : " Accentus in ea syllaba est, quae plus sonat. Ouam rem deprehendimus, si fingimus nos (ad) aliquem longe positum cla- mare. Invenimus enim naturali ratione illam syllabam plus sonare, quae retinet accentum atque usque eodem nisum vocis ascendere." Pompeius ^ (fifth century) takes Servius's hint and enlarges upon it. " Et quo modo invenimus ipsum accen- tum ? et hoc traditum est. Sunt plerique qui naturaliter non habent acutas aures ad capiendos hos accentus et inducitur hac arte. Finge tibi quasi vocem clamantis ad longe aliquem positum. Ut puta finge tibi aUquem illo loco contra stare et clama ad ipsum ; cum coeperis clamare, naturalis ratio exigit, ut unam syllabam plus dicas a reliquis illius verbi ; et quam videris plus sonare a ceteris, ipsa habet accentum. Ut puta si dicas orator^ quae plus sonat t -ra ipsa habet accentum. optinms, quae plus sonat.? ilia quae prior est. Numquid sic sonat -ti et -mics, quemadmodum op ? Ergo necesse est, ut ilia syllaba habeat accentum, quae plus sonat a reliquis, quando clamorem fingimus." In an- other place Pomponius writes : ^ " Et quid est ipse accentus ? ita definitus est : accenttts est quasi anima vocis, id est accentus est anima verborum et anima vocis uniuscuiusque. Quemadmodum cor- pus nostrum non potest esse sine anima, sic nee 1 Comjnent. in Donat. p. 426, 16 K. 2 p. 127, I K. 8 p. 126, 27 K. WORD ACCENT 23 ullum verbum nee iillus sermo sine accentu potest esse. Et quemadmodum anima nostra in toto corpore ipsa plus potest, sic etiam ilia syllaba plus sonat in toto verbo, quae accentum habet. Ergo ilia syllaba, quae accentum habet plus sonat, qua- si ipsa habet maiorum potestatem." Diomedes ^ (fourth century) writes: '* Accentus est acutus vel gravis vel inflexa elatio orationis vocisve, intentio vel inclinatio acuto aut inflexo sono regens verba. Nam ut nulla vox sine vocali est, ita sine accentu nulla est; et est accentus, ut quidam recte puta- verunt, velut anima vocis." This remark, it seems to me, shows very careful observation. Looked at from one point of view the accent was elatio, from another, it was intentio. To see that it was really both, would have been too much to expect so long before the days of Experimental Psychology. 1 1. 430, 29 K. 11 NUMERI ITALICI ET SATURNII The first utterances of every people are in verse, not verse in the sense of a definite arrangement of syllables that inevitably strikes the ear as different from the prose arrangement, but words forced into a rude kind of rhythm by being chanted again and again in worship of some god or over the daily tasks that are shared in common.^ Now whatever view may be held of the nature of ictus in quanti- tative poetry, there can be no two opinions of the nature of the beat in music. In the most primitive and the most sophisticated music alike, the down beat is the stressed beat — the placing of the foot on the first syllable of the measure. We are all perfectly familiar with the transformation of prose into rhythm by being chanted : — Our Father which art in Heaven Hallowed be thy name, or Du fond de I'abime je crie vers toi O, mon Dieu. 1 Bowditch, Mission to Ashantee ; Westphal, Einleitung, Allge- meine Metrik ; du ^Nleril, Introd. Poesies Popidaires latines an douzihne siecle, Paris, 1843. 24 HUMERI ITALICI ET SATURNII 25 Moreover, if, after centuries of quantitative poetry, the Christian hymns became purely accentual by being chanted in the service of the Church, — the singing was at first congregational and only grad- ually restricted to the priests, — much more would the first primitive chants base their rhythm on the accent of the words. As we have seen, this accent, in the Italic dialects as well as Latin, was one of stress, nor is it thinkable that the stress of the chant and the natural stress of the words should not coincide. This stress was helped out by allit- eration of the accented syllable, and by the endless repetition both of final syllables and of entire words. So the chant to Mars on the Iguvine Tablets is rhythmical : — Serfe Martie Prestota Cerfier | Cerfier Martier Tursa Cerfier | Cerfer Martier Totam Tarsinatem | trifom Tarsinatem Tuscer Naharcer | Jabuscer nomner f / v / nerf gihitu | ancihitu jovie hostata | anhostatu tursitu tremitu | sonitu savitu ninctu nepitu | hondu holtu preplohatu | previglatu. Very similar is the Old Latin chant to Mars, quoted by Cato : ^ — 1 De Re Rustic a, 141. 26 THE STRESS ACCENT IN LATIN POETRY Mars pater te precor quaesoque uti sies | volens propitius mihi domo | familiaeque nostrae. quoius rei ergo agrum terram | fundumque meum suovetaurilibus | circumagi iussi, uti tu morbos | visos invisosque \ r \ \ f viduertatem | vastitudinemque calamitates | intemperiasque proibessis, defendas averuncesque ; ut fruges frumenta | vineta virgultaque grandire dueneque | evinire siris, pastores pecuaque | salva servassis duisque dubnam salutem | valetudinemque mihi, domo | familiaeque nostrae : harumce rerum ergo fundi serrae | agrique mei lustrandi lustrique | faciendi ergo, SIC uti dixi : (Mars pater) macte hisce lactentibus suovetaurilibus | immolandis esto. Alliteration, as Westphal has pointed out,^ is not the underlying principle of the verse, though it is of frequent occurrence. Repetition, indeed, both of sounds and of entire words, is the invariable characteristic of a poetry based on stress. Still frequent in the verses of Plautus and Terence, there is a visible falling off both of alliteration and 1 op. cit. p. 220. NUMERI ITALICI ET SATURNII 2/ of the various forms of Reimart, during the Classi- cal Period, when stress was subordinated to quan- tity. Yet even here there is a difference. In the smooth hexameters of Ovid, which show sixty-five per cent of accords between quantity and word accent, repetition both of words and sounds is especially frequent, as it is in the more familiar Eclogues of Vergil, — the eighth, for example. In the popular and semi-popular poetry of the first three centuries of the Christian era, when quantity and word accent tend more and more to coincide, assonance, repetition of words and phrases, and even rhyme are increasingly frequent, until in the Christian hymns, stress and rhyme are the two almost equally important principles of the verse. For the remaining fragments of Latin verse, prior to the Saturnians, I shall content myself with those the text of which is reasonably complete. It would be idle to quote the Carmen Saliare, for example, which was unintelligible to the Romans themselves in the time of Horace, and which has been emended by Baehrens ^ and by Zander,^ to give only two authors, in the most widely different manner. Carmen Fratrnm Arvalium^ (inscribed on a marble tablet, discovered in 1778 and now in the Vatican) : — 1 Poetae Latini Minores, vol. vi. p. 29. 2 Versus Italici Antiquiy Lund, 1890, p. 29. 3 Zander, op, cit. p. 25. three times sms incurrere in 28 THE STRESS ACCENT IN LATIN POETRY Enos Lases iuvate. — three times Neve lue"' rue™ Marmar, 1 pleores. J Satur fu fere Ma(vo)rs 1 , ' " , \ three times hmen sail sta berber J Seraunis alternei 1 , / . ^ J- three times advocapit cunctos J Enos Marmor iuvato — three times r / / Triumpe, triumpe, triumpe triumpe, triumpe (triumpe). The prayer to Jupiter Dapalis, quoted by Cato:i — Jupiter Dapalis quod tibi fieri oportet in-domo famiHa mea calignam vini dapi eius rei ergo macte illace dape pollucenda esto. The Drinking-song from Varro.^ Zander unnec- essarily changes the order of the words. Novum vetus vinum bibo, f f f f Novo veteri morbo medeor. A charm against foot-ache, quoted by Varro.^ The person using this charm was to sing it over 1 De R. R. c. 132. 2 j)^ i^ L^ vi^ 21. ^ De R. R. i. 12, 27. NUMERI ITALIC! ET SATURNII 29 twenty-seven times, to touch the ground, and to spit. Terra pestem teneto Salus hie maneto. A charm against sprains, quoted by Cato:^ — r / / Huat, hanat, huat ista, pista, sista. / / f dannabo danna ustra. A charm against tumours and inflammations quoted by PUny.^ The person was to say it over three times and spit on the ground three times. Reseda, morbis, reseda scin, scin quis hic-pullus egerit radices nee eaput nee pedes habeant. An old saw quoted by Festus, p. 93 : — Hiberno pulvere verno luto Grandia farra, camille metes. The words of the goal-post, which marks the end of the race, to the defeated runner, quoted by Porphyrio on Horace : ^ — Quisquis ad me novissimus venerit, habeat, scabiem. Lucien M tiller rewrites, Habeat scabie^n qitisqins 1 De R. R. c. 160. 2 j^isf^ ^(if^ xxvii. 13 1. 3 Ars Poetica, 1. 417. 