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With Notes, critical and explanatory. A New Edition. 12mo. A Classical Dictionary, contain- ing an account of all the Proper Names mentioned in Ancient Au- thors, and intended to elucidate all the important points connected with the Geography, History, Biog- raphy, Archajology, and Mythol- ogy of the Greeks and Romans, together with a copious Chrono- logical Table, and an Account of the Coins, Weights, and Measures of the Ancients, with Tabular Val- ues of the same. By Charles An- thon, LL.D. In one volume, royal 8vo. AND METRE, AUTHORITIES, T AND MODERN. LES ANTHON, LL.D., PROFESSOR OF "KC IrbEK AND LATIN LANGUAGES IN COLUMBIA COLLBOK) NKW-|ORKi AND RKCTOR OF THE GRAMMAR-SCHOOL. I NEW-YORK: HARPER & BROTHERS, 82 CLIFF-STREET. 18 4 2. V i:^n\^ Entered, according to Act of Congress, in the year 1841, by Charles Anthon, in the Clerk's Office of the Southern District of New- York, Ac . TO THE REV. MATTHEW SIMPSON, D.D., President of the Asbury University in the State of Indiana, THIS WORK IS RESPECTFULLY DEDICATED, AS A TRIBUTE OF ESTEEM FOR PROFESSIONAL TALENT, AND FOR THE DEEP INTEREST WHICH HE HAS EVER EVINCED IN THE CAUSE OF TRUE LEARNING. 4S86i3 ■t% PREFACE. The author of the present work prepared several years ago a Treatise on Latin Prosody and Metre, which met with no unfavourable reception, and proved, as he has reason to believe, a somewhat useful guide to the young prosodian. This volume having been for some time completely out of print, the author has been induced to write a new work on the subject : one that may not only be more worthy of his increased experience as an instructer, but may furnish also more detailed information on various points that were neces- sarily omitted in the previous treatise. In collecting ma- terials for this purpose, the author has derived important aid from the Latin Prosodies of Dr. Carey and Professor Ram- say, especially the latter, and he has introduced into the pres- ent work whatever appeared of value in these and other publications of a similar nature. He does not entertain a doubt, therefore, but that the young scholar will find in the present volume everything that may be needed by him, not only at the commencement, but also throughout the several stages, of his academic career. Very few rules are given, it will be perceived, for the struc- ture of Latin verse. This forms a distinct department of study, for which, at some future day, a separate work will be prepared ; and this intended work will also contain the Essay on Leonine and Macaronic Versification, which was to have formed part of the present volume, but which has been omit- ted through fear of making the work too large a one. The Latin metrical rules of Alvarez were given in the pre- 'Vious work, but are omitted in this. The practice of giving Latin rules in matters of prosody is fast going out of use, and deservedly so ; and, besides this, the rules of Alvarez are in numerous instances decidedly erroneous. Columbia College, Aug. 2, 1841. PROSODY. SECTION I. I. Prosody treats of the Quantity of Syllables, and of the different Species of Verse.' II. A Syllable is composed of one or more Letters ; as, /, in, in-tus. III. Letters are divided into Vowels and Consonants. IV. Vowels, or open, free-coming sounds, are six in number : A, E, I, O, U, Y. V. From the vowels are formed eight Diphthongs : JE, AI, AU, EI, EU, (E, 01, UI. VI. Consonants, or sounds produced by the compression of the organs of speech, are divided into Mutes and Semi- vowels. VII. The Mutes are eight : B, C, D, G, K, P, Q, T. VIII. The Semivowels, which have a sound more open than that of the mutes, are likewise eight : F, L, M, N, R, S, X, z. IX. Of the semivowels four are Liquids, L, M, N, R, and they are so called because they^oi^, as it were, from the lips with less exertion than is required in articulating the other consonants. X. Two other of the semivowels are Double Letters, X and Z ; the letter X being equivalent to CS, GS, or KS ; and the letter Z to DS or SD. 1. The Doctrine of Accent will be found under a separate head, im- mediately after that part of the present work which treats of Versifica- tion. B «^ fc » * • .» t. "„ 14 QUANTITY OF SYLLABLES. XI. The letter H is to be regarded, not as a true conso- nant, but, as a mere breathing. XII. The letter J was altogether unknown to the an- cients. It appears that, among the Romans, the letter I exercised a double function, being sometimes purely a vowel and sometimes a consonant, answering very nearly to our y. The character j was introduced, in later times, into those words where i had the power of a consonant, and therefore of itself, when not followed by another conso- nant, could not have lengthened a short vowel. The letter J, accordingly, is not, as some maintain, a double consonant.' XIII. The letter V, in like manner, represented among the Romans, on some occasions, a consonant, on others a vowel sound. And the character U, to indicate it when a vowel, is, like the letter J, a modern invention. XIV. The letter Q was precisely equivalent in sound to C or K, all three being pronounced hard. SECTION II. QUANTITY OF SYLLABLES. I. By the Quantity of a syllable is meant the duration or continuance of the voice in pronouncing it. II. A syllable is either Short, Long, or Common. III. A short syllable is sounded rapidly, and consists of what is technically termed one time, like the a in the Eng- lish word orator, or the e in the Ijatin word legere ; and is thus marked, legere. IV. A long syllable is slowly pronounced, and occupies twice the time employed in sounding a short one ; as in the a of the English word mediator, or of the Latin word sedare ; and is thus marked, sedare. V. A common or doubtful syllable may be made long or 1. Consult remarks on pgo 27, wiib regani to such forms as ^W, ORIGIN OF PROSODIAL RULES. 15 short, at the option of the poet ; as, papyrus or papyrus ; fuerimus or fuerlmus? VI. The quantity of a syllable is either natural, that is, dependant on the intrinsic nature of the vowel itself, as the re of resisto, in which the e is short by nature ; or accident- al, as the re in restitif which becomes long because it hap- pens to be followed by two consonants. VII. The quantity of syllables is determined by certain established rules, or, when these fail, by the authority of the poets. VIII. In polysyllables, or long words, the last syllable except one is called the pcnultima, or, more briefly, the penult ; and the last syllable except two, the antepenuUima^ or antepenult. ^ SECTION III. - OF THE ORIGIN OF PROSODIAL RULES. I. Rules in Prosody originate from a careful examination of the works of the best Latin poets.^ II. In making such examination, we perceive that, with a very few exceptions, the quantity of the same syllable in the same words is always the same ; and, by classifying those which are analogous, we arrive by induction at cer- tain fixed principles, which are imbo'died in rules. III. In a great many other cases, however, we are una- ble to detect any fixed principle, and must rest satisfied with saying that we have the authority of the poets for making such syllables long or short.^ 1. Consult remarks on page 29, Observation 1, with regard to a short vowel before a mute followed by a liquid. 2. For some remarks on the relative value o%|he Latin'^oets as met- rical authorities, consult Appendix. 3. All prosodial rules, in fact, are based upon the authority of the po- ets ; but. according to the usage of prosodiatis, those syllables only are said to be long or short by authority which cannot be reduced to rules. 16 VOWEL BEFORE ANOTHER VOWEL. A ' SECTION IV. RULES. 1. A VOWEL BEFORE ANOTHER VOWEL. I. A vowel before another vowel, or a diphthong, is short ; a.s, fuit^ deus, tinecs, eximtcs. Tibull. Quis fuit, horrendos primus qui protulit enses ? Virg. Ipse ctiam eximicB laudis succensus amore. The letter H being merely a note of aspiration or breath- ing, is not regarded in such cases as the present ; and there- fore, when h stands between two vowels, the preceding vowel is short ; as, nthil^ mihi. Pers. De mhilo nihil, in nihilum nil posse reverti. Virg. Musttf mihi causas memora ; quo numine Iceso. EXCEPTIONS. Exc. 1. Fio has the i long in all its tenses, except in those where it is followed by er ; as, fio, fiebam, fiam, but fierem, fieri} 1. It has been conjectured that the old form of ^ v/asfelo, and that the first syllable was long in all the tenses without distinction. Some of the parts, however, of these tenses in which er occurs, could not have been used at all in Dactylic verse, if the first syllable had been always long : thus, f teres, fierent, cannot stand in any place of a Dactylic verse, and not even fierem, fieri, without an elision. Hence, when the e of the diphthong was dropped, the writers of heroic verse intro- duced this change into the quantity of those tenses where it was most necessary, preserving the proper and original quantity in the rest. This opinion receives much support from the fact, that the Comic writers, who lived before the prosody of the language was very accurately defined, and whose verse required no such modification of these words, constantly used ficret, &c., with the first syllable long ; as, *' Injurium 'st nam si essel unde id fieret.'* {Terent., Ad., 1, 2, 20.) On the other hand, in the works of the Christian poets, such as Prudentius, Arator, Tertul- lian, &,c., not only the^irst syllable in Jier em, &c., but in^io, dec, also, is made short. Thus, we have the following Archilochian heptameter in Prudentius : ♦' lamque tuus fieri maudas, fio Cyprianus aUer^ (Pcrist., 13. 69.) A less accurate mode of explanation is given by Vossius (Aristarch., 2, l:J), founded upon a passage in Priscian. {Ramsay's Latin Prosody, p. 23.) — Of the use of ei in earlier Latinity, where, at a later day, the long t was employed, we have numerous ex* amples. Thus, on the Duilian column we nnd castreis, socieis, cltusei», VOWEL BEFORE ANOTHER VOWEL. 17 Ovid. Omnia jam flent^ fieri qu(B posse negaham. Virg. Anchiscs^ fiertt venio mora ne qua ferenti. Exc. 2. The genitives and datives singular of the fifth de- clension make e long before i ; as, diei, speciei. But it is found short in spei, and common in fidei or jideij and in rei or m.' Virg. Nunc adeo^ melior quoiiiam pars acta diei. Senec. Credi periisse. — Vix spei quidquam est super. (lamb, trim.) Lucret. Nee jacere indu manus via qua munita Jidei. Statius. Quis morum Jideique ? modus nunquamne virili. Lucret. Prater ea rei qvxB corpora mittere possit. Horat. Curt(p. nescio quid semper ahest rei. (Choriamb.) naveis, numei ; and in the S. C. de Bacch. we have qvei, virei, sibei, eeis, vobeis, &c. Consult also OrclL, Inscript. Lat. Select., n. 626, •308, 3673, 4848, &c. 1. According to some, the old nominative form of the fifth declension was dieis^ specieis, jidns, making in the genitive dici-is, speciei is, fidei-is, which case afterward dropped the s, and became dien, specieii, fideii, and eventually diei, speciei, fidei, the i of the diphthong being dropped. {Ramsay'' s Latin Prosody, p. 22.) The explanation given by Bopp, however, is in every way preferable. This eminent philologist makes the original form of the nominative to have been die-is, specie-is, fide-is, and the genitive to have dropped its characteristic ending s, and to have terminated like the old locative in?; thus making die-i, specie-i, &c. If we write die-is in Greek characters, 6i7j-i^, and call to mind, at the same time, the close relation that subsists between the Ionic 7] and the Doric a, we will perceive at once a remarkable analogy between the first and fifth declensions in I^atin, and why so many words are found belonging, as it were, to each ; as, planitia and planitie-s, canitia and canities, &c. In this way, too, we can explain the old form of the genitive singular in the first declension, by supposing the nominative to have been, for example, terrd-is, musd is, whence came the genitive terid-i, musd-i, by dropping the s and retaining the locative ending, while the Doric a in the nominative terra was displaced by the .^olic a. {Bopp, Vergleichende Grammatik, p. 141, scqq. — Id ib., p. '2,11 , seqq .) — It remains now to account for such forms 2iS fidei, rei, &c. In all prob- ability we have here merely an attempt to reduce the old forms with the long penult to the operation of the general rule. It is worthy of re- mark, too, that the examples of fidei all occur in writers of the lower age. with whom it is very common. The subject of the identity of all the Latin declensions, which has been merely glanced at in this note, may be seen more fully discussed in Bopp's work just referred to, and in Struve's tareatise, ^'Ueber die Lateinische DeclinatioTt^''^ &c., p. 38, seqq. B2 18 VOWEL BEFORE ANOTHER VOWEL. Exc. 3. Genitives in ius have the i long in prose, but common in poetry. Altenus, however, has the i al- ways short, alius always long.^ Virg. Posthahita coluisse Samo ; hie illXus arma. Id. Tufaciem illius noctem non amplius unam. Id. Ipsius AnchiscB longcBvi hoc munus hahebis. Id. Nunc ultro ad cineres ipsius et ossa parentis. Horat. NulUus addictus jurare in verba magistri. Virg. Non te nullius exercent numinis ir(B. Id. TJnius ob noxam et furias Ajacis O'ilei. Id. Navibus infandum amissis unius ob iram. Exc. 4. Such proper names as Caius, Pompeius, Vul- teius, as also Veins, and the like, have the a or c long before i.^ 1. The authority for the remark that genitives in im* have the penult long in prose, is furnished by Quintilian : " Prccterea quce Jiunt spali^ sive cum syllaha longa corripitur, ut unTus ob noxam et furias; extra carmen non deprehendas.