UC-NRLF B M DM3 Ifll ^^^^^^<^< ^^^^^i^^<^^ ^"=^1 \ UXILIA VERGILIANA OR, FIRST STEPS IN LATIN PROSODY. -KK>>©iO BOSTON: GINN AND HEATH, PURLTSHERS, 1879. AUXILIA VERGILIANA; FIRST STEPS IN LATIN PROSODY. 4| -oo>e^3 >3 5)j a AUXILIA VERGILIANA. The student in Latin who has never read any but a prose author, Hke Caesar, Sallust, or Cicero, needs to know, as he takes up his first lesson in Vergil, that poetry differs from prose as much in Latin as in English. It would be a great mistake if in his English reading-book a boy were to read poetry precisely as if it were prose, re- gardless of accent and of rhythm. It is no less a mistake to read Latin poetry without regard to its metrical structure, its accent and rhythm. If, however, two easy conditions are complied with, the pupil may begin his Vergil, as poetry^ with due appreciation of its metrical characteristics, and with such rapid mastery of accent and rhythm, that he will early find pleasure in the melodious movement of the verse. These conditions are the following : I. To learn the structure of the verse, II. To learn a very feiv easy rules, L THE STRUCTURE OF THE VERSE. The verse in which Vergil wrote is called the Dactylic Hexameter, From the nature of the subjects treated of in the ancient poems that were written in this measure, it is also called the Heroic Hexa7neter^ or Heroic Verse. >.. ,. 2, Aiixilia Vergiliana ; « '•• . .' . .'■ - V .; , c. . The Latin poets borrowed this kind of verse from the *'\* .*•*: .*•': Greeks,, and their earher attempts did not reach that degree of perfection that Vergil attained. In Hke manner, EngHsh poets have introduced the heroic hexameter, and with varying success. Probably this kind of verse is better suited to the Greek than to the Latin, and to the Latin than to the English. Two of the best recent specimens of English dactylic hexameter are presented here. The first is from Kingsley's Atidromeda, and the second from Dr. Hawtrey's translation of verses 234-242 of the third book of the Iliad. The metrical accent is given here (by dots under the ac- cented syllables) to aid the pupil in catching the rhythm. Blissful they turned them to go ; but the fair-tressed Pallas Athene Rose like a pillar of tall white cloud toward silver Olympus, Far above ocean and shore and the peaks of the isles and the mainland, "Where no frost nor storm is, in clear blue windless abysses, High in the home of the summer, the seats of the happy Immortals. Clearly the rest I behold of the dark-eyed sons of Achaia ; Known to me well are the faces of all ; their names I remember ; Two, two only remain, whom I see not among the commanders, — Castor fleet-in-the-car, Polydeukes brave with the cestus, — Own dear brethren of mine, one parent loved us as infants. Are they not here in the host from the shores of loved Lakedaemon ? Or, tho' they came with the rest in ships that bound through the waters, Dare they not enter the fight, or stand in the council of Heroes, All for fear of the shame and the taunts my crime has awakened ? As each measure in every kind of verse has an accent, the six accents in each of the above lines, or verses, show that there are six measures in each verse. Or, First Steps m Latin Prosody. 3 Rem. In Latin or Greek poetry, a line is called a verse, from verto^ to turn (since, at the end of a verse, one turns to begin the next). From the six measures of each verse the hexameter de- rived its name (Gk. c^, six, and ixerpov, measure). Each measure (also called a foot) is regularly a dactyle, that is, a combination of one long syllable and two short syl- lables (— v^ ^)' The name is derived from the Greek word iorjinger (Sa/crrXo?), for the finger is composed of one longer joint and two shorter ones. But in each of the first five measures the poet may substi- tute for the dactyle a spondee, that is, a combination of two long syllables ( ). The principle on which this substitu- tion is made will be explained presently. The spondee is named from the Greek (nrovhri, a " drink-offering " to the gods, because slow and solemn strains in spondaic measure were used in connection with such offerings. In the sixth measure, instead of the dactyle, the poet must use a spondee (or, as a substitute, the trochee, composed of a long and a short, _ w). Latin verse, as compared