UNIVERSITY OF VIRGINIA BULLETIN OF THE SCHOOL OF LATIN

THE

LITERARY SATURNIAN

PART I LIVIUS ANDRON1CUS

THOMAS FITZHUGH

MAY 1, 1910

ANDERSON BROTHERS

UNIVERSITY OF VIRGINIA

CH/YRLOTTESVILLE, VA.

U. S. A.

PRICE ONK DOM. AH

THE LIBRARY

OF

THE UNIVERSITY OF CALIFORNIA

LOS ANGELES

UNIVERSITY OF VIRGINIA BULLETIN OF THE SCHOOL OF LATIN

No. 5

MAY 1, 1910

' THE

LITERARY SATURNIAN

THE STICHIC NORM OF ITALICO-KELTIC,' ROMANIC, AND MODERN RHYTHM

PART I LIVIUS ANDRONICUS

By THOMAS FITZHUGH

Professor of Latin in ihe University of Virginia

UNIVERSITY ( t >,.,,>LIFORNIA

LOS ANGELES LIBRARY

ANDERSON BROTHERS

UNIVERSITY OF VIRGINIA

CHARLOTTESVIL^E, VA.,

u. s. \r )

/

COPYRIGHT 1910

BY THOMAS FITZHUQH

Composed and Printed

By

WILLLIAMS & WILKINS COMPANY

At the Waverly Press

Baltimore

I-A25 C68

V.-?//

Jftorgan

^lemoriam

Veterum Primordia Vocum

atque Mas Strepitus Fidis Latinae.

Persius VI. 3-4.

THE LITERARY SATURNIAN

PART I. LIVIUS ANDRONICUS

BY

THOMAS FixzHuGH

I. INTRODUCTION

Having in Bulletin No. i, Prolegomena to the History of Italico-Romanic Rhythm, University of Virginia, 1908, penetrated beneath the fond con- ventions of Hellenizing orthodoxy into the pulsating life of Italic accent and rhythm, and discovered the procatalectic word-foot and verse-foot (A-A-G) of Latin-Faliscan and Gscan-Umbrian speech and verse, we were prepared in Bulletin No. 2, Carmen Arvale sen Martis Verber or The Tonic Laws of Latin Speech and Rhythm, University of Virginia, 1908, to unlock the accentual and rhythmic treasures of our venerable old cryptograph, and to formulate the tripudic principle of Latin accent and rhythm.

In Bulletin No. 3, The Sacred Tripvdium, University of Virginia, 1909, we established the tripudic principle for the Italico-Romanic field in connection with our epigraphic and extra-literary monuments, and in Bulletin No. 4, Italico-Keltic Accent and Rhythm, University of Virginia, 1909, the doctrine was extended to include the accent and rhythm of the Keltic race.

We now enter upon the task of examining in detail the successive literary phases of the Italico-Keltic tripudium, the first of which is the Saturnian of Livius Andronicus and Naevius. It will be helpful in prep- aration for this initial task to rehearse the organic doctrine of tripudic rhythm, and to sketch the salient motives in its historical evolution.

II. THE ORGANON OF TRIPUDIC RHYTHM

The tripudic principle involves a twofold contrast: i°. The contrast of single stress with single stress,

vt i *

Triumpe.

A|A-G°

6 THE LITERARY SATURNIAN

2°. The contrast of double stress with single stress,

vtijo

Triumpe

A-A|G

Thus the principle of artistic variety is inherent in the tripudic principle of stress contrast itself. For the contrast of simple stresses may be re- placed at will by the contrast of stress groups, since tripudic rhythm, being accentual, measures syllables by time of utterance, not time of utterance by syllabic structure, as in Greek.

Hence evolve spontaneously the manifold forms of expanded and con- tracted tripudia, whose only law is the inviolability of tripudic tone- sequence : the stressless grave O must follow the initial or the double ac- cent of the tripudium, and the two reversals of tripudic rhythm, G-G and G-A-O (G = grave stress, A = acute stress), must become rhythmized as G°-G ( =0-G) and G°-A-O ( =O-A-O) respectively by being placed after the initial thesis of the rhythmic series (A2 = A-A) or by being postponed to the double accent (A-A); cf. Sacred Tripudium §§ 8-9. t Furthermore, the principle of stress contrast in the tripudium involves the principle of tripudic contrast in the dipody or Numerus Italicus, and of dipodic contrast in the distich or Saturnian. Hence the former becomes the normative unitary series, the latter the normative rhythmic period, of Italico-Keltic verse.

Accordingly, we may trace with immanent logical certainty the pre- historic evolution of the Italico-Keltic Saturnian by the aid of our sacred cryptograph, the Carmen Arvale, which is itself a mystic glorifi- cation of the tripudic principle, and by a comparison of the analogous phenomena in Fiacc's Hymn to St. Patrick:

A. The simple tripudium:

vll *

a. Latin-Faliscan : Triumpe.

A-A-G

« • .

b. Oscan-Umbrian : Stahmeitei.

A-A-G

» •

c. Old Irish: Innemthur.

A-A-G

LIVIUS ANDRONICUS B. The tripudic dipody:

a. Latin-Faliscan : Triumpe triumpe.

A-A-G|A-A-G

1 ' | » «

b. Oscan-Umbrian : Naharcer labuscer.

A-A-G | A-A-G

• ' . | • • .

c. Keltic: Hoadeochain odissi.

A-A-G | A-A-G

C. The tripudic dipody with paracatalectic expansion of the first tripudium :

\!/ -i. \!/ -i. I c< _ o

a. Latin-Faliscan: Enos Lases iuvate. A-G A-GA-A-G

b. Oscan-Umbrian: Esmei stahmei stahmeitei.

A-G A - G | A - A-G

1 . ' ' '

c. Keltic: Genair patraicc innemthur.

A-G A-G |A-A - G

D. The tripudic dipody with paracatalectic expansion of both tripudia:

i C. A J.| A A 1-1.

Neve luem ruem Marmar. A-G A-G | A-G A-G

E. The tripudic dipody with paracatalectic-procatalectic expansion of the first tripudium:

Sinas incurrere in pleoris. A-G A-A-O-G|A- \-G

8 THE LITERARY SATURXIAX

F. The tripudic dipody with procatalectic-paracatalectic expansion of the first tripudium:

A i o i o |i i j.

Manusque susum ad caelum.

A-A-G A-G | A -A-G

G. The tripudic dipody with procatalectic contraction of the second tripudium:

•If Jb WVSJWW —

Satur fure fere Mars. A-G - A | A - A

H. The tripudic dipody with paracatalectic contraction of the second tripudium :

1 w'l W 4.| 1 ^

Advocabitis conctos. A-O-A-O-GI A- G

I. The tripudic dipody with acatalectic contraction of the first tri- pudium :

1 w * I 1 1 ^.

Insece versutum. A-O-G| A-A-G

J. The tripudic dipody with procatalectic expansion of the first tri- pudium :

1 w's, o 1 1 ^ I vL i i

Quei a p i c e insigne D i a 1 i s . A-A-G A-A-G | A-A-G

The artistic contrast of two tripudic dipodies in a distich constitutes the Saturnian verse, whose organic origin and evolution has therefore been the same in Italic and in Keltic culture; cf. Italico-Keltic Accent and Rhythm, pp. 53 ff.

in. THE HISTORY OF THE ITALICO-KELTIC SATURNIAN

Thus the universal norms of Italico-Keltic rhythm before the on- grafting of the Hellenic quantitative verse-beat were the tripudic dipody

LIVIUS ANDRONICUS 9

and the tripudic distich with their native tripudic verse-beat. With the grafting of the Greek structural verse-beat upon the Italico-Keltic tripudium the artistic motive of the classical period was found in the rhythmical alternation and coincidence of Italico-Keltic accentual, and Hellenic structural verse-beat. With the neglect of quantity after the classic period the raison d'etre of all alternation of accent and ictus was withdrawn, and thoroughgoing coincidence of tripudic and structural verse-beat became fixed for all time.

Our wider task, therefore, must be to trace the successive transforma- tions of the literary Saturnian from its parent source in Italico-Keltic art through classic Latin poetry and Christian hymnology into the ac- centuo-structural rhythm of Romanic and modern art.

We shall accordingly observe four stages in the long historic process:

i°. The pure Saturnian with native tripudic verse-beat, in Livius' Odysseia, Naevius' Bellum Punicum, Fiacc's Hymn to St. Patrick, Ul- tan's Hymn, the Antiphonarium Benchorense of the Ambrosian Library in Milan, and the Liber Hymnorum of the Library of Trinity College, Dublin.

2°. The Hellenizing Saturnian with rhythmical alternation and coinci- dence of tripudic and structural verse-beat, in classic Latin poetry and its imitations.

3°. The Hellenizing Saturnian with thoroughgoing coincidence of tripudic and structural verse-beat in vulgar Latin poetry and Christian hymnology.

4°. The Hellenizing Saturnian with structural verse-beat degenerating into mere syllable-counting structure, in Romanic and modern art.

a. The Unhellenized Tripudium

i°. The pure Saturnian with original tripudic verse-beat, in Livius' Odysseia, Naevius' Bellum Punicum, Fiacc's Hymn to St. Patrick, Ultan's Hymn, the Antiphonarium Benchorense of the Ambrosian Library, and the Liber Hymnorum in Dublin: — in Italy, Ireland, Italico-Keltic domain, England, and Germany:

A. In Italy:

Livius, Odys. i,

•

i «

O -1. OJ. C/ ± O JL ss '

Virum mihi Camena insece versutum. A-G A-GI A-A-G°IIA-O-G I A-A-G

io THE LITERARY SATURNIAN

Naevius, Bell. Pun. i,

A J. vl^lli^lliw^lAi^

Novem lovis Concordes filiae sorores. A-G A-G | A-A-G0 ||A-O-G| A-A-G

B. In Ireland:

Fiacc's Hymn to St. Patrick i ,

1 . ' I ' ' II ' ' • I ' '

Genair patraicc innemthur ised atfed hiscelaib. A-G A-G | A- A- G|| A-G A-G A-A-G

Secundinus, Hymnus Alphabeticus in Laudem Patricii i, ap. Murator. Anecd. iv. 136,

iio ij.|Xl*|\t* io w'wO

Audite omnes amantes deum sancta merita.

A-A-G A-G |A-A-G || A-G A-G 1 A-G

*

Hymnus S. Camelaci i, ibid. 142,

WW J.

Audite bonum exemplum benedicti pauperis. A-A-G A-G |A-A - G || A-A-G°| A-O-G

Versiculi Familiae Benchuir i, ibid. 156,

I t

Benchuir bona regula recta atque divina. A-G A -G° | A-O-G || A-G A-G | A-A-G

MemoriaAbbatumNostrorum i, Am. Peyron, Cic. oral, fragm. ined.22$,

Amavit Christus Comgillum bene et ipse dominum. A-A-G A - G | A-A-G || A - A A-G | A-G

Hymnus S. Columbae i, Liber Hymnorum ii. 205,

Altus prosator vetustus dierum et ingenitus. A2-G° A-O-G | A-A-G || A-A-G A- A I A - G

LIVIUS ANDRONICUS n

Sancti Venite i, ibid. i. 43,

Sancti venite Christi corpus sumite. A - G A-A-G | A - G| A- G° | A-O-G

S. Columba, Noli pater i, ibid.,

Ij.vl/M/li-ic'llvlw'wO 1 is^O

Noli pater indulgere tonitrua cum fulgure. A-G A-G°| A-O-A-G || A - A - G | A - A-O-G

S. Columba, In te Christe i, ibid.,

In te Christe credentium miserearis omnium. A - A A-G | A-A-O-G0 || A - O-A-G°| A-O-G

C. In Italico-Keltic domain:

St. Augustine, Psalmus Abecedarius contra Donatum i, Opp. D. Aug., Lugd. 1586. 7, p. 3,

.11 1 II X J 1 «. I 1 . i V,

Abundantia peccatorum solet f ratres conturbare. A A-O-G°| A-O-A-G |] A-G A-G°| A-O-A-G

D. In England, by importation from Ireland: Aldhelmus, ed. Giles, Oxon. 1844, p. in,

Summj satoris s ol i a sedit qui per aethralia. A-G A-A-G | A -G|| A-G A - A | A - A-O-G

E. In Germany, by importation from Ireland and England:

Baldhardus ad Berthgitham, ap. S. Bonifac., ed. Giles, Lond. 1844, p. 280,

A^ i A| i ± w *|| i^± ^|iiwO

Vale Christo virguncula, Christi nempe tiruncula. A-G A -G| A- A-O-G || A-G A- G | A-A-O-G

Berthgitha ad Baldhardum, ibid. p. 273,

vL^i^liiwollii i j. | i w ' w ^ Vale vivens feliciter ut sis sanctus simpliciter. A-G A - G I A-A-O-G II A -A A - G I A - A - G

12 THE LITERARY SATURNIAN

S. Bonifacius ad Nidhardum, ibid. p. 30,

A^ 1 *| 11 W J.| Vf« 'I *| 1 ± ~ ^

Vale f rater florentibus iuventutis cum viribus. A-G A-G| A-A-O-GH A - A-G| A - A-O-G

The powerful tripudic emphasis of the second foot of the dipody sug- gested naturally a point of rhythmic vantage for rhyming effects. The origin of rhyme is therefore traceable to the Italico-Keltic Saturnian and its tripudic rhythm of accentual contrast, and not to any supposed beginning in the phenomena of prose.

j8. The Hellenized Tripudium

2°. The Hellenizing Saturnian with rhythmical alternation and coinci- dence of accent and ictus, in classic Latin poetry and its imitations.

The tripudic principle lends itself readily and naturally to the Greek structural verse-beat, because any one of the tripudic verse-beats may function as quantitative ictus. Thus all classic Latin verse is but the Protean form assumed by the tripudic dipody or distich, exulting now in the quantitative and ictual refinements of Greek metric. The artistic principle of the literary Saturnian of Livius and Naevius, which consisted in the rhythmical alternation and coincidence of acute and grave stress,

Virum mihi Camena insece versutum, A-G A-G | A-A-G°||A-0-G | A-A-G

is transformed into the artistic principle of the classic Saturnian of Ennius and Vergil, which consisted in the rhythmical alternation and coincidence of accent and ictus,

i i | i W ' W J. || i ^ i i O I X ± *

Musae quae pedibus magnum pulsatis Olympum. ( i i i i i

A-G | A_A-G||A-G A-A-G|A-A-G

If we indicate thus the rhythmic materia above, and the metric regula below, our classic Saturnian assumes the following forms: —

LIVIUS ANDRONICUS 13

A. Plautus,

1 1 A 1 JU | 1 1 || 1 1 J. I >l A

Hos quos videtis stare hie captivos duos.

A - A A-A-G | A - A|| A-A-G| A-G

B. Terence,

vl_.- 1 1 j. I 1 j. || w ' w 1 -I- I A A

Homo sum humani nil a me a 1 i e n u m puto. I II ill

A-G A-A-G|A-G || A-A-G | A-G

C. Ennius,

i A | i W ' W J. || i -1. ± i «, I A I i

Musae quae pedibus magnum pulsatis Olympum. ii i I I i

A-G | A - A - G|| A - G A-A-GJA-A-G

Ennius' versus longus, i.e. Saturnius longus.