30 THE STRESS ACCENT IN LATIN POETRY ad mc vcncrit novissimiis, destroying both the rhythm and the spirit, for the three dactyUc beats at the end represent the last desperate sprint of the runner and the sneer of the goal-post at his lack of success. All the foregoing quotations, with the possible exception of the last two, are in the nature of chants, repeated over and over again, as children repeat in their play. There are three or four measures in the musical phrase, the down beat falling on the primary or secondary accent of the word. This accented syllable is usually (though not always) a long syllable, for quantity is an inherent principle in Latin derived from the Indo- European parent speech. Further, the movement of the voice is from the accented to the unaccented syllable — the most natural cadence in Latin — with an occasional anacrusis, common to both music and poetry, and made perfectly famihar to us by its use in the Christian hymns. It is inter- esting to note that the phrase consisting of three measures — by far the more usual — Enos, Lases iuvate J J | J J~] | J J il or lupiter DapaUs J jl J jl J J II for example, shows the type of the first and second half-verses in the Saturnians where the strong caesura in the middle of the line points to a composite nature. Closely analogous to the primitive chant are the Sententiae^ or maxims of everyday life.^ They, too, 1 Zander, op. cit. pp. 1-19. NUMERI ITALICI ET SAT URN II 31 have the unmistakable ear-marks of a popular origin ; namely, a strong stress rhythm, alliteration, and the frequent repetition of words; since, by reason of these three elements, such maxims are easy to remember, give greater pleasure in repeat- ing, and seem to carry more authority. Our own proverbs are precisely similar in nature : — Many men, many minds. Nothing succeeds like success. Money makes the mare go. Be sure your sins will find you out. Latin writers are fond of quoting these bits of popular wisdom. Cicero has a large number, gen- erally accompanied by some such expression as in proverbii consuctudijiem venit, or ut est in vetere proverbio : — Quot homines tot sententiae.^ Largitio flindum non habet.^ Fortes fortuna adiuvant.^ Summum ius summa iniuria.'* Minima de malis.^ The talk of Petronius' petits bourgeois is full of proverbs, especially is this the case in the Cena TrimalcJiionis : — 1 De Fin. i. 15. 2 jy^ Qff. ii. 55. 2 Tusc. ii. 1 1. Cf. the similar Di facientes ddiuvant, Varro, R. R. i. I, 4. * De Off. i. T,i. 5 /^^ Off. iii. 102, 105. 32 THE STRESS ACCENT IN LATIN POETRY Post asellum diaria non sumo ^ Sociorum olle male fervet.^ Qui asinum non potest, stratum caedit.^ Colubra restem non parit.'' Quod hodie non est eras erit.^ In-alio peduclum in-te ricinum non vides. Semper in hac-re, qui vincitur vincit/ Assem habeas, assem valeas.^ Varro, Pliny, Gellius, the Grammarians, contain many more. Sometimes a proverb is quoted by different writers with a slight change of form, or with the verb omitted, as often in Cicero, or with only the characteristic words quoted. For ex- ample, Nonius has LSiige fngit qui siws fj'igit^ and Petronius, Longe fngit qidsqiiis silos fugit}^ Tliis latter I agree with Zander in considering a corrupt form. Mtiltis eget qui multa hdbet^'^ in Gellius, while Seneca expresses the same idea, Qui multuni hdbet phis ciipit.^ Non semper Sdtiirndlia encnt}^ in Seneca; Semper Sdtitrnd- lia^^ {agiint) and Dii pedes landtos hdbent}^ in Petronius ; while Macrobius ^^ writes, " atqite inde prov erbium ductum, deos laneos pedes habere^' and Porphyrio on Horace's words deseruit pede Poena 1 Petron. 24. ' Petron. 59. ^^ ggn. Apocol. I2. 2 Petron. 38. 8 Petron. 77. l* Petron. 44. 3 Petron. 45. 9 Nonius 204. 22. 1^ Petron. 44, 4 Petron. 45. ^ Petron. 43. I6 Mac. i. 8, 5. 5 Petron. 45. n Cell. ix. 8. i. 6 Petron. 57. 12 Sen. Ep. 119. 6. NUMERI I TALI CI ET SATURNII 33 clmido} ^^hoc proximum est illi quod dicittir deos iratos pedes lanatos habere^ Far more important than the Numeri Italic! just considered, are the Numeri Saturnii, over which a long and bitter struggle has raged between those who advocate a quantitative and those who advo- cate an accentual basis of versification. In favour of the Quantitative Theory it may be urged that it is the view of all the Latin writers who treat of the measure from Caesius Bassus down, and against it, that it requires the arbitrary lengthening of a very large number of naturally short syllables. The Accentual Theory is in harmony with all we know of popular Latin verse, but, on the other hand, it requires a secondary accent on words of four syllables, like Cornelius, for example, and, unless we accept Thurneysen's (and Lindsay's) theory of but two accents in the second half- verse, a binary accent on words of three syllables accented on the antepenult, as maximas. Zander ^ lessens the number of syllables arbitrarily lengthened, by suggesting an alternation of rhythm between the first and second half -verses ; the first, though regu- larly iambic, may become trochaic, and the second may become iambic. This view he supports by ancient verses, like — f f / w / Hiberno pulvere luto verno Grandia farra, camille, metes. 1 Porph. ad Od. iii. 2, 32. 2 op. cit p. ii. D 34 THE STRESS ACCENT IN LATIN POETRY But such an alternation of rhythm seems utterly out of place in an unaffected primitive verse. As du Meril well says, " La nature des langues exerce done une influence preponderante sur la premiere forme du vers ; on utilise les elements d'harmonie qu'elles poss^dent, sans songer a augmenter les difficultes de sa tache par des innovations sans raison et sans but. Dans presque toutes, la desi- nence des mots n'a qu'une valeur grammaticale ou meme purement euphonique, la syllable radicale, celle dont I'accentuation domine la prononciation des autres, est la premiere, et le mouvement natu- rel de la voix va du temps fort au temps faible." ^ The difficulty of Zander's theory is increased by the fact that the alternation of rhythm may take place not only between the two halves of a line, as in, — Grandia farra, camille metes, but between successive feet, — Hiberno pulvere luto verno. To Zander's bibliography ^ need only be added the quantitative treatment of Klotz^ and of Rei- chardt* (scarcely more than a restatement); and the accentual treatment of Westphal in his chap- ter " Die accentuirenden Verse der alten Italiker," ^ 1 op. cit. p. 50 et s. 2 Op. cit. p. xix et ss. 8 Grundziige altromischer Metrik, Leipzig, 1 890, p. 97 ss. ^ Jahrbucher filr Klassische Philologie (Suppl.), xix. p. 207. ^ Allge77ieine Metrik, Berlin, 1892. p. 220 ss. NUMERI I TALI CI ET SATURNII 35 of Lindsay,^ who follows Thurneysen ^ in making the verse one of five accents, and of Gleditsch,^ who makes it one of eight, like the Old German Laiigzeile. Caesius Bassus,* the most ancient authority on the Saturnian metre, makes it a purely quantita- tive verse. His scheme for the first half is iam- bic, w __ w _ w _ , and for the second trochaic, — ^ — ^ — ^, though he acknowledges that many of the verses are either too long or too short to fit the scheme. " Nostri autem antiqui, ut vere dicam quod apparet, usi sunt eo (z>. Saturnio versu) non observata lege nee uno genere custodito, (ut) inter se consentiant versus, sed praeterquam quod duris- simos fecerunt, etiam aHos breviores, alios longiores inseruerunt, ut vix invenerim apud Naevius, quospro exemplo ponerem." As a matter of fact, none of the extant Saturnians fits Caesius Bassus's scheme perfectly, the quantities of the " model " verse, Dabimt 7nahim Metelli \ Naevio poetae are w _ w _ ^ |_v/_w , so that it would almost seem to be the one thing which the Saturnians are not. The arguments against the Quantitative Theory, stated briefly, are as follows : — • A. The clash between word accent and quantity ^ A. J. P. vol. xiv. pp. 139 ss. 303 ss. 2 Der Satiirnier, Halle, 1885. 3 Rhetor ick und Metrik der Griechen und Rd}?ier, in I. Mai- ler's Handbiich, 2 Bd. p. 820 ss. Miinchen, 1901. * Keil, vi. 1. p. 265 et s. 36 THE STRESS ACCENT IN LATIN POETRY is exceedingly harsh in a majority of the lines; for instance, — / ^ / Subigit omne Loucanam Runcus atque Porpureus Ne quaeratis honore, so harsh and so frequent indeed, as to make it thoroughly unnatural in a popular verse. Espe- cially does this seem to be the case when the Saturnians are compared in this respect, with the earlier popular verses, with the popular poetry of the Classical Period itself, hke the Mille-song of Aurelian's legions, in which there is little or no clash between word accent and quantity, with the semi-popular poetry of the early centuries of the Christian era, and with the Christian hymns. B. Aside from final syllables, it must be con- fessed that the number of short syllables arbitra- rily lengthened is not great. Litems, however, with long i is contradicted, not only by every ex- ample of the word in early Latin poetry, but by the evidence of Oscan Luvkis (nom. sing, of stem Loiicio)]'^ and the argument for long i in early Latin from modern Italian Lucio has even less weight than for long e in the penult of midierem, for the same period. There is, moreover, no authority for long u in puer, parisuma, nor long i in viro (Ind.-Eur. ^wtro, but vtr in Latin). The treatment of this word (viro, 1. 2 in the first 1 Lindsay, op. cit. p. 158. NUMERI ITALIC I ET SATURNII 37 Scipio Inscription viriivi, 1. 