with English, differs chiefly in requiring its words to be so chosen and so placed as to make, instead of the rhyme which English verse commonly uses, a regular succession of ^ Long and Short Syllables. These may be compared with notes of different lengths in music. The three syllables of the dactyle may be written in musical notation, thus: J j* ^ The two long syllables of the spondee may be written thus : J I The two short syllables of the dactyle are equal to the long one of the spondee, just as in music -^J^ are equal to J 4 Auxilia Vergiliana ; It takes longer time to pronounce some syllables than others. Latin syllables are long or short, according as the time occupied in pronouncing them is long or short. A long syllable takes twice the quantity of time that a short syllable takes, just as in music J takes twice the time of n Hence every Latin syllable is said to have a certain quantity (i. e. quantity of timc)^ long or short. The metrical accent in each measure, or foot, falls on the long syllable, and in hexameter verse can fall on no other syllable. Consequently, The first syllable of every dactyle or its substitute^ the spondee^ receives the metrical accent. In English verse we have an accent in every measure, or foot, the same as in Latin, but English syllables have no fixed quantity, as long or short. In Latin a very few syllables are conwion, that is, either long or short, according to their position in the verse. But in English almost any syllable may be treated as long or short, according to its position. That is, almost any English syllable may take or avoid the accent which, in Latin, falls on the long syllable of each foot. The following dactylic hexameters illustrate this charac- teristic of English verse : Love thou I God as thouloughtest, then|lovest thou | likewise thy| brethren. One is the | sun in | heaven, and | one, only | one, is Love | also. In the first line love is treated as a long syllable, that is, it is accented ; but in the second it is unaccented, like a short syllable. In the first line thou and ought^ like and 7vise^ have no natural difference from each other as long or short, but are lengthened or shortened arbitrarily, by having or not having the accent. Or, First Steps in Latin Prosody. 5 But in the following dactylic hexameter every Latin sylla- ble has its own fixed quantity, as long or short : O mihi I sola ing|i siipgr | Asty^lnactis ijinago. Like to my | Astya|nax thou a | lone on the | earth now rejmainest. How to place the Metrical Accent. It is by recognizing the quantity of Latin syllables that we find the place of the metrical accent in each measure, as this accent can fall only on the first syllable of the dactyle, or its substitute, the spondee. The difficulty in placing the accents in a hexameter is due to the dactyles and spondees following each other in no definite order. The harmonious movement of hexameters depends on the proper blending of dactyles and spondees. The frequent recurrence of spondees gives a slow movement ; of dactyles, a rapid one. Compare the following verses : Appal rent ratri nan|tes in | gurgite | vasto. Swimming | here and | there they 're | seen on | ocean's vast | flood-stream. Quadriipeldantg pultrem sdni|tu qu^tit | unguis | campiini. Soundeth the [ hoof as the | four-footed | coursers beat | stroke on the | level. The Four Decisive Syllables. Although each hexameter must have six metrical accents, the places of only four of them are at all in question. The sixth measure being always a spondee (or an equivalent trochee^ _ w), and the fifth measure in the great majority of 6 Aiixilia Vergiliana ; cases a dactyle, the accents of these two can be placed at sight. To place the accents of the first four, we only need to find out which are dactyles and which spondees, and this is found by finding the quantity of one syllable in each 7?ieasure. To find this at sight, the following rules suffice. In those few cases where the fifth measure is a spondee, the verse (which is called "spondaic") is easily recognized as such (p. lo, 2, Note). II. RULES OF QUANTITY. [It is essential to commit these Rules thoroughly to memory at once.] 1. A vowel is short by position before another vowel or //, and lo7ig by position before two consonants, or x, z, or J. 2. A diphthong is long ; but u after g blends with ^, and makes no diphthong with a vowel following. 