^^ (Inst. Or., 1, 5, 18.) — Bopp considers the Latin genitive-ending ius analogous to the Sanscrit termi- nation sya, the a being changed to u before the final j by a very usual process in early Latin. (Compare the Sanscrit vrka-s with the Latin lupu-s, and yung'mas with jungimus.) In accordance with this view of the subject, the old genitive forms of illius, ipsius, nullius, &c., will have been illi-ius, ipsi-ius, nulli-ius, &c., which, when changed to illius, &c., preserved their proper quantity in prose, although the poets took advantage of the circumstance of the i being followed by a vowel, to bring them, when it suited their purpose, under the general rule. (Bopp, Vergleich. Gramm., p. 220.) — With regard to alterius, it may be remarked, that although no instance can be found in any poet of its occurring with the long penult, yet there can be no doubt of its having been once employed. Indeed, Terentianus Maurus, the grammarian, actually uses alterius on one occasion ; in the following Trochaic tetiameter catalectic (cap. 3, de Fed., v. 1352): •• Sescuplo vel una vincet alterius si7igulum." Priscian ascribes the short penult in alterius to the circumstance of the genitive's exceeding the nominative by two syllables; '* quod duabus syllahis vincil gcnitivus nonmm/irum" (lib. 6, c. 7, p. 695, e4. Putsch.). A most singular explanation, certainly, and yet advocated by Vossius (de Art. Gram., 2, 13, p. 150, ed. Focrtsch.). — The reason assigned by Scaliger for the long penult of genitives in ius, namely, that they were originally written etus, is adopted by Ramsay, but is far inferior to Bopp's explanation given above. (Scat, de Caus. L. L., c. 43.) S. According to Priscian (7, 6, p. 739X «uch words as Caiusy Pom- t VOWEL BEFORE ANOTHER VOWEL. 19 CatuU. Cinna est Cuius, is sibi paravit, (Phalaecian.) Mart. Quod peto da, Cd'i, non peto consilium. (Pentam.) Ovid. Accipe, Pompei, deductum carmen ab illo. Propert. Forte super partes dux VBiius adstitit arcem. Exc. 5. The a is long in the penult of the old genitive and dative of the first declension ; as, auld'i, terrain Slc} Virg. Aulai in medio libabant pocula Bacchi. Lucret Terraique solum subigentes, cimus ad ortus. Exc. 6. The verb aio is, in some of its parts, pronounced with the first syllable forming a diphthong, and, conse- quently, long ; while in other parts the a and i form two short syllables. Thus, we have aio, uiunt, aiebam, aiebas, aiebat, &c. ; and, on the other hand, ais, ait, &c.* Horat. Servus ; habes pretium, loris non ureris, uio. Id. Plebs eris ; at pueri ludentes. Rex eris, aiunt. Id. Felicem ! alebam tacitus. Quum quidlibet ille. Id. Non sum moechus ais. Neque ego, hercule,fur, ubi vasa. Id. Nil ait esse prius, melius nil cmlibe vita. Exc. 7. In ohe^ and Diana* the first syllable is common ; pe'ius, Vulte'ius, &c., were originally written Caiius, Pompeiius, Vul- teiius. On this supposition we may easily account for the long quantity of the first syllable; and hence the vocatives Cat, Pompei, &c., are in reality Cai-i, Pompei-i, which last undergoes another contraction, in Horace, into Pompei. {Horat., Od., 2, 7, 5.) In like manner, VuUa-i becomes, in the same poet, Vultei. {Epist., 1, 7, 91.) 1. The principle on which this exception is based has already been stated, in note 1, page 17. 2. The verb aio was originally written aiio, and in all probability pro- nounced (u-yo. One of the i's being dropped, the a and remaining i sometimes formed a diphthong, as in the original form, and sometimes two short syllables. {Ramsay's Latin Prosody, p. 24.) Quintilian informs us that Cicero actually wrote aiio. {Inst. Or., 1, 4, 11. — Consult Spalding, ad loc.) 3. Ohe, the interjection, follows its primitive O, which, since it can- not be elided, because words of this nature require a strong emphasis, is made either long or short when it falls before a vowel. {Ramsay's Lat. Pros., p. 25.) 4* Diama was originally Deiva lana, the lunar goddess, contracted 20 VOWEL BEFORE ANOTHER VOWEL. in ehev} and lo^ (the daughter of Inachus) it is long. The interjection w follows the general rule. Mart. Ohe jam satis est, ohe, libelle. (Phalajcian.) Virg. JExercet Diana choros ; qnam mille secutm. Id. Constiteruntf sylva alta Jovis lucusve Diutkb. Tibull. Ferreus est, eheu, quisquis in urbe manet. (Pentam.) Virg. Ad levem clypeum sublatis cornibus lo. Ovid. Ante oculos lo, quamvis aversus, habebat. Virg. Clamat lo matres, audite, ubi qutsque LatincB. Exc. 8. In many words of Greek origin a vowel is long, though immediately followed by another ; as, aer, Achelous, Enyo, Troas, Troius, &c., the Latin quan- tity being controlled by that of the Greek words whence they are derived. Others, however, would appear to differ in quantity from their archetypes ; thus, in Latin we have chorea and chorea, while in Greek we subsequently into Deiana, and at last becoming Diana. The e of the diphlhong being dropped, gave rise to the double quantity of Diana, since it could be brought under the general principle of 0!ie vowel be- fore another. (Voss , de Art. Gram., 2, IS.— Varro, R. R, 1, 37, 3. — Grczv., Thes., vol. 8, p. 311. — Nigid. ap. Macrob., Sat., 1, 9. — Creuzcr, SymboHk, par Guigniaut, vol. 2, pt. 1, p. 433.) 1. The interjection ekeu is generally thought to have been abbreviated by the transcribers from heu heu. (Hcyne, ad Virg., Eclog., 2, 58. — Wagner, ad eund.) 2. As regards lo the proper name, and io the interjection, a differ- ence of opinion exists. The ordinary doctrine is, that the first syllable of both is doubtful, and so the rule is given in most works on Latin prosody. A more correct view of the subject, however, teaches us that the first syllabic is always short in the interjection, and always long in the proper name. In Silius Italicus (14, TilT), the old reading was " Quaqve fercbatur ductor Sidonius, io,'^ where the interjection occurs with a long penult; but the true lection is now given as " Quaque ve- hebalnr Grantor Sidonius, lo,^^ where lo is the name of a ship. — Wilb regard to lo, the daughter of Inachus, two lines are found which give the word a short penult {Ovid, Her., 14, 103.— W., Ibis, 024). But in the first of these the MSS. vary, and some commentators even regard Ihe term as an interjection ; while the other is drawn from a poem of doubtful authenticity, and the text of which is notoriously corrupt. In- deed, in this latter line, most editors now adopt the emendation of Hcjn- 8IU8, and read Jon for lo. In Greek, also, this word is always lu. (,Ranuay'« Lai, Prot., p. 26.) VOWEL BEFORE ANOTHER VOWEL. 21 find ;!^op£m alone ; and so also platea, which is no- thing more than the feminine adjective TrXarela} Virg. Consurgunt venti, atque in nubem cogitur a'er. Ovid. Opperiuntur aqucR vultus Achelous agrestes. Claud. Eruhuit Mavors, aversaque risit Enyo. Virg. DesidicB cordi, juvat indulgere choreis. Id. Pars pedihus plaudunt choreas et carmina dicunt. Horat. Puree sunt platecB, nihil ut meditantibus obstet. CatuU. Istos qui in platea modo hue modo illuc. (Phalas- cian.) Exc. 9. Those words which are written in Greek with the diphthong ei (et), and in Latin with a single e or i, have that e or i long ; as, JEneas, Alexandria^ Anti- ochia, C(Bsarea, &c.^ Virg. Atpius jEneas^ per noctem plurima volvens. Propert. Noxia Alexandrea, dolis aptissima tellus. Exc. 10. On the same principle as stated in the prece- ding exception, most adjectives in eiis, formed from Greek proper names, have the e long ; and it continues long when resolved into ei ; as, Cythereus and Cythe- reius ; Pagaseus and Pagaseius ; Pelopeus and Pela- peius? Virg. Parce metu Cytherea ; manent immota tuorum. Ovid. Imwcat Hippomenes, Cythereta, comprccor ausis. Lucan. Eumenidum vidit vultus Pelopeus Orestes. Ovid. Quid quod avus nobis idem Pelopeius Atreus ? 1. Ramsay endeavours to explain these anomalies by supposing that the Romans were in possession of authorities unknown to us. {hat. Pros., p. 27.) Prudentius uniformly makes it platea, but his authority is of no value. 2. Many words of this class, such as names of towns, temples, or monuments, are in reality only adjectives, with a noun understood ; as, 'AXe^uvSpeia (TroXif), " Alexandria,^'' or the city of Alexander; ^lovaei- ov {iepov), " Museum," or temple of the Muses ; ^lavauXeiov {[iVTjfiec- ov), " Mausoleum," or sepulchre of Mausdlus, &c. 3. Consult remarks on "• Diareais" p. 121. 6 VOWEL BEFORE ANOTHER VOWEL. Exc. 11. Greek genitives in eos, and accusatives in ea, from nominatives in eus, have the penult short accord- ing to thie common dialect, but long according to the Ionic ; as, Orpheos, Orphea ; Antheos, Anthea (in *" Greek, 'Op(peog, 'Opcpea ; 'Avdeog, 'Avdia, by the com- mon dialect) ; but Idomeneos, Idomenea ; Ilioneos, II- ionea (in Greek ^l6oiiev7]og, 'Idofievria ; ^IXLOvrjog, 'lA- lovTjaj by the Ionic).' Ovid. At non Chionides Eumolpus in Orphea talis. Virg. Prospectum late pelago petit, Anthea si quern. Id. Idomenea ducem, desertaque litora Crel(B. Id. Ilionea petit dextra Imvaque Serestum. Exc. 12. Academia ought to be regarded as having a long penult.^ In the proper name Orion the second sylla- 1. We frequently .find the quantity vary in words taken from the Greek, because they appear in the original language under a double form, which often depends on the dialect used by the poet. Thus, we have Conopium and Conopeum, because we find in Greek KuvoiiTLOv and Kw- vuTrelov. So also 'Eous and "Eous, in Greek ^wof and twof ; Malea and Malca, from MdXeia and MaXea ; Nereides and Nereides, from Nj;- pTftSeg and Njjpetdec ; Rhea and Rhea, from 'Peia and 'Perj ; Dcedaletis, Dcedaleus, Dcedalus, from the triple AatdaAeiOf, ^aLhaXeog, AaidaXo^^ &c. {Ramsay's Latin Prosody, p. 27.) 2. It is always long in the Greek authors, as the following examples will prove. 'AXk' elg ' A-Kadrifuav kutiuv vtto toX^ fiopiaic aKodpi^ei. {Ana- past. Tclram. Cat. — Aristoph., Nub., 1001.) 'Avr' 'XKadriula^ BopSopov kv irpoxoalg. {Pentam. — Theocr., Ch, ap. Brunck, Anal., vol. 1, p. 184.) 'AKadrjfilag ijKovaa Xoyuv. {Anapast. Dim. — Epicrat. ap. Athen., 2, p. r>9, D) . AvKetov 'AKadrifxlav Qldeiov irv?,ac. (Iamb. Trim. — Alex. ap. * Athcn., 8, p. 336, E ) The two Latin lines quoted in the text give the received quantity of Academia in Cicero's time, the first being taken from the treatise " De Divinalione'^ (I, 13), and the second from Laurea Tullius, one of Cice- ro's freedmen, in an epigram preserved by Pliny (31, 2). This decides the question as far as the practice of the golden age of Roman literature is concerned. In opposition to all this array of authoriliea in Greek and Latin writers, we have merely one from Claudian, and another from a still later poet, Sidonius, who both use Academia with a short penult. (Claud., de Cons. M., I, 94 — Sidon., Ap., 15, 120.) Hermann thinks that the penult of ^Ajcadtifua was short by nature, but lengthened by the CONTRACTION. 28 ble is always long in every good Latin writer, although it is common in Greek. On the other hand, the first syllable is common in Latin, but always long in Greek ; and the third syllable in the oblique cases is also com- mon in Latin and long in Greek.' Cic. Inque Academia umhrifera nitidoque Lyccso. Laur. Tull. Atque Academics celebratam nomine villam. SECTION V. CONTRACTION. Rule. Every syllable formed by contraction is long ; as, cogOj contracted for cbago or condgo ; tibicen^ contracted for tibidcen or tihucen^ &c. Virg. Bis gravidas cogunt fcztus, duo tempera messis. Ovid. Cur vasus incedit tola tibicen in urbe. o Obs. L Among the contractions of most frequent occur- rence, the following may be here enumerated : \. Two vowels uniting into one. ambages^ contracted for ambedges^ inddgOf " " indudgo,^ alius, ** '* aliiust dis, " " diisj audlSj " " audiis* fill, " " fiUe, force of the accent, as the term was one in frequent and common use. (Hcrm. ad Aristoph., Nub., 1001. — Id. de Metris, c. 23. — Class. Journ., vol. 6, p. 123.) 1. It is erroneous to say, as some do, that Orion has the second syl- lable common. The true rule is given in the text. In Greek, however, the t in 'OpLcjv, gen. 'Op/wi'Of, is of variable measure in Homer and the epic poets, but short in the tragedians. (Spitzner^s Gr. Pros., p. 112.) 2. Amhe was an old form of amh or am. Compare the Greek iifit^i. {Varro, L. I/., 7, 3.) 3. Indu or endo was an early form for in. Compare the Greek kvdol. 4. The third conjugation is regarded now as the oldest, and the 1st, 2d, and 4ih as merely contracted conjugations derived from it. (Con- sult Slruve, " Ueber die Laleinische Declination und Conjugation^* Konig-gbcrgf 1823) 24 i;U«TK,ACT10N. proles, contracted for prooles, copia, " " cbopia. fructus, " " fructmsj anus, " ** anuis. luxu, (dat.) " " Zwa;wi, chely, " " cAcZyc. 2. The letter A dropped between two vowels. ml, contracted for rnihi, ml, " '» m^l/, vemens, " " vehemens, nemo, " *' nehomo. 3. The letter v dropped between two vowels. bubus, from bdihus, and that from bovibus. bucula. (( boicula, " bdvicula. junior, {( juenior, " juvenior. frora 1 juvenis. jutum, <( juatum, " juvatum. {( juvo. jumentum, « juamentum, " juvamentum. (( juvo. mbbilis, « molbilis, « movibilis, " moveo. momentum, « motmentum, " mommentum. us and CeUihcms, in Greek 'ISTfpo^ and KeAriGijpof. INCREMENTS OF THE THIRD DECLENSION. 51 sion is chiefly long ; as, vcctigal, vectigalis ; pax, pacts ; calcar, calcdris, &c. Horat. JurgatuT verbis, ego vectigalia magna. Ovid. Jane fac cBternos pdcem pdcisque ministros. Mart. Accipe helligercB crudum thordca Minerv(B. i EXCEPTIONS. /Exc. 1. Masculine proper names in al and ar (except Car and Nar) increase short ; as, Hannibal, Hanni- bdlis ; Hamilcar, Hamilcdris ;' C(Bsar^ CcBsdris. Sil. Hannibdlem Fahio ducam spectante per urbem. Id. Cui sv, preserve in Latin the same quantity of the increment . which they have in the Greek. If that increment be j an omicTon, it is short ; if an omega, it is long. Thus, sindon, a'edon, Agamemnon, Jason, Philemon, &c., increase short ; whereas Laco, Plato, Solon, Sicyon, &c., increase long. Mart. Cultus sindone non quotidiana. (Phalaecian.) Paulin. Si confers fulicas cycnis, et aedona parra. Horat. Pythagoran, Anytique reum, doctumque Platona. Mart. Et gratum nautis sidus fulgere Laconum. 1. It is 80 given, for instance, by Scheller {Lat. Dcutsck. Wdrterh.,g» 9.) and Freund {Wbrterb. der Lot. Sprache, «. v.). c INCREMENTS OF THE THIRD DECLENSION. 57 Obs. Sidon, Orion, JEgcBon, have the increment common, and so likewise has Britto, " a native of Britain." SaxOt Seno, and some other gentile nouns, increase short. 