32 in the epitaph of AtiHus Calatinus) by the adherents of the Quan- titative Theory is interesting. Weil and Benloew ^ scan — / / / / / Bonorum optimum fu|isse virum Populi primarium fu|isse virum with the remark, " Virum a la place d'un trochde est tres-choquant, nous I'avouons ; mais les liquides se redoublent facilement, surtout apres une voyelle aigue : Tauteur aura fait violence a la langue en pronongant virrom. C'est done la un effet d'accent, mais un effet tout exceptionnel. . . . N'oublions pas que nous avons affaire a une versification nais- sante, qui tantot force la prononciation au profit du vers, tantot sacrifice le mouvement du vers aux obstacles qu'y oppose une langue encore rude et peu fagonnee au tour poetique." Bartsch ^ (with others) adds the genitive plural. He reads : — Duonoro optimo fu|ise viro (viroro). Havet,^ whose exhaustive treatise leaves no line, or fragment of a line, unconsidered, reads : — Duo|noro | opti|mo ( ) fujise vi|ro ( ) | Popu|li pri|mari|um ( ) fui|se vir|um ( ). 1 Theorie Generale de V Accentuation Latine, Paris and Berlin, i855» P- 97- 2 Der Saturnische Vers tmd Die Altdeutsche Langzeile, Leipzig, 1867. ^ De Saturnio Latinortim Vei'su, Paris, 1880, p. 223. 38 THE STRESS ACCENT IN LATIN POETRY These he calls Satttrnia disticJia and thinks they may have been of the nature of formulae. In the two lines of Naevius, however, where the word occurs in the same position (11. 58, 84), he ex- pressly states that the i is long, adding, " Sane mirum est vlri latine correptum esse. Sed simili modo perierare pro periurare habemus, quod adhuc explicatione caret; neque magis scimus cur dica- tur hflmamts et Jiomo^ publiciis q,\. popitloT ^ Klotz,2 who allows but four feet to the measure, reads : — Bonorum optimum | fuise virum. Zander^ has recourse to his theory of alternation of rhythm in all four lines, and reads : — Duonoro optimo | fuise viro Populi primarium | fuise virum, etc. Reichardt * follows Zander's marking, but sug- gests that the suppression of the last thesis was a liberty of which the writers of the Saturnians, on occasion, availed themselves, not only in epitaphs, fui\se vi\ro ( ) | where Havet finds it, but in Epic poetry as well. C. The strongest argument, however, is the very large number of final syllables arbitrarily lengthened under the arsis (Klotz does not fail to see that this strengthens the argument for the 1 De Saturnio Latinortwt Versu, p. 85. ^ Qj,^ cit. p. 99. 3 Op. cit. pp. 60 and 58. * Op. cit. p. 224. HUMERI ITALICI ET SATURNII 39 accentual nature of the verse). The syllables thus lengthened include, not only those, like the a of the nom. sing, in the ist. decl. and of the nom. pi. neut, which though originally long, had been shortened before the time of the oldest Latin poetry,^ but also those that were never long at any period of the language, like -bus ^ in the dat. and abl. pi. and -que, atquc, etc. I quote Havet's^ classes of lengthened final syllables : — "i. Nominativus primae declinationis, ut terra, mea, sancta, tua, forma, fama, vita, divlna, hasta, ea, cura, parisuuia, ferocia, filia, Proserpma ; ii. Nominativus secundae declinationis, ut Riincus, in- ferus, incHtus, Putins, fortasse, faber ; iii. Vocativus, ut suuwie, Laertie ; iv. Neutrum plurali numero, ut exta, patria, occisa ; V. Nominativus tertiae declinationis, ut mare, acer ; vi. Genitivus, ut regis ; vii. Dativus vel ablativus plurali numero, ut Teinpesta- tebus, piscibus, capitibus. viii. Neutrum plurali numero, ut omnia, pectora, atrocia, sagmina ; ix. Numerale, ut fortasse, qimique ; X. Verbum, ut obliviscere, insece ; siibigit,facit ; quaira- tis ; cante ; pellere, fuisse ; xi. Adverbium, ut facile ; comiter ; hice ; quamde, deinde ; semul; -que, atque, itaque ; fortasse cume.^'' 1 Lindsay, Lat. Lang. p. 371. 2 Lindsay, Lat. Lang. p. 403, from an original -bhos. 3 Havet, op. cit. p. 57 ss. 40 THE STRESS ACCENT IN LATIN POETRY The ablative singular of the third declension he considers a doubtful case of lengthening for two reasons : (i) because of the two endings -e and -f, corresponding to the two endings of the accusative -em and -im and the two endings of the genitive plural -2im and inm ; and (2) because instead of -e, -ed might have been written at this period, for ex- ample, paired, loved, ordmed, rumored, pidvered. But there are only a few instances of i in the ablative singular of consonant stems,i and the ex- tension of the ablatival d, especially to such a word as love, is very doubtful. It is persistently written in the S. C. de Bacchanalibus of 186 B.C., but as persistently omitted in a nearly contempo- rary inscription,^ nor is there any trace of d in the ablative of nouns in Plautus and the earliest Dramatic literature.^ It may be remarked in pass- ing, that inasmuch as the ablative suffix in d ap- pears to be confined in Ind.-Eur to 0-stems, the same argument that caused Havet to lengthen Latin vir (from Ind.-Eur. *wiro) should have pre- vented his extension of the ablatival d beyond O-stems in Latin. Thurneysen,* and Lindsay in his two suggestive articles,^ allow but two accents to the second half- verse. Against this, the following considerations may be urged: — 1 Neue, i.2 p. 212 et ss. 2 c. I. L. ii. 5041, Spain, of 189 B.C. 3 Lindsay, op. cit. p. 391. * Op. cit p. 13 ss. ^ Qp. cit. p. 303 ss. NUMERI I TALI CI ET SATURNII 41 A. It is, to say the least, very difficult to find a primitive verse with just five accents. Bartsch postulates an original common Epic verse for all Indo-Germanic poetry, consisting of eight feet, with a caesura after the fourth foot. From this root form he derives the Greek hexameter and the Saturnians, as well as the Indian sloka and the Old German Langzeile} A verse with eight accents (the trochaic septenarian) is the favourite metre of the soldiers' songs in the time of the Caesars, and recurs in the Spanish Epic ; a verse of eight feet is much used in the Byzantine poetry (though that of six is also common) and in the poems of the Troubadours, and, divided into two verses of four feet each, with end rhyme, such verse is familiar to us from the Christian hymns. So verses of four, six, or eight feet, seem to be the primitive, spon- taneous form, while those of five — EngHsh blank verse, for example — are artificial and modern. B. If there were but two accents in the second half-verse, we ought to find Saturnians in which the second half is made up of four (or even three) syllables, for they, according to the rest of the scheme, could bear two accents, and this, as a mat- ter of fact, we do not find. C. It certainly is "strange," to use Lindsay's own word, that consentiimty Cafypsonem, Aleriaqiie^ etc., in the second half-verse should receive but one accent, while words of four syllables in the first ^ Cf. Westphal, op. cit. p. 56 et s. 42 THE STRESS ACCENT IN LATIN POETRY half-verse always receive two accents, and even aetate (1. 21), with three syllables, receives two — Aetate quam parva ?- D. A half-verse like gloria atqiie ingenium in the third Scipio Inscription, since it occurs in the last half of the line, is allowed to. have but two accents, although it consists of seven syllables, and if it stood before the caesura would un- doubtedly receive three. Why should the fact that it stands after the caesura deprive the syl- lables of their full value ? The same may be asked with regard to Hone vino ploirinne consentient R{o7nai) (the inscription of Atilius Calatinus twice quoted by Cicero and ending consentiimt gentes, makes the two-syllabled Roinai a more probable conjec- ture than Roniaiiai) and also Hie eepit Corsica Aleriaque urbe. In both lines,^ the number of syllables before and after the caesura is the same, but the six syllables before the caesura receive three accents, while the six following the caesura are put off with two. E. The second half of the line is the more im- portant, because upon it the attention rests during the moment of adjustment before the next line is begun ; but this accentuation makes the caesura a precipice over which the verse rushes, to end with 1 Lindsay, op. cit. p. 314. ^ First Scipio Inscription. NUMERI ITALICI ET SATURNII 43 an ignominious splash on the rocks below. In the second half-verse foi'tis vir sapiensque} Thurney- sen^ contents himself with marking the syllable -ens, in sapiensqiie ; Lindsay goes further and marks the two accents fortis vir sapieiisq^ie, thus put- ting five syllables under one metrical stress (^fortis vir sapi-). This seems like a theory for the theory's sake, inasmuch as the poetry has wholly disappeared. F. Caesius Bassus, Marius Victorinus, Terenti- anus Maurus, and others^ — " Unde apud omnes grammaticos super hoc adhuc non parva lis est" — agree in making the Saturnian a verse of six feet, especially are they sure about the three trochees in the last half. Now the later quantita- tive treatment of Latin verse would undoubtedly influence their view of the character and disposi- tion of the syllables in the feet; but the strik- ing, the fundamental, part of a verse, the part which no metrician could miss, is the number of feet. Besides, the tendency of the later Satur- nians is to become longer,* which makes Thurney- sen's suggestion ^ at least a possible one, that when the Saturnian disappeared from literature. Sic horridus ille Defluxit Humerus Saturnius,^ 1 Second Scipio Inscription. 2 Qp^ ^^V. p. 13. ^ They are quoted in full by Havet, op. cit. pp. 310-327. * Cf. the quantitative Saturnians of Terentianus Maurus. s Op. cit. p. 56. 6 Her. Ep. ii. i, 158, 9. 