3. Monosyllables are generally long, except most particles ending in a consonant. 4. In polysyllables final a, e, and y are short ; /, o, and u long. Exc. Final a and e are long respectively in the ablative of the I St and the 5th declension, and in the imperative of the ist and the 2d conjugation. Final a is long in most indeclinable words, and final e in most adverbs from adjec- tives in -us. Final / is common in inihi, tibi, sibi^ ibi, ubi. 5. Final -as, -es, -os, and final syllables in r, are long ; other endings of polysyllables terminating in a consonant are short; except -is in plural cases, and -21s in contracted cases of the 4th declension, and in those nominatives of the 3d which have ii in the genitive. Or, First Steps in Latin Prosody. J Rem. The additional syllables which nouns and verbs receive in de- clension and conjugation are termed increments, as in leonis, from leo ; jiirarey from juro. Here the o and the d are increments. The last syl- lable of a word is never regarded as an increment. 6. Increments of declension in a and o^ and also incre- ments of conjugation in ^, e^ and , to rub together). E. g. Discite I jiistitilam monilti et non | temnere | divos. Righteousness | learn from the | warning and | deity | never de|spise ye. Here the final i and initial e are rubbed together by the slurring of the /, so that only the e is distinctly sounded, but the i is faintly heard, like y in tyet, pronounced as one syl- lable. So in the following : 8 Aiixilia Vergilia^ia ; Tu ne I cede malls, sed 1 contra auldentior | ito* Yield not | thou to ill | fortune, but | more cour|ageou.sly | breast it. the a and au are pronounced together, the a being faintly heard. 8. EdhUpsis. — Final ni and the vowel before it are sup- pressed before a vowel beginning the following word. As there is nothing similar in English verse, we cannot form a clear idea how it was done. Fata Til am inveiillent, adelrltque volcatns A 'polio* Fate will | find out a | way, and | Phoebus inlvoked will as|sist you. Probably the m was dropped outright, and then the vowel before m was slurred in combination with the initial vowel following, the same as in synaloipha, EdhUpsis signifies pressing out, from the Greek iK-OXl/Su), to press out. Monstriim horlrendum, inlforme, injgensj cuiilumen adiemptiim. Huge and | horrible j monster, misjshapen | also and | eyeless. Application of the preceding Rules. This can be very simply and quickly made, if the follow- ing suggestions are heeded : 1. Bear in mind that our object in every hexameter is fo place the metrical accent on the proper syllables. 2. As the metrical accent falls on the first syllable of each dactyle and spondee, we need merely to pick out these syl- lables. 3. We can generally pick out these accented syllables by applying the rules of quantity just given to one syllable in each of the first four measures in each verse. Or, First Steps in Latin Prosody. 4. Thus, although a hexameter has from thirteen to seven- teen syllables, the beginner need question only about a third of them, in order to read the verse with correct metrical accent, provided he first firmly fix in mind the Structure of Hexameter Verse. or ,^^ I ^ ^ N N ^ > ^ ^ ^ or J J We see from this at a glance that a single long syllable can stand alone between two shorts, but a single short can- not stand alone between two longs. So that if we find one short syllable, we know that the syllable before or after must be short also. 5. As any one of the first five feet may be either a dac- tyle or a spondee (though the fifth is very rarely a spondee), the following points are evident from the structure of the verse : a. The first syllable of every hexameter is to be accented, because it is the first syllable of either a dactyle or a spondee. l^. If the second syllable of a hexameter is short, then the third syllable is short, of course, completing a dactyle, and the syllable following must be the first syllable of the next foot, with its metrical accent. c. But if the second syllable of a hexameter is long, then the first foot is a spondee, and the syllable following is the beginning of the next foot, and accented. lO Auxilia Vergiliaiia; d. From b and c it follows that The second