8il. Ital. Stat, fucare colos nee Sidone vilior, Ancon^ ^ Virg. Atque equidem Teucrum memini Sidona venire. Ovid. Quorum si mediis Bceoton Oriona quaras, Lucan. Ensiferi nimium fulget latus Orionis. Claud. II(EC centumgemini strictos JEg.) — With regard to circa, citra, contra, «Sec, various opinions exist. Scheller views them as old ablatives singular feminine of the first declension, with an ellipsis of parte, or ofcra, or some other equivalent term. {Scheller, Lat.- Deutsch. Worterb.y s. v.) Ramsay, on the other hand, regards most of them as old imperatives of verbs of the first conjugation, of which frustro, intra, supero (or snpro), are still in use ; while, as respects such forms as anted, posted, intered, prater ed, &c., he agrees with the author FINAL SYLLABLES. 67 Horat. Circa mite solum Tihuris et moBnia Catili. (Chori- ambic.) Ovid. Dextera diriguit, nee eitrd mota, nee ultra, Virg. Contra non ulla est oleis eultura, neque ill re Qda(p kuI Kapig, dalv aptcTOL. Ho then goes on to remark, ^upulg S* avrov Sia tov w Ka'^vat iTQ^VTroVf ug ''Emxapnog' koI ^Lfxcividrjg S" ^«n," fifii, and /le- ptc) ; and the ennehemimiris nine half-parts {hvia, " nine,'' ijfu, and /icpif). FIGURES OF PROSODY. 103 Here natus in the second foot, tile in the third, and novit in the fifth, form each a trochee, and in each of these divis- ions of the line a trochaic caesura takes place. The Trochaic CcBsura may occur in either of the first five feet of a verse ; as, Virg. Arma pro\cul curr\usque vir\um mi\ratur in\anes. Id. Talia \ voce re\fert, o | terque qua\terque belati. Two siwcessive trochees, however, in the second and third feet must be avoided, since they give the verse a flippant and undignified air. Thus, Ennius. Ergo ma\gisque ma\gisque vir\i nunc | gloria \ claret. Propert. Et gravi\dra re\pendit in\iquis | pensa qua\sillis. In the third and fourth they are nearly as disagreeable ;' as, Ennius. Prudent\em qui j multa lo\quwe ta\cereve | posset. But two successive trochees may agreeably occur in the first and second feet ; as, Virg. ckre ci\ere vir\os Mart\emque ac\cendere \ cantu. Or in the fourth and fifth ; as, Virg. Et glau\cas sali\ces casi\amque cro\cumque ru\hentem. VIII. The Monosyllabic Caesura is that in which the first syllable of the divided foot is a monosyllable ; as, Virg. Hie vir hie | est tihi \ quern pro\mitti \ saipe(TLc, " a taking away," from 6,k6 and alpeu. 3. IvjKdirij, " a cutting short or to pieces," from avv and koktu. 4. 'Enivdeoic, "an insertion," from kni, h, and ridnfit. FIGURES OF TROSODY. 123 these were all peculiar to the poets, or that syncope was a fitrure the use of which was confined to this class of wri- ters. Many of these shortened forms, on the contrary, oc- cur also in prose. Thus, for example, vincla is found in Cicero {Ep. ad Fam., 16, 18). Quintilian (1, 6) says that calfacit was more common in his time than calefacit ; while from the contracted periclum we have the verb periclitorj and so on. III. The words most frequently contracted by syncope are the praeter tenses of verbs; as, scripsti for scripsisti, dixti for dixisti, promisse for promisisse, illuxe for illuxisse : the participles of compound verbs ; as, repostum for repos- iturn : genitives plural ; as, deiim for deorum, amantum for amantium ; and words which have a w in the penult before the consonant I ; as, vinclum for vinculum, &c. IV. Epenthesis is defined to be the insertion of a letter or syllable into the body of a word ; as, pluvi, fuvi, annuvi, genuvi, which is done, according to the grammarians, in order to lengthen the short u of plui, fui, annul, genui. All these so-called instances of epenthesis occur in Ennius. V, Epe"nthesis is, however, an imaginary figure, like those of which we have already made mention. " If we study," observes Ramsay, " the etymological formation of the Latin verb, we soon discover, that, in a very large class, the per- fect tense is distinguished by the addition of v to what Bopp calls the crude form ; we shall also readily perceive that the v is frequently dropped, as in amasti, amarunt, au- dieram, &lc. We shall then have no difficulty in recogni- sing the true old perfects oi pluo, fuo, «fee, in pluvi, fuvi, &c. ; and, as might be expected, they are found in the very earliest specimens of the language, and scarcely, if ever, appear after the time of Plautiis. It would be just as rea- sonable to assert that a v had been inserted in audiveram or ahivi, in order to lengthen the short i of audii and ahii, as to advance the same proposition with regard to pluvi,fuvi, 124 FIGURES OF PROSODY. and the rest. Moreover, we have the express testimony of Priscian, that preterites in ui had the u long in the oldest writers, especially those derived from the present in uo ; as, eruo, erui ; arguo, argui ; annuo, annui ; and he quotes from Ennius, ' Annuit sese mecum decernere ferro ;' in all of which it is clear that the long quantity of the u pointed out the recent disappearance of the u.'" VII. Apocope.^ — Paragoge.' I. Apocope is defined to be the omission of the final vow- el or syllable of a word ; as, men' for mene. II. In such instances as the one just cited, where a quick colloquial interrogation occurs, the figure may be allowed to stand. In other cases, however, its existence is purely imaginary ; as, for example, in the following line from Lu- cretius : Disjectare solet magnum mare transtra, gulerna, where guherna is said to be by apocope for guhernacula. III. Paragoge is defined to be the addition of a letter or syllable to the end of a word ; as, amarier for amarif dace- rier for doceri, legier for legi. IV. Paragoge is also, in strictness, an imaginary figure, and amarier, docerier, legier, &c., are merely archaisms, or antiquated modes of expression, mistaken for a poetical or grammatical figure. VIII. Tmesis." I. Tmesis is defined to be the separation of a word into two parts, for the purpose of inserting another word be- tween them ; as, 1. Lot. Pros., p. 160. — Compare Voss., de Art. Gramm., 2, 13. 2. 'ATTOKOTn/, " a cutting off," from airo and kotttu. 3. Tiapayuyn, " a leading or bringing beside," from rcapd and ayu. In military phraseology, " the extending a lino of troops beyond the flank, and presenting a new line or front." 4. Tfitjai^, «' a cutting," from t^/zvw, •' to cut." FIGURES OF PROSODY. 125 Virg. Talis JHyperloreo Septem subjecta trioni. Lucret. Languidior porro disjectis disg'Me supatis. Id. C(Btera de genere hoc, inter qucEquomque pretantur. Id. Conlaxat, Taieque facit lateramma vast. II. Here the words septemtrioni, dissipatis, interpretantur, and rarefacit, are supposed to be divided by the figure tme- sis. The truth appears to be, however, that, in the earlier forms of the language, many words which were used sep- arately were in process of time compounded together ; and hence, just as we should expect, these separations are much more frequent in Lucretius and the older writers than in those who succeeded them.' IX. Antithesis.^ — Metathesis.'* I. Antithesis is defined to be the putting of one letter for another; as, olli for illi, faciundum (or faciendum. II. Antithesis is, in fact, no figure at all. The forms com- monly assigned as instances of it, are merely old modes of spelling words, which are found under this shape on many monuments, some of them of a late date, and certainly many of them not antiquated even in the age of Augustus.* III. Metathesis is defined to be a transposition of letters ; as, Evandre for Evander, Thymbre for Thymher, corcodilus for crocodilus* Virg. H(BC mea magna fides ? At non ^y BXidre pudendis. Id. Nam tibi, Thymbre, caput Evandrius ahstulit ensis. Phaedr. A corcodilis ne rapiantur, traditum est. (Iamb.) 1. Ramsay's Lat. Pros., p. 161. — Compare the remark of Hermann • " Quam tmesin vacant grammatici, ea et natura et usu prior fuit quam xjvvQecig. Sed nimirum, quoniam rcccntior consuetude, ad quam omnia exigebant, cvvdeatv usurpabat, tmesin istam ut discessionem a communi usu animadvertere jubebant." {De Emend. Rat., G. G.,\). 117.) Con- salt also, on the subject of tmesis in early Greek, the remarks of Mat- thiae (G. G., vol. 2, p. 1398, Zd Germ, ed.), Kiihner ((?. G., vol. 2, p. 313), and Nagclsbach {Anmerk. zu Bias, Excurs. 16). 2. 'AvTtdeaig, " a substitution," from dvTc and ridrifii. 3. Merudeatg, '* a transposition," from /ierd and Tidrj[iL, 4. Ramsay's Lat. Pros., p, 162. L2 126 FIGURES OF PROSODY. IV. The instances, however, that are given of metathesis are merely antiquated forms of expression. Thus, Evandre and Thymhre are nothing more than vocatives regularly formed from old nominatives in us ; and corcodilus is mere- ly another form for crocodilus, obtained through the Greek.* X. Systole.^ I. Systole is defined to be the shortening of a syllable, which, from its natural quantity or from position, ought to be long. II. No such figure, however, as systole in reality exists ; and we must not suppose that the poets could shorten syl- lables at their own caprice. III. Under systole are placed, for example, those com- pounds oijacio which sometimes drop the j. Thus, For dbjicit, abjiciy we find abicit, abtci. adjicit, ddjici, " ddicit, ddici. . conjicit, " comcit. Injicit, ** tmcit, objicis, dbjicit, " obicis, obtcit. subjicit, subjiciy " subicit, sublet. IV. These, however, are by no means cases of systole or poetic license, but are, in reality, old forms of the language.^ 1. The Greeks appear to have said both KpoKodei^.og and KopKoSeiXoc, as they said Kpadia and Kapdia, Kparepoq and Kaprepo^, and as the Scotch use indifferently frith and firth. (Ramsay, L. P., p. 162.) — Gudius, indeed, maintains that the form corcodilus is more correct than crocodi- lus. His words are as follows : " Testari possum, in optimis ct sep- tingentorum, et amplius annorum membranis, non tantum apud poetas, iis in locis, ubi metri ratio id postulat, sed etiam in prosa apud oratores et philosophos reperiri Corcodilus. Neque his obstabit, quod belluae is- tius Niliacae nomen a Graecis Latini acceperint, qui KpoxodftXof scrip- serint. Sic enim saepe vocabula, quae a Grascis habent Latini, immuta- runt. Sic tardus a (3padvc, etc. Eodem modo Kaprepoc et Kparepoc. Non negandum vero est, poetas, quoties prima foret corripienda, ad im- itationem Grajcorum scripsisse Crocodilus. Sic Hor., Epod., 12, 11: Postea unice tandem obtinuiX ut scriberetur Crocodilus." (Gud. ad Phadr., 1, 25, 4.) S. l,vaT6?itj, •' a drawing together," from avv and areTiXo. 3. Ramsay^s LaL Pros., p. 136.— Por«u*, Lex. Crit. — NiniSf Cen^ FIGURES OF PROSODY. 127 V. Under systole we also find ranked the shortening of the penultimate syllable in the third person plural of per- fects ; as, dederunt, tulerunt, steterunt, &c. It is probable, however, that we have here the ancient pronunciation ; at least the analogy of the language is in favour of it.' VI. To systole is also attributed the quantity of the ini- tial syllable in aperio, omittOj hodie, and the like, which, being compounded, as is said, of ad and pario, oh and mitto, hoc and die^ &c., ought to have the first syllable long. It will be sufficient, however, to observe, in reply, that the quantity of these and similar words is invariable, and must therefore have been the result of the ordinary pronunciation, and not of any poetic license.'^ VII. A similar remark may be made with regard to viderC for videsne. In the latter of these two forms the syllable es otaph. Pis., diss. 4, c. 4. — Aul. GelL, 16, 7. The last-named writer blames Laberius for using coicior, on the ground that it was '■^ ohsoletum, aut ex sordidiore usu vulgi depromptum.'''' 1. By some these anomalies have been attributed to the mistakes of transcribers, who, it is supposed, may have written erunt instead of erant, or in some cases crint, both which terminations are occasionally found in MSS. Thus, in the following line from Virgil's Eclogues (4, 61), " Matri longa decern tulerunt fastidia menses," we find three readings in the MSS., tulerunt, iulerant, and tulerint. If we examine, however, with care the different examples adduced, it will be found that in not a few of these the indicative perfect cannot be struck out without great vi- olence ; nor can we fail to perceive that a transcriber, when copying a MS., if he came to such a quantity as tulerunt or steterunt, which he might consider anomalous, would be much more likely to change it to tulerint or tulerant, than to transform one of these into tulerunt, in vio- lation of all ordinary rules. {Ramsay^ s Lat. Pros. p. 105.) — Others, again, have boldly contended that the poets who used these forms were inadvertently guilty of a breach of prosody. There might be some plau- sibility in this assertion, if the instances of this pretended violation of rule were only few in number. It happens, however, that in Lucretius there are no less than 15, in Virgil five, in Propertius five, in Ovid 19, &c. It is idle, therefore, to talk in such a case of '* inadvertent" errors. — The supposition in the text, that the penult of the perfect, in the third person plural, was originally short, seems much more probable, and coincides also with the general rule of e short before r, or, in other words, with the analogy of the language ; and, in confirmation of this opinion, we may cite the words of the grammarian Diomedes : " Fere in tertio ordine plerumque veteres tertia persona finitiva temporis perfecti, numeri plu- Talis, E mediam vocalem corripiunt, quasi legerunt, emerunt," &c. 2. Ramsay's Lat. Pros., p. 156. 128 FIGURES OF PROSODY. is uniformly long ; whereas in viden^ tlie e is as uniformly short. The reason probably is this, that in viden\ as well as in satin^ and am\ the pronunciation was so rapid that the voice was not permitted to dwell upon any of the syllables.* XI. Diastole.^ I. Diastole (or Ectasis'') is defined to be the lengthening of a syllable naturally short. Like systole, however, it is merely an imaginary figure. II. To diastole is attributed the lengthening of the first syllable in 'Italia, PriamideSj 'Arabia, &c., from "Italus, Priamus, ''Arabs, &c. But the true reason is, that such forms as Italia, Priamides, Arabia, &c., could not have been used in dactylic verse unless the first syllable were lengthened. This license was therefore assumed by the Roman poets, in imitation of the Greeks.