44 THE STRESS ACCENT IN LATIN POETRY it continued to exist among the common people and gradually went over into the trochaic septe- narian, the poor man's poetry, a few examples of which are preserved by Suetonius and others. But, a thing which he does not appear to see, the number of feet in each half-verse is still equal (four instead of three), and the second half-verse, while it has four accents, is catalectic, pointing to the smaller number of syllables, not feet, charac- teristic of the second half-verse of the Saturnians. Keller,^ whose discussion is, on the whole, the most satisfactory that I have seen, divides the ex- tant verses into "strong" or "classical" Satur- nians, which, incidentally, fall in with his scheme, and " older " or " cruder," which do not. But there is not a shred of evidence for such a divi- sion. Why should we suppose that XhQjflorint of the Saturnian metre was reached in the time of Naevius } Is it not at least as probable that the two oldest Scipio Inscriptions represent the purer native tradition, and^that the increased number of unaccented syllables in the third Scipio Inscription shows a more pronounced borrowing from the Greek } Keller enumerates sixteen rules for the " strong " Saturnians, certain of which ^ apply also to the others. The points he really holds to are ^ Otto Keller, Der Satnrnische Vers ah rhytJwiisch erwiesen, Prague, 1883 ; Keller, Der Saturnische Vers, 2 Abhandl. Prague, 1886. 2 Namely, Rules i, 3, 4, 6b, 9, 10, iia, 12, 14, 15, 16. NUMERI I TALI CI ET SATURNII 45 three ;^ namely, the strong pause in the middle of the line, the impossibility of two accented syllables following each other, and the equal impossibility of either half-verse ending in an accented syllable. Now the strong pause in the middle of the line, naturally at the end of a word — for Ritschl has not been followed by the more modern editors in such readings as Hone vino ploirume con . . . sentiojit R{pmanai) — is the least disputed characteristic of the Satur- nians. It is, moreover, of the highest importance, bringing them into harmony both with the earlier Numeri Italici by pointing to a composite nature, and, through the Lazv of the Last Half, with the hexameter. There is also practical unanimity among the adherents of the Accentual Theory, in regard to the accent falling on the penultimate syllable of each half-verse. For toward the end, Thurneysen seems half inclined to yield his ac- centuation of apud-vSs, remarking in a foot-note,^ "Auch diese Falle schwinden, wenn man mit Keller aptid-vos, inter-se betont. Dann ist der letzte Vers accent ebenso fest wie der erste." But Kel- ler's rule that two accented syllables may not fol- low each other not only reduces him to the necessity of declassing the oldest and best-authenticated Saturnians, but it is contradicted by the general 1 p. 39. 2 op. cit, p. 49. 46 THE STRESS ACCENT IN LATIN POETRY usage of primitive poetry. To mention only a few instances, the prayer to Mars, above cited, — Mars pater, te precor ; the old German of Otfrid's Evangelienharmonie} — habt er in war min,^ \ / f y. ist sedat sinaz,^ iir kind ellu ; * the old English poem of Beowulf,^ — falcom gefraege lange hwile ne leof ne lad"; the Cuckoo-song of the French peasantry, — Jeunes gens qui etes a marier Oh ! ne vous mariez pas dans le moi de Mai ; J'ai vu le coucou ! ! ! Me, Me, J'a vu le coucou ! ! ! Me^ Me ; and the familiar child's rhyme, — Rain, Rain, go away ! Come again another day ! This is the well-known theory of a "supressed thesis." Otfried Mueller was the first to suggest 1 Quoted by Westphal, op. cit. p. 67 et s. 2 O. iii. 232. 3 o. i. 547. 4 o. iv. 2633. 5 Quoted by Kaluza, Der Altenglische Vers., Berlin, 1894 j part ii. p. 7 ss. NUMERI ITALIC! ET SATURNII 47 it, though in applying it to the Saturnians he con- fined it to the second and fifth feet. But it is no Invention of the theorists, it is rather das ewig kindliche of poetry. [L] CORNELIO L F. SCIPIO^ [A]IDILES. COSOL. CESOR 1. Hone oino ploirume consentient R(omai) 2. Duonoro optimo fuise viro 3. Luciom Scipione filios Barbati 4. (Co)nsol censor aidiles hie fuet (apud-vos) 5. Hec cepit Corsica Aleriaque urbe 6. Dedet Tempestatebns Aide™ mereto (votam) [L C R N E L I 0.] C N. F. S C I P I 0^ 7. Cornelius Lucius Scipio Barbatus 8. Gnaivod patre prognatus fortis vir sapiensque 9. Quoius forma virtutei f parisuma fuit 10. Consol censor aidilis quei fuit apud-vos 11. Taurasia Cisauna Samnio cepit 12. Subigit omne Loucanam opsidesque abdouxsit Wolfflin^ thinks the prose heading of (1-6) is much older than the Saturnians which follow, on account of the ruder form of the letters, on account 1 C. I. L. i. 32. Consul 259 B.C. 2 C. I. L. i. 30. Consul 298 B.C. 3 Revue de Philologie, vol. xiv. p. 113 48 THE STRESS ACCENT IN LATIN POETRY of the more ancient spellings, Cornelio (n. case) over against filios (1. 3), cosol, ceso?^, over against console censor (1. 4) and because the simple order of offices is changed in line 4, metri gratia. He agrees with Ritschl, Desau, and others, in placing it before (7-12), though he considers 240 B.C. (the date generally given) too early, and suggests 200 B.C. I cannot agree with him, however, in finding in the expression Diionoi'o optimo, a trace of Greek influence, for it is an idiom common to the popu- lar speech of many languages (Cf. the Hebrew, Holy of Holies). The fact that the second half- line is not so regularly shorter than the first, seems to me an argument for giving the priority in time to (1-6). In line i, the first half -line consists of six syllables, and the second of six, if we emend Romai, of seven, if Romanai; line 5 has six syl- lables in the first half and six (or seven) in the second; and in line 6, the sense seems to require some such participle as votam, although the stone is broken so close to the preceding word that we cannot be sure (quite different from line 2, where the space proves viro to be the last word). Further, the only monosyllables occupying a whole foot {Jwnc, hie, hec) refer to Scipio himself, making it possible that the additional emphasis of the slow tempo (one full beat) is not accidental, character- istic, as it is, of all primitive poetry, as Mars pater, te precor. It may be, however, that we have here only an instance of the ScJiva Indogennafiicuniy HUMERI ITALICI ET SATURNII 49 hice^ being pronounced, although it was not written. Line 4 is emended with certainty from the similar line (10) in the second inscription, where qttei is read instead of hic^ as also in (9) the relative pro- noun has taken the place of the demonstrative. Thurneysen ^ is certainly wrong in accenting aptid- voSy on the analogy of tecum^ meacjii, " wo deutlich der Ton auf den Pronomen ruht," for the latter follow the usual accentuation of a dissyllabic word, c?cmy as Priscian says,^ being merely an enclitic, while in apud-vos (like the English among-you) the unemphatic pronoun is treated as an enclitic and the accent falls, as before, on the penult. This accentuation is supported by the versification of Plautus and Terence, for example, Trin. 421, abs. te accepi, 619 erga-te, 733 penes me; Merc. 585 apud-me.^ In accenting, fortis-vir sapiensquc, Lindsay re- marks, "fortis-vir, a word like our gentleman ; " and so it is, but if we were writing the words in English, we would say, " gentleman and scholar," with the primary accent on the first syllable, but a secondary accent on " man " for the sake of the rhythm. So Kipling writes, '' On the^ road to Mandalay," '' 'Er petticoat was yaller," "Elephints a-pilin' teak," and so on ; of the thirteen trisyllabic 1 op. cit. p. 24. 2 xiv. 6, p. 27, H. 8 Lindsay, " Latin Accentuation " (second paper) Classical Re- view, vol. V. p. 403. 50 THE STRESS ACCENT IN LATIN POETRY words in the poem, six are accented on the first syllable or on the last; and so have a secondary accent on the other, as also the proper name of four syllables, " Supiyawlat." Now English poetry is based solely upon accent; there are no distinctions of long and short syllables ; and yet all of these syllables, with a secondary accent, are what may be termed heavy syllables. In Latin poetry on the other hand, the distinction could never have been unknown. Their alphabet was borrowed from Greek colonists in Italy, so that their intercourse with Greeks, though perhaps slight, was long continued. It is not, therefore, surprising, if, even before the great waves of Greek influence in the time of Ennius and his successors, the writers of the Saturnians modified their native accentual metre by the recognition of quantity. The influence of quantity was unquestionably first felt in the second half-verse of the Saturnians.^ Half -verses like mdximds legiones (1. 