D. Lucretius,

Aeneadum genetrix hominum divomque voluptas. ii i ill

A-A-G | A - G || A - G A-A-G|A-A-G

E. Vergil,

1 * 4 i .* |4.i|| 1 * . 1 JL w X|i * Arma virumque cano Troiae qui primus ab or is. I I III I

A-G A-A-G lA-Gll A-G A-A-O-G|A-G.

F. Catullus,

wvs JL 4> 1 *|iJ.||WW.fcWW w w O

Super alta vectus Attis celerijrate maria. ii ii «i i

A - A-G A-G | A-G || A-G I A - A-G

14 THE LITERARY SATURNIAN

G. Horace,

ii^l^'w^iliw^liw^

Maecenas atavis edite regibus. i ( i ( II

A-A-G| A-G°||A-O-G°| A-O-G

Sic horridus ille defluxit numerus (predicative) Saturnius, et grave virus munditiae pepulere (drove into the background).

H. Perwgilium Veneris,

i i A i i | vii^iii & i .•.(' i 4 *

Cras amet qui numquam aniavit quique amavit eras amet. ill II lit

A- A- G A- A i A-A-G|| A - A A-G| A-A-G

Quantitative structure is maintained, but alternation of accent and ictus is ignored.

I. Commodian,

i V, * | ± A JL || i ^ W ' W i W * | i, d.

Inscia quod perit pergens deos quaerere vanos. • lit t I

A-O-G| A - A-G|| A - G A - A-O-G | A-G

Alternation of accent and ictus is maintained, but quantitative structure is ignored.

3°. The Hellenizing Saturnian with thoroughgoing coincidence of accent and ictus, in Vulgar Latin poetry and Christian hymnology.

With the decline of the aristocratic learning, quantity and its accom- panying principle of alternation of accent and ictus fell more and more into desuetude, leaving the Hellenic verse-beat in thoroughgoing harmony with the Italico-Keltic. Hence the universality of the iambico-trochaic verse-form and the substitution of acatalexis in place of the favorite procatalexis at the iambic close:

A. Caesar's Soldiers,

± w J. la,|4lA|lwlA|-lwA

Gal lias Caesar subegit, Nicomedes Caesarem. it If it it

A-O-G A-G | A-A-G ii A-O-A-G0! A-O-G

LIVIUS ANDRONICUS 15

B. Hadrian,

vlw'w^ w ' w C. I i w * || i -^ A ± * | 1 w J.

Animula vagula blandula, hospes comesque corporis. i i i i i i i i

A-A-G A-G°| A-O-GH A-G A-A-G°| A-O-G

C. Hilarius,

i A i i J. | 1 wo||l-!.vLi^|i~^

Lucis largitor splendide cuius sereno lumine. it i i i i i i

A-G A-A-G0 1 A- O -G|| A-G A-A-G°| A-O-G

D. Ambrosius,

ll*i.i.|lw.b|i.t & 'JL-»fl 4 *

Aeterne rerum conditor noctem diemque qui regis. ii ill i i »

A-A-G A - G° A-O-G || A-G A- A - G| A - A -G

E. Prudentius,

i i • .. I . , • . .. II l J, _ I l, 1 .

Da per plectrum choreis ut canam fidelibus. it ill i i i

A-A A - G | A - G || A - A- G | A-A-O-G

F. Fortunatus,

1^1 ^liwi^lliw^liiw-u

Pange lingua gloriosi proelium certaminis. l l ( i II II

A-G A-G°| A-O-A-G°I|A-O-G| A-A-O-G

G. Beda Venerabilis,

i ^ vti^liw^lliioliwiw^.

Hymnum canentes martyrum dicamus innocentium. A-G A-A-G0 1 A-O-G ||A-A-G°| A-0-A-O-G

4°. The Hellenizing Saturnian with thoroughgoing coincidence of accent and ictus, and degeneration of ictus into syllable-counting structure in Romanic and modern versification.

1 6 THE LITERARY SATURXIAX

Through the strength of Roman, and of Irish culture at the extreme limit of the Italico-Keltic domain in the Middle Ages, tripudic rhythm harmonized with metrical verse-beat became the historical source and raison d'etre of Romanic and modern European rhythm. The Italico- Keltic accentual principle of stress contrast is its essence, or materia as Varro would say, the Hellenic structural principle of syllable-weighing verse-beat its measuring rod, or regula, which fades in Romanic verse to mere syllable-counting structure. The inner reconciliation of the accen- tual and structural verse-beat is to be found in the two-fold principle of contrast, which characterizes the Italico-Keltic tripudium, the contrast of single stress with single, and the contrast of double stress with single.

Accordingly, the origin of modern accentual rhythm and of modern rhyme is to be traced directly to the Italico-Keltic distich or Saturnian verse, with its tripudic rhythm of stress contrast in the foot and dipodic contrast in the distich, and with the Hellenic structural verse-beat as an artificial and super-added regulative dress: —

A. The Italian Saturnian,

i (ii

Nel mezzo del cammin di nostra vita. i i i i i

A - A-G | A - A - A || A- A - G | A-G

B. The French Saturnian, with syllable-counting verse-beat,

i ii i

Du Dieu qui nous crea la clemence i n fi n i. I III ii

A - A A - A |A-A|| A -A - A |A-O-A

C. The English Saturnian,

i ill

Of man's first disobedience and the fruit. i ill i

O- A A-A-O|A-O || A | O - A

D. The German Saturnian,

Ihr naht euch wieder, schwankende Gestalten. i i ill

A-A-A | A-O || A-O-OO-A-O

LIVIUS ANDRONICUS 17

Italico-Keltic accentual contrast and Hellenic syllable-counting structure make up the rationale of modern European rhythm. And so we may say with the great master:

yap tacos apx'n 7raj>r6s, tiairep Ae-yerar 616 /cat oaa; yap uparLGTOv Tr\ Swajuet, TOCTOUTOJ fjuKporarov o kffnv 6<j)dr]vaL. Taurus d'evprj^kv^s paov TO irpoar(.Qkvai KO.L (rvvavj;eLV TO \OLTTOV kariv.

IV. THE SATURNIAN OF LIVIUS ANDRONICUS.

§1. Aulus Gellius 18.9. 5: Ego arbitror et a M. Catone insecenda et a Q. Ennio insece scriptum sine u littera. Offendi enim in bibliotheca Patrensi librum verae vetustatis Livii Andronici, qui inscriptus est 'Odv<T(T6La, in quo erat versus primus cum hoc verbo sine u littera:

Virum mihi, Camena, insece versutum,

A-G A-G | A-A-G0 1| A-O-G | A-A-G

factus ex illo Homeri versu.

Livius thus begins his translation of the Odyssey with the stateliest, most restrained, and yet most harmonious of the Saturnian types. paracatalexis and acatalexis, contrasted with the sacred keynote of pro_ catalexis. In like manner, Naevius in his great epic, the Bellum Punicum .

Novem lovis Concordes filiae sorores. A-G A-G | A- A-G°||A-O-GJA-A-G

It is the most universal of all Italic types:

The Mummian inscription, C. I. L. I. 541. 4 (Buecheler, C. L. E. I. 3)

t » j

Hanc aedem et signu Herculis victoris. A - A-G | A-A-G0 || A-O-G | A-A-G

The Vow of the Vertuleii, C. I. L. I. 1175. 3 (Buecheler I. 4),

Decuma facta poloucta leibereis lubetes. A - G A-G I A- A-G1 A-O-G I A-A-G

i8 THE LITERARY SATURNIAX

The second Scipionic epitaph, C. I. L. I. 30 (Buecheler I. 6),

i i O i V 1 * ] 11-^

Subigit omne Loucanam opsidesque abdoucit. A-G A-G | A-A-G0 || A-O-A-G [ A-A-G

The third Scipionic epitaph, C. I. L. I. 33. 5 (Buecheler I. 7).

^•wc, i ^ v* * w 1 X J i w J. 1 i -i.

Facile facteis superases gloriam maiorum. A - G A-G | A- A-G°|| A-O-G | A-A-G

This instinctive tripudic contrast between paracatalexis and acatalexis, on the one hand, and the keynote of procatalexis, on the other, confronts us in the germ as early as the Song of the Arval Brethren and the Salian hymns, and pervades all Italico-Keltic rhythm to the end of time :

Carmen Arvale i,

vl J. A ^ I A 1 O

I

Enos Lases iuvate. A-G A-G | A- A-G

Ibid. 2,

Ibid. 4,

Neve luem ruem Marmar sinas incurrere in pleoris. A-G A-G | A-G A-G ||A-G A- A-O-G | A -A-G

A A vr

Semunis alternei advocabitis conctos. A-A-G | A-A-G°||A-O-A-O-G| A- G

Carmen Saliare i,

Divom lovem patrem canite, divomdeo supplicate. A-G A-G | A-G A-G || A-G A-G°| A-O-A-G

Appius Claudius i,

Ne quid fraudis stuprique ferocia pariat. A-G A-GI A-A-G HA-A-0-Gl A-G

LIVIUS ANDRONICUS 19

Ibid. 2,

I 1 ^. 1 £ • * ||'-1 . ^ • i «* .+ | 4 «* * v j. Amicum cum vides obliviscere miserias. A-A-G A - A-G°i|A-O-A-0-G| A-A-G

Praeceptum ex antiquo carmine, Gellius IV. 9,

w ' w i * i O I 4, i -^ ||w'^wi ^ I i vl ^

Religentem esse oportet religiosus ne f uas. A-A-G A-G|A-A-G°|| A - 0-A-G | A-A-G

Rusticum vetus carmen, Macrobius V. 20. 18,

i i ^ ± w >H|i J. |i i

Hiberno pulvere verno luto. A-A-G°| A-O-GH A-G| A-G

JL wo|JLo||\L.Lo>i/.4.

Grand! a farra camille metes.

A-O-G A-G || A-A-G| A-G

Nutricum Cantilena, Schol. ad Persium III. 16,

i j. i j. i .s. || i 1 j.| i ± j.

Lalla lalla lalla aut dormi aut lacta.

A-G A-G | A-G || A - A-G| A - A-G

It is the abiding motive of the classic rhythm of prose and verse:

J, i .1. |w • vx i *'"j i V.* vliw^.

Senatus populusque Romanus Quiritium. A-A-G | A - A- G || A-A-G A-A-O-G

w

Quousque tandem abutere Catilina patientia nostra. A- A-G | A-G || A-A-G | A-A-G|| A- A- O-G| A-G

• • ., I • .

Arma virumque cano Troiae qui primus ab oris. II ill •

A-G A-A-G | A-G|| A-G A-A-O-G|A-G

i i^lw'^^lliwo I ± w J.

Maecenas atavis edite regibus. A - A - G | A - G°|| A-O-G0 | A-O-G

20 THE LITERARY SATURNIAN

Thus the adoption of the Hellenic verse-beat reversed the tripudic motive, and encouraged the paracatalectic and acatalectic keynote in place of the original procatalectic. With the final domestication of the Greek verse-beat in Christian times the reversal is thoroughgoing, and paracatalexis and acatalexis appear normally in the second and fourth tripudium, where of old procatalexis reigned supreme:

1 1 1 O Jw'w *| i -S. vlio ± w A

Rex aeterne domine rerum creator omnium. i i ill ill

A- A-A-G| A-GHA-G A-A-G°|A-O-G

I-ij.lw'oloHAj. 1 O W1 W O.

Apparebit repentina dies magna do mini. itiiii it

A-O-A-GI A-A-G IIA-G A-G | A - G

But meanwhile in far-off, insulated Ireland the original Italico-Keltic Saturnian has not yet acquired the Hellenic verse-beat: Fiacc's Hymn 63,

I t i ii i i i i

Anim patraicc friachorp isiarsaethaib roscarad. A-G A-G | A-A-G1A-O-A-G | A-A-G

Versiculi Familiae Benchuir (ex Antiphonario Benchorensi, ed. Mura- torius in tomo IV Anecdotorum, p. 156), v. 4,

i vlio|ilo||iwio|ii*

Spe salutis ornata caritate perfecta. A - A A-G | A-A-G°|| A-O-A-GI A-A-G

With reversal of the order of the two dipodies: Fiacc's Hymn 66,

i i .«'.'. ' . ' •

Connucabsat imalle dochum n i s u maic maire. A-O-A-G| A-A-GH A-G A-G| A-A-G

Cf. Italico-Keltic Accent and Rhythm §6, p. 66.

Thus our Italic Saturnian tradition finds a rich supplement in the Old-Irish hymns of Fiacc and Ultan, in the Bangor Antiphonarium and

LIVIUS ANDRONICUS 21

the Liber Hymnorum, and in the numerous Latin reproductions of the Keltic Saturnian by St. Augustine, Bishop Aldhelm, Sedulius Scotus St. Boniface, Hibernicus Exul, and Dicuil. Moreover, all Christian hymnology besides is but the Italico-Keltic Saturnian with its tripudic verse-beat in thoroughgoing harmony with the iambico-trochaic ictus of hellenizing art. The Saturnians of Livius Andronicus and Naevius are relatively but an insignificant and mutilated fraction of our extant tradi- tion; cf. The Sacred Tripudium, and Italico-Keltic Accent and Rhythm, Anderson Brothers, 1909.

§2. Priscian 7.22: Alia vero omnia in us desinentia masculina seu feminina con versa us in e faciunt vocativum: hie Priamus O Priame, pius O pie, Myrtus 0 myrte, Cynthius 0 Cynthie. Excipitur unum, quod tarn in e quam in i facit vocativum, quamvis sit appellativum, 0 filie et 0 file. Livius Andronicus in Odissia :

Pater noster, Saturni filie.

A-G A-G A-A-G°||A-0-G| . . .

The fourth tripudium is lacking. The type is the same with v. i above §3. Priscian 6.41 : Haec etiam contra rationem supra dictarum regu- larum declinantur: puer pueri, cuius femininum puera dicebant anti- quissimi, unde et puerpera dicitur, quae puerum vel pueram parit, id est puellam, quod est diminutivum puerae, ut capra capella, tenera tenella, umbra umbella. Ovidius etiam hoc approbat, qui in V Metamorpho- seon de puella Proserpina narrans dicit:

Tantaque simplicitas puerilibus adfuit annis,

quod derivativum non pertineret ad feminas, nisi etiam puera esset dictum, quod tamen comprobat etiam Suetonius diversos ponens usus in libro, qui est de institutione omciorum. Livius in Odyssia:

W*W w'w*| i i^-lli vt ^ i* w'w 1^

Mea puera, quid verbi ex tuo ore supra fugit? A A - G | A - A-G || A-A-G A-G| A - A-G

The native accentual rhythm of the Romans is quite indifferent to hiatus, despite all the snobbish protests of Hellenizing propagandism. Hiatus and elision are vital issues only in structural rhythm.

When we take into consideration the fact that every Saturnian is a distich composed of two tripudic dipodies, and that every tripudium implies a stress contrast, we realize the further fact that every individual

22 THE LITERARY SATURNIAX

Saturnian is a legitimate illustration of every other. Hence we might logically forego all citation of illustrative parallels. For the sake, however, of clearness and cogency of exposition, let us glance from time to time at the more striking analogies, without needless concern about accidental variations from the particular type under immediate con- sideration. In citing such illustrations we shall quote first the Italic types under the leadership of Livius and Xaevius, and then the Keltic types, beginning with Fiacc's Hymn to St. Patrick and passing to the Latin reproductions of the Keltic Saturnian in Ireland, England, and continental Europe:

ITALIC ILLUSTRATIONS.