syllable of each foot is the decisive syllable. This^ if shorty gives us the quantify of the next tzvo syllables ; if long, the quantity of the next syllable, and, of course, in either case fixes the place of the next metrical accent. e. When the quantity of the second syllable of a foot is not at once apparent, the quantity of the next syllable may give the necessar}^' indications, thus : {a a.) If the syllable 7iext to the second of any foot is short, it must be the third syllable of a dactyle, and so the syllable before it niiist be short, and the one after it must be long and accefited, as the beginning of the next foot. {b b.) But if the syllable Jiext to the second of any foot is long, then, as the structure of the verse never admits any but a long syllable between two longs, the second syllable must be long, completing a spondee, and the syllable next the second is the begvming of the next foot ^ and accented, JSjcample. Nullius addictus jurare in Terba magistri. 1. Cut off the last two syllables, -gistri, because the sixth measure is always a spondee, or what is used as such. Nullius addictus jurare in verba malgistri. 2. Cut off next the three syllables verba 7na-, as the fifth measure is almost always a dactyle. Nullius addictus jurare in | verba malgistrl* Note. To make sure that the verse is not one of those rare spondaic verses where the fifth foot is a spondee, glance at the middle syllable of the three. The a of verba is seen to be short by Rule 4. Hence we <9r, First Steps in Latin Prosody. ii know it to be the middle syllable of a dactyle. Had it been long, then the ma- would have been known to be long, and the verse would have been recognized as spondaic. 3. We have now only four measures left, and four accents to fix. Beginning the verse, then, The first syllable, mil-, is long by Rule i, and accented. The second, -//-, we have always pronounced long in prose, but a glance at the third, -us, which is short by Rule 5, shows that here it is //, which must therefore be the middle syllable of a dactyle. We shall learn that these genitives in -ius often have the penult short in poetry. The first meas- ure, then, is ntdliiis. Nullius { addictus jurare in | verba malgistri. The first measure being now marked off and accented on its first syllable, a glance shows us that the next measure is a spondee, dddic-, both vowels long by Rule i. Nullius I addicltus jurare in | verba malgistri. -tus, beginning the third measure, is, of course, long, and accented. The next syllable, ju-, being uncertain, we look at the following, -ra- (see Rem. e, p. 10). This is seen to be long by Rule 6, consequently the jU must be the second half of a spondee (p. 10 {bh) ), and the -rd- is the long accented syllable of the fourth measure. This measure con- tains three vowels, but the final e disappears by Rule 7, leaving the in as the second half of a spondee. The accent of each measure is now fixed, and the verse has been thus divided and accented : Nulllius I addicltus julrare In | verbS. malgistri. Bound to o|bey the j dictate of | none that | fain would be | master. 12 Auxilia Vergiliaiia ; CAUTION. While learning thus to fix the place of the metrical accent, it will be better for the pupil to mark off the measures and accents of each verse as above. But it should not be read in this broken way : Nullius addic tusju rarein verbama gistri. After having marked the quantities and accents in each day's metrical lesson, the lesson should be read over several times, until it can be read with complete fluency, pronoun- cing each word by itself with the metrical accent or accents that belong to it. In this reading special attention should be paid to the Caesura. Caesura (from ccedo, to cut) is such a cutting of a verse in two as to interpose a suitable rest without injury to sense or harmony. The usual place for the caesura is after the accent of the third measure. This is the so-called " heroic caesura." The caesura sometimes, however, follows the accent of the fourth measure ; or, when the third is a dactyle, it may occasionally come between the two short syllables of that dactyle. In the verse last quoted the caesura follows the accent of the third measure. Nullius adclictus' jurare in verba magistri. Examples for Practice. To familiarize the pupil with the method of metrical analysis that has been explained, a few verses are subjoined Or, First Steps in Latin Pivsody. 