33), Idcrinils cum mtiltis (1. Z%\ "read themselves," with a primary accent on the first syllable of maxivias^ filiam, and a binary accent on the last, as in the popular verse chanted by the soldiers on the oc- casion of Caesar's triumph over Gaul : — Ecce Caesar nunc triumphat qui subegit Gallias, etc. 1 Scholl, De Accentu Latino, Leipzig, 1876, p. 32, in a note, " Verba moneo etiajn in Satio'uius posteriorem versus partem viaiorem fere concentutn praebere, quatn prior em ^ NUMERI I TALI CI ET SATURNII 5 1 It seems to me that one may go a step further and say that the influence of quantity was more strongly felt in the fourth and fifth feet of the Saturnians than in the sixth, a view which is con- firmed by the usage of the later hexameter, where the clash between quantity and word accent is considerably more frequent for the sixth foot than for the fifth (a little less than 2 to i). TmRD SciPio Inscription^ 13. Quel apice insigne dial(is) (fl)aminis gesisti f f /■ — s ff f /f 14. Mors perfe(cit)tua ut assent t omnia brevia 15. Hones fama virtusque gloria atque ingenium 16. Quibus sei in longa licu[i]set tibe utier vita 17. Facile factei[s] superases gloriam maiorum 18. Qua-re lubens te in gremiu Scipio recip(i)t 19. Terra Publi prognatum Publio Corneli. The tone of this inscription is at once more personal and more modern. As Boissier ^ remarks, " II semble qu'ici le vieux saturnien s'attendrisse et qu'il veuille s'accommoder a des temps nou- veaux." The most noteworthy point in the versifi- cation is the greatly increased length of the first half-line in comparison with the second. In this it resembles the latest of the well-authenticated Saturnians.^ ^ C. I. L. I. 33, Consul 180 B.C. ^ Journal des Savants (1881), p. 167. 3 The epitaph of M. Caecilius, C. I. L. I. 1006, 130-100 B.C. 52 THE STRESS ACCENT IN LATIN POETRY Hoc est factum monumentum Maafco Caicilio Hospes gratum est quom apud-meas restitistei seedes Bene rem geras et valeas dormias sine qura. As has been already remarked, this is more than halfway to the popular trochaic septenarian, for example : — f / / / / ^ y Postquam Crassus carbo factust Carbo crassus factus- est. Fourth Scipio Inscription ^ 20. Magna sapientia multasque virtutes 21. Aetate quom-parva posidet hoc-saxsum 2 2. Quoiei vita defecit non hones honore 23. Is hie situs quei numquam victus est virtutei 24. Annos gnatos viginti is(div)eis (man)datus 25. Ne quairatis honore quei minus sit mand(at)u(s). Miiltdsqiie (1. 20) is like actdte (1. 21); in each half-line the thesis of the first foot is suppressed. In the second half of 24 there remains only an upright stroke on the stone for the first letter of the second word. Havet prefers the emendation (Joe) which suits his metre as {div) suits mine. The read- ing of the half-line is very doubtful. SoRANA Inscription^ 26. Quod re-sua dpfjeidens asper(e)afleicta 27. Parens timens heic vovit voto hoc solut(o) ^ C. /. Z. I. 34. 130 B.C. 2 C. I. L. I. 1 1 75. 150-135 B.C. according to Ritschl. NUMERI ITALIC! ET SATURNII 53 28. [De] cuma facta poloucta leibereis lube(n)tes 29. Dono danunt Hercolei maxume mereto 30. Semol te orant se(u)oti crebro condemnes. Havet reads Hercleiy with the remark,^ " Pro Hercolei quod metro repugnat aut Herclei, pro- nuntiandurri est syllabis duabus aut quattuor fortasse Hcrecolei ; sciHcet primum ex 'HpafcXrj^; fieri debuit *I/eraco/eSy deinde *Herecoles^ postremo Hercoles (sic ^balaneum^ balineuniy balneum)'' This I cite as illustrative of his method. When balineuni is written with four syllables — in Plautus, for example — it represents 6 \j \j — , not w w — . Why, then, should Hercolei be supposed to have a dif- ferent number of syllables than are written, except, of course, quod metro repugnat f These oldest inscriptions, and, above all, the first and second Scipio Inscriptions, are of the utmost importance in determining the 7iorin for the Satur- nian metre, because we may be reasonably sure that we have them in the form in which the Ro- mans had them, while in the case of verses resting on Ms. authority, both accidental and intentional changes may have been made by generations of copyists. An examination of these thirty lines, then, give the following rules for the Saturnian metre : — I. Every Saturnian is -divided by a caesura 1 op. cit p. 233. 54 THE STRESS ACCENT IN LATIN POETRY into two parts, equal in time but not in the number of syllables. II. Each half-verse is made up of three trochaic beats, with an occasional anacrusis. III. The third and sixth beats, which are the strongest, must coincide with the primary accent of the word ; the first, second, fourth, and fifth beats may fall on a less strongly accented syllable. IV. The thesis may be suppressed in the first, second, fourth, fifth feet, though never in two suc- cessive feet, nor in the third or sixth foot. The scheme, therefore, for the first half-verse would be : — y A II. y \J y \j Kj ^ A y \j \j \j III. y \j \j i.e. any combination of these feet, making not less than six nor more than eight syllables (average seven). And for the second half -verse : — IV. V. VI. y w • \j y \^ ^ A ^ A y \j \j y \j Kj y \j i.e. any combination of these feet, making not less than five nor more than seven syllables (average six). There are usually three words in the first half- NUMERI I TALI CI ET SATURNII 55 verse and two in the second. Elision does not take place between the half -verses ; in other places it may or may not take place, according to the necessity of the versification. A long vowel is sometimes shortened before an initial vowel or h (not elided), as it is occasionally in Accius, Ennius, and even in later poets. Two second half -verses, parisiima fint (1. 9) and omnia brevia (1. 14), seem to have but two accents, unless with Havet and others we read oni7iid brevia^ for which, as has been said, there is no warrant in the early poetry. Keller explains them as belonging to the alios breviores mentioned by Caesius Bassus. They both contain, however, the average number of syllables (six) and seem rather formulaic in character, so perhaps the poet fitted them into the scheme as best he could and let it go at that. The Saturnians are not more irregular than other primitive poetry. In the first thousand lines of Beowulf, for example, Kaluza^ finds ninety variants on Sievers's " five types " for the old Ger- man kurzzeile or Jialbzeile^ which corresponds in certain respects to the half-verse of the Saturnians, though perhaps the comparison has been pushed too far.2 It would, indeed, be just as absurd to expect regularity and perfection in primitive verse as in primitive sculpture. But just as the latter, in spite of its conventional misrepresentations, and 1 Kaluza, op. cit. part i, p. 32 ss. 2 Cf. Bartsch, op. cit. 56 THE STRESS ACCENT IN LATIN POETRY all the hardness and stiffness of unsubdued mate- rial, shows some of the beauty of the human form, so through the limping measures of the former we can trace the beginnings of inspiration. It is poetry, that is the essential thing about it, and any theory which destroys the poetry, no matter how well it reads, is worthless. There are five verses quoted by different writers from inscriptions : ^ — a. Uno cum plurimae consentiunt gentes. b. Unicum plurimae consentiunt gentes. 32. Populi primarium fuisse virum. These lines are from the epitaph of Atilius Cala- tinus (which Wolfflin ^ thinks served as the model for the first Scipio-Inscription) quoted by Cicero.^ Havet QXViQXidi^yUninn coniplitriniae ; Reichardt, /T//;/^ tmiini phirhnae ; Lindsay, imo comphuimae ^ with the remark, " I give a double accentuation to (allitera- tive) C07npbiriinae and primariinn, but not to con- sentitrnt. The reading complurimae is favoured both by the alliteration and by the ' echo ' of the other line of the distich." The important point, it seems to me, is that the two readings luw cum and unicum must have sounded the same ; the second 1 The information in regard to the sources of the following verses is taken from Havet, Zander, Baehrens, and Lindsay (all cited above). 2 Op. cit. p. 116 el! s. 3 {a) De Fin. ii. 35, 116; {h) De Sen. 17, 61. NUMERI ITALICI ET SAT URN I I 57 syllable cannot, therefore, have been accented, while the first syllable and the ^2^;/2-sy liable were accented. Conipluriniae is certainly right (though with Zander ^ I would restore the ancient spelling, Oino comploir2i77iae consentiont ge?ttes), but then the question arises, why should " allitera- tive complurimae'' receive a double accentuation and consentmnt, with the same number of syllables and beginning with the same letter (presumably, therefore, alliterative), not, except, to quote Havet's illuminating phrase, qtwd metro repugnat ? 33. Fundit, fugat, prosternit maximas legiones. From the epitaph of Acilius Glabrio, 181 b.c. (circ.) quoted by Caesius Bassus de Metris.'^ 34. Magnum numerum triumphat hostibus devictis Quoted, apparently from an inscription, by Censorinus.^ 35. Duello magno diremendo regibus subigendis. From the inscription of M. Aemilius Lepidus, in honour of his father, L. Aemilius Regillus, 179 B.C., quoted by Caesius Bassus.* It would be a m^xQJeii d' esprit to put back into 1 op. cit. p. 58. 2 vi. 265 K. Utrtwi exemplem mspicor esse a Caesio aut aliquo grami7iatico fidum. Zander, op. cit. p. 57. ^ vi. 615 K. * vi. 265 K. Utrum exemplem siispicor esse a Caesio aut aliquo gramtnatico fictwtiy Zander, op. cit., p. 57. 58 THE STRESS ACCENT IN LATIN POETRY Saturnians the lines given in prose by Livy^ or in hexameters by Priscian.