Naevius 47, with interchange of dipodies,

11^.1 ^Iw's.iollvl-^Xvll^

Convenit regnum simul atque locos ut haberent. A-A-G A -G | A - A-G||A-G|A-A A-G

So, ibid. 50,

1 1 o A .*. w'wi * || 1 .1. I I 1 i

Magnamque domum decoremque ditem vexarant. A - A - G A-G | A - A - G || A-G | A-A-G

Epigram of Naevius 4,

i i -S. | 1 1 J. I ^ * W A. 1 J. | >!/ 1 J.

Obliti sunt Romae loquier lingua Latina. A-A-G | A - A-G || A - G A - G | A-A-G

Gellius VI. 9. i : Ex antique carmine,

w ' w i O io|Ai^|iw'wv,i^|l A ^

Religentem esse oportet religiosus ne fuas. A-A-G A -Gj A -A-GH A- O-A -G I A - A-G

Appius Claudius, ap. Fest. 317,

w'w i ^ i ij i i *H l tt * |i *

Inimicus si es commentus nee libens aeque. A-A-G A-A| A -A-G || A-A-G |A-G

Titulus coquorum, C. I. L. XI. 3078 (Buecheler C. L. E. I. 2),

1 ^ ' ., JL I 1 1 1 ... II i i ^ 1 J, 1

Gonlegium quod est aciptum aetatei agendai. A-A-G A - A | A-A-G ||A-A-G|A-A- G

LIVIUS ANDRONICUS .23

Mummius triumphator, C. I. L. I. 541 (Buecheler I. 3),

vl 1 ^ i ± J. || i J. v^ ' W -^ A 1 ^

Corinto delete Romam redieit triumphans. A-A-G|A-A-G|| A-G A-G| A-A-G

The Protymus epitaph, C. I. L. X. 5282 (Buecheler I. 8),

Quoius ingenium declarat p i e t a t i s alumnus.

A-G A- A-G IA-A-GII A-A-G IA-A-G

KELTIC ILLUSTRATIONS.

Fiacc's Hymn to St. Patrick, v. 10,

Conidfargaib lagerman andes indeisciurt letha. A-A-G j A-A-G || A-G A- A - G|A-G

Ibid. v. n,

In innsib mara torrian ainis innib adrimi. A - A-G | A-A-G ||A-G A-G | A-A-G

V. 18,

Aratintarrad ochloen tuatha herenn dobethu. A-0-A-G|A-A-G|| A-G A-G | A-A-G

V. 19,

' . ' . ' * . ' ' . ' •

Tuatha herenn doairchntais dosnicfed sithlaith n u a. A-G A-G | A-A - G || A-A-G | A- G | A-G

V. 65,

' . ' ' ' ' ' . ' . ' .

Intan conhualai patraic adella patraic naile. A-G A-A - G | A - G ||A-A-G A - G I A-G

24. THE LITERARY SATURNIAN

LATIN REPRODUCTIONS OF THE KELTIC SATURNIAX.

Secundinus, In Laudem Patricii, Muratori, Anecd. IV. p. 136, 1 •

Sanctumque cuius sequuntur exemplum m i r i fi c u m. A - A - G A-G | A- A- G|| A-A -G JA-A-G

Ibid, post stropham Z (ab alio additum),

• 1 w o || 1 -i. 1 i JL I i w j. Patricius episcopus oret pro nobis omnibus. A - A - G | A-A-O - G || A-G A - A-G°| A- 0- G

Hymnus S. Camelaci, ap. Muratorium, Anecd. IV. p. 142, v. 2,

Camelaci Cumiensis dei iusti famuli. A-A-G1 A - A-G || A-G A-G | A-G

Ibid. v. 3,

Exemplum praebet in toto fidelis in ope re. A-A - G A-G | A- A-G||A-A-G| A - A -G

Aldhelmus, ed. Giles, Oxon. 1844, p. 113,

Te, te herus in omnibus clarum creavit in actibus. A-A -A JA-A-O-GII A-G A-A-G | A - A-O - G

Ibid.,

Curiose conicere mentis atque inspicere. A-O-A-G] A-A-GH A-G A-G|A- A-G

St. Augustine, Psalmus Abecedarius contra Donatistas, \. i

Abundantia peccatorum solet fratres conturbare. A - A-O-G°I A-O-A-G1 A-G A - G°| A-O - A-G

LIVIUS ANDRONICUS 25

Hymnus in S. Comgillum, ed. Murat., Anecd. IV. p. 139,

i C, A i I 1 w ' w i || i A i i v* I i w ^

Apta fide, iustitia, ad dei ducta gaudia. A-G A-G | A - A- G|| A- A-G A-G°| A-O-G

§ 4. Priscian 7.18. In us terminantia, si sint propria, i ante us habentia, abiecta us faciunt vocativum, ut hie Vergilius, O Vergili, hie Sallustius, O Sallusti, hie Pompeius, 0 Pompei haec tamen eadem etiam in e profere- bant antiquissime, O Vergilie, Mercurie dicentes. Livius Andronicus in Odissia :

w'w wr'w i I|i i || i 1 JL w*|i J-

Neque enim te oblitus sum, Laertie noster. A A A-A|A-G | A - A A-O-G] A-G

ITALIC ILLUSTRATIONS. Cf. Livius 10,

Tumque remos iussit r e 1 i g a r e struppis. A-G A-G |A-G|| A - A-G| A-G

V. 22, 1-2,

i o 1 j. ±i||iwo|ili

Namque nullum peius macerat humanum

A - G A-G |A-G°|| A-O-G | A-A-G

Quamde mare saevom vires cui sunt magnae.

A-G A- G| A-G || A-G A - A | A-G

V. 27,

1 1 ... K, » ^ j_ II » J, . i. 1 _.

o & Topper facit homines ut prius fuerunt.

A-G A-G | A -G|| A- A-G | A-A-G

Naevius 38, 2,

Magnum stuprum populo fieri per gentes

A-G A - G | A - G || A - G| A - A-G

26 THE LITERARY SATURNIAN

V. 44,

± w ... |w'w * j ± * || i w .*. | J, .s.

Septimum decimum annum ilico sedent. A-O-G j A - G | A-G° IIA-O-G | A-G

V. 62,

Atque prius pariet lucusta Lucam bovem. A-G A-G I A -G|| A- A-G A-G | A-G

Mummius triumphator, 3, C. I. L. I. 541 (Buecheler I. 3),

xl 1 O 1 w » w I i .8. || >L 1 i -^ iw-U

Ob hasce res bene gestas quod in bello voverat A - A-G A - A | A-G || A - A A-G°| A-O-G

KELTIC ILLUSTRATIONS. Place's Hymn i,

I • ii i i i i

Genair patraicc innemthur ised atfet hiscelaib. A-G A-G |A-A - G || A-GA-G A- A-G

V. 16, i 1111 ii it

Roclos cian son agarma macraide caille fochlad. A-G A - A | A-A- G|| A-A-G A-G| A - G

V- 33,

i lit i ill

Pridchad soscela docach dognith morferta lethu. A - G A-A-G A-G || A-G A-A-G| A-G

KELTIC SATURNIANS IN LATIN.

Secundinus, In Laudem Patricii 6,

Cuius opera refulgent clara inter homines. A-G A - G I A-A-G II A-G A-G I A - G

LIVIUS ANDRONICUS 27

•

V. 8,

Unde et in caelis patrem magnificant dominum. A-G A-A[A-G|| A A A-G A-G

Versiculi Familiae Benchuir, Mural. Anecd. IV. 156, v. 5,

Navis nunquam turbata quamvis fluctibus tonsa. A-G A-G | A -A-G || A2-G° A-O-G | A-G

Memoria Abbatum Nostrorum, ap. Am. Peyron in Cic. orat. tragm. ined., p. 225 : Strophe I, v. 4,

1 ±wij.w'vJ.||iij. Ij-iwJ.

Quos convocavit dominus caelorum regni sedibus. A - A-O-A-G | A - G || A-A-G A-G°| A-O-G

§5. Nonius Marcellus II. 214, De Generibus Vasorum et Poculorum: Polybrum, quod Graeci xtPVL&ov, nos trulleum vocamus. Livius:

i i

I i

-i. -i. J. || JL w A

Argenteo polubro aureo eclutro. A- A - O-G | A-A-G0 1| A-O-G | A-A-G

Nonius goes on to quote from Fabius Pictor an interesting old sacral formula, which exhibits the tripudic dipody or Numerus Italicus in a transitional stage preparatory to its expansion into the distich or Saturnian:

•I J. w'wJ-|w'wio vl-t

Aquam manibus pedibusque dato, A-G A-G | A-A-G A-G

Polubrum sinistra manu teneto, A-A-G A-A-G I A-G A-A-G

Dextera vasum cum aqua. A-O-G A-G | A -A-G

Such unexpanded tetrapodies represent the most primitive, undif- ferentiated type of the Saturnian.

28 THE LITERARY SATURNIAN

ITALIC EXAMPLES. Literary:

Livius 9,

1 x!/o|iw'w-S.||lxL-S-|i 1 J.

In Pylum adveniens aut i b i ommentans. A-A-G | A-A-G || A-A-GI A-A-G

Ibid. 22, 3,

i j. I i i A. || i _ i j. | i j.

Topper confringent importunae undae.

A-G | A- A -G°||A-0-A-G |A-G

V. 32,

^ » w v* I 11 i|| i J. I i i J.

Quoniam audivi paucus gavisi. A-G | A-A-G || A-G| A-A-G

V. 41,

Puerarum manibus confectum pulcherrime. A-A-G| A- G| A-A-G | A- A-O-G

Naevius 3, 3,

1 w i * | 1 w a. 1 1 w * j 1 -^

Immolabat auream victimam pulchram.

A-O-A-G°| A-O-G0 1| A-O-G | A - G

Ibid. 20, 2,

vti w^lsLi^Hi i o|i 1^.

Bicorpores gigantes magnique Atlantes. A-A-O-Gj A-A-G || A -A-G | A-A-G

V. 23,

i ss • v/ .s. I w ( w J. II i i «. I A i J.

I M I

Silvicolae homines bellique inertes. A-A-G| A-G || A-A-G | A-A-G

V.3o,

i iu.liij.Hlij.li*.

Res divas edicit, praedicit castus. A - A-G | A-A-G || A -A-G | A- G

LIVIUS ANDRONICUS 29

V. 38,

i ± J. | i w J. || i 1 W J. I J, J.

Sin illos deserant fortissimos viros. A-A-G°|A-O-G || A- A-O-G | A-G

V. 46,

A ± w .1. | i 1 A | i W A j W » W 1 O.

Superbiter contemptim content 1 e g i ones. A-A-O-G | A- A -G° || A-O-G | A -A-G

V. 48, 2-3,

w'w w ' w -s. | i i J. || iwJ. i J.

Reconciliat captives plurimos idem. A - A-G | A-A-G°|| A-O-G |A-G

w'wwi j.|i±o||iwj.±± j. Sicilienses paciscit obsides ut reddant. A - 0 -A - G |A-A-G°|| A-O-G | A- A - G

V. 51,

Onerariae onustae stabant in flustris. A -A-O-G | A-A-G|| A-G | A -A-G

V- 53,

i --I-J- >tj.||liM/|>tj.

Quod bruti nee satis sardare queunt. A- A-G| A-A-G||A-A-G[ A-G

V. 60,

Quianam Saturnium populum pepulisti. A - G | A-A-O-G II A - G | A - A -G

Epigramma Naevii i,

i -i^jii^lliA^liiv*

Immortales mortales si foret fas flere. A-O-A-GI A-A-G||A-A-G| A-A-G

THE LITERARY SATURNIAN Carmen Saliare 2,

w'w 4 J. { l'w»W*j| 1 ± | J, 1 -^

Quome tonas, Leucesie, prae ted tremonti

A - A-G | A - A - G II A - A I A - A-G

Martius Vates i,

Ibid. 3,

Postremus dicas primus taceas. A-A-G| A-GH A-G A-G

Quamvis noventium duonum negumate. A - G | A-A-O-G || A - G | A - A-G

Versus Sacrorum:

Servius in Aen. VIII, 72,

Adesto Tiberine cum tuis undis. A-A-G | A-A-GH A -A-G | A-G

Incantatio.

Varro de L. L. VI, 21,

vi, i I A i || 1 J. I 1 J.

Novum vetus vinum bibo,

A-G | A -G|| A-G | A-G

vl^lw'^^lll^l^'^-^

Novo v e t e r i morbo m e d e o r . A-G| A- G|| A-G | A - G

Praecepta :

Macrobius, Sat. V. 20, 18,

Hiberno pulvere verno luto, A-A-G°| A-O-GII A-G | A-G

i ^ O | i O || A i O vl, J.

G r a n d i a farra camille metes. A - 0-G|A-G||A-A-G|A-G

LIVIUS ANDRONICUS 31

Appius Claudius 2,

Amicum cum vides obliviscere miserias. A-A-G | A- A-G°||A-O-A-O-G| A- A -G

Ibid. 3,

w ' ^ ^ I A ^ || 1

Faber est suae quisque fortunae. A - G|A-G|| A- G | A-A-G

Versus An tiquus: Ex Festo 333,

Occursatrix artificum perdita spinturnix. A-O-A-G|A- A-G°||A-O-G| A-A-G

Epigraphic :

Carmen Arvale 4,

Semunis alternei advocabitis conctos. A- A- G |A-A-G°||A-O-A-O-G| A - G

Ibid. 6,

Triumpe Triumpe A-A-G I A-A-G

J, •

A •

Triumpe Triumpe. A-A-G j A-A-G

The Praenestine Jewel-boxes, C. I. L. XIV. 4094 ff.,

1. DindiaMacolnia filiai dedit.

A - 0-G| A - A -O-G1 A-0-G| A-G

^.'w.'i'| 1 --=-111 1 *|± *

2. Novios Plautios med Romai fecid.

A - G° A - 0-G || A - A - G A-G

32 THE LITERARY SATURNIAN

The Faliscan Cooks, C. I. L. XI. 3078,

1 A JLJiiw-l-IIAic/liiA

3. Quei soueis argutieis opidque Volgani A -A-G| A-A-O-G||A-A-G| A-A-G

11. L II 1 I . ... 1 1

.1 W ' W .1. I J. J. W

4. Gondecorant saipisume comvivia loidosque.

A-A-G 1 A-A-O-GH A - A-O-Gj A-A-G

Aj.i|Ai.».||iw.-iwj.!i

5. Ququei hue dederunt imperatoribus summis.

A-G-A | A-A-G°||A-O-0-A-0-G| A-G

w' w ' • I A ' • llw' w A j. I J » •

— i ii i

6. Utei sesed lubentes bene iovent optantes.

A - A - G| A-A-G || A - A - G | A-A-G

The Mummian Inscription, C. I. L. I. 541,

i i * | 1 1 * || 1 W .1. | i i J.