* III. To diastole is also attributed the lengthening of the first syllable in certain compounds of Re. Thus, we find religio, reUgione, reUgionum, reUgiosa. reUqui(B, reUquiarum, reUquias. recidere, recidimus. reldtum, remotum. reducit, reducunt, reducere. To these must be added the three preterites reperit, repulit, retulit, and the tenses formed from them, repereris, repere- rit ; repuleris, repulerint ; retuleram, retulerat, retulerisj re- iulerit, optJv rag Tro?.e/j,tKag nal (tvvtovov^ KLVTjattr EV rolg TcpoKeXevafiaTiKolg ug to, ttoXXo, ^vdfiolg. {Dion. Hal., Ant. Rom., 1. 7, p. 476.) For some learned observations on the proce- leusmaticus, consult Santen. ad, Terent. Maur., v. 1460. 3. Gesner thinks that the Ionic mode of dancing was adapted to these two feet, whence their name. {Thesaur. L. L., s. v.) Plotius, on the contrary, remarks, ♦' lonici ab lone inventore sua dicti''^ (p. 2626). 136 FEET. or a minore, because it begins with the less quantity, that is, with two short syllables.* VII. The CiioRiAMBUs consists of a choraeus or trochae- us and an iambus, that is, of two short syllables between two long ; as, noUUtas} VIII. The Antispast (Antispastus) consists of an iam- bus and a trochee, that is, of two long syllables between two short ; as, secu?iddre. It derives its name from dvTC- ondo), " to draw asunder,''^ two long syllables being separa- ted or drawn asunder by two short ones.^ IX. The Epitritus Primus, or First Epitrit, is compo- sed of an iambus and spondee, and consists of one short syllable and three long ; as, salutdntes. X. The Epitritus Secundus, or Second Epitrit, is composed of a trochee and a spondee, and consists of a long, a short, and then two long syllables ; as, concitdtl. XL The Epitritus Tertius, or Third Epitrit, is com- posed of a spondee and an iambus, and consists of two long syllables, followed by a short and a long ; as, commu- mcdnt, XII. The Epitritus Quartus, or Fourth Epitrit, is composed of a spondee and a trochee, and consists of three long syllables and one short ; as, mcdntdre. 1. The Greek names for these two feet are 6 cnrb fietCovoc ^luviKof and 6 inf kXdaaovoc 'Icjvikoc. — The greater Ionic was also called Per- sicus, because Persian histories were written in this measure. Uepoi- KOf de, dca to tu^ laropiag tuc JlepaiKa^ tovt(^ r^ fiirpif) yeypd(p6ai. (Schol., Hephcest., p. 82.) The minor Ionic was likewise styled Hypo- cyclius {"TTroKVKTiioc. — Schol., Hephcest., I. c). 2. The choriambus was also called Cyclius (KvkXio^), and Hypobac- chius ('YTro6dKX£iog), and likewise Bacchius a TrochcEO (BaKxeiog «ard Tpoxatov). It was probably used in the circular dances around the altar of Bacchus, whence the names just mentioned, which are given by the scholiast on Hephsestion (p. 83). Compare Santen. ad Terent. Maur., V. 1487. 3. The antispast was also called Spondaacus CZTrovdaiaKoc) and Bo/c- ;tetoc Kara 'la/x6ov. (Schoi, Hephcest., p. 83.) — This foot appears to have been a favourite with the prose writers. Vossius states {Inst., Oral., 4, 4) that he counted in Cicero's oration for Archias twenty-six instances of an antispast at the end of a clause. Compare Probus, p. Ivii, and Diomedes, p. 467. FEET. 137 These four last-mentioned feet derive their name from the word iTTCTplrog, which denotes a combination or pro- portion containing some particular number, together with a third part thereof. Thus, in the present instance we have three long syllables, which may be regarded in one sense as the basis of the foot, and besides these we have another syllable, a short one, from the relative position of which last in each of the four feet are derived the names oi first, second, third, and fourth epitrits. In other words, we have three syllables, with a third of these, namely, one syllable, added thereto (TpCrTj-ent).^ XIII. The P^ON Primus, or First Pceon, is composed of a trochee and a pyrrhich, and consists of one long syl- lable followed by three short ; as, conftcere. XIV. The PiEON Secundus, or Second Pmon, is compo- sed of an iambus and a pyrrhich, and consists of a short and a long, and then two short syllables ; as, resolvere. XV. The PiEON Tertius, or Third Pcbou, is composed of a pyrrhich and a trochee, and consists of two short syl- lables followed by a long and a short ; as, sociare. XVI. The PuEON QuARTUs, or Fourth P iavru, kuI to rpcTov TOVTOV. 2. Plotius, p. 26'26.—Isidor., Orig., 1, 16, p. 830. 3. 01 elg 'AnoXXova de ypdijiovTec, rcj nodi tovto), tcj Uaiuviy XP^V' M 2 1 38 FEET. lation of Paeon, it received that of PcBan} — The paeon is directly opposed to the epitrit. In the latter there is one short syllable with three long ones ; in the former, one long with three short. The^r^^, second, third, and fourth pseons are so named from the relative situation of the long sylla- ble in each. To the list of compound feet are sometimes added the following : I. The DocHMius {AoxfJ'iog), composed of an antispast and a long syllable, and consisting of five syllables, namely, a short, two long, a short, and a long ; as, dberrdverdnt,* II. The Mesomacer (MeoofiaKpog), composed of a pyr- rhich and a dactyl, and containing also five syllables, namely, two short, a long, and two short ; as, dvidlsstmusJ^ The following table exhibits the feet, both simple and com' pound, in the order in which they have just been described. SIMPLE FEET OF TWO SYLLABLES. 1. Spondee 2. Pyrrhich 3. Trochee 4. Iambus raL. (SchoL, Heph(zst., p. 12.) Compare the remark of another scho- liast : Tovg izaidvag g,^ovrec kxpuvTO avrolg [IlaiejCTi] oi TraXaiol. {Schol, Hermog., p. 394.) 1. Aristot., Rhet., 3, 8.— Cic, de Oral., 1, 59. — Santen. ad TererU. Maur., V. 1532. 2. The Dochmius takes its name from Soxfuoc, " obliquus" in allu- sion to the irregularity that marks the order or succession of its compo> nent times ; or, in the words of an ancient writer, dia to ttoikIXov koi LvdfiOLQv, KoL TO /17} kut' Evdv ^eupetodai ttjv l)v6fio7rouav. (Artstid., de Mus., 1, p. 39.) — This foot is sometimes called Dochinvus, but incor- rectly. {Erncisti ad Cic, Orat., 64. — Santen. ad TererU. Maur., v. 1551, p. 130, acq.) 3. From ueaog, " middle,^* and fiaKoog, " long,'^ the name being de- rived from the position of the long syllable, in the middle, between two short on each side. FEET. 139 simple feet of three syllables i 1. molossus 2. Tribrach 3. Dactyl . 4. Anap-iEst . 5. Bacchius . 6. Antibacchius 7. Amphimacer 8. Amphibrach COMPOUND FEET. FOUR WITH THE SAME FOOT DOUBLED. 1. DlSPOND^US Proceleusmaticus DlTROCH^US 4. DlIAMBUS FOUR OF CONTRARY FEET. 1. Greater Ionic 2. Minor Ionic 3. Choriambus 4. Antispast FOUR in WHICH LONG TIMES EXCEED. 1. First Epitrit 2. Second Epitrit 3. Third Epitrit ^,4. Fourth Epitrit FOUR in which short TIMES EXCEED. First Pjeon Second Pjeon Third P^on . . . . . Fourth P-ff:oN . . . . two other compound feet, 1. dochmius . . . . 2. Mesomaceb of five syllables. ik 140 METRE. SECTION XXVIII. OF METRE. I. Metre, in the general acceptation of the word, signi- fies a combination of verses belonging to the same or to diflferent classes, which succeed each other in a fixed or- der. When we speak of Dactylic metre, Iambic metre, &c., the word metre is employed in this general sense, and is then synonymous with verse. II. But a metre, in the technical and restricted sense, signifies either a single foot in a verse, or a combination of two consecutive feet, according to circumstances. III. In Latin poetry, the metres employed are the follow- ing : 1. Dactylic. 2. Anap^stic. 3. Iambic. 4. Trochaic. 6. Choriambic. 6. Ionic. IV. These metres have received their respective names from the frequent recurrence in them of some particular foot ; and it has been supposed that each species was ori- ginally made up of those feet only from which it is denom- inated, but that others, equal in time, were afterward ad- mitted under certain restrictions. V. Metres, however, are often called also after the name of some celebrated poet, who used a particular species of verse ; as, Sapphic, Anacreontic, Hipponactic, (fee. VI. Metres are likewise classified according to the num- ber of feet or measures which they contain. Thus, a verse of seven metres is called Heptameter. " six " " Hexameter. *'fa)e " " Pentameter, METRE. 141 of four metres is called Tetrameter. " three " " Trimeter. " two " " Dimeter. " one " " Monometer. VII. In Anapcsstic, lamhic, and Trochaic verses, a metre consists of two feet ; but in the other kinds of verse a sin- gle foot constitutes a metre. VIII. Thus, in Anapcsstic^ Iambic, and Trochaic versifica- <^ tion, a Monometer contains two feet. Dimeter li four Trimeter ki six Tetrameter u eight Pentameter ii ten Hexameter a twelve Heptameter^ li fourteen On the other hand, in Dactylic, Choriambic, and all other measures except the three just mentioned, a Monometer contains one foot. Dimeter *' two feet. Trimeter " three ** Tetrameter " four " Pentameter " Jive ** Hexameter " six " Heptameter " ^cuen " IX. A combination of two consecutive feet is sometimes termed a dipodia {dnrodia) or syzygy (av^vyla). Most usually, however, the combination of two dissyllabic feet is called a dipodia, and that of two trisyllabic, or a dissyl- labic ahd trisyllabic, a syzygy. X. The conjunction of two feet is often likewise termed a base.^ 1 . Some of these, of course, do not occur. They are given, however, to illustrate the rule laid down. 2. Diomed,Tp. 501.— ilfar. Vict., p. 2489. 142 ISOCHRONOUS FEET. SECTION XXIX. OF ISOCHRONOUS FEET. I. By Isochronous (or even-timed^) feet are meant those that are interchangeable in metre. II. In order to ascertain what feet are thus interchange- able, recourse must be had to the arsis and thesis. III. As has already been observed,^ that part of the foot which receives the ictus, the stress of the voice, or beat of the time, is called arsis, or " elevation." The rest of the foot is termed thesis, or " depression." IV. The natural place of the arsis is the long syllable of the foot, and hence in the iambus it falls on the second syl- lable ; in the trochee, on the first ; while the spondee and tribrach leave its place alike uncertain. V. The fundamental foot of a verse, however, deter- mines the arsis for the other feet, and hence the spondee, in iambic and anapaestic verse, has the arsis on the second syllable, but in trochaic and dactylic on the first. VI. So, again, the tribrach, when it stands for the iam- bus, is to be pronounced ^ -^ ^; but when it stands for the trochee, ^ ^ ^. VII. Now the ancients considered those feet only iso- chronous which were capable of being divided into parts that were equal in time ; so that a long syllable should have either a corresponding long syllable or two short ones.' VIII. The following scheme will exemplify this more clearly, the place of the arsis being denoted, as above (VI.), by a mark resembling that of the acute accent. { Iambus . . ^ I — C Trochee . . ~ I ^ ( Tribrach . ^ | w ^ / Tribrach . . v^^ w | w 1. 'IffOf, ** eaual,^^ and xp^Ta de Ka?.etTat, baa arrb dtiro6iac iirl reXovc 6^ iroSl /iefieiuTau {Hephast., I. c.) DACTYLIC MEASURES. 145 VIII. A Hypercatalectic or Hypermeter verse is that which has a syllable at the end beyond the complete measure ; as the following, which is Iambic Dimeter Hypercatalectic or Hypermeter? MuscB I sordr\\es sunt \ MmervW^. IX. An Acephalous verse is that which wants a syllable at the beginning ; as the following, which is Acephalous Iambic Dimeter.^ Non I ebur \\ neque aur\eum. || SECTION XXX. DACTYLIC MEASURES. I. The only feet admissible in dactylic verses are the dactyl and spondee. II. Originally all the feet were dactyls, but the spondee was afterward admitted, as being an isochronous foot, and in order to impart more gravity and dignity to the line. III. It will be remembered that in dactylic verses a sin- gle foot constitutes a metre ; and hence a dactylic hexam- eter contains six feet, a dactylic pentameter ^ve, a dactylic tetrameter /our, &c. IV. In treating of the dactylic, as of other measures, we will commence with the simplest in use, and end with those of the greatest length. 1. Dactylic Dimeter Acatalectic, or Adonic. I. This measure consists of two feet, a dactyl and spon- dee ; as, Terruit j urbem. Vtsere \ montes. II. The dactylic dimeter, or Adonic, is usually subjoined 1. 'TirepKaralrjKTa 6e oca Trpof tcj reXet^ irpoae^.aSe [lepog irodof. {Hephast., I. c.) Some call it Hyperacatalectic (TTrepa/faraAr/zfrof), L e., going beyond acatalectic. 2. Acephalous, from aKea?MC, "vnthout a A«ad".(a and Ke^oX^). , N 146 DACTYLIC MEASURES to three Sapphic lines, thus forming what is called the Sap- phic stanza, of which an account will be given elsewhere. III. In tragic choruses, the Adonic is arbitrarily added to any number of Sapphics, without regard to uniformity.* IV. This measure was called Adonic (Adonium metrum — ^AdojVLov fierpov) because employed originally by the Greeks in the lamentations for Adonis.*^ V. Sappho is said to have composed entire poems in this measure, now lost. Terentianus Maurus, from whom we derive this information, has also left us a short piece of this kind,^ and another of thirty-one successive Adonics occurs in Boethius.'* 2. Dactylic Trimeter Catalectic. I. This measure, also called Archilochian Penthemime- ris, is an heroic penthemimeris, or the first five half-feet of a dactylic hexameter. In other words, it consists of two feet and a half. II. Horace, who uses this verse in one of his odes (4, 7) alternately with the dactylic hexameter, uniformly has two dactyls and a semifoot ; as, Horat. Arbdn\busque com\(e. Id. Flumlnd | prdBtere\unt. Id. Ducere | nudd chdr\ds. Id. Qu^ rdpit I hord di^m, &c. III. Ausonius, however, who has a poem of fifty-seven lines, '^ all in this measure, sometimes makes the first foot a spondee, and in two instances uses a spondee also in the 1. Senec, (Ed., 110, seqq.—Id., Troad., 1010, seqq.—Id., Thyest., 546, seqq., &c. 2. Mar. Vict , p. 2564— P/o/tu*, p. 2640. 