^ Equally unimportant would be the attempt to fill out, or to place in one part or another of the verse, the stray words and phrases quoted, in some instances, by the gram- marians. For the Odyssia of Livius Andronicus and the Belluvi PuniaLin of Naevius, therefore, I give only complete hues, requiring no emendation, or the very slightest. From the Odyssia of Lrvius Andronicus (Ob. 204 b.c). 36. Verum mihi Camena insece versutum. Quoted by Gellius, xviii. 9, 5, for insece. It is the opening line of the Odyssia. 37. Neque'^enim te'^oblitus-sum Laertie noster. Quoted by Priscian ^ for voc. sing, in -ie. Mss. neqiie enini^ neqtte tamen, Laej^tiae^ Lertie^ O Laertiae^ and Laertie. Tarn is Korsch's suggestion. Zander, with Reichardt following (as usual), reads Neque tam ted oblitus sum Laertie noster. 38. Argenteo polybro aureo eclutro. ap. Non. 544 M., s.v.polybrmn ; eclutro is Baehrens's suggestion. Cf. e/cXovrpov. Mss. et gliitro. 1 For example, i. 35, 5-14; de Anco Marcio, v. 16, 8 ss. ; vi. 29, 5 ss., etc. 2 For example, Inferus au superus tibi fert deus funera, Ulkes (i. p. 96), Cum socios nostros mandisset impius Cyclops (i. p. 419), At celer hasta volens perrumpit pectora ferro (i. p. 335). 3 i. p. 301 H. HUMERI ITALICI ET SAT URN II 59 39. Tuque mihi narrate omnia disertim. ap. Non. 509 M., s.v. disertim. Three Mss. have tu qiiae and one tuque. I prefer tuque because it gives the usual number of words in the first half- line. 40. Quando dies adveniet quem profata Morta^est. Quoted by Gellius iii. 16, 11 for Morta^ as the name of one of the three Fates. 41. (Aut) in Pylum'^advenie(n)s aut ibi^ommentans. Quoted by Festus^ for onimentans. Mss. ad- venies. Corr. Scaliger. Attt is Baehrens's almost certain emendation. 42. Ibi|demque vir summus. adprimus Patroclus. Ap. Gell. vi. 7, II. After a discussion to prove that adverbs compounded with ad should be ac- cented on the first syllable, this verse is quoted with the remark, adprimum aute'}n longe primum Liviiis in Odyssia dicit. 43. Partim errant nequinont Graeciam redire. Festus,^ nevtdnont pro nequetmt^ itt solimmt ferinunt pro Solent feriunt dicebant antiqtd, 44. Apud nympham Atlantis filiam Calypsonem. Quoted by Caesellius Vindex ^ for Calypsonem, ace. sing. 45. Utrum genua amploctens virginem oraret. 1 Thewrewk de Ponor, p. 218, 14. 2 Thewrewk de Ponor, p. 162, 24. ^ Ap. Pris. i. p. 210 H. 60 THE STRESS ACCENT IN LATIN POETRY Diomedes,^ vtdgo dicimiis *^ amplector,^ veteres immiitavenmt ''^ amploctor'' a^ebo dictitantes. One Ms. has orraret? ' ' ■" ' . ^ . " . 46. Ibi manens sedeto donicum videbis. 47. Me carpento vehentem domum venisse. Chairsius,^ douiaim pro donee. The (single) Ms. has veJiementevi. Havet* reads veJiente in, Thur- neysen,^ vehentem, Biicheler ^ and Zander," cndo do- mum. If I were emending the second half-line I should write, donmm venisse patris, from Homer's line,^ — acTTvSe iXOwfJiev Koi LKOifjLcOa Sw/xara 7rar/D0?. 48. Simul-ac dacrimas de^ore noegeo detersit. Festus, Noegeum, amicttli genns^ Noegenni caiv- didumP Dacrimas should probably be written for Livius.^^ Ms. lacrimas. 49. Merjcurius cumque eo filius Latonas. Quoted by Priscian^^ for Latonas, gen. sing. Havet^^ and Baehrens,^^ following Bartsch, supply venit, at the beginning of the verse, but without probability, for the resemblance to Homer's line ^^ is not striking. 1 384, 7 K. 2 Paris. 7493. 3 197, 15 K. * Op. cit. p. 352. 5 op. cit. p. 14. ^ Neue Jahrbucher fi'ir Phil. Ixxxvii. p. 332. "^ Op. cit. p. 88. 8 f 296. 9 186, 32 Th. de P. 10 187 Pauli Excerpta. 11 Th. de P. p. 48. 12 I. p. 198. 13 Op. cit. p. 372. 1* Op. cit. p. 40. 16 B 322. NUMERI ITALICI ET SATURNII 6 1 50. Nam divina Monetas filia im docuit. Quoted by Priscian^ for Motictas, gen. sing. The Irish Mss. divina, the others (the larger number) diva. All Mss. filiam. Filia must be nominative, and since an accusative may very well have been added,^ I have followed Fleckeisen (and Zander) in reading im, not me (Lindsay) for the passage in Homer is third person. 51. Topper facit homines ut prius fuerunt. Quoted by Festus^ for topper. Mss. utriiis fuerint. ut priiLS is Duntzer's suggestion,'* y>/^;7/;^/, Biiche- ler's.^ Zander^ (and Reichardt) Jiomones. 52. Topper citi ad-aedis venimus Circai. 53. Simul duona eorum portant ad-naves. 54. Millia alia deinde isdem inserinuntur. These three lines are quoted together by Festus,^ immediately after 1. 51, from Livius, in Odyssia vetere. From their subject they can scarcely be- long to the story of Circe, and Lindsay follows Thurneysen in attributing them to Naevius. The Mss. read Circae and the third line, millia alia in isdem ijiserifitmtnr, in all three, therefore, the sec- ond half-line has five syllables. Lindsay suggests Circai as a *' perfectly justifiable alteration," though he reads Circae. Baehrens and Zander frankly 1 I. p. 198. 2 Q 480 et ss. 3 ^32 Th. de P. ^ De Versu quem vacant Saturnio, p. 45. 5 1. 1. 6 op. cit. p. 91. ' 1. 1. 62 THE STRESS ACCENT IN LATIN POETRY rewrite lines 53 and 54. The latter is very suspi- cious for the reason that it is the only one of the extant Saturnians in which a single word occupies the whole of the second half-verse. I have, there- fore, written delude^ which might easily have dropped out, and followed Baehrens in placing isdem in the second half. 55. Sancta puer Saturni filia regina. Quoted by Priscian ^ as an instance of piter for puella. Baehrens suggests viaxima regma, Zander, oviiimm regiita^ "vel aliquid, infinitaconiectura." ^ He marks it desperattis. From the Bellum Ptmiaim of Naevius (ob. 198 B.C.): — 56. Eorum sectam sequuntur multi mortales. 57. Ubi foras cum-auro illic exibant. 58. Mult! alii e Troia strenui viri. Servius Danielis ad Verg. Aen. ii. 797. There is no need of any change. 59. lamqu(e) eius mentem fortuna fecerat quietem. Priscian,^ etiam simplex {qines) m tisu invejiitur trium generum. 60. Inerant sign(a) expressa quo-modo Titani. 61. Bicorpores Gigantes magniqu(e) Atlantes. 62. Runcus atque Purpureas filii Terras. 1 1. 232, 5 H. 2 op. cit. p. 87. 3 1, 242, 20 H. NUMERI I TALI CI ET SATURNII 63 Quoted by Priscian/ for Terras, gen. sing, and again 2 (1. 60 and 61 only) for Titani, nom. pi. (iT^. Silvicolae homines belliqu(e) inertes. Macrobius,^ silvicolae Fauni. Zander, followed by Reichardt, reads homones. 64. Bland ( e) etdocetpercontat Ae|n(ea) quo pacto. 65. Troiam urbem liquerit. Nonius,* Liquerit sigiiificat et ^ reliquerit.^ In another place ^ he quotes the line again, this time with reliquisset, but I agree with Zander ^ in giving greater weight to the former reading, because there. Nonius makes the word the subject of a note. According to Havet '' the Mss. give (for the first place) e7tos, enas, ennius^ and percontenas^ and (for the second) aen^ aeneam, aenizcs, ennitiSy aeneidos. Quintilian, however, says,^ " Ne miremur quod ab antiquorum plerisque Aenea ut Anchisa sit dictus." Lindsay thinks that, " Qiio-pacto is a word-group like qiiomodo,'' his own remark, however, shows the difference. In quo-pacto, the two parts did not coalesce so completely as to be felt as a single word, both (I think) on account of the long penult, and the greater individuality of the word pactum. But even if one accepts his theory of "sentence accentuation," as I do, in the main, it 1 1. 198, 15 H. 21.217. 3 Sat. vi. 5, 9. * 335, I M. 6 474, 5 M. 6 Op. cit. p. loi. 7 op. cit. p. 343. 8 i. 5, 61. 64 THE STRESS ACCENT IN LATIN POETRY does not follow that in a primitive verse like the Saturnian, relatively unimportant words should never be accented. 66. Prim (a) incedit Cereris Proserpina puer. Priscian,^ hie ct haec piier vetiistisshni. 67. Deinde pollens sagittis incHtus arquitenens. 6S. Sanctus love prognatus Pythius Apollo. Quoted by Priscian'^ following 66, and by Macro- bius^ {6y and 6S alone) for arqintenens. Mss. Sanctusque Delphis prognatus. The -que is cer- tainly out of place in 6?>. Zander puts it in 6^, reading inclutusqite, but this makes the connection too close between the first and second half-lines. It seems to me more likely that sanctusque was written by some scribe for sanctus love, who then added the meaningless Delphis. Zander rewrites the line, — Sanctus love Deli Putius prognatus Apollo .... but this is unlikely, (i) hec^msQ prognatus occupies the third place in lines 8 and 19, next to its ablative, and (2) there is no undoubted instance of a "run-over" line among the extant Satur- nians. It seems to me that the least violent remedy is to lengthen the -7^s, in arsi, on the ground that it is a conventional, formulaic ex- pression, a sort of "tag," which the writer forces 1 1. 231, 13 H. 2 I. 231, 13 H. 3 Sat. vi. 5, 8. HUMERI I TALI CI ET SATURNII 65 into the service of his verse because of its familiarity. 69. Postquam avem aspexit in | temple Anchisa 70. Sacr(a) in-mensa Penatium ordine ponuntur ; 71. Immolabat auream victimam pulchram. Probus^ ad Verg. Ec. vi. 31. Biicheler suggests Penatiim^ and Havet^ reads In aiiream molabaty quoting Lucretius, Vergil, and Horace for the tmesis, but no change is necessary, Penatium finding an echo in the auream of the following line. 72. Urit vastat populatur rem | hostium concinnat. Nonius,^ Concinnaj'e^ conficere vel colligere. I have followed Thurneysen's suggestion * in transpos- ing popitlatur vastat, cf. Fundit, fi^g^^t, prosternit (I- 33). 