4. Hanc aedem et signu Herculis victoris. A-A-G A-A-G1 A-O-G|A-A-G

The First Scipionic Inscription, C. I. L. I. 32,

i i*|iw*Bi'i^*ii*

i. Hone oino ploirume cosentiont Romai A - A-G° A-O-G || A-A-O-G A - G

2. Duonoro optumo fuise viro A-A-G°|A-0-G||A-A-G|A-G

3. Luciom S c i p i o n e filios Barbati. A-O-G0 A - 0-A-G°i|A-O-G| A-A-G

5. Hec cepit Corsica A 1 e r i a q u e urbe. A - A-G° A-O-G0 il A - O-A - G A-G

6. Dedet Tempestatebus aide mereto. A-G° A-O-A-O-GHA-Gl A-G

LIVIUS ANDRONICUS 33

The Elogium of Atilius Calatinus, ap. Cic. Cat. Mai. 17. 61,

1. Unicum plurimae consentiunt gentes A-O-G°| A - O- G || A- A-O- G | A - G

2. Populi primarium fuisse virum.

A- G | A-A-O-GH A-A-G| A-G

The Second Scipionic Elogium, C. I. L. I. 30,

i. Cornelius Lucius Scipio Barbatus. A-A-O-G°|A-O-G°|| A -O-GJ A-A-G

i ± V, J.| 1 i J. || I V^J. i J.

5. Taurasia Cisauna S a m n i o cepit. A - A-O-G| A-A-G1 A - O-G | A-G

The Fourth Scipio, C. I. L. I. 34,

i * | w*%r 1 w A| 1 •! • | '1 £ *

1 . Magna sapientia multasque virtutes

A-G| A-A-O-GH A-A-G | A-A-G

1 ± O | i i -1. || 1 ^ O I i 1 J.

2. Aetate quom parva posidet hoc saxsum. A-A-G] A- A-G°||A-0-G| A-A-G

The Protymus Epitaph, C. I. L. X. 5282, A • . L I I. L II » •

2. Ameiceis summa qum laude probatus

A- A- G A - G || A - A-G | A - A-G

4. Gaius Queinctius Valgus patronus. A-G°| A- O-G || A-G | A-A-G

The Epitaph of Eurysaces, C. I. L. I. 1013,

i. Est hoc monimentum Marcei Vergilei A - A | A- A-G || A-G I A-A-G

34 THE LITERARY SATURNIAX

Iw'wJ-lliillw1^ i O I i 1 -^

2. Eurysacis pistoris redemptoris: apparel. A- A-G| A-A-GH A A-G A-A-G KELTIC EXAMPLES. Fiacc's Hymn,

' ' . | ' ' . || ' ' . | » ' . 4. Mace alpuirn maic otide hoadeochain odissi. A-A-G | A - A - G|| A - A - G | A-A-G

1 ' • I ' ' • II ' ' • I ' •

38. Fosrolaic intarmchosal isinmorchute nisei. A-A-G | A-A-O-G || A- A-O-G [ A-G

1 ' - I ' ' • II ' ' • I ' •

42. Nicreitset infirdeacht innatrinoite fire.

A-A-G°|A-O-A-G°||A-O-0-A-G | A-G

• ' I ' ' • II f ' . I ' * . 64. Aingil de icetaidchi aridfetis cenanad.

A-G - A | A-O-A-G||A-A-G | A-A-G

LATIN REPRODUCTIONS OF THE KELTIC SATURNIAN.

Hymnus S. Columbae, Liber Hymnorurn, Fasciculus ii. p. 205 Strophe A, v. 5,

Coaeternus in gloria deitatis perpetua. A-A-G|A - A -O-G| A -A-G | A- A-G

Strophe B, v. 2,

Principatuum ac sediurn potestatum virtutium. A- O-A-O-G | A - A -O - G' || A -A - G | A -A-O-G

Ibid. v. 4,

Trinitatis in omnibus largitatis muneribus. A-O-A-GI A- A-O-G0 1| A-O-A-G| A - A - - G

V.6,

1 1 w J. | 1 w ' w C/ || 1 w'wJ-|iwfw O

Ostenderet magnopere possibili fatimine. A - A-O-G|A - A - G || A - A - G| A - A - G

LIVIUS ANDRONICUS

35

Strophe C, v. 2,

1 ^ i vi,| i i w -l. ||

Claritate praefulgoris venustate speciminis. A-O-A-G) A- A-O-GII A - A-G| A- A - G

Ibid. v. 5,

Auctoris cenodoxiae pervicacis invidiae. A-A-G| A-A-O-G°|| A-O-A-G| A- A - G

V. 6,

Ceteris remanentibus in suis principatibus. A-O-Gj A - A-O-G||A-A-G°| A-O-A-O-G

Strophe D, v. 5, i •

Locorum infernalium diversorumque carcerum. A-A-G [A-O-A-O-GIA-O-O-A - G | A-O-G

Strophe F, v. 2,

i__l ^ | i w j. Hi i * | i _i^^.

Collaudaverunt angeli factura praemirabili.

A-O-O-A-G0 |A-O-G||A-A-G° A-O-A-O-G

Strophe H, v. 3,

i w J, w JL V

Globo invisibilium turbido perduellium. A-G°|A-O-O - A- G°||A-O-G°| A-O-A-O-G

Strophe I, v. 2,

A A | i _wiwo||iw'w-i.|i i w ^

Tribus profundioribus oceani dodrantibus. A-G°| A-O-O-A-O-GUA - A - G| A - A-O-G

Ibid. v. 5,

^ ' w i J. I i w ' w J. || i i J. I i_ i w J.

Agitatae flaminibus tesauris emergentibus. A-A-G|A - A-G||A-A-G°| A-O-A-O-G

36 THE LITERARY SATURNIAN

Strophe K, v. 5,

w

Cocytique charybdibus strangulati turgentibus. A-O-A-GI A-A-O-G0!! A- O-A-Gl A- A-O- G

Strophe M, v. 5,

i _ i w ^ 1 1 i w ... || w ' w * | i :. w • w *

Promontoriis et rupibus solidis fundaminibus. A -O -A-O-G|A-A-O-G|| A - G°| A-O- A-G

Strophe P, v. 6,

iv^lw'w — i w .s. || i w'v J. I i i wJ-

Cuius inenarrabiles deliciae ac fertiles. A-G°| A-O-A-O-GH A - A - GIA -A-O-G

Strophe R, v. 3,

Diesque mirabilium tonitruorum fortium. A-A-G°| A-O- A-G°|| A- O-A-G°| A-O-G

Strophe S, v. 2,

1-1 * | i i w J. H w • w 1 * 1 1 1 w A

Reddemusque de omnibus rationem effectibus. A -O-A -G|A-A-O-G|| A- A-G A-A-O-G

Ibid. v. 4,

A 1 «, | ± wiw^llw*^ 1 A I ± ^ V *

Librosque conscientiae patefactos in facie. A-A-G°| A - O-A-O-GH A - A - G IA - A-G

V.6,

1 1 ^Iw'^iw^ilw'wi^liw'w^

Subtracta necessaria operandi materia. A-A-G| A - A-O-G || A -A-G | A -A-G

Strophe T, v. 5,

w'w 1 o|i w wlwvK II A i C/ l^'s^iw i

I I' I

Animabus a e t h e r i a 1 i b u s eisdem obeuntibus. A - A-G°| A - O-O-A-O-G ||A-A-G I A-A-O-G

LIVIUS ANDRONICUS 37

Strophe V, v. 2,

± w i J. I i w ' w J. || i i J. I i w i w .i.

Derelicto V i r g i 1 i o astrorum splendidissimo. A-O-A-GI A - A - G II A -A - G° | A-O- A-O-G

Strophe X, v. 3,

1 1 * | i w i w J. || w i J. I 1 w i w. J.

Tactisque luminaribus duobus principalibus. A -A-G°| A-O-A-O-G || A-A-G°| A-O-A-O-G

Strophe Y, v. i,

Hymnorum cantionibus sedulo tinnientibus. A - A- G° | A - O- A-O-G0 1| A -O-G°| A - O-A- O - G

Ibid. v. 3,

Quatuorque plenissimis animalibus oculis. A-O-A-GI A- A-O -G|| A-A-O-G| A-G

V.6,

» i

-L J. j. | w ' w w'w-S.||iwJ.|J._.iwJ.

Laudatur tribus vicibus Trinitas eternalibus. A -A-G A - A -G°|| A-O-G0 A-O-A-O-G

Strophe Z, v. 5,

Dignitatum pro meritis praerruorum perpetuis. A-O-A-G | A - A-G°|| A-O-A-G | A- A- G

Ibid. v. 6,

Permansuri in gloria a seculis in gloria. A-O-A-G| A - A-O-G || A -A-O-G | A -A-O-G

Post stropham Z, v 2,

^'^1^. | i i w J- || i w i * I i ~«w ^

Variatis insignibus veritatis ordinibus A -A-G IA-A-O-G1 A-O-A-GI A - A - G

38 THE LITERARY SATURNIAN

Sancti Venite, Liber Hymnorum, Fasciculus i. 43 f.: Strophe 8, v. 2,

Sumant aeternam salutis custodiam. A-G | A-A-G || A-A-G | A-A-O-G

Strophe 9, v. 2,

Vitae perennis largitur credentibus. A-G| A-A-G || A -A-G | A-A-O-G

Strophe 10, v. 2,

i i o i J. || i i | w ' w i w J.

De fonte vivo praebet sitientibus.

A-A-G|A-G|| A-G | A-A-O-G

Strophe n, v. 2,

Venit, venturus iudicare homines.

A-G | A-A-G°|| A-O-A-G | A - G

Noli Pater, Liber Hymnorum, Fasciculus ii: V.n,

vti * - 1 1 i * I 1 _ i ^ I w « w ^

Johannem baptizam praecursorem domini. A-A-G A-A-G1 A-O-A-GI A-G

Hymnus S. Patricii Magistri Scotorum, The Antiphonary of

Bangor, Ed. Warren, Pt. II. p. 14 ff.: Strophe 3, v. 2,

», • . , • ., II • »

i t

Super quern aedificatur ut Petrum ecclesia. A-G- A | A-O-O-A-GH A- A - G | A-A-O-G

Strophe 9, v. 3,

Quibus erogat ut panes verba evangelic a. A -A-O-G | A - A -G|| A-G°|A-O - A- G Ibid. v. 4,

Et cuius multiplicantur ut manna in manibus. A-A-G0! A-O-O-A-G ||A-A-G|A-A-G

LIVIUS ANDRONICUS 39

Strophe 18, v. 2,

1 ± o || w ' w ± i 1 s/'

Salvatorisque in carne Deitatem pervidet. A-O-O-A-G|A-A-G|| A-A-G°|A-O-G

Strophe 21, v. 4,

Innumeros de zaboli absolvit dominio. A- A - G|A-A-0-G||A-A-G | A - A-G

Strophe 23, v. 7,

1 w'will s-lll J. 11

— I "" ^™ II ™" — ^

P a t r i c i i laudes semper dicamus. A - A-G| A -G|| A - G | A-A-G

Ibid. v. 8,

Ut nos cum illo semper vivamus.

A - A | A-A-GHA-G | A-A-G

Hymnus inNatali Martyrum, Antiphonary of Bangor, Warren II. 12: Strophe i, v. i,

^1*5 i . .M . II •

Sacratissimi martyres summi Dei. A-A-O-G° A- O-G II A - G A-G

Ibid. v. 2,

Bella tores fortissimi Christi regis. A-O-A-G|A-A-O-G|| A-G|A-G

V. 3,

ww-L\~>.±.]\i/ — || — — x_/ .^ | v!> -i. Potentissimi duces exercitus Dei. A-A-O-GI A-GHA-A-O-G | A-G

V- 4,

11 ^|1 i'a. ||4r*| A i *

Victores in caelis Deo canentes. A-A-G|A -A-G||A-G| A-A-G

40 THE LITERARY SATURNIAX

Hymnus S. Comgilli Abbatis Nostri, Antiphonary of Bangor II. 16: Exordium, v. 6,

Ab angelis custodita permansura in saecula. A -A-O-G0 A-O- A-G°|| A - O-A-G | A- A-O-G Strophe 3, v. i,

i i J. | i wlw.S.i|w'wi-^j li^i

Contemptum mundialium voluntatum praesentium. A-A-G0 | A-O- A-O-G || A-A-G) A-A-O-G Ibid. v. 2,

Vitiorum firmissimum infirmos devastantium. A-A-G | A-A-O-G || A-A-G0 | A-O-A-O-G Strophe 6, v. 2,

Rutilantis meridie fidei claritudine. A - A-G | A-A-O-GH A -G°| A-O- A-O-G

Ibid. v. 4,

i i -i. | i wlwJ-||lw'wJ.| i w'wc/

Confidens sanctimoniae praecipuo muni mine. A-A-G°| A-O-A-O-GH A- A-G| A-A-G Strophe n, v. i,

i w J. I w « w ± w J. || i w ' w * I i 1 ^ O

Lampadem sapientiae constituit in pectore.

A-O-G | A -A-O- G|| A - A - G| A - A-O-G Strophe 13, v. 2,

w'w li|lw'wo||l__ij. 1^0

Monachorum militibus anchoretarum sensibus.

A - A-G | A - A - G°|| A-O-O-A-G0] A-O-G Strophe 20, v. 3,

Comitaturus agmina angelorum praecipua. A-0-A-G0| A-O-G0 1| A-O-A-G | A - A-G

Strophe 21, v. 4,

1 i 0 w ' w i w J.'||Iwi.a.|i±w.s.

In sanctum habitaculum Trinitatis lectissimum. A - A - G I A - A-O - G°|| A-O-A-G | A-A-O-G

LIVIUS ANDRONICUS 41

In Memoriam Abbatum Nostrorum, Antiphonary of Bangor, Warren

II- 33:

Strophe i, v. 2,

1 w 1*|A iw...| 1 -, J,*j i i V*

Benchorensi in optima fundatorum ecclesia.

A-0-A-G|A-A-O-G°|| A-O-A-G| A-A-O-G

The virile strength of this Old-Irish culture in the early Middle Ages is evidenced by the occasional emergence of the Keltic Saturnian in England and on the Continent:

Aldhelmus, Giles, Oxon. 1844, p. 113:

Salutatis supplicibus Ethelwaldi cum vocibus. A-A-G| A -A -G|| A - A-G| A - A-O-G

Bonifatius, Carmina, ed. Diimmler, p. 18 (Monum. German. Histor. Poetae Latini Aevi Carolini I. i):

III. v. 4,

1 1 j-lw'Cw'wJ.Hlw i j. |1 i w ^

Prophetae apostolicis consonabunt et laudibus. A-A-G| A - A-G° A-O-A-G | A-A-O-G

Hibernicus Exul, Carmina, ed Diimmler, p. 399 f. :

IV. v. 2,

1 I w * } 1 w * B JL ± * | A i w .s.

Ad Caesaris splendidum nunc perge palatium.

A-A-O-G0| A-O-G |! A - A - G| A-A-O-G

wJL.*.w'w.!.||Ai«,|Iw'w.l.

Gloriosis pueris sacrisque virginibus. A-O-A-GI A-G| A-A-G I A-A-G

v. 10,

i ij.|llwJ.||llo|lw'wJU

Confortet, custodiat, dilatet imperium.

A - A - G | A-A-O-GH A-A-G| A-A-G v. 17.

i 1* W J. | A 1 J. || ± 1 J. | i i W -S.

Regalibus puellis, die, fiat sublimitas. A -A-O-G | A-A-G| A- A-G | A-A-O-G

42 THE LITERARY SATURMAN

v. 18,

1 1 O w * C, WW .*.