3. Terent. Muur., v. 2160. — Some commentators think that the words *0 Tdv 'Aduviv, cited by Plttius (p. 2640), belonged to the .\donic poem of Sappho mentioned by Terentianus. (Santen. ad Ter. Maur., t. c.) 4. Dc Cons. Phil., 1, metr. 7. 5. Auton., Prof., 10. DACTYLIC MEASURES. 147 second place. But the spondee, in either case, is a dispar- agement to the verse, particularly in the latter. Auson. Doctri\na exigu\us. Id. et U\berti\nd. Id. et tu I Cdncdr\di, 3. Dactylic Trimeter Acatalectic. I. The Dactylic Trimeter Acatalectic consists of the last three feet of a dactylic hexameter ; that is, the first foot may be either a dactyl or spondee, but the second must be a dactyl, and the third a spondee ; as, Herat. Grato ( Pyrrha sub } dntro. II. But the lines which are usually thus denominated are with greater propriety included in the class of choriam- bics, and ranked with Pherecratics. 4. Dactylic Trimeter with a Base. I. This measure consists of two dactyls, followed by a spondee, with a base (that is, one long, or two short sylla- bles) prefixed to the beginning of the line. — Ausonius will afford an example.' Thus, Modu\ldrMne \ immd | tristl, Tdcit\um sine hbn\dre re\tinquat, Super I indole \ cujus dd \ ulli, Mdg\nc^ bond \ copid \ laudts. 5. Dactylic Trimeter Hypercatalectic. I. This measure consists of three dactyls, and a syllable over. The following example of its use is taken from Au- sonius.* Pdrva eti\dmfmt \ lddU\d, Normne j praditd \ qu^ Pdph.i\ce, 1. Parent., 17, 1. 2. lb., 28. 148 DACTYLIC MEASURES. Et speci\em meruit Fcner|w, QuoR gentt\a est miht \ peine so\rdrf FlUa I namfuit \ Kcec amit\m, Qudm cele\brat sub hdn\dre pi\dj NcBTiid I carmine \funere\d. II. A variety of this measure is found in Boethius (3, metr. 6), wliich admits of a spondee in the first two places. Thus, Hie claus^t memhr\zs dmm\ds. Unus e\mm re\rum pater | est. Ni viti^s pej\drd fov\ens. III. The Dactylic Trimeter Hypercatalectic is called by some Tetrameter Catalectic. 6. Dactylic Tetrameter Meiurus, or Faliscan.' I. This measure consists of the last four feet of an ordi- nary hexameter, except that the concluding foot is an iam- bus instead of a spondee. Thus, Sept. Ser. Vitis et \ ulmus ut^ simul | ednt. Id. Liberdt j drvd p'n\us fruti\cibus, Boeth, Fdlce rub\ds fiU\cemque re\secdt. II. The dactyl was preferred in the first three places, though the spondee was nevertheless admissible into the first and «?econd. 1. The name Meiurus is from the Greek : „dTro tov fieiovadai t^v oipdv, quod veluti cauda minor et mutilus sit." {Forccll., Lex.) Dio- medes calls such verses " Ecaudes^^ (3, p. 499), and Marius Victorinus styles them Teliamhi (p. 2512). — The origin of the name Faliscan has been much disputed. The form Phaliscus, given in some editions of Terentianus Maurus, as well as Palisais {Augustin., de Mus., 4, p. 83), are erroneous. It is probable that the appellation Faliscan was given to this species of verse from the poet Annianus, who frequently employ- ed it, and who was of the nation of the Falisci. {Santen. ad Tcrerit. Maur., 1998.) Victorinus states that this measure was called by the Greeks Calabrion (p. 2578), — Servius, the grammarian, styles Faliscan poems " docta,^* the reason for which appellation is unknown. {Scrv.^ in Centimetr.y p. 1824.) DACTYLIC MEASURES. 149 7. Dactylic Tetrameter a posteriore, or Spondaic Tetrameter. I. This measure consists of the last four feet of a dac- tylic hexameter, and hence it is called Tetrameter a poste- riore, because supposed to be taken from the latter part of an hexameter line {a posteriore parte versus hexametri). II. In other words, the first two feet of this measure may be either dactyls or spondees, the third is generally a dac- tyl, rarely a spondee, but the fourth is invariably a spondee. Thus, Horat. Ibimus, \ o sdci\i comit\esque. Certus e\nim prd\mis'it Ap\dlld. Me nee \ tdm pati\ens Ldce\dcBmdn. fort\es pej\drdque \ pdssi. in. In the following line a spondee is found in the third foot, preceded by a dactyl, answering to the spondaic line of the hexameter ; and in such a case as this, the prece- ding foot ought always to be a dactyl, or the line will b6 too heavy. Thus, Horat. Mensor\em cdhi\bent Arch\yta. 8. Dactylic Tetrameter a priore, or Alcmanian.^ I. This measure consists of the first four feet of a dac- tylic hexameter, with merely this difference, that the fourth or last foot is always a dactyl. And it is called a priore because taken from XhQ first part of an hexameter (a priore parte versus hexametri). Thus, Boeth. Lumini\biiisque pri\dr redt\tt vigor. Id. Desuper ] in terr\am nox | fundttur. Auson. Dice\bds In \ me md\terterd. II. The Dactylic Tetrameter a priore is also called the Alcmanian Tetrameter, from the Greek poet Alcman, by whom it was frequently employed ' III. This metre was much used in tragic choruses. 1. Sero., p. 1820, ed. Putsch. N 2 150 DACTYLIC MEASURES. 9. PhaLjEcian Dactylic Pentameter. I. This measure, which is called Phalaecian on the au- thority of Terentianus/ consists of a dactylic penthemime- ris (two feet and a half), followed by a dactylic dimeter or Adonic ; as, Boeth. Vise\bdt gelid\k H siderd | brunm. Id. Heu qudm \ pr^ciptt\i \\ mersd prd\fundd. II. Like the ^olic Pentameter, this species of Phalae- cian verse admits a trochee in the first place ; as, Senec. Arvd \ mutdn\tes || qudsque M^\dtis, Id. Allu^t gent\es \\/rigidd \jiuctu. Id. Qudsque \ despect\dt 1| vertice \ summo. III. Besides the trochee, Boethius uses the iambus in the first and second places ;. as, . Htc e\mm cau\sds'ijii cernere | promptum est. Illic I ldten\tes II pectord | turhdnt. Cunctd I qucB rdr\d || provehit \ cstds. Stupet I cum subi\tts \\ mobile \ vulgus. IV. A Phalaecian Dactylic Pentameter may be formed from an hexameter, by striking out the fourth foot and the latter half of the third. Thus, Hex. At re\gind grdv\ijdm ( dudum j saucid j curd, " Cdnsed\ere du\ces et \ vulgi \ stdnte cdr\dnd, ** Sanguine\dque mdn\u crepi\tdntid \ concuttt \ drma. Phalaec. At re\ gind grdv^ || saucta | curd. \ " Consed \ere du\ces || stdnte cor\ond. | " Sdnguine\dque mdn\u || concuttt | drmd. 1. " Namque hie de genere est Pkalaeiorum.*^ (Ter. Maur., v. 1946.) The name is derived from that of the poet Phalsecus, who was said to have been the inventor of this species of verse, along with the others that went under this general appellation. The true form is PAo- Icuian, not Phaleucian. {Santen. ad Ter. Maur., v. 2545.) DACTYLIC MEASURES. 151 V. Those Phalsecian lines in which neither the trochee nor iambus occur, may be scanned as Choriambic Tetram- eters Catalectic. Thus, Vtse\hdt gelidcB | sidera brum\cB Jam nunc | hlanda melds \ cdrpe Did\ne. 10. iEoLic Pentameter. I. The ^olic Pentameter, so called from its native dia- lect, was invented, it is said, by Sappho, a native of the .^olic island of Lesbos.* II. It consists of four dactyls, preceded by a spondee, a trochee, or an iambus. In other words, it is a Dactylic Tetrameter Acatalectic with a base.'^ Thus, Terent. Maur. Cordi \ qudndo fu\isse si\bt cdmt \ dtthida» Id. edi\dit tuba \ terribi\lem sdnit\um procul. 11. Dactylic Pentameter. I. The Dactylic Pentameter was so called in consequence of the manner in which it was scanned by some of the old grammarians, who viewed it as consisting of five continu- ous feet, namely, two dactyls or spondees, followed by a spondee and two anapaests, according to the following scale : 1 2 3 4 5 Frigidi\us gldci\e pect\us dmdnt\ts erdt. Nil mihi I rescrib\ds dt\tdmen ips\e vent, Ldssd\ret vidu\ds pend\uld tel\d mdnus. Flebdm \ success\u pds\se cdre\re dolos. 1. Terent. Maur., v. 2148.— Compare Mar. Vict., p. 2559.— Plot., p. 2636.— Serr., p. 1824. — The 29th Idyl of Theocritus is in this measure: Oivoc, | w ^i^e | ttcu, /l?7c|rai Kat a\Mdea, | /c. r. A. For oth- er examples, consult Gaisford ad Hephcest., p. 275. 2. Terent. Maur., v. l7%2.^Diomed., p. dO^.—QutniU.j 9,4. 152 DACTYLIC MEASURES. II. Hephaestion, however, who has been followed by al- most all modem scholars, regards it as composed of two dactylic penthemimers. In other words, the first two feet may be either dactyls or spondees ; then comes a long syl- lable, to which succeed two dactyls, followed by another long syllable.^ Thus, 1 2 3 4 5 6 Fngldilus glaci\e \\ pectus am\antis er\dt. Nil rriihi \ rescrib\as || attdmen | ipse ven^. I Ldssa\ret vidu\ds \\ penduld | tela mdn\us Flebdm | success\u \\ posse cdr\ere ddl\ds, III. That this last is the proper view to take of the struc- ture of the pentameter seems certain from the fact, that a division of the verse takes place invariably at the end of the fifth half-foot, as well in the Greek as in the Latin wri- ters. IV. Ovid is considered the model of this species of verse among the Romans, and the wonderful smoothness and melody of his compositions are the result of close atten- tion to a number of minute observances, which were alto- gether neglected by the Greeks, and by their imitators, Ca- tullus, TibuUus, and Propertius.* These rules will now be given. Rules for the Structure of Dactylic Pentameters. I. The pentameter must always be so constructed as to have the caesural pause after the penthemimeris, and thus 1. ToiJ dh SaKTvXiKov nevdijfiifiepov^ d/f XafiSavofiivov yivercu rd kleytlov, K. T. X. (Hcphast., p. 92, ed. Gaisf.) Compare the language of the scholiast (p. 186): BiXriov de oUtu fiETpelv kirel kcu eif dvo dt^' prjrai TTevdrjfiiuepv, k. t.X. 2. Ramsay's Lat. Pros., p. 184. — Tate, Remarks on Dactylic PetK- tameters, in the Classical Journal. DACTYLIC MEASURES. 153 be divisible into two equal portions of two feet and a half each. And the pause ought always to be strictly the last syllable in a word, and not fall on any syllable before this.* Hence the following line is faulty : Inter nostras geniilis oherrat equus. 2. It is also deemed a blemish for the caesura to fall af- ter a syllable which has become the last by elision ; as in the following lines from Catullus : Quam veniens una atque || altera rursus hi/ems. Troia virum et virtutum \\ omnium acerba cinis. Nee desistere amare |I omnia si facias* 3. If the first caesural syllable be a monosyllable, which ought not to happen frequently, it must be preceded by a long monosyllable, or by a word of the same time, i. e., a word consisting of two short syllables ; as, Ovid. Et mihi ^j'non vis ll parcere, parce meis. Id. Tu dominus^ tu vir, || tu mihi f rater eras. Id. Nulla tibi sine me 11 gaudia facta neges. Id. Prmterito magis est || iste pudendus amor. An exception to this rule, however, is made when the monosyllable is est, and the word before it suffers elision. Such lines as the following are not uncommon : Ovid. Litteraque invisa est, H hac mea parte tibi. Id. Quo nisi consilio est 11 usa puella tuo. • But such as the following are very rare in Ovid : Sed sic inter nos 11 ut latuisse velint. Quod licet inter vos |1 nomen habete meum. Justaque quamvis est, |1 sit minor ira dei. Qucere suburbana hie 11 sit mihi terra locum. 4. The last word of a dactylic pentameter is, in the great majority of instances, a dissyllable in Ovid. We oc- 1. There is no exception to this, even in Greek, except in a proper name ; as, 'Upa vvv 6e AiooKovpideu yeve^. {Callim., frag, czcii.) 154 DACTYLIC MEASURES. casionally find est in this place, preceded by a dissyllable which suffers elision ; as, Hie est cujus amans hospita capta dolo est. Nee repetor ; cessas, iraque lenta tua est. More rarely two monosyllables ; as, Prcemia si studio eonsequor istOj sat est. But such a line as the following must be considered al- together unworthy of imitation ; Omnis an in magnos culpa deos scelus est.' 5. The trisyllabic ending, although very common in the Greek poets, in Catullus, «fcc, may be said to be altogeth- er excluded from the O vidian pentameter. We find one example only in his earlier works, and five others in the Epistles from Pontus, which, together with the Tristia, were composed while the poet was plunged in the deepest despondency, and bear tokens of less accurate revision than his other productions. Qum tamen externis danda forent generis.* Ne non peecarim, mors quoque non faciet.* Quolibet ut saltern rurefrui liceat."* Aut quod scspe soles, exigis ut recitent.* Vix excusari posse mihi videor.^ Spectarem, qualis purpura te tegeret.' 6. The quadrisyllable ending is likewise very uncommon, except in the Tristia and Epistles from Pontus. We have, however, two or three examples in his other works. Unda simul miserum vitaque deseruit.' Et circumfusis invia fluminibus.' Cantahat mastis tibia funeribus.'" 1. Ooid, Ep. ex Pont., 1, 6, 26. 2. Ovid, Heroid., 14, 62. 3. Id., Ep. ex Pont., 1, 1,66. 4. Id. Ep. ex Pont., I, 8,40. 5. Id. ib., 3, 5, 40. 6. Id. ib., 3, 6, 46. 7. Jd. ib., 4, 9, 26. ST. Heroid., 19, 202. 9. Fasti, 5, 582. 10 1. Ib., 6, 660.— Other examples are given in Ramsay, p. 184. DACTYLIC MEASURES, 155 7. The quinquesyllabic ending is still more rare than the quadrisyllable . Lis est cum forma magna pudicitiae.* Nee sedeo duris torva superciliis.^ 8. As to the kind of words that conclude the line, they ought to possess some emphasis. They are usually nouns, the personal and possessive pronouns, or verbs. Adjec- tives do not often occur in this place, adverbs still more rarely, and less frequently than either, the present participle active. 9. Elisions should be resorted to sparingly, especially in the second half of the verse, where they are by no means harmonious. They may be allowed in the first of the two dactyls ; as, Ultimus est aliqua decipere arte labor. Incipis, incipiet desinere esse mea. But when they fall on the second dactyl, the melody of the line is destroyed ; as, Quis scit an hcBC smvas tigridas insula habet ?^ 10. At the beginning of the verse it is better to have a dactyl followed by a spondee than the reverse. Thus, Vix Priamus tanti totaque Troja fuit. Res est solUciti plena timoris amor. V. Dactylic pentameters are never found in a system by themselves, in the classic writers (unless seven lines in Ausonius can be taken as an exception), but always in com- bination with hexameters. VI. Hexameters and pentameters, placed alternately, constitute what is termed the Elegiac Distich.