73. Virum praetor adveniet auspicat auspicium. Nonius,^ Auspicavi pro aiispicatus sum. Havet reads adveniens as in 1. 41, Baehrens adveneit. The double accentuation of auspicium is made probable by the repetition of the proposition, so in 75 foil. 74. Censet eo venturum obviam Poenum. Nonius,^ Censere signijicat existimare, arbitrari. Mss. censent and censet. 75. Su|perbiter contemtim conterit legiones. 1 p. 14 K. 2 Op. cit. p. 388. 3 90. 23 M. 4 Op. cit. p. -i^-},. 5 p. 468. 20 M. 6 p. 267. 17 M. F 66 THE STRESS ACCENT IN LATIN POETRY Nonius/ Contemtim^ contcmnenter. Lindsay re- marks, " contemptim contcrcre recurs in Plaut. Poen. 537," and then accents S?)perbitcr cojitcmtim,giwmg the short syllable sti- a full beat, and disregarding the alliteration. 76. Septimum decimum annum ilico sedent. Nonius,^ Ilico, in eo loco. Havet emends sederent to get rid of the uncomfortable short vowel in the penultimate syllable of the line, L. Muller sedentes. 77. Sicilienses paciscit obsides ut reddant. Nonius,^ Paciscunt. One Ms.* gives only the verse quoted above, others, "/^ quo que paciscimtiir^ moenia sint que LiLtantiuni recoiiciliant captivos pliirimos ide^n Sicilienses paciscit obsides lU reddant.'^ Biicheler assigns idem, I think rightly, to Nonius, but it is possible that it may begin line yy. 78. Ei venit in-mentem hominum fortunas. Quoted by Priscian^ for forUmas, gen. singular. Two Mss. have mentem, the majority mente, which is probably an abbreviation. 79. Hone|rariae honustae stabant in flustris. Isidorus,'' Flustrum motns maris sine tempestate Jlnctiiantis. 80. Res divas edicit Praedicit castus. Quoted by Nonius ^ under castitas. 1 p. 516, I M, also 515. 8 sq. s. v. superbiter. 2 p^ ^25, 6 M. ^ 474, 16 M. 4 Paris 7665. ^ Paris 7667 paciscunt. 6 i. 198, 15 H. 7 de Nat. Rer. 44. » 197, 14. NUMERI ITALIC! ET SATURNII 6/ 8i. Summe deiim regnatur quianam me genuisti? Festus,^ Quianam pro qiiare et air positum est apiid antiqiios. Quianani genus isti is twice written in the Ms. The reading me gemdsti is Havet's.^ 82. Sesequ(e) ii perire mavolunt ibidem. ^3- Quam cum-stupro redire | ad suos popularis. Festus,^ Stttprum, pro Utrpitudine. Lindsay sug- gests poplaris as a possible reading, quoting Fleckeisen, Plant. Rud. 740, and IIoTrXa/ot? (Arch. Ep. Mitth. i. p. 7). 84. Sin illos deserant fortissimos viros. 85. Magnum stuprum populo fieri per gentis. Following 82, 83 in Festus. In these two pairs of lines the similar ending in the first half is worthy of notice, in 82 and 83 the rhyme perire, redire, in 84 and 85 the dactyl (accentual) instead of the usual trochee. ^d^ amborum uxores. 87. Noctu Troiad (e) exibant capitibus opertis. Z^. Flentes ambae abeuntes lacrimis cum-multis. Servius ad Aeji. iii., 10 Naeviiis htdiicit iixores Aeneae et AncJiisae cum lacrimis Ilium reliuquentes. I have placed the primary accent of cdpitibus on the first syllable, as mfdcilius, baliucum in Plautus, and lengthened the last syllable in arsi following Vergil's Pectoribus inhians spirantia conszilit exta,^ 1 p. 340 Th. de p. 2 op. cit. p. 301. 3 p. 460, 27 et ss. Th. de P. * ^n. iv. 64. 68 THE STRESS ACCENT IN LATIN POETRY 89. Ferunt pulchras creterras aureas lepistas. This verse is quoted three times, by Caesius Bas- sus,^ by Marius Victorinus,^ who does not think it belongs to Naevius, and by Marius Plotiusr^ The Mss. have pat eras ere terras, crateras, creterras, but creterra seems to be the old form. (See Georges, Lex. Wortf. s.v.) 90. Magni metus tumultns pectora possidet. Nonius,^ Metus mascidino Naevitis. One Ms. has possidity the other possidet, which may, however, be scanned possidet (3d conj.). 91. Novem lovis Concordes filiae sorores. Caesius Bassus^ and Mar. Victorinus.^ This verse is slightly confirmatory of the emendation Sanctus love prognatus (i. 6Z\ 92. Patrem suum supremum optimum appellat. Varro/ Naevius . . . supremufn a superrimo dictum. 93. Scopas atque verbenas sagmina sumpserunt. Paulus ex Fest.^ Sagmina dice bant herb as ver- benas. On the opposite page after Naevius is the line lus sacratum lovis iurandum sagmine. Mss. scaboSy scapas, scapes. 94. Simul alls aliunde rumitant inter sese. Paulus ex Fest.^ Rumitant rtmiigerantur. I have 1 266 K. 2 139 K. 3 531 K. 4 214. 7. 5 266 K. 6 139 K. 7 Z. L. vii. 51. 8 p. 469 Th. de P. {Patdi Excerpta). 9 p. 369 Th. de P. {Pauli Excerptd). NUMERI ITALICI ET SAT URN II 69 adopted Boethius's suggestion alls, to avoid the double resolution in the first half-verse. Mss. alms. I can find no Ms. authority for inter se, though it is a very sHght change and is read by Havet, Baehrens, Zander, Reichardt, and Lindsay. Cf. apitd-vos (11. 4, ex em.^ and 10). 95. Apud empori(um) in-campo hostium pro moene. Festus/ Moene singulariter dixit Ennitis. O. M til- ler was the first to notice that this line was a Saturnian, and substituted Naevius for Ennius. Havet 2 may, however, be right in suggesting that the line of Ennius and the name Naevius have been omitted by a copyist. 96. Summas opes qui regum regias refregit. Quoted by Diomedes^ and by Atilius.* It may not be by Naevius. 97. Dabunt malum Metelli Naevio poetae. Quoted by Caesius Bassus,^ optimns {Satumius) est qtiem Metelli proposiienint de Naevio aliqtio- tiens ab eo versti lacessiti, also by Mar. Vict.^ Mar. Plotius,'^ Atil. Fortun.,^ Ter. Maur.,^ Pseud.- Ascon.i^ Mahim dahmt is given by the first three. 98. Immortales mortales si | forent fas flere. 99. Flerent divae Camenae Naevium poetam. 1 p. 124 Th. de P. 2 Op. cit p. 296. ^\. p. 512 K. * vi. p. 293 K. 5 vi. p. 266 K. 6 i^g K. 7531K. 8294K. ^2517. 1*^ In Cic. Verr, i. 10, 29. 70 THE STRESS ACCENT IN LATIN POETRY lOO. Itaque postamquam'^est Orcho traditus thesauro. loi. Obliti-sunt Romae loquier lingua Latina. The famous epitaph written by Naevius to be inscribed on his own tomb. Quoted by GelHus^ along with similar epitaphs of Plautus and Pacu- vius. Thurneysen ^ thinks that the last verse must either be transposed or regarded as a later imitation, because the caesura is neglected and there are six accents. Similarly he considers the verse, — Terra pestem teneto salus hie maneto radically different from the epic Saturnians.^ Of the other Numeri Italici he quotes only Hlbenio pnlvere and Novtim vettis, none of those consist- ing of three beats, although we found that the number was considerable. It is rather the fashion with the later editors to throw doubt upon the antiquity of the Naevius In- scription, but if it was composed by Gellius on a purely quantitative basis, then it is certainly an inferior piece of work. Comparing it with four lines taken at random from Naevius, the regard (or perhaps disregard) of quantity seems about the same : — \j ^d. \j 98. Immortales mortales si forent fas flere. 99. Flerent divae Camenae Naevium poetam. i. 24, 2. 2 op. cit. p. 52. 3 op. cit. p. 54. HUMERI I TALI CI ET SATURNII yi \J \J KJ \J ^ loo. Itaque postquam est Orcho traditus thesauro. \J \J w loi. Obliti-sunt Romae loquier lingua Latina. W O ^ KJ \J 75. Superbiter contemtim content legiones. \j 91. Novem lovis Concordes filiae sorores. \J KJ\J KJ \J 87. Noctu Troiade exibant capitibus opertis. \j \j ^^ \^ — — — — SS. Flerent ambae abeuntes lacrimis cum multis. It would be hard to see how a half-verse com- posed entirely of long syllables (like the first half of 98, loi, Sy) could be read as poetry without a stress beat, and to suppose that this beat clashed with the natural accent of the word in all but the last foot would be to make the ancient sing-song measure of the native prophets more Greek than the iambic and trochaic metres of Plautus and Terence, where word and verse accent tend broadly to coincide. Alliteration is not of prime importance in the Saturnian verse, and it is a subject that has been very fully treated.^ Such evidence as it affords is in favour of the Accentual Theory, scansions like Gnaivod patre progndtus not only introducing a violent clash between word and verse accent, but disregarding the alliteration as well. 1 Cf. Keller, op. cit. p. 33 et ss., Loch, De Usu Alliterationis apud Poetas Latinos, Halle, 1865 ; Dingeldein, Z?^/- ^^zw bei den Griechen und Kdmern,'Ltv^z\g, 1892; and others. 72 THE STRESS ACCENT IN LATIN POETRY A reading of the verses based primarily upon the natural accent of the words (i) is in harmony with the Latin or rather ItaUc principle of word accent, and (2) brings the Saturnians into line with what we know of the earlier and later popular poetry; while the greater influence of quantity in the last half explains the early and complete naturalization of the Greek hexameter. It is per- haps not without interest to note, that in the hexameters of Lucilius which approach most nearly to the popular standard, there are 293 lines (49.4%) in which word accent and quantity coincide in the last three feet, and 52 lines {^.'