13 for experiment. The translation of each is given in English hexameter. The place of the caesura is marked '. 1. Cura pii dis sunt', et qui coluere coluntur. God takes care of the pious' , and they who worship are cherished. This is a specimen of one of the easier lines. After the fifth and sixth measures are cut off, every accent can be placed at sight by Rules 1 and 4. 2. Tros Tyriusque miM' nullo discrimine agetur. Trojan and Tyrian here' shall by me be impartially treated. Not much more difficult than No. i. Tros is accented, of course. The quantity of Ty- not being obvious, we glance at the third syllable, -r/, which is short by position. So Ty- is known to be short, and the first measure is a dactyle. Next, -usque mi- is a dactyle, by Rules i and 4. Next, -hi nul- and -Id dis- are spondees, by the same rules, and four measures are complete. Striking off now the sixth measure, -getur, only -crimine a- is left, for the fifth, in which the final e is combined with initial a by Rule 7. 3. Hos successus alit'; possunt, quia posse -videntur. These by success are inspired' ; they conquer, because they expect to. After striking off the fifth and sixth measures, Rules i and 4 are sufficient also for this verse. Observe that the quantity of a- in alit is revealed by the two preceding sylla- bles, -cessiis, which require another short to complete the dactyle. 14 Auxilia Vcrgiliaiia ; 4, Stella facem ducens' multa cum luce cucurrit. Drawing a train of light' abundant there darted a meteor. Here the quantity oi fa- is revealed by the preceding long and short {stella), which require another short to make up the dactyle (p. lo (^ a)). Next, the quantity of dii- is re- vealed by the following -ens (p. \o {b h) ). In this verse and in No. 3 the fifth measure, presumably a dactyle, may be shown to be such by first marking off its three syllables (as on p. lo, 2, Note) and then proving the middle syllable short by Rule 4. Do the same in the two following verses, before analyzing the first four measures. 5. Hen! nihil inviti's fas quemquam fidere divis. No one, alas' ! may rightly trust", if God do oppose him. 6. Ne, pueri', ne tanta animis" adsuescite bella. Do not, O youths, such thought' of strife to your minds make familiar. Note. Before the metrical analysis of any verse, look to see if any of the final syllables are disposed of by Rules 7 and 8, as the final a before aniniis in the last verse. Observe in No. 5, English, that the caesura is fixed at the fourth measure by the logical pause, which must be made at the comma. When the ccesura comes thus in the fourth measure, a minor caesura is often made in the second, as after alas in No. 5. In the following, the major and the minor caesura fall (in the Latin) precisely as in the English of No. 5. Ory First Steps in Latin Prosody. 15 7. Sic oculos', sic ille manus", sic ora ferebat. Eyes thus, hands thus he moved', and thus his countenance also. In the analysis of this verse, the quantity of the first two syllables of oculos not being given by our rules, let us try the verse backwards, to illustrate an occasional expedient. The sixth measure, -ebdi, we cut off at once, and the fifth is recognized as a dactyle, as in 2 (p. 10, Note), by the short a in ord^ which settles the quantity both of the syllable before and the syllable after. Next, the fourth measure is fixed as a spondee by our Rules, -nus sic. We examine the three syllables next preceding, ille ma-, and as the l and the e tell their quantity at a glance, we know that the md- is short, and the measure a dactyle. There are but five sylla- bles left in the verse, just enough to make a dactyle and a spondee, -os sic are both long, by rule, therefore the dactyle is in the first measure, stc ocu-. In this instance oculos happens to be a familiar word, the quantity of which most pupils would have no doubt of. Bit the method which it illustrates of analyzing the verse back- ward will often help one out of an uncertainty. 