* 1. Heroid., 16,288. 2. lb., 17, 16. — For other instances, consult Ramsay, p. 184. 3. lb., 10, 86. 4. The Greeks employed this combination of the two measure» in war-songs, hymns, and epigrams or inscriptions ; the Romans in epi- grams, epistles, and amatory poetry. 156 DACTYLIC MEASURES. VII. The name of Elegy ("E/leyof) was first applied to the alternating hexameter and pentameter in the time of the Greek poet Simonides ; whether it was that he himself in- troduced the name, or whether the mournful and plaintive nature of his themes justified this appellation from others.^ VIII. Ovid, in some of his elegiac pieces, employs oc- casionally a species of metrical echo, if we may so term it, the second half of the pentameter being a repetition of the commencement of the preceding hexameter, either pre- cisely the same words being used, or else a slight change being made in them. Thus, Militat omnis amans, et habet sua castra Cupido ; Attice crede mihi. militat omnis amans} Grata juvenca venit, qucs te patriamque domumque Perdat. lo prohibe ! Graia juvenca venit? Invida vestis eras, qucB tarn bona crura tegebas ; Quoque magis species, invida vestis eras.* Ars tua, Tiphy,jacet, si non sit in (Bquore fluctus. Si valeant homines, ars tua Phabe jacet? Auspiciis animisque patris, puer, arma movebis, Et vinces animis auspiciisque patris,^ IX. Martial also, in one of his epigrams (9, 98), has six consecutive distichs, each commencing and ending with the words rumpitur invidia? 1. This combination of hexameters and pentameters is said to have been invented by Callinus, and applied by him to martial themes. It was not called iXeyo^ at first, but hiro^, the latter of which terms was afterward confined to heroic verse, when Simonides brought in the name l^eyo^, and along with it the handling of plaintive themes in this species of measure. 2. Am., 1,9, 1. 3. /fer., 6, 117. 4. Am., 3, 2, 27. 5. Trist, 4, 3, 77. 6. A. A., 1, 191. 7. This species of play upon words gave rise, in later ages, when taste had become thoroughly corrupted, to entire poema. Verses of thi* DACTYLIC MEASURES. 157 • Rumpitur invidia quidam, carissime Juli, Quod me Roma legit, rumpitur invidia. Rumpitur invidia, quod turba semper in omni, Monstramur digito, rumpitur invidia, &c. 12. Dactylic Hexameter. I. The Dactylic or Heroic Hexameter was considered to be the most ancient as well as the most dignified species of verse, and was said to have been invented by Phemonoe, the first priestess of the Delphian Apollo, who, when in- spired by the god, was wont to chant his oracles in this measure.' II. The origin of dactylic versification, however, is to be traced back to the earliest periods of the Greek language, and connects itself with the peculiar mode of intonation that characterized the iEolic tribes.^ kind were called *' Versus Lyrici, Ophites, and Serpentiniy Some of these pieces may be found collected in the Miscell. Obs. Nov. (vol. 5, p, 475, seqq.). WernsdorfF gives in his collection {Poet. Lat. Min., vol. 3, p. 268) a poem of this kind by Pentadius, " De Adventu Fern," the commencement of which is as follows : Sentio fugit hyems, Zephyrisque moventibus orbem Jam tepet Eurus aquis ; sentio fugit hyems. Parturit omnis ager, prcesentit terra calorem, Germinibusque novis parturit omnis ager. Lata vireta tument, foliis sese induit arbor, Vallibus apricis Iceta vireta tument, &c. 1. Schott. ad Procl, p. 18. — Voss., Inst. Poet., 3, 3, 2.— Fabric., Bibl. Gr., vol. 1, p. 154.— PZiw., H. N., 7, 56.—Pausan., 10, 5.— Schol. ad Eurip., Or est., 1093. 2. Gbltling^s Greek Accentuation, ^ 2, seq. — The tendency in the .^olic pronunciation was to throw the accent back on the root, or as near to it as possible, so that the dactylic rhythm, with the arsis on the first syllable of the foot, could easily and naturally arise from this kind of pronunciation. As the ^'Eolic dialect was spoken at Delphi, the na- tive city of Phemonoe, the two accounts just given may easily be recon- ciled. — The most ancient hexameters known are those which Herodotus informs us (5, 59) that he himself saw at Thebes, in the temple of the Ismenian Apollo, inscribed on certain tripods, consecrated by Amphitry- on, and by two other princes of the 13th or 14th century before our era. It is more than probable, however, that the historian was here imposed upon by the priests. {B'dhr ad Herod., I. c. — Wolf, Prolegom. ad Horn., p. Iv.) o 158 DACTYLIC MEASURES. III. The dactylic hexameter was introduced into Latium by the poet Ennius, who first discarded the rude Saturnian measure of his predecessors/ IV. This species of verse is also called the Heroic, from its having been selected by both the Greeks and Romans as the proper medium for heroic or epic themes. It was also employed in didactic and satiric compositions. V. The Dactylic Hexameter consists, as its name im- ports, of six feet, whereof the fifth is usually a dactyl, and the sixth always a spondee, while each of the other four feet may be either a dactyl or a spondee, at the pleasure of the writer ; as, Virg. Sic abe\unt rede\untque me\l vari\antque tim\dres. CatuU. Et qudm\vis te\cum mult\d cdn\jungerer \ usu. Virg. TdUs et \ Ipse ju\bdm cer\vice eff\udlt e\quind. Id. Cdllect\umque frem\ens volv^t sub \ ndribus | ignem, VI. Sometimes, however, in a solemn, majestic, or mourn- ful description, or in expressing astonishment, consternation, vastness of size, &lc., a spondee is admitted. in the fifth foot, and the line is thence termed Spondaic ; as, Virg. Cara deum soboles, magnum Jovis \ lncre\mentum. Id. Constitit,atque ociilis Phrygia agmina \ ctrcum\spexit. Cat. ^quorecB monstrum Nereides \ ddmir\antes. Man. Scorpius ingentem perterruit \ Ori\ona. VII. In spondaic lines the fourth foot is usually a dac- tyl ; not uniformly, however. Thus, Virg. Saxa per et scopulos et \ depress\ds cdn\valles. Id. Aut leves ocreas lent\d du\ctint dr\gento. VIII. The older poets do not scruple to use lines con- taining spondees alone ; as, Enn. OlU I respdnd\et rex \ Alba!^ ldng\du I. Lucret., I, 118, segq.—Sil. Ital., 12, 410, seq. ^Column., Ennii Vit., p. 6. — For an account of the Saturnian, vid. page 199. DACTYLIC MEASURES. 159 Enn. CHves | Rdmd\m tunc \ factl \ sunt Cdm\pani. Lucret. An coel\um nd\bis nd\tura ult\rd cdr\ruptum. Catull. Quls te \ leni\rem nd\his, neu | cdndr\ere. IX. Spondaic lines are much more common in the Greek than in the best Latin poets. There are, for instance, some twenty-eight of this description in Virgil, while in a single piece of Catullus*' (containing 409 lines), who formed his verses upon the Greek model, we find a greater number.'^ C(Bsura in Dactylic Hexameters. X. The beauty and harmony of hexameter verse depend in a very great degree upon the proper management of the caesura. In its application to single feet, the caesura has already been explained ; it only remains to consider it with reference to whole verses, in which acceptation it may be more correctly termed the CcBsural Pause. XI. The caesural pause most approved of in heroic po- etry, and which, above all others, tended to give smooth- ness and rhythm to the line, was that which took place after the penthemimeris. This was particularly distin- guished as The Heroic Caesural Pause. Thus, Virg. At domus \ interi\orf \\ regali splendida luxu. Id. Julius I a magn\o 11 demissum nomen liilo. XII. Sometimes the penthemimeral pause is found com- bined with others ; as, Virg. Ad nos vix tenuis \\ famai^, " a Atfarf." IAMBIC MEASURES. 167 3. Iambic Dimeter Hvpeecatalectic. I. This measure, likewise called Archilochian, and form- ing the third line in the Alcaic stanza, is an iambic dimeter with an additional syllable at the end. II. According to the usage of Horace, the first foot may be either a spondee or an iambus, but is generally a spon- dee ; the second foot is an iambus ; the third is invariably a spondee,^ and the fourth an iambus. The Horatian scale, therefore, is as follows : 12 3 4 Horat. Sylvas | lahor^antes \ gelu^que. Id. Deprd\mG quddr\\imum | Sdbin\\d. Id. Puer I quis ex || aula j cdplll\\is. III. The practice of Horace differs from that of Alcaeus as regards the third place, the latter having uniformly an iambus in this part of the line. IV. This measure is called by some the Alcaic Ennea- syllabic} 4. Iambic Dimeter Acatalectic. I. This measure consists of four feet or two metres. II. Properly speaking, all the feet are iambi. It admits, however, the variations that are usual in iambic verse, and its scale is as follows : 1. The line of Horace, which occurs Od., 2, 19, 15, " Disjecta non Icvi ruina," has been corrected by Bentley, from MSS., as follows : " Disjecta non lent ruina." 2. Consult remarks on the Alcaic measure. 168 IAMBIC MEASURES. Horat. tndrs\it etst\\uds\ius. |] Id. Vel fued\us e\\reptus | lupo. \\ Id. Imbres \ nivesWque cdm\pardt. || Id. dst ego I vtctss\\im ris\ero. \\ Id. Vtder\e properWdntes \ domum. \\ Prudent. Jam mell\d de \\ scopulis \ fiuunt. Hadr. dmmu\ld vdgu^ld bldnd\uld, \\ Hdspes I comesWque cdrp\dris, \\ QucR nunc \ dhV\his In | locd^ || PdlUdu\ld rigiMuld nu\duld 1 || Nee ut I soles || ddhis \ jocos. \\ III. Although Horace has not used this metre except in conjunction with verses of a different kind, other authors wrote entire poems in it, as Prudentius, St. Ambrose, Pope Damasus, Sedulius, &;c. IV. The Liturgy of the Church of Rome has several hymns in this metre. The following lines form the com- mencement of one of them, and will also furnish an instance of rhyming or Leonine versification. Salutis humancB sator^ Jesu voluptas cordium, Orbis redempti conditor Et casta lux amantium : Qua victus es dementia Ut nostra ferres crimina ? &c. 5. Iambic Trimeter Catalectic. I. This measure is the iambic trimeter, wanting the last syllable. In other words, it consists of five feet, properly all iambi, followed by a catalectic syllable ; as, Horat. Vocd\tus dt\que non | vocd\\tus aud\U. Prudent. Plus \fidc\\tis tn\ndcens \\ pudi\cus, II. Like the trimeter, however, it admits the spondee ^ IAMBIC MEASURES. 169 into the first and third places, but not into the fifth, which would render the verse too heavy and prosaic. Horat. Trdhunt\que sic\\cds ma\chincs || cari\nds. Prudent. Ndnnull\d querc\u sunt \ cdva\[ta et ulm\d. III. Terentianus prefers scanning this kind of verse as part of an iambic trimeter, with three trochees following. Thus, TTdhunt\que slc\cds H mdchi\ncR carinas. 6. Iambic Trimeter Acatalectic. I. This measure consists of three metres, or six feet, originally all iambi, and when a line of this kind still oc- curs, it is called a pure iambic line. II. The other feet that were subsequently allowed to en- ter, and the places proper to each, have been considered elsewhere.* III. When other feet besides the iambus enter into the line, it is called a mixed iambic. IV. Another name for this measure is the Senarius, from the six feet of which the line is composed. V. The caesural pause most commonly falls after the fifth semifoot ; as, Phdse\lus ill\e || quern \ vide\ti8 hosp^tes. VI. The scale of the mixed iambic trimeter is as follows : 1 2 3 4 5 6 w _ -- ^ - w_ w_ WW- ::: Pure Iambics. Horat. Comes \ mindr\\e sum | futur^us in \ metu. \\ Catull. Es im\pudi'^cus et \ vordx || et dl\ed. \\ 1. Consult introductory remarks on iambic verse, paragraphs III., IV , v., VI. 170 IAMBIC MEASURES. Spondee in 1 and 3. Catull. Per cdns\ula\\tum pe\jerat ll Vdtin'^us. 1| Spondee in 1, 3, 6. Horat. tynxe\re md\tres 1\U], occurs twice CHORIAMBIC MEASURES. 185 Laurea donandus || Apollinari. Pinus aut impvlsa 1| cupressus Euro. VI. In one instance, Horace lengthens a short syllable in the caesura ; as, Angulus ridet || uhi non Hymetlo, (^Od., 2, 6, 14.) VII. Catullus, following the Greeks, neglects this caesu- ra altogether ; as, Seu Sacas sagittiferosque Parthos. (11, 6.) Ultimi Jlos prcBtereunte postquam, (11, 22.) Sapphic Stanza, I. This stanza, so called from the two celebrated frag- ments of the gifted Sappho that have reached our times, consists of three Sapphic lines, such as have just been de- scribed, followed by an Adonic, or Dactylic Dimeter AcaU alectic. II. Taking Horace for our model, the scale of the Latin Sapphic stanza will be as follows : Jam satis terris \\ nivis atque dircB Grandinis misit || pater, et rvhcnte Dextera sacras || jaculatus arces Terruit urhem. III. There is one feature prominently conspicuous in the Sapphic stanza, namely, a close connexion between the third and fourth lines, and hence Horace four times divides a word between them : only in the first three books, namely, Oi., 1, 10. 6, and 18, while in the fourth book it is found four times in odo second, once in ode sixth, and seven times in the Cur men SiDculare. '{Ramsay^s Lot. Pros., p. 195.) Q2 186 CHORIAMBIC MEASURES. Labitur ripa, Jove non prohante^ ux- -orius amnis. (1, 2, 19.) Thracio bacchante magis sub inter- 'lunia vento. (1,25,11.) Grosphe non gemmis neque purpura ve- -nale nee auro. (2, 16, 7.) Pendulum zona bene te secuta e- -lidere collum. (3, 27, 59.) IV. We have a similar instance in Catullus (11, 11) : Gallicum Rhenum horribilisque ultim- -osque Britannos. V. This division of a word is confined, it will be remem- bered, to the third and fourth verse; no example being found of such a division at the end of the first, second, or fourth. Hence it has been conjectured, and the supposi- tion is a very probable one, that neither Sappho, nor Catul- lus, nor Horace ever intended the stanza to consist of four separate verses, but wrote it as three, namely, two five foot Sapphics, and one of seven feet (the fifth foot of the long verse being indiscriminately either a spondee or trochee) ; thus :^ Jam satis terris nivis atque dira Grandinis misit pater, et rubente Dextera sacras jaculatus arces, terruit urbem. IlicR dum se nimium querenti Jactat ultorem, vagus et sinistra Labitur ripa, Jove non probante, uxorius amnis. Otium bello furiosa Thrace, Otium Medi pharetra decori, Grosphe, non gemmis, neque purpura venale nee auro. VI. Elision sometimes takes place between the second 1. Monthly Review, January, 1798, p. 46. CHORIAMBIC MEASURES. 