Sit sancta, sit sobria, sit vera virginitas. A - A - G | A - A-O-G :A - A-G A - A - G

V. 21,

1 i w .». | w • w ... jj i i * ( I wf w *

Die, protegat dominus sic Francos armigeros. A - A-O-G | A - Gij A - A - G | A - A - G

§6. Our next fragment of the Odysseia is preserved by Xonius Mar- cellus (Compendiosa Doctrina: De Indiscretis Adverbiis, II. 155), who quotes in illustration of the use of disertim Livius,

Tuque mi hi narrate omnia disertim. A - G A-G | A-A-G°i| A-O-G | A- A- G

Cf. §i.

§7. Priscian, Inst. I. 321. In-aps unum femininum: haec daps, huius dapis, sed nominativus in usu frequenti non est, quern Livius Androni- cus in I Odissiae ponit,

Quae haec daps est? Qui festus dies?

A - A | A - A I; A -A-G |A-G

A beautiful illustration of the essential nature of the Latin versus longus in all ages: a distich composed of two contrasted dipodies, in which each foot is composed of two contrasted stresses; cf. Sacred Tripudium, p. 26, §§21-26. Cf. §5.

§8. Festus 225 (Mueller). Procitum cum prima syllaba corripitur significat petitum: Livius,

i »

Matrem procitum plurimi venerunt. A-G | A-A-G°j| A-O-G] A-A-G

Cf. §7.

§9. Festus 190, Ommentans: Livius in Odysseia, quom ait:

» JL ... I J ., • .,

In Pylum adveniens, aut ibi ommentans, A-A-G|A-A-G || A-A-G| A- A-G

LIVIUS ANDRONICUS 43

significat obmanens, sed ea significatione, qua saepe fieri dicitur, id enim est mantare. Cf. § 5.

§10. Isidorus, Origines 19. 4. 9. Struppi vincula loro vel lino facta, quibus remi ad scalmos alligantur. De quibus Livius:

1 O iA.|io.||w'wlo| 1 J-

Tumque remos iussit religare struppis. A - G A-G | A-G || A -A-G | A-G Cf. §4.

§11. Gellius VI (VII). 7 Adprimum autem longe primum L. Livius in Odyssia dicit in hoc versu:

W ' W 1 O I ± 1 Vi, || 1 1 .1. I 1 1 J.

Ibidemque vir summus adprimus Patroclus.

A -A-G | A- A - G || A -A-G |A-A-G Cf. §9.

§12. Gellius III. 16. ii. Caesellius autem Vindex in lectionibus suis antiquis 'tria' inquit 'nomina Parcarum sunt: Nona, Decuma, Morta,' et versum hunc Livii antiquissimi poetae ponit ex '(

1 ^ A" A | 1 w « W * 1 1 vL 1 O I i * 1

Quando dies adveniet quern profata morta est. A-G A-G | A - A-G | A - A A-G | A-G -A

Cf. v. 17, where the third and fourth tripudium have merely changed places with each other,

w -s.

Igitur demum Ulixi cor frixit prae pavore. A-G A-G |A-A-G| A - A-G | A - A A-G

Similarly we may compare the well-nigh identical numerus of the types illustrated in §4:

w ' ^ <L A. i 1 ± * || ± 1 iwo 1 -t. Neque enim te oblitus sum Laertie noster. A - A-G | A-A-A-G || A - A A-O-G| A - G

The first and second tripudium are merely interchanged, and the last contracted.

44 THE LITERARY SATURXIAX

Carmen Arvale 2,

i^vl^lw'^ 1 J.|v»oilw*|l 1^-

Neve luem ruem Marmar sinas in'currere in pleoris. A-G A-G | A - A - G j! A - A A - O-G | A - A- G

The Third Scipionic Inscription, C. I. L. I. 33 : v- 3,

1. — J. vi/ I J. -L O || .1 w O — \1> | -!. w ' >-» .1.

Honos fama virtusque gloria atque ingenium. A-G A-G|A-A-G°|| A- O-G A- G | A - A -.G

The Fourth Scipionic Inscription, C. I. L. I. 34: v. 6,

I 1 ... I A i

I I

Ne quairatis honore quei minus sit mandatus. A - A A-G| A-A-G || A - A-G | A - A A - G

Here we have again a mere interchange between the third and fourth tripudium.

OLD-IRISH EXAMPLES.—

Fiacc's Hymn: v. i,

1 ' • I ' ' II ' • ' • I ' '

Genair patraicc innemthur ised atfet hiscelaib. A-G A-G |A-A - G |A-G A-G i A-A-G

v-3,

» . » . I » I . II • t • . I • »

Succat aainm itubrad ced aathair ba fissi.

A-G A-G IA-A-G HA-A-A - G IA-A-G

v. 5,

• » i . | • » . || i . I • . I • I

Bai se bliadna ifognam maisse doine nistoimled.

A- A A - G|A-A-G li A-G A-G| A-A-G

v- 7,

Asbert Victor frigniad mil con tessed fortonna. A-G A-G A-A-G A-G A-G I A- A-G

LIVIUS ANDRONICUS 45

v. 8,

1 • ' • I ' ' • II ' • ' • I ' ' Forruib achois forsindleicc maraid aces nibronna. A-G A-G | A-A - G || A-G A-G | A- A - G

v- 15,

' ' . | ' » . || ' . ' . | ' '

Robo chobair donderinn tichtu patraicc forochlad.

A-G A-G | A- A-G || A-G A-G | A-A - G

v. 28.

• . i . | • • . || • . '.)»».

Fornim consen arige pridchais fride indinnib.

A-G A-G|A-A-G|| A-G A-G|A-A-G

Canaid cetsalm cechnaidchi dorig aingel fogniad. A-G A-G | A - A - G|| A-G A -G| A- A-G

v. 31,

' . ' . | ' ' . || ' . • . | ' • .

Foaid forleicc luim iarum ocus cuilche fliuch imbi.

A-G A-G | A- A-G ||A-G A-G| A- A-G

v. 34,

• . • . | • • . || • • » . I » •

Iccaid luscu latruscu mairb dosfiuscad dobethu. A-G A-G|A-A-G|| A AA-G|A-A-G

. | * * . K * . ' . | • . •

Anais tassach d i a e s intan dobert comman do. A-G A-G | A- A-G || A-G A-G | A -'G - A

v- 57,

' . ' . | ' ' . || ' . • . I ' '

Incath fechtad imbethron frituaith cannan lamac nuin. A-G A- G | A-A-G || A-G A-G|A-G-A

v. 58,

' . ' . | i ' . || ' . • . | ' •

Assoith ingrian frigabon issed adfeit littrib duinn. A-G A- G | A-A-G II A-G A-G | A-G - A

46 THE LITERARY SATURNIAN

v- 59>

Huare assoith lahesu ingrian fribas innacloen.

A-GA-G IA-A-GIIA-G A-G A-A-G

v. 61,

Clerich herenn dollotar dairi patraic ascechset. A-G A-G | A-A-GIIA-G A-G | A-A-G

v. 68,

Beith ingeillius meic maire basen gaire ingenair. A - A A-G | A - A-GIIA-G A-G| A-A-G

LATIN REPRODUCTION OF THE GALLIC SATURNIAN.

St. Augustine, Psalmus Contra Donatistas: Strophe I, v. 7,

1 -i.w'wvS,|l_w'w^||w<Ol A | i vlio

Quisquis recolit evangelium, recognoscat cum t i m o r e . A-G A - G°| A-O - A - G || A-A-G A - A A-G

With simple interchange between the third and fourth tripudium. Ibid. v. 10,

*

Saeculi finis est litus, tune est tempus separare. A-O-GA-G] A -A-G || A - A A - G°l A-O-A-G

v. ii,

1 * i W * j i I * . |( i * i _ | i J. Ao

Quando retia ruperunt, multum dilexerunt mare. A-G°A-O-G| A-A-G || A-G° A-O|A-G A-G

With interchange of tripudia in the second dipody. Strophe II, v. 6,

1^. i W |i J. A * ||i 1 1^- I-IO

Ipsi tradiderunt libros et nos audent accusare. A-G° A-O|A-G A-GHA-A A-G° | A-O-A-G

With interchange of tripudia in the first dipody.

LIVIUS ANDRONICUS 47

LATIN REPROCUCTION OF THE OLD-IRISH SATURNIAN.

Hymwus S. Columbae, Todd, Fasc. ii, p. 205 : Strophe D, v. i,

A J. i A | 1 i W J. || i W* W 0 |N!/ i i i

Draco magnus deterrimus, terribilis et antiquus.

A-G A-G | A-A-O -G || A - A - G | A -A A - G

With interchange of tripudia in the second dipody. Strophe Q, v. 2,

vl ii .i. | >l i w sv|| i SV vli vt i^O

Quis audivit tonitrua supra modum sonantia?

A - A A -G | A - A-O-GH A- G A-G | A - A-O-G

Strophe R, v. 4,

Dies quoque angustiae, maeroris ac tristitiae. A-G A-G A -A-O-G || A-A-G|A-A A-G

With interchange of tripudia in the second dipody. Strophe V, v. 4,

Girans certis ambagibus redit priscis r e d i t i b u s . A- G A-G | A- A-O-G || A-G A-G A - A - G

Noli Pater, Liber Hymnorum, Fasc. ii : v. i,

i _i. xLo|i—iv->||vi'iwM'|i iwvi/

Noli, pater, indulgere tonitrua cum fulgure. A-G A-G°| A-O- A-G || A-A- O-G | A - A-O-G

V. 2,

i iij. | i i w O j| i sv i o | i i w O

At frangamur formidine huius atque uredine. A-A A-G | A-A-O-GI A-G A-G | A-A-O-G

In Te Christe, Liber Hymnorum, Fasc. ii: v. 4,

Ad dolorum remedium festina in auxilium. A - A A-G | A- A - G ||A-A-G| A-A A - G With interchange of tripudia in the second dipody.

48

THE LITERARY SATURNIAN

Deus pater credentium deus vita viventium. A-G A-G | A-A-O-G ||A-G A-G | A-A-O-G

13,

Deus largus longanimis deus doctor docibilis. A-G A-G |A- A -GjlA-G A-G | A -A-G

V. 22,

i i

Christus crucem ascenderat Christus mundum salvaverat. A-G A-G | A-A-O-G i A-G A-G | A-A-O-G

v. 26,

Gloria haec est altissimo deo patri ingenito. A-O-G A - A | A- A-O-G || A-G A-G|A-A-G

The Hymn to St. Brigid, Liber Hymnorum, Fasc. i, pp. 571. : Strophe II, v. i,

Hymnus iste angelicae summaeque sanctae Brigitae. A - G A-G | A- A - G || A - A-G A- G°| A-O-G

With redistribution of the elements in the second dipody. Strophe III, v. i,

Zona sanctae militiae sanctos lumbos praecingere.

A-G A-G | A -A-G || A- G A-G| A-A-O-G

I I

Strophe V, v. 2,

i w'vxi J. I A i 0 || A 1

I II

Ut mereamur coronam habere ac laetitiam. A - A A - G | A-A-G || A - A - G A - A A-G

With the favorite interchange in the second dipody.

LIVIUS ANDRONICUS 49

Hymnus S. Comgilli, Antiphonary of Bangor, Warren, pp. 16 ff. : Strophe IV, v. 4,

11-s. 1 i I ± w J. || i o 1 c, | 1 ^ ' w -s-

Docebat sic et ceteros dicta docta operibus. A-A-G A-A|A-O-G || A-G A-G|A-A-G

With redistribution of the elements in the first dipody. Strophe VII, v. 2,

11 1 ._ II JL , i i i i .

Regnum quod est sublimibus deo dignum et fortius, A-G A - A | A - A-O-G || A-G A-G |A - A-O-G

Ibid. v. 4,

Quo prosterneret superbos tenens sanctis in manibus, A - A A-O-G| A'A - G II A-G A - G | A - A-G

Strophe XIII, v. 4,

1.1. 1 J. |i 1 W ^|| A 1 M, |1 1 IwJ.

Clarus cunctis in sortibus adauctus in sublimibus.

A-G A-G iA-A-O-GII A-A-G |A- A A-O-G

With the common interchange in the second dipody. Strophe XVI, v. i,

1 11 J. 1 lwo||lv^lj-|lw'wxf

Quis contempsit praesentia huius aevi decidua. A - A A - G | A - A-O-GH A-G A-G | A-A-G

Strophe XIX, v. i,

A J. A j. | X w ' w O || 1 ± w i J. | A i ^

Tulit suam memoriam ad mansionem supernam A-G A-G | A - A - G|| A - A-O-A-G A-A-G

Strophe XXI, v. 3,

1 J. vt J. I i W ' W J. || 1 A X A | ± 1 W J.

Huius sequens vestigium ducens Deo exercitum. A-G A-G I A - A-G II A-G A-G|A-A-O-G

50 THE LITERARY SATURXIAN

Strophe XXII, v. 4,

lunctus choro a n g e 1 i c o summo sanctus in i u b i 1 o . A-G A-G| A - A-G || A-G A-G|A-A-O-G

Versiculi Familiae Benchuir, Antiphonary of Bangor II. 28 : Strophe VI, v. 2,

Sacro-sanctis reperta viris quatuor portata. A-G A-G| A-A-GH A-G° A-O-G) A-A-G

Strophe IX, v. i,

t • ... II • « i

Virgo valde fecunda haec et mater intacta. A-G A-G | A-A-G || A -A A- G| A-A-G

THE OLD-IRISH SATURNIAN IN ENGLAND. Aldhelmus, Giles, p. 113: V.i,

Vale vale fidissime, phile Christi carissime. A-G A-G|A-A-O-G| A-G A-G | A- A-O-G

V-3,

AveHova altissime olim sedes sanctissime. A-G A-G|A-A-O-G|A-G A-G| A-A-O-G

V- 7,

Tuam primum propaginem per profundam indaginem. A-G A-G | A-A-O-G || A - A A-G | A-A-O-G

V.Q,

Nullus valet volucribus summi caeli sub nubibus. A-G A-G I A-A-O-G || A-G A-Gl A - A-O-G

LIVIUS ANDRONICUS 51

THE OLD-IRISH SATURNIAN IN GERMANY.

Bonifatius, Carmina ed. Diimmler (Monum. Germ. Histor.), p. 18:

Carmen III, v. 5, • » ill , I ^ . H 1 . 1 ., I i »

Qua rex regum perpetuo cives ditat in saeculo. A - A A-G | A A- G|| A-G A-G| A - A-O-G

V. 8,

A i «, | i 4 1 y *'|.l 4. 1 * ] i i w o

Nitharde, nunc nigerrima i m i cosmi contagia. A-A-G| A - AA-0-GHA-G A-G| A - A-O-G

V. 14,

i o i j. | i w'w i|| i -^ i j. I J: 1^^

Inque throne^ aethereo Christum laudes praeconio.

A-G A-G A - A- Gil A-G A-G| A - A-O-G

Carmen IV, v. 13,

A j. i^|ilvo||i^iv*|ii~o

Vale Christo virguncula Christi nempe tiruncula. A-G A-G| A-A-O-GH A- G A- G | A-A-O-G

V. 14,

Mihi cara magnopere atque gnara in opere. A-GA-G] A-A-GHA-G A-G|A-A-G

A J. i i I i lwJ-||ivi, i i 'I 1 w ' w -1.