8. O passi gra-viora', dabit deus his qnoque finem. Ye who worse things have suffered', to this also God will an end make. This verse gives, both in Latin and in English, an exam- ple of the caesura falling between the two unaccented sylla- bles of the third measure. SUGGESTION. The learner is advised to commit to memory all the Latin and English verses that have been given, and to repeat 1 6 Atixilia Vergiliana ; * them frequently, with the metrical accents, until they have become perfectly familiar. When the ear has been trained to catch the metrical accent, and to follow the rhythmical movement of verse, an ease in reading and a pleasure in the harmony are derived, which abundantly compensate the labor bestowed. Committing to memory select passages in verse — a prac- tice so common formerly — will prove of service both in training the ear to rhythm and in facilitating Latin com- position. Such passages are the sz'mzVes, like the "Ac veluti " (^n. i. (148-156), or the "Qualis apes" (^n. i. 430-436), or the death of Laocoon (JEn. ii. 212-224), a passage specially worth knowing on account of the frequency with which we meet its visible representation in statuary. One might make a beginning with the lines in the eighth Eclogue (37-42), which, as Macaulay tells us, Voltaire pronounced the finest passage in Vergil, and which Macaulay himself declared to be the finest lines in the Latin language : *'Sepibus in nostris parTam te roscida mala — I>ux ego vester eram — vidi cum matre legentem. Alter ab undecimo turn me jam acceperat annus; Jam fragiles poteram ab terra contingere ramos. Ut vidi, ut perii ! ut me malu8 abstulit error ! " TO TEACHERS. Although Latin versification, as a school exercise, has been carried to an extreme in England, yet, while the best American schools still make so much of Latin prose compo- Ory First Steps in Latin Prosody. 17 sition, I doubt whether we are right in heeding those who claim that Latin versification is a bit of useless pedantry, and therefore to be let alone. For the benefit of teachers who are disposed to think that a limited amount of exercise in Latin versification may help their advanced pupils to a better appreciation of Latin poetry and poets, the following method is suggested for w^eekly practice. Single verses or couplets may be selected, in which the words are familiar, the construction plain, and the sense complete. For example (^'F^n. xii. 238, 239) : **Talibus incensa est juvenum sententia dictls Jam magis atque magls, serpitque per agmina murmur." The translation should be written on the board, line for line, and at first some of the Latin words (on account of the variety of synonymous expressions) should be given to the class. incensa est sententia With such words was fired the feeling of the youths serpitque agrmina Now more and more, and (there) creeps through the ranks a murmur. As the exercise continues, less help will need to be given, as in these lines (Juv. Sat. iii. 29, 30, Anthon's ed.) : ** Cedamus patria, vivant Artorius istic £t Catulus, maneant qui nigrum in Candida vertunt." Cedamus Let us withdraw from our country, let Artorius live there, maneant plural plnral And Catulus, let them stay who turn black into white. 1 8 Atixilia Vei'giliana. Before long, the class can take three or four lines, with trifling help, or may do without help such examples as the following (Ovid. Met. xv. 663, 664) : *' Extemplo cum voce deus, cum voce deoque Somiius abit, somnique fugam lux alma secuta est." After a dozen weekly exercises of this sort, I have known very fair poems of a score of lines to be written in com- petition for a prize. Cambridge : Electrotyped and Printed by Welch, Bigelow, & Co. ALLEN & GREENOUGH'S LATIN GRAMMAR. The first edition was published in 1872, and was widely adopted, reaching a sale of over jo,ooo copies. In 1877, the editors completed a revision, which has made it virtually a fiew work while retaining all the iinportant features of the old. Attention is invited to the foUowino^ merits of the book ; I. The Supplementary and Marginal Notes on Etymology, Comparative Philol- ogy, and the meaning of forms. In this department it is believed to be more full and complete than any other school text-book, and to embody the most advanced views of comparative philologists. 2. Numerous Introductory Notes in t/ie Syntax, giving a brief view of^ the theory of coftstructions. These Notes are original contributions to the discussion of the topics of which they treat ; they illustrate and greatly simplify syntactical construc- tion, and are not based upon abstract theory, or " metaphysics of the subjunctive," but upon linguistic science, or upon the actual historical development of language from its simplest forms. 