187 and tliird, and the third and fourth lines. Thus, in Hor- ace, 2. Dissidens plebi numero beator(um) 3. Eximit virtus, &c. (2, 2, 18.) ! ( 2. Mugiunt vaccoiy tibi tollit hinnit(vira) \ 3. Apta quadrigis equa, &c. (2, 16, 34.) r 2. Plorat, et vires animumque mores^qvLG) < 3. Aureos educit in astra, nig-ro(que) f 4. Invidet Oreo. (4, 2, 22.) !3. RomultB genti date remque prol€m(c^e) 4. Et decus omne. (C, S., 47.) VII. Elisions of this kind, however, are not necessary in their nature. Thus we find an hiatus between the third and fourth lines in the following, from Horace ; Neve te nostris vitiis iniquum Odor aura, (1,2, 47.) Between the first and second, from the same : Sive mutata juvenem figura ^ Ales in terris, &c. (1, 2, 41.) And between the second and third : Aut super Pindo gelidove in Haemo Unde vocalem temere insecutcB Orphea sylvcB. (1, 12, 6.) 2. Epichoriambic Tetrameter Catalectic, or Greater Sapphic. I. This measure consists of a second epitrit, two chor- iambi, and a bacchius ; as follows : Horat. 7^ deos dr\o Sybdrm\\cur properds \ dmdndo. 18S IONIC VERSES. II. It is, in fact, the ordinary Sapphic, with the addition of a choriambus in the third place. III. The first syllable of the first choriambus ought to be caesural, and there ought to be a division of the verse after the first choriambus.^ SECTION XXXV. IONIC VERSES. Ionic verses are of two kinds, the Ionic a majore and Ionic a minore, which are so denominated from the feet or measures of which they are respectively composed. 1. Ionic a Majore Verses. Of these the most celebrated is the Ionic a Majore Tetrameter Brachycatalectic. I. This measure is otherwise called the Sotadean, from Sotddes, a Thracian, who lampooned Ptolemy Philadelphus. II. In its pure state it consists of three Ionic a majore feet, followed by a spondee, according to the following scheme : * Tuid mans \ Iras vtdet \ e Itttore \ naula. III. Several of these Sotadean verses are to be found in the remains of the Greek poets, and have been carefully analyzed by Hermann. In Latin, a short fragment of En- nius, and a few irregular lines in Martial and Petronius Arbiter, are the only specimens of the measure, except such as are met with in Plautus. (AuL, 2, I, 30 ; 3, 2.) IV. The Ionics a majore of Martial, and these are but two lines, have the proper foot in the first two places, and a ditrochaeus in the third, followed by a spondee. Has cum gemtn\d compede \ dcdhdt cdt\ends Sdlurne tib\l Zbilus \ dnnulos pri\dres.^ 1. Hermann, D. M. E., 3, \6.— Ramsay's Lot. Pros., p. 199. 2. Ep., 3, 30. IONIC VERSES. 189 V. This change of the third measure to a ditrochaeus seems to have been a favourite with the writers in this species of verse, as tending to give greater softness and harmony to the otherwise stiff and monotonous line. VI. By a farther variation, either of the long syllables in each of the three Ionic measures might be resolved into two short, which resolution was regarded as an improve- ment ;' but it does not appear that both the long syllables were ever thus resolved at the same time. Petron. Pede tendite, | cursum addite, convolute planta. Ciecilius er|i^ consimilis pedis Jigura} Solet integer \ anapaestus et | in fine locari. Hunc effici\et Minucius | ut quis vocitetur. Catalexis enim dicitur \ ea claiisula | versus. Petron. Ferrum timuif quod trepi\dd male dabat | usutn. 2. Ionic a Minore Verses. I. The Ionic a minore verse is entirely composed of that foot or measure called the Ionic a minore. II. We have one specimen of this kind of verse in Hor- ace (^Od., 3, 12), which is differently arranged by different editors, but is usually considered as a system of Tetrame- ters Acatalectic. III. Ionic a minore verses, in fact, are not confined to any particular number of feet or measures, but may, like anapaestics, be extended to any length, provided only, that, with due attention to synapheia, the final syllable in each measure be either naturally long, or be made long by the concourse of consonants ; and also that each sentence or period terminate with a complete measure, having the spondee or two long syllables of the Ionic foot for its close. 1. " Nam, quo fuerint crebrius hi pedes minuti, Vibrare sonum versiculos magis videmus.^^ {Terent. Maur.,y. 2054, seq.) 2. This line, together with the three that follow, are taken from Te- rentianus. 190 LOGAOSDIC VERSES. IV. The specimen from Horace above alluded to is as follows : Miserarum est \ neque dmori \ dare ludum, \ neque dulci Mala Vino \ lavere ; out ex\animari | metuentes Pdtruce verb\erd llngum. | Tibi qualiXm \ Cytherece Puer dies, \ tibi telds, \ operds'^\que Mhiervoi Studium aufertf | Neobule, | Lipdrei | rittdr Hebri, &c. SECTION XXXVI. LOGACEDIC VERSES. I. Logaadic verses are those which are formed by add- ing any number of trochees to any dactylic verse. II. They receive their name from ?i6yog, ^- discourse,^* and doidrj, ^'song" because dactylic verse is the lofty language of poetry, whereas the trochaic approaches more nearly to ordinary discourse.' III. Of logaoedic verses the most important are the fol- lowing : 1. Archilochian Heptameter. I. This measure is composed of a Dactylic Tetrameter a priorei followed by a pure Trochaic Dimeter Brachycata- lectic. II. The first three feet may be either dactyls or spon- dees ; the fourth is always a dactyl ; the last three are tro- chees. Thus, 1 2 3 4 j 5 6 7 _ S-. w _ ^ w — "^ — w Horat. Solvitur \ dcris hy\ems grd\td vice || veris | et Fdv\dn%. III. The first syllable of the third foot ought to be caesu- ral, and the fourth foot ought to end with a word. 1. The iambus is the true foot for discourse, and the trochee for dan- cing. Thus Aristotle roniarks, /mAzara "keKTLKov rdv fiirpuv to lau- 6elov koTi. {A. P., 4.) LOGACEDIC VERSES. 191 IV. Horace uses this species of verse once in Od., 1, 4, where it is placed alternately with an Iambic Trimeter Catalectic. 2. Alcaic Decasyllabic, or Minor Alcaic. I. This measure consists of a pure Dactylic Dimeter Acatalectic, followed by a pure Trochaic Manometer Acat- alec tic ; as, Flumma \ cdnstiter\mt ac\utd. II. This forms the fourth line of the celebrated Alcaic or Horatian stanza, which we are presently to consider. 3. PHALiECIAN HeNDECASYLLABIC. I. This measure, termed Phalaecian from the poet Pha- laecus, and Hendecasyllabic because consisting of eleven syl- lables (evdeKa avXXa6al), is composed of five feet, a spon- dee, a dactyl, and three trochees ; as, Mart. Non est \ tnvere \ sed val\ere \ vita. CatuU. Qudi ddn\d lepid\um ndv\um Ub\ellum. II. In other words, it consists of a Dactylic Dimeter Acatalectic^ followed by a Trochaic Dimeter Brachycatalectic. III. Catullus, with whom this is a favourite measure, uses a trochee not unfrequently in the first place, and some- times air iambus ; as, Aridja modo pumice expolitum. (1, 2.) T5ta 1 millia me decern poposcit. (41, 2.) Ami|co5 medicosque convocate. (41, 6.) Meas I esse aliquid putare nugas. (1, 4.) IV. This liberty, however, w^as rarely taken by the po- ets subsequent to Catullus.^ V. Catullus has in some instances marred the elegance 1. In Statius, for instance, not a single example of the kind occurs in upward of 450 lines ; in Prudentius, not one in above 260 ; not one in Ausonius, who has more than 2000 verses in this measure ; while Sido- nius ApoUinaris, in upward of 1200 Phalaecians, has not aho\e two that can bo proved, and these are proper names. {Carey^s Lot. Pros., p. 282.) 193 COMPOUND MEASURES. and harmony of this measure, by introducing a heavy spon- dee into the second place ;' as, Te camp\d c^^B\ivimus minore. (55, 3.) Et mult\is \kx\g\uoribus peresus. (55, 31.) VI. The same poet, in one line of a very irregular piece, has a tribrach in the first place, a license, however, which appears authorized by the difficulty of otherwise employing a proper name. CdLmQxi\um mihi pessimcs puellcR. (55,10.) VII. The name Hendecasyllahic does not exclusively be- long to Phalaecian verse, since there are other measures to which it is equally applicable. For instance, the Sapphic and a variety of the Alcaic not only contain the like num- ber of syllables, but also in like proportion of long to short, so that the same words sometimes may, in different posi- tions, become either a Phalaecian, a Sapphic, or an Alcaic. Thus, (Phal.) Summum \ nee metu\as di\em nee \ bptes. (Sapph.) Nee di\em summ\um metu\as nee \ optes. (Ale.) Summum \ nee dpt\es || nee metu\as diem. SECTION XXXVII. COMPOUND MEASURES. 1. DACTrLICO-lAMBIC. I. This measure occurs in the eleventh epode of Horace, being used there alternately with the Iambic Senarius, and consists of a Daetylie Trimeter Cataleeticy followed by an Iambic Dimeter Acatalectic ; as, Scribere \ versicu\lds || amdr\e per\\ciissum | grdvi. \\ II. This measure properly falls under the head of Asy- nartet^ verses, that is, the component parts are not subject 1 . This is made by some a separate measure, and called Pseudo-Pka- lacian. 2. From d, privative, and owapTou, " to join together ;" hence uaw- dprrjTo^, " not closely joined together.'' COMPOUND MEASURES. 193 to the ordinary laws of prosody and versification, since the last syllable of the first member of the verse may be ei^er long or short, just as if it were the final syllable of a separ- ate line ; and, moreover, an hiatus may take place between the two members of the measure. Thus, Jnachia furere, || silvis honorem decuiit. Arguit et latere il petitus imo spiritus. Libera consilia || nee contumeluB graves. Fervidiore mero || arcana promdrat loco. Vincere moUitia Q amor Lycisci me tenet. These lines all occur in the eleventh epode of Horace. In the first, second, and third, the short final syllables in fu' rere, latere, and consilia are considered long, by virtue of their position at the end of the dactylic trimeter catalectic ; while in the fourth and fifth there is an hiatus between the two members of the verse [mero arcana and moUitia amor). 2. Iambico-Dactylic, or Elegiambic. I. This measure is directly the reverse of the preceding, that is, it consists of an Iambic Dimeter, followed by a Dactylic Trimeter Catalectic. Thus, Horat. Ta vi\na Tdrq\\uatd \ move || consule | pressa me[d. Id. Redii\cet in \\ sedem \ vice. \ Nine et A\chchnem\o. Id. Levar\e Jtr||w pect\dra |{ sdlUci\titdini\bus. Id. Findunt | Scamdnd^juri fliim\ina || liibriciis | et Sim6\is. n. This measure, like the preceding one, belongs prop- erly to the class of Asynartete verses ; and hence, in the second, third, and fourth lines just cited, the short final syl- lables in vice, pectora, and flumind are considered long, by virtue of their position at the end of the iambic dimeter. III. There are in all nine lines belonging to this species "of verse in Horace. It is not used in a system by itself, but is placed alternately with the heroic hexameter in Epode 13. R 194 COMPOUND MEASURES. 3. Alcaic Hendecasyllabic, or Greater Alcaic. I. This measure is compounded of an Iambic Monome- ter Hypercatalectic and a pure Dactylic Dimeter Acatalectic ; as, Horat. Vides | ut dU\a \\ stet ntve | cdndidum. Claud. Venus [ rm)ers\um \\ sperndt A\ddnidem. II. But the first foot of the iambic portion is, of course, alterable to a spondee ; as, Horat. O md\tre pul\ckrd \\ fiUd | pulchnor. Claud. Victum \ fdt^\tur \ Delos A\pdlUnem, III. Horace much more frequently has a spondee than an iambus in the first place, and Prudentius always a spon- dee. IV. The Alcaic is sometimes scanned with a choriambus and an iambus in the latter colon or member ; as, Vides I ut dlt\d H stet ntve cdnd\tdum. Venus I rcvers\um \\ sperndt Add\mdem. V. Although Horace, who has made greater use of this measure in his lyric compositions than any other, never employed it except in conjunction with two other species of verse (see Alcaic Stanza^ below), other writers have composed entire poems in it alone, as Prudentius, who has a long piece entirely consisting of unmixed Alcaics (Peris» tepL, 14), and Claudian a shorter production (In Nupt, Hon. Aug. et Mar.). VI. Claudian's piece begins as follows : Princeps corusco sidere pulchrior, Parthis sagittis tendere certior, Eques Gelonis imperiosior, QucB digna mentis laus erit arducB ? Qu-' — -^), if repeat- ed, were with reason displeasing to the ancients, on account of their too great weakness. Wherefore, to give them strength, they changed the trochee into a spondee, and thus produced the bacchius (^ ). IV. The Roman tragedians and comedians made great use of bacchiac verses, joining also, for the most part, many of them together. 1. Rud., 1, ,5, 15. 2. Ibid., 1, 5, 19. 3. Vid. page 192. 4. Herm., Elem. Doctr. Metr., 2, 22. R2 198 MISCELLANEOUS MEASURES. V. The legitimate measure of a bacchius in the middle of verses is this, ^ ; but in the end of verses this, The freer prosody of the Latins, however, tolerates both a long anacrusis and a dissyllabic one. And a dissyllabic one was usually admitted by Plautus in the first and third foot of tetrameters, that is, in the beginning of each mem- ber, which is commonly composed of two feet ; sometimes in the second and fourth foot also. Thus, in the Aulula. ria (2, 1, 4, seq.) : Quamquam hand fdls\a sum nos \ odiosas | haberi. Nam multum ( loquaces | mento omnes j hahemur. In the Men(Bckm. (5, 6, 6) : Mento hoc nd\b%sfit qui | quidem hue ven\enmus. In the Amphitryon (2, 1, 15) : Tun^ me verh\ero dudes | herum lu\diftcdn. VI. Tetrameters having a caesura at the end of the sec- ond foot are a kind very much in use. That caesura, how- ever, is often neglected. Plautus, who delighted very much in this measure, sometimes inserted a dimeter in the midst of tetrameters. Sometimes he even coupled two verses by means of an elision ; as in the Amphitryon (2, 2) : Sdtm pdrv\d res est \ vdluptd\tum in vita a^|(que) In 0Btd\te agundd, \ prm qudm quod \ molestum est. VII. These tetrameters sometimes appear to have clau- Bulae of an iambic dimeter catalectic ; as in Terence, An- drian. (3, 2, 4) : Quodjussi ei\ddri biber\e et quantum im\perdvt || date mox \ ego hue I revert\dr. VIII. Bacchiac verses sometimes appear to be continued an systems, so that a doubtful syllable has no place in the end of the verses, and words may be divided between two MISCELLANEOUS MfiASURES. 