Tibi laudes contexero atque grates ingemino. A-G A-G| A-A-O-GHA-G A-G|A - A-G

Berthgitha ad Baldhardum, ap. Bonifatium, Giles, London, 1844, p. 272:

In fine carminis, v. i ,

Ave care crucicola salutate a sorore. A-G A-G| A-A-GJI A-A-GIA-AA-G With interchange of tripudia in the second dipody.

52 THE LITERARY SATURXIAX

V.2,

1 O A j. | i ± w a. || ± -i.

Fine tenus feliciter famam serva simpliciter. A-G A-G|A-A-O-G||A-G A-G|A - A-G

Ibid. p. 273,

Vale vivens feliciter, ut sis sanctus simpliciter. A-G A-G | A-A-O-Gj'A- A A - G|A A-G

Sedulius Scotus, Carmina ed. Grosse, VI: V. i,

Bonus vir est Robertus, laudes gliscunt Roberti. A-G A-G | A- A -G|| A-G A - G | A- A-G

V.2,

Christe fave Roberto, longaevum fac Robertum. A-G A-G A -A-G jj A- A- G | A - A A- G

V.3,

Amen! salve Roberte, Christus sit cum Roberto. A-G A-G | A-A -G|| A-G A - A [ A-A-G

§13. Priscian, Inst. VI. 6: Eiusdem, id est primae, declinationis femi- norum genitivum etiam etiam in -as more Graeco solebant antiquissimi terminare, unde adhuc paterfamilias et materfamilias solemus dicere et frequens hoc habet usus. Livius in Odyssia:

1 x* ij. w'wi i|| ± w I J. I

Atque escas habeamus mentionem A-G A-G| A-A-G°|! A-O-A-G | The last tripudium is lacking.

ITALIC EXAMPLES. V. 17,

Igitur demum Ulixi cor frixit prae pavore. A-G A-G |A-A-G||A - A-G| A-A A-G

LIVIUS ANDRONICUS 53

V. 28, 3,

H iow'wolAI* || i w w i J. I

I II I

Multa alia in isdem inserinuntur . A-G A -G| A-A-G0 || A-O-O-A- G |

Here again the final tripudium is wanting in our tradition. Naevius: V. 3, i,

i O >t^|i±C,||JLl.i.|liM,

Postquam avem aspexit in templo Anchisa. A - G A-G | A-A-GH A-A-G | A-A-G

V.4,2,

1 J. i J. | i i J. || A W ' W O | A i J.

Noctu Troiad exibant capitibus opertis. A-G A-G|A-A-G || A - A - G | A-A- G

V. 12, I,

vt-i. ±J.|w'w±C,||iwiA i i

Senex fretus p i e t a t e adlocutus summi. A-G A-G| A-A-G°||A-O-A-G| A-G

V. 12, 2,

1^. ij.|i±J.||I_ij.|Aj.

Regis fratrem Neptunum regnatorem ma rum. A-G A-G ! A-A-G0 II A-O-A-G I A-G

V. 20, I,

'

_ vl/

Inerant signa expressa quo modo Titanes. A-G A-G | A -A-G || A - A-G| A-A-G

V. 37, i,

i^w'^^li 1 * | 1. ' 1 'W * | 1 V ; *

Transit Melitam Romanus exercitus insulam. A-G A -G | A-A-G ||A-A-O-G°| A-O-G

V. 39, 2,

i ^ A a. | ,1 i * || ± A * | w • w i J.

Quam cum stupro redire ad suos populares. A -A A-G IA-A-GIIA-A-GI A-A-G

54 THE LITERARY SATURNIAN

Apud Macrobium, Sat. VI. i. 37,

N^'^J. W ' W -1. xi, i XV || i i C/ I A i J-

Redeunt referunt petita rumore secundo. A-G A - G | A-A-G || A-A-G | A- A- G

Popularis Incantatio, Varro de R. R. I. 2. 27:

I J, J. J. || j, J. i I vt 1 ^

Terra pestem teneto, salus hie maneto.

A-G A-G IA-A-GIIA-G- A A-A-G

Appius Claudius i. 2-3,

i ^ 1-1. Aic/||vliwo|w'v/J.

Nequid fraudis stuprique ferocia pariat. A-G A-G | A-A-G||A-A-O-G| A-G

Versus Antiquus ap. Festum, 333,

L *_ I 1 »,,!!• • , I •

Quasi messor per messim unumquemque spicum. A-G A-G| A- A-G°||A-O - A-G | A-G

The Faliscan Cooks, C. I. L. XI. 3078: V. 6,

xt J. i .i. M, i .s. || xv » w xl -s. I i 1 J.

Utei sesed lubentes bene iovent optantes. A-G A-G | A-A-G || A - A-G | A- A - G

The Vow of the Vertuleii, C. I. L. I. 1175:

V. 2,

xv -1. AJ. 1 1 J. || 1 J. 1 I xt J. 1

Parens timens heic vovit, .voto hoc soluto. A-G A-G A - A-G ||A-G - A | A-A-G

The First Scipionic Inscription, C. I. L. I. 32: V. 4,

Consol censor a i d i 1 i s hie fuet apud vos. A-G A-G I A-A-G II A-A-Gl A-G -A

LIVIUS ANDRONICUS

55

The Second Scipionic Inscription, C. I. L. I. 30:

V. 2,

• • ... 1 I » . II » . »

(^ ' w — \t/

Gnaivod patre prognatus fortis vir sapiensque. A-G A-G A -A-G II A-G- A I A-A-G

V. 3,

1 -i. 1 o |lij.||4/iw*|^JU

Quoius forma virtutei parisuma fuit. A-G A-G I A-A-G i| A-A-O-G A-G

V-4,

i

•

•

«

O J. J.

Consol censor aidilis quei fuit apud vos. A-G A-G I A-A-G II A -A-G | A-G - A

V. 6,

Subigit omne Loucanam opsidesque abdoucit. A-G A-G A-A-G1 A-O-A-G | A-A-G

The Fourth Scipionic Inscription, C. I. L. I. 34:

V. 3,

i^lo|ll^||l vt^Aio

Quoiei vita defecit, non honos honore.

A-G A- G | A - A- G || A - A-G I A-A-G

V. 4,

• I • •

Is hie situs quei nunquam victus est virtutei. A - A A-G I A -A-G || A- G - A I A- A-G

V. 5,

Annos natus viginti is diveis mandatus. A-G A-G | A -A- Gil A- A-G I A-A-G

V. 6,

1 i' JL\* I ir i JU U i ~'^ J.|i%lj-

Ne quairatis honore quei minus sit mandatus. A - A A- G | A-A-G || A - A - G | A - A-G

56 THE LITERARY SATURNIAN •

KELTIC EXAMPLES.

Fiacc's Hymn:

V. 6,

• . i . | i • .|| ; ' . | • ' .

Batar i 1 e cothraige cethartrebe diafognad. A-G A-G | A-A-GH A-A-O-Gl A-A-G

V. 25,

Ymmuin ocus abcolips natricoicat noscanad. A-G A-G] A -A- G° || A-O-A-G | A-A-G

V. 26,

Pridchad baitsed arniged de molad de nianad. A-G A-G |A- A-G || A- A-G | A-A-G

V-63,

• . • . r " . ii • • . i • • .

Anim patraicc friachorp isiarsaethaib roscarad. A-G A-G | A-A-G0 || A-O-A - G | A-A-G

THE GALLIC SATURNIAN IN LATIN.

St. Augustine, Psalmus contra Donatistas: Strophe I, v. 7,

i j. ^*"^VK|I_W«WJ.||^'W i -s. | i vl 1 o

Quisquis recolit evangelium recognoscat cum timore. A-G A - G°| A - O - A - G II A A- G | A - A A-G

THE OLD IRISH SATURNIAN IN LATEST.

Hymnus S. Columbae, Liber Hymnorum, Todd, Fasc. ii, p. 205: Strophe A, v. i,

1 .i. i w J. | A i J. || J, i C, vL i w ' w .8.

Altus prosator vetustus dierum et ingenitus. A-G° A-O-G | A- A-G || A-A-G |A-A A-G

V. 3,

Est et erit in saecula saeculorum infinita. A - A A-G | A - A-O-G1 A-O-A-G I A-O-A-G

LIVIUS ANDRONICUS 57

V. 6,

1 1 & a. | 1 1 W *- ft -4 I a. A ... | i w .*.

Non tres D e o s depromimus sed unum D e u m dicimus. A -A A-G| A-A-O-G || A-A-G A-G° (A-O-G

Strophe D, v. i,

Draco magnus deterrimus, terribilis et antiquus. A-G A-G | A-A-O-G || A - A - G|A-AA-G

Strophe E, v. 4,

1.1. ivl/|ilwo||io i I W ' W i W O

Solem lunam ac sidera ignem et necessaria.

A-G A-G | A- A-O-G || A-G -A | A-A-O-G

Strophe H, v. 5,

1-1. 1 J. | A i W -S.||l-l.l|w'ww'w J.

Nullis umquam tegentibus septis ac parietibus. A-G A - G | A- A-O-G ||A-G -A| A-A-G

Strophe I, v. 3,

>!/ J. i i | ± w'w A || 1 w ' W J. I 1 w'w A.

Maris caeli climatibus caeruleis turbinibus. A-G A-G | A -A - G || A - A-G| A - A - G

Strophe M, v. i,

1 ^ ,1 a. i i w . V| i 1 w a. I 4 1 v .'a,

Magni Dei virtutibus appenditur dialibus.

A-G A-G| A-A-O-G || A -A-O-G | A-A-O-G

V. 2,

li 1^.1 i w vi. || A i J. 1 JU iwi

Globus terrae et circulus abyssi, magnae inditus. A-G A-G | A- A-O-G || A- A-G A-G°| A-O-G

Strophe O, v. 2,

1 j. A a. | A ± w .*. || A Ij- i a. | w * w: a.

Quorum genu precario frequenter flectit Domino.

A-,G A-G A-A-O-GH A-A-G A -G | A-G

58 THE LITERARY SATURXIAN

V. 6,

1 j. Ai| 1 1 wo||l i i | v'w lw^

Explens s u i' praesagmina adventus prophetalia. A-G A-G| A-A-O-GHA-A-G | A - A-O-G

Strophe R, v. 4,

Dies quoque angustiae, maeroris ac tristitiae. A-G A-G i A-A-O-GH A-A-G|A A A-G

Strophe T, v. i,

Tuba primi Archangel i strepente admirabil i a. A-G A-G| A - A - O-G || A- A-G° A - O -O - A-G

Strophe Z, v. i,

1 C* i i | w ' w 1 i || 1 i O I i _ 1 w i

Zelus ignis furibundus consumet adversarios. A-G A-G| A - A - G|| A-A-G°|A -O-A-O-G

Post Stropham Z, v. 4, Ai i*jiw»w*l|ia.lii|w»wi

Deum patrem ingenitum caeli et terrae Dominum. A-G A-G |A- A-G ||A-GA-A-G| A-G

Noli Pater , Liber Hymnorum (Macllwaine, Lyra Hibernica Sacra, p. 382):

* | ± _ lollvll W

Noli pater indulgere tonitrua cum fulgure. A-G A-G°| A-O-A-GH A-A-O-GI A - A-O-G

In Te Christe, Liber Hymnorum (Lyra Sacra, p. 383) : V. i,

1^ i * | ' 1 iw*||w'wwi^|lwi

In te Christe credentium miserearis omnium. A - A A-G A - A-O-G1 A - O-A-G° A-O-G

V/

Tu es deus in saecula saeculorum in gloria. A-A A-G|A- A-O-G°H A-O-A-G I A- A -O-G

LIVIUS ANDRONICUS 59

V. 4,

i A JL JL | vl v, • w JL || 1 i JL 1 1 w'wj.

Ad dolorum re medium festina in auxilium. A - A A-G | A - A - G || A-A-G |A - A A-G

V. g,

w'w w ' w I 1 w » w JL || i ± o I w ' v w w » ^ i

Deus opis eximiae caelestis Hierosolymae. A A | A - A-G || A-A-G°| A-O -A-G

V. 15,

A J- JL & I JL -L w i* ft JL JL \J/ 4r X | — w JL

Dei patris in nomine filique sui prospere. A-G A-G| A-A-O-G||A-A-G A-G°| A-O-G

V. 32,

JL C, i * | 1 W ' W X || A i * i O | ± W JL

Sitque nobis propitius diebus atque n o c t i b u s . A-G A-G | A - A -G|| A-A-G A-G° A-O-G

The Hymn to St. Brigid, Liber Hymnorum, Todd I. 57: Strophe II, v. i,

1 O 1 C/ | 1 w ' w JL || 1 lol d. I 1 W A

Hymnus iste angelicae summaeque sanctae B r i g i t a e. A - G A-G| A A -G || A - A-G A - G°| A-O- G

Strophe V, v. 2,

i w'wl J-|Aio || vl i o I i i w'wJ.

Ut mereamur coronam habere ac laetitiam. A-A A-G|A-A-G | A - A-G | A - A A-G

Ibid. v. 3,

In conspectu angelorum in saecula saeculorum. A-A A- G° | A-O-A-G I) A - A-O-G°| A-O-A-G

The Hymn of St. Cummain Fota, Liber Hymnorum, Todd I. 73 : V. 4,

Piscium rete evangelii captoris alleluia. A-O-G A-G° A-O - A-GII A - A-G° A-O-A-G

60 THE LITERARY SATURXIAN

V- 5,

1 ^ 1 w O [ 1 W»WA i _ 1 ^

Pauli gentium e g r e g i i praeceptoris. A-G°A-O-G|A - A-G | A-O-A-G

This hymn furnishes us in the odd verses interesting examples of the otherwise rare tripudic tripody.

V. 7,

Andreae a t q u e precamur e g r e g i a . A - O-G A - G 1 A-A - G | A - A-G

V. 13,

J, »

Oris lampadis eloquentis Philippi. A-G° A - O-G°|A-O - A -G | A-A-G

V. 18,

1 1 1 wo|Aij.||Al^j.|lwio

Nos illuminet abyssus scientiae alleluia.

A-A A-O-GJA-A-GH A- A-O-G0 1 A-O-A-G

Hymnus S. Patricii Magistri Scotorum, Antiphonary of Bangor, Warren II. 14:

Strophe I, v. 3,

IwO vlw|v!/ i J. ||w's, i O I i w -1.

Quomodo bonum ob actum similatur angelis. A-O-G A-G|A-A-G|| A-A-G°|A-O-G

Strophe VII, v. i,

Gloriam habet cum Christo honorem in saeculo. A-O-G A-G | A - A-G || A-A-G |A - A-O-G

V. 2,

Qui ab omnibus ut Dei veneratur angelus. A- G° A-O-G|A-A-G|| A-A-G°|A-O-G

LIVIUS ANDRONICUS 61

V.4,

J, J,w'wJ.|>l±.fc||ii.i.i.fc|AJ. Ut hominibus ducatum praeberet regno Dei.

A - A A - G | A-A-G || A- A-G A-G| A-G

Strophe XI, v. 4,

Co pi a in qua est multa, quam Dominus possidet. A-O-G A-A |A - A-G || A - A-.G°| A-O-G

Strophe XII, v. i,

1 w J. i olilj.lliij.lvl/iwJ.

Maximus namque in regno caelorum vocabitur. A-O-G A - G A- A- G|| A-A-G j A-A-O-G

Strophe XIII, v. i,

i J- w ' w J. | i i * || i 1 W .h j 1. W *

Nomen Domini audenter annunciat gentibus. A-G A- GIA-A-GUA -A- 0-G°| A-O-G

Strophe XVI, v. i,

i 1 s/ ' W J. I i i J. II i i J. I i W ' W J.