/(fo) in which there is no clash whatever throughout the entire line. But, on any theory, it must be confessed that the Saturnians limp. In some lines three unaccented syllables are slurred over, in others a single long syllable is held a full beat, though both irregularities find abundant illustration in the primitive poetry of every people. In each Saturnian there is a strong pause be- tween the two halves of the line, often a complete break in the sense. This points, as has been said, to a composite nature. A common type of the Numeri Italici is^v^l^wv^ l^^l {Enos Lases invate, for example ), which recurs in the first half- line in 50 out of the 100 Saturnians quoted above. This is varied to^ A|/v^^I ^ ^ |,or^^^K^I ^ ^, or (rarely) ^ ^ \ ^v^^wl^wl or''^l ^ ^\ < ^^ \. The second half -verse is less regular, the NUMERI I TALI CI ET SATURNII 73 type ^ w K w I < Kj \ (^Jupit^r Ddpdlis) being varied ^v^wl^wljOr ^^wI^aI^wIj very rarely ^ vy w in the last foot. In the midst of these ir- regularities, however, there is one rule that is never violated ; the third and sixth beats fall, de rigiieur^ on the primary accent of the word. After the strong caesura and the falling {i.e. trochaic) metre, this seems to me the most important characteristic of the Saturnians. In some of the verses all six beats coincide with the primary accent of the word, as, — Gnaivod patre prognatus fortis vir sapiensque Hones fama virtu sque glori(a) atqu(e) ingenium Ne quairatis honore quei-minus sit mandatus Quando dies adveniet quem profata Morta'^est but very often it is necessary to hold a long syllable for one full beat. This is more often the first syllable of a word, as, — Hone oino ploirume con sentient Romai Aetsite cum parva posidet /^|_ ^^ I _^w iZ^ww I ^_ 12. Urbs antiqua fuit, Tyrii tenuere coloni, Stress . quantity ] _^^| |_^wlZwwl-^ — 13. Karthago, Italiam contra Tiberinaque longo THE QUANTITATIVE METRES 85 Stress quantity j^^v^ l^wwl — w v^|il_ |Z. ww|j1_ 14. Ostia, dives opum studiisque asperrima belli; Stress quantity ^ _| 1 ]_ ^ ^| ^w w I ^ _ 15. Quam luno fertur terris magis omnibus unam Stress quantity _ w w |_ \j\j\jL\j \j \ l^wwl J^_ 1 6. Posthabita coluisse Samo ; hie illius arma, Stress quantity Z. _l_ww|Z._|_wwIZww|^v-> 1 7. Hie currus fuit ; hoe regnum dea gentibus esse. Stress quantity /_ _\ Z.kjkj\ _ _|^_| ^w wiZ \j 18. Si qua fata sinant, iam turn tenditque fovetque. Stress ■ quantity _w^l_ww|_ _|^_!j^wwI-^_ 19. Progenium sed enim Troiano a sanguine duel Stress — quantity _^^ | _ 20. Audierat, Tyrias olim quae verteret arees ; Stress quantity y_ ^v^l | ] \ jL k^ kj\ jL — 21. Hine populum late regem belloque superbum Stress quantity 1_ y^ ^ \ |_ _ \ JH ^ ^\ /_ _ 22. Venturum exscidio Libyae : sie volvere Parcas. Stress quantity Z wwl_v^^|Z.vyvyI_ _|Zwwl^_ 23. Id metuens veterisque memor Saturnia belH, Stress quantity ^ ^ ^ \ |_ _|Z_|j1wv^|Z._ 24. Prima quod ad Troiam pro earis gesserat Argis S6 THE STRESS ACCENT IN LATIN POETRY Stress quantity jL kj ^^ I _ _ I 1_ _|j1ww1^^_ 25. Nec dum etiam causae irarum saevique dolores Stress quantity wwl — wwl v 26. Exciderantanimo : manet alta menterepostum Stress quantity _>^v^l_ wwl— _|j^_IZ.s^wIZ._ 27. ludicium Paridis spretaeque iniuria formae, Stress quantity Z. vy w | \ Z. _ |_wv^|j1ww|Z._ 28. Et genus invisum, et rapti Ganymedis honores Stress quantity Z. _| Z ^ wl I ^_| -^ v^ w l^_ 29. His accensa super lactates aequore toto Stress quantity Z. _|_vyvo'|_wVi' 30. Troas, relliquias Danaum atque inmitis Achilli, Stress quantity ] I_\^wl \Z.\^ ^|j1_ 31. Arcebat longe Latio, multosque perannos Stress quantity | _| | _ w<^ |_1 ww | Z. _ 32. Errabant, acti fatis, maria omnia circum. Stress quantity ^_I jIwwI |^_ l^vyv^l^ — 33. Tantae molis erat Romanam condere gentem. An examination of these lines proves beyond question that coincidence between word accent and quantity is not wholly dependent on the caesura, as Plessis thinks.^ For in lines r, 7, 12, 15, 18, "^ Metrique grecque et latine, Paris, 1889, p. 32 ss. THE QUANTITATIVE METRES 8/ 19, 26, 27, 28, 29, and 33, where the caesura falls after the long syllable of the third foot, the accords agree neither in number nor position. Lines 4, 5, 8, 15, and 21 show accords in the first, fifth, and sixth feet, but the caesura falls in very different parts of the line. So lines 2, 22, 26, and 32 re- semble each other in having accords only in the fifth and sixth feet, but this resemblance does not extend to the caesura ; and, while in the lines with five accords, 7, 14, 18, 29, and 33, it is always the third foot that is read with level stress, line 14 differs from the others in having the main caesura after the first foot. There are, in fact, no two successive lines that resemble each other both in the number and position of the accords, and in the position of the caesura, thus bringing to light another element in that greatest marvel of Vergil's metrical technique — its infinite variety. More- over, if for two or three successive lines more than the average number of feet are read with level stress, in the following lines less are read; but each time the climax is marked by a line containing five accords. Nor does it seem likely that the poet was unconscious of this method of avoiding mo- notony, when he uses it with such extraordinarily marked effect. In form, therefore, as well as in matter, Vergil is a thoroughly Latin poet. And just as he made the Trojan Aeneas an essential part of Roman tradition, the founder of the State, Quires of the Quirites, so he naturalized the Greek 88 THE STRESS ACCENT IN LATIN POETRY hexameter, subordinating, but not obliterating, stress, the fundamental principle of the native poetry. In the passage quoted above, Quintilian speaks rather tentatively of sentence accentuation, as if it were a new doctrine and not the conventional teaching, iam qiiidam ernditi^ quidam etiaiii gram- matici docent^ he writes, and mihi videtur, and in the very next sentence he returns to the veins lex sermonis. " Namque in omni voce acuta intra numerum trium syllaborum continetur, sive eae sunt in verbo solae sive ultimae, et in eis aut proxima extremae, aut ab ea tertia. Trium porro de quibus loquor, media longa aut acuta aut flexa erit; eodem loco brevis utique gravem habebit solum, ideoque positam ante se, id est ab ultima tertiam acuet. Est autem in omni voce utique acuta, sed nunquam plus una, nee unquam ultima, ideoque in disyllabis prior. Praeterea nunquam in eadem flexa et acuta quoniam in flexa est acuta. : itaque neutra cludet vocem latinam." The same teaching is found in Bk. xii., lo. 33 : " Sed accentus quoque, cum rigore quodam, tum simili- tudine ipsa minus suaves habemus ; quia ultima syllaba nee acuta umquam excitatur, nee flexa circumducitur, sed in gravem, vel duos graves cadit semper. Itaque tanto est sermo Graecus Latino iucundior, ut nostri poetae, quotiens dulce carmen esse voluerint illorum id nominibus exornent." It does not seem Hkely that they would wish so to THE QUANTITATIVE METRES 89 *' adorn " their verses, if the law of sentence accent had a very wide application. After Ouintilian the subject is not infrequently mentioned by the gram- marians. Lindsay has collected the instances in Ch. iii. of his Latin Language, p. 165 ss. Two words are thought of as forming a word group, with but a single accent. As, for instance, Pom- peius writes : " Quotienscumque duae partes ora- tionis in unam colhguntur, iam quoniam pro una sunt, unum accentum habebunt, prout fuerit syllaba ilia. Si dicas * interea loci,' interea una pars ora- tionis est, loci una pars orationis est. Quando iam sic utramque dicis, ut pro una sint, ambae partes unum habebunt accentum. Ergo duae partes ora- tionis quando unam faciunt, necesse est ut unum accentum habeant" ^ On the next page, speaking again of separate words, he writes, "Ultima enim numquam habet [accentum] aut in versu aut in prosa." Schoell ^ quotes this last sentence from Pompeius and on the same page Consentius,^ his treatment of whom shows the same lack of direct- ness of which we have before had occasion to speak. Consentius is writing De Scandendis Ver- sibus, and Schoell begins his quotation : — " Sine accusatione consistit versus huius modi : Conditus in nubem medioque refulserit orbe,'' et Tu quoque litoribus nostris Aeneia nutrix.^ Hi et tales non auctoritate ahqua praerogativa artis 1 V. p. 130, 22 K. 2 op. cit. p. 27. 3 v_ 3^8, 24 K. * Georg. i. 442. ^ ^n. vii. i. 90 THE STRESS ACCENT IN LATIN POETRY aut consuetudinis defenduntur ; nihil additum, nihil detractum, nihil mutatum habent, sed iuxta commu- nis linguae cnuntiationem integri nati sunt, neque ulla ea parte aliquid dubitationis admittunt." On this he remarks, " Hoc dicere non potuit Consen- tius, nisi cum Bentleio ^ conditiis in imbem et tii quoqite litSribiis, pronuntiaret, non mihem ac litori- bus^ Consentius goes on to say that the verses quoted are "without apology" because they con- tain no short syllable lengthened in arsis as (and he quotes) "Emicat Eurya///>f et munere victor amici ;" ^ no short vowel followed by a mute and hquid, as (he quotes) "etvob/^rum linguas," and *'pecudes pictaeque vob^^res" ;^ no lengthening or shortening like " tan/^;^ me crimine dignum duxisti" ; or ;r/li- quias Danaum," or Ennius's "^batu Athenis," or " /talium " * (with long/) or ''aquosus OrzG' j^ u. :jiu ^347 Vhf /Z SEP 11 197/ U ' p ttCCIR. AUG 2 6 '82 p^r> It ('-<"i<^ i!Sf n 'SI Mji^ 2.( /^ns IN S" ACKS REC.GIK.AUU 25 n ■IAD Q 1 1Q^' PPT'D OCT 3 1981 MAK 1 P^ r^-^' U.C.BERKELEY LIBRARIES CDM7DMaflTL4