199 verses. Thus, we have the following from Varro (nepl ^E^ayoyyTj^, ap. Non.^ p. 336) : Quemndm te ess\e dicdm \ ferd qui \ mdnu cdr-\ pons ferv\tdds fdnt\tum dpens \ Idcus sdn-\ guinls, te\que vita \ levds ferr\eo ensa. | IX. Catalectic bacchiacs, having the last foot an iambus, are remarkable i». Plautus. Thus, we have the following dimeters in the Persa (2, 28, 30) : Perge, ut cce\perds, Hoc, lend \ tihl Delude, ut \ lubet, Herus dum hinc j dbest. Vtdesne, ut | tuts Dtctis pdr\eo ? 3. Saturnian Verse. I. The Saturnian verse, which some rank among the asyn- artete measures, appears to have been the only one used by the most ancient Roman poets. II. In it both inscriptions and poems were written. Liv- ius Andronicus translated the Odyssey into this measure, and in it Naevius wrote his poem on the First Punic War. III. The Saturnian has the following scheme : 1 2 3 4 5 6 7 ^ — v^ — w — — — w — ^ — ^ Ddhunt I malum \ MeteU\l \\ N(Bvi\d po\et^, IV. But the rude poets of this early age both disregard- ed the caesura often, and used every kind of resolution, re- solving even the doubtful syllable in the end of the first member. After the manner of ancient language, too, they allowed spondees in all the places. Nay, the most ancient of the poets seem to have thought it sufficient if their verses only bore some sort of resemblance to these numbers. The 200 UNION OF DIFFERENT KINDS OF VERSE. verses of the inscription composed by Naevius on himself, and preserved by Aulus Gellius (1, 24), are tolerable enough : Mdrtd\Us tm\mdrtd\lis ^fiere \ sifdr\etfds, Flerent \ divS | Cdm'cB\na>. \\ NcRvi\um pd\etdm. Itdque I postquam est \ Orci\nd || trddi\tus thes\aurdf ObU\ti sunt I RomcR \ loquV\er Ldt\im \ lingua. V. The last of the Romans who used this measure ap- pears to have been Varro in his Satires/ SECTION XXXIX. ON THE UNION OF DIFFERENT KINDS OF VERSE.2 I. A poem receives the name of Monocolon, Dicolon, Tri' colon, &DC., according to the number of different species of verse which it contains. II. When a poem contains one species of verse only, it is called Monocolon (from [lovog, " alone" " single,''^ and KCdXov, " a limb,'^ or " member''^). The Eclogues, Georgics, and Mxie'idi of Virgil, the Satires and Epistles of Horace, the Metamorphoses of Ovid, are all examples of Carmina Monocola, since they consist of hexameters alone. So also the first ode of the first book of the Odes of Horace is a Carmen Monocolon, since it is a system of choriambic As- clepiadics, unbroken by any other species of verse ; and so on. III. When a poem contains two species of verse, it is called Dicolon. The Fasti and Epistles of Ovid, the Ele- gies of TibuUus and Propertius, which are composed of dactylic hexameters and dactylic pentameters, placed alter- nately, are Carmina Dicola. So also those odes which are written in the Sapphic stanza : the third of the first book of Horace, which contains two different species of .chor- iambic verse, and numerous others. 1. Herm., Doctr. Elem. Metr., 3, 9. 2. Ramsay's Lat. Pros., p. 230, seq. UNION OF DIFFERENT KINDS OF VERSE. 201 IV. When a poem contains three different species of verse, it is called Tricolon. Of this we have an example in the Alcaic stanza of Horace, which is composed of three different kinds of verse. V. Another series of terms has been devised in order to point out the intervals after which the first species of verse used in any poem regularly recurs. VI. When the first species of verse regularly recurs after the second line, the poem receives the epithet of Distrophon. VII. Thus, poems composed in elegiac verse are called Carmina Dicola Distropha. But a poem in the Sapphic stanza, although Dicolon, is not Distrophon, because the first species does not recur regularly until after the fourth line. VIII. When the first species of verse recurs after the third line, the poem receives the epithet Tristrophon ; after the fourth line, Tetrastrophon ; and after the fifth line, Pen- tastrophon. IX. According to this system, a poem written in the Sapphic stanza is termed Carmen Dicolon Tetrastrophon; in the Alcaic stanza, Carmen Tricolon Tetrastrophon ; while the Epitlialamium of Julia and Manlius, in Catullus, is Di- colon Pentastrophon. -X. This species of nomenclature, however, is by no means perfect, as it does not point out the circumstances under which the first species of verse is repeated . Thus, in the Alcaic stanza, the first two lines ^re in the same species of verse, the third and fourth are different from this and from each other ; the grammarians, however, call a poem in this stanza Tricolon Tetrastrophon. But if a stanza of four lines is arranged in such a manner that the first line is one species of verse, the second and the third different from the first, but the same with each other, and the fourth different from any of the preceding ; or if the first and second are different from each other, the third and fourth different from 202 LATIN ACCENTUATION. the two preceding, but the same with each other, then, in either of these cases, the poem must be called Tricolon Tetrastrophon. So a poem in the Sapphic stanza is called Dicolon Tetrastrophon ; but if a stanza were composed con- taining one Sapphic line followed by three Adonics, the poem would still bear the same appellation. SECTION XL. LATIN ACCENTUATION.' In every word of more than one syllable, one is distin- guished by a peculiar stress or elevation of the voice, which is called accent^ of which those that precede or follow are destitute. The syllable so distinguished is said to have the acute accent, which is sometimes marked thus (') ; the grave (^), which is seldom marked, is supposed to be placed over those syllables which are pronounced without that stress of the voice before spoken of. The circumflex, (*) or (~), is supposed to be formed by a combination of the acute and the grave, and hence is usually placed over contracted syllables. In modern languages, the accent, when it falls upon a short syllable, has, in most cases, the same effect as if it were long ; but in Latin and Greek, accent and quantity were distinguished from each other ; and, by care and prac- tice, this may be done in reading those languages. Words of two syllables have in Latin the accent on the first : if this is naturally long, as in Roma, mater, there is no difficulty ; if short, as homo, pater, we must endeavour to give the first syllable that percussion of the voice which constitutes the accent, without lengthening the vowel, or yet doubling the following consonant. The accent never falls on the last syllable of Latin words, except when words of the same letters, but different senses, are to be distinguished by it : e. g., pon^, behind ; ergd, on 1. Zumpfs Latin Grammar, Kcnrick's edition, p. 469, aeqq. LATIN ACCENTUATION. 203 account of; to distinguish them from p6ne (imper. of pono), and ^rgo, therefore. Words of three syllables or more have the accent on the last syllable but one (penultima) when it is long, and on the last but two (antepenultima) when the penult is short ; as, amdsse, audisse^ imperdtor, homines, Constantinopolis. No accent is in Latin thrown farther back than the antepenult- ima. Some words, from their close connexion with those which precede them, are pronounced as if they were the last syl- lables of those words ; e. g., prepositions when they are placed after their cases, and ne, que, ve. They are called enclitics; and the last syllable of the word to which they are appended always has the acute accent ; as, pectoribus- que. As the system of accents in Latin is so simple, no ac- centual marks are used except the circumflex, which is placed over some contracted syllables, and over the abla- tives of the first declension [musd, poetd), to distinguish them from the nominative. The Latins themselves do not place the circumflex over the genitive ; and it is doubtful if this form arose from contraction. % 4tL APPENDIX. RELATIVE VALUE OF THE LATIN POETS AS METRICAL AUTHORITIES.! I. We will first give a list of the Latin poets, with the dates of their birth and death, where these particulars can be ascertained, and then a statement of their relative value as authorities in matters of a metrical nature. Livius Andronicus . B.C. NiEVIUS Ennius 239 . Plautus 227 . C^CILIUS Pacuvius ...... 219 . Terentius 194 . Attius 170 . LuciLius 149 . Afranius Lucretius 96 . Catullus ...... 87 . ViRGILIUS 70 . HORATIUS 65 . TiBULLUS 59 (?) Propertius 54 (?) Ovmius 43 . Cornelius Gallics. Pedo Albinovanus. Puhlius Syrus. Marcus Manilius. Gratius Faliscus. Aulus Sabinus. CcBsar Germanicus^ Flourished Died. . 240 . . 220 . 235 . . 204 . . 169 . . 184 . 179 . 168 . 130 (?) . 160 . 139 ilive 103) . 121 . . 103 . 100 . • . . 62 . 46 . 19 ' 8 . 20 . 14 A.D. 17 I, Ramsay^ s Lat. Pros., p. vii., seqq. S 206 APPENDIX. Ph^drus .... SiLius Italicus . . Persius .... LUCANUS . . . . juvenalis . . . . Martialis . . . . Petronius Arbiter . Valerius Flaccus . Statius .... sulpitia .... A.D. 25 34 38 40 40 61 Avianus Dionysius Cato .... Serenus Sammonicus . . Commodianus .... Nemesianus Calpurnius Porphyrins Juvencus AusoNius 309 Falconia Prudentius 348 Claudianus 365 (1) Numatianus Paulinus 353 Prosper Aquitanus . . . Sedulius . . . . . . Mamercus Sidonius Apollinaris . . . 438 (?) Draconiius Martianus Capella . . . Avitus Boethius 470 (1) Verrantius Fortunatus . . 530 Flouruhed 48 61 69 88 160 160 265 280 284 326 337 394 392 400 416 450 456 474 490 Died. 100 63 65 120 101 96 212 394 431 463 474 484 524 (1) II. In the above list, some who precede Lucreuos must be thrown out of consideration altogether. We can attach no importance, in controverted points, to these early bards, of whom nothing has descended to us except short and mutila- ted fragments. It is well known that these scraps are all APPENDIX. 207 collected, at second hand, from the old grammarians and others, who cited them for the purpose of proving or illus- trating particular points, which seldom have any reference to quantity. The quotations, it would seem, were frequently made from memory, and therefore subject to every kind of change and corruption in the first instance, in addition to the subsequent mutilations which they suffered in transcription, arising from the strange and uncouth dialect in which many of them were expressed. III. The comic dramatists, Plautus and Terence, must also, in strictness, be excluded. We are still comparatively igno- rant of the laws by which their verse is regulated, notwith- standing the labours of such men as Erasmus, Scaliger, Fa- ber. Hare, Bentley, Hermann, and a host of others. IV. Lucretius and Catullus, although inferior in genius to none of their successors, scarcely occupy the first rank in the estimation of the prosodian, because they may be said to exhibit the language in its transition state, at a period when much of the ancient roughness was removed, but when it had not yet received the last brilliant polish. V. Virgil, Horace, TibuUus, Propertius, and Ovid are our great standards ; yet even among these slight differences may be perceived. The first two never admit the double i in the genitive of nouns of the second declension in turn and ius, which is common in Ovid ; and the shortening of final o in verbs, which was afterward extended to nouns and adverbs, first begins to appear in the immediate successors of Virgil. VI. Of the above, Propertius is the least valuable, on ac- count of the small number and imperfections of the MSS., which have, in many passages, baffled the acuteness of the most practised editors. Vn. Next follows a group of seven, all of Uttle moment. After these we come to Phaedrus, whose fables are now gen- erally received as authentic ; but the text is derived from one or two indifferent MSS., and is, consequently, in many places confused and unsatisfactory. VIII. With regard to those who come after, up to the end of the first century, it may be laid down as a rule, that their authority is admissible in points where we can obtain no information from purer sources, but must never be placed 208 APPENDIX. in competition with that of the great masters who went before. IX. All the successors of Statins must be regarded as of little value for matters of prosody, except Calpumius, Auso- nius, and Claudian, the latter of whom is not more remark- able for the purity of his diction than for the false gUtter of his style. INDEX. A. final 66-68 A " in numerals n. 3 on 68 A ending \st member of cam- pound words 43 A in sing-, increment of 1st declension 49 A in sing, increment of Sd de- clension 50 A in plural increment of nouns 59 A in increment of verbs . . 61 A the preposition in composi- tion 40 A in Greek compounds n. on 43 A vocative of Greek nouns in es and e ... n. 2 on 68 Ab, the preposition in compo- sition 41 Abicit, abici 126 Abiegni as ab-yegni . . . 120 Abiete a* ab-yete . . . ,119 Abscidi and abscidi ... 33 Academla . . . n, 2 on 22 Acatalectic verses .... 144 Accent, Latin 202 Acephalous verses .... 145 Achille .... n. 1 on 69 Ad, preposition in composition 41 Adicit (adjicit), adici, 4-c. . 126 Adjectives ending in -acus, -icus, (IJ-c, quantity of pe- nult of 99 Adonic verse 146 Ador n. 1 on 57 Aeta n. on 25 ^gaeon 57 Molic dialect, pronunciation of n. 2 on 157 Molic pentameter . . , .151 Afranius, metrical authority of 206 Agnitum . . . . . . 37, 40 Agri-cultura 45 Ai in genitive of \st declension explained . . . . n. on 17 Ai, quantity of 19 S2 Page Aid (trisyllabic and dissylla- bic) 19 Aio explained . . n. 2 on 19 Al, nouns ending in, incre- ment of 51 and n. Alcaic verse (the greater) . .194 " " (minor) . . .191 " enneasyllabic . . .167 " decasyllabic .... 191 " hendecasyllabic . . . 194 " stanza .... 194-5 Alcmanian tetrameter . . . 140 Alexandrea 21 Alius 18 Alterius .... n. 1 on 18 Ambe 23 Ambitus and ambitus 25, 35, n. on 40 An, Greek accus. from nom. a n. 2 on 85, 87 An, Greek accus. from nom. as 85 Anapast 162 Anapastic verses . . . 161-5 " dimeter . . . .163 " " catalectic . 164 " monometer . . .163 Anas 90 Anceps, ancipes, ^c. n. 1 on 49 Antea,