"I II I

Quem pro m e r i t i s Salvator provexit pontificem. A - A A-G|A-A-G|| A-A-G| A-A-G

Strophe XVII, v. i,

1 J. i W O | 1 1 J- || li J. 1 1 W J.

Regis nuntius invitans credentes ad nuptias. A-G° A-O-G|A-A-G || A-A-G | A - A-O-G

Strophe XIX, v. i,

i i w ' w J- | X i * || i 1 * I A w » w J-

Testis Domini fidelis in lege catholica. A-G A-G| A-A-G ||A-A-G|A A-G

V. 4,

1 i ij.|w»wij.||Xio|i iwj. Sed caelesti saliantur sapore a.d victimam. A-A A-GI A- A-G || A- A-GI A- A-O-G

62 THE LITERARY SATURXIAX

Strophe XXIII, v. i,

1 -^ w ' w -i. | 11 .i || o 1 o 1 1 w -^

Zona Domini praecinctus diebus ac noctibus. A-G A-G| A-A-GHA-A-G A-A-O-G

Hymnus S. Comgilli Abbatis Nostri, Antiphonary of Bangor, Warren II. 16:

Strophe I, v. 4,

L -•- 1 i ^ I ^ ^ II 1 A . i ^ I I

s -^

Apta fideiustitia ad Dei ducta g a u d i a . A-G A-G | A A -Gil A -A-G A-G°I A - O-G

Strophe II. v. i,

J, A 1-u 1 w'w^. II w ' w w i J. iv-i

II

Bonam vitam, iustitiam, benignitatem floridam. A-G A-G | A A-G || A - O-A-G0 | A-O-G

Strophe IX, v. i,

i i i^liwiolli-i^ liw^

In Scripturis eruditus inspiratus divinitus. A - A A-G° A-O-A-G1A- O-A-G A-A-O-G

Strophe XIII, v. 4,

A I

I I

Clarus cimctis in sortibus, adauctus in sublimibus. A-G A-G|A-A-O-G || A-A-GlA -A A-O-G

Strophe XV, v. 4,

lol J. I 1 w • w J. || 1 w 1 J. I 1 1 WO

More sancti Hieremiae const ituti in culmine. A-GA-G) A - A -G|| A - O-A-G] A - A - O-G

Strophe XVII, v. i,

Rexit sanctam ecclesiam catholicam per regulam. A-G A - G | A-A-O-G || A A - G | A - A-O-G

Strophe XIX, v. 4,

w-U i A I A lwo||l lo lw|lw J.

Domans pergens,cum Abraham ad terrain illam opt imam. A-G A-G JA -A-O-G ||A-A-G A-G°| A-O- G

LIVIUS ANDRONICUS 63

Strophe, XXII, v. i,

1 J. vl .i. | 1 i ^J-Hlwlc'lilwJ.

Hymnum Deo cum cantico immolabat altissimo. A - G A-G | A-A - O-G°|| A - O-A-G I A-A - O-G

Strophe XXIII, v. i,

1^.1 j. | i w'w^lli^ioliw'^^

Zona cinctus iustitiae, castitatis eximiae. A-G A-G|A A-G°|| A-O-A-G |A- A-G

Hymnus S. Camelaci, Antiphonary of Bangor, Warren II. 19: Strophe V, v. i,

Regem Dominum aspexit Salvatoremque suum.

A-G A - G IA-A-GI A-O-O-A - G | A-G

Strophe VI, v. i,

1 oio |±wwi-s.||lwl -i. 1 w -1.

Christus ilium insinuavit Patriarchae Abrahae. A-G A-G° |A-O-O-A-G°|| A- O-A - G° | A-O-G

V. 2,

1 w ' w i -s. I i i J. || 1 1 J- I 1 w -s-

In Paradise regnavit cum sancto Lazaro. A A A-G|A-A-G|| A - A-G°| A-O-G

Versiculi Familiae Benchuir, Antiphonary of Bangor, Warren II. 28: Strophe II, v. 2,

1 v!/lvi/|llvi/||ivio ilo

Spe salutis ornata caritate perfecta. A - A A-G A - A-G°|| A - O-A-G | A -A-G

Strophe X, v. 2,

Deo Patre parata sine fide mansura. A-G A-G | A-A- G|| A - A-G| A- A-G

In Memoriam Abbatum Nostrorum, Antiphonary of Bangor, War- ren II. 33: *

Strophe III, v. i,

Gratum fecit Fintenanum heredem almum inclitum. A-G A-G°| A-O-A-G || A-A-G A-G°|A-O-G

64 THE LITERARY SATURMAN

THE OLD-IRISH SATURXIAX ix EXGLAXD.

Aldhelmus, Saxonum Occidentalium Episcopus, Giles, Oxon. 1844 p. 1 1 1 :

V. 3,

Cuncta cernens cacumine caelorum summo lumine. A-G A-G | A-A -O-G| A-A-G A-G°|A-O-G

THE OLD-IRISH SATURNIAN ON THE CONTINENT.

Bonifatius, Carmina ed. Diimmler, p. 18 (Mon. Germ. Histor: P. L. M. A.):

Carmen III, v. i,

A j. ± A | i i w A j w'c i A I 1 i ^ -^

Vale f rater florentibus iuventutis cum viribus. A-G A-G | A-A-O-G l| A-A-G I A -A-O-G

V. 12,

I I

1 I „ . I I I

Summa sede ut gaudeas unaque simul fulgeas. A-G A-G | A - A - O-G || A-A-G A-G°| A-O-G

Berthgitha ad Baldhardum, ap. Bonifat., ed. Giles, London 1844, p. 273: V. 2,

4/ -S. xl/ -t | i 1 wo||w'vl-l.!i i >^0

Tibi salus per saecula tribuatur per culmina. A-G A-G | A - A-O-GH A-A-G | A-A-O-G

Ibid. p. 272, in fine carminis,

AJ. 1 o | Aw'wo !| w • w i o | i A 1 o

Ave care crucicola, salutate asorore. A-G A-G | A - A - G |! A - A- G I A-A A- G

Sedulius Scotus, Carmina ed. Grosse: Carmen VI, v. 2,

Christe fave Roberto, longaevum fac Robertum. A-G A-G| A- A- G|| A-A-G |A-A A-G

LIVIUS ANDRONICUS 65

Dicuil, Diimmler, N. A. S. p. 256:

1 1 ± A | ± ± w J. |j i ± J. | w ' w 1 w *

Sed cum vere invenerit quod debet r e p r e hendere. A - A A-G|A-A-O-G|| A - A-G | A - A-O-G

§ 14. Festus 162, Mueller: Nequinunt pro nequeunt, ut solinunt ferinunt pro solent et ferunt dicebant antiqui. Livius in Odyssia :

1 >», i .*. | J, i A || ± w -s. | A i * Partim errant, nequinunt Graeciam redire. A-G A-G |A-A-G°|| A-O-G | A- A-G Cf. § i.

§ 15. Priscian VI. 42: Non est tamen ignorandum, quod etiam hie puerus et hie et haec puer vetustissimi protulisse inveniuntur. Livius in Odyssia:

Sancta puer, Saturni filia, regina. A-G A-G | A-A-G0 1| A-O-G | A-A-G Cf. § i.

§ 1 6. Priscian VI. 18: Quod autem lonis et Calypsonis et Didonis dicitur, ostendit hoc etiam Caesellius Vindex in Stromateo his verbis: Calypsonem: ita declinatum est apud antiques, Livius:

»!/-!. 1 o|ll-^||lw.J-|w'wl-l.

Apud nympham Atlantis filiam Calypsonem. A-G A-G | A-A-G°||A-O-G | A-A-G

Cf. § i.

§ 17. Servius in Verg. Aen. I. 92: Explaining the use of frigus for timor: Livius in Odyssia:

Igitur demum Ulixi cor frixit prae pavore. A-G A - G | A-A-G II A - A - G | A - A A-G

Cf. § 13.

§ 1 8. Festus, p. 181 Mueller: Explaining the ancient use of ocris as mons confragosus: Ut apud Livium :

11 O 1 A | 1 V O || w'w -1. 1 vl * I 1 -1.

Celsosque ocris arvaque putria et mare magnum. A-A-G A-G°|A-O-G|| A-G A-A-Gl A-G

66 THE LITERARY SATURNIAN

LATIN EXAMPLES.

V. 24,

11 -i. lojli 1 || 1 j. ± ± A | w • w j.

Nexabant multa inter se flexu nodorum dubio.

A-A-G A-G| A-G- A || A-G A-A-G | A-G

V. 26,

1^0 ±w'wJ.|Aj.||I Ail^olvtlj.

Inferus an superus tibi fert deus funera Ulixi. A-O-G A - A-G|A-G|| A-A-G0 A-O-G j A-A-G

V. 38,

1 vl M, 1 O | >l i || 1 1 i IwO 1 J.

At celer hasta volans perrumpit pectora ferro. A-A-G A-G A- G|| A-A-G0 A-O-G | A-G

Naevius, v. 62,

Atque prius pariet lucusta lucam bovem. A-G A-G | A - Gli A-A-G A-G j A-G

Popularis Incantatio, Varro de R. R. I. 2.27 :

Aj.>!/j.|vy»wj.|]%!/i^ A j. | w ' w -s. Ego tui memini medere meis pedibus. A-G A-G| A - G || A-A-G A-G | A - G

The Mummian Inscription, C. I. L. I. 541: V. i,

Ductu auspicio imperioque eius Achaia capta. A-G A A-G°| A - O-O-A-G ||A-G A-A-G | A-G

OLD-IRISH EXAMPLES. Fiacc's Hymn, v. 9,

Dofaid tarelpa huile de mair baamra retha. A-G A-A-G | A-G|| A - A A-A-G | A-G

V. 33,

' • • ' • I ' - II ' • •'•!'.

Pridchad soscela docach dognith morferta lethu. A-G A-A-G|A-G || A-G A-A-G|A-G

LIVIUS ANDRONICUS 67

V. 35,

» . » . | • • . || t » « . | ' .

Patraic pridchais doscotaib roches morsethu lethu. A-G A-G | A-A-G||A-G A-A-G|A-G

V. 40,

Pridchais trifichte bliadan croich crist dothuathaib fene. A-G A-A - G| A-G || A A A - A-G |A - G

V. 51,

Ymmon dorroega itbiu bidlurech diten docach. A - G A-A-G|A - Gil A-A-G A-G | A-G

V. 52,

Immut illaithiu messa regait fir herenn dobrath. A-GA-A-G| A-GHA-G A-A-G | A-G

V. 54,

Asbert mosnicfed patraicc briathar tassaig nirbu go. A-G A-A-G | A-G || A-G A-G|A-G-A

V. 65,

' . t ' . | t . || i t . i . | t . Intan conhualai patraic a del la patraic naile. A-G A- A-G | A-G ||A-A-G A-G |A-G

GALLIC EXAMPLES IN LATIN.

St. Augustine, Psalmus Alphabeticus contra Donatistas: Strophe I, v. 3,

Comparans regnum caelorum reticulo misso in mare. A - 0-G A-G | A-A-GH A - A-G A-G|A - A-G

V. 5,

1 1 iij.liij.lli ± ± j. ] i w I *

Quos cum traxissent ad lit us tune coeperunt separare.

A - A A-A-G | A-A-G II A - A A-G°I A -O-A-G

68

THE LITERARY SATURNIAN

V. 6,

Bonos in vasa miserunt, reliquos malos in mare. A-G A- A-G | A-A-G H A-G A-GIA-A-G

V. 12,

* .h* |11 i ^ | i ~ i o

Vasa sunt sedes sanctorum, quo non possunt pervenire. A-G A-A-G A-A-G II A - A A-G° I A -O-A-G

i i

•

Strophe II, v. 10,

Modo quo pacto excusabunt factum altare contra altare. A-G A - A-G°| A-O-A-G I! A-G A-A-G| A- G A-A-G

It is clear that the procatalectic expansion, A-A-G A-G, A-G A-A-G, was the universal Keltic favorite from Cisalpine Gaul and Spain to Hibernia, and that it is in the type before us that we must recognize the mainspring of Christian hymnology and modern European rhythm:

St Hilary:

A 1 O l*|lw*fll*irll

Beata nobis gaudia anni reduxit orbit a. ii i » • » i i

A-A-G A-G°1 A-O-GHA-G A-A-G°]A-O-G

i i

A i

St. Ambrose: Aeterne rerum conditor noctem diemque qui regis. it it ii it

A-A-G A-G° | A-O-GH A-G A-A-G ! A- A-G

Thus the artistic genius of the Kelt laid hold instinctively upon that modulation of the native rhythm of the double accent which would re- produce naturally the Hellenic or quantitative verse-beat, and cast aside forever the hopeless artificiality of the classic tradition in its effort to assert the accentual independence of the quantitative ictus. Conse-

quently, while the classic tradition affects and cultivates A-O-A-G and ii ill

A-A-G, the order of the new day is A-O-A-G and A-A-G: the classic arti- ficial grafting of the Hellenic verse-beat on to the tripudic has given place to the indigenous Italico-Keltic artistic blending of the two, and the rationale of European rhythm is fixed for all time.

LIVIUS ANDRONICUS 69

OLD-IRISH EXAMPLES IN LATIN.

Hymnus S. Columbae, Liber Hymnorum,ap. Macllwaine, p. 376 ff.: Strophe K, v. 3,

E c c e gigantes g e m e r e sub a q u i s magno u 1 c e r e . A-G A-A-G | A -G|| A- A-G A-G°| A-O-G

Strophe L, v. i,

L i g a t a s aquas nubibus frequenter crebrat D o m i n u s . A-A-G A-G°| A-O-GH A - A-G A-G| A-G

V. 2,

1 1 11 i | 1 W A || A -^ 1 .S. I A W ' W .S.

Ut ne erumpant protinus simul ruptis obicibus. A- A A-A-G0 | A-O-G || A-G A-G|A-A-G

Strophe, M v. 2,

A J. 1 _!- | i i w C/ || A i A 1 J. | i W J.

Globus terrae et circulus abyssi, magnae inditus. A-G A-G | A-A-O-GilA-A-G A-G° A-O-G

Strophe N, v. i,

Nulli videtur dubium in imis esse infernum. A-G A-A-G A -GHA-A-G A-G| A-A-G

V. 2,

Ubi habentur tenebrae vermes ac dirae bestiae. A-G A-A-G] A - G || A-G A -A-G| A-O-G

V. 4,

w— w-L\2/ W "W — J_ o JL -L * I — sy A

Ubi rugitus hominum fletus ac stridor dentium. A-G A-A-G | A-G ||A-G A - A-G°| A-O-G

V. 6,

Ubi ardor flammaticus sitis famisque horridus. A-G A-G | A-A-O-G||A-G A-A-G0 A-O-G

70 THE LITERARY SATURNIAN

Strophe Q, v. i,

» _ i — | ^« || « I

Quis ad condictum Domini montem conscendit Sinai. A-G A-A-G | A-G|| A-G A-A-G| A-G

Strophe S, v. 3,

A1.S. Ao|w»s^C'||ioiii|l^C'

Videntes quoque posita ante obtutus crimina. A-A-G A-G| A - G|| A-G A-A-G0 | A-O-G

Strophe Z, v. 2,

Nolentes Christum credere Deo a patre venisse. A-A-G A-G° | A-O-GHA-G A-A-G] A-A-G

Noli Pater, Liber Hymnorum, ap. Macllwaine, Lyr. Hibern. Sacra 382:

V. 9,

w ^

Repletus dei gratia pro vino atque siccera. A-A-G A-G°| A-O-GH A -A-G A-G°[ A-O-G

V. 12,

A ^ i Aj.|io||Aj.Aij. i o

Manet in meo corde dei amoris flamma.