3. Treatment of Special Topics of Syntax. On these points we invite compari' son with other school grammars on the score of simplicity and clearness. 4. The extended, and often complete, lists of forms and constructions, 5. Tabulated examples of peculiar or idiomatic use. 6. The full and clear treatment of Rhythm and Versification, corresponding with the latest and best authorities on the subject. 7. The unusual brevity attained without sacrifice of completeness or clearness. This Grammar expresses the results of independent study of the best original sources. It has been strictly subordinated to the uses of the class-room through the advice and aid of several of our most experienced teachers. The rapid adoption of this Grammar in over three-fourths of the leading colleges and preparatory schools oftlie country is believed to be a full guaranty for its adaptation to the purposes of instruction. ALLEN k GREENOUGH'S LATIN COURSE. Iieighton's Latin Lessons (designed to accompany the Grammar). Six Weeks' Preparation for Reading Caesar (designed to accompany the Grammar, and also to prepare pupils for reading at sight). Allen & Greenough's Caesar,* Cicero,* Virgil,* Ovid,* Sallust, Cato Major, Latin Composition, Preparatory Latin Course, No. H. (with Vocabulary), containing four books of Caesar's Gallic War, and eight Orations of Cicero. Keep's Parallel Rules of Greek and Latin Syntax. Allen's Latin Reader. Selections from Caesar, Curtius, Nepos, Sallust, Ovid, Virgil, Plautus, Terence, Cicero, Pliny, and Tacitus. With Vocabulary. Cro-well & Richardson's Brief History of Roman Literature. CroTvell's Selections from the Less Kno-wn Latin Poets. Stickney's De Natura Deorum. Allen's (F. D.) Remnants of Early Latin. Leighton's Critical History of Cicero's Letters. Leighton's Elementary Treatise on Latin Orthography. "White's Junior Student's Latin-English Lexicons. * With or without Vocabulary. A Full Descriptive Catalogue mailed on Application. GIO & HEATH, Publishers, Boston, New York, and Chicago. GREEKJEXT-BOOKS. " prepanng/or colUg" * "'"^ '''•""'^'*. "'"'S '/«'«/ «^ari to tlwse who are The sections on the Syntax of ft vJh^ of Greek Gramtnar. Ji^st time in an elemmlar/form ""'f'"^'' ''"tlnces. wh.ch appears now for tlii ^"^S;,c cSw/r/S^L"/!" '"'^''""^ -"'iO'arenoifouni in tHe strictly "^""fe'fk SSma''r^''°''^ '" '^'^'''^ P-P-ed to acco„,pa„y Goodwin's complete Vocabularies. Tlie LessonTnV^!, Add,„ona Exercises on Forms, and order of arrangement of he cSr,^" ar h„f k "">' ?'''"''="^' ^'"' do not follow the second Lessonrand then pursue "tSnatelvSS, ,h' .''"/'f. "^ ''''= '"'' ^^i* 'he speech. It contains enough GreeiPro"com/ostftt , '■'^"^'"'"g Parts of Leighton's Greek Lssoias. PrZiTT ""'"""' ''"''^'- Grammar. i^reparea to accompany Goodwin's Greek A progressive series of exerci^p-? rhr.f\. r- i sufficient, ,t IS believed, to develop the^enera^^^ °" ^^e Moods are Goodwin & White's First Falr-^ P^^^'Pies as stated in the Grammar. Goodwin's Greek Refdlr ^°^' °^ *^^ Anabasis. basis. Also, selections from'pTl^ Hp'i^P! ^"^ l^"^"^ ^ooks of the Ana- full amount of Greek Prose reqSfS-.S"'' ^""^ Thucydides ; being the Goodwin's Selections /ro^ '''^ ^°' ^^'"'^^•°" ^* H'^-^^d University! first four books'o?Snil?s^ ^e g?e?tl°?ar?o?th''"^°^°^^ -"^-- ^^« H-eSl^^-^P^^"' -^ — ^--"e sTxrh.1eVlrh!rd^eith^^^^^^^^^^ Anderson's First Three Books of Homer's Diad Goodwin's Greek Moods and Tenses r- prmciples which govern the constrnrtinn ?>!\v, ^^^ f P'^'" statement of the TarbpTi'l n f ^°^etheus of iEschylus. na^s^s Public °^" °^ I^e^^osthenes^ Tyllf'l lowS ^^^^eues of Demosthenes. F n Ai,^?'PJi^ Tyrannus of Sophocles ci^* 4H®"« Medea of Euripides guages. Rliythmic and Metric of the Classical Lan- Liddell & Scott's Greek-En/»iicT, t «^- A Fun n» . Leaoons. Abridged and Unabridged. 14 DAY USE RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subject to immediate recall. 3May'Q3SS| .. ...- .^-=-«OHi^ '("1*^ \ • 'jiAi' 2,3 ^^^*- 1 ^^%ir.!?ol-lUr vJ^S^^r-a. syracijse, jn. y. PAT. JAN 21, 1508 U.C. BERKELEY LIBRARIE 736475 UNIVERSITY OF CALIFORNIA LIBRARY