A-G A- A-G| A-GIIA-G A-A-Gj A-G

V. 13,

AAiij.|i*||i.i. i w j. | i o Ut in argenti vase auri ponitur gemma. A- A A -A-G | A-GIIA-G0 A-O-G| A-G

In Te Christe, Ibid. p. 383:

V. 7,

A j. iioji^j-IIA^ii * j i w^ a, Deus formator omnium deus et iudex iudicum. A-G A-A-G°| A-O-G || A-G A-A-G0 |A-O-G

V. 17,

Christus redemptor gentium Christus a ma tor virginum. A-G A-A-G0 1 A-O-G II A-G A-A-G°| A-O-G

LIVIUS ANDRONICUS 71

V. 19,

1 ^ i i C, | i w J. || l-l. A i C, | i w J.

Christus lorica militum Christus creator omnium. A-G A-A-G°| A-O-G | A-G A-A-G°| A-O-G

V. 31,

Dum sibi hymnos canimus decem statutis vicibus. A -A-G A-G A -G|| A-G A-A-G A-G

The perfect naturalness of the process of Hellenization which resulted in Christian hymnology and modern European rhythm is apparent, when we observe how Sedulius has nothing to do but place his quantities and we have our same Saturnian, with superadded quantitative verse-beat:

Sedulius, De Nativitate Domini, Liber Hymnorum, ap. Macllwaine,

A solis ortus cardine adusque terrae limitem, t I ill i ii

A-A-G A-G°| A-O-GHA-A-G A-G | A-O-G

where A-A-G as word-foot must be so located as to receive the Greek

•

verse-beat on the second A (A-A-G) , or else resign its place to A-O-G, whose

i •

tripudic rhythm reproduces exactly the Hellenic (A-O-G). Thus our modern accentual rhythm is historically and literally nothing but the Italico-Keltic tripudic rhythm modulated naturally to the Hellenic verse-beat, while Latin Classic verse was historically and literally nothing but this same Italico-Keltic tripudic rhythm modulated arti- ficially (i.e. forcibly) to the Hellenic verse-beat.

St. Ultan's Hymn to St. Brigid, Liber Hymnorum, Todd I. 57: Strophe II, v. 4,

i ^ A i J. 1 A w .* J 4 i * 1 * | w» w *

Nisi per is tarn virginem Mariae sanctae si mile m. A-G A - A - G° I A-O-G II A - A-G A - G I A-G

— w O

72 THE LITERARY SATURNIAN

Strophe III, v. 4,

xtl-l. - - I - i o|| i i i 1

Refulgens magno splendore ut sol in caeli culmine. A-A-G A-G | A A-GUA-A A-A-G°| A-O-G

HymnusS. PatriciiMagistriScotorum,A.ntii)honaryoi Bangor,II. 14: Strophe III, V. 4,

1 1 i i 4. | 1 i * H 1 Jt' * j 1 i W *

In cuius portae adversum inferni non praevalent. A-A-G A-G| A-A-G || A-A-G| A - A-O-G

Ibid, in fine hymni,

O w'w-S. i J. ± J. 1 1 O || i 1 1 1 J. 1 J. llj.

Patricii laudes semper dicamus ut nos cum illo semper vivamus.

A-A-GA-G|A-G A-A-G ||A-A A-A-G A-G A-A-G Here we have a vivid illustration of the Keltic predilection for the pro- catalectic expansion, A-A-G A-G, and A-G A-A-G.

Hymnus S. Comgilli Abbatis Nostri, Antiphonary of Banger II. 16:

Exordium, v. 3,

• •.»,.!• ...II • •»..,!»

J. 0 -S. W

Adiuti Dei flamine, sancto claroque lumine. A-A-G A-G°| A - O-G|| A-G A-A-G0 1 A-O-G

Strophe XII, v. i,

i i t

» •

i •

Magnum apprendit brabium aeterna vita condignum. A-G A-A-G A-A-G || A-A-G A-G | A-A-G

Strophe XVII, v. 4,

1 O 1 1 i IwOJIoi O 1 O I w ' w i

Cuius exopto gratia mihi adornet animam. A-G A-A-G0] A-O-G II A-G A-A-G | A - G

Strophe XX, v. i,

lo llj-|lwi||olo 1 j. I J, i j.

Vitam aeternam fulgida adeptus est sub corona.

A-G A-A-G0 | A-O-GII A-A-G A- G| A-A-G

The even feet, A-O-G and A-A-G, demonstrate the purely tripudic

character of the rhythm: any effort to find the Greek verse-beat disproves

itself.

LIVIUS ANDRONICUS 73

Collectio ad Nocturnam, Antiphonary of Bangor II. 20: v. i,

i-i. i ij.|iwJ.||i^lij.|w'wJ.

lesu, clementer visit a nocte orantes media. A-G A-A-G°| A-O-G1IA-G A-A-G | A-G

Ibid., Item ad Matutinam:

V. 2,

Petri ut quondam fletibus nostris intende precibus. A-G A - A -G° | A-O-GH A-G A-A-G| A-G

Item alia ad Matutinam:

V. 2,

1 1 J. ± J. | i w J. || A J. 1 i C, | w ' w -g.

Adventum veri luminis tuis effunde famulis. A-A-G A-G°|A-O-G||A-G A-A-G| A-G

In Memoriam Abbatum Nostrorum, Antiphonary of Bangor II. 33: Strophe II, v. i,

Amavit Christus Comgillum bene et ipse Dominum.

A-A-G A-G | A -A-G || A-G A-A-G | A-G

V- 3>

iij. 1 -i. | 1 i j. || 1 ± j. 1 j. | A 1 j. E legit sanctum Sinlanum famosum mundi magistrum. A-A-G A-G | A-A-G HA-A-G A-G | A-A-G

Strophe IV, 2,

Pastor Columba congruus querela absque Aidanus. A-G A-A-G°1 A-O-GH A- A-G A - G| A-A-G

Strophe V, v. 3,

i.S.1 i J. I i ± J. || i 1 vl/ AC<|w'wJ.

Zoen ut carpat Cronanus conservet eum Dominus. A-G A -A-G | A-A-G || A-A-G A-G | A-G

74 THE LITERARY SATURNIAN

Strophe VI, v. 3,

t, ^ ll*|lw*Hl« i i *

Uti possimus omnia nostra delete crimina. A-G A-A-G°| A-O-GI A-G A-A-G°| A-O-G

THE KELTIC SATURNIAN IN ENGLAND. Aldhelmus, Giles, Oxon. 1841, p. 113: V. 6,

Forma et usu virile m, factb et dicto senilem. A-G A-A-G | A-A-G ||A-G A- A-G | A-A-G

THE KELTIC SATURNIAN ON THE CONTINENT. Bonifatius, Carmina, Diimmler, p. 18: Carm. Ill, v. 13,

1 1 j. i .1. i wo||iw-i.i.s.|iwo

Excelsi regni p r a e m i a lucidus captes aurea. A-A-G A-G°| A -O-G°|| A-O-G A-G°| A-O-G

Dicuil, Computus, ap. Diimmler, N. A. S., p. 256:

V.4,

• .1 . I » , , II ». 1 I ,_ I 1 1

More fraterno corrigat ut me possit defendere. A-G A-A-G°| A-O-G ||A-A A-G|A-A-O-G

Sedulius Scotus, Carmina, Grosse: Carmen VI, v. 2,

1 * 4 A j A i J. || i i A i A | ± A

Christe fave Roberto, longaevum fac Robertum. A-G A-G I A-A-G || A-A-G A - A| A-G

§ 19. Diomedes, Keil I. 384, says: Item vulgo dicimus amplector, veteres immutaverunt amploctor crebro dictitantes, ut Livius in Odyssia:

vl^. w«wo|i i a. || JL W* |i 1; A

Utrum genua amploctens virginem oraret. A-G A-G| A-A-G0 || A-O-G |A-A-G Cf. § i.

LIVIUS ANDRONICUS 75

§ 20. Charisius, Keil I. 197, exemplifying the use of doriicum for donee, quotes Livius:

Ibi manens sedeto, donicum videbis. A-G A-G | A-A-G°||A-O-G | A-A-G

Me carpento vehentem domum venisse. A- A A-G | A-A-G || A-G | A-A-G Cf. § i.

§ 21. Festus, p. 174 Mueller, illustrating the use of noegeum as amiculi genus, quotes Livius in Odyssia:

Simulac lacrimas de ore noegeo detersit. A-G A-G A-A-GH A-A-G A-A-G Cf. § 13.

§ 22. Festus, p. 352 Mueller, explaining topper:

i o i*|iju8Aw*Jll*

Namque nullum peius macerat humanum. A-G A-G | A-G1 A-O-G| A-A-G

Quamde mare saevum: vires cui sunt magnae. A-G A-G|A-G II A-G A-A | A-G

i .». | I 1 ,«.{}£_ 1 a. j 1 ju

Topper confringent importunae undae.

A-G|A-A-G HA-O-A-G |A-G

On v. i cf. § i ; on v. 2, § 4; on v. 3, §. 5.

§ 23. Priscian, Inst. VI. 6, explaining the genitive in -as, quotes Livius in Odyssia:

i i w J. | i O A J. || i W J. I i ± JL

Mercurius cumque eo filius Latonas. A - A-O-GI A - G A-G°|| A-O-G | A-A - G

Cf. § i.

76 THE LITERARY SATURNIAN

§ 24. Diomedes, Keil 369, illustrating the use of nexare, quotes Lh'ius in Odyssia:

11^. I * | 1 * i || ± J. 11-=- | v, • w -s.

Nexabant multa inter se flexu nodorum dubio. A-A-G A-G|A-G -AIIA-G A-A-G |A-G Cf. § 18.

§ 25. Priscian, Inst. VI. 6, in further illustration of the genitive in -as, quotes again from Livius in Odyssia:

1 i c,| Al^||l^o|w»wl

Nam diva Monetas filia docuit. A - A-G| A-A-G°||A-O-G| A-G Cf. § 5.

§ 26. Priscian, Keil II: 96, illustrating superus, quotes Livius in Odyssia:

1^0 1 w'vx i | J, J.|| i >L -^ 1 W * |A i *

Inferus an superus tibi fert deus funera, Ulixes. A-O-G A-A-G | A-G|| A - A-G° A-O-G | A-A-G The favorite Keltic type: cf. § 18.

§ 27. Festus, p. 352 Mueller, discussing topper, says: In Odyssia vetere:

1 JL. «> <fc I W ' V Jbjj Ji O ^- I C/ _ -L.

Topper facit homines ut pfius fuerunt.

A-G A-G| A-GIIA- A-G(A-A-G Cf, § 10.

§ 28. Festus loco citato (Mueller 352) continues:

Topper citi ad aedis venimus Circae. A-A A-G|A-A-G°|| A-O-G| A-G

\i/ j. c/ M>

_ 0, i u. || I * I i 1.,

Simul duona eorum portant ad navis, A-G - A-G A-A-G || A-G | A - A-G

lo^'wolvLlvi/lll wwl -1.

Multa alia in isdem inserinuntur. .

A-G A - G| A-A-G ||A-O-O-A - G Cf. § i.

LIVIUS ANDRONICUS 77

§ 29. Gellius VI (VII). 7: Idem Livius in Odyssia praemodum dicit, quasi admodum: parcentes inquit praemodum, quod significat supra modum, dictumque est quasi praeter modum, in quo scilicet prima syllaba acui debebit.

i 1- A| 1 w -

. parcentes praemodum

A-A-G°|| A-O-G Cf. § i.

§ 30. Nonius Marcellus II. 88 quotes Livius in Odyssia:

i| i w « w I 1 v* 1

Sic quoque fitum est.

|| A - A | A-G - A Cf. § i.

§ 31. Festus, p. ii Mueller, on the meaning of affatim as abundanter, quotes Livius:

i W * i i| 0, i|| i i

Affatim edibibilusi

A-O-G A-G|A-G||A-G

Cf. § 22, V. 2.

§ 32. Priscian, Keil II. 482, on gavisi for gavisus sum, quotes Livius in Odyssia:

w'w * | i i i|| i i I i i i

Quoniam audivi paucus gavisi. A-G] A-A-GH A-G | A- A-G Cf. § 5-

§ 33. Festus, p. 375 Mueller, discussing vacerra, quotes Livius:

ii ^i l|w«w*||Aio Vecorde et malefica vacerra .... A-A-G A - A| A-G|| A-A-G Cf. § 18.

§ 34. Nonius Marcellus I. 599, on pullus as non albus, quotes Livius:

Vestis pulla purpurea ampla .... A-G A-G| A A -G|| A-G Cf. § i.

78 THE LITERARY SATURNIAX

§ 35. Festus, p. 67 Mueller, says:

II i j. I ± 1 -u

" I

dusmo in loco

|| A-G|A-A-G

apud Livium significat dumosum locum. Cf. § i.

§ 36. Priscian VIII. 57, 60 (Keil II. 419) on the perfect of mandere quotes Livius in Odyssia:

Cum socios nostros mandisset impius Cyclops. A A-G A-G | A-A-G1 A-O-G | A-G

Cf. § 3.

§ 37. Paulus 299: Suremit, sumpsit:

' i O >!/.!. Ivi/ivi- || 1-1.

Inque manum suremit hastam . A-G A-G | A -A -G|| A-G Cf. § i.

§ 38. Priscian, Keil II. 335, on celer: Livius in Odyssia:

At celer hasta volans perrumpit pectora ferro. A -A-G A-G | A-G || A-A- G° A-O-G|A-G Cf. § 18.

§'39. Priscian, Keil, II. 208, on caro: Livius Andronicus in Odyssia:

i v* 1 .S. I i i C/ || 1 i i J. I ± _ i J.

Carnis autem vinumque quod libabant anclabatur. A-G A-G | A-A -G|| A - A A-G° A-O-A-G

Cf. §12.

§ 40. Nonius Marcellus II. 122: Dextrabus pro dexteris: Livius in Odyssia:

1 C, w'wJ. i i J. ||

Deque manibus dextrabus

A-G A-G | A-A-GII Cf. § i.

LIVIUS ANDRONICUS 79

§. 41. Priscian, Keil II. 231, on puera: Livius in Odyssia:

Mea puera quid verbi ex tuo ore supra fugit? Idem alibi :

W«wl A |w»WJ. 811*11 1 w ^

Puerarum manibus confectum pulcherrime.

A -A-G | A - G || A-A-G | A - A-O-G Cf. § 5.

§ 42. Priscian, Keil II. 151, on linter as feminine: Livius in VI: ± d,!*|ilj.||l* lam in altum expulsa lintre .... A - A A-G | A- A-G II A-G

Thus we are brought back again to the lesson of the Sacred Spear of the Arval Brotherhood, and of the Sacred Shield of St. Patrick:

Jf j. o j. I >!/ i o

Enos Lases iuvate!

A-G A-G|A-A-G